#i have the plot i have important scenes but i can not for the life of me connect it all together. the inbetweens are killing me

[kosher-martian]

More totally real episodes of DS9, I promise. You've just never heard of them because they serve on a different space station:

Ferengi has 178 words for Rain, Man: A Plot -Quark accidentally loses his bar in a Tongo match against a Gamma Quadrant highroller. In his desperation, he enlists Julian Bashir and his augmented mind to help him cheat his way back from the brink of destitution. B Plot- Sisko is called to Deep Space 6 for an important intelligence briefing. He is forced to share a long runabout trip with a well-meaning but annoying and accident-prone Bolian colleague.

Prophets with Dirty Faces: A Plot- The Prophets abduct Odo for unknown reasons, forcing him to solve a mystery among their kind in the form of a Dixon Hill noir adventure. B Plot- While the crew search in vain for the missing Odo, Worf takes over station security and quickly turns tyrannical.

A Mind Meld is a Terrible Thing to Waste: A Plot- A failed Vulcan-led conflict resolution session leaves Kira and O'Brien's minds in the wrong bodies. Without a solution in sight, the two try to continue life as usual, but others on the station have difficulty adjusting. Dax doesn't see what the big deal is. B Plot- Rom is hiding something, and Quark will go to any length to find out what it is!

Q the Music: Q Plot- Q appears in Vic Fontaine's holosuite and offers him the opportunity of a life time, pally: Life outside the holosuite. Vic has a week to determine if he wants to make this sudden freedom permanent at the cost of his holographic "powers", the crew must uncover what Q's motives truly are, and Quark must uncover that recipe for Vic's spaghetti sauce that is stealing his customers away.

Witching Hour: A Plot- Sisko, suffering from severe insomnia, takes to spending his evenings walking the promenade. He is beset by unexplained supernatural encounters with a seemingly-nefarious cackling green alien, but never in the presence of others. He must now cobble together a taskforce from the only people awake at this hour: A visiting Bajoran prylar, a Bajoran medic working the overnight shift at the infirmary, Morn, and the Klingon Chef. B Plot- Kukalaka has turned up missing, with nothing at the scene of the crime except a few threads of unknown fabric. To find the thief, Bashir turns to the only man he can trust in situations like these: Elim Garak.

I wish we'd gotten a dumb tailor Garak B plot. Something like someone opens up a competing tailor shop (and he gets competitive) or he can't figure out where his scraps of fabric keep disappearing to (it's a mother vole making a nest for her babies) or he's trying to make an outfit for Bashir is having a breakdown cause Bashir keeps asking for it to be altered (because he's too embarrassed to admit something about it sets off his sensory issues). I like when Garak gets to be just a simple tailor.

[novlr]

Weird question here: do I need to describe my character's clothes? Obviously I need to if it's important to the story or setting (if they're wearing a beautiful ruby gown at a ball, or maybe dirty and torn to indicate a fight) but just on a normal day? Do readers need to know what characters are wearing?

As writers, we often get caught up in the details of our characters. We describe everything from their eye colour to their favourite breakfast cereal, and it can be so easy to go overboard with unnecessary description. Describing a character’s clothes is a danger zone for too much description. It’s incredibly easy to get lost in the minutiae and forget the most important element when writing for readers; will they find this interesting?

The short answer

No, you don’t need to describe every piece of clothing your characters wear throughout your story. Like all elements of writing, clothing descriptions should serve a purpose.

Just like clothing in real life, descriptions of a character’s clothes serve a function. This means that your chose in when to describe things should be intentional; usually for the purposes of character development, world-building, setting a mood, social commentary, plot advancement, or symbolic representation.

When should you describe clothing?

Every plot is different, but there are some key moments in a story when knowing what a character is wearing or how they are dressed could be important:

When it reveals a character’s personality or status (e.g. do they favour muted tones or bright, bold colours? Do their clothing choices signify wealth?).

During important story moments or turning points if it highlights that moment’s significance (e.g. wearing black at a funeral, or an academic gown at graduation).

If the clothing affects the plot or action (e.g. Cinderella losing her glass slipper).

When establishing the time period or setting (e.g. historically appropriate clothing descriptions to put readers into the right headspace to appreciate your setting).

If it shows a significant change in the character (e.g. a shy character who likes to blend in suddenly switching to bright colours to display their newfound confidence).

When it symbolises something deeper in the narrative (e.g. a meaningful piece of jewellery, or a bride wearing her mother’s dress for her wedding).

When should you skip clothing descriptions?

Readers don’t need to know what your character is wearing at every moment of every day. The best way to think about it is, if it’s not important to the story, don’t describe it in detail. Usually it’s enough to know that someone is wearing a jumper on an overcast day, and it won’t actually enhance the scene to know it’s a plain black one. Here are some moments when it’s probably not all that important to go into too much detail:

During routine daily activities.

When the outfit doesn’t add meaning to the scene.

If it interrupts the flow of important action.

When it feels like “outfit cataloging” rather than storytelling.

If you’re describing clothes just to fill space.

Tips for how to effectively describe a characters’ clothes

Make it matter: Make sure your descriptions reveal something about the character, whether that be a personality trade, social or economic status, or their cultural background.

Illustrate change: Highlight a change in your character, whether that be something external or a internal, emotional change.

Create uniqueness: In the case of a protagonist, especially, the way they dress can make them unique. It can contrast them with other characters.

Set something up: Describing a character’s clothes can be used for foreshadowing a future plot point.

Be selective: You don’t need to describe a whole outfit. Instead, you can focus on one or two distinct pieces, items that have significance, clothing that affects movement or action, or elements that reflect the character’s state of mind.

Don’t info-dump: You should try to seamlessly weave descriptions into the narrative. Describe actions and interactions, use sensory language, have other characters react, or let clothing be a part of a scene’s atmosphere.

Common pitfalls to avoid

There is a fine line to tow when describing a character’s clothes in a way that is effective. And essentially, the pitfalls happen on either side of that line. You will either over-describe or under-describe. So what does that mean?

Over-description

Listing every item of clothing, regardless or relevance or usefulness.

Describing outfits for every scene. We rarely need to know what all characters are wearing at all times.

Including brand names unless relevant. Sometimes, a character’s brand loyalty might be important to the plot, but if it’s not, it’s unnecessary, and potentially alienating to readers.

Getting too technical with fashion terminology. Most readers won’t be au fait with the specifics, so make sure you write in a way that most readers can follow.

Focusing on clothes at the expense of action. Nothing will bring an action scene to a screeching halt faster than a detail dump.

Under-description

Don’t ignore clothing when it would be significant. If a character has undergone a significant personal change, then it would make sense to describe how that might also affect how they look on the outside.

Don’t miss opportunities for characterisation. A lot of a character’s personality can shine through their clothes, so if you’re telling the kind of story where that could be relevant, make sure you don’t miss those opportunities.

Don’t forget period-appropriate details in historical fiction. Research and authenticity are essential in certain genres, and clothing can go a long way to setting the scene.

Don’t overlook clothing that affects movement or action. The clothing a character wears can hugely affect the believability of a scene. If a character has just stepped out of a coronation and is dripping with heavy jewellery, it wouldn’t make sense for them to go for a leisurely swim.

Don’t skip descriptions that could build atmosphere. If it’s cold and dark, make sure your characters fit into that setting. Or you can use it to contrast your character and invert expectations (like a character who only ever wears shorts, even in winter).

When in doubt, ask these questions:

Does this detail reveal character?

Will it matter later in the story?

Does it help readers understand the world?

Is it necessary for visualisation?

Could the scene work without it?

Like all descriptions, clothing is a tool that you can use. Describe clothing when it serves your story and skip it when it doesn’t. The key is to make every detail count, whether you’re describing a ball gown or a worn-out pair of sneakers.

The bottom line is that you must trust your instincts and your readers. They don’t need a detailed inventory of every character’s wardrobe, but they do appreciate thoughtful details that enhance their understanding of your characters and story. When in doubt, less is often more, but make the descriptions you do include count.

[phoenixcatch7]

The thing I like about my writing is that I never write a story the same way twice. Everything I write demands a different flow.

For example, of the two stories I'm writing now, one wanted present tense (which I am, it turns out, terrible at) and lots of Internet slang/grammar, and the other one decided it had to be made of very short snippets, with one or two longer scenes forming naturally and lots of run on sentences. Both of them I originally tried in my 'more typical' style and both times it failed miserably to click until I scrapped it entirely and restarted.

Ironically enough, the present tense one I'd been intending to write in more episodic bursts, and the snippets one is the start of a long and twisting story delving into deeper themes than I ever have before. But that's the way they wanted to be written! It's more thinking on my behalf than I might have wanted (I am truly fighting my instinct for past tense), but in return I'm finding a rhythm and pattern that's working so well!

I guess the morale of the story is that if you've just started a story or art piece or whatever but it's just not working out, try approaching it from an unusual angle, something you haven't tried before. Something about it isn't clicking, so try a new method entirely!

But most importantly, have a folder somewhere you can move all the little bits and pieces you made but had to take out. It's old advice, but the problem is usually further back than you think. Doesn't mean you have to lose your progress.

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[mackthecheese]

Oh! And when writing, do you tend towards present or past tense?

Depends on what I’m writing tbh.

I’m not exactly a whiz with words, despite what my semi-formal, kind of old-timey manner of speaking (and, I suppose, typing as well) would suggest, so I really don’t write very often unless I have to for one of my classes. Because I’m almost exclusively writing for academic purposes, I’m writing all essays, which means I’m going to choose whichever tense best conveys whatever idea I need to convey.

Whenever I DO try my hand at creative writing (this does not occur often because as I said above, I kinda suck at it), I tend to inadvertently switch between the two tenses as I write. Idk why this happens, but it’s a real pain when it does because I have to spend FOREVER going back through my work and fixing everything. I usually choose to edit everything to be in the present tense because it tends to flow better.

[desolationlovers]

hitting the same realization that i do every few weeks: if i want my story and my characters to exist i do in fact have to write them. god damn it. and it wont work this time either

[unproduciblesmackdown]

yeah speaking of the most personal instrument of death / brutal vengeful catharsis gay sex foil confrontation. the musician gets got by lo cocodrilo? respectively, give him a kiss

[supatroopa]

I need to like get into actually watching TV shows this is brutal

[bitchface24-7]

MALICIOUS COMPLIANCE - JAYVIK X READER

synopsis: Being a young woman in a STEM field is hard enough as it is, your insecure boyfriend makes it even more difficult. He can’t stand the fact you’re in a lab almost 24/7 with two incredibly handsome men. After a nasty breakup— you’re gonna make all his insecurities come true.

genre: m/m/f (no homo does NOT apply here)

warnings: bitch ass boyfriend oc, name-calling (by said oc), revenge plot, dom!viktor, servicetop!jayce, getting freaky in the lab, threesome, kissing, handjob, voyeurism, praise kink, slight cuckolding, edging, dom/sub dynamics, vaginal fingering, oral sex (m + f receiving), lap sex, big dick viktor, pet names, begging, vaginal sex, teasing, rough sex, dirty talk, creampie

wc: too long (I'm so sorry)

p.s. Some parts of the smut scene are inspired by "At the Emperors Word" by @le-fruit-de-la-passion (their work is amazing, you should definitely check it out!)

EDIT: as per a kind request from @le-fruit-de-la-passion, a few sections have been edited. They were uncomfortable with how similar some sections were and I totally get it. Everything still makes sense and everything is still filthy smut; some parts are just re-worked. Love ya!

You’d think working on Hextech would be the most stressful part of your life. Getting monetary support from the council and the rich assholes of Piltover during galas being the most headache-inducing bit you have to trudge through.

Surprisingly it’s not.

It’s your boyfriend of almost two years that’s causing premature grey hairs.

In the beginning, everything was fine. It was good, to be honest! He was caring, sweet, and understanding of how much time and effort goes into Hextech, and how important this project is to you. Everything started to slowly change after you introduced him to your two work partners.

· · ─────── ·𖥸· ─────── · ·

One year ago

You’re so excited you can’t help but almost skip to the lab, your hands interlaced with your boyfriends. He’s smiling lightly at your attitude. You’ve always been a beacon of light to him, seeing you so excited to finally be able to combine your two worlds makes his excitement rise a bit to try and match your own. But it’s like comparing a minor star to the sun; almost incomparable.

Everyone’s schedules finally lined up so you can finally introduce your boyfriend to your two closest friends and colleagues; Jayce and Viktor. You had started as an assistant, but after you stayed behind one day; even helping Viktor and Jayce solve an equation that had them stumped for almost a week. They officially gave you a promotion after that.

The lab doors swing open and the sounds of tinkering fill the air. Everything slowly stops as your bright demeanour enters the room with a guy the two men have never seen before. This must be your boyfriend.

Jayce gets a rag to clean his hands with; it’d be rude to shake your boyfriend Cole’s hand with axel grease staining his fingers. Jayce’s glow matches yours, “Hey man! I’m Jayce and this is Viktor. Welcome to the lab!” As he gives Cole a firm handshake. During the introduction, Viktor had stopped his note-taking and slowly got up from his desk to join in the greetings.

“It’s taken long enough, no? We’ve heard so much about you; you’d think we were the ones dating you.”

You can’t help but snort out a laugh at that, “Viktor! Stop airing out my dirty laundry!”

The pretty scientist smirks, “There’s more where that came from.”

Jayce chuckles at your antics, looking at the both of you fondly. Cole’s smile slowly faded as his hand subconsciously tightened against Jayce’s, but Jayce barely felt it. Working in the forge for years has given him a steel grip, he barely feels Cole’s strength to begin with.

Right here in this joyful moment is where everything went wrong…

· · ─────── ·𖥸· ─────── · ·

Present day

Your irritation keeps spiking at Cole’s very pointed and passive-aggressive remarks as you try to get ready in the full length mirror connected to your closet.

“What? You get no days off?”

You subtly roll your eyes at the indignation in Cole’s voice. You’re a scientist, you’re currently working on technology that will change the world, and he’s moping that you have to go to work. Besides, you’re the one who plans everything to begin with. All the dates, the excursions, hell! You’re the main caretaker of your apartment. If Cole wants you to take a day off; he can show some initiative.

It’s the same thing day in and day out, and you’re getting sick of it. You just tune him out now as you put on your black slacks, black button down, academy vest, and black loafers.

You side eye him from the mirror, “If you want me to take a day off, give me a good reason to.”

Cole’s face gets nasty at that, “What? Give you a good reason not to slut around with your two work partners.” He says with two sarcastic air quotes around “work partners.”

“Excuse me. What the fuck did you just say to me?” Your eyes are widened and your jaw is clenched. Slut around?! Who the fuck does this man think he is?

He scoffs, “You heard me! You’re always with them! You’re with them more than you’re with me! You’ve gotta be fucking them; there’s no way you’re not! You’re not that smart, or that important to them! You were their assistant originally! Getting them coffee and shit, you must’ve sucked their dick to get where you are now!”

You swivel around so fast you’re worried you’re experiencing vertigo, “First of all, just because I have friends who are the opposite gender doesn’t mean I’m automatically fucking them. Secondly, I am an integral part of the team! I’ve solved equations, and runes, and built prototypes your puny little brain can’t even imagine! Don’t push your insecurities onto me just because you feel like a failure not only as a person, but as a man. Now get the fuck out of my apartment!”

He huffs from the bed and leaves in a hurry, not even attempting to destroy anything since Jayce is now a well known council member. You have the higher ground. Before he leaves fully you add salt to the injury, “And if I was fucking them I’d be a lot happier than I am now!”

The door to your apartment slams, and you feel nothing but bitter rage.

· · ─────── ·𖥸· ─────── · ·

Jayce and Viktor are jolted from their work as the lab door slams open and you storm in like a furious tornado. You’re grumbling, your face is the angriest they’ve ever seen and your hair is a bit messy; as if you’ve constantly ran your hands through it. Definitely not the usual prim and proper look you go for.

Viktor looks concerned as Jayce bites the bullet and asks the most obvious question, “Are you okay?”

You whip around to look at them, your eyes piercing, “Do I look okay?!” Jayce raises his hands in surrender as Viktor cocks an eyebrow at your poisonous tone. You deflate, plopping down on your desk chair. Your elbows on the table as you run your hands over your face and through the top of your head, over your hair.

“I’m sorry Jayce… that was rude. I misdirected my anger onto you.”

Jayce comes over and puts a reassuring hand on your shoulder, his hand encompasses the whole thing, “I get it. It’s fine, but really… you okay?”

Your eyes water a bit as your voice wobbles out a small no.

Jayce’s breath hitches and Viktor lightly pushes his wheelie chair with his stronger leg to glide across the small space between your two desks; so he’s sitting in front of you now.

“What happened?” Viktor asks, his tone was both worried and firm. They’ve known you for years and they’ve never seen you this distraught before. It's upsetting to both of them.

Before you can answer, Viktor answers his own question with a snort, “It was Cole, wasn't it?” You huff lightly, Jayce’s hand tightens on your shoulder, “Was it that obvious?”

Jayce lightly grimaces, “He’s the only one who can rile you up like this.”

“You two rile me up just fine.”

“Not like him. He always… makes you upset.” Viktor chimes in, his tone final. His eyes are narrowed at the redness in your own eyes and downturned lips. You should always be smiling, and happy. Not distraught.

You deeply sigh, putting a hand up to cover Jayce's hand on your shoulder. He's warm; almost unnaturally so, he'd be a lovely cuddle partner in winter time, "Cole said some, unsavory comments... comment's revolving around the three of us."

Jayce's brows furrow as his lips thin in contemplation, Viktor rubs the tip of his nose and huffs a deep breath, "Let me guess, it was revolving around how close we all are and he made some derogatory comments about your station."

You snapped your fingers and casually pointed at him, "Got it in one, V."

"Are you kidding me?! What an asshole! You know I never liked him right?"

"Yes Jayce, I know you never liked him. You weren't subtle."

"He's a hard man to like," Viktor's accent rolls the r beautifully, "I don't understand why you dealt with him for so long. He was far beneath you in both station and intelligence. It's quite obvious we're just friends. You'd look much happier leaving the lab if we weren't."

"Viktor!" Jayce gasps, his eyes wide as he nervously bites his lower lip, "You can't just say stuff like that!"

Your laughter cuts through Jayce's worry, "No no Jayce, Viktor is one hundred percent right. I would've been happy and immensely satisfied leaving the lab, rather than me thinking I'd have an aneurism due to a pain in the ass calculation."

Viktor chuckles as Jayce chokes on some spit. Shit. No wonder he thought y'all were fucking. You guys are completely blurring the line between professional partnership and a proper partnership.

There's a comfortable silence between you three before Jayce blurts out, "We should get payback!" a hand quickly slaps over his mouth as you and Viktor look at him in curiosity. Both of your beautiful, sparkling eyes on him make his face flush a bit.

"What's your big idea Jayce?" Viktor purrs out as he places his chin on both his hands, elbows planted firmly on your desk. You almost feel bad for Jayce, that's a killer look.

Jayce looks away for a second before steeling himself, looking at you two directly, "The Progress Day Gala tonight. We can dress up, drink some alcohol, dance, really get under his skin."

Viktor hums, "This may be the one time I'm willing to go to one of these parties. This sounds interesting."

"He would be invited too. He's also important to the Academy, he's in the Humanitarians rather than STEM though. I think... I think this may work." You thoughtfully chime in, your tone becoming much lighter compared to before.

Jayce smiles, the little gap between his front teeth showing. Viktor just subtly smirks, "I hope you have something fancy enough for this."

"Don't worry," You state as you stand up, ready to work now. Jayce's hand falls from your shoulder, and lightly brushes down your back; you suppress a shiver, "I do. I hope you have something fancy enough, Viktor."

The handsome man just lightly smiles as he pushes himself back to his desk. Jayce follows you to the blackboard.

Revenge is a dish best served cold. Your revenge is gonna be pipping hot and steamy.

· · ─────── ·𖥸· ─────── · ·

You've had this dress hidden away in the back of your closet for a while now. Hidden away in a sleek duster bag is a beautiful black dress. With chains on the hips, waist, chest, and shoulders. It even comes with a matching necklace. The fabric is gorgeous, sleek, and comfortable. It's formfitting and when you bought it; you felt unstoppable.

You need that feeling again tonight.

You style your hair, it's glossy, framing your face wonderfully. A smoky eye with a darker lip than you're used to is applied to your face. You then spray your favourite fragrance all over yourself. A quick look in the mirror stuns you. You're gorgeous. You'll for sure have every eye at the gala on you, you don't know exactly how you feel about that. You'll deal with it when you get there.

You wonder how Jayce and Viktor will react to you. You have always cared about your appearance, but not to this extent. You always make sure you look nice, smell nice, and wear nice clothes that you feel comfortable in. But you almost look unrecognizable. You're not just “nice” right now, you're stunning. You want their attention tonight. You want them.

You've always wanted them. But when you first started working for them, you were their assistant. There was an undeniable power imbalance there and you didn't want to deal with that. You didn't want people to make assumptions like what Cole said in his vitriol to you.

Your thoughts are stalled at the knock on your apartment door. Jayce and Viktor are here; no time like the present! You no longer have a choice.

· · ─────── ·𖥸· ─────── · ·

Jayce fiddles with his ascot for the third time in a row, Viktor just sighs and fixes it for him. Adjusting as necessary and smoothing it out against a broad chest. Jayce’s puppy dog eyes lock onto Viktor's fox-like ones.

“Why’re you so nervous Jayce?” Viktor can’t help but question as he casually leans on his cane, “You’re the one who suggested this.”

Jayce lightly inhales, “I know. I know. It’s just… this is different. Usually, I go to these things alone. Due to our whole deal y’know? This is the first time that both my partners are coming with me. I won't be stuck in god-awful conversations that make me want to cry.”

“Ahhhh,” Viktor contemplates, “You’re making the best out of a bad situation for your benefit. You may be a good politician actually.”

Jayce lightly shoves Viktor, and Viktor’s very tempted to toss his cane and throw himself into the ground to make Jayce look bad. Before anything can happen, the apartment door opens. And there you are.

You are truly breathtaking, radiating beauty in every way possible.

Viktor’s eyes widen and Jayce’s jaw damn near drops to the ground. You've always been pretty. But this… this is almost otherworldly. Viktor subtly coughs and nudges Jayce; so that he can pick his jaw off the floor. Viktor smiles sweetly at you and offers an arm. What a gentleman he is.

“You look… you look wonderful.” Viktor compliments, his cheeks have a slight dusting of pink. You can't help but smile, “As do you.”

The two men have cleaned up beautifully. Fitted black slacks, crisp white shirts, and sinfully tight vests. Both outfits are similar enough to be considered matching but different enough to emphasize their wearer's gorgeousness.

Ironically enough, you are all colour-coordinated.

As if sensing the pouting behind you, you casually add, “You too Jayce. You both clean up beautifully.” The footsteps behind you somehow become chipper, you can almost imagine the imaginary wagging tail Jayce would have. Viktor chuckles as Jayce quickens his steps and takes your other side.

This is gonna be one hell of a gala.

· · ─────── ·𖥸· ─────── · ·

You were right, every eye was on you for almost the entirety of the gala. At some points, you couldn't stand it, but having Jayce and Viktor there helped.

You made small talk with some guests, but you mostly stuck by either Jayce's or Viktor's side. You enjoyed a few dances with Jayce, an interesting conversation with Mel, and shit talked with Viktor regarding the other patrons.

“What was he thinking? That colour is horrendous.” Viktor grimaces as you giggle, taking a small sip of champagne.

“I don't know, but its eye-catching.”

Viktor slams back the whole flute of champagne elegantly, “An eye-sore is more like it.” he grumbles. His accent thickening due to the minor bit of alcohol in his system.

You can't help but burst out laughing at that. Some patrons turn to look at the disturbance; they all turn back to their previous conversations once they see its nothing of importance. Viktor’s eyes narrow in pleasure at your laugh. This is how you should look; not like earlier in the lab. In his admiration of you, he notices your lipstick has smudged a bit; probably due to your drinking.

Without thinking, Viktor cups your chin and lightly swipes his thumb along your bottom lip, a light smear of burgundy now rests upon his pale skin. You can feel your face heating up.

The moment is ruined by Cole. Of course it is.

He's wasted, barely able to keep himself upright as he glares at the two of you in disgust.

“So… you've already moved on, huh? I shouldn't be surprised. You were already fucking them. I'm more surprised by your choice, I expected you to go for the golden boy; not the cripple.” His voice is slurred as he wobbles in place.

Viktor sneers and you think your champagne glass is going to shatter due to how tight your grip is on it, “Say another word about Viktor, and I'll rip your tongue out.” you seethe, Cole looks a bit scared, but you continue, “Besides Cole, I'm not fucking them… yet. Maybe they'll give me a proper orgasm for once. Why don't you leave? Your presence is a nuisance.”

Cole looks flabbergasted and leaves in a daze, Viktor can't help but chuckle; his voice deep as it rumbles throughout his chest, “My lovely hero.” You feel your face heat up. Oh no, the champagne truly gave you liquid courage.

“Jayce and I would be lucky to get in between those luscious legs of yours.” he states quietly, his eyes dark. You feel like a rabbit thats gotten corned by a fox. Prey vs predator.

You purse your lips and Viktor’s eyes immediately shoot down to appreciate their suppleness, “and I'd be lucky to have the two of you.”

Your moment is again interrupted, but this time it's a welcome one, “For what?” Jayce questions. His smile is bright as he joins the two of you in sitting at your table.

Viktor smirks, his tongue poking his cheek as he drinks his champagne. He's leaving it up to you to explain yourself.

You straighten up in your seat, taking a sip of champagne before answering calmly, your nail tapping against the flute, “I’d be lucky having the two of you between my thighs when the gala is over.”

Jayce chokes on his spit and harshly thumps himself in the chest, eyes wide as he stares at the two of you, “What the hell were you two talking about over here? I was stuck with the snobby old people and you two were… what? Dirty talking to one another?”

You and Viktor share a glance before nodding,

“Yeah.”

“Yeah.”

“That’s the gist of it.”

The two of you say simultaneously, your voices layering over one another like a melody. Jayce’s brows furrowed as he put his hand up to his forehead. You can’t help but giggle at Jayce’s exasperation. Jayce shoots you a look and you quiet down, taking another large sip of champagne.

Viktor just casually sits there as he stares at the two of you, his head cocked to one side. He looks hungry. Starving. As if you two are the main dish and he’s been waiting for you to be served on a silver platter.

“Jayce,” Viktor starts, his tone smooth and low, “her wretched boyfriend never gave her an orgasm for the two years they were dating. Shouldn’t we fix that? Poor thing must be desperate.”

Jayce quirks an eyebrow, a flabbergasted look on his face, “Seriously? You dealt with that prick for almost two years and the sex wasn’t even good? You must be a saint.”

“More like I was desperate. I couldn’t have what I wanted so I got the next best thing. Even if the next best thing was crap.”

“And…” Viktor hums, his voice enticingly smooth, “what do you want?”

There’s a brief moment of silence before all the tension that’s been building up over the years snaps.

“You two. I’ve always wanted you two.”

· · ─────── ·𖥸· ─────── · ·

The walk back to the lab is a tense one. Full of unresolved sexual tension that has built up over the years; tension you didn’t even know existed until now.

You kept your dirty thoughts to yourself. You made sure every touch, every look, even every word that escaped your lips was completely platonic. Safe. But something so ingrained into your very being cannot be contained forever.

Looks did become cheeky, touches lasted a bit longer than necessary, and you all constantly joked with one another in rather inappropriate ways for the work setting.

You didn’t expect it to be reciprocated.

It’s well known Jayce is quite close to councilor Mel Medarda; a gorgeous women who truly has no competition. And although Viktor isn’t as interested in physical relationships as most people; he too has quite the arsenal to pick from.

But they want you. You and your dark circles, you and your messy hair after a days work in the lab, you and your ink stained clothes.

It all boils over once the lab doors are finally shut and locked behind you three.

"What?" You tease as you lean against your work station. Your gown emphasizing every curve salaciously, "Am I not good enough for a proper bed?"

Viktor growls low in his chest, his eyes piercing and tone commanding, "I didn't have the patience to walk that far. Be grateful I didn't take you in front of all the councilors and their highly-esteemed guests."

You whine at that, which turns into a moan as Jayce comes over and kisses you from your cheek down to your neck, leaving a dark hickey behind.

"Look at how needy Jayce is. Oh, poor thing. He's been desperate for it for so long now." Viktor chides as he sits down onto the plush sofa you bought for the lab.

Jayce whines, a high-pitched needy thing. You feel your panties get more wet at the sound. God, you never thought you'd see Jayce Talis so wrecked from just a few words.

You need to see more.

"Viktor," You start knowing that you truly aren't the one in control here, "may I touch Jayce?"

Viktor groans as he tilts his head back. Holy shit. This is better than his dirtiest fantasies; and you're just starting.

"Yes. Touch him. Touch him in the ways you've fantasized about when you were alone in bed, with your hands down your panties."

You smile and wink at the gorgeous man before doing just that. You damn near rip Jayce's vest and top off as you kiss him passionately. His lips are so soft, so plump. You can feel yourself becoming obsessed.

As you kiss, your hands trail down his glorious physic and you wrap a hand around his belt buckle; desperate to get it off. You shove his pants just low enough to get a hand wrapped around his hard cock. It's long, with a nice girth. It points up slightly. The poor thing is dripping precum and the tip is a dark maroon. You start pumping, testing grip strength and speed to see what gets Jayce going. After a few minutes; you get it. A nice firm grip with a average pace is what Jayce enjoys most, especially when you wring your hand around the tip.

Jayce's moans are obscene, They're loud, whiny, and desperate. God he's so hot. Eventually his moans change into whimpers as he lightly jerks his hips in time with your hand. He's close to cumming; you can feel it.

That is until Viktor tells you to stop.

Jayce whines, his eyes filled with tears, "Why-- why did you..."

"You are not the only one who should have fun, Jayce. Don't be greedy." Viktor states, an eyebrow quirked. Jayce pouts but nods regardless of his feelings. Viktor's right.

"Besides, you and I have had many late night talks in the lab where our dear partner had gone home for the night. We've talked about our desires, our dirty fantasies. Wasn't one of them regarding myself and our pretty girl? You being sidelined as you watched the two of us fuck? Not being able to cum until given permission? I remember Jayce. I remember them all."

Your mouth is agape as you look to the two men. What the fuck?

Jayce's face is completely flushed red, but there's a determination there too. He's not gonna take this laying down.

"Oh yeah?" He starts, his voice more confident now, "I remember you telling me you'd love for us to have her at the same time. You sitting on your desk as she sucked your cock down into her throat; and I was behind her, pounding hard and deep into her pussy. You can't embarrass me. I know your fantasies too."

You might as well not even be wearing any panties by this point due to how drenched they are. These men have no shame! And you thought they were gentlemanly; good thing you were wrong.

This is so much better.

Viktor huffs, a small amused smile on his face, "Touché. How do you feel about recreating your fantasy, Jayce? Are you okay with it pretty girl?"

Jayce and you both look to one another before nodding vigorously. Viktor smirks, "Jayce, go get your desk chair. You, come here." he orders. Jayce quickly and hastily tucks his hard cock back into his pants as he rushes to get his chair. You just casually walk up to Viktor. His face is close to your abdomen as he puts both hands on your hips.

His fingers caress the fabric of your dress, up to your breasts and down your sides, studying it. Like he's committing the feel to memory. They eventually return to your hips and tug on it questioningly. His golden eyes look up at you, the colour of molten gold etched in his pupils. You nod earnestly in approval, and you reach up and unclasp both straps, letting the dress fall until it reaches your knees, eventually it falls on to the floor. You're suddenly very thankful you wore such scandalous panties. They're black, sheer, and extremely cheeky. You didn't want any underwear lines, sue you.

Jayce groans and Viktor just smirks as he cups an ass cheek with a chilly hand. Rubbing it appreciatively. Before you know it, a harsh slap rings out through the lab and you gasp. Your ass stings; he just spanked you!

Jayce fidgets a few feet away and complains, "You two are the worst." He's constantly flexing his hands, looking at the two of you intensely, or not looking at you at all. Looking up at the ceiling to fight the urge to rub himself raw. He doesn't have permission; and Jayce Talis wants to be good.

You look over your shoulder coyly at him, "This is your fantasy Jayce. Don't get mad at us for what you want."

Viktor smirks and kisses your stomach, slowly trailing up to kiss and suck on your breasts. You moan out in pleasure, bringing your hands up to clutch his messy hair; and unintendedly shove his face more into your breasts. He happily hums at that.

One hand stays planted on your hip as the other trails down to cope a feel of how wet your panties are; and they're drenched.

Viktor looks so smug as he pulls away from your chest, his face pink as he smirks up at you, "You're soaked, darling. What? Did hearing about how much Jayce and I want yo make you this desperate?"

A whine escapes you, "Yes! Yes it did!"

At that, he quickly lowers his pants just far enough to reveal his boxers, a huge bulge hidden underneath the cotton fabric. Your eyes widen and you suppress a gasp. What the fuck? Where did that come from? It should be visible through his pants, at least a little bit, but it's not! Where the fuck was he hiding that monster?

Before you can fully appreciate your gift, Viktor grabs both sides of your panties and pushes them down your legs, until it pools at your feet. You exit the mess of cloth, now fully bare to the chilly air of the lab. Viktor quickly reaches down and grabs your panties, tossing them onto Jayce's lap.

"See how wet she is for us?"

Jayce groans, the ruined panties on his knee, the crotch face up for his viewing pleasure.

You giggle at Jayce and he shoots you a glare, it's not very imposing due to the red flush all over his face; it's even up to his ears.

In your distracted state, Viktor pulls his cock out. It's pale with a pretty pink tip, the shade matches the pink of his face. It's long, girthy, and has one impressive vein running up the side of it. You and Jayce both cat-call appreciatively and Viktor just glares at the two of you.

"It's always the tall skinny guys that have massive cocks, will that even fit?" You joke. Viktor runs his hands up and down your sides, "We'll make it fit. Turn around for me, my love?"

You cock your head to the side, confused as to why he'd want your back to him, but you comply. It all makes sense with his next order, "Jayce, come here. I need you to prepare her."

In a move that you swear breaks the sound barrier, Jayce is on his knees in front of you.

"Can I eat you out?" Jayce begs, his voice wobbly. He feels like he's going to pass out. Your pussy is right there. If you say no, Jayce may honestly just burst out into tears.

Your mouth opens and closes like a fish out of water, before you just quietly say yes.

Jayce is on you before you can even blink. He's kissing your thighs, rubbing your clit with the pads of two of his fingers, he's licking and kissing your vulva. Eventually he focuses his mouth on your clit and puts one, two-- three fingers into your pussy. You don't know if you're breathing. Holy shit, Jayce is so fucking good at this. When a whine reverberates across your pussy, you realize you said that out loud.

Your hands grip into Jayce's hair for dear life. Viktor kisses your neck and fondles your breast; heavily enjoying the show.

"Make her cum, Jayce. We don't have lube and we need all the natural lubrication we can get."

Jayce just hums, showing that h heard Viktor's order. Your g-spot is being abused and your clit is in what feels like a vacuum. You're going to cum in record time. With a ragged moan and a bowed back, you cum violently on Jayce's face.

You pant, trying to adjust yourself so that you're not accidentally hurting Viktor's weaker leg. Both Viktor and Jayce assist you. Viktor looks on with pride at Jayce and pulls him down into a filthy kiss. The two men tasting you on their tongues.

Eventually you catch your breath, and decide you want that monster of a cock Viktor's been hiding in your pussy. You both groan in unison as you gently drop down onto him. The variety of whines that escape from your squeezed lips is unavoidable. The stretch is almost too much. You haven't had the time or energy to have an active sex life. The most action you get is your bullet vibrator. So going from barely any internal action to a massive cock is a massive stretch. Literally. Even though the pain is making you grit your teeth, you continue, gripping your fingers onto Jayce's shoulders for support.

You wince and Jayce pulls away from Viktor, who gasps at the feeling of your hot, wet pussy encapsulating his cock; and kisses you instead. Trying to take your mind off of the slight pain.

Slowly but surely, you start to bounce. Keeping Viktor's weaker leg in mind, you fuck that stupidly gorgeous man as hard and as fast as you can. His wonderful cock hitting every sensitive spot you have.

Moans, pants, skin slapping skin, and kissing is all that's heard in the lab. Eventually the cries crescendo and Viktor pulls you roughly down into his lap. Cumming deep into you as your own orgasm milks him dry. Viktor gasps as he drops back to lean his back and head against the couch.

You stay seated, deciding to cock warm the poor man. You look over your shoulder coyly and say, "Jayce is going to fuck my throat if you're interested in watching." That gets Viktor's eyes to shoot open and lift his head a bit.

Jayce's eyes lose a few tears when your hand comes up to release his cock from his pants and pump it again. When your lips wrap around the head and teasingly lick the slit; it's game over for him. You slowly bob your head up and down, bringing Jayce's hands to your hair. Encouraging him to fuck your face.

He's excited, but still aware he can't go too rough. He doesn't want you to gag too harshly. Jayce is panting, swearing, whining and crying at the overwhelming pleasure he's receiving. A few minutes later, he's cumming down your throat with a shout. You also feel another small burst of cum in your pussy.

You slowly pull away from Jayce, not wanting to overstimulate him any more than he already is and ask, "Viktor... Did you just cum again from seeing Jayce and I?"

Jayce huffs out a laugh as an indignant look comes across his face, he crosses his arms across his chest and pouts. You damn near laugh at him. How can he looks so petulant as you're sitting on his cock, "Shut up. It was hot, okay? You just sigh in content, "Okay."

You eventually get off of Viktor and almost fall, Jayce catches you and makes you sit on the couch next to Viktor, while Jayce sits down next to you. All of you are panting, tired, and completely satiated.

You enjoy the quiet until Jayce mumbles, "We're gonna have to burn this couch."

You and Viktor look to one another before solemnly nodding.

Yeah... There's no way you can disinfect this couch enough for what you put it through. Especially since you're leaking cum onto it and all three of you are sweaty as fuck.

Rest in peace Lab Couch. You will be missed.

ITS DONE!!!! If there's any spelling/grammar issues; no there isn't. Grammarly failed me then. Hope y'all enjoyed this filthy Jayvik x reader smut!

[teaboot]

TOP 10 PERSONAL FAVE MOVIES TO WATCH WHEN YOU FEEL LIKE ASS

I don't like movies that stress me out because life is already stressful but I DO love catharsis comedy found family friendship fantasy and violence so here are my top 10 movies and series to have a good time watching

Numbered for convenience but not in any particular order

John Wick 1 and 2: An ordinary man grieving the loss of his wife gets dragged back into his past as a shadowy, invisible world of international killers for hire is slowly revealed to be living among us. A love note to set design, lighting, and choreography. My favourite part is fixating on the symbolism. DO NOT WATCH 3. 4 is okay. DO NOT WATCH 3. There is a dog death in 1 that will make you cry so skip that part if you have to. DO NOT WATCH 3.

The lord of the Rings, all 3, extended edition best watched if you're on the couch with the flu and expect to fall asleep OR if it's your day off and it's raining outside OR if you have like 5 people lounging around in pajamas

Six Underground: Essentially an hour and a half long car commercial music video with found family and a fresher take on acommon plot. Ryan Reynolds essentially writes and directs a Michael Bay movie where 6 independant criminals gather together to overthrow a violent foreign dictatorship. You show up for a dumb heist and walk out ready to build a guillotine. TW for violence, car crashes, chemical warfare, and genocide. A very cathartic ending. Does unfortunately do the whole "vague, impoverished middle-eastern country" thing but the citizens are actually show as human beings which is a nice change of pace and oh wow that's depressing isn't it

The Princess Diaries 1 and 2: A sort-of-a-loser teenage girl, played by a 2001 Annie Hathaway, learns that her late father was a king of a foreign nation and must become a confident and responsible leader for his people. There is a scene in the rain where you will experience emotions. Best watched with snacks. 2 features an enemies-to-lovers type deal with Chris Pine.

Ella Enchanted: A shrek-style semi-musical fantasy romance in which a young woman is cursed at birth to do everything anyone tells her to do. Features several Queen songs and dance numbers sung by Annie Hathaway and that guy who plays the sad dog guy in Hannibal.

Stardust: A huge loser travels from 1800s England (?) to a magical world in order to fetch a fallen star for the insufferable love of his life before she marries a massive douchebag. The huge loser? Charlie Cox. The star? A living person. Also a whole bunch of princes are ALSO looking for them as a race for the throne while discreetly killing each other off. And also a bunch of witches want to eat her so they can be young and sexy. 11/10. I used to watch this 10 minutes at a time on a YouTube channel that posted it in chunks filmed on a digital camera in their living room

The Last Holiday: Queen Latifah, playing someone played by Queen Latifah, has been working an underappreciated minimum wage job for years, living a safe and conservative life trying to lose weight and save money. Then she finds out she has months to live, and decides to finally quit her job and blow it all on one massive luxury holiday vacation complete with five-star dining, making friends and finding love and confidence along the way. It's definitely corny but it makes me so happy thank you Queen Latifah

Zathura: It's the plot to the original Jumanji but in space instead of the rainforest. But listen to me: There's a twist reveal at the end that you need to pretend isn't there. It is vitally important when you get to that part- and you will know what part when it happens- that you pretend it didn't. Otherwise, a fresh and enjoyable adventure for any age!

Redacted cause I haven't seen it in a long time and it may be worse than I remember, gotta rewatch

Bullet Train. You go in expecting a ham-fisted find-the-mcguffin style action comedy and are blindsided by excellent narrative symmetry and genuinely likeable characters. Fresh takes on old themes and creative action sequences. My little brother said "It's good", and he's a man who once sincerely argued that Lord of the Rings could have been better. It's fun and punchy violence with just enough smart stuff to not let your brain get bored

[myheadphonesareneverloudenough]

me when i’m the audiences’ least favourite character and finally get my redemption arc only to be reduced to a stripper joke in the finale. and the woman i would give my life for disappears and i don’t spend any time looking for her, and only reference her once to make someone else happier about their life.

me when i’m a well loved character that audiences love because of my spontaneous acts of chaos and caring soul, only to be shoved aside and have my whole life ruined in the finale.

me when i’ve had so much taken away from me in my life that i had to resort to becoming the villain of my own story just to return to the people i love, only for my love interest which i fought so hard for to be left barely mentioned in the finale, and his absence doesn’t do anything to motivate my actions.

me when i spend years on self improvement before getting sucked back into my dark, self destructive ways and barely any of my so called family notices. and then my entire arc is left unnoticed and does absolutely nothing to my character development.

me when i spend my whole life trying to protect my family and have a clear set of priorities and passions, and then i throw that all away when i see a chance to get with my brother’s wife who’s physically 20 years older than i am.

me when i'm practically sacrificed because the girl i love is is the key to the end of the world, and all i do is turn into a hideous creature without any real sendoff or significant death scene.

me when i've been arguably the most significant character for the whole show just to get zero character development throughout the finale as i'm separated from the rest of the main cast.

me when i was introduced later in the show because of my vital importance to the plot, only to have my personality stripped from me so i can cheat on my fan favourite husband with his brother.

me when i'm a squid that swallows a girl and no one cares to explain why.

[suiana]

❝ I Reincarnated Into a Shitty Chirstmas Romance Movie and My Love Interest is a Yandere?! ❞

✎ featuring my creature, Ezra Valentine :3 this is just ezra being a weirdo, some lore for my game? idk blawg just read it and you'll find out

✎ special shoutout tags to these people @yandere-yearnings @forbidden-sunlight @moyazaika @bun3333s @yanderenightmare @cumtastiics @ozzgin

Your "childhood friend" is a bit of a weirdo, you think.

Staring at you for far too long, lingering touches that suggest that he's more than just a bit interested in you, and the weird random confessions about how he wants to get crushed under the heel of your right shoe...

It's just weird.

You've reincarnated into a shitty christmas romance movie. And your "childhood friend", aka the love interest, aka Ezra Valentine, has a crush on the main character, you. Obviously.

You don't even know why you watched this movie in the first place. Boredom, maybe? Yeah, probably was because you started dozing off after hour 1 of the movie. The movie was... 1 and a half hour long? It wasn't even rated that high. Like a... 6.9 at best.

And now you're stuck here all because you watched this shitty movie with an even shittier plot. Where the main character left the small town for a big city, came back home to celebrate christmas and meets childhood friend, decides to give up big city life because they both fall for one another.

Just like every other damn Mallhark movie. Predictable, boring, absolutely TRASH.

You don't even know why or how you got reincarnated into this damned movie in the first place! Did you fucking pass away in your sleep??? Actually just die from fucking boredom???

Well it's no use thinking about that now because you've been stuck in here for a while now. You think that you're maybe about halfway through the original plot, where Ezra and the old mc were supposed to have some bonding time together and shit. But that's not the case now, because you've changed the plot.

And you're realizing that this "childhood friend" of yours... Is acting a little bit differently.

You don't remember him being that much of a weirdo in the original movie. If you remember correctly,he was just like, a little bit of a shy loser boy who was infatuated with the MC and liked gaming. But now... Now he's, what, a masochist? Or did they just not add that fact into the movie? You couldn't have forgotten. If the love interest was openly a weirdo like he is to you, you wouldn't have dozed off in the first place. Just now, he literally asked to be crushed under your right shoe. Crushed. Under. Your. Shoe. How the hell is that boring? You'd be 101% AWAKE. You love freaks more than anything, damn!

Now that you think about it, he's more than just a bit of a weirdo.

He's been calling and acting like he's your boyfriend. Hell, he acts like a CLINGY boyfriend too. Asking where you're going, clinging to you, giving you those damned boba eyes everytime you talk to others, specifically dudes. Fun fact but you wish he'd stop abusing those eyes of his because fuck, how can you resist him when he's looking at you like that?

Worse of it all, you can't do anything. Not when your key out and helper, Ai, said to act cool and to not arouse any suspicion from him.

Ai's also another character in this movie by the way. His character trope: the hot side character that barely gets screentime and is also sentient. And right now, he's helping you find a way back to your world... Meanwhile you've been stuck in Ezra's apartment under the guise of a mandatory childhood bestie sleepover.

It's been days since you've actually last seen Ai in person because of how much Ezra, your "childhood friend", has been clinging to you. In just the past 3 days, he's made you watch the entire fnaf lore theory THRICE. And not once have you stepped outside his apartment. Not because you don't want to, but because he'd always find some bullshit excuse to keep you with him.

"O-oh but kitty you'd miss this very important scene... Where freddy goes hurhurhuhr"

"Kitty! Kitty you can't leave now! We have to watch it again! What? We watch it more times so it gets engrained into our brains! That's just common sense!"

"Keeping you h-hostage?! I'm not! All friend do this! It's just u-um, friend bonding time! We haven't been around each other in so long you know..."

It's weird. Just plain weird.

Thankfully you still have your phone so you could occassionally sneak a message or two to Ai, informing him of your current situation. As long as that black haired man baby doesn't see everything is fine...

y/n: currently watching a new video, thank gyatt for that

y/n: would actually jump if i have to watch more fnaf

y/n: erm... lowkey think this is worse though... its a video about danganronpa

Ai: don't worry, i'll be there to save you in a bit

Ai: i might have found a way to get you out of here

y/n: fr? ty for that silly goober :3 all while im chilling on the couch having some me time :333 ur so skibidi

"A-ahem! y/n who are you texting..?"

Shit. This damned guy! What does he think he's doing? Just popping up the second you finally have some alone time?! Wasn't he passed out from lunch just minutes ago???

"Erm... Just a friend?"

Ezra stares at you with wide round eyes, lps turning down into a frown before he sits uncomfortably close, pressing his long, lanky body against yours. Always the tall skinny guys that are the biggest weirdos man.

"Just a... friend?"

"Yeah, just a friend."

I mean, it wasn't wrong. Ai really was just a friend to you. Or at least that's what you think. To Ezra and his fucked up mind... Maybe you were abandoning him? And now he's jealous and might want to go batshit crazy on AI?

Haha! No way that would happen! Ezra, no matter how crazy he is, wouldn't go that far! He's just a loser who has an added interest in you now after all!

The look in his eyes say otherwise though.

"But I'm your friend, aren't I?"

Cold, dark, obsessive.

The way he stared at you sent literal chills down your spine. He had never looked at you in such a way before. Pathetic and needy, yes. But never this... Whatever the hell this was.

You back into the fabric of the seat, feeling a cold sweat line the skin of your forehead. All of a sudden, the room feels all too small and it's like you're trapped in his apartment with no way to escape.

It was suffocating.

"I'm the only friend you need. The only one you need, y/n."

You don't really recall a time where he's called you y/n so easily. It's always some stupid petname like kitty. And goddamn it, you wish he'd just say that instead. Hearing him call your name while he's staring into your very soul like this is making you feel like you're about to shit your pants.

"U-uh, okay dude chill out. You're my dearest friend, alright? Look let's jsut go back to watching that danganronpa analysis..."

And just like that, the terrifying aura IMMEDIATELY disappears and you're left with a sopping wet puppy of a man. You decide to make the first move, fiddling with the remote as you stand up and move close to the coffee table. Anythinng to gte away from this weird bipolar guy. How the hell did he develop this? A new character arc maybe?

In the midst of you trying to look anywhere but Ezra, you fail to realize that he had already taken your phone, leaving you with no way to contact Ai now.

"Now you'll never have another friend again..."

"What was that?"

"O-oh I said now you'll never be bored again! Haha!"

Right, totally what he said.

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[bisexualfagdyke]

I saw someone say that Jinx got a satisfying ending because she .... was suicidal and finally got to die? Uh. Yeah, that's not satisfying dude!!!! The idea that the only happy ending for mentally ill characters is death, is such a god awful message. She struggled for 2 whole seasons and never got a break, and her whole arc ended miserably and it's so unfair to her character. I know characters can be entirely tragic, but I truly believe it is unfair. Especially because she was DOING BETTER when she had Isha, demonstrating she can begin to recover, only to have that ripped from her so she could truly give up on life again and become suicidal. I am so unhappy with Isha's character, the way she was used as a plot device for Jinx's development only to die and then Jinx's development goes down the drain and she dies too? What was the POINT?

It also makes me bitter that caitvi sex scene happened in Jinx's jail cell, not long after Jinx had directly communicated suicidal ideation to Vi and went off to attempt. It's almost portrayed in a way where Vi chooses Caitlyn (an enforcer, an oppressor) over her own sister. It makes me bitter that caitvi got a good ending despite everything Caitlyn did, which she never apologised for, and it was never properly addressed. The oppression Caitlyn and the enforcers caused the zaunites was entirely swept under the rug.

This isn't even mentioning the other characters who got terrible endings. Ekko, especially. I am happy for caitvi and jayvik fans but I think ppl are so preoccupied with YAY! LESBIAN SEX! YAOI! That they fail to see how unsatisfying the ending was for other important major characters, or they just don't care cuz their fave ship got a decent ending. Don't pmo 😭😭 IDC IF UR FAVE GOT A GOOD ENDING!!!! IT SHOULDVE BEEN MY FAVES (JINX AND EKKO) INSTEAD!!!!!! I would've preferred to see literally any other character die than Jinx.

[literaryvein-reblogs]

Writing Notes: Plot Method

The Save the Cat! Beat Sheet was originally developed by Blake Snyder to help screenwriters plot movies, but it works just as well with novels.

It breaks down the 3-act structure into small, specific sections (sometimes just one scene long).

Each section pushes your story forward in its own way.

The exact word count/page count of each section depends on how long your novel is and what type of story you’re telling, but you can use the colored chart below and the percentages in the instructions as a guide. 

Context Note: This method is based on the concept of the Three Act Structure, which is an inherently Western approach to plot. It can be a useful way to tell a story, but it is by no means the only one.

ACT 1

Opening Image (0-1%)

Show a “before” snapshot of your protagonist and their world.

What is life like before the adventure begins?

It represents the struggle & tone of the story.

Set-up (1-10%)

Expand on the “before” snapshot.

Explore your protagonist’s life, including the internal flaws and external challenges they’ll have to overcome in order to change for the better by the end of the story.

Present the main character’s world as it is, and what is missing in their life.

Also introduce important supporting characters.

Theme Stated (happens during the Set-up)

What your story is about; the message, the truth.

Usually, it is spoken to the main character or in their presence, but they don’t understand the truth/lesson…not until later, when they have some personal experience and context to support it.

Thus, include a scene where a character says something that hints at what the protagonist’s big life lesson will be - how they’ll have to change and grow by the end of the story.

Catalyst (10%)

The moment where life as it is changes.

Examples: It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc.

There’s no going back to the “before” world from here… What is the inciting incident that pushes the protagonist into the next phase of the story?

Debate (11-20%)

But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take.

Show the protagonist questioning themselves and resisting the path ahead - wondering whether they have what it takes, or whether or they should just run home and hide under the bed.

“Should I just…?” “I really shouldn’t because…” “But what about…” Can I face this challenge? Do I have what it takes? Should I go at all?

It is the last chance for the hero to chicken out.

ACT 2

Break Into 2 (20%; Choosing Act Two)

The main character makes a choice and the journey begins.

We leave the “Thesis” world and enter the upside-down, opposite world of Act 2.

They make the choice to begin their adventure/transformation/journey/new thing.

Show your protagonist deciding to plunge into Act 2.

The Promise of the Premise (21-50%)

This is when the reader thinks “Ah, now we’re getting to the good stuff they hinted at on the back cover of this book!”

It’s also one of the longest sections in your book.

Show your protagonist getting used to their new world - loving it, hating it, making mistakes or doing well, meeting new people (see more below) and keeping the reader entertained.

This is when the main character explores the new world and the audience is entertained by the premise they have been promised.

B Story (happens during The Promise of the Premise)

This is when there’s a discussion about the Theme – the nugget of truth.

Usually, this discussion is between the main character and the love interest.

So, the B Story is usually called the “love story”.

Introduce a new character or characters who will eventually help the protagonist learn their life lesson.

Friends? Mentors? Love interests? Nemeses (nemesi?)? Who are they? How will they help?

Midpoint (50%)

This moment is when everything seems “great” or everything seems “awful,” depending on your story.

The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”).

Either the Fun and Games section has lead to a false victory for your protagonist (they think they’ve been doing great so far) or a false defeat (they’ve been having a hard time so far).

What happens in this moment, halfway between beginning and end?

But not everything we think we want is what we actually need in the end.

Bad Guys Close In (51-75%)

Get ready for a bumpy ride. If your Midpoint was a false victory, now things start to go wrong for your protagonist.

If the Midpoint was a false defeat, well, things seem to be looking up, but the bad guys are getting closer and will have something to say.

Note: Bad guys can be actual physical enemies, but they can also be emotional enemies, like doubt or jealousy or fear.

Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.

Show the protagonist’s newly-built world beginning to unravel.

This will also be one of the longer sections in your novel.

All is Lost (75%)

This is when something happens to make your character hit rock bottom.

It’s the absolute lowest part of your novel.

Maybe someone or something dies (either literally or figuratively).

The initial goal now looks even more impossible than before. And here, something or someone dies.

It can be physical or emotional, but the death of something old makes way for something new to be born.

What does this moment look like for your protagonist?

Dark Night of the Soul (76-80%)

Your protagonist now has time to react to their “All is lost” moment, to mourn what they lost and wallow in hopelessness.

They’re worse off than they were at the beginning of the novel.

Show how low things have gotten.

Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc.

But, you must fall completely before you can pick yourself back up and try again.

ACT 3

Break Into 3 (80%; Choosing Act Three)

The “aha!” moment; the “lift yourself up and try again” moment.

Show the protagonist realizing what they need to do in order to tackle their problems, both external and internal.

Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.

Finale (81-99%)

The protagonist does what they decided to do in the Break Intro 3 beat, and (because of all the learning/growing they’ve done and the support or insight from the B Story), their plan works.

This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story.

The Bad Guys are defeated, the world is changed for the better.

What are the battles? How will the protagonist triumph (or not)?

This is another longer section, so you’ve got the space to make things dramatic and intense.

Act Three is about Synthesis.

Final Image (99-100%)

This is the opposite of the Opening Image, the “after” snapshot instead of the “before.”

Show the reader how the protagonist and their world have changed.

THE END

Sources: 1 2 ⚜ Writing Notes & References

[ghostfacd]

SHE WAS LIKE A SHOT OF EPRESSO

pairing. tom blyth x actress!fem!reader (mentions of other actors x fem!reader platonically)

summary. in which you are the epitome of sunshine and radiance within your co stars OR all the times your co stars have talked interviewers’ ears off about you

installment of this au | read for context!

Time 1: Tom Blyth

“How’s Y/N as a cast mate?”

That question shouldn’t make Tom Blyth smile that wide — but he does — because he’s so utterly and unconditionally inlove with you.

“Oh gosh, I wouldn’t even know where to start,” Tom begins. “As her boyfriend, I think I’m being pretty biased when I say this, but Y/N Avocot as a cast mate has honestly been the best experience of my life. There has not been a day where she doesn’t make me laugh so hard that my ribs start hurting, and there hasn’t been a day where she hasn’t made me smile.” He pauses for a moment, pondering the next words to say.

“Y/N’s just that type of person, you know? She’s like the warm sunlight that engulfs you every morning you open your curtains, she’s like that newly brewed coffee that helps hydrate and bring you back to life. She’s everything.” And he says this in such a loving manner that the interviewer practically awes, the cameraman zooming the camera to show Tom’s dilated pupil.

“Your pupils are dilated!” The interviewer mentions, laughing as she points towards his eyes.

“Oxytocin is a warm hormone that’s released when you talk about someone you love,” Tom shrugs. “All my friends say my pupils dilate when I’m near Y/N, that’s just the effect she has on people.”

“Well there it is folks! Tom Blyth is truly inlove with Y/N Avocot!”

Time 2: Sean Kaufman and Lola Tung

It was an interview discussing the new season of The Summer I Turned Pretty, and it consisted of Sean and Lola who’s schedules were the only ones that were open that day.

“Guys! We’re so happy to have you today,” the interviewer starts.

“Why thank you,” Lola smiles brightly into the camera, smoothing out her dress.

“So obviously, this season is very important to the plot, it contains so much new exciting storylines including Sean’s character, Steven Conklin, and Y/N’s character, Ella!”

“Yes,” Sean laughs, his eyes crinkling. “It was very fun filming the scenes with Y/N, she’s like that little rush of happiness that you just wanna keep inside a jar.”

“Actually!” Lola speaks up, crossing one leg over the other as she leans forward to the interviewer. “Now that Sean’s mentioning it, Y/N really is a rush of happiness. God, everyday on set, I always think ‘I’m gonna probably have to say my lines over a thousand times and be tired by the time I’m done’ but Y/N comes right in, and she’s always making funny faces behind the director which just fills my heart with joy and it’s those little moments that make acting really worth it you know? Like even though I’m dying re filming the same scene over and over again — I know that Y/N’s always going to cheer me up by the end of it.”

“Wow,” the interviewer laughs. “I haven’t even asked you guys about Y/N yet but she seems to be very loved by the crew.”

“Oh yeah,” Sean nods. “Everyone filming loves her. I mean, how could you not?”

And the interviewer thinks the same question, because after interviewing Tom Blyth, she really believes that you really cannot not love Y/N Avocot.

Time 3: Timothee Chalamet

“Timo!” The interviewer greets Timothee excitedly, moving the chair so he could sit.

“Jacob! My favorite interviewer,” and maybe Timothee’s lying, because he’s seen about a million interviewers by now, but it makes Jacob smile, not so much hating his job anymore.

“Your new movie, Miracles in Love, can you tell me more about that?”

“Yes,” Timothee takes a deep breath. “It’s about a boy and girl in their early twenties figuring out what they wanna be in life. My character, Louie Marcel, falls inlove with my co star — Y/N’s character — Maeve Jones after they bump into each other at the bar and talk about how depressing their lives are. It’s pretty funny, y’know. How easy it was to film with Y/N, in fact, it came all naturally.” Timothee pauses, a small smile playing on his lips.

“When you say naturally, what exactly do you mean by that?”

“Oh you know Jacob,” Timothee grins. “It’s easy to fall inlove with Y/N Avocot. She’s a remarkable actress, and everything that I filmed with her feels so real that it feels like I’m really Louie and I’m really falling inlove with a girl named Maeve at the local bar near my university.”

“Oh wow,” Jacob, the interviewer, can’t help but gush at Timothee’s endearing statement. “You must be very good friends.”

“Us? Of course!” He laughs as if it was one of the funniest statements on earth. “I’m really good friends with her boyfriend too, Tom. They’re honestly the sweetest couple, don’t know if I’m inlove with him or her. Maybe both,” he jokes.

bellyapologist oh to be yn avocot and be so loved by her cast mates that they’re smiling each time they talk about her

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user1 literally like how do you not cry when you’re being called a literal rush of happiness

user2 lola and sean being so excited to talk about her even though the interviewer didn’t start the interview yet 😭

user3 shows that yn is rly a good person

timotheesgf YN AVOCOT LET ME BE YOU PLEASEEEE LOOK AT HOW TIMOTHEE TALKS ABT HER GOD LIFE IS NOT FAIR

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user4 “it’s easy to fall inlove with yn avocot” FUCKKKKK

user5 “everything I filmed with her feels so real” oh tom and kylie are punching the air rn

user9 she must’ve saved a planet in her past life cause..

user10 same energy as “she was like a shot of espresso” 😭😭😭😔😔😔