#need that type of motivation back

[jjunieworld]

kipo. how do u write sm :( like teach me how the amount of content you put out makes my head spin i wanna be u so bad

hi lia!!! ♡ sorry for the late reply :((

honestly as soon as i get inspiration and motivation i just write nonstop😭 i try to write as much as i can and get as many ideas as i can before it all goes away and i get writers block like rn 😭😭

[icewindandboringhorror]

Little bright colored outfit with a fun vest ~

(shoes from ebay like 10 years ago. everything else is thrifted)

[monsterfuckermilligan]

i’m sure this has been said before but when adam and michael are talking in the bunker about the possibility of michael’s dad being a grade a asshole, there’s something so so so important to me about how adam points out michael’s hypocrisy.

ADAM: Point is…. Parents keep secrets. Does it hurt to ask the question?

MICHAEL: Yes! It would mean I doubt him. The good son; the favorite doubts his father.

ADAM: You still care about that? After he left you in the cage?

this matters because michael was JUST criticizing sam and dean for leaving adam and how he is in unable to trust them. he doubts them because of their actions.

MICHAEL: You’re asking me to trust you. You who doomed me, you who let Lucifer walk free while your own brother sat in Hell.

in turn, adam is pointing out that clearly michael has a line for his family members and it’s been crossed by michael’s own, so why is his dad any different than sam or dean? what makes michael different than adam? why does his dad get to betray and abandon him and still get michael’s trust and loyalty? why is michael expendable?

he’s really tapping into michael’s beliefs that were just established to us as the audience at the diner. (ie: family sometimes hurts you and just because they’re blood relatives or ‘family’ doesn’t mean they have your best interests at heart. sometimes there are things more important than family, sometimes walking away from your family is freedom) and he’s holding michael to the same standard he’s set for the winchesters.

side note: another thing i enjoy about this interaction is that adam is being gentle, although it 100% appears as if they’ve had this conversation before since he literally rolls his eyes, and not to mention that michael is an archangel. he could easily be mean or not even care about his feelings or michael could not even take his opinion into account and do what he wants. but despite everything, adam asks for michael to listen to him, and he does. and in turn adam appeals to him with logic and reasoning, because he’s overall a very rational and strategic being that’s simply been groomed from the get go in his dad’s weird cult. adam appeals to his emotions in a way that’s familiar. they share this experience. adam knows michael is protective of him and that it’s easy for michael to hate sam and dean for the same things his dad has done. but michael’s own lack of self worth that was drilled into him by his dad for aeons is being challenged, and it’s uncomfortable for him, but adam doesn’t back down and he helps get through to him. it’s really a great scene. this post wasn’t meant to be so long but yeah i have lots of thoughts about this short interaction!

[wishuponroses]

I adore how Tatsuya Endo writes his characters, especially the women. They can be warm, soft, cute, cool, tough, scary... all, if not most, of his ladies in Spy x Family are equally wonderful in their own way, both in character design and personality.

[dennisboobs]

plain and simple i am not going to be able to remain in this fandom long-term if i have to keep putting disclaimers on every single one of my posts that say i don't condone dennis' bad, bad actions and that i am in fact aware he's got a history of sexual assault and dubious/nonconsent. the entire gang has done heinous shit. why is dennis the only one who needs to be treated like this? if some rando wants to post about how dennis is pookie pie that doesn't automatically mean they're blind to his crimes. every single member of the gang is a piece of shit. that's kind of the point.

draw dennis with cat ears who give a shit

[triglycercule]

triglycercule..

STOP I HAVENT FINISHED MY THANK YOU ART FOR THE FIRST BUNDLE OF JK AU DRAWINGS YOU SENT ME AND NOW YOURE GIVING ME THE FULL VERSION OF THE FOURTH ON E??? 🙁🙁‼️⁉️⁉️⁉️🙏🙏😭😭😭😭 THEH LOOK SO CUTE AND ADORABLE ANS PERFECT YOU DRAW THEM SO WELL I LOVE THE GRAYSCALE LOOK AND SEEINF THEM WITH LEGS THIS TIME IS SOOO CUTE I LOVE SEEING LEGWARMERS I M GENUINELY TEEKING GEEKING DYING IM SO THANKFUL FOR THIS‼️‼️‼️!!!!!!!!!!!!!!!! YOU'RE A LEDGEND YIUR A GOD YOUR EVERYTHING THST THE WORLD NEEDED IM SO HAOPY SOMEONE DREW THE JK MTT I DIDN'T EVEN PUT THST MUCH EFFORT INTO IT.,,,,,.... theyre so happy they make ME so happy AND ASIDE FROM THST YOURE ACTUALLY SO GOOD AT ART THOUGH THIS IS JUST A sketch PROBABLY. clothing folds 🤤🤤🤤🤤 expressions 🤤🤤🤤🤤 hahhnds 🤤🤤🤤🤤 why do i feel like i shouldve see this artstyle from someone before. who are you gshaewru. what type of name is thatHUH??? NTBE TYPE OF NAMR AN AMAZING PERSON WOULD HAVE FOR THEIR UMBLR ACCOUNT YOURE SO AMAZING PLEASE DON'T DIE. ok but again thank you so much for the jk!mtt art i've never been more overjoyed in my life this is like a blessing from the gods themselves for me. NOBODY KNOWS HOW MUCH THIS MEANS TO ME

[peapod20001]

I’m the type that can and will cry if think too hard <3

[kakujis]

Producer Yone smut would be so good

right !!! i really want to just sit in between his legs for hours that would be so much fun djjsksks

[mikhailoism]

.

[luridparty]

need to spend all weekend relearning how to draw people that actually look like. people 😕

[roguestarsailor]

when zuck algorithm PUNCHED ME IN THE FACE! cuz this was me! truly this was me!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[milo-is-rambling]

I LOVE YOU PAST MILO -current Milo nauseas head in a sparkling clean toilet I cleaned literally a half hour ago and then got too high while celebrating how clean it looked and feel sick now😭😭😭😭😭😭😭😭😭😭😭😭😭

[triglycercule]

i'm going on a trip to europe tmrw until the 31st so get ready for a bunch of airport/europe/tour/beach/whatever international bullshit i experience during the trip because i MUST relate everything i do to the murder time trio or can i even call myself a fan. the tricule hc tag is going to be FLOODED over these next few days (and i also have unironically like 45 drafts ready for the posting if i run out of ideas (UNLIKELY) so yeah. this blog is GETTING SPAMMED!!!!!!)

anyways i'm packing now :3 i took a day off today because i just seriously spent all of monday and tuesday horror analyzing th moment i wake up at 9 and go to sleep at 1. and then i spent the entirety of wednesday yesterday dust translating (and i have more of calvateyla's ao3 fics to translate too) so i'll probably be working on both of those (AND HOPEFULLY MY SUMMER HOMEWORK BECAUSE I DIDN'T DO IT YET) until i return. in which idk ill explode or something maybe i'll make a new project or pick up a wip or something (stares with my big pink orange green sparkly luminous iridescent eyes at swapinverse. or my other mtt ideas that DEFINITELY should be made into art or writing or something instead of text form but i'm really lazy so)

[inkoutsidethelines]

Thinking about how I would write an adult Scooby-Doo series, because I think it can be done.

The first thing I’d do is make the characters actually be adults.  Still young, but adults, in the mid to late 20s range.  Mystery Inc. is a private detective type business that they run together.  In this universe, the supernatural/ghosts/etc are real, but not necessarily common, so when they take on a case, the culprit might be a person disguised as a monster, or it might actually be a real ghost.  The stakes can be higher; sometimes a bad guy is legitimately trying to kill them.  Sometimes the mystery they’re trying to solve is a murder.  Sometimes they actually get hurt on their cases.

Fred: the core of Fred’s character should be that he’s incredibly kind.  Like, give a stranger the shirt off his back kind.  The “Fred can’t talk to potential clients because he might take a case for free and we need to eat” kind.  He’s an honest and good person and sometimes gets himself into trouble because he assumes other people are too.  While he’s not very good at reading people or noticing ulterior motives, he’s brilliant when it comes to mechanical or engineering type stuff, so he’s the one who keeps the mystery machine running, builds their gadgets, and of course, designs the traps.

Daphne: she comes from old money, and her parents absolutely despise her life choices, to the point where they haven’t officially disowned her, but they have basically cut her off, so she doesn’t actually have access to any family money.  Growing up wealthy has granted her a variety of skills, including speaking multiple languages, horseback riding, and fencing.  She’s very into fashion and jewelry (even if she can’t afford it anymore) and has extensive knowledge of both that can occasionally provide a vital clue in a case. And even though her parents have cut her off, Daphne still has a wide network of contacts she can ask for favors sometimes, because she’s personable, and people tend to like her.  Daphne is also very emotionally intelligent, and is usually the one who can spot when someone is lying to them.

Side note - I ship Fred and Daphne, so I think I would start them off as an established couple for this universe.  Dating, engaged, married, I don’t care.  They are stupidly in love, ride or die for each other.  There’s no will they, won’t they, no worries about cheating.  They are in a healthy, happy, loving relationship, and no one (not even Daphne’s disapproving parents) are going to mess that up for them.

Velma: she is the forensics nerd who sometimes gets super excited about the wrong thing at the wrong time (”He was mummified in seconds? That’s so cool!” “Velma!  His wife is standing right there!” “Oh.  Sorry.”).  She’s not purposely insensitive, she just gets laser focused on her work and forgets to filter herself sometimes.  She’s also the one who can get so fixated on solving whatever mystery they’re working on, she’s willing to bend or maybe break laws.  Is breaking and entering really so bad?  Not if it gets them answers.

Shaggy: he is still the comic relief, but he’s the comic relief by being the only person in the group that actually has common sense.  He manages the business’s finances, he’s the only one who knows how to cook, and the others tease him for being a coward sometimes, but Shaggy maintains that if a ghost with an axe is coming for you, running is the only sensible option.  He should also have a range of random knowledge that sounds useless, but sometimes saves the day (ex ventriloquism, origami, the history of spoons, etc).

Scooby: as this is a universe where supernatural creatures exist, Scooby is an ancient eldritch type being that took a shine to Shaggy when he was a kid, and took the form of a talking dog to befriend and hang out with him.  Aside from the talking dog bit and not aging, he never uses his powers in a way that anyone notices.  The audience is not told upfront that Scooby is an ancient eldritch being; it should slowly be hinted at throughout the series so the audience put it together, but the characters never realize it.  Scooby genuinely considers Shaggy to be his best friend, and cares about the rest of the gang too.

[eupheme]

— trouble will find me

[part ii | masterlist]

bodyguard!logan x mobster’s daughter!reader

rated e - 3k

tags: 70s era, dofp/bonedaddy!logan, bodyguard!logan, reader is the daughter of a mobster, reader is shorter than Logan, club setting, use of alcohol, cigar smoking, mutual pining, flirting, light brat taming!logan, references to violence, competence kink, semi-public vaginal fingering, kissing, forbidden relationship

a/n: I can’t stop thinking about dofp!logan sleeping with the girl he’s guarding, this is inspired by that scene! huge thank you to @pr0ximamidnight who let me chit chat about this little idea. you are amazing! 💖💕

His eyes darken. Fingers pinching against your skin, as he adjusts his grip, “‘s a bad idea, sweetheart. Supposed to keep you out of trouble.”

Your hands skate lower, fingers tracing the edge of his belt buckle. His nostrils flare - a warning, though he does not move.

“Supposed to keep me out of trouble,” You hum, “But what if I want a little in me?”

You can feel his eyes follow you.

Which shouldn’t really be surprising. It's his job, of course. Keep an eye on you, keep you safe.

But there’s something in the way he watches.

A curl of smoke from a lit cigar. Fingers tracing the rim of a half-downed whisky, a worn leather jacket thrown over a broad shoulder. The tilt of his chin when your eyes meet his - dark and narrowed, missing nothing. Slipping over you like the soft silk of your dress.

Indulging, almost. Unashamed.

You might have a crush.

You're trying not to think about it too much.

Tonight, you're just trying to enjoy the after-party.

It's all bright lights.

The room is bathed in pinks and yellows and flashing red. Disco club music pumped through the speakers, the panels of the floor flickering to the beat. You've been here for two hours already. Nursing tequila sunrises and pink squirrels. Sweat sticking to the nape of your neck, as the minutes tick by, bleeding past midnight.

He's not going to stop you, just yet. You can have your fun tonight - sway to the beat of the music - as long as you play by the rules.

Logan is so different from the ones before him.

Tripping over their feet to check on you. Breathing down your neck, with their padded-shoulder suits smelling like cigarettes and cheap cologne. Too afraid for themselves, of your father, to actually do a good job of protecting you.

Stifling and all too willing to tell you yes to anything.

It was exhausting.

Logan had come recommended - an acquaintance of a friend. He'd 'get the job done' from what you heard. Motivated. Needed the cash and would listen, no questions asked.

Just the type your father thought he could sway - a half-wild guard dog, his salary a leash. Heeling at the click of a tongue, the snap of fingers.

It's not how you saw him, though.

His silence was not obedience. There was nothing bought about this man - watching you from the line of leather booths along the wall.

You've wondered if maybe - you're just desperate to find some form of kindred spirit in someone. Too used to feeling like an accessory instead of a person. Your appearance at your father's events drove home his image. The good, family man who was oh so generous with his time and money.

Articles were written weekly about how philanthropic he was.

You had no idea if anything ever came from the numerous events you hosted - an attempt at doing something with your education. How much was skimmed off your blood, sweat, and tears, funneled back into what he did best.

Maybe you both saw through the bullshit.

He'll last longer than the others, at least.

More than once you've been halfway out the door, headed off to East Village or SoHo, only for him to catch you by the scruff of your sweater - whisking you back inside or into the Lincoln Town Car before you realized what happened.

An angry fist connecting with the nose of a man who had gotten too close at a gala last week. Cornering you in the coat room. Logan, charging in like a snarling beast when you had whimpered his name - red dripping down to stain the pressed white collar as the man was hauled away.

You’ve been thinking about that for days.

There was no sucking up. No flashing of a holster under his arm, some grandiose promise that you don't need to worry. You've never even seen Logan near a weapon but somehow, you feel more safe with him than you ever have with anyone else.

But this bit of internal tenderness that has sprouted, paired with his competency, has been seriously cramping your style.

It’s been enough that he's been hard to get out of your mind. Two weeks of teasing and poking at the limits set. Never giving you much, with that glare - thick arms crossed over his chest. A little thrill rippling up your spine, when his voice goes low and gruff.

The lights go dim, as the music begins to slow.

With the way your eyes wander, you know he sees you when you pick up a partner.

A man that moves with you, peeling off to crowd your space after your hips swivel with the hustle. His hand dipping low from where it rests on the small of your back.

Bold, when he bends to ask you 'if you'd like to get out of there'.

You meet Logan's eyes when you tell him yes.

Telling yourself that it's just to forget him. Definitely not because you're desperate to see the look on his face. To hear that tone he takes when he's pissed off.

A way to ascertain if you've taken root in his mind, even for just a moment.

There's zero chance Logan heard you from across the room. But it doesn't stop him from moving. Pushing to his feet, cutting straight through the crowd to wrap a hand around your bicep the second you start peeling off with the stranger - heading towards the side door.

"No fucking chance." It's gritted out, as he yanks you to him. Your shoulder collides against his chest as he steps between you and the man.

A sloppy hand pushes against his arm. The man's eyes are hazy under the neon lights as he makes a grab for you.

"Come on, man. I saw her first."

Logan pivots you away with a snarl, "She ain't leaving with you, bub."

Another sloppy shove, glancing off the brown leather jacket.

"You're really starting to piss me off." Logan's tone drips with warning, with knowing, "Gonna regret starting something in a room full of people like this."

And it's now that he takes in how big Logan is. The flex of splayed-wide fingers, knuckles curling into a clenched fist. A look in his eye that says that punches won't be pulled - not tonight.

The stranger takes a step back. It's enough.

You're already getting hauled away before they can answer. Guided into one of the many VIP rooms. A snarled "get the fuck out of here" to the attendant, before Logan's crowding you against the bar - hands bracing on his hips.

Fuming, you push yourself up to sit on the top - an attempt to get closer to his height.

"What was that about?" Your chin lifts, as your arms cross.

His eyes flash - a curl of his lip, "Can't you make my job easy, kid?"

Kid. It always makes you bristle. So far from that, and it's the way he says it. That dripping edge, like he knows something you don't.

"Maybe he was a friend." You deadpan.

"Yeah. Real friendly," He scoffs, fingers rubbing the bridge of his nose, "You think your daddy is gonna like you going home with a piece of shit like that?"

That makes your teeth clench - a glare sent his way, "I don't think it's any of your business."

"It's literally my business, sweetheart." Logan huffs. His hands curl around the edge of the bar, braced on either side of your knees.

Your breathing hitches, for just a second. The soft name is ground out between his teeth, but it still shoots straight to your pussy.

You haven't been this close to him before. Enough to see the bleed of brown to green in his hazel eyes. The sharp mark between his brows that you want to press your thumb against.

The shorn-down hair at his chin, before it grows thick across his cheeks. Handsome in a way that makes you ache, your fingers curling into fists to keep from touching him.

There's been moments alone - car rides, lounging in the armchair in the corner of your room when he barks at you to hurry up.

But it hasn't been like this.

Maybe it's the opportunity. Maybe it's the amber glitter of tequila in your veins, but you let your palms press against the shining wood. Your knees inch a little further apart, the hem of your dress riding up your thighs.  

"That the only reason you whisked me away?” Your eyebrow lifts, "Kidnapping, if I recall, is one of the things you're supposed to be keeping me safe from."

"You are safe." He deflects, "'s not kidnapping when it's me.”

Those eyes are still on yours. Not dropping to where his hips nearly press against the edge of the bar top.

You break the eye contact first.

“Well, it’s fine.” You sniff - as if his actions had been your idea, “I didn’t want him anyways.”

Logan grunts. There’s the slightest brush - the flex of his thumb at your thigh, where your dress rides up. A long look before he’s pushing back to step away, but your fingers reach out, catching on his white shirt.

“Are you going to ask me what I do want?”

There’s the slightest twitch of his nose. Lips parting to show the peek of a tongue, caught between teeth. The briefest dip of his eyes. Down to the shadow between your breasts, pressed together as you lean forward to catch him.

“I know what you want, sweetheart.” He rasps, “Not gonna happen.”

The rejection stings, and you pout, “What isn’t?”

A sigh, and he’s stepping back into your space. Your hand flattens against his stomach, hard muscles beneath as his head tilts.

“You want a man to take you home. Treat you nice.” Logan’s eyes burn into you. Wide hands curving around your knees, thumbs pressing into flesh, “I’m not that guy.”

You wonder if he can hear your heartbeat. How it thunders to the beat of the music muted outside this room. Dropping down to pulse between your thighs.

Wondering if he’s thought about you, the way you have him. How he could both see and miss so much at once.

“You’re wrong,” Your head shakes, “I don’t want that.”

A breath, before you’re confessing, ”I want you.”

Logan's eyes darken. Fingers pinching against your skin, as he adjusts his grip.

“‘s a bad idea, sweetheart. Supposed to keep you out of trouble.”

Your hands skate lower, fingers tracing the edge of his belt buckle. His nostrils flare - a warning, though he does not move.

“Supposed to keep me out of trouble,” You echo, “But what if I want a little trouble in me?”

The smile you give him is sweet, a tilt of your head as he catches your hand. Thick fingers curl at your wrist, holding your hand in place. A thumb pressed up against your pulse.

“You wouldn’t know what to do with me.” He rasps, voice low.

You’re undeterred.

“Could get on my knees.” You coo, “You could show me. Would you like that?”

Logan’s jaw grits. His grip loosens just long enough to feel your wrist flex - before he guides your hands, pressing your palms flat against the polished wood.

“It’s not going like that,” He husks. The tone is the same as when he’s ordering you around, one that makes your back go straight, “Those are staying right there. Got that, honey?”

All you can do is nod, as his hands skate up your thighs. Fingers massaging into flesh, soft and smooth as he eases them wider apart. Fitting himself closer between them.

The way he looks at you now is the way he did before.

Focused, as your dress inches higher. The fabric pooling at your hips as they tilt toward him, the pretty lace between your thighs now on display.

“Look at you,” His tongue clucks. A finger tracing the elastic edge, as you clench in anticipation, “Need this, don’t you?”

Drifting across, a thumb pressing against the fabric. It sends a jolt through you, your fingers almost reaching for him before you remember.

“Good girl.” He muses, as your hands flatten again.

The slightest pressure as the pad of his thumb slips up. Nudging against your clothed clit, as you inhale a sharp breath.

Pressing, and circling. It’s agonizingly slow, his eyes flicking up to watch the way you bite back a whimper. Your hips flexing into his touch, aching for more.

It lifts, so he can see how the fabric has dampened. Clinging to your skin, his knuckle tracing your seam.

“Making a mess.”

You can only whine in reply. Afraid that he’ll stop if you make too much noise. If you move - he’s made it clear he’s in charge here, and for once you’re willing to follow.

The pad of his thumb pulling back, a faint shine in the neon-bathed room.

“That for me?”

Your head nods, “Logan, please-”

There’s a sharp flash of teeth. Fingers pressing low, fitting against you, “You want me here?”

“Yes.”

You need him. Need anything he’ll give you, the sharp pinch in your palms where your nails bite into flesh.

“Ask me.” He coos.

“Please put use your fingers,” It comes in a rush, “Want you in me-”

Logan smirks, as his fingers slip beneath the waistband. Air sucked through clenched teeth when he meets slick, soaked skin. A teasing swirl against your clit before he’s parting you.

The tip of his middle finger tracing your hole, before it dips inside. His hips flex against the wooden edge, when you clench around him immediately. Trying to draw him deeper, as he works himself further in.

His fingers are much thicker than yours. A second already tracing where he opens you up. Teasing the tip in as his hand flexes, the heel of his palm grinding against your clit.

Your head tips forward. Each breath growing shorter, as you’re stretched around him. That slight ache unfurling into pleasure. Panting, as the pump of his fingers grow louder - the muffled cadence of skin against skin each time his palm collides with your cunt.

The fabric strains against his hand, his knuckles pressed against the soaked fabric.

Something bright burns in your belly, as your knees press into his hips. It makes you break the rules - a hand grasping at his arm. Anchoring yourself with your grip.

“I wanna watch. Let me see you.”

He lets you. A tap against your hip so you can lift. Carefully pulling your underwear down, easing them over the heels of your boots.

The lace disappears into his jacket pocket. His palms against your inner thighs, spreading you open. A throaty groan when he sees you, one that he can't quite manage to bite back - the rough sound shooting straight through you.

You both watch, when his fingers fit inside you this time. Two sinking down to the knuckle, slick and shining.

Unable to bite back the moan this time, though he does not shush you. His eyes fixed on your face instead, watching how your brow pinches when his fingers crook deep inside you. Searching.

The way you go jolt and then go tense when he finds it, a soft cry loosening.

“You been fucked like this before?” Logan growls, his fingers dragging against that soft spot inside you with his emphasis.

Your head shakes, when he does it again. Eyes dropping to watch his how hand looks, how you wrap around his fingers. The slick shine as they pump a little faster.

His other hand taps against your thigh.

“Words, sweetheart.”

“No,” It comes out hushed. Needy. “Never.”

His lips part with his groan, baring his teeth. With the way he touches you - his thumb moving to rub circles against your clit - it’s not long before he has you close.

A swiftly building pressure in your belly. That space between you eases as your knees close around his hips. His head tilting until his nose ghosts against your cheek.

Breath hot against your neck, as he inhales you. The slightest scrape of teeth that makes you bear down on his fingers - so careful not to leave a mark behind.

“Logan,” You pant. “That feels, ah, I think I’m gonna come-”

He groans against your skin, keeping the same pace. Feeling how you forget yourself - grasping at him, arching into his touch. Your muscles going tight as your breath grows short - panting.

“Give it to me,” Logan growls, “Come on my fucking fingers, baby.”

It’s impossible not to listen. You come, with his thumb pressing against your clit. His fingers notched deep inside you, as he feels your pulse racing beneath his lips.

The moan that rips from you pitches up, and then goes silent.

It leaves you breathless. Deep waves throbbing inside you, as you dampen his palm. Washing over and pulling you under, as your vision darkens.

“That’s fucking it. Come on, honey.” He coos, “Just look at you, so fucking pretty.”

The pump of his fingers goes still, the tips still crooking, as the tight pulses wane. The air comes rushing back into your lungs as you come back to yourself, your hands fisted in his jacket.

His chest heaves. Eyes hungry, when he slips from you. Slick clinging to them, webbing between his fingers as he pulls them up to the light.

Before he’s focusing on you again, his other hand thumbing at your lip.

“Open.”

They part automatically. Closing around the fingers he feeds you. The salt of his skin pairing with the sweet tang of your release, too blissed out to do anything but suck them clean.

“Good girl.”

It’s soft, as his fingers press down. Spreading, until you’ve cleaned yourself from them. Only when they slip from you, does his head dip.

A soft sound as his mouth presses against yours. There’s the sweep of his tongue against your lip, needy and insistent. You part for him, swallowing the moan as he tastes you. Teeth and tongue - deepening the kiss as his hands grip at your waist.

Letting your hands grasp at his shoulders. Tug at his hair until you’re pulled flush against him, your tits crushed against his chest.

Hungry, threatening to devour you, until you mumble his name.

Bringing him back to himself. Sharing a breath, Logan’s forehead pressed to yours when he pulls back. Those spit-slick fingers dropping down.

Palming himself roughly, where his cock strains - thick and hard against his jeans. A bitten-back groan, the word “fuck” rumbling deep in his chest as his hips flex into his hand.

“You going to listen now? Get that out of your system?” It comes out ragged, and you’re nodding.

All your sharp edges smoothed down. Blissfully complacent, as his fingers get a better grip on your waist. Bringing you down to the floor with wobbly legs, his hand coming to grasp at your upper arm.

“Good.” He growls, “Come on.”

A sharp tug, and you almost trip over yourself to follow.

“I’m taking you home.”

ahh I had the idea for this and had to jot it down! and I do know he goes by james/jimmy in the 70s because it’s pre-weapon-x, but I'll be keeping it as logan for this. (And I am thinking this will be a two-shot - give her a chance to get what she wants 😏💖)

[physalian]

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

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These are *suggestions* and writing is highly subjective. Hope this helps!