#notice how I used a semicolon in there

[movieinonesentence]

Pitch Perfect 2

7/10

Hailee Steinfeld and Ben Platt playing love interests; this is the world we live in.

[sleepy-stitches]

having nasty gay sex with my beautiful wife the semicolon

[glitchyred]

for the ama where do you guys get your eyeliner its on point

Glitchy: I probably wouldn't mind trying out make-up, though.

[missing-a-place-ive-never-been]

[coffeebanana]

god i finished reading it and. THE WORD PATTERNS ARE STILL STUCK IN MY BRAIN. CAN'T GET THEM OUT.

i'm putting adjectives in weird (for modern times) places. my rhythm is all off. i fear i've forgotten everything i ever learned about show don't tell. i might never be able to write properly again (they say as if they're not currently writing)

i hate it here; austen has ruined me; with her 8000 semicolons that seem to be used at random

(i enjoyed the book but AT WHAT COST)

ok reading pride and prejudice has me writing with insufferably long sentences I NEED THIS TO STOP

[neo-my-geo]

Hey gang, it’s your old pal Neo here. If you know me, it’s probably from one of the several very stupid TF2 comics I’ve posted to Tumblr.

However! I am also an English major (unfortunately). One who has read millions of words worth of fanfiction in their life. I have been part of the Sherlock, BNHA, Disco Elysium, and, of course, TF2 fandoms; I’ve been around the block.

The further I’ve progressed into my English education, the more I’ve noticed which mistakes are the most common in fanfiction. Many of them are easily fixable; writers just need to be pointed in the right direction. 

“Neo! Does this mean you think people shouldn’t be allowed to post their works online without a background in formal English education?”

Of course not! I can explain why if you’d care to venture below the cut with me!

Yes, I will explain how to use commas.

It’s important to note that this is NOT a post about formal writing. You aren’t writing an essay. Please, for the love of god, do not write fiction like you’re writing an essay.

There are no stakes to writing fanfic. No one is going to get hurt if an author doesn’t know what a dangling participle is. One of my favourite things about fanfiction is that it’s one of the only art forms left that’s done exclusively for fun! You should write what you enjoy, and share what you make with like-minded people. 

What I want to do is provide assistance as best I can to writers who want to improve their fundamentals without having to take the same university courses I did. Nobody is going to be getting a formal education to write fanfiction unless they’re ridiculously dedicated, and I’m not expecting that of anyone. 

The point I need to stress is that knowing these grammar fundamentals can instantly improve the flow of your writing. Punctuation is a ridiculously important tool for writers, ESPECIALLY in fiction. Commas, semicolons, and full stops (including periods, exclamation points, and question marks) steer the pacing in the reader’s mind; did you notice how your brain stopped for a second after that semicolon? I can show you how to do that.

You may be wondering why I’m going through so much effort to teach all of this to strangers on the internet. The answer is that I enjoy sharing this knowledge with others and helping them grow. By seeing this, my goal is to help you become more proficient at self-editing. Showing this to people who actually want to learn will, hopefully, benefit the community as a whole, and I think that’s very worth it. 

Also, while this post is obviously themed around TF2, the points I’m making can be applied to any fiction. Grammar is for everyone, and the church of the semicolon always has room for more initiates. 

Also also, as an edit, I should clarify that this is meant to cover the more objective facets of self-editing, which is why I'm mostly covering punctuation. Maybe I'll do another post about using adjectives someday.

With that out of the way, let’s get going!

I’ve teamed up with several English teachers (real ones! One of which may or may not be my mom!) and an editor to gather a list of the most common problems we see in amateur fiction. This post is going to be split into three broad sections: apostrophes, commas/semicolons, and other common problems. 

The apostrophe

This section is short, but it holds weight. Other than commas, apostrophes are the most typoed grammatical tool in any fanfiction I’ve edited. This is because, much like the rest of English, the rules surrounding them can be annoying and inconsistent. 

Apostrophes have two main uses: possessives and conjunctions.

A possessive is a word that denotes the ownership of one thing over another. The vast majority of the time, this is done using an apostrophe and an S.

There is, however, one glaring exception to this rule, and it’s the bane of my existence. 

When denoting possession of an object over something else while using the pronoun ‘it,’ you do NOT add an apostrophe before the S.

A conjunction, on the other hand, is when a writer uses an apostrophe to combine two words. The following are examples of common conjunctions:

What’s (what is)

They’re (they are)

It’s (it is)

Conjunctions are not often used in formal writing. Thankfully, we aren’t dealing in formal writing. Go crazy.

Time for a lightning round of the most commonly mistaken for each other possessives and conjunctions!

Your is possessive. You’re is a conjunction of ‘you’ and ‘are.’ When you can’t decide which one to use, imagine replacing it with ‘you are’ and seeing if it makes sense. If it doesn’t, use your.

Their is possessive. There indicates a location. They’re is a conjunction of ‘they’ and ‘are.’ 

The comma and the semicolon

You knew it was coming. I knew it was coming. It’s time to talk about commas.

Commas and semicolons are far and away the biggest grammatical hole in the toolset of fanfiction writers everywhere. They’re often treated like the rules surrounding them are complicated and difficult to understand, but the exact opposite is true! 

The big issue I’ve heard time and time again is that the rules of commas are often explained through metaphor instead of example; this means that writers everywhere have slightly different ideas of how you’re supposed to use them. The fact of the matter is that, yes, there are correct and incorrect ways to use commas. Knowing when they’re appropriate and when they aren’t is easily the fastest way to bring your writing from looking amateurish to sounding professional and experienced. 

In order to know how to use a comma, you must first understand the difference between a dependent and an independent clause. 

An independent clause is a section of writing that functions perfectly well as its own sentence. It MUST have both a subject and an action/verb.

A sentence without an independent clause is known as a fragment, and they’re the bane of English teachers with highlighters everywhere. 

A dependent clause is a section of writing that does not have both a subject and an action; it does not function as its own sentence.

Now, let’s say you want to combine the two. When joining a dependent clause to an independent clause, the order in which they are placed is crucial to whether you use a comma or not. 

When joining a dependent to an independent with the independent clause first, you do not need to use a comma.

When joining a dependent to an independent with the dependent clause first, you MUST use a comma. 

Keep in mind that, if one strives for total grammatical perfection, all narrative sentences MUST have an independent clause. This, however, does not apply to dialogue. Human beings do not think about whether what they’re saying is a dependent clause, and neither would the vast majority of fictional characters. Don’t be afraid to break the rules of grammar as long as it’s contained within quotation marks. 

Alright, that’s the easy part. Time to learn about joining two independent clauses. It’s semicolon time, baby!

If you join two independent clauses without properly using a comma or a semicolon, it is a run-on sentence. You do not want these in your writing. They’re awkward to read and mess up the flow.

When joining two independent clauses, you can use EITHER a comma or a semicolon. You just need to follow these rules:

If you’re joining two independent clauses with a comma, you MUST use a joining word (and, but, so, etc.) AFTER the comma. 

If you’re joining two independent clauses with a semicolon, you do NOT need to use a joining word.

Did you know that a sentence with a comma counts as its own independent clause? This means that you can make a sentence that includes a mix of both without it being a run-on! Just make sure that, no matter what, the semicolon is between two independent clauses. 

Still, try not to write more than two clauses in a sentence too often. Sentences with a lot of punctuation are very attention-grabbing, but shouldn’t be overused. Full stops aren’t your enemy and variety is the spice of life. 

It’s also important to remember that you should avoid using more than one comma in a clause (with the exception of the rule below). That part loops back to the 'avoiding run-ons' bit.

It’s really that easy! 

Commas are also used in informal writing to inject a separate thought or descriptor mid-sentence without breaking the flow by adding a period. This is often used when describing the perspective of a character experiencing something in a story, but not (usually) when using omniscient perspectives. 

The final issue I frequently see with commas in fanfiction is in regards to dialogue. Sometimes you end it with them, and sometimes you don’t. What gives? 

Well, my friend, the answer is, thankfully, much simpler than the previous section.

When following dialogue with a dialogue tag, use a comma instead of a full stop. If you’re continuing the previous sentence after the tag, use a comma after it as well. 

Note that a dialogue tag is a short phrase that identifies the speaker. It isn’t a complete sentence on its own.

When following dialogue with an action that does not serve as a dialogue tag, use a full stop instead of a comma. 

Other common problems

This section is dedicated to putting specific grammatical errors into words, along with how to solve them. 

Not sticking to the chosen point of view

Always choose your point of view before you start. Is it in the first, second, or third person? Is it omniscient or limited? Does the point of view switch during the story?

First person perspective is told as if the POV character is directly describing their experience to the reader. The character uses I and we to describe their own actions.

Second person perspective is told as if the reader is a character in the story and their actions are being described to them. This is the rarest, and the most difficult to write.

Third person perspective is the most common and the simplest to write. The events of the story are a separate entity from the reader altogether and the narrator uses they/he/she/it pronouns for characters. 

Omniscient perspective means the narrator of the story knows all, including the thoughts and feelings of each character. 

Limited perspective means the narrator of the story only knows what the POV character knows. 

Past and present tense

When you decide between writing a story in past or present tense, it is crucial that you do not switch between them unless it is narratively intentional. Reading a past tense story that mistakenly switches to the present tense is like being pulled out of the room someone is telling a story in and suddenly taking part in it yourself. It’s disorienting and gives the reader unwanted pause.

Overly-long paragraphs

A common adage spread by English teachers is that most paragraphs should be at least eight sentences long. This is great advice for beginner essays. You’re writing fiction. 

If you have a new thought, start a new paragraph! A concise and well-read single-sentence paragraph is infinitely better than one that drags a thought for too long. Aim to have a blend of paragraph lengths when you write, alternating between the descriptive and the punctual. 

Dangling participles

A dangling participle is when a word is used to describe a noun that isn’t actually present in the sentence. Much like how a sentence without an action isn’t grammatically correct, neither is a sentence without a subject. 

Malapropisms

A malapropism is when an author mistakenly uses one word or phrase instead of another similar-sounding one. I’m not about to list every single malapropism ever made, but these are the ones I notice most often:

To comprehend is to understand something, to apprehend is to arrest someone, and to be apprehensive is to be anxious or fearful of something bad happening.

Could care less means you do care. Couldn’t care less means you don’t.

A lot means a large amount of something. Alot isn’t a word and you shouldn’t use it.

The only real solution to using malapropisms is to make sure you fully understand any words you use in your writing. Never guess, and make sure you always google it. Having beta readers also helps.

If you made it this far, congratulations! You now know the most common errors in amateur fiction and how to solve them! Thank you for listening to me complain for two thousand words. 

The most important thing to remember is that it’s okay to make mistakes. First drafts are always gonna be a little bad. The real key to success is knowing what your end goal is, and how you plan on achieving it. Here’s hoping this was a helpful tool for that!

Shoutout to @salmonandsoup for helping me think of the list of issues to address! You're a real one. Also shoutout to my mom, who doesn't have Tumblr. Also the third person. You know who you are.

[olderthannetfic]

https://olderthannetfic.tumblr.com/post/751349958686457856/httpsolderthannetfictumblrcompost75109730008#notes

I'm ESL I learnt most of my English through Academia, I can't exactly change my stuck up writing style because that's the main style of English I know and even when I try not to it will be clear that it comes from my schooling and how they demand a certain type of way of phrasing things. I'm trying to explain it better, it's hard, some of us ESL people struggle with the structuring of sentences and also keeping general readability especially when we ourselves have trouble noticing it because it's the default. It doesn't help that ESL generally lessens some aspects of readability in casual situations. Best combo is stuck up writing style from my schooling and clearly using the wrong way to describe or use certain words. I'm trying.

--

Anon... I'm not trying to be cruel here, but it doesn't really matter why.

If you're hard to understand, you're hard to understand.

Having taught EFL myself and having taken plenty of language classes with a variety of textbooks, it's obvious that many countries teach in that stilted, formal style. Not to mention the fact that many, many of the native speakers replying here are, in the words of one of them, "the kinds of people who use semicolons and em-dashes".

The issue isn't actually that you use academic English. It's that you punctuate poorly and that your longer, more involved sentences are hard to follow.

Language learning is a life-long pursuit. One thing that can increase intelligibility for most people in most languages is to use more short sentences with fewer clauses. Making a long-ass sentence readable requires a lot more writing skill even for a native speaker.

[gem-tavvy]

IMPROMPTU TAVROS NITRAM WRITING COURSE

VOL 1. ~ OF QUIRKS AND SYNTAX

wanted to work on a fun lil post to remark on some common problems i see in tavros nitram's portrayals in fanworks, and how he actually Acts, using in-comic examples! please tell me if you enjoy!

i think more people should learn how tavros' quirk works. cause i see a lotta ppl making the same handful of mistakes, and while there are more important things to worry about. the comic is Right There and Chock Full Of Text.

obviously there's the basics. capitalization and punctuation. these are the basic building blocks of every character's quirk. john using apostrophes and periods separates him from, say, dave and jade.

and jade using an excess of question marks, exclamation marks, and smileys separates her from dave. and roxy using a lot of acronyms and shortenings (and typos while drunk) separates her further from the "all lowercase" gang.

for tavros: let's look at capitalization first.

tavros types in reverse case. that is to say, where most people would write capital letters, he writes lowercase letters, and vice versa. he starts every sentence with a lowercase letters, and every lone 'I' is lowercase as well.

(important to note: he also uses lowercase after EVERY comma. when it comes to capitalization, treat every comma like it's a period.)

the only exception to this rule seems to be proper nouns. unless he's saying it at the beginning of a sentence or after a comma, that name is written in capital letters, like when he says "THE KNIGHT" and "DAVE" in his conversation with rose above.

as for his punctuation,

tavros uses a lot of commas. where you'd expect a dash or a semicolon, use a comma. where you'd expect a period, use a comma. you need a set of ellipses? use a comma.

wait. i want you to read that last sentence REALLY closely. "use A comma." i need you to drill this into your head right here, right now, forevermore. if you care even remotely about writing tavros correctly, HEED MY WORDS:

USE A SINGLE COMMA.

i don't care how many pieces of art, how many fanfics, how many Whatevers you have seen, tavros dOES NOT,,,,, uMM,,,,,,, uSE THIS MANY,,, uH,,,,,, cOMMAS. he only needs to use one at a time. the exceptions to this rule are INCREDIBLY rare, and only appear when he is genuinely distressed or compromised.

in the first example, not only is he merged with vriska - causing numerous quirk changes - but they are under a tremendous amount of mental and emotional stress. in the second example, he is caught off guard by gamzee's sudden advances. in the third, he is experiencint a severe allergic reaction caused as a result of being permanently fused with a cat.

even in his conversations with vriska where he is being actively bullied and harassed, he largely only uses a single comma at a time. this is absolutely THE most common mistake when writing tavros.

the SECOND most common mistake i see is making him s-s-stutter. a lot of people think that just because he's awkward and is described by vriska as "stuttering," he always has to "s-stutter like t-t-this." but it's not true, and tavros Does Not talk like that.

tavros DOES stutter, but the better word to use to describe it is stammering. he doesn't really think a sentence out before he talks - it's why he often says "uh" and "um" between clauses. it's also why he drags out words sometimes, like "hIII," or "hEYYY," or "wOAHHH,". he's the kind of guy that's always gotta make a noise when he's talking, even if he doesn't really know what to say yet.

i have more stuff to say about WHY people write tavros this way, but i'll save it for later. we're still on the topic of his quirk!

so he doesn't use more than one comma at a time, doesn't use dashes to stutter, and as we know uses apostrophes mostly properly. what about exclamation points and question marks?

now, this is where we have a bit of a schism. previous images i've posted, if you noticed, have sentences where tavros is asking a question. namely when he's asking rose all those questions about dave. when it comes to EARLY homestuck, which i personally subscribe to as the purest form of his quirk, tavros ONLY uses commas. even if he's asking a question.

but later on, usually during act 6, tavros starts using exclamation marks and question marks more. so there's a precedent for it, sure. i'd personally err on the side of caution, though. use them like you'd use multi-commas: sparingly and for a good reason.

combining capitalization and punctuation, i also want to mention how he whispers, too, because it's one of my favorite gags in homestuck.

in homestuck, whispering is typically denoted by surrounding one's text in (parentheses.) for tavros, this is no different. if a character normally speaks in all upper case, like karkat or terezi, they might also replace all of that upper case with lower case.

but tavros sucks at whispering. if he's outright muttering under his breath, he (jUST SPEAKS LIKE THIS,) but if he's genuinely trying to be surreptitious, he will TRY to speak all in lower case. however, little pockets of upper case will still (sNEak, inSIDE,). if you need to write tavros whispering for whatever reason, this can be a fun gag to call back to for comedy's sake.

the final syntax element to touch on is simple. emoticons!

tavros uses a variety throughout homestuck. all of them have a common theme: they always start with a "}". NOT a bracket "[". he ALWAYS uses one of the curly brackets, without exception.

he uses }:) , }:o) (when speaking to gamzee once), }:( , }:'( , and }:D ! might be more examples, but you get what i mean. he has a good variety! he typically either uses these after a sentence OR as its own "line," without any text. he also even uses them outside text. like:

AT: aWW, sAD SURE IS WHAT THAT IS, }:(

TAVROS: }:D

[thoroughlymodernminutia]

This Christmas - Prequel

Pairing: Benny "Borracho" Magalon x F!Reader

Word count: 8,219

Summary: This is a prequel of sorts to this from last year. It’s basically the how Benny and the reader met, etc

Warnings: Mostly Hallmark-style fluffy stuff, lots of pining, but brief mention of loss, guilt, some foul language. If I missed anything else let me know and I'll add it in. 

A/N: I don’t know folks, I started writing this and was really chugging along and had a whole plan for how I wanted this to be. Then I got sick with everyone’s favorite illness from 2020 and lost a lot steam. I found, I think, a happy compromise with myself because I wanted to post this before Christmas (self imposed deadlines am I right?) and realized I can always I don’t know, post more parts of it later?? I am my own worst critic so if you read this and it isn’t your jam, please don’t say anything lol I’ve probably already thought it, so it would be redundant! Also, clearly, I do not know the proper use of a semicolon, or an em dash and I don't have an editor, so we'll all just have to deal. Anyways, Merry Christmas, Happy Holidays, all that jazz

-----------

It’s a little after six in the morning and they still haven’t rolled in. Usually, the five of them would have been here for an hour already; a few hungover, one still drunk, and the fifth one acting like an adult babysitter for the other four. It’s weird how this happens–people come into your little donut shop and after a while, instead of you becoming part of their routine, they become part of yours. Eventually they start to feel like stand-ins for the friends you hardly ever get to see. You’re busy with your business and they’re busy with their jobs and families.

It could feel lonely, but you have people like Noreen, who comes in every Friday to buy three dozen assorted donuts for her team. Noreen is kind and not the type of person you envision working at a private equity firm. When you were thinking about expanding into the small space next door, she looked at your plan and helped you figure out where you were being too aggressive and in some cases too shortsighted. She didn’t ask for anything in return, but you made sure her next three dozen donuts were on the house. 

There’s Will, a retired teacher, who comes in every Sunday. He used to come in with his partner, Charles, and they would sit at the table you have set up near the front window. They traded off different sections of the newspaper while drinking their coffee and sharing one old-fashioned donut and one raspberry jelly donut; they never strayed from those. Charles passed away six months ago and it was unexpected. You didn’t expect to see Will for a while, but routine is hard to give up especially when it’s the only thing you have left. Every Sunday morning you set a 'reserved' sign on the table near the window. 

There’s Stuart, who hangs out in the plaza your shop is located in. You’re not sure if he’s unhoused or just likes to spend his day outside, but it felt strange to always see him and not interact with him. One day you invited him to come by for coffee and a donut but he turned you down. You told him the offer was good for any time and that you hoped you’d see him in there soon. He came in a few days later and it made you feel like you were doing some good; and then you felt bad for feeling like that. Stuart’s reserved and not much of a talker so you just let him sit at a table while you go about your work. Some days he’ll start a conversation; it’s rare but it feels like you both trust each other enough to make more than small talk. If you don’t see him in his usual spot outside, you worry. He usually turns up a few days later, but you're concerned that at some point he won’t turn up and what are you supposed to do then?

There’s a handful of people that fall into this category of if they never came back you would notice. It’s because some of them are smart and kind like Noreen. Some because they sit in the same spot, newspaper sections still divided in two, like Will. Some because their silence fills your little shop, like Stuart. And some whose absence you would notice because they don’t fit into these boxes. Sometimes they can be loud or irritating; but they can also be entertaining. And they’re are always five of them, but only one that makes you feel like you’re thirteen and just saw your middle school crush.

They started coming in sometime in February. You only remember because the biggest one said he’s 'not eating a fucking, prissy, heart-shaped donut.' Some men are like that, afraid if they come in contact with something feminine that’s not a woman, that their dick will fall off. He was loud and obnoxious and only one of the other four looked truly embarrassed for the guy and for himself. He apologized for his friend and ordered five large coffees and a dozen glazed donuts. 

“You sure glazed are going to be manly enough for your friend over there?” 

You ticked your head over towards the table where his friends were sitting. He laughed and it was a surprisingly warm laugh for a man with neck tattoos. 

“He won’t even remember being here, let alone what kind of donuts he ate.”

He sounded annoyed but used to the behavior. You remembered having friends like that, in your twenties, but you were well past that age and so were these guys by the look of it. You saw him eyeing an apple fritter so you grabbed it from the case, put it on a plate, and set it on the counter next to the box of donuts. 

“On the house, since it doesn’t look like you’re getting paid for your babysitting duties.”

He smiled, said thank you, and then went to sit with his loud friends. You noticed he was quiet in comparison and thought it would be nice if they were all quiet like that. 

When they were getting ready to leave you saw that the quiet one made sure all the trash was thrown away and all the dishes went into the right bin. At the door as they were leaving he gave you a small wave thanking you again. There was something about his smile that made it feel like flowers were blooming in your stomach. That feeling carried you for a week. You’d think of that moment of him at the door and a fog would enter your brain and the flowers in your stomach would grow larger. 

The feeling would start to subside after a while and you would get caught up in your real life–your business, the rare time with your friends, the occasional bad date. It would slowly drift from the front of your mind to the back. Then they would show up and the cycle would continue. 

The one who had the soft smile and neck tattoo, you learned his name was Benny. And that if you gave him a choice between the apple fritter and anything else, he would choose the apple fritter one hundred percent of the time. The loud drunk, that was Big Nick and he’s only been not drunk five percent of the time they’ve come in. There’s Connors, Zapata, and Henderson–you’ve only heard them referred to by their last names. A thing that you’ve only ever heard men do. They all come in once or twice a month–usually early, usually hungover. It makes you wonder what they do before they end up at your place. You never ask because to know would be to probably ruin your crush on Benny.

Benny always pays and there’s a part of you that hopes he’s doing it just for the chance to talk to you. When he leaves he always gives you a wave goodbye and a thanks again. The flowers in your stomach have bloomed and blossomed to an embarrassing degree by the end of May. And that’s when they stopped coming in. 

—-

Benny shakes his head no at Connor’s who’s trying to hand him a beer, “Not feeling it tonight.”

Benny isn’t feeling it any night, but he keeps that to himself. The drinking, the cocaine, the women, none of it interests him and it hasn’t for a while. Since February if he’s being honest with himself. 

They had ended up at your donut shop, Glazy for You under random circumstances. The usual place they would go to sober up after one of these parties had been closed down by the health department. He should have known it was bound to happen, the place was dim and oddly seedy for a diner. Benny was the designated driver that night, since he hadn’t been feeling well he didn’t drink and spent most of the night ushering random women out of a grim motel room. When he saw Glazy for You as he was driving by, it looked like the complete opposite of his evening; it was bright, there were Valentine’s decorations on the window. It looked comforting and warm, two things he felt like he was missing in his life.

Nick of course was an asshole and Benny felt like he spent a lot of time silently apologizing to you. His apologies must have entered you mind telepathically because you gave him an apple fritter–the best apple fritter he’s ever had in his whole fucking life. There must have been some kind of magic in because that moment lodged itself somewhere in his heart and reappears when he’s feeling low. Like now–sitting in this motel room, on this couch that probably hasn’t been cleaned in two decades, watching his friends lose their fucking minds over shit they should have outgrown. 

Benny hasn’t seen you in months, ninety-seven days to be exact, not that he’s counting. They’ve been working on one case after the next and it’s left time for little else. No post drug test parties, no early mornings sitting in a donut shop waiting for everyone to sober up, no you. It’s been sleep and work for three months straight. Last time he saw you, it seemed like you were happy to see him. Maybe he imagined that feeling; misunderstood the warmth in your smile. Maybe that’s the smile that you’ve practiced in order to be able to perform it for everyone. Maybe everyone feels what he feels when they see you.

Benny sinks further into the couch and looks up at the ceiling. It’s a drop ceiling which brings back memories of a case he had worked on. While securing a crime scene, they were in the living room of a run down apartment. It had this same type of ceiling and a body fell right through it onto the floor. He thinks that maybe this is how it ended up being called a drop ceiling, because shit just drops right out. That thought, that memory makes him realize that he doesn’t want to be in this room anymore. He gets up, grabs his jacket off the back of the couch, and leaves. He hears Connors call after him as he’s closing the door but he doesn’t care. He only has one place that he wants to be right now.

—-

You’re putting a tray of bear claws in the display case when you hear the door open. It’s still early, the sun is barely up, pink and purple hues are still in the sky. You get a lot of municipal workers that come in at this time, barely past opening. So it’s a little bit of a surprise when you get a glimpse through the display case of Benny walking in, alone.

There’s a second while you’re crouched down, adjusting the tray that you let yourself be excited; allow yourself to give into the childish feeling of getting a glimpse of your crush. Your knees are wobbly as you stand up–unsure if it’s because you’re getting old or because he’s looking right at you.

“Oh hey, how’ve you been?” You wipe your palms on the front of the apron you’re wearing. “It’s been a while.”

You try to sound neutral, neither excited to see him or disappointed that it's been so long. He smiles and that familiar sensation of flowers blooming returns. 

“We’ve been working on a lot of cases and it’s been hard to find time for anything else.” 

You lean forward and rest your arms on top of the bakery case. 

“Cases? You guys are lawyers?” As the words leave your mouth you realize how truly stupid it sounds. You’ve never in your life seen any lawyers that look like these guys. 

Benny chuckles and rubs the back of his neck, something he does when feels embarrassed or self conscious.

“No, definitely not lawyers. Detectives. We work for the Los Angeles Sheriff’s Department.”

You fail at suppressing a laugh, “I’m sorry. All of you are detectives? Even your friend Nick?”

Benny knows your laugh isn’t mean spirited and if he were you, he’d probably laugh too, knowing what he knows about the people he works with. He moves closer to display case and leans in. 

“Even Nick. You seem surprised.”

“It’s just. I.” You pause, trying to choose your words with care, because you like Benny and you don’t want to insult him, “I mean, it’s hard to imagine being a victim of a crime or something and like Nick is the person taking your statement, trying to help you. That is my nightmare.”

You hope you don’t sound like an asshole, but the idea of Nick serving and protecting seems like a stretch. If you offend Benny, he doesn’t show it, he just laughs.

“The way that you’ve seen him, I can understand the sentiment. He’s not like that a hundred percent of the time. I promise.” 

You give Benny a joking look, “Okay, but what percentage are we talking here?”

You’re both laughing when the rest of the guys walk in. The rowdiness is a shock to your system after not dealing with it for a while. You look at Benny and he’s no longer leaning in towards you and maybe you’re projecting, but you think he looks a little disappointed too.

Benny’s disappointed, but he tries his best to hide it. The guys may be drunk, but they are cops and they are perceptive. Benny already knows he has a reputation among them as being soft. It used to bother him, but it hasn’t for a while. He knows he would rather be soft than be the type of man that can’t feel anything other than bitterness and rage. 

“Borracho, you fucking asshole, you left us.”

Nick, is of course loud and slurring his words. Benny hopes you can’t understand Spanish–he doesn’t want to be known as a ‘drunk’ to you.

Benny turns from you to look at the guys. Connors is propping Nick up; Henderson and Zapata are stumbling towards a table. 

“I was hungry.”

Benny hopes it’s enough to shut Nick up. He knows it’s not because he sees Nick loosen himself from Connors and stumble towards him. He claps a large, drunk hand on Benny’s shoulder and the force almost knocks him backwards. 

“Fuck, Borracho. You’re no fun anymore.”

Nick is a mess and that’s not really that surprising to you. What is surprising is how uncomfortable Benny looks. He has the look of a man who would give anything to disappear. You can’t really blame him, these guys, Nick especially, are exhausting to be around and you only deal with them for a few hours a month.

“Can I get you guys something or are you just going to loiter?”

Benny looks towards you and you give him a sympathetic smile. He shakes Nick off of him and is about to order when Nick lurchers towards the counter that you’re standing behind. You step back as he unsuccessfully tries to paw at you.

“I know what you can get me, sweetheart.”

Benny groans and runs a hand over his face, “Jesus Christ, Nick. Shut the fuck up.”

You step closer to the counter and lean forward, putting a hand on Nick’s shoulder.

“What did I tell you about calling me ‘sweetheart’?”

Nick tilts his head to the side and mutters, “That the next time I do it, you’ll put my head in the deep fryer.”

You pat his shoulder, “Good, you remember.”

You hear Zapata, Henderson, and Connors–who’s joined them at their table laughing and chanting do it, do it.

You gently push Nick away from the counter, “Go sit down unless you’re willing to see if I’m serious.” You look over at Benny, who no longer looks like he wants to disappear. “Benny, five coffees and a dozen glazed, right?”

Benny nods his head, “Yeah, that’s good.”

Nick turns around and starts walking towards where Connors, Zapata, and Henderson are sitting. He jerks his thumb back towards you, “She’s no fun either.”

Benny feels awkward standing here, watching you gingerly place twelve glazed donuts in a box and then pour five large coffees. It’s calming though, watching you do routine things, like you’re slowly rooting out the anxiety of being around drunk idiots. You put the coffees in a tray and place it down on the counter next to the donuts. 

Benny pulls out his wallet to pay, “Uh, sorry,” he pauses, he’s sorry about a lot suddenly, “sorry about Nick. He was acting like an asshole.”

You shrug and hand Benny his change, “Don’t worry about it.”

Benny is sitting with the guys and can’t help feeling like he’s messed something up. You didn’t give him an apple fritter like you normally do. He wonders if you’re mad that he didn’t do something more when Nick was acting like an asshole. Maybe he’s overthinking it–he can’t expect you to give him a free donut every time you see him. It’s possible he’s misread the situation entirely, that you’re just friendly and nothing more. He watches you behind the counter adjusting things, bagging up donuts for customers that have come in. When Benny checks his watch for the time, he misses seeing you slip an apple fritter in a bag and write 'Benny' in a tidy script. 

You watch the guys start filtering out of your place; Nick and Connors are first and from the store window you can see them getting into separate cabs. Benny is still throwing trash away as Henderson and Zapata leave. They share a cab and you imagine that maybe they rallied enough to start drinking again at 7:30am. You see Benny heading towards the door and it looks like he’s leaving without giving his usual wave goodbye. Your stomach sinks a little–maybe he’s mad at you for not joking around more with Nick or the other guys. Or it could just be that he’s tired and wants to go home and you’re creating feelings that aren’t there. 

You grab the bag with the apple fritter from below the counter and hold it up, “Hey, you forgot something.”

Benny looks at the bag with his name on it–it’s the nicest handwriting he’s ever seen. He walks over to the counter and takes the bag from your hand, your fingers overlapping for a fraction of a second. 

“So this means you’re not mad at me?”

“Why would I be mad at you? Wait, you think because of Nick?” You look at him strangely as he nods his head yes, “He’s the idiot, I’m not going to hold that against you.”

Benny smiles, “That’s good to know.” He starts walking away, but stops when he gets to the door, holding up the bag with the donut, “Thanks again. I’ll see you later.”

“Take care, Benny.”

—-

“You like that girl at the donut place?”

It sounds less like Connors is asking you a question and more like stating a fact. Benny’s a little caught off guard and pretends to start looking for something on his desk.

“What?” 

Benny tries to sound confused, like he’s never even heard the word donut before.

“At the donut place. The girl who runs it, are you into her or something? You always act fucking weird when we’re in there.”

Benny thinks back to all the times they’ve been at Glazy for You, trying to remember his behavior. Did he look at you for too long? Say ‘goodbye’ in a way that sounded like he didn’t want to leave. Benny opens the bottom drawer of his desk and pretends to look for something. 

“I don’t know what you’re talking about.” 

Benny knows he doesn’t sound convincing and Connors must hear it too because he keeps going.

“Really?” Connors sounds incredulous. “You’re always lingering at the counter. She’s always giving you free donuts. Any of this ringing a bell for you?”

Benny can feel Connors staring at him. He closes the desk drawer and goes back to looking at the file on his desk.

“Maybe she likes giving away free donuts. I really couldn’t tell you.”

Connors crumbles a piece of paper into a ball and lobs it at Benny’s head, hitting him just behind the ear. 

“Whatever you say asshole.”

—-

The summer goes by quickly–it’s one of your busier seasons. School is out, the weather is nice–there are day camps, company off-sites, and sleepovers. All the types of occasions where the people in charge don’t want to make breakfast but need to provide it. Benny and the guys come in a few times throughout the summer. It feels a little different from before. Benny doesn’t linger at the counter as much anymore and sometimes one of the other guys pays. It’s stupid little things that you shouldn’t notice, but you do, because they used to be part of your routine. It’s embarrassing thinking you let this crush on Benny become such a big part of your life that you’d notice he didn’t pay last time or the time before that. It’s that embarrassment that makes you start building a wall around that garden in your stomach so the flowers can’t reach your heart.

It’s the end of October when you’re opening up one morning and it registers for you that you haven’t seen Stuart since some time around June or July. His absence gnaws at you. You feel like a bad person for not noticing sooner; that feeling that you failed someone even though they weren’t your responsibility. You don’t know what to do or if there’s anything you actually can do. So when you see Benny a few weeks later it feels like a little bit of a last resort when you ask for his help.

—-

You were hoping that Benny would be the person paying this time when they all came in, so you could mention Stuart without having to pull him aside. But he doesn’t and it makes you a little anxious trying to figure out the best way to talk to him about something serious. So it’s a relief when it looks like he’s going to be the last one to leave. He’s behind Connors and when Connors makes it out the door, you stop Benny who’s close behind.

“Benny, hey. Do you have a second?”

You come out from behind the counter, nervously smoothing the apron tied around your waist in short downward strokes. Benny stops and lets the door go from his hand. You look upset and he hopes it’s not because he’s been acting standoffish lately. Ever since Connors asked about you, he’s been trying his best to act normal–whatever that means–around you. 

“Did Connors’s card get declined again?”

You let out a small laugh, “No. Um, I was actually wondering if you could help me with something.”

Benny steps a little closer to you. You have some powdered sugar on your cheek and he has to stop himself from brushing it off. 

“Yeah, of course. What’s going on?”

“This is probably going to sound weird, or stupid. Maybe both. But there’s this  guy who h—”

Benny cuts you off; his voice is a little rougher, “If someone is bothering you, I’ll take care of it.”

You laugh awkwardly, “Oh no, it’s nothing like that. It’s this guy, Stuart. He usually hangs out around here and I have him come in sometimes for coffee or donuts and I haven’t seen him in…since maybe July, I think? I’m just a little worried.” You pause and try to read Benny’s face to see what he’s thinking, “Sorry, this probably sounds stupid to you. I don’t even know what I’m asking.”

Benny scratches his jaw piecing together what he thinks you’re getting at, “Do you know his last name?”

You notice that Benny’s voice has gone back to the soft tone that you’re used to. He’s looking at you with compassion and not like you’re stupid or some kind of burden. Benny is the kind of person that you would want helping you in a crisis and it makes you wish there were more people like him in his line of work.

“I don’t, but I printed a photo from the security camera I have.” You walk over to the counter and lean over, grabbing the photo from under the register. “I don’t even know if you can do anything with that. I watch a lot of crime shows. Don’t judge me.”

Benny laughs and shakes his head as you hand him the photo.

“I don’t want to get your hopes up, but I’ll see what I can find out.”

“Yeah of course. It’s…I don’t know. I’d feel like a bad person if something were to happen to him and I could have helped.”

Benny feels bad because he knows how these things generally end up. Usually there are no happy endings.

“You can’t put that on yourself.”

You nod your head, “I know, but still, you know?”

Benny understands the feeling and also understands it’s easier to tell someone something isn’t their fault than to know it yourself. 

As Benny leaves you start to feel a bit lighter. Like someone has taken some of your worry, some of your concern and is carrying it for you; so you aren’t so weighed down.

—-

“What was that about?”

Benny is surprised to see Connors waiting for him in the parking lot. 

“Nothing. Well, I guess there’s some guy, homeless, I don’t know. He usually hangs out around here. She hasn’t seen him for a while. She’s worried.”

Connors flicks a cigarette on to the pavement, “Figures she’s one of those bleeding heart types. What did you tell her?”

Benny pats his jacket and then his pants pockets feeling around for a pack of cigarettes, forgetting briefly that he’s trying to quit. Connors pulls his pack from his pocket and tosses them to Benny.

Benny pulls a cigarette out, “I told her I’d look into it.”

Connors laughs and hands Benny a lighter, “Chump.” He waits a beat for Benny to light his cigarette, “But, if you want. We can start looking into it now.”

Benny’s grateful it’s Connors out here and not one of the other guys. Benny and Connors go back further than just Major Crimes and he’s someone Benny would trust with his life.

—-

Benny’s worried that he’s going to have to deliver you bad news. Best case scenario seems like Stuart is in jail. Not great, but it would mean that he’s alive. Worst case scenario is that he can’t find Stuart and that usually doesn’t mean anything good. Benny is suddenly hoping for some kind of miracle for a person he doesn’t even know. 

The photo you gave him does turn out to be useful. Connors is able to find him in the system through facial recognition. Stuart Morton has a record; a few arrests for driving while under the influence and some time in a county jail. Benny is able to get a last known address but it’s over a year old. It’s a sober living house that’s not actually that far from Glazy for You. He doesn’t have much hope that going there will bring him any closer to finding Stuart. 

It takes a couple of weeks, but Benny is finally able to meet with David, the director of the sober living facility. He finds it’s better to meet with people in person. Talking with people over the phone, he’s learned, makes it easier for them to not give you the information you need. David of course is a little guarded at first with Benny; not wanting to share anything that could get Stuart in trouble, which Benny can’t really fault him for. Benny explains the situation, that the owner of a donut shop near here is worried because they haven’t seen him in a while. When Benny mentions your name to David, he lights up.

“Her glazed old fashioneds are the best ones in this entire state.” He pauses and to Benny it looks like he’s getting lost in the memory of a donut, a feeling he knows well. 

“I didn’t realize you two knew each other.” 

David turns away from Benny to look through a drawer in a filing cabinet, “Just this year we got to talking and she’s been generous enough to donate breakfast here every month. And recently she’s been working with us on a job training program at her bakery.” 

Benny thinks back to Connors calling you a ‘bleeding heart’ and is glad he came here by himself. 

“She didn’t mention anything about knowing Stuart lived here.”

David pulls a folder from the cabinet and thumbs through it, “Stuart is the type to not overshare, so that doesn’t surprise me.” He pauses to write something down on a piece of paper and hands it to Benny, “Here. This is his sister Noreen’s information. When he left, he was going to be staying with her for a while. Might still be there.”

Benny barely makes it to his car before calling the number that David gave him. 

—-

“Wait, so you’re saying that Noreen, the Noreen that comes in here, is Stuart’s sister?”

It’s late in the day, near the time that you close up. You and Benny are sitting across from each other at the table near the window. It’s hard to believe what he’s telling you, that Stuart used to be a resident at the sober living facility, the one where David works; that Noreen is Stuart’s sister and somehow all these dots never got connected for you.

“She didn’t realize that you two were,” Benny pauses looking for the right word, “friends. She feels terrible that you didn’t know he had moved out of the state and were worried. She said he’s doing well.”

You’re quiet for a moment, trying to take in everything Benny has been telling  you. It’s a lot to process, considering you had been preparing yourself to hear bad news. You can feel your eyes fuzzy with a few tears and feel a little embarrassed to be getting so emotional over the good news.

“It’s such a relief to know that he’s doing okay.” You feel a tear slide down your cheek and quickly brush it away hoping that Benny didn’t see it.

Benny can tell you’re trying to keep yourself from crying and he wants to tell you that it’s okay, that there wouldn’t be any judgment from him. He has the overwhelming urge to wrap his arms around you, but he knows it would be wildly inappropriate. He feels awkward sitting here, looking around, trying to figure out what he should say.

“I like the Christmas decorations you have up.” It’s lame and he knows it, but it seems better than freaking you out with a hug. You smile at him and that feels reassuring.

“You do?” You look over at Benny, nodding his head, “I know it makes me basic, but I love Christmas. The lights, the decorations, the movies, the music. Expect to see a lot of green and red frosted donuts until December 31st.” 

Benny laughs, “I’m looking forward to it.” He looks at his watch and starts to get up, “I should probably leave, so you can close up.”

You get up and follow Benny to the door, you put your hand on Benny’s forearm to stop him for a second and he feels a little spark through this jacket.

“Thank you, again, for everything.”

“I’m glad I could help. And that everything turned out okay.”

You’re not sure what it is that compels you to hug him, but you do. Maybe it’s the gentleness of his voice, or how he’s looking at you in a way he hasn’t before. It feels intimate and dreamy and it’s hard for you to recall the last time anyone has looked at you like that. It happens so fast that Benny barely has time to register what happened.

It hits him as he’s walking to his car–the delayed feeling of your arms around him. It strikes Benny that maybe there’s a chance you like him, that maybe you’re both kind of stupid and clumsy, and afraid to ask the other one out. There’s the realization that one of you will have to make the first move or it will go on like this forever. That he will see you every few months at your job, that he’ll get a free donut occasionally. It’s not enough for Benny and he knows that he can’t be stupid about this much longer.

—-

It’s the last piss test party of the year–the week before Christmas. The concept is idiotic–sure it made sense at one point when Benny wasn’t wading into the deep end of forty. Going to a cheap hotel to get drunk and high, have sex with women that Nick found God knows where. It was never appealing to Benny but he used to understand the idea of celebrating after your mandatory drug test. Now he usually just sits, drinks a beer or two, and tries to avoid contact with everyone. There’s something especially depressing about it during this time of year.

Benny’s spent the last few days mulling over the best way to ask you out. He regrets not asking you when he was giving you the news about Stuart. Although there’s a part of him that thinks maybe you would have felt obligated to say yes given the circumstances. He thinks about asking you tonight, if they end up there, but he doesn’t want to do it in front of the guys because you might feel obligated then too, maybe even feeling sorry for him and not wanting to embarrass him in front of everyone by saying no. If you say yes, he wants it to be because you actually mean it, he doesn’t want there to be any room for doubt.

His decision is made for him, because when they get to Glazy for You, you aren’t there. Benny can’t remember if there’s ever been a time when you haven’t been there, behind the counter, greeting him warmly. It’s a little bit of a shock to his system to see a middle-aged man in a goofy Christmas sweater in your place. Benny’s good at thinking up doomsday scenarios and imagines one in which you’re trying to avoid him, so you no longer work this early in the morning. But then he thinks of when you hugged him and that even though it was quick, it was like your touch had gone directly to his heart. He doesn’t stay much longer, opting to go home, lay in his bed, and try to figure out what he’s going to do.

—- 

You used to hate working during the holidays. Maybe it’s because you were working for other people and not yourself. Maybe it was because the work you were doing felt unimportant and people expected you to care even when everything else around you was winding down. Five years ago the thought of working on Christmas Eve would have made you want to walk into traffic. Now it feels different, like maybe you’re contributing to the holiday experience versus missing out on it entirely. You’ve always loved Christmas, but Christmas Eve is your favorite day of the year. It just feels more special somehow. There’s anticipation and excitement in the air. It’s possible it’s a product of all the Christmas movies you’ve watched over the years where there’s the idea that anything seems possible on this day. There’s something about the idea of your life changing for the better, surrounded by twinkle lights and ornaments that you find very appealing.

The morning is kind of slow–you spend most of it watching holiday episodes of tv shows on your phone. Around 11am you start cleaning up–taking trays out of cases, boxing up the donuts that are left to drop off at the comic book shop next door. You’re looking forward to going home and laying on the couch the rest of the day, queuing up your standard Christmas Eve movies. You’re ready to watch Scrooged and feel abnormally homesick, but then put on Christmas Vacation and remember why it’s never a good idea to spend Christmas with your entire family.

You’re in the back when you hear the bell on the door jingle, letting you know someone is out front. You consider just staying where you are, pretending no one is here so you can wrap up your day. You don’t want to have to tell anyone that you can’t help them with their donut emergency–getting yelled at on Christmas Eve is not something you’ve prepared yourself for today. So it’s a pleasant surprise when you make your way back out to the front and you see Benny.

“Hey, this is a—hi.” You’re not sure why you’re suddenly unable to put together a decent sentence.

Benny rubs the back of his neck with his hand, “Is this a bad time?”

“No. No, well. I mean, unless you were looking for a few dozen donuts. Then it definitely is.”

Benny smiles, “Actually,  I, um, was,” he pauses and tries to collect himself, he can suddenly feel his heart beating in his ears, “I wanted to ask you out. On a date.” The feeling has spread to his skull.

When he says it, it’s almost like the words traveled through your brain and you can’t comprehend what’s actually happening. Benny, the guy you’ve been harboring your fragile middle school crush on, is here asking you out. It makes little, if any sense to you.

“Are you just trying to get more free donuts?”

Benny shakes his head no, “I promise I’m not.”

You’re quiet as you consider what he’s asked–trying to reprocess the information in your mind so that it makes sense. When all the words are finally in place and you repeat them in your mind, you feel some of those flowers that you’d walled up in your stomach starting to push through the cracks.

“Yeah, okay.” You grab a business card from the counter, write your number on the back, and hand it to Benny.

Benny’s not sure he’s ever heard anything better than yeah, okay in his life, it’s like a bolt of lightning right to his core. He puts the card with your number in the chest pocket of his jacket, the safest place he can think of.

“Great. Amazing.” Benny laughs nervously. “I need to get back to work. I’ll text you.” 

“Okay. Well, have a good Christmas, Benny.” 

“You too.” 

Benny gives his standard small wave as he leaves and you lock the door after him. When he’s out of sight you let out a squeal and excitedly dance in place. Your phone vibrating in your back pocket interrupts you mid-happy dance. 

Hey, it’s Benny. Are you free for dinner on the 27th at 7?

Benny watches dots appear and then disappear on his phone. It feels a little bit like torture as he sits in his truck waiting for you to respond.

 Dinner on the 27th at 7 sounds great

Benny releases a breath he didn’t realize he was holding, Let me think of a place and I’ll text you the address

Sounds good. And you meant Dec 27th right?

Benny laughs to himself, Yes dec 27. I’m not going to wait until jan to take you to dinner

Just making sure 🙂

You read his last text at least ten more times before finally going back into the kitchen like you had intended. Each time you read it, there’s a sensation in your stomach like bricks dissolving and flowers blooming again.

—-

Benny texts you on the morning of the 26th with a restaurant name and an address. You already have the sense that he’s different, the type of person who has follow-through. You try to temper your excitement about dinner with him, not wanting to do that thing you sometimes do where you make something out to be more than it is. You keep telling yourself that it’s just dinner, nothing more. But as you pull up to the restaurant a few minutes late and see Benny standing outside, looking nervous in dark denim and a green flannel, you let yourself think that maybe it could be a little more than just dinner. 

“Sorry I’m a little late, I hope you weren’t waiting long?”

Benny smiles when he sees you standing in front of him, “I just got here a few minutes ago.” 

It’s a lie; the last one he’ll tell tonight; but he doesn’t want you to know that he was so amped up about this evening that he got to the restaurant thirty minutes early. On the way in, when you pass in front of him, your perfume delicately floats by him. It’s earthy, but slightly sweet, with cinnamon and vanilla blending neatly in–he’s sure it’s the most beautiful thing that he’s ever smelled. 

It’s a French restaurant, one that you’ve never been to before, but it’s cozy and still in the Christmas spirit. There are multicolored lights strung up and silver tinsel hanging from the ceiling. 

“Have you been here before?” Looking at Benny from across the table and you can see flecks of silver in his facial hair catching the light of the candle on the table. 

“My sister and her husband had their tenth anniversary party here last year. Most of my restaurant choices come from wherever she has an anniversary party.” 

You laugh, “Nice. Do you just have the one sister?”

Benny has just the one sister, you learn, among other things. You find talking to Benny is easy, he doesn’t give one word answers to questions like some men you’ve gone out with. Where trying to get to know them is like trying to get to know a slab of pavement. He’s funnier than you thought, something that you didn’t expect, but is a nice surprise.

“Did you always want to be a detective?”

Benny butters a piece of bread, “To be honest, the only thing I wanted to be growing up was a magician. I guess I saw one too many David Copperfield specials as a kid.”

You start laughing, “Do you know any magic tricks?”

“Wouldn’t you like to know. What about you?”

“I don’t know any, no.” You shrug jokingly as Benny laughs. “But, yeah, I guess I’m doing what I’ve always wanted to be doing. I’m lucky that things have worked out how they have.” 

Benny’s curious now, “You didn’t always work in a bakery?”

“Nope. I actually used to work in tech. It’s kind of a long story.”

“Well, I’m not in any hurry to end the evening.”

There’s something about Benny that puts you at ease, that makes you comfortable enough to want to open up to him. Something that you would never normally consider doing on a first date. You don’t feel the need to downplay that you made a lot of money when a company you worked for in New York was bought out. He doesn’t flinch when you tell him that the reason you moved to California was because of your now ex-husband. He tells you about his own divorce and for the first time in a long time you don’t feel so unlike yourself on a first date. It doesn’t feel scary telling him that you felt insignificant in your own life because of your work and your marriage. That every conversation with your husband made you feel like a burden.There’s a moment when you start to apologize, out of habit, but he stops you. He smiles when you say that the divorce was the best thing to happen to you because it–and you hate to say it like this–gave you your power back. 

“I always wanted to own my own business and I love donuts, so when the divorce happened, I just said fuck it, and went for it. Just threw myself into it.”

“I’m glad you did, I don’t know where else I’d get an apple fritter that good. And for free.” 

“Yeah, about that.” You smile playfully, “I’m going to have to start charging you before you put me out of business.” 

Benny makes a show of looking at his watch, pretending to want to leave, “I guess we should probably call it an evening then?”

He likes the way you laugh, how it’s kind of loud and fills the room. It makes him feel good, to hear you laugh, to see you smile; like he’s responsible for some bit of happiness you’re experiencing.

“See, I knew this was a scam.”

As the waiter clears the table and they wait for the check, Benny asks you what your favorite donut is. 

You don’t even have to think about it, “Definitely a maple bar.”

Benny watches as your eyes light up, telling him how you first had one when you spent the summer between fifth and sixth grade visiting your aunt in Seattle. He listens to you describe how your mom was, in the nicest terms you can find, an extreme dieter, who tried her best to pass all of her food issues down to you, and never let donuts in the house. But your aunt didn’t care and the first thing she did once she would pick you up from the airport was take you to her favorite bakery. It was the highlight of every summer after that until you graduated high school. It was the first donut you learned how to make because on the east coast they’re hard to find. You laugh when you say the best part of moving to the west coast is that every donut place has maple bars, but you’d like to think that yours are the best. Benny can’t help but think it’s cute.

Benny doesn’t want the night to end; he knows that you took a cab to the restaurant so he offers to drive you home. You try not to sound too eager in accepting his offer, but fail.

“Yeah, I’d love that.”

You ask him if he wants you to put your address into google maps for directions, but he doesn’t need them. Benny spends so much time driving all over the city that he knows every street, every highway, every interstate. The map exists in his head; he can get anywhere without really having to think about it. Benny drives you through some unfamiliar, but beautiful neighborhoods. The homes are still decorated and lit up, it’s like driving through the set of a Christmas movie–the only thing missing is snow.

You ask him more about his job, the guys he works with. You like hearing the stories that Benny has about them. You can tell by the way he talks about him, that he’s closest with Connors. You finally learn everyone’s first names and how Benny got his nickname–which you had previously googled out of curiosity. You ask if it bothers him to be called a drunk.

“Knowing the shit they all get into, not really.”

He says that it doesn’t matter what they call him because he knows that in any situation they’ll have his back and he’ll have theirs. That’s what he cares about.

When he pulls up to your house; a small, one-story home, string lights along the frame and around the windows; it looks exactly like he’d imagined. You both sit quietly for a few minutes unsure what to do next. 

Eventually you unbuckle your seatbelt, “I had a really good time tonight, Benny.”

“Me too. Come on, I’ll walk you to your door.” he looks over at you, “protect and serve, you know.” Benny knows it’s a dumb joke, but you laugh anyway.

When you get to the top of your steps, you find it hard to say goodbye. His face is illuminated by the Christmas lights and you can tell he doesn’t want to say goodbye either. You start to say something, you’re not even sure what, but no words come out because Benny’s mouth is on yours, his hands gently cradling your face. His lips are soft and you can feel the warmth of his tongue asking for permission. You drop your keys onto the porch and pull him closer to you by his belt loops.

It feels like hours have passed when Benny finally pulls away, “Sorry. I’ve been wanting to do that for months.”

You rest your hands on his chest, “Next time,” you gently tug on his shirt collar, “don’t wait so long.”

Benny smiles as he watches you crouch down to pick up the keys you dropped. When you stand back up, he reaches towards your face, his fingers grazing behind your ear, “Hold on, you have something in your—” Benny sweeps his fingers against your hair and when he brings his hand in front of you, he’s holding a small, folded piece of paper. 

You take it from him, unfolding it. When you see the words ‘what are you doing for new years?’ written down you start grinning, “So you do still know some magic tricks.”

Benny places his hand on your neck, his thumb stroking your cheek, “A few.”

[natequarter]

possibly useless writing advice:

learn to punctuate your damn dialogue. i don't care how much you hate semicolons, i don't care whatever else you do, you are punctuating your fucking dialogue. i will eat you if you don't.

use paragraphs. you don't need to know exactly how to use them, just make sure you haven't got a block of text and you separate your paragraphs (especially dialogue!) roughly by topic. it will make your work so much more readable.

only use a thesaurus if you need to use the same word a bunch of times, at least for the initial stages of writing. outside of that, you will simply look like a ponce. or an idiot. so if you're describing a room where everything is a different shade of blue, use a thesaurus. beyond that, unless you've forgotten a word, it's generally pointless. thesauruses are better for editing. not a hard-and-fast rule, but a good idea.

don't delete stuff. save parts you can't use now in a discard document. make sure you have backups of all your work, even the cringe supernatural fanfiction from 2011 or whatever. even if you never write for it again, you may find memories or phrases of value.

rewrite stuff. whenever. getting stuck? delete a thousand words. worst comes to worst, you bring it back.

don't worry about word counts, don't worry about having a daily quota. just write when you feel like it, and occasionally when you don't. it is a good idea to write every day, but if you can't, then don't. there's nothing wrong with that. it's a habit, just like everything else, and no habit is perfectly consistent.

keep track of your narrator. if only one person is narrating your story, they should not know things only other people know. if your narrator is omniscient or you have multiple narrators? fine! but if john is the narrator, he should not know what jane had for breakfast. especially don't slip into jane narrating briefly before snapping back to john. it's weird.

don't describe things your narrator wouldn't think to pick up on. this isn't a hard-and-fast rule, especially if you're introducing something/someone your narrator already knows of, but do you think about the fact that your mate has red hair when you say hi? probably not. your narrator is unlikely to do so, either. however, if it's your narrator's first time on page, you'll probably want to. be sensible about it.

just say said! use said! i don't care what you were taught, use said! nobody will notice. i promise you they will not give a shit. use said.

adverbs are literally fine. the most important thing is to be judicial in your use of them. is someone shouting? then don't speak of them shouting loudly; that's implicit. but is someone smiling, grief-stricken? then they can smile sadly. it's fine. who give a shit.

have fun and bite your enemies! they will be in awe of your brilliant writing skills.

[fiyaerrigan]

zero context WIP tag game

If you’re tagged, make a new post and share 1-2 (a few) sentences from your most recent unposted WIP(s) with zero context – Let your followers guess!

I got tagged by @faejilly and @la-muerta and @demy85! andiamgoingtoanswerallthesetagsinasinglepostbecauseiamlazyokaybyeeeee

Many thamks!!

In celebration of the triple tag, I will do three times the no-context examples I was originally planning to do, I guess? So that means, like, six? Buckle up and prepare for an overuse of em dashes and semicolons; let's GOOOOO!!

1.

"You have been leaving protection charms in my dormitory and hoping I wouldn’t notice. Forgive me if I don’t think it beyond you to portal to Zacatecas unannounced.”

2.

Now it was Papa’s turn to grin, which was uncharacteristic of him, but a welcome change. Papa was often quiet, and even less often did something get him so excited that he’d show the same interest and enthusiasm he did when telling Alec stories—Alec couldn’t judge him for it; sometimes it was so much work to remember to use his face and not his words to tell Mama and Papa how he felt.

3.

“Alec proposed to me with a twisted-up wrapper from Taki's, you know? We'd gone out for lunch, because somehow we were able to get our schedules to match, and we were looking up at the news and we couldn't believe our eyes.”

4.

Pretty boy. Alec laughs—half disbelief and half amusement, because he is neither of those things.

5.

Neither the humans nor Magnus had a word to describe the magical world, but that was nonetheless where he found himself when everything fell to pieces. Perhaps it was the magic that drew him there, or perhaps it was that people cast aside could always find one another in their loneliness.

6.

Clary called it mental health. If Jace hadn’t called it that, too, Alec would still be calling it Mundane bullcrap.

No idea who to tag who probably hasn't been tagged already, but for the sake of just throwing things out there (and hoping you guys haven't been tagged in this already), let's tag @help-me-yes, @stilltoolazy, @stan-of-many, @arialerendeair, and @echo-bleu!(under no pressure ofc) aLSO OBVIOUSLY if you want to do this you can and should, tags or not!!!

poll under the readmore

[ethereousdelirious]

This is an absolute ramble with no real point to it lmao

Recently I sort of became aware of a... I wouldn't even call it a phenomenon, just something I noticed. Cultural difference? In fic writing.

It's about the way people qualify "it hurts." (To be clear, this is not a criticism or a call to change, I'm just intrigued by this difference).

Never in my life have I or would I use the phrase "it hurts so much." But I notice it in fics all the time?

Things I would say:

"It really hurts."

"It hurts it hurts it hurts."

"It hurts so bad/badly."

So I'm curious. Is it a regional thing? Just random? Is one of these options grammatically incorrect? (Not the end of the world, rules are meant to be broken. [See how I just used a comma there when I should have used a semicolon?])

Okay, to put a point on this post, I suppose I'm curious:

Which of the above are you most likely to say or use in a fic? Where are you from? What do other people around you say?

Inquiring sickos want to know

[lulu2992]

Decoding the scripts and secret messages in Rebel Moon

Part 3: Figuring out the Old Imperium script

To try to decode the entire alphabet, I studied the Scribes and Priests’ outfits, Noble’s Bone Staff, but also and mostly the inscription on Kora’s gun, which we know means “My life for hers”:

As I’ve said before, it appears this script uses what resembles opening square brackets as spaces/word separators, but there are three other things we can notice. Firstly, all letters basically consist of either one (I), two (II), or three (III) vertical lines. Secondly, vowels and consonants look different: consonants are just lines while vowels have a rounded shape at their top or bottom. They almost look like either a P or lowercase b with up to two additional (vertical) lines.

The third thing we can observe is that, in each consonant, there is a smaller, horizontal line, and I realized this little line could be located at seven possible heights:

As I was trying to figure out which symbol was which letter, a clear pattern started to appear. It seems Old Imperium follows a logical progression: the first 2 vowels and the first 7 consonants in the alphabet have one vertical line, the next 2 vowels and 7 consonants have two, etc. As for the small horizontal line on consonants, it just gets lower and lower as you move from letter to letter in each “group”. So here is, I believe and if I’m not mistaken, how the script works:

In theory, there’s room for another consonant, “III-7”, after Z, but I don’t know if this symbol exists in the alphabet; I haven’t encountered it.

Below is the part of the bone staff that says “a rocking cradle”. It’s very blurry (sorry, the image is so small), but the logic seems to work!

I found the symbol for double letters on the Scribes and Priests’ clothes (under the 5th letter in the image below). As for the other symbol, it seems to be a question mark on Noble’s Bone Staff (the semicolon looks different there, but I can’t see it very well) and either a semicolon or a period on the outfits, so I’m not sure what it represents. I don’t know if my drawings are 100% accurate either, but this is what I see in the pictures.

Part 4 will be dedicated to the Priests and Scribes because they have a hidden message on them too! Using what I’ve just explained in this post, can you already guess what the 9-letter word above is? Fun fact: either I made a mistake... or they did.

[sailorsplatoon]

I was supposed to be writing but instead I made a punctuation marks tierlist. Here's the link I used so we can all fight about this together.

Reasons for rankings under cut

S-Tier:

Semicolon: The semicolon is an extremely underrated puncuation mark; it is versatile and attracts the readers attention.

Em dash: The em dash can be used similarly to the semicolon— but not in exactly the same manner— in that it can seperate different parts of a sentance while drawing the reader’s attention to whatever it is you are writing.

A-Tier:

Elpsis: A very versatile punciation mark that can be used to convey emotion such as confusion or anxiety, to show that part of a quote has been omitted, and yet again it grabs the reader’s attention... are you starting to see a theme here?

Exclamation point: A classic. It’s hard to go wrong with a puncuation mark that can convey so much emotion. Anger, stress, excitement, happiness, you name it!

Interrobang: Most people don’t actually know what this is called. It can also be written as !? or ?! and is used to convey both a question and an exlamation. How was I not taught this in school!?

B-Tier:

Question mark: It has it’s purpose and is certainly useful, but is slightly overused and can get boring at times. Readers tend to blow right past these, sometimes not even noticing that there was a question asked. It has it’s pros and cons. Can you really hate me for not loving it?

Colon: Useful, but kind of overused. Though, I’m a hypocrite because I’ve been using it through this whole list. (Do I really need an example if the enitre list is an example?)

Quotation marks: Amazing for writing diologue, I love this puncuation mark and I love to write dialogue. But it’s definitely one of the more common ones and can easily be sped past or forgotten entirely because of it. You might be thinking, “But if you love to write dialogue then why rank it so low?” My honest answer would be that I accidentally put it lower on the list, only noticed once I saved the file, and was too lazy to fix it. So now I’ve tried to come up with a valid reason for it to be in B-Tier.

C-Tier:

Comma: Way too overused, a semicolon or an em dash would have worked perfectly and would not have been anywhere near as repetitive.

Apostrophe: Useful for contactions and that’s about it. Not to mention the fact that contractions can be considered unprofessional in certain circumstances.

Brackets: Far inferior to parentheses (which were not on this list for some reason!?) because they can only really be used to explain part of a sentence that isn't present in a direct quotation.

D-Tier:

Heiphen: Be honest, when have you used a heiphen properly that would not have instead called for an en dash or an em dash? Heiphens are a good-for-nothing puncuation mark and I will not be apologizing. 

Slash: Only really useful when saying and/or.

Period: Overussed, basic, mid puncuation mark. I’ll admit that it’s necessary, but it’s basic af.

[heartkaji]

hi mars i love your writing so much 🥺🥺 i’m thinking of starting a blog because of you so do you have any writing tips?

HI BABYYY i’m so glad i could inspire you to start writing i’m so happy to hear that💞💞 here’s a few for you ml 💘

read what you want to write. obviously you have to choose HOW you want to write first. in my case i wanted my writing to be similar to poetry since i love poems. there are diff types of poetry but prose poetry is my favorite so i decided on making my works based on that. once you’ve decided how you wanna write, read as many works as you can that basically embody that.

make it your own : if you’re using another author’s work as inspiration you might end up developing a writing style that’s pretty much identical to theirs. it’s harder to notice in writing so i’ll use art as an example: have you ever seen someone’s art and thought it was by a particular artist, only to find out it was someone else who drew it ? if your work looks like something the author you’re getting inspo from could’ve written, you’re doing it wrong 🙏 if you’re using pinterest or tumblr as inspo sources chances are your inspiration is a small or unpublished writer so you really don’t want your work sounding similar to theirs. making your work a little more unique by mixing inspo from different sources is a great help.

to add more on the last point, try making your own signature phrases !! for example, ppl have told me they know a work is mine once they see phrases like ‘blood drenched cheeks’ (as opposed to blushing or flushed cheeks) ‘blood crept up his throat’ (to show nervousness) etc etc. you can see these exact phrases in almost EVERY fic i’ve ever written. idk about them being entirely unique but if people are associating certain phrases with you, you are definitely on the right path to making a writing style that’s uniquely yours 💯 another thing i do is i use slashes in place of dashes, commas, semicolons etc and ‘&’ instead of ‘and’. it’s used in poetry sometimes but pretty uncommon in fic writing. my use of these symbols in writing has also been pointed out on here so i know i’m doing it right 🙏

decide how you want your works to SOUND. what vibe do you want your writing to give ? i like to write with the intention of making my fics sound ‘melancholically romantic’. i’d say my bakugo fic, kinich drabble and old kaji oneshot are works of mine that do well to capture this vibe. i like my works to have a somewhat ‘gloomy’ air as opposed to bright and happy, and i make the romance on a more steamy side, not innocent and cute at all. decide what tone or vibe you want your work to give off and use language and setting accordingly !!

PROOFREAD. this is really basic advice but i NEED to spell it out because gosh, the amount of fics i see that say ‘not proofread’ on the daily ?? anytime i see that in the authors note i scroll immediately. if you couldn’t put effort into making your fic readable, why would i give it a read ? please anon, use grammarly if you have to. i personally don’t use it because i write things ‘grammatically incorrectly’ for the sake of sounding poetic sometimes so having grammarly trying to correct what is perfectly fine in my eyes can get annoying. that said i reread my fics like ten times before i post, and i reread it at different times as well, not just reading it over and over again in one sitting. having stuff like spelling errors in my fics is just so embarassing to me, i prefer to avoid that at all costs 🙏

lastly, WRITE WHAT YOU LIKE. tumblr sucks when it comes to giving feedback. it makes me miss wattpad where everyone spammed comments but hey what can you do ? don’t let lack of engagement discourage you from writing the way YOU want to. i’ve written fics in really thick prose and some of those don’t get as many reactions, but does it make me consider changing my writing style ? NO. everything i post on here is first for myself before anyone else. it should be the same way for you too nonnie. the moment you become focused on writing what will get you the most likes and reblogs rather than what you actually want to, you become a content creator, not a writer. write as you like and own it ‼️

[pagerunner-j]

All right, all right. This is a bad idea! I've been trying not to cross these streams for a long time! But: fuck it. Who fics ahead!

--

Long story short: I used to write under another pen name. I stopped using it and deleted my old journal after some personal crap, which still makes me feel sad and stupid, and I'd wanted at the time to scrub the slate clean. Some of what's still kicking around under my old username, though, includes stories at whofic.com, which predates AO3 and still exists, doing its Whovian thing.

So after recent fandom flashbacks, I've been rereading my old stuff. Which has been...interesting!

Obligatory disclaimer: oh, god, do I want to edit everything. These date back as far as 2005, and so certain old habits linger, like the fact that I hadn't yet gotten over my torrid love affairs with the semicolon and the ellipsis. I want to fix the occasional dips into overwrought nonsense. I'm also looking at some of the more adult content and thinking, "Okay, that went from 0-60 a wee bit fast. Calm the hell down, self."

BUT: there's also stuff here I like! And about which I'm thinking "crap, I used to be good at this," because I can never leave myself alone!

Anyway, here's a few stories from the "this does not shame me" pile, plus notes:

Gen

Translations (Ten/Rose) Original description: There are some things the TARDIS doesn't translate, and some secrets of the Doctor's left unexplained. Rose is setting out to find out why. 

Probably the best thing of mine on this archive, and one of the most developed narratives. The sneaky, sneaky merchant, whose storyline never quite gets resolved (on purpose), was one of my better ideas. The other was Rose interpreting the TARDIS console's layout as looking like a Gallifreyan word. And, for that matter, Rose's name looking like an actual flower. Thank you, DW designers, for a completely impractical but extremely cool-looking written language. Also, the fact that the marketplace has thirteen floors, and they were on the tenth? Yeah, yeah, that was on the nose. I note that since then, the showrunners have thrown the Doctor's thirteen-regenerations limit out the window, for perfectly understandable reasons, but it was still kicking around at the time.

Roundabout (Nine/Rose) Original description: Time and possibilities keep turning. an exploration of the Doctor and Rose's relationship throughout the series. Spoilers for all [first season] episodes.

The other one that I'd file under "hey, you wrote a story! And it's not bad! Good job, self!" file. I really loved Nine and Rose, and I went to town with it here. I also got completely self-indulgent in a few places. As one does. The scene at the club is my favorite on that account. This quip of Jack's to the Doctor was, among other things, a sidelong nod to a few of my feelings about American polarization, and believe me, It's worse now: "It's Saturday night. We're in one of the last great cities of post-Dissolution America. And the most handsome man in the club has just bought you an Electric Comet. Do yourself a favor. Get drunk." Also, the reason Rose thinks she knows the music that's playing is that it's 110% a quote from a Billie Piper song. I don't think anybody ever noticed, but it's there.

Outgeniused (or: How to Get Fired From the Apple Store in Three Easy Steps) (Ten, OC) Original description: Kate Stowe's seen a lot of strange problems come up at the Genius Bar, but this one qualifies as the strangest she's seen yet. Presenting a bit of shameless insanity, featuring the Doctor, a race of aliens with quite inconvenient taste, and several unorthodox ways to break your iPod's warranty. (In other words: crackfic ahead!)

I really wasn't kidding about that last line. This one is unabashed ridiculousness, inspired by your author doing a seasonal stint in Apple retail that left a goddamn mark. Sadly, the Doctor never swung by my store. A lot of real-life tidbits did make their way into this story, though. And despite all odds, it's got a plot! Fun facts (for nerds): the product line was accurate as of the time I wrote this. The iPod shuffle disclaimer I was talking about? That was absolutely a thing. And my favorite line is still the Doctor apologizing for not getting AppleCare, because I had to pitch that to so many people. I have never once bought it for myself. No regrets. Don't tell Tim. Also, apparently the UK really has gone all-in on Black Friday since I wrote this. I have to ask: why? Why must you import the worst of our capitalistic excesses? You really didn't have to! Le sigh.

The Naughty Bits

A Matter of Timing (Ten/Rose) Original description: In matters of love, sex and the technicalities thereof, somebody better be thinking ahead. Rose/Ten, post-Journey's End.

Short, sweet, and silly. This one's about Rose and the clone of Ten off in their parallel universe, and exists for the sake of the conversation they're having, which is in part about the mechanics of that whole cloning thing. Although it's mostly about the sex. Which they are absolutely and enthusiastically having the whole damn time. ("Haven't ever seen that on a clock" is still my favorite line.)

Slightly Psychic Confessions (Nine/Rose/Jack) Original description: Getting caught with slightly psychic paper in one's hands can be a dangerous thing indeed.

Like it says on the tin. 90% of the reason this was written was so I could play with the props, and the dialogue (both spoken and psychically transcribed) is the part I most enjoy, although I've been told the rest of it's pretty okay too. ...yes, the rest of it is a threesome. Stop looking at me like that.

Selfish Dreams (Ten/Rose) Original description: Wherein solutions to lingering nightmares lead to a different sort of sleeplessness. Slightly spoilery through "The Satan Pit."

Sometimes I get creepy, even with characters I love and will ship forever. This one was mostly me thinking through some of the...potentially fraught...implications of Ten's psychic abilities, and is one of my "I guess I'm preoccupied with nightmares and dreams, because I'm gonna come back to that in a few different ways" stories in this archive. Anyway, none of what they're up to here is what I'd consider a good idea. At least Rose enjoyed herself, though.

Forgetting the Nightmare (Nine/Jack) Original description: In which neither the Doctor nor Jack can get any sleep, but for very different reasons.

As I was saying. This is about a plot point from the show I'd forgotten about since writing this: Jack's two years of missing memory. (So, yes, apparently mine's missing too. It's been A LONG TIME, okay?) He's having some issues coming to terms with that. So how do I decide to have them address it? Boinking on the TARDIS floor, apparently. ...ahem. Anyway, as is the case with a lot of the shit I wrote, it's a little emotionally messy. It also hints at a few things that are still very much up for interpretation. Less in need of puzzling out is that yes, the two lost years are represented by the two burned-out lights on the console they're trying to fix, because I am occasionally as subtle as a brick.

Beyond Locked Doors (Ten/Reinette) Original description: A glimpse into Reinette's memories and dreams throughout the events of "The Girl in the Fireplace."

Yeah, this is one of those that dips into being overwrought, and yes, my inner editor is bitching at me about sacrificing clarity in the process. But writing from Reinette's POV was a fun exercise. It's a very different flavor from everything else here. Also, just to get this stated, you still can't tell me that the "dance with me" line in the show and those two disappearing off screen together wasn't also Moffat being subtle as a brick with his metaphors, so I still feel justified in writing this one. The (implied) sex was canon and I will die on that hill.

So Brief, In Bloom (Ten/Reinette) Original description: Wherein the Doctor thinks of other ways this could have gone.

And now...things go south. I'm pretty sure I'm the only weirdo who cared about this story. It is, let's be fair, also weird. This is about Ten being haunted by the idea of what might have happened if he did get Reinette to come along with him, and what the ramifications of that change might be. Not overtly stated, but it's there, is that in this alternate timeline, Rose didn't take well to this idea, and eventually left. The result is some Seriously Conflicted Feelings. And some ill-advised attempts at banishing them. I once got a comment on my old journal from somebody who didn't understand the last line. it's oblique on purpose, and you're invited to imagine your own version, but what was going on in my head was that back in the actual timeline, Ten absolutely had his way with Rose against that very same wall to try to scrub the idea of the other timeline out of his head. Considering that the wayward strand of hair he found could have belonged to either her or Reinette, though? It...didn't exactly help.

A Laugh Like Thunder (The Master/Lucy) Original description: The Master and Lucy on the eve of destruction, thinking of what's to come. (Spoilers through "The Sound of Drums.")

I'm including this here solely because I'd forgotten about it until I trawled back through my archive, and was thus smacked upside the head with the facts that A: it existed at all, B: this thing went places, and C: I started it off with, "On the eve of destruction, the Prime Minister tied his wife to the bedposts and began to think of another man." Go off, self.