#the point where this book really started to make sense was the scene with the wolves

[fictionadventurer]

By the Shores of Silver Lake was my least favorite Little House book as a kid, and upon starting the reread, I could see why. Earlier books had Laura as a child observer--not engaging in or totally understanding the wider world of the adults, but still engrossed in the simple joys of childhood. In this book, Laura is neither child nor adult--she's too old to play like a child, but she's too young to take an active part in adult life, so she's stuck in this awkward middle ground.

Yet as the book went on, I started to see that that was the point. This book is about growing up, about being on the brink of adulthood and trying to hold onto childhood while also becoming someone new. Laura's growing-up is paralleled with the "growing up" of the country around her. Both the old and the new ways of life have their benefits and their downsides, and Laura has to figure out how to hold onto the best of both.

The prairie is beautiful, wondrous, free. Laura would love to just roam forever, always traveling west, always seeing new places. She doesn't want to marry, doesn't want to teach school, doesn't want anything to change about her way of life. But one can't stay a child forever. Eventually, the infinite possibility of childhood has to turn into the definite identity of adulthood. She has to take responsibility and settle down. The arrival of the town brings that adult life to the prairie, and in doing so, it destroys the innocent wonders of nature--the majestic wolves lose their home, the buffalo are gone, and the ducks no longer land at Silver Lake. Laura has to wrestle with this--is childhood, for herself and the prairie, gone forever? Does she have to let go of childlike wonder and embrace the mundane responsibility of adult life?

This theme is resolved when Laura finds Grace in the buffalo wallow. It's a place of impossible magic and beauty, a carpet of fragrant violets hidden away from the world with butterflies flying overhead, so perfect it seems like a fairyland. Of course Grace, the innocent child, is the one who was able to find it. When Laura asks Pa about it later, he explains that the "fairies" that made this magical ring were buffalo. There's a mundane explanation for the phenomenon, but that doesn't destroy the wonder and beauty of the place--adult knowledge enhances, rather than destroys childlike wonder. The buffalo might be gone, but there's still beauty left behind. Laura can move forward into the future and know that there are still wonders to find. She can be an adult and still maintain a childlike wonder, can take responsibility and still find comfort in the safety of home and family.

This thematic resonance made so much about the book so much deeper. It's the message of the entire series distilled into story form. Remember the past, children, but go forth boldly into the future. It's a message much easier to see with an adult's eyes, so I'm so glad I gave this book another chance.

[transannabeth]

hi. for people who saw gatsby: an american myth. do you remember mckee asking nick for lunch. and then gatsby in like the next scene inviting nick for lunch. because i remember.

[szkicel]

so like 2 days ago I finally read one of the comics I bought blind a while ago with comics that I was actually looking for.

anyway Rat Queens is just mid, if not below average. I wrote a rant/review about it but before i finished it I realised this title is just not worth it lmao

After I read it I only wanted to start reading Dungeon Meshi so I can read sth actually good tbh and maybe i’ll sit down to do it today kjhkjh

[not-neverland06]

you're not her

The 'Worst' Logan x fem!mutant!reader

a/n: really wanted to write for the worst logan so I found a streaming site so I could finally watch the new Deadpool movie (yay pirating) (this is totally hypothetical and a joke to the feds lurking) I was going to just read the wiki plot but I don’t think that was going to cut it Again, using the same superhero name/powers. It’s not an OC I swear, it just makes sense in comic book movies to have some alternate name and I’m not creative enough to come up with multiple different supe names. Summary: You hate him, you really fucking hate him at first. He’s cruel and constantly reminds you that you’ll never be the hero he knew. You’re not her and he’s made that abundantly clear. But what are you supposed to do when he’s suddenly your new roommate and you have no choice but to wake up to his face every day? I feel sad because I don’t think I did the angst justice with this one. But if I keep staring at it trying to fix it, then I’m never going to post it. (This is a long one guys) Angst with a happy ending (because I’m a little bitch) Makeout scenes and smut towards the very end 18+ MDNI

You don’t know how you got here, but you know you’re mad at whoever dragged you into this shit. You don’t think it would be wild to assume it was Wade’s fault. Usually, when something goes wrong in your life it’s on him. 

What you do know; you look like shit. Wade and Wolverine are both standing over you in their awesome ass uniforms and you’re still in your fucking pajamas. How are you supposed to be badass and save the world in pants that have Spiderman’s face plastered all over them?

“I’m gonna fucking kill you, Wade,” you growl at him. 

He places his hand daintily on his chest and waves you off, “Save that for the bedroom, pookie.”

You grit your teeth and glare up at him, Wolverine gives him a similarly disgusted look. “Fuckin’ ridiculous,” you grumble under your breath. You get to your feet and brush yourself off, finally looking around and taking in wherever the fuck he’s dragged you. “Where are we?”

“The void,” Wade responds, voice ridiculously dramatic. You look around and throw your hands up in defeat. 

“What the fuck, Wade? Why did you drag me with you into this?” You look over at the Wolverine beside him. He hasn’t stopped glaring at you both and his claws are out, clearly ready to just eviscerate you. “Who the fuck is this?”

“Okay, wow, language, Flux. I’m disappointed in you.”

“Eat me-”

You’re cut off by the knock-off Wolverine standing a few feet behind you both. “Flux?” He demands, voice so low you almost can’t hear him. Both you and Wade’s heads whip around to face him. Thus far he’s been relatively silent, you nearly started to wonder if he was mute. 

“It’s her X-Man name,” Wade tells him, gushing like it’s some big deal. “Impressive, huh?” You don’t bother correcting him that it was your X-Men name. Can’t exactly call yourself that if they booted you off the team for being a crappy superhero. 

Logan snorts and shakes his head. He stalks towards you and you nearly fall over in your attempt to scramble back from him. “You,” he demands, claws pointed at you threateningly. “You’re Flux?”

Wade hisses, watching as Logan swipes out at you. “Alright, peanut, let’s put the claws away and take a deep grounding breath.”

“Shut the fuck up,” Logan snaps at Wade. He turns to glare at him and you take the opportunity to scramble behind your friend for protection. At least if he gets stabbed, he’ll heal. “You,” he scoffs and it trails off into a laugh. There’s no humor behind it, he's just a dick. “You are a fucking joke compared to my Flux.”

The ground underneath you rattles, pebbles bouncing off the cracked desert and ricocheting off their boots. Wade quickly moves away from you, shoving you forward so he’s not in the line of fire. “Yeah, well you’re just an alcoholic fuck who could never hold a candle to my Logan.” 

You can feel energy brewing at the tips of your fingers, waves, and waves of hate building up within you. The man across from you feels the shift, the static suddenly permeating the air around you both. You let your power build and build…

The pebbles drop back to the ground and you stumble back from Logan, nose bleeding from overextending yourself. “Shit,” you mutter, wiping at your face with the back of your hand and shaking your head. 

Logan laughs again, it echoes through the stormy sky and you wish you had any control over your powers so you could just send him flying. Or, better yet, turn his bones into liquid and flip him inside out. “Oh,” he lets out a long exhale, glaring at both of you. “This is fuckin’ ridiculous.” The faux smile drops from his face and he raises his voice just loud enough to make you jump, “Just one big fuckin’ joke!”

You have about five seconds to dive to the side before Logan is lunging at Wade. “Wait, wait, wait we can talk about this!” Wade shouts, but it’s too late, he’s already on the ground getting his head caved in. 

You let out a rough sigh, stumbling off to the side. You’re drained from that shitshow of powers. You barely made a few rocks levitate and you feel like you’re going to pass out. You walk away from the two men and throw yourself on the ground, trying to reorient yourself while they fight like wild animals. 

You can hear them in the background, stabbing and shooting like they’re aiming to kill. Too bad neither of them can die. It’d save you a hell of a headache.  They run past you, Logan’s got his claws buried in Wade’s gut while Wade’s desperately firing off his gun into Logan’s chest. 

Your head rolls weakly to the side and you mutter out a pathetic, “No, stop. Don’t kill each other.” As expected, neither of them listens to you. They keep fighting, showing no signs of stopping. 

There’s a moment of silence after about ten minutes of nothing but grunts and insults. You peak your head up in interest. Logan got his claws posed over Wade’s throat. You wonder if decapitation would actually kill him or if he’d somehow manage to survive that. 

Wade doesn’t seem interested in testing out the theory, “They can fix it!” Wade shouts, “They can fix your timeline. I just need your help saving mine.”

Your eyes widen and you meet Wade’s masked gaze over Logan’s shoulders. The white slits widen and he minutely shakes his head, telling you not to say anything. Like, maybe, that neither of you has any fucking clue if the TVA is capable of even fixing timelines like that. 

You know Wade is desperate when he makes that promise. It’s the only reason he would say something so stupid. It’s a blatant lie, one pulled so far out of Wade’s ass you’re genuinely surprised that Logan can’t smell the bullshit. Whatever happened in his universe must have been horrible for him to ever believe anything that comes out of any Deadpool’s mouth. 

It’s a long moment before Logan finally pulls his claws out of Wade. Your friend slumps forward in relief as Logan stalks away from him. You glare at Wade from where you are on the ground, “That was fucking stupid,” you snipe at him. He gets to his feet, walks over to you, and forcefully yanks you to your feet. 

“Not a goddamn word,” he warns, but you aren’t exactly threatened by him when he's got three holes in his head from Logan’s claws. Still, you hold your hands up and acquiesce, following after him as he chases down Logan. 

Your mind is still fuzzy when you are captured by Cassandra. You're recovering from overextending yourself, eyes blurring and limbs going limp like jello when her army of henchmen circle you all. 

You finally feel yourself starting to come back to your body when you wake up tied to Johnny. “And,” Wade draws the word out, waiting until you lift your head to finish, “there she is! Happy you could join us, princess. Mind turning these ropes into dust for me?”

You groan and let your head slump onto Johnny’s shoulder. He smirks and glances down at you. “Oh fuck off, both of you. I can’t do shit right now and you know it, Wade, I’m drained.” 

Logan is glaring at you, but there’s less hate in his glare and more confusion now. “Can you do anything?”

You narrow your eyes at him, lips screwed up while you try to decide if he’s being an asshole or genuine. “Hard of hearing or something old man? I’m drained,” you reiterate, your tone a little too bitchy. 

Logan narrows his eyes, grunting something foul under his breath. Wade interferes before you can piss each other off anymore. “She had an accident, her brain’s a little broken now. But it’s fine! Whose isn’t?”

You huff and throw yourself back against the cage you’re all being transported in. You feel eyes on the side of your head and slowly look over to see Johnny grinning at you. “Hey, you know I’ve met one of your variants-”

“Don’t give a fuck,” you interrupt. You hear Wade snicker under his mask, giving you an encouraging thumbs up even with his hands bound. You were both a little disappointed it wasn’t Captain America lurking under that cloak. But at least this guy isn’t such a prude he won’t cuss. 

For the next five minutes, you’re on the receiving end of a very enthusiastically vulgar rant about just what a cunt Cassandra Nova is. He’s still not even finished by the time you reach the gates to her lair.

Your eyes widen when you see all the people lurking around the walls. Most of them you recognize as people you’ve put away or killed in your world. But there’s something just minutely different about them than the version you faced in your timeline. Their eye color or outfit is always just slightly off. 

The familiar faces are almost a relief. But there is nothing comforting about knowing you're outnumbered two hundred to four. The cage is tipped over and you go rolling out, you grunt as Johnny’s elbow digs into your ribs. 

Before you can even attempt to shove him off, the ropes are whipped off of you and you’re dragged by an invisible force across the ground. Rocks and sand scrape across your tender skin and bury themselves deep in your pores. You hiss in pain when you finally come to a stop and your body is your own again. 

A groan slips through your parted lips unbidden as you struggle onto your knees. Your pajamas are ripped practically everywhere and you feel like you might as well be naked at this point. You really wished that you at least had a chance to change before you were kidnapped to another universe. 

The woman you presume to be Cassandra Nova is currently fucking Wade’s skull with her freakish telepathy fingers. Johnny’s a pile of guts and bones on the floor and you have no fucking clue where she flung Logan to. 

You get to your feet, shaking your head and reorienting yourself. In a second she’s in front of you, head tilted to the side while she regards you curiously. “Woah,” you jump back, glaring at her outstretched hand. 

“Careful,” Wade warns her breathlessly, still clutching his head. “Flux here has a pathological fear of bald people.”

You nod, “It’s true, you can imagine how strained my relationship with your brother was.” Cassandra circles you, a devious tilt to her lips. Your eyes track her, unwilling to take your gaze off her for even a second. You feel like a rabbit, facing down a fox that’s made its way into your burrow. 

“Curious,” she mutters. “I’ve seen quite a few of you down here before. But,” she chuckles and before you can move her hand is shoving its way into your brain. You scream, there’s an agonizing burn as her fingers probe under your eyes and dig through the deepest part of your subconscious. It feels like someone’s taking a shovel and ripping up your worst traumas. “None of them have been so weak.”

Wonderful, even she wants to insult you. You can feel the way she’s plucking through your thoughts, tossing aside the ones she doesn’t like. Images of your childhood are flashing across your vision. You can no longer see the world around you, it’s like every one of your worst memories is being played on a projector. 

“Ah,” she clicks her tongue and jerks your neck around until you’re looking at something you’ve tried to forget for years. “Here it is. How easy it would be for me to simply unblock those powers of yours.” She smiles, her face appearing before you and blocking out the bloodshed. “It would make this far more entertaining for me, what do you say?”

Your teeth are clenched so tightly you’re surprised they haven’t cracked yet. It’s hard to get the words out when her fingers are still dancing through your skull. “Fuck you,” you finally spit out. She releases you suddenly, and you surge forward with a gasp, clutching at your skull desperately. 

You half expect your brains to begin leaking from your nose and eyes. But nothing happens, despite feeling incredibly violated, everything is still in its proper place. Cassandra walks past you like everything is fine and dandy in the world. “Well, as much as I would love to see those powers of yours in action again, Flux, I’m afraid Alioth must eat.”

Before you can ask what she's talking about there’s a loud rumble. Like thunder cracking through the sky and land, the ground underneath you shakes. Cracks form under your feet and the henchmen around you all start desperately racing for cover. 

You turn around, staring wide-eyed at the purple cloud of death and destruction steadily moving across the sky. A face breaks through the clouds, grinning down at you. Purple lightning hits the ground and the villain next to you explodes into nothing but dust. 

“Shit!” You shout, turning around and running to try and avoid getting zapped up next. There’s no coming back from this one. Once this monster gets you, not even god could save you. 

Suddenly, an arm wraps around your waist, lifting you off your feet. “No time for consent, we’ve got to get the fuck outta here!” Wade shouts in your ear. Logan is standing next to some robot leg, ripping out cords until a jet on the back fires up. Wade leaps onto the boot, wrapping an arm around Logan’s legs as you’re all shot into the sky. 

You’d scream if you weren’t trying not to throw up. You hurtle through the sky at speeds that have your skin nearly ripping off your skull. The rocket on the back of the leg starts to sputter out. The flames flickering out and then back to life. It steadily begins to drop until you’re plummeting headfirst towards the ground. 

Wade wraps himself around you, tossing himself off the boot so he can brace your fall. You hear and feel nearly all of his bones break under your weight. For a moment it feels like you’re laying on warm jello as you try and catch your breath. 

“Nailed it,” he mutters weakly. You’re pretty sure he can’t breathe, a rib having pierced his lung in the fall. A shadow looms over you and you glance up to find Logan glaring down at you. You stare at him apprehensively, half expecting him to unsheathe his claws and just end you right here. 

Instead, to your surprise, he holds a hand out. You look at it with suspicion, glaring back up at him. “Fucks sake,” he mutters. He reaches down, roughly grabbing your hand and jerking you to your feet. You feel the warmth of Wade’s blood on your back and grimace. 

“Thanks,” you mutter, still not entirely trusting of him. 

He purses his lips into a thin line, backing awkwardly away from you. He just nods and starts surveying the land around you. It feels less like trying to figure out where you all landed and more like awkwardly avoiding eye contact. 

The whole interaction leaves you feeling odd. “Well, that was as awkward as two virgins on prom night,” Wade loudly announces as he jumps to his feet. You whip around and send him a dirty look but his attention has already been snagged by something else. Lately, you’ve been considering grounding up Adderall and slipping it into his breakfast, you think it might do him some good. 

What’s got to be the fugliest dog you’ve ever seen in your life bounds towards Wade. He drops to his knees, ripping off his mask and opening his arms wide to the mutt. You grimace, taking a step back when she starts licking his face. “Oh, that’s just wrong.”

Thankfully dogless, you steal Nicepool’s Honda Odyssey - much to Wade’s chagrin. Logan’s in the front seat, Wade beside him. You’re sitting in the back, rubbing your temples and trying to get rid of the raging migraine you’ve had since Cassandra finger blasted your brain. 

You’ve been zoning in and out of the conversation happening in the front seat of the car. But Logan suddenly slams on the brakes and you go hurtling forward. Without even looking at you, both their arms shoot out, blocking you from flying through the windshield. 

Your face scrunches up as you look at both their arms, it feels like being saved by an overbearing soccer mom. “Buckle up, princess,” Wade tells you. He shoves you back into your seat and you look between the two men suspiciously. 

“Did you just say if?” Logan growls, glaring at Wade. Your face drops, finally realizing what you’d missed. 

Wade lets out a weak chuckle, “Slip of the tongue?” Logan growls and the claws come out. Wade raises his hands, “Okay, let’s put a brake on the crazy train. I wasn’t lying it was just an educated,” for the first time in your friendship Wade is actually speechless. You’re shocked by the silence. Until, of course, he runs his mouth again and comes up with the lamest cop-out you’ve ever heard. “It was an educated wish that they could fix your timeline, alright?”

Logan doesn’t give much of a warning except a low growl before he shoves his claws deep into Wade’s thigh. “You motherfucker!”

“Hey!” You shout, jumping forward and ripping Logan’s claws out of Wade’s leg. “Look, we’re trying to save our whole fucking universe. Can you blame him for lying?” You regret opening your mouth pretty much immediately. 

You should have just stayed out of this, it wasn’t any of your business. And if they wanted to be two dumbasses and fucking tear each other apart then so be it. But you never should have drawn attention to yourself. 

“Shut the fuck up,” Logan shouts at you. It’s so startling, coming from him. You’re still associating him with the man you’d looked up to growing up. Your Wolverine was a hero. He was the reason you wanted to be an X-Man. And they look exactly the same, it’s nearly impossible for you to separate this one from the one you knew. 

But it's easier now. Because the man you’d known would never be so cruel and jaded to the world. Not like this. “Why the fuck are you even here? You’re just some watered-down knockoff of a real hero. You are nothing, you’re worth nothing. It’s a fucking joke that you’re alive and the woman I knew is buried six feet deep. If there was anything right in the world you would be in a grave somewhere crawling with maggots.”

Your eyes water without your permission. You don’t know this man. Yet, he has the face of your greatest hero and the man who you’d grown up hearing stories about. It’s like facing everything you’ve ever wanted to be and having it shout your deepest fears and insecurities back at you. He’s just confirming something you’ve known for years. You never deserved the title of being an X-Man. You never deserved the uniform or anything that came with it. 

Your breaths are coming short and fast, it feels like your lungs are constricting. You worry you won’t be able to get air in but he doesn’t care. No, he keeps going. “You follow this fucking clown around and you contribute nothing to the world. You’re never gonna save your fucking timeline. You can’t even make a few rocks float.” It’s not the words that hurt you next. It’s the way he says it. “You’re pathetic.”

He spits them at you. There’s venom lacing his tone like he’s seen into you and knows there’s nothing in you to offer. For the first time in a long time, you feel seen and you hate it. Because he’s looking past the sarcasm and the faux confidence you carry yourself with. 

He sees the empty husk of a woman you truly are and he’s forcing you to face it with him. It causes you physical pain, to know that everything you’ve ever feared about yourself is true. You don’t have anything to say to him, you can’t. 

Your lips tremble and you feel so fucking small. You can hear your parent's voices in your head, screaming at you and wishing you were never born. They’d rather have a stillborn than a fucked up mutant for a daughter. You see the way even other kids at the school would hide from you. You were made wrong, even as a mutant you were never truly accepted. 

Logan’s face drops ever so slightly at the prolonged silence in the car. Even Wade isn’t speaking, he’s just staring at you both. “I,” he starts, but Wade cuts him off. 

“I’m gonna hurt you now.” Wade’s never been one to let people run over you, even when you might just let yourself fall into the background. You shouldn’t be surprised when he draws a knife and stabs it into Logan’s throat. 

But the arterial spray that follows catches you off guard and suddenly your tears are dried. Instead, you’re throwing open the car door and diving out before one of them crushes you. You make it out of the car just in time, Logan having thrown Wade right where you had been sitting. 

Music starts up in the car as a result of their fighting. Divorced dad rock and the sounds of their, borderline, sexual grunting are your soundtrack for the rest of the night. You curl up at the base of a tree, waiting for them to be done with each other. 

Logan’s words continue to echo through your head. And the longer you linger on what he said the angrier you get. Not necessarily at him, but at yourself. You’ve let yourself linger in self-pity and wallow in regret for so long. 

You look in the mirror and you no longer recognize yourself. He’s right, as much as you hate to admit it, you’re a fucking joke. You toss your head back, slamming it against the trunk of the tree hard enough for it to hurt. 

There’s this manic, cloying feeling tugging at your chest. It’s like someone’s sitting on your ribs, crushing you until you can’t breathe anymore. You keep throwing your head back, letting the pain distract you until you feel warm blood leaking down the back of your scalp. 

“Shit,” you hiss, hand coming up to cradle the back of your skull. You wince when you feel the split in your skin. The blood leaks over the tips of your fingers, running through the cracks of your palm. 

You force yourself to relax, to move your head away from the tree. As you go to stand up, possibly to get Wade and Logan to quit their fighting, you notice something odd. The air around you is still, you can no longer hear them grunting or groaning as they rock the Honda. 

Leaves are suspended in the air. They’re not trembling from the breeze, they’re completely frozen. You take a step forward and gasp when you hit something solid. The air in front of you has solidified somehow. 

The realization dawns on you slowly but surely. This is you, you’ve done this. Manipulated everything around you on an atomic level. You’ve turned something you shouldn’t be able to feel into something you can touch. Frozen the world around you. Whatever Cassandra had done inside your head, it had knocked something loose. 

You haven’t had this wide a range of control for years. Any attempt to do something like this has been met with nosebleeds and long periods of blacking out. Elation fills you, the hurt from earlier is nearly gone. 

You glance through the wall of air and try to see if you can still see the Odyssey. To your horror, it’s gone. You wave your hands and the air returns to normal. The leaves drift back to the forest floor and you run back to where you’d left the two men. 

There are tire tracks dug deep into the mud. You know Wade wouldn’t willingly leave you behind, not here. You don’t know if Logan’s just kidnapped him or if someone else has. Whoever was driving was clearly in a rush to get out of here. 

You must have missed it all while you were having your meltdown. “Fuck,” you shout, your voice echoing into the branches above. You take in a deep breath and start walking. Hopefully, you can catch up to them before whoever has them does serious damage. 

You make it to a weird cave/hideout area. The Odyssey is parked outside and when you peek through the broken windows you find the interior completely destroyed. There’s blood soaking through every surface, anything and everything has been smashed and bent the wrong way. 

You don’t even know if this is from Wade and Logan or whoever had snatched them. Shaking your head you back up and slink towards the entrance of the den. You can hear shouting inside, it sounds like Wade, but you can’t make out what he’s saying. 

You haven’t seen action for a long time. At least not any that you could actually contribute to. It feels a bit like riding a bike. You’d practiced on your way here, making things around you float or eradicating a few trees into nothing but dust in the wind. But this is different. 

Your friend (and Logan) are inside, possibly being tortured. Maybe even dead. Though, you seriously doubt the universe is going to be that nice to you. You let the energy build in your arms, it’s like a warm tingling feeling. It shoots down to the palms of your hands until you feel static in the air. 

You take a step inside and spot three people. Each of them is decked out in weapons. One of them turns and spots you. “Who is-” 

You don’t let him finish, throwing your hands out and slamming them all into the wall so hard the whole interior shakes. Dirt rains down from the ceilings while their faces contort in pain. You run inside, spotting Logan and Wade. 

You shoot Wade a big grin but he throws his hands up and shouts, “Read the fucking room!” Your brows furrow and he points emphatically at the people you’re holding, “Good guys!”

“Oh shit,” you release them immediately, a guilty look on your face. “I am so sorry.” Logan cackles in the back, doubled over laughing while the three people in front of you brush themselves off. 

You don’t want to be out here with him, but it’s better than being in that cave with the others. Laura walks past you, sending you an uneasy smile. You’d noticed her sitting beside Logan and decided they probably needed a few moments to themselves. 

They were finished now, though, and he had the only bottle of liquor left in the cave with him. You trudge over to him, leaves crunching under your boots. Elektra, after that horrific introduction, had given you a uniform a different Flux had left behind. 

She was long gone, killed by Cassandra years ago, but she’d conveniently been your exact size. The uniform is nearly identical to the one you have buried under your bed. Black leather with a dark purple X going across your chest and matching purple seams. You’d never wanted something ridiculously flashy. Just something that people would see and associate with the X-Men. 

Because that’s all you’d ever wanted to be; a hero. It feels like a pipe dream now. If your pajamas weren’t so destroyed you would have just stayed in them. You don’t feel like you deserve this uniform, not when the woman who’d worn it before you had actually been a hero in her timeline. 

“Don’t want company,” Logan snarks, without even looking back to see who’s coming up to him.

You take a seat on the lawn chair closest to him and snatch the bottle of whiskey from his hands. “Good,” you tilt your head back, downing as much as possible. It burns the whole way and you revel in the slight tickle in the back of your throat. 

“Alright,” Logan mutters. He gently takes the bottle back from you, giving you an aggrieved look when he sees just how much you’ve stolen. He looks back into the fire and sighs, “Look, I’m not interested in hearing about your sob story or why you’re suddenly drinking all my liquor-”

“Gambit’s liquor,” you interrupt, not bothering to look at him. “And I’m not looking to dump my sob story on your lap. I just want to sit in silence and that’s impossible because Wade hasn’t stopped running his mouth since we got here.”

He looks a little surprised by the brusque way you dismiss him, “Alright,” he mutters. He takes another swig from the bottle and you both stare silently into the fire. It’s like that for a while, you don’t bother keeping track of time. 

All you hear is the crackling of the flames. All you can feel is the way your eyes burn from staring into the fire and watching sparks pop off the logs for too long. The breeze rustles the trees, makes the leaves shake free and dance around the logs of the fire. 

He breaks the silence first, to your chagrin. “About what I said,” he clears his throat uncomfortably, still refusing to look at you, “back in the car.”

“Don’t,” you snap, voice low. “Just,” you let out a long breath and shake your head. You finally look over and meet his eyes. He does actually look sorry, but you don’t want to hear it. “Just don’t, I deserved it all right.”

“No, no you didn’t.” You open your mouth to argue but he gives you a firm look that has your jaw snapping shut. “I was wrong, I don’t know you. And if my Flux had ever heard me talking to you like that she would have melted my fucking spine.” He laughs a little and you feel your lips twitch up slightly. It’s the first time you’ve seen him look anything but angry. 

Curiosity loosens your tongue and knocks you out of the dazed stupor you’ve been in. “What was she like?” You ask, tone earnest. “Your Flux, I mean, you make her sound so amazing. I just can’t,” you trail off, but the look on his face tells you he understands your unspoken words. I just can’t see myself as a real hero. 

He groans and leans back on the log he’s resting on. He stretches his legs out in front of him, the liquor bottle placed on the forest floor. You’re surprised, you figured the thing was glued to his hand. 

“Well,” he reaches up and scratches at the scruff of his chin, a wry grin on his face. “She was always giving me shit, never let me get away with anything.” You unconsciously lean forward, drawn into the endearing way he begins to describe this other version of you. 

It’s not ridiculous to assume this variant meant something to him. He’s got a shine to his eye that you haven’t seen in the whole time you’ve been together. His gaze has been empty, closed off to anything and everything. But now, his eyes are crinkling at the corners, there’s an easy smile on his face that you can’t miss. 

“Ah, she was fucking feisty. And strong, she was so strong. She was always a better hero than I was. She lived for that shit,” he trails off and shakes his head. You can see you’re losing him and you don’t want this to end. You’re in your own little bubble right now, getting to pretend there’s a version of you out there somewhere that actually lived up to her potential. 

“Her powers,” you blurt out, desperate for something to stop him from retreating back into his mind. “Did she have, um, good control over them?”

Logan nods, eyes darting down to the bottle of whiskey before flickering back up to meet your gaze again. “Yeah, Charles trained her, she was right up there with Jean. She could have,” he stops and suddenly you feel guilty for making him talk about this. You can see the tears in the corner of his eyes, the way the whites of them go red. “She could have been great.”

“I’m sorry,” you whisper, “I didn’t mean to pry.” But you did. You were being selfish and forcing him to talk about it even though you knew it would hurt him. 

“Look, kid, she would have liked you. I’ll tell you that much,” he says reluctantly. Like the words hurt to force out. You suppose he isn’t used to being genuine with anyone. 

You shake your head and look down at your hands. “I appreciate the thought, but I doubt it.”

Logan grabs the bottle again, gulping it down like it's water. His words have a slight slur to them as he speaks again. “I think I would know, bub. ‘Sides, you made it into the X-Men, tells me what I need to know.”

You scoff and fix him with a sardonic look, he raises his brows in question and you roll your eyes. “They’ll take fucking anybody. And I still wasn’t good enough for them.”

Logan shakes his head and frowns. “If what I saw in there,” he points back to the den and you feel your cheeks warm as you remember what you’d done, “is any indication, then I’m sure you were plenty good.”

You lean towards him, elbows braced on your knees. He follows suit, leaning so close you almost want to back up. The proximity flusters you slightly but you shake the feeling off. “You don’t even know me and the first real thing you said to me was that I’d be more useful as fertilizer.”

He sighs, face screwing up at your harsh words. He runs a hand over his cheeks and groans, “I didn’t mean it like that.”

You lean back in your chair and idly twirl your hand through the air. The leaves around you lift up and flutter through the air above your head. Logan watches and you turn back to him, waiting until his eyes meet yours to speak again. “Yes, you did. And you were right. I’m fucking useless, powers or not.” The leaves drop, a few fluttering into the fire. “We’re irrelevant, Wolverine, two washed-up X-Men who never looked good in the uniform.”

There’s a twinge of hurt on his face but you can’t make yourself feel bad about it. Since he’s such a fan of brutal truth, you’re sure he can handle it. 

You watch as the leaves curl up at the corners, the fire burning them straight through the middle. You get to your feet and move past him. You’re nearly back to the den when he calls, “The suit looks right on you,” over his shoulder.

You pause at the threshold of the door. He’s already drinking again, staring into the fire and watching it burn. You take a few steps towards him, staring at his broad back. “What happened to her, your me?”

Logan looks down at his hands, his ring finger specifically. You wonder at the significance of the movement, what exactly you’d meant to him. “She married me,” he mutters, voice cold and closed off again. 

“Goodnight, Logan,” you whisper, finally walking inside the den. 

You miss the small goodnight he sends back to you, finally turning around only to watch you leave. 

There had been a very clear plan set in place. Get Juggernaut’s helmet, put it on Cassandra, and then kill that psychotic bitch. Which is why you’re so confused when you’re standing knee-deep in guts and watching Logan and Wade leap through a portal above you. 

You don’t have time to feel angry or even hurt that they left without you. Laura is grabbing your arm and you’re both running for your life, trying to escape Alioth again. You run into Cassandra’s lair ducking into one of the rooms and dragging Laura with you. 

You’re both holding your breaths and praying that he’s sated by the others still outside. After a few minutes, the cracks of thunder stop and you risk peeking your head outside. The clouds have retreated back to their usual spot in the middle of the void. 

You take in the carnage of Cassandra’s evil lair. Most everybody is dead. You only have to skirt around a few people to get back to the Odyssey. 

You throw yourself in the driver’s seat and sink back against the bloodstained cushions. You let out a relieved breath and look at Laura, “What do you do to entertain yourself around here?”

You acclimated to the idea of being stuck in the void pretty quickly. There wasn’t exactly a lot waiting for you back home. Besides, Laura was nice enough. You had food, beer, and company. You didn’t really need much else. 

You’re pretty sure if you linger too long on the thought that Wade left you behind you’ll fall into a depression that you’re never going to be able to claw your way out of. So, you forced a smile on your face and played cards. Nothing else to do but wait to die of old age or for Alioth to kill you. 

Of course, your plans had to be ruined. There was an odd rush of air against your back and then a slight whoosh. Laura glanced over your shoulders and her brows furrowed, you turned around to find three armored men waiting behind you. 

“Flux,” the man glanced from you to Laura, “X-23?”

“Laura,” you both correct at the same time. 

The man gives an aggrieved sigh and holds his arm out, “Come with me, please.”

You stand up, energy tingling in the palms of your hands while you regard them suspiciously. Laura comes up behind you, claws out and glaring at them. “Why should we?” You demand. 

Barely a second later you hear the most insufferable voice in the world. “Hiya, peanut!” 

“Wade,” you hiss. You follow the armored men through an oddly shaped portal and find Wade standing beside a shirtless Logan, smiling proudly at you. “You fucking left me,” you hold up your hands and his eyes widen. 

His hands quickly come up, trying to assuage you, “Hold on now-”

You throw him back, his body hurtling into a nearby building and caving in the wall. Logan watches it happen with a small smile, “Been wanting to do that for a while.” 

Once Wade had recovered he filled you in on everything that happened. TVA did a general clean up and then you were standing in front of your apartment door, keys in hand like nothing had happened. 

It was so bizarre, going from a mission to save your timeline and then you’re expected to just go about your life. You stay standing in that hallway for you don’t know how long before you hear someone behind you. 

You jump and drop your keys when Logan clears his throat. “Shit,” you hiss, whirling around and glaring at him while your heart races. He chuckles and bends over to grab your keys for you. 

“Sorry,” he mutters. This is the most relaxed you’ve ever seen him, covered in blood and in a borrowed shirt. “Uh, Wade doesn’t have enough room at his place. Told me I should come over here.”

You look over his shoulder and see Wade peeking his head out of his doorway. He catches your eye, sending you a thumbs up. You almost smile but then he makes a phallic gesture with his hands, pointing at Logan and humping the air. You glare at him and he quickly backs into his apartment, but not before sending you one last encouraging shit-eating grin. 

You look back at Logan and he’s waiting expectantly for your answer. “Yeah,” you take your keys from him and unlock the door. “I’ve got a spare room but there’s no bed in it right now.” Your eyes widen when you see the mess that is your apartment. 

You quickly rush through, picking up empty take-out boxes and dirty laundry and shoving them into your room. He’s smiling at you when you come back and it's slightly off-putting. “Um,” you gesture towards the couch awkwardly. “You can take the sofa tonight and we’ll look at setting you up with something more permanent tomorrow.”

“Thanks,” he hovers by the armrest and you engage in the longest stare-off of your life. Neither of you says anything for a few suffocating moments before he gestures at himself. “Shower?”

“Oh,” you snap out of your stupor and nod your head. “Yeah, right, of course.” You show him down the hall, “Here. I’ll go get you a towel.”

You rush towards your linen closet, leaving him behind in your bathroom. You grab a few clean towels and then figure he might want some clothes as well. You grab some pajamas that Wade’s left over when he’s crashed before. They’ll probably be a bit tighter on Logan, but you wouldn’t mind seeing that. 

You walk back to the bathroom and the thought of knocking doesn’t even run through your head. It should, honestly, but you’re already so thrown off by him even being here. You walk in and immediately gasp and drop the towels. 

“Oh, I'm sorry. I’m so sorry.” He’s standing naked before you. Clothes discarded on the floor behind him. Everything on perfect display. Your eyes land on his abs, noticing a few prominent veins leading down-

You cover your face and turn around. “Sorry,” you mutter again. God, you’re such an idiot. You still haven’t even left. You’d just been shamelessly ogling the man naked and you don’t even have the decency to walk out. 

You really can’t help it though. It’s been such a clusterfuck, the last 72 hours. Your brain is fried and Wade’s little show hasn’t helped you at all.  

You hear Logan laugh behind you. “It’s alright,” he mutters. Something warm ghosts across your arm and you jump slightly. His hand firmly grasps your bicep, gently tugging your palms away from your face. 

You risk a glance over your shoulder and nearly gasp at how close he’s gotten. He's towering over you, something in his face you can’t place. “It’s alright,” he whispers again and you find yourself nodding without really thinking. 

He’s got both hands on your arms now, trailing up and down. The touch is so featherlight you can barely feel it at all. You don’t even realize how he’s gently coaxing you closer until you trip on the towels at your feet. 

You startle, looking down at them and moving to kick them aside. But he stops you, his finger nudging your chip up so you’ll look at him again. There is such blatant want painted across his face that it makes your heart skip a beat. Your breath catches in your throat when he wraps an arm around your waist and drags you closer. 

You can feel all of him. You can feel just how much he wants you. It catches you off guard, this sudden display of attraction. You don’t know where it’s coming from, what’s brought it on. But you can’t find it in yourself to care. You’ve been so lonely for so long. You just want to bask in the fact that he looks absolutely starved for you. 

No man has ever looked at you with such heartbreakingly yearning eyes - like he’s been looking for you his whole life. He dips down, lips ghosting gently over yours. Your breaths mingle together, you can nearly taste him. 

It’s unclear which one of you moves first, who pushes closer to the other. But it doesn’t matter because the second you put real pressure behind the kiss he’s all over you. One of his hands drifts down to your ass, squeezing the flesh there and dragging you closer, grinding his hips into yours. 

You moan at the feeling, your arms wrap around his neck and you press yourself even closer. He groans against your lips at the first swipe of your tongue. You part with a gasp when he picks you up, practically tossing you onto your sink. Your legs spread instinctually, making room for him as he slots himself between them. 

It’s odd, feeling so vulnerable even when he’s the one who's completely naked. It still feels like he’s holding all the power. 

His lips are moving frantically over yours like he’s terrified you’re going to disappear the second he lets go. You can taste something desperate on his tongue. Something deeply rooted inside him that you can’t identify. 

One of your hands drifts from his neck, trailing over the muscles of his chest. Your fingers carve a path down his abs, relishing in how muscular he feels under your palm. Your hand reaches his pelvis, nearly wrapped around him when he jumps back. 

He grabs your wrist in a grip so tight you know there’s going to be a bruise. A pained gasp slips out and he releases you immediately. “I’m sorry,” he mutters. “Sorry, I can’t.” He won’t look at you now, backing up towards the shower and shaking his head. “This was a bad idea, I can’t do this.”

You shake your head, slipping off the sink and hiding your bruised wrist behind your back. “No, sorry, I shouldn’t have moved so fast.”

You feel too ashamed to meet his eye. He kissed you but you feel like you’ve forced yourself on him somehow. It’s a nauseating feeling and you want nothing more than to run back to your room and hide. 

He takes a step towards you, something pained on his face. “Kid-”

You just shake your head, step out of the bathroom, and grab the handle of the door. “Sorry,” you whisper again, closing the door behind you. You lean against the cool wood, trying to catch your breath. 

Your hand drifts up to your lips, still tingling from how desperately he’d kissed you. It doesn’t make any sense. He came on to you, he threw you up on the sink, and made out with you more passionately than any man ever has before. So why are you the one who feels dirty?

You rush down the hall and into your room, slamming the door behind you. You dive under your covers, closing your eyes even though you know you won’t sleep. No, your shoulders are tensed up to your ears and your bones are vibrating with an energy you need to release. 

You’re completely tuned into the other person lurking in your apartment. You can hear as he starts the shower, how he talks quietly to himself sometimes. Then when he gets out you can perfectly picture what he looks like while he’s getting dressed and it only makes you feel worse. 

You listen as he leaves the bathroom and pauses in the hall. You can see it in your mind’s eye, how he stares at your door. He walks towards it and lingers for a minute before cussing quietly and heading back into the living room. 

You suddenly remember that you didn’t lay sheets out on the couch for him. You feel guilty, but there’s not one part of you that will be dragged from this bed and face him. Not now, at least. 

He’s up for a little while longer, getting water. Turning the TV on and off. Rooting through your cabinets looking for booze you know you don’t have. Finally, he settles on the couch. You’re awake for another hour, unable to relax until you’re completely sure he’s asleep. Even as you drift off and your body finally relaxes your mind doesn’t. You keep seeing that stricken look on his face and it makes you sick to your stomach. 

It’s the smell of pancakes that wakes you up. You’re not sure when you finally managed to pass out last night but you know it was late. Which is why you’re so pissed off that you’re being forced to get up at seven in the morning. 

You’re used to being able to sleep in a lot later than that. You’re already in a pissy mood from last night and it only gets worse as you trudge around your room getting ready. You’ve never been more thankful to have snagged one of the rare two-bathroom apartments in the building.

You don’t want to have to share a bathroom with Logan. You don’t even want to use the other one after what happened last night. It’s too embarrassing and painful to think about. The emotional whiplash of feeling so desired and then absolutely hideous is making your head spin. 

You’re sure it was all just a problem on his end, but it really doesn’t make you feel any better. When you can’t stall any longer, and you know that Logan has heard you get up, you slip quietly out of your room. 

The curtains in your living room are open and he’s in the kitchen fucking around with your stove. The news is playing quietly on the TV and you’re astounded about how little he’s done and how much more homely your apartment feels. 

It’s never really been home to you. Not after you were booted from the X-Men. But he’s somehow made it ten times cozier than it ever has been. You almost resent him a little for it. 

“Morning,” he grumbles from the kitchen. “Coffee,” he motions behind him and you see a steaming cup already waiting for you. You silently slip behind him, grabbing the creamer from the fridge and pouring it until you’re sure it’s sweet enough to not actually taste the coffee. 

“Thanks,” you mutter, moving to sit at the table. You keep your eyes trained on the TV, pretending to pay attention to the news so you don’t have to look at him. He bores his eyes into the side of your head until you feel like you’re going to have holes in your temple. 

When you can’t take it anymore you finally look over at him. He doesn’t smile, his face barely even twitches, he just looks back to his pan and continues scrambling some eggs. “Didn’t know you cooked,” you offer up weakly, already growing anxious from the silence. 

It feels wrong, to be walking on eggshells in your own apartment. He grunts and shrugs, “Not really cooking. You had the mix in your pantry,” he tells you brusquely. His tone borders on rude and you scoff. 

The audacity of this man to have an attitude with you in your apartment. He was the one who threw a hissy fit last night. You roll your eyes and go back to the news, all it tells you is that the world is just as depressing as the inside of your apartment is right now. 

You notice out of the corner of your eye the way his shoulders slump forward. He leans against the oven, seeming not to care if he burns himself. You suppose it doesn’t matter, he’d just heal. “Sorry,” he mutters. It sounds like it pains him to say the words. 

“Whatever,” you mumble under your breath. You take a long sip of your coffee, slurping a little so you have something to fill the atmosphere. 

He puts some food on a plate and brings it over to the table for you. You usually don’t eat breakfast, preferring to just skip the meal and eat a bigger lunch. But it feels too bitchy to say that to him, so you just accept the food with a strained smile. “Thanks.”

He sits across from you, glaring down at your table like it insulted him. You drag your fork against the plate, letting the scrape of metal against porcelain drown out your worries. Finally, he looks at you. “Look, about last night.”

You tense up. You want to interrupt him, to stop him from explaining. You know it’s just going to hurt your feelings, whatever he says. Whether he tells you it was a mistake or he just realized he’s not attracted to you, either way, you’re fucked. But, it’s also kept you up all night so you just shut your mouth and let him speak. 

You keep your gaze trained on your plate, unable to fully face him. He lets out a long sigh and clenches his fork so tight you hear the metal bend. He drops it to the table and clenches and unclenches his fists a few times. 

“I just couldn’t kiss you, not when I wasn’t doing it for the right reasons.”

Your brows furrow in confusion and you finally look up at him. “What?” You demand, disbelief coloring your voice. 

His eyes are boring into yours, an intensity behind the stare that leaves you feeling a little shaken. “You look like her,” he whispers, and the grief is so thick in his voice it makes your throat tighten. He pauses briefly before continuing. “There are,” he clears his throat like he’s trying not to cry. It makes you lean back in your chair, arms crossed over your stomach uncomfortably. 

“There are a few differences, obviously. You’re not a carbon copy. But your mannerisms, your attitudes, you’re so similar. And I,” he shakes his head and gives you one of the most genuinely apologetic looks you’ve ever received. You can tell he really does feel guilty for projecting on you but it doesn’t make you feel any less uncomfortable. “And I just wasn’t doing that for the right reasons. I was pretending you were her and that’s just not fair to you.”

You lean your elbows on the table, head falling into your hands. You let out a rough sigh and groan in irritation. You knew the reason would hurt but you didn’t think it would be this bad. You feel gross, icky under your skin knowing that he was pretending you were another version of yourself. The version of yourself you’ve always wanted to be; the hero. 

But you also feel such a deep sadness and sympathy for him. He’d briefly mentioned that he was married to this other you. You can’t even begin to imagine what it would feel like, to see your dead wife’s face staring at you and she doesn’t even know you. 

“I,” you don’t even know where to begin. You struggle to say anything for a minute and you both just stew in the tense silence. You take in a deep breath and look up at him. You do what you always do, forcing a smile and shrugging it off. “I appreciate the honesty, really.” You stand up, bringing your still-full plate into the kitchen and busying yourself with cleaning up. 

“Clearly,” you snap, your voice crueler than it should be, “It was a mistake. We’ll just have to make sure it doesn’t happen again, right?”

Logan sits silently at the table. He looks like there’s more he wants to say but you don’t give him the chance. You can’t take it. You finally thought someone had wanted you for you, flaws and all. You’re a fucking idiot, he barely even knows you. Whatever connection you thought was there was just brought about by your own loneliness. 

“I gotta get ready for work,” you tell his back because he isn’t looking at you now. 

He nods, scraping his fork across the plate as he aggressively cuts into his food. “Right.” You wait for him to say anything else but he doesn’t. 

You walk past him and head back to your room. You don’t even have a job, you don’t have to work. But you still grab your purse and head out of the apartment. Pretending you do just so you don’t have to look at him anymore. 

You really should have let him finish, though. You should have let him keep talking to you. Let him explain how as much as he sees her in you, that’s not why he wants you. He wants you for you. Because as similar as you can be, you’re still a completely different person from who his late wife was. You’re someone strong and incredible and he genuinely wants you. But he can never really let himself be happy. 

It takes a few days for you both to ease up around the other. The incident in the bathroom is never brought up again. You take him shopping for clothes after a few days. It feels wrong to keep giving him Wade’s hand-me-downs. You would have had your friend take him, but you don’t trust Wade’s sense of fashion at all. 

After that and getting lunch together while you were out shopping things got a little easier. You bought him a bed for the spare room because you felt guilty seeing him all cramped up on your tiny couch. 

You don’t initiate any physical contact with each other. The closest you’d gotten was your hands brushing when you both reached for some popcorn at the same time on movie night. But you hadn’t really minded that bad. 

Eventually, he starts to feel like a real roommate and a friend. He lets little pieces of himself slip out. Slowly opens up about his past. You haven’t made any existential discoveries of course. But he tells you stories of what his X-Men were like. 

You try not to dance around the topic of his wife, you don’t want him to think you’re avoiding asking about her. But you also don’t want him to think you’re obsessed with discussing her. 

He’s right, you two weren’t carbon copies of each other at all. You might share a few things in common but the more both you and Logan learn about each other, the more clear it is how different you both are from your variants. 

Sometimes you think he looks at you like he’s really seeing you, not her. But you can never be sure and you don’t want to put much strength behind the thought in case you’re wrong. You hate the idea that when you’re thinking of nothing but him, he’s just seeing her reflection on your face. 

There’s nothing you can do about it but it doesn’t stop the hurt. 

Tonight, at Wade’s suggestion, you’re both up on the roof waiting for a meteor shower that you’re ninety percent sure is never going to happen. You’re also one hundred percent sure that Wade just tricked you out of your apartment so he could have sex in it. He and Vanessa don’t really get a lot of time alone with Blind Al around. You’re already mentally preparing for the absolute fuck storm you’re going to have to clean up after.  

There’s a light nudge on your shoulder and you glance over at Logan. He’s got the whiskey bottle outstretched towards you and you take it from him with a smile. One thing about being his roommate, your alcohol tolerance has skyrocketed. His liver might regenerate, but you’re pretty sure if you keep going down this route yours will give out in a few months. 

“Think this is actually going to happen?” You ask, pointing up toward the clear night sky. 

Logan chuckles and shakes his head. He stretches out in your flimsy lawn chair and you try not to let your gaze be drawn to the sliver of skin peeking out from his shirt. “Probably not, but I don’t mind being out here.”

There’s an unspoken, with you, that makes you smile. You meet his gaze, his eyes soft as he watches you. “Me either.” You lean back in your chair, pulling your legs up onto the seat and huddling under your blanket. “It’s peaceful.”

You drink together in silence for a little while longer. Then you have to tap out, you don’t want your brain getting too foggy. Tonight is nice, you want to remember it tomorrow. To your surprise, he caps the bottle and places it to the side. You don’t mention it but you do feel like you’ve noticed he’s been drinking a little less. The dark circles under his eyes seem to be easing away ever so slightly. 

He looks over at you with an odd light in his eyes. You shift uncomfortably under his stare when it lasts a little longer than it usually does. You chuckle awkwardly, “Do I have something on my face?”

There’s a soft uptick to his lips as he shakes his head. “No,” he mutters, looking back out at the night. “You mind if I ask you something?”

Ominous, but whatever. “Sure.”

He still doesn’t look at you and you worry slightly about whatever it is he’s going to ask. He doesn’t ease you into it all, “Wade said your brain was broken?” A laugh springs out of your throat from how brusque that was. He rolls his eyes. “Fuckin’ idiot mentioned it in the void, been wonderin’ about it.”

“It’s fine,” you tell him. You’re relaxed enough that you don’t mind answering. You don’t want to pop the soft bubble you’ve managed to create around each other. “Here,” you hold your hand out for the whiskey bottle. He gives you an apprehensive look before handing it over. 

You unscrew the cap, “This,” you say and point your hand at the glass. The liquid inside lifts into the air and you freeze it before dropping it back into the bottle with a splash, a simple little party trick. “This used to be enough to put me in a coma for two days. That’s what he meant. Something happened to me and I just couldn’t do it anymore.”

Logan’s eyes widen and he shakes his head in disbelief. You laugh a little, “I assume your wife never had problems like that?”

There’s always a fond smile when you mention his wife. Whether the memory is bittersweet or not. “She wasn’t perfect, much as I thought so. When she used her powers too much she,” he trails off and looks down at the floor. You frown, ducking your head down so you can catch his gaze. 

“You don’t have to talk if you don’t want to,” you promise quietly.

But he shakes his head and gives you a weak, tight-lipped smile. “No, I want to. And I don’t want you to think you’re the only Flux who struggled. When she used her powers too much she would deteriorate. Parts of her would just disappear, I don’t even know how to describe it. They were destroying her from the inside out.”

You let out a low whistle, eyes widening slightly. “Well, maybe I didn't get the short end of the stick after all.” It’s quiet and for a moment you worry your humor was ill-timed. 

But he lets out a rough laugh, “No, I guess not.” He takes in a deep breath before looking back up at you. There’s no distant sadness in his eyes like there usually is when you bring her up. It seems to only be a familiar ache now, rather than something fresh and bleeding. “But what happened to you? Why couldn’t you use your powers?”

“Oh,” you look down at your lap, picking at the strings of your pants. It would be unfair to have him talk about his wife and then wimp out when it was your turn. 

“Um, There was this mission. A bunch of kids, mutants, were being held in this warehouse. It was actually pretty normal, just go in, retrieve them, and bring them back to safety. I must have done a dozen of these before, but, I don’t know. Something was this different this time around.”

You can still hear them screaming. In your mind, you hear the way they cried for help. And you see the look on your faces when they realize you can’t save them every time you go to sleep. 

You suck in a sharp breath and almost jump when his hand lands on yours. It’s gentle, he’s barely even touching you and he’s not even acknowledging what he’s doing. But you take his hand in yours and squeeze, it’s nice, grounding. 

“Long story short, they were heavily guarded and I was pretty drained from fighting off the guards. My powers were practically gone by the time we could even get to the kids. And, I don’t know, something must have gotten knocked over or hit the wrong way because smoke was filling the place and everything was on fire. I couldn’t see anything, couldn’t breathe, and the kids were blocked off. There was nothing we could do to get to them. Everyone kept screaming at me, telling me to just use my abilities and get them out of there. I couldn’t,” your voice gets thick and you look anywhere but at him. “I,” your mouth hangs open and you don’t know what you could possibly say. 

There’s no excuse for what happened. “I just couldn’t,” you whisper. You sniffle and your eyes flutter rapidly, trying to stop any tears from coming. “Hadn’t been able to use my powers since then. Trauma block or something, I guess,” you dismiss yourself flippantly and shrug. 

Logan just squeezes your hand again. He doesn’t seem to know what to say to comfort you and you’re honestly grateful for the silence. You get so sick of people telling you there was nothing you could have done. Or that the others should have helped you. Because that’s not a fucking excuse. There’s no fixing what happened, no giving those parents their children back. You fucked up and you don’t appreciate people giving you cop-outs. 

You keep your gaze trained steadily on the ground, eyes going blurry while you try to slip into the back of your mind. You don’t get the chance, though. Logan is kneeling in front of you, hands slipping up your arms to cup your face. 

He forces you to look at him, to stay present in the moment with him. “You fucked up,” he tells you. It's so shocking that you can’t help but let out a loud wet laugh. You sniffle and he grins, wiping the tears out from under your eyes. His grip on your cheeks tightens and he makes sure you’re listening as he speaks, “You fucked up, kid. But that doesn’t mean you didn’t try your fucking hardest. And it doesn’t erase all the people you did help.”

Your eyes search him, trying to find any kernel of untruth. Trying to prove to yourself that this isn’t real. That he isn’t real. You don’t deserve this moment of such unwavering trust and faith. This is meant for someone else, for someone who deserves good things in life. 

You’ve never truly believed you deserved happiness or peace like this. But right now you don’t care because he is saying everything you’ve ever wanted to hear. And he actually means it. 

Your hand drifts up, covering his and tilting your head to press a gentle kiss to his palm. It’s tentative, a test, a way to give him an out if doesn’t want this. His grip on you tightens for half a second before he shoots forward and claims your lips with his own. 

It escalates quickly. You practically melt off your chair, straddling his lap while he leans back on the ground. Your hands tug at his hair while he moves desperately over your body. He can’t seem to decide what he wants to do, where he wants to touch you. 

You love how fully his hands engulf you, the tight way they cradle you to his chest. You’ve never felt more secure in someone’s arms than you do right now. He’s got you, and he wants you. For you this time, you can tell. You can tell from the way he holds you that this isn’t a desperation born from grief. It’s something else, something you’re not ready to identify yet. 

His tongue laves across the seam of your lips, silently asking permission. You smile against the kiss, parting your lips and deepening it. He licks into you, tasting you with a low grunt in the back of his throat. You feel your hips start to move of their own volition. Gently grinding down against his lap. You moan when you feel just how bad he wants you. 

You lean back, parting from the kiss and pressing a finger to his chest to keep from following. You chuckle at his eagerness, grinding your hips down again and watching the way he thrusts up to meet your movement. “Didn’t know I was such a good kisser,” you tease. 

But he doesn’t return the joke or play along. His face falls slightly and he pulls further away from you, the look on his face distant. “What?” You whisper. “Do I have bad breath?” You joke, trying to keep the mood light. 

He shakes his head and runs a tired hand over his face. “No,” he mutters. He repeats the word more firmly and finally meets your gaze. “I think I need to take this slow, just because of…”

He trails off but you know what he means. His wife. You don’t know if he’s still projecting her onto you, you felt so sure he wasn’t earlier. But if every time you kiss he’s gonna pull back you’re not sure that you can do this. “Of course,” you mutter with a bite to your voice. It’s hard not to feel a little rejected every time he acts like this. 

You move to get off his lap but his hands clamp down on your hips and he shakes his head again. “You don’t have to get up.”

You hesitate, thighs still hovering over his. You should get up and put as much space between you as possible. But he’s so warm and you want to be held for a little while more. You nod and he looks relieved. You lean back down, pressing your chest against his and letting your head rest in the crook of his neck. 

He wraps a heavy arm around your back, keeping you close while the other reaches up to stroke your hair. It makes you feel small, in a good way. Like you can just relax and he’ll take care of you. 

“Goddamn,” he laughs a little and you sit up. He nods to the sky above and you turn around, gasping. 

“Fuck,” you whisper, “he wasn’t lying.” For once, Wade was telling the truth. Above you, it looks like the sky is falling. Glittering stars dart across the sky, streaks of blue following behind them. You grin, “It’s so beautiful.”

Logan keeps his eyes on you and nods, “Yeah, it is.”

“Ah, look, my favorite fuck buddies.”

”Wade,” you greet tightly. You shove the bottle of wine you brought into his chest and he stumbles back. “Just let us in, you freak.”

He frowns, placing a hand over his heart. “You know, it really hurts when you talk like that. I think we all need to hold hands and have a good old-fashioned jerk circle.”

You roll your eyes and flick his thick forehead. “It’s share circle, dumbass.”

”Not the way I do it,” he moves to the side and lets you both in. “Well, mi casa es su casa, especially since Vanessa and I had rockin’ sex in your bed last week.”

He walks off before you can hit him or even begin to respond to that. “I fucking knew it,” you hiss, glaring at his stupid Hawaiian shirt while he mingles with the rest of the people at the party. 

Logan chuckles behind you, “How did you two ever become friends?”

You roll your eyes and turn to face him. “I moved in next door,” you respond dryly. “This was a nonconsensual friendship because god hates me, clearly.” You shrug your jacket off and he takes it from you, hanging it up on the hook by the door. He comes back, slinging an arm around your shoulder, and leading you towards the kitchen. 

You hear Wade laughing loudly in the background and he grunts, “I’m gonna need a drink for this,” he mutters. You nod your head in agreement. You don’t get very far, though, because without any warning Wade is in front of you. He’s got his ridiculous dog in his arms and shoves her in your face. You grimace and jump back. Logan abandons you and you narrow your eyes at his retreating back. Traitor

Wade says your name with disappointment. “You know, Mary Puppins is a part of my life now. As my best friend, you need to bond with her. I can’t have you two fighting like this.” He shoves the dog into your arms without any warning and you flinch away from her wandering tongue. 

“If this thing licks me, I’m putting her down,” you warn him gravely. 

He gasps and snatches her back. “You are no longer welcome in my home,” he tells you with a snotty huff. You roll your eyes and watch him go. When he’s out of sight your lips curl up in a grin and you glance at Logan. 

He’s by the sink, making himself a drink and taking a deep swig straight out of the bottle. You creep up behind him, wrapping your arms around his waist. He smiles, hand coming down to gently hold your arm. “What’re you doing?”

”Come with me,” you whisper. You take his hand and lead him through the apartment. You both skirt around the partygoers, giving them vague greetings and waving them off when they give you odd looks. 

Logan leans down, lips brushing across your ear as he whispers, “Where are we going?” Your knees nearly give out when you hear that low tone of voice of his. You just shake your head and lead him down the hall. You can sniff out Wade’s room from the permeating stench of his axe body spray. 

You throw the door open and drag Logan inside behind you. His nose wrinkles up at the stiff socks littering the floor and the smell. Other than that, it’s relatively clean. You actually thought this would look so much worse. 

“Now,” Logan demands, “are you gonna tell me what we’re doing?”

“Well,” you lock the door and turn around with a devious grin. “Seeing as Wade has ruined my favorite sheets, I feel like we need to get him back somehow.” You glance around the room, trying to figure out something of his you want to destroy. 

You don’t hear Logan moving towards you. You’re too busy rooting through Wade’s desk and trying to find something good to shred up.  All you’re seeing is increasingly more disturbing porno mags. He has got a serious problem with pegging. You briefly wonder if you should set up an intervention or something for him. 

You nearly yelp when Logan’s hands grip your shoulders, whipping you around to face him. “I’ve got an idea of what we can do.” That’s your only warning before his lips cover your own. You melt into him immediately, hands fisting his shirt and dragging him closer. He grins against your lips, lifting you and placing you on the edge of Wade’s desk. 

“Mm,” you moan but shove his chest back and shake your head. “Wait,” you hop off the desk and take a seat on Wade’s bed instead. “There’s no point in this if we’re not on the bed.”

Logan shakes his head with an amused huff. He walks towards you but instead of taking a seat on the bed next to you like you'd expected, he kneels before you. Your brows furrow together and you frown. “Wait, what’re you doing?”

He gives you a gentle smile, hands coming up to rub gently over your thighs. The warmth of his palms soothes you almost immediately. “You trust me?” He asks, voice a low rumble against your chest. 

“Yeah,” you whisper. He nods encouragingly and leans forward, kissing you gently. There’s nothing expectant in this kiss. He’s doing it just to be close to you. Then you feel his hands drifting higher, fingers running over the buttons of your jeans. Your lips part, ready to ask him a question. But he just takes the chance to dip his tongue into your mouth, eagerly tasting you. You moan into it, not protesting when he presses you back into the bed. 

His fingers dip under the waistband of your jeans. You lift your hips to help him tug them the rest of the way down until they’re dropping to the floor quietly. You have a million questions dancing on the tip of your tongue but you can’t find it in yourself to actually voice any of them. You don’t want to break the moment. This is the first time he’s seemed comfortable going further than kissing and some heavy petting. 

“Fuck,” he whispers. Your hips jolt as he runs a thumb over the wet spot on your panties. “All this just from kissing?” He asks, a teasing lilt to his tone. You feel your face flush, cheeks warming when you realize he’s never actually seen just how much he affects you. “Relax,” he tells you, squeezing your thighs once before slipping a few lithe fingers under the band of your panties. 

He tugs them down, but the second he sets eyes on you he gets too impatient to take them off the rest of the way. They dangle off one ankle while he lifts your thighs, setting them on his shoulder and dipping down to press a gentle kiss against you. You gasp at the contact, head tilting back while you instinctually grind your hips up against him. 

It’s been a long time since you’ve actually been with anyone and you already know you’re going to cum embarrassingly quick because he fucking devours you. You’ve had boyfriends who liked to eat you out before, but this is something completely different. 

He drags his tongue over you, sucking on your clit like it’s his only true joy in life. You can’t even make noises, your jaw hanging slack while you cant your hips higher. He groans when you grind against his face, shaking his head and flicking his nose across your bud. You nearly come from the sight of him smiling against your cunt alone. You feel it building slowly, and it’s like your powers are swelling up along with your release. 

Wade’s knicknacks are floating off the shelves, some of them rotating in the air, others fluctuating between liquid and solid forms. You can’t control yourself, you’re barely aware of the chaos happening in the room around you. You just feel a warmth at the tips of your toes, swelling over your body, making your skin feel too tight. There’s little to no warning when you cum. He dips his tongue inside you and you let out a long moan, drenching his face. 

The sheets are soaking wet underneath you and you know you’ve ruined his shirt. You’ve never come that hard before and you would reflect on that more if he wasn’t still fucking eating you out. You think your brain is going to melt out of your ears, you're so overwhelmed by all the different sensations.

He dips his tongue into you, dragging out your orgasm and drinking as much of you down as he can. Your hips keep twitching, you’d be thrashing out of his hands if it wasn’t for the near brushing grip he has on your hips. “Fuck fuck fuck,” you reach down, grabbing his hair at the roots and tugging. He groans at the feeling, barely leaning an inch back. “No more,” you whisper, chest heaving. 

He smiles, palms smoothing across the skin of your thighs, “You okay?” 

“Mhm,” you hum weakly. Your head falls back against the bed with a dull thunk and you struggle to catch your breath. “Holy shit, where did you learn to do that?” He doesn’t answer, just laughs. You jump slightly when he presses a tender kiss on your thigh, every part of you oversensitive. 

He moves slowly up your body, hands dragging your shirt up until he’s pulling it over your head. He cups your cheeks, letting you recover while he kisses your cheeks and face. You laugh slightly at the feeling of his beard tickling you. 

You pull back, meeting his gaze for a long drawn-out moment before you lean forward to finally kiss him back. You can feel yourself slowly coming back into your body. Your limbs tingle back to life while you lazily make out with him. 

His hands drift down your chest, squeezing your breasts. You laugh against his lips, arching into his touch. You reach back, unclipping your bra and throwing it off somewhere in the room. In the far reaches of your mind, you make a mental note to take that when you go. You don’t want to think about what Wade would do with it if he found it. 

Logan pulls back from you and your lips tip down at the serious look he wears. Your fingers trace the lines of his face and you tilt your head in question. “What’s wrong?” You whisper. You’re completely naked before him and he’s still clothed, you don’t want him to leave now. 

He can’t keep doing this to you. He can’t keep forcing you into these vulnerable positions and then leaving. There’s only so much rejection you can take before you start to resent him for it. 

He tilts his head down, gaze dragging across your body appreciatively. He’s looking at you like you’re art and it makes you feel like you should be in a museum somewhere. Finally, his hand drags down from your chest, wrapping around your waist and dragging you onto his lap. 

You brace your hands on his shoulders to steady yourself. He leans towards you, lips trailing lightly across your jaw. “You’re not her,” he whispers against your skin. Your mouth parts, a pained breath slipping through. You try to move back from him. You hadn’t expected something like that, not now, not when you thought you’d made so much progress together. 

To have you naked, vulnerable like this, and then say something like that to you. It was fucking despicable. You shove his shoulders back but he barely moves. You shift, trying to cover yourself and fighting off the urge to cry. Why won’t he let you go? Why does he keep doing this to you? 

He reaches out, snatching up your wrist before you can get far. “I don’t want you to be. I never wanted you to be her, I need you to know that.”

He tries to kiss you but you snatch his jaw in your hand before he can. You let your nails dig in until there’s red blooming under your fingertips. He hisses, but he’s not mad, you can feel how much he enjoys the little pinpricks of pain. 

“No more pulling away,” you warn. “I’m not playing this damn game with you anymore, Logan. You want me, then commit.” You release him with a shove and his pupils dilate with want. You appreciate the gentle way he’s been treating you, but you know you’re both holding back. 

He’s the first partner you’ve been with that can actually take what you give and vice versa. There’s something only mutants understand sometimes. You normally have to hold back, have to make sure you don’t scare a guy off by making the walls shake when you come. 

You push him down onto the bed. Hands sliding under the hem of his shirt and running over the grooves of his muscles. You haven’t had a chance to appreciate just how gorgeous his body is before, but nothing is holding you back now. 

You snap your fingers and the buttons rip open, he surges forward catching your lips with his while you both frantically push his shirt off. He throws it off to the side and his fingers fumble with his belt buckle while you trail kisses down his neck. You glance up at him for a second before biting down on a particularly sensitive spot. 

He groans, head rolling back while you grin against his skin. You make your way back to his lips. “Don’t hold back,” you tell him, trailing your hands down to his fists and running over the spots where the claws come out. 

“Sweetheart,” he starts tone apprehensive. You shake your head, shutting him up with a kiss. 

“Don’t. Hold. Back.”

It’s like a switch flipping. Even the way he looks at you changes. You’re not something to be cherished and adored. You feel like a deer pinned by a wolf. He’s got you in his clutches now and there’s a real possibility you might not survive this. 

He stands up, dropping you on the bed and dragging your hips off the edge. He doesn’t kick his jeans off, just lowers them enough for his cock to hang out. You’ll address the fact that he wasn’t wearing boxers later, you’re too worried about what’s hanging between his legs right now. 

You’re no virgin, but goddamn, there’s no way that’s going to fit. 

He laughs, the noise cruel and it makes shivers crawl down your spine. “We’ll make it work, kid.” He spreads your legs and you tilt your hips up, making it easier for him to just sip inside. 

There’s a slight stretch, but you’re already soaked for him. You’ve been waiting for this to happen since you walked in on him naked in your bathroom. “Oh, shit,” you toss your head back, taking in a deep breath while he pushes in. It feels like he’s rearranging your insides, molding you to fit him perfectly. 

You can already feel yourself clenching down, just being so close to him is enough to make that tingle in the tips of your toes start. He leans down, placing your legs over his elbows and rutting into you like a wild animal. There’s nothing gentle or slow about this. 

You’re both so pent-up, tired from the weeks of dancing around each other. Your nails drag up his back, blood following your movement. Your powers are actively surging against him, pain only driving you further into each other’s arms. 

You can hear his breathy grunts and groans in your ears and it’s music to you. Neither of you cares about the party going on just outside the door. You’re loud, skin slapping against skin while you loudly call out his name. 

God, you hope they hear you. Hope they realize just how thoroughly you’re wrecked for each other. You can feel yourself getting closer, hips stuttering against his while you struggle to match his pace. “Come on,” he mutters in your ear. He releases one of your legs to reach down and rub your clit. 

“Fuck,” you groan, reaching up and tugging at his hair while your back bows. It only takes a few more tight circles of his thumb before you’re spasming around him. He’s quick to follow behind you. 

He pins your hips to the bed, dropping your legs while he thrusts faster. He loses his rhythm, the muscles of his abdomen flexing as he cums inside you. It’s like a mini death, you feel like you’ve lost time when you finally manage to come back to yourself. 

And when you roll your head to the side you realize just how much damage you’ve done to Wade’s bed. “Shit,” You glance up at the sound of his voice and notice little droplets of blood on your hips. Logan’s claws are out, stuck in the fluff of the bed. 

You force the words out, tongue heavy in your mouth. “Do that often?”

“Not really,” he mutters. The claws retreat and he rubs his fingers over the blood. It’s not bad, you’ve honestly done worse to yourself. It’s like a big paper cut. When the rough pad of his fingers presses against the cut you hiss at the sting, nearly enjoying it. 

“Must be special,” you tell him with a cheeky grin. He shakes his head with a laugh and takes his time pulling out. You hate the loss of him inside you but it's a slight relief. He's larger than any partner you’ve ever had and it’s almost overwhelming to be so full. 

“Come on, let's get you dressed.” He pats your thighs, glancing around for your clothes. 

“Uh, Logan,” he looks up and you glance at his still very hard cock. “I thought you came?”

The smile he gives you is slightly terrifying. Because there’s a promise in it. He’s not getting you dressed for no reason. He’s taking you back to your apartment so you can have more fun where there are less people and fewer reminders of Wade. “Stamina's part of the deal, sweetheart.”

“Oh,” you whisper, voice breathless in shock. You wipe the cum off your legs with Wade’s sheets. You feel like you’ve thoroughly gotten revenge on him for destroying your favorite bed set. Maybe, you’ve gone a little farther than revenge, though. 

You feel guilty, looking around the room and seeing everything you destroyed. Once you’re dressed, you wave your hand, putting most things back where they belong. But there’s nothing you can do about the bed. The sheets are soaked with a mixture of yours and Logan’s releases and there are six holes dug deep in the bed from his claws. 

When you step out of the room with Logan, struggling to press down your hair and get it back into place, Blind Al is waiting by the door. She’s doing a line off the back of her hand when you pass by. You think you’ve almost made it scott-free when she yells, “Man, I wish I couldn’t fucking hear,” at you. 

You tense up, shoulders to your ears while you run to the door. Logan laughs, grabbing your coat for you and pressing a hand to your back while he leads you to the apartment. “Weren’t feeling so embarrassed earlier,” he teases. 

“Shut up,” you grumble, dragging him into the apartment to finish what you couldn’t on Wade’s bed. 

You’ve managed to keep any holes out of your bed, you just have to use your powers to keep his at bay. It’s nice, not having to explain why everything around you is levitating to the person you’re having sex with. There were a lot of awkward conversations that came from that. 

You’re lying on Logan’s chest, fingers idly running over the veins in his biceps. “I want to be serious about this,” you tell him. 

His hand pauses from where it’d been stroking your back. You sit up on your elbow so you can get a better look at him. “I mean it, I,” there’s no way to say this without sounding like a complete bitch. You just have to rip the bandaid off. 

You take in a deep breath, “I know that you still miss her,” you say, unwilling to say her name. Logan sits up, looking more serious now. “But I don’t want to be with you if you think that I’m going to turn into her. Or if you think that I’m the last connection you have to her. I’m not her, Logan, and I'm never going to be her.”

You expect anger on his face or regret, maybe. But you don’t expect him to laugh at you. You roll your eyes, lips pursed while you wait for him to finish. He notices the pissy expression on your face and quiets down, but you still see a smile fighting on his lips. 

“I know you’re not her. You could not be more different” he tells you with a slight smirk, like there’s an inside joke you’re missing out on. “I was married to her for a long time and I loved her. But we had our time together. Now, I just want my time with you. You’re not her,” he leans forward, pressing a sweet kiss to your forehead. “That’s why I want you.”

You feel your heart flutter in your chest and have to fight to keep a stupid grin off your face. “Okay,” you whisper. “Good, well as long as we’re on the same page,” you tell him, faux serious. He just rolls his eyes and pulls you back into his arms. 

You’re going to cuddle up beside him when you hear your phone going off like crazy on your nightstand. Your face pinches in confusion and you reach over to grab it. 

Wade

Did you fuckers have sex???

In my bed!!!!

And you didn’t invite me?!

….

Wade

Tell Logan I want his claws in me next

“Fuckin’ dumbass,” you mutter, throwing your phone somewhere on the bed. Logan laughs again, drawing you closer. 

a/n: i have a really weird tendency for masochism, idk what that’s about. I just feel like if you were having sex with this man, he’s taking you like a wild animal. also feel like I might be a one-hit wonder. the smut just wasn’t doing it for me this time guys nor was the angst, i’m disappointed in myself

I just don't think I did justice to his character in the movie, I might have made it too OOC/ if I did PLEASE let me know

end. — I do not own the characters or the comics/movies Wolverine/X-Men, but this writing is my own all rights reserved © not-neverland06 2024. do not copy, repost, translate & recommend elsewhere.

General Taglist: @evasmlp

Logan Taglist:  @nonamevenus ♡

[violet-witch-6]

Gonna be real, my first time watching THAT scene I honestly wasn’t sure how they were ever gonna patch things up because I can’t even imagine the pain of standing in Crowley’s place after 6,000 years of loving someone in silence, trying to show them who you are at every opportunity, painstakingly chipping away at the delusion they’ve bought into since the beginning (more than you ever did) in order to show them the truth—to show them who you are (who the two of you could be together) —and then just as you’ve finally worked up the courage to lay it all out there and toss the dice hoping (with what, for the first time, you’re starting to believe are less than doomed odds) that they’ll love you back and that it will be enough—only for all of it to be dragged out from under you because they look you in the eye and all but tell you that they never understood you at all. They weren’t listening. And, sure they want what you want (to be together), they love you back (still unspoken but legible in the way they glow at the thought that they might still save you) (as if you need saving) (as if you’d want it)—but not as you are. They think the change they ask of you would be received as a grace and the betrayal of that is gut wrenching in a way that no flat out rejection could be, I think. If I were Crowley, I can’t imagine how I’d come back from that.

But then I watched the scene again. The moments after that betrayal. Once Crowley’s put his glasses back on, raised his defenses and sounded the retreat. I wondered, watching the scene again, how it could ever reach the point where the kiss made sense when they were already so torn apart. But the thing is that no matter how wrong Aziraphale was to want things to go back to the “way they were”, everything that led him to that conclusion comes from the thing Crowley loves most about him: his goodness. Aziraphale is good in a way that heaven is not, and Crowley knows that, but Aziraphale still hasn’t learned that lesson. He wants so desperately still to believe in god and heaven and the ineffable plan and even though it’s that desire that’s led him to hurt Crowley, I don’t think Crowley can completely begrudge him. By the time Crowley’s walking out of the book shop, the betrayal has already faded—not gone, but less than when compared to his sadness for Aziraphale and what his angel is going to go through when heaven lets him down (again)—assuming that it doesn’t just break him.

And the kiss—that fucking kiss (be still my beating heart)—that was Crowley planting a seed. “I know better than you do” he says and he does because Crowley has always been more honest with himself than Mr. “Master class in self delusion” A. Z. Fell. Aziraphale is about to be more alone and more lost than he has been in 6,000 years, so Crowley needed to make 100% clear to him where solid ground was. Aziraphale won’t be able to rationalize this away or hide behind propriety because it can only mean one thing and that is that he is in love with a demon whose on his own side with no interest in ever rejoining the heavenly host because heaven is not the epitome of goodness or love that he so desperately wants to believe it is. It’s not even capable of being that—no matter how hard Aziraphale tries to bend it back into what he thinks is it’s natural shape (because isn’t that what he wants so desperately to do as chief archangel? To make heaven the place he’s always thought it was?). Crowley really said “whatever you do next, do it knowing I love you”. He said “I’m done letting you ignore this.” And I get it. Cards on the table means cards on the table. No more half measures no more dancing around it—any of it. If Aziraphale wants to walk into the belly of the beast, then the least Crowley can do is make sure he’s doing it with his eyes wide open.

[contact-guy]

God I just love that in The Dying Detective you made it so Sherlock is struggling to convince Watson he's sick. Watson knows him so well at this point. It huuuurrtttsssss (positive)

THANK YOUUU I wanna talk about this because it ties into why I love comics so much, and why I love adapting prose into comics. It's a pretty well known idea that part of the job as a cartoonist is to be the 'actor' for your characters - to try and inhabit their heads, figure out their body language, make their expressions with your own face as you're drawing them, etc.

This brings a certain level of intuition into comic drawing that I find really magical. Sometimes I'll have something written (for original work) or there will be something in the text (for adapted work) but when it comes time to draw it, I just...can't get the character to do it. None of my drawings make sense or feel authentic. It feels like they've turned from 'real' people into flat paper dolls. I've been doing this long enough that I've learned when that happens, it means something in the text needs to change.

For Dying Detective, I started sketching it as a direct translation of the book, but something weird happened as I went:

I found I kept cropping out Watson's face. Maybe it was just that I'd drawn sad Watson too much recently and I was tired of it. But I couldn't figure out how to draw him reacting to Holmes being sick with genuine distress, the way he does in the book - not within the altered narrative I'm telling with the Sketchbook. They've known each other too long, they're in too tense of a place in their relationship, and Watson is too familiar with Holmes's tendency to make a scene.

So to experiment, I drew him looking skeptical instead.

And THAT was fun and easy, which meant it was the right direction to go. It also made the scene go from feeling like a single, sustained note of distress, to an unspoken power struggle, where the characters end in a different place from when they begin. For this specific adaptation, it was a good change to make - and it was something I only discovered through the art. All this to say that I love comics always and forever!!!

[nowoyas]

Trying to make sense of the Nanowrimo statement to the best of my abilities and fuck, man. It's hard.

It's hard because it seems to me that, first and foremost, the organization itself has forgotten the fucking point.

Nanowrimo was never about the words themselves. It was never about having fifty thousand marketable words to sell to publishing companies and then to the masses. It was a challenge, and it was hard, and it is hard, and it's supposed to be. The point is that it's hard. It's hard to sit down and carve out time and create a world and create characters and turn these things into a coherent plot with themes and emotional impact and an ending that's satisfying. It's hard to go back and make changes and edit those into something likable, something that feels worth reading. It's hard to find a beautifully-written scene in your document and have to make the decision that it's beautiful but it doesn't work in the broader context. It's fucking hard.

Writing and editing are skills. You build them and you hone them. Writing the way the challenge initially encouraged--don't listen to that voice in your head that's nitpicking every word on the page, put off the criticism for a later date, for now just let go and get your thoughts out--is even a different skill from writing in general. Some people don't particularly care about refining that skill to some end goal or another, and simply want to play. Some people sit down and try to improve and improve and improve because that is meaningful to them. Some are in a weird in-between where they don't really know what they want, and some have always liked the idea of writing and wanted a place to start. The challenge was a good place for this--sit down, put your butt in a chair, open a blank document, and by the end of the month, try to put fifty thousand words in that document.

How does it make you feel to try? Your wrists ache and you don't feel like any of the words were any good, but didn't you learn something about the process? Re-reading it, don't you think it sounds better if you swap these two sentences, if you replace this word, if you take out this comma? Maybe you didn't hit 50k words. Maybe you only wrote 10k. But isn't it cool, that you wrote ten thousand words? Doesn't it feel nice that you did something? We can try again. We can keep getting better, or just throwing ourselves into it for fun or whatever, and we can do it again and again.

I guess I don't completely know where I'm going with this post. If you've followed me or many tumblr users for any amount of time, you've probably already heard a thousand times about how generative AI hurts the environment so many of us have been so desperately trying to save, about how generative AI is again and again used to exploit big authors, little authors, up-and-coming authors, first time authors, people posting on Ao3 as a hobby, people self-publishing e-books on Amazon, traditionally published authors, and everyone in between. You've probably seen the statements from developers of these "tools", things like how being required to obtain permission for everything in the database used to train the language model would destroy the tool entirely. You've seen posts about new AI tools scraping Ao3 so they can make money off someone else's hobby and putting the legality of the site itself at risk. For an organization that used to dedicate itself to making writing more accessible for people and for creating a community of writers, Nanowrimo has spent the past several years systematically cracking that community to bits, and now, it's made an official statement claiming that the exploitation of writers in its community is okay, because otherwise, someone might find it too hard to complete a challenge that's meant to be hard to begin with.

I couldn't thank Nanowrimo enough for what it did for me when I started out. I don't know how to find community in the same way. But you can bet that I've deleted my account, and I'll be finding my own path forward without it. Thanks for the fucking memories, I guess.

[writers-potion]

Hi! I would like to ask if you could possibly give any tips on how to properly manage to introduce characters ?

Techniques for Character Introduction

There are many things you can consider for an impactful character introduction:

The Point of View of your novel

Whether your character is a POV character or not

The tone of your novel

What your character is like

In-Medias-Res

Immediately show the character in the middle of action.

Character(s) come into the scene running, fighting, laughing - whatever it is.

Good for leaving an impression

Could be an in-medias-res hook in the very opening of your novel, to introduce the main character.

Choose an action that "defines" the character. Perhaps it's something they do repeatedly (going to the gym at 5am every morning) or that shows a key part of their personality (digging through a large pile of laundry because they cannot keep their room clean)

Dialogue - Voice First

The character makes a voice entrance before we "see" them physically appear.

It helps the readers define the relationship between the character being introduced and the character that we've been following.

From Dan Brown's <Digital Fortress>:

"David?" "It's Strathmore," the voice replied. Susan slumped. "Oh," She was unable to hide her disappointment. "Good afternoon, Commander." "Hoping for a younger man?" The voice chuckled. "No, sir," Susan said.

In these few lines, we already know (1) Strathmore is Susan's boss, (2) quite high-ranking in some military/governmental/secret agency (commander??) (3) is male (4) has a sense of humor (5) seems to be quite friendly with his employees, etc.

By using phone conversations, you can also show how the POV/main character truly feels about the character on the phone - there's no need to make appearances. Perhaps they frown, or attempt to throw their phone on the wall in frustration while the other talks.

Via Another Character

This is where characters in the story talk about the characters even before they are introduced.

Often used with villains/characters with popularity in the story world.

Example: "You've heard of Joe, of course."/ "I'm sorry, who?" /"The president of Book Club? Red hair, freckles?"

Simple Intro with direct characterization

Sometimes, just writing a brief description about the character can be effective, especially if you have some backstory that really, really need to be there before the readers start following the character.

Here's a passage from Leigh Bardugo's <The Familiar>:

"Dona Valentina had been raised by two cold, distracted parents who felt little towards her beyond a vague sense of disappointment in her tepid beauty and the unlikelihood that she would make a good match. She hadn't. Don Marius Ordono possessed a dwindling fortune..."

The key here: provide interesting detail. There's no fun in saying, "Dona Valentina wasn't too pretty, so she had to marry Don Marius Ordono with little wealth." An image of a girl neglected by her parents and bartered for wealth is much more captivating.

Slow & Mysterious Setup

This one is harder to execute than the others on this list, but when done properly, it can produce a beautiful effect where the readers know who you're talking about without you ever having to name them.

An excellent example of this is how Marcus Zusak introduces Death (with capital D, who's the narrator of the story):

"I could introduce myself properly, but it's not really necessary. You will know me well enough and soon enough, depending on a diverse range of variables."

"Your soul will be in my arms." "I will carry you gently away."

Death continues to talk about his "job" like the above until it becomes enough for the reader to catch on.

Drop enough hints for your readers to recognize the character

Works best with an archetypal character - devil, vampire, demon, angels...some figure with distinct features that even when described mysteriously, will be noticeable.

Showing Attitude - For POV characters

Present a peculiar line of thought or show some attitude that makes the character immediately interesting.

This works wonderfully with POV characters - by giving the reader a crucial piece of the POV character's mindset to set the overall tone of the novel.

From Rick Riordan's <Percy Jackson and the Lightening Thief>:

"Look, I didn't want to be a half-blood. If you're reading this because you think you might be one, my advise is: close this book right now."

Percy (the POV character) goes on a bit like this before we get his name, etc. in the subsequent section.

─── ･ ｡ﾟ☆: *.☽ .* . ───

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💎Before you ask, check out my masterpost part 1 and part 2 

[nagaytoe]

THE KID AT THE BACK

-theories

Did i sit down and analyze this game for 3 hours straight because I'm hyperfixated on it? Yes, yes i did.

This isnt proof-read and long as hell so buckle up for a joyride, y'all (by the way, there's another TKATB fanfic in the works as we speak and also some fanart, though I'm not sure wether to post it or not... well, we'll see!)

Some of these might not seem all too thought through (??) Since i was kind of grasping at straws here (and it was like 2 a.m. lmao), so if y'all have questions/need me to elaborate or have theories of your own feel free to share!

(There's some inspiration here from other people in the Fandom, most of them from the community section on itch.io which isnt available any more)

Sol knows the player longer than we think

My theory ->

-Fantasia stated that one of her 3 biggest inspirations was the game AMNESIA

-In amnesia the mc loses her memory in an accident. One of the love interests is her childhood friend and also the only yandere in the game (at least from what i could find out)

-She already drew Sol with Forget-me-nots and in the valentines day special the boquet sol gave us also contained Forget-me-nots

-In the book (this gallery thing with all the cutscene images) on the top of sols page is written 'Remember Me' which implies we forgot about him

-Annabel Lee Poem:

+The poem contains the line 'I was a child, she was a child' which furthermore implies that Sol and MC knew each other as kids

+Except for the last two paragraphs the poem is written in past tense, which could be talking about sols POV with us

Perhaps MC had an accident, as mentioned above, and MCs father (highborn kinsmen) tore MC away from Sol to the countryside

+The poem mentions angels killing annabel lee which could also mean something like this: MC doesnt die but, however, gets amnesia. That way, the MC sol knows and loves is dead because MC no longer exists the way MC did before (also the fact that she forgot him)

Some people theorize MCs farm is near the sea and that is the reason why sol hates the sea (i believe the city is near the sea and that's where MC 'died' (maybe MC almost drowned and got Amnesia that way?(apparently its possible for people who almost drowned to get amnesia)))

+"The speaker loves annabel lee to the point of death and even after death" (MCs view how to interpret the poem) (-> Sol loves MC to 'death' (the day they got amnesia) and even after 'death' (after MC got amnesia and 'died' in a sense, as a person))

-sol says he thinks death is beautiful, i didn't really know what to make of that, the only conclusion i came to would be: If MC actually did drown and lose their memories due to that, sol might have been involved in MC drowning (or at least blames himself for that) but viewed MC losing their memories as a 'second chance' with them, since they can start from anew (perhaps he made some mistakes with MC in the past which all eventually built up to MC drowning (it could be that we were already teens at that point)

-sol states afterwards: "But people refused them to let them be together, as if fate refuses them to die together" which supports my theory that MC was taken from Sol by someone (most likely the father after he witnessed Sols behaviour and his final straw was MC drowning because of him) the 'let them die together' could mean something like their relationship 'dying' and then starting over again or perhaps he tried to die with them, who knows (all this is really far fetched i am grasping at straws here lmao)

-in a really quick scene right after he mutters "I'm won't let it happen to me... not again" (some people view this as Sol already lost someone he loved dearly but it could also be the MC who was taken from him

ANOTHER THING I COULD IMAGINE -ABOUT DYING TOGETHER COULD BE:

MC almost died, Sol went after them but they were already saved, Sol just didnt witness that and almost died himself/wanted to die but was saved from that by someone (maybe hyugo? Though, he is an exchange student)

-Another theory on hyugo. It's canon that he is an exchange student, however i do believe he is from this city (since he knows about the hierarchy and his brother Geo apparently is no exchange student), moved away and is now back for business (relating to his 'mafia schemes' but under the disguise of being an exchange student)

Maybe he moved around the same time MC left or some time after that

-Hyugo mentions on the rooftop that we remind him of someone and the pronoun of the person he refers to changes based on the one the player picked for the MC in the beginning. It could mean we remind him of someone else entirely, someone maybe not even related to sol (though i doubt that) or to the MC and he knows them from back then but maybe thought MC died as well and cant believe they actually survived (maybe he want to spike MCs memory by doing that)

-A dream within a dream: MC mentions that this poem, at least to them, talks about the uncertainty about something, like life (which could also imply that they might be uncertain about some things in their mife because they simply forgot them due to amnesia)

-THE SECOND DAY 'THE KINGDOM'

+some people think the kingdom (by the sea) refers to MCs farm and implies its near the sea, however in day 2 we find out about the hierarchy in the city and considering my theory that MC actually is from the city and almost drowned there, i believe the kingdom by the sea is the city. MC does mention in the beginning that they lived on the farm ever since they were a child, however, it could very well be that we moved there right after the incident that caused MCs amnesia (if MC was akid when it happened it would really matter because then it would still fit with the fact that they lived there since theyre a child, however if they were already a teen, perhaps the father moved there immediately to cut off all ties to Sol and told us we have always lived there on top of that (considering the previous theories)

The father also didnt seem fond of the idea that we go to the city (the fact that he is is indebted to someone from high class could imply he might be from there), that could be because he knows how dangerous the city is (and how we could potentially meet sol again)

-maybe the reason for the debt is that MCs father suddenly bought the farm land to get us away from the city as soon as possible and had to take on a loan from one of his contacts in the city

-we know that this is MCs last year at the university, if we say shes minimum 22, and was already in the school for 4 years that would mean she got there at 18. If the 'drowning theory' events took place when MC was a teen (like 16 maybe) it would explain why the father was indebted (i also think 2 years is an believable timeframe a higher class person would give someone to pay off their debt)

-at the end of day 2 sol says he's sorry for leaving us and "i dont know what I'll do if..." which supports my theory that he lost us once (and he blames himself as the reason (again, MC drowning?))

-inspirations:

+ https://www.tumblr.com/sweet-herbal-peach-tea/746168072919023616/tkatb-theories?source=share

+ https://itch.io/t/3749638/whats-the-secret-between-hyugo-and-sol

Another theory:

Sleepy Hollow and The kid at the back

-In the nicknames the boys have for MC (fantasia released that on twitter and tumblr) sol calls MC pumpkin (like the pumpkin of the headless horseman (also in the gallery there is a pumpkin above the book)) and Crowe calls them '(star-crossed) lover'

Star-crossed lovers are people who love each other but can't be together

I believe this might imply that, even though Crowe is the second romance option, MC can't be with him no matter what they do

I also found out that the nickname is a phrase from romeo and juliet (which furthermore implies crowe will die)

We know what romeo and juliet is about: romeo and juliet cant be together because their families are enemies (some people believe Crowes father might be them man MCs father owes money to(i personally doubt thah though but it would support this romeo and juliet situation)) and at the end romeo thinks that juliet died, kills himself and then juliet turns out to not be dead but kills herself after seeing romeo dead

-Jericho Ichabod is a character from Sleepy Hollow, along Katrina (the FMC who owns a farm (what a coincidence)) and Brom Bones (its implied he is the headless horseman). In the story, jericho courts Katrina at a party, she rejects him and on his way home the headless horseman kills him (in the scene where Sol accompanies MC to class he says 'it's always been you ichabod' which could furthermore imply that crowe or his family have something do to with the fact that Sol and MC arent together)

In the library scene with Crowe he asks MC about their opinion on marie Antoinette and when MC says something negative about her, his reaction seems kind of strange. MC also brought a book about torture devices and execution methods and in that book is a picture of 'The Executioner' and he has scars on his arms, wears a mask and a chained collar. This correlates with some of sols features. He has scars on his arms (as seen in one of fantasias drawings), wears a chocker (he also wears a mask when he breaks into MCs room but that's really something anyone who does that would do). This implies even more that he will kill crowe.

[penultimate-step]

Lately, I've been thinking about the effect of real-world time on perception of media. Or, wait, let me start from the beginning.

When I was 11, I read the book Ender's Game for some school assignment or another. I don't remember ever considering Ender a relatable character, but certainly my understanding of the events was shaped by being of an age to see the protagonist not so much as a young child but as someone of my peer group, someone who could have been slotted amongst my classmates without anybody batting an eye.

Over a decade later, I read the sequel, Speaker for the Dead; it takes place many years later, when Ender is in his thirties, and my feelings about the in-universe time skip were undeniably shaped by the real life time gap between my reading of the novels. Reading the first book back then and then the second book now created a feeling where it's almost like, I'm browsing the facebook page of someone I had known in middle school but lost contact with, checking up on how they're doing today. The real-time factor caused me to perceive it less like a timeskip, and more like a reunion - the feelings were closer to "oh wow, that's my boy! I haven't seen him in years! Wonder what he's up to?" Which in turn gave me a better position to appreciate the parts of the narrative about him struggling to find a place in his adulthood than I would have been had I perceived it more strictly as a quick skip from 11 to 20 to 36.

While musing about this, I considered a VN I played a few years back, which took place over three in-game days - except at the end of one in-game day, the game would lock you out from progressing for 24 hours real time. So that as the in-game investigator protagonist was ruminating on the information that had been discovered that day, the player would be forced to do the same. In this example, by forcing the player to experience the same timeframe as the in-game characters, the sense of it being an in-depth and extensive investigation increases, even though without the forced pauses the game would be short enough to blow through in a handful of hours real-time.

Which brings to mind how time effects things in long-running serial works. It's well known that an audience which watches an episode or reads a chapter week by week has a very different experience than one binging through whole seasons or volumes at a time, but I wonder if the real time relative to the in-universe time makes that effect stand out more? Fight scenes, for instance, have been known to take up several chapters in certain manga or webnovels. What does it do to the reader's perception, if from their point a view a fight takes a whole month, while for the characters they read about it's only been a couple hours? Readers might feel that the situation is more stressful, since the pressure of the fight has been ongoing for a long time for them, while in-universe it was a rough afternoon but no more than that. Contrastingly, when a series skips ahead or otherwise has long periods of time for characters that feel short for readers, it can feel like no time has passed and everything is still the same, unless the author really stresses the differences in world-state that occurred offscreen. Because the reader hasn't changed at all.

No conclusion here exactly, I just think it's interesting how often an audience's response to a work, the emotions felt, are more closely tied to their real-life timescale, something almost completely out of the author's control, as opposed to in-universe time, which can be intentionally shifted or played with for the sake of the narrative.

[avaf00rd]

Behind the scenes

Leah Williamson x matildas!reader

Tiny little blurb I wrote last minute as I rewatched the show

“Hello you” you grinned as you opened the front door, a smiley Leah behind it with her large suitcase and England hoodie on. The Disney plus camera crew behind you. Pretending as if Leah had just gotten home from England camp and you hadn’t seen her yet. Well she had, about an hour ago though.

You grabbed the suitcase from her hand, and pulled her in from her other free wrist, placing a short kiss on her lips and hugging her tight. “How was it?” You asked excitedly whilst you both made your way to your living room.

“Yeah really good, great to see everyone” your girlfriend explained to you leaning against the large book case near your couch. “Plane was quicker than I thought though, only like an hour and a half”

The camera still following both of you “oh yeah wow that’s not bad at all”

“Suppose I had it a bit better than you travel wise” she chuckled, folding her arms now. Nothing to your 20 hours of travel to and from Australia for your own international camp.

“Certainly” you laughed back with Leah.

“Ladies that was actually really great for a first take so we probably won’t need to do that again. We’ll now just get you both on the couch so we can talk to you both” one of the members of the camera said, holding a clip board and directing his crew to your living room

Leah sat down on the shared couch with you following suit behind. Plopping down next to your girlfriend as she put an arm around you, legs intertwined at the end of the couch.

“You guys wanna stay like this for the clips?-“

“Yes” you nodded fast, as people in the room laughed at your certainty.

“Leah can you tell me a bit about y/n. Like how she is as a person but also a teammate?” The same man asked from behind the camera. They would get her answers and these shots for the docu-series.

It be out on Disney plus just months before the World Cup begins, to help Australia get more of an insight into their team and the players

Leah looked down at you, as you shot her a smile before she started “y/n is such a hard worker. I’ve never met anyone like her. Very funny person to have a laugh with…or laugh at” she nodded

You rolled your eyes “saw that coming”

Leah did one of her wide smiles where her cheeks would go so high and her nose would scrunch up which made you melt completely, “so leading onto that she’s a bit clumsy”

“Not all the time” you mumbled

“Everyone at Arsenal calls her the princess though. Because she’s just the sweetheart of the team, who cares about her team so so much and we get to see that every day here in London” you smiled to yourself as you looked down at the couch while Leah spoke about you to the cameras

“Do you just completely hate this?” Leah laughed

“No keep going” you nodded, making her laugh. Leah often got the sense you got all flustered and embarrassed when she spoke about you so well, to other people when you are in the room.

“Y/n what’s it like getting to train each day and play games with your partner?” The producer asked me

“Yeah I’m extremely blessed, I would say, to be able to basically spend every hour of the day with her. And to put on the Arsenal badge and play for our fans with my favourite person is a bit of a win each weekend for me”

“We’re assuming you two meet through Arsenal?” He asked

“Yeah we met at Arsenal when I transferred back in 2019. And then I went on loan to Barca for a season, but then…yeah I came back-“

“And then y/n asked me out!” Leah cut you off with a grin

“Um okay it was kind of you” you looked up at her with a shake of your head.

“Kinda both of us in a way?” Leah shrugged to camera. Which you just shook your head, to said camera.

“They aren’t gonna understand that” you pointed with both arms to the camera, you and Leah now giggling. You both said a few more things they had asked you before the filming stopped.

“Thanks girls! We will see you tomorrow afternoon for more shots, have a great night, hope we didn’t take up too much of your time” a different lady had said now, as she helped her crew pack up some small equipment.

“Not at all!”

————————————————————————

Being one of the few people in your Matilda’s squad who had been apart of the team for over 11 years, you had been in quite a few scenes in the docu-series. Alongside Steph Catley, Sam Kerr, Caitlin Foord, and more. You got the opportunity to talk about your family’s background in the sport and growing up with the Matilda’s, as well as preparations to win the World Cup.

This morning you had done some scenes at the training centre for your club, along with Cait and Steph as you all talked about playing for Arsenal.

The cameras were with you once again, as Now Leah sat on a small picnic blanket in your local park, late afternoon, where you would often bring your dog, Denny, you were trying to get him to run with the ball at his fist like he was about to shoot.

Leah threw her head back laughing hysterically as you fell over your feet once again, tripping on your own dog, in another attempt to get him to play football. “It’s not going to work” she shouted

“He’ll do it Leah just wait!” You shouted back laughing as you kept trying. When you made it back to the picnic blanket, you did what you were asked to do by the crew which was talk about playing each other in the World Cup.

“I always say it but I really really hope both our teams make it to the final, but I don’t think I could handle versing you in a heated game like that”

“You do it all the time though. We’ve had so many heated games against each other”

“Yeah but a World Cup final though…Hopefully one of us will be out by then” Leah shrugged, looking at you from her position on the rug with her knees tucked to her chest

“Hopefully England” you shrugged back

“No I was joking. I hope both teams are” she laughed once again.

“I think the friendly coming up against England just before the World Cup should be good.” You said as Leah nodded “Most players who will be in the World Cup squad should hopefully be in there so we get a full feel of not just the other team but hopefully our own squads”

“Yeah for sure” Leah said

“I can sense you two have a small rivalry in your own house hold” someone’s behind the camera commented

“Mm I don’t know” Leah grinned as you just laughed

“You know it’s true”

———————————

I’m pretty negative about fics like these that I write. Cause I hate this. But honestly it’s due to some of the recent think about my writing my inbox🫠🫠

So please. If you’re not a fan of it, click out of it!

Luv u all

[yandere-daydreams]

Title: Final Girl.

Pairing: Yandere!Chrollo x Reader (HxH).

Word Count: 1.4k.

TW: 'Girl' Is In The Title But Reader Is Gender Neutral, Death and Blood, Mentions of Guns, Manipulation, Implied Kidnapping, and Spoilers for the Ninteenth-Century Novel Dracula.

The night you met him was, by no coincidence, also the night you learned what it meant to feel your blood run cold.

‘Met’ might’ve been an exaggeration. You didn’t meet him so much as you stood still and stared at him – lumbering down the hallway, clutching a gore-splattered butcher's knife, his suit disheveled and stained with a dark, blotting substance you couldn’t bring yourself to put a name to, in your fear-induced paralysis. With the manor's high ceilings and dim lighting, he seemed impossibly tall, his black eyes blank and terrible, his smile manic in a way that sent a chill up your spine, that left you frozen where you stood and unable to run as he came to stand in front of you, as he raised a hand and—

And pointed to the book tucked under your arm, a yellowed paperback beaten to hell and back from weeks of loving abuse. You’d spent hours wondering if you should bring it with you, if there was anyone else on the face of the planet who’d be stupid enough to bring a book to a mascarade ball, but you figured you’d have to step out for a breath of fresh air at some point, tonight, and phones weren’t really an option at this kind of thing. Looking back on it, you struggled to remember why you’d spent so much time agonizing over something so inconsequential, especially when whoever found your body likely wouldn’t pay it a second glance. “Is that—” He started, pausing to wet his lips before correcting himself. “Is that Bram Stoker’s Dracula?”

You blinked several times, shifting your weight. “It is,” you managed, eventually, just before the point of no return. “I… I’m only a few chapters in, though. They’re only on the second blood transfusion.”

His smile widened. “I’m reading it for the second time, now. That’s one of the best passages - you can practically feel the dread mounting in the prose.” While he spoke, you stole another glance at his attire. With your shock beginning to fade and your nerves given a few seconds to cool, you could see that he clearly hadn’t just walked out of a crime scene. His clothes were wrinkled, but not torn, not displaced the way they would’ve been if he’d been in a real fight, and he was covered in a cartoonish amount of (presumably fake) blood. He couldn’t have meant for it to be realistic, not unless you were supposed to believe he’d bled twenty people dry on his own.

He must’ve noticed you staring. His rambling trailed off into an airy chuckle, his free hand drifting to his blood-soaked shirt. “I’m afraid I might’ve misread my invitation,” he admitted, with a slight shrug. You were almost in awe of his nonchalance. Showing up to a masquerade ball in a costume fit for a b-rated haunted house would’ve left you catatonic for… god, the rest of the year, at least. “That’s how I found my way back here, actually. You can understand why I wouldn’t want to stay in the ballroom for very long, considering I’m dressed for a very different party.”

“No, no, that makes a lot of sense! I mean, a costume party would be more in-season.” You felt like an idiot. You could only hope you hadn’t looked as scared as you felt. “Honestly, I’m just surprised they let you in with a prop.”

He glanced to his ‘knife’, too, as if he’d forgotten he was holding it. “Oh, this little thing?” He took the blade in his free hand, bending it downward. Unceremoniously, it snapped into two pieces as easily as if it’d been made of little more than tin foil and plastic - which, to be fair, it probably was. “Most people struggle to see me as a threat, for whatever reason.”

“The doormen probably just felt bad for the strange man who showed up to a charity gala covered in blood.” You spared a small smile, then genuinely brightened, taking up your novel and fishing out the spare mask you’d shoved between the pages while you were getting ready. He should’ve counted himself lucky that you could never be bothered to find a real bookmark. “Mine came in a set of two,” you explained, signaling for him to bend down. A little too easily, he obeyed, stooping just low enough for you to work your spare mask over his head. It was cheaper than anything you would usually like to show off – the base simple black cloth, the embroidery meaninglessly gaudy, the main body kept in place by little more than a simple white ribbon that never seemed to sit just right, but he accepted your offering with a grateful hum. “It’s not much, but—” You paused, buttoning his suit jacket, doing your best to make it look a little less like he’d just walked out of a bad slasher movie and a little more like a tragically color-blind, but ultimately well-dressed party-goer. “It should get you through the door.”

He straightened his back, and you thought you might’ve seen something spark in his dark eyes. Then again, it could’ve just been the moonlight. “I don’t think I ever got your name.”

Oh, right – that was something most people did before offering to fix a stranger’s clothes, wasn’t it? You rushed to introduce yourself, and he did the same. “Chrollo Lucilfer.” And then, offering you his hand, “Perhaps I’d be more warmly received with a plus one?”

As hesitant as you were to slip back into the ballroom on the arm of a disheveled stranger who’d already made an impression of his own, it would’ve broken your heart to turn him down. That, and you might’ve had a weakness for disheveled strangers who fell on the more handsome side of the spectrum.

You laughed as you threaded your arm through his, letting Chrollo guide you back to the main event. A second passed with only the sound of your footsteps and distance music to fill the quiet, then another. Eventually, you broke the silence. “It’s very well-written,” you started, trying to fight the urge to fidget. “But… I don’t think I’m the right audience. I care too much about Lucy. Seeing her go through so much and knowing she’s not going to make it is just—” You sighed, shook your head. “It’s agony. Especially when the villain is literally in the title. I mean, I know the characters don’t know that, but still.”

“The benefit of a voyeur's perspective.” For all his glowing praise, he didn’t seem very offended. “I think the dramatic irony is part of the appeal. By the time the tension breaks, it’s nearly too painful to keep going.”

“Which is exactly why it hurts to read,” you groaned, slumping into his side. “I get why it’s happening, but I just can’t stand spending so long on the build-up knowing how it’s going to end. It probably doesn’t help that Lucy’s one of my favorites, either. Well, aside from Mina, but it wouldn’t be fair to compare her to the author’s self-insert.”

The two of you came to a pair of rounded oak doors. There’d been a pair of attendants stationed outside when you left, but Chrollo didn’t seem to mind shouldering it open himself, ushering you inside with a smile and an idle gesture. You took a second to steel your nerves, still not entirely prepared to throw yourself into a very crowded room filled with very loud music and very eager socialites, then crossed the threshold, coming face to face with—

Carnage. Pure, unadulterated carnage.

There were bodies everywhere, each corpse mangled and bruised and broken in every possible way. Dark blood and broken glass covered the formerly pristine ivory floor, and the walls were painted with the remnants of gunfire. A few people were still standing – the murderers, you figured, judging by the blood on their outlandish clothes, the weapons in their hands, the indifferent agitation written across their expressions as you stared at them in horror, as your heart threatened to give out for the second time that night. The tallest man you’d ever seen pointed a hand-held machine gun in your direction, but Chrollo found his way back to your side, resting a hand on your shoulder as he spoke. “Hold your fire,” he said, casually, as if you weren’t standing at the edge of a bloodbath. As if he’d known what he was leading you into. “I think I’m going to keep this one.”

You didn’t say anything. You couldn’t speak. You couldn’t move. You couldn’t breathe. The air hitched in your throat as he brought a hand up to your chin, tilting your head back and forcing you to meet his unblinking stare. You’d been right the first time. There was never anything his eyes could’ve been but terrible. “I always did like Mina.”

There was never anything he could’ve been but a monster, prowling for his next kill.

“I guess I just have a soft spot for survivors.”

[anncanta]

‘The Rings of Power’ and what is adult cinema

I think I understand what the matter is. Why there is such a strange attitude towards The Rings of Power and constant reproaches from a number of viewers that the series is boring and that it lacks epicness and vivid characters.

This point of view (and it is the same point of view) has two reasons – age and an excess of content.

The thing is that modern viewers consume a huge amount of content. These are books, films, computer games, fan fiction, TV series. It is not that it is difficult to surprise such a viewer – it is actually possible to surprise them since they are quite naive – it is as if they have sensory fatigue. Or, rather, they have stopped perceiving shades and see only colors. And among the colors – only those that glow neon and fluoresce. What is below this threshold is not interesting to them, simply because their sensitivity is dulled, like (sorry for the comparison) for a user of psychoactive substances who needs to increase the dose to get the same sensations.

That's why the characters of The Rings of Power are dull for these viewers, the storylines are boring, and the whole story lacks epicness. And it doesn't matter that this story is not about epicness at all. It's about the price living beings pay for epicness. About what attempts to start a ‘great war’ or ‘correct big mistakes’ turn out to be. How good intentions and the desire to return to the ‘great past’ or start into a brilliant future end. What an attempt to cheat death leads to.

And here we come to the second reason. To adulthood. The series The Rings of Power is for adults. Not only because adult actors play in it. Young people play there too. But because it is written in an adult way, conceived in an adult way, and played in an adult way.

These heroes and this story do not have the problems of ‘who looked at whom in what way’, ‘who does not want to marry whom off to their beloved’, and ‘which armies clashed on this hill’. With all due respect to these problems. The Rings of Power is about something completely different.

In this film, one of the central scenes is the conversation between Galadriel and Elrond in Cirdan's workshop. The scene in which stubborn Elrond repeatedly brings Galadriel back to the question she doesn't really want to return to – has Sauron really left her consciousness? How did he get there? How far did he go?

And it's not about whether she's in love with Sauron or whether he has a chance to become her lover. I have the impression that the writers don't care about that at all. They care about Galadriel's relationship with Sauron inside. For them, evil is not a black blot that just wants to destroy the whole world (in this sense, the beginning of the second season and Sauron in his black form are also a parody of such decisions), but something that has crawled into your soul and become you. Where, at what point did it become you? How much has it become you? Can you resist it? These are very boring questions to answer – especially if you are uncomfortable with them.

The other pivotal scene is where Sauron tortures Celebrimbor. I know it's bland for viewers used to detailed violence and fan fiction. But it's monstrous. It's horrifying in its simplicity. You look at this beautiful creature who knows exactly where to shoot, so it hurts, but also so the victim stays alive. Then he comes over and moves one arrow slightly. You look at it and you want to scream.

And then Celebrimbor defeats him. Not because Celebrimbor is physically stronger, or a greater wizard, or has a deadlier sword. Because Celebrimbor speaks the truth. Because all these mind games are worthless when you look at them with clear eyes. So Celebrimbor looks. And makes Sauron look. That is stronger than any battle. As is the silence Sauron remains in, which he has tried so hard to drown out with the sounds of thunderous battle. That is why he weeps, and not because Celebrimbor has humiliated or insulted him.

The central part of the story is strange, imperfect, doubting Galadriel. After centuries of pain and loss, fear and anger, rage and grief, she believed that there was someone in this world who could understand her – and he turned out to be the Dark Lord. This makes their misunderstanding all the more vivid and profound – Sauron thinks that Galadriel rejected him because he did not offer her enough, but she did it because he offered too much. The noble Halbrand was enough – not the divinely handsome (another jab at fans of epic films with grandiose perfect men), but a man who was wrong and willing to admit his mistakes. By showing her that Halbrand was a deception, Sauron betrayed not her love, but her belief that there was a way back. Including for herself, who, no matter how absurd it may be, still cannot forgive herself for putting the helmets of her brothers and sisters in the mound.

This faith will be restored to her later by Adar – for a moment, for a few minutes, he returned to his former elven appearance and showed her that it is possible to forgive others and forgive herself. Having missed the opportunity to escape with the ring of power and accepted her help and their alliance.

All these plot lines, all these stories, all the events and heroes do not look bright and spectacular. Even the battles do not look spectacular. Do you know why?

Because battles are not spectacular. They are dirty, stinking, disgusting, and full of pain and blood. Eregion during the siege does not look like grandiose fortresses – it looks like bloody besieged cities. Like cities on which bombs fall. Like cities into which, like cockroaches, aliens crawl. This is what the truth looks like. Do not believe the artificial mouse running across the floor. Better check if the candle is burning out.

The problem and, in fact, the essence is that all these things are impossible to see and understand if you are a young person. In youth, all the stories are about love (with a capital letter), about war (heroic and brilliant), and about refined characters who proudly walk back and forth. They talk little because the young are not interested in conversations. They are interested in kissing and figuring out who is better.

But I am interested in something else. And many people like me are too. And I am incredibly happy that the authors made this film for us. It is not even about Tolkien – I repeat, I am rather indifferent to him. The point is how, through Tolkien and his legendarium, the authors talk about what is important to me. And they do it masterfully. And the most beautiful thing is that those who are young will definitely grow up and become adults.

And then maybe they will love this story too.

[topazadine]

Things that immediately turn me off a fiction book

I'm pretty picky with what I read, because the time I spend reading is time that I could spend writing. I generally know if I will like a book within the first chapter, and I feel no shame in giving up if I'm not vibing with it.

And no, I don't believe in the "oooh read further it warms up" because does it? Does it really? Do I want to waste time finding out?

Frankly, at this point in life, I read more nonfiction than fiction because there's just so. many. bad. books. that are getting published. Worse than fanfictions.

Anyway, here are the things that make me give up. Maybe hearing this will help you as you write your own masterpiece.

Too Many Proper Nouns

Three characters maximum in the first chapter or two. Do not throw dozens of people at me. I will get confused and give up. Let me get to know the main character, by themself or with a few of their closest companions, before you make me remember everyone else. And go deep with those characters! I want someone to stick with!

You can reference other characters, to create a sense of a deeper world, but do not go all-in on them. Make it clear that they are just there to provide a bit of context, and we don't have to remember them yet. We should only be meeting three characters maximum.

Throwing Us Immediately Into a Dramatic Action Point

This is controversial I know, but I hate when something immediately starts with a battle. I don't care if any of these people live or die. I don't know them. I haven't grown attached to any of them.

Even just a page or two to get to know them first will help. You can have them gearing up for a battle, thinking about what's going to happen, maybe talking to their friends, maybe checking their armor, whatever feels natural for them. But do not just start with stabbing people! I don't care about them yet!

Too Many Details

Many this is just me, but I simply do not care about every piece of armor your character is wearing. I don't need to hear a play-by-play of every single color of every single thing because I don't care. Pick out a few specific things for me to focus on and that's it. Stop overloading me with colors and patterns and armor styles.

Yes, yes, you've done your research on historically accurate gear. That's great. It would be good for a movie. But if I have to look up different armor pieces every five seconds, I am glossing over it and moving on. I don't care. I'm here for the story. If I wanted an infodump about medieval armor, I would simply pick up a nonfiction book (and maybe I will).

White Space Syndrome

Tell me what the overall scene looks like instead of all these hyperspecific details of certain objects, like carts or emblems or whatever. I want to know where I am!!

Don't just say "a forest." Tell me what kind of forest. Tell me if it's a young forest or an old snarly forest or a swampy forest or a cold alpine forest.

Don't just say "a castle." Tell me if it's a bustling castle or a gloomy castle or a rundown castle.

Don't just say "on the sea." Cold sea? Tropical sea? Far far away from land or is land in sight? These are the things I want!

Too Much Backstory

For the love of god do not explain the entire history of this culture in the first chapter. The first chapter is for getting to know the characters we're going to be following. You can introduce those things slowly and carefully as the story unfolds.

I get that fiction writers are delighted by all the worldbuilding (or research, in historical fiction) they have done. But the reader does not care right away. They need to get invested before all those little specifics matter at all. My eyes glaze over and I give up because I don't want to have to remember all of that all at once. It's like you just threw a college textbook at my face.

Plus, if you're doing third-person limited, you have to remember that the character is not going to be thinking all of that! They won't say all of that either! Because they know all of that!

Even a general on the brink of a major battle is not going to go "yes, this all dates back to when we took Iuanfutila back in 181, when the brave Iuanfutilans protested the rule of our Yawwbaawnwhryr leaders ...." They are focused on the present moment, and they may discuss the backstory later. Tell us what we need to know now because that is what the character would be thinking too.

"Oh, but Topazadine, how will the readers understand the context if I don't tell them??"

There's a battle. Two groups are at war. Or something was stolen. Or two people are fighting. Whatever. We understand those things. We can get the basic gist of how things are going to play out by just showing us these things happening. Then, as we have gotten a feel for the characters, you can tell us more about the context.

If you walk into a store that's being held up by an armed robber, do you give a shit about his backstory, or do you only care once that person has been arrested and you have to testify? I think we know the answer. You're not going "ohhh why is he doing this??" at first. You're going "HOLY SHIT THERE'S A GUN WHAT'S GOING TO HAPPEN NOW???" and then you'll care about the other stuff later.

Too Much Play-by-Play

I also do not need a play by play of a fight scene. I need to know the general movements, and then the overall atmosphere. I want to feel what the character feels rather than feel like I'm watching a football game.

Your reader will fill in the gaps if you give them enough information, but when you overload them with every single action, they're now trying to keep track of what went where instead of how this moment is supposed to feel. And now the action and drama has gone out of the writing because it's become a manual of fighting techniques.

Pointless Dumb Conversations

"Oh, could you turn around for me? I want privacy."

"Sure, of course, I'm a respectable man." Manfred knew that a lady-in-waiting would be unsettled by the presence of a strange man, so he wanted to be respectful.

"Thanks."

"You're welcome."

Oh my god no one cares!!! No one!! We don't need this exchange. Cut it. This is stupid. Unless something is actually happening or something is meaningful about them saying this, shut up.

How to Not Write a Horrible First Chapter That Makes People Ragequit

Can you tell I'm mad today? I started and stopped three different books because they were all so bad.

Three characters max in the first chapter, with deep discussion of each. (One or two is better.) General appearance, demeanor, profession, whatever.

Restrain the urge to infodump! Dribble it out over the chapter!

Give the setting more attention than random little details that ultimately do not matter. I don't need to know the pattern of the curtains on the horsecart that's about to be burnt. Don't care.

Do not give a play by play of every single action that a character takes because it's boring and no one cares.

In media res is great but do NOT start with a big climactic intense battle or fight or whatever because we don't know these characters and don't know who to root for (or why we should care).

Your character is not going to give us a history lesson in why this conflict is happening. Do not do it yourself either. Give us just enough to get intrigued and no more. Think how your characters would think and what they would prioritize in discussions.

If a conversation is just pleasantries and has no purpose, drop it, we don't care.

[aroaceleovaldez]

i know a lot of people talk about the Cupid Scene as not being great as Nico's coming out story (which i think is a complex matter but that's a rant for another day), but I personally find it way more compelling if it's just not Nico's coming out story at all - it's the beginning of Jason's.

Because it doesn't really work or make sense to be Nico's, right? It's not Nico's pov. Nico doesn't have a POV at all in this book. And in House of Hades, the Cupid Scene is one of the first major things Nico gets to do right out of the box jar. Why introduce a character, have him be outed as gay, lead the crew around, and then leave to go travel with someone else all in one book where he's not even a POV? It's also contrary to the way Nico generally functions as a character - he's either exposition, dues ex machina, or damsel in distress. He's kind of a damsel here, but ultimately he doesn't need anyone else to save him - or even be there. He handles it on his own. Jason is mostly just a witness.

But, if you view the Cupid Scene as being about Jason, it narratively fits a lot more; Jason at this point is dating Piper, and they're three books deep into their relationship. TLH they start dating and are relatively happy with it and where they are. SoN is a skip but we know they're happily dating during that time, and then Mark of Athena we get a slight shift. Jason and Piper see Percy and Annabeth and go "Oh! They're perfect. Their relationship is perfect. We could be happier if we were more like them." Piper and Jason are also both characters who go through an identity turmoil in general - particularly about how both of them want to be perceived by others and who they are as people. The things they identify with - their parents, their heritages, etc etc. Their orientations. Piper's get more focus earlier in HoO, and Jason gets more later.

The Cupid Scene is from Jason's POV, in a book where he is beginning to struggle with his identity and what people expect from him - particularly him not feeling like he perfectly fits with "either camp." He's too "Greek" to be "Roman" but too "Roman" to be "Greek." He's not quite one or the other. He doesn't meet the expectations either has for him. (This is bi-coding, if you couldn't tell. Just replace "Greek" and "Roman" with "Straight" and "Gay.") It starts with Cupid addressing Jason first, before Nico, very directly - asking him if he's so sure he's happy in his relationship? Does he really think it's perfect? Even Favonius very pointedly asks him if he really forget that guys can date guys? Do you have some internalized bias around that, Jason? Hm? Heck, they're both specifically in their Roman forms, not Greek. Why would they appear in their Roman forms if they're there for a Greek demigod? And very notably, they have this exchange:

(remember what I said about the bi-coding with Jason's Greek/Roman identity crisis? I don't think it's coincidence that this so pointedly comes up during the Cupid scene.)

Favonius' introduction to the Cupid scene sets up Nico's portion of it, but Cupid almost exclusively speaks to Jason for the first half of it. Then Nico steps in. He diverts the conversation away from Jason and focuses the attention onto him. Nico's the one Cupid wants, he insists, not Jason. He's the target, not Jason. This is very in line with Nico's character - practically one of his core character traits is he trusts and starts caring about people very quickly, probably quicker than he should or even wants to, and will put himself in harm's way to prevent others from being hurt. The Cupid Scene isn't the start of Nico's coming out story - Nico already knows he's gay. He has no internal doubts about that. He's known it for awhile. He's just in the closet. And he starts coming out of his own free will in the next book, first to Reyna and Coach. The Cupid Scene is Nico recognizing that Favonius and Cupid are pushing Jason for something he's not ready for and hasn't figured out yet, but something Nico has and just hasn't said out loud yet. The Cupid Scene is Nico taking the proverbial bullet/literal arrow for Jason (Jason consistently describes the arrows as whizzing by him before striking near Nico, interestingly) and being outed so Jason isn't. And that presents Jason with the path to begin questioning his identity further. (Jason also then directly compares Cupid to Aphrodite, specifically her Greek form, which also ties into Jason's greek/roman stuff.)

And I don't think it's coincidence that Jason and Nico mirror each other so much, and that their arcs in HoH are so intertwined. The Cupid Scene functionally, on a meta level, establishes an explicitly queer character to parallel Jason and for him to bounce off of during his own arc. (And, also on a meta level, establishes to the audience to be sympathetic to queer struggles, with Jason's arc then proceeding to be a queer-coded struggle.) Jason is presented as having this strange level of isolation from how others perceive him in a positive way/the expectations people have of him that wraps around to something akin to Nico's ostracization as being an outsider and atypical demigod in general. Nico is a rouge - he explicitly expresses how he feels like he doesn't fit in at either camp (something he expresses explicitly during the Cupid Scene, mirroring Jason's simultaneous questioning his own place at Camp Jupiter) and a core part of his character is that he does function outside the rules and expectations of both camps. He operates on an entirely different realm to them. If the camps are an expectation of normative concepts of acceptable relationships, Nico is outside of that. And he recognizes that he operates outside of that and will never fully fit into the mold either expect of him, and he recognizes he doesn't need to fit in, even if he theoretically could force himself to fit that mold. Jason, meanwhile, is still locked within those boundaries, and grappling with this idea of how he can exist between them.

Nico hands Jason a goblet of poison and says "how much do you trust me?" and it's Nico challenging Jason to take his own advice about trusting others about their identities, and almost immediately after that Jason gives up his praetor title to Frank. Jason's Greek/Roman arc is directly tied to Nico and the Cupid scene. BoO ends with Jason asking Nico to stay at CHB so they can hang out that summer. By TOA, we learn that Nico has started dating and is staying at CHB (is exploring the niche of expected and socially accepted relationships) while Jason has broken up with Piper and is living away from both camps (rejecting hetero/allonormative expectations), still struggling with his own identity. They functionally swap places. And that's fascinating.

Anyways i think about Jason's bi-coding a lot.

[literaryvein-reblogs]

Writing Notes: The Ending

The perfect last line will:

Immediately make the reader want to re-read the novel from the beginning

Hook the reader into reading your next novel

Leave your reader chewing on the last scene long after closing the book

Types of Endings

The Perfect Loop

This ending back to the beginning. It can bring the reader back to the opening scene or first line, but provides added depth.

It requires planning and editing to craft both an ending and a beginning that feels easy and authentic, not forced or artificial.

The Surprise Ending

Completely switch up the story and take the reader by surprise.

Maybe a new detail is revealed or the narrator is proven unreliable.

It’s unexpected, but it should always make sense upon reexamination.

Remember this: All endings should be satisfying.

If you choose to twist the ending with a surprise, be sure that there’s plenty of foreshadowing spiced throughout your story.

The Moral of the Story

Sometimes, the last line should just spell out what you really want the reader to get from the story.

It doesn’t have to be in the preachy tone used in children’s fables, though.

It can be a realization of the narrator or protagonist.

The Cliffhanger

Sometimes, you don’t want to give away everything about the character. Perhaps you’re not even certain yourself.

Or you may have a sequel in mind, and there’s no sense in tidying up the lives of characters you’ll revisit in the future. In these cases, rely on the trusty cliffhanger.

This ending feels like the close of a chapter, and gets the reader excited about the next story.

The best way to create a cliffhanger ending is to tidy up the main plot points you’ve introduced within the course of the novel, but let the reader know there’s still more to explore with these characters.

The “Happily Ever After”

Alternatively, we may call this one the “crystal ball”, because not all endings of this type are happy.

In this ending, you’ll explain what happens in the future.

Follow the eventual lives of the characters you’ve introduced.

Oftentimes, this type of ending occurs as the finale in a series.

A way to tie up loose ends without writing a new book.

Happily ever after endings can feel rushed, if you don’t write them correctly. Each character’s story arc should be foreshadowed within the text.

Example: A prim and proper Southern belle who, in the epilogue, has run off and joined the travelling carnival doesn’t make much sense unless you’ve planted seeds along the way.

The Vagueness of It All

Some authors choose to provide a vague and murky ending.

This is the type of ending where things are left unsaid.

An ambiguous ending is often exasperating.

Readers oftentimes don’t want to take your story and come up with their own conclusion. They want to know what you, the writer, think.

They want a chance to say goodbye to the characters.

By leaving important plot points up in the air, you rob the reader of a rewarding end. Avoid this type of uncertain ending and rescue your readers from the agony of unanswered questions.

Edit With the Ending in Mind

When you first set off to write your novel, you probably have no idea where it’s headed. You may know where you’d like to go, but the characters often take off in their own directions and instead of being the dictator, you become the record keeper.

So, how do you have the ending in mind when you don’t even know what the ending will be? Easy. Take care of that with the editing process.

Editing is essential to writing because the first draft will always be just that—a first draft. It merely helps you blurt out the words and get everything down.

The second draft, and so on, helps you mould those words into something masterful and worthy of your reader’s time.

Once you start to edit your draft, start shaping it so that the ending seems inevitable from the beginning.

Remember: Inevitable, but not obvious.

Threaded throughout your novel should be a foreshadowing of the ending that’s only revealed in retrospect. While you don’t want the reader to predict the ending from the beginning (how boring is that?), you do want the reader to go back and look for clues to how this ending was always going to happen.

Examples of Great Last Lines

The Great Gatsby, F. Scott Fitzgerald:

“So we beat on, boats against the current, borne back ceaselessly into the past.”

This is one of the most praised last lines in all of literature.

In one sentence, it perfectly captures the mood and underlying theme of the novel.

It poetically describes the human struggle to improve one’s condition even when it’s only an illusion.

Nineteen Eighty-Four, George Orwell:

“He loved Big Brother.”

This heartbreaking end to a biting social commentary will likely leave the reader with feelings of hopelessness, but the truth is this ending was inevitable from the beginning:

The crushing tyranny of Big Brother leaves no survivors.

The House of the Spirits, Isabel Allende:

“Barrabas came to us by sea…”

What stands out about this last line is that it’s also the novel’s first line.

It brings the reader back full circle to the story’s beginning.

Even in its simplicity, this line carries much more weight than it did when the reader first began the novel, because the reader now has a deeper understanding of what this line means.

The Book Thief, Markus Zusak:

“I am haunted by humans.”

As narrator, Death offers this profound insight on humans.

What’s so astounding about this line is that most humans are afraid or haunted by death, but in an interesting twist, Death is actually scared of humans.

Write an ending that makes the heart ache and then ponder. Craft a line that echoes in your readers’ minds for a long while after. The last line is your elusive entrance into literary immortality.

Source ⚜ Writing Notes & References