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thewriteadviceforwriters · 4 months ago

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Happy writing! 💖✍️ - Rin T.

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cloudzoro · 2 months ago

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Girl, since you mention the OP dilfs, I would LOVE to see some headcanons or something about either how they flirt with you or when they realize they like you 👀👀👀

you can add who you like but I’m begging for Shanks and Mihawk ✨🧍🏽‍♀️

hi!!!!! I went with 'realising they like you, and I actually added most of the dilfs. hope you enjoy 🤤🙏

✩₊˚.⋆☾⋆⁺₊✧✩₊˚.⋆☾⋆⁺₊✧✩₊˚.⋆☾⋆⁺₊✧✩₊˚.⋆☾⋆⁺₊✧

Realising He's In Love | ♡

characters: beckman, buggy, crocodile, dragon, mihawk, shanks, smoker

cw: fem!reader, crocodile's is suggestive,

✩₊˚.⋆☾⋆⁺₊✧✩₊˚.⋆☾⋆⁺₊✧✩₊˚.⋆☾⋆⁺₊✧✩₊˚.⋆☾⋆⁺₊✧

Beckman

Beckman realises his love for you on a random cold morning.

It's a very rare calm day aboard the force. Beckman, sitting in a chair on the deck, listens to those of his crewmates who are awake this early, navigating around the ship. He hears your voice humming a pretty tune. He hears the clanking of pans in the background, giving away your location.

When he enters the kitchen, he sees you dancing around and helping yourselves to Lucky Roux's ingredients.

“Whatcha doing?” he asks. He laughs as you jump, startled by his interruption.

“It's kind of chilly out, and you were running a little cold this morning, so I'm making us some nice warm breakfast,” you say, adding ingredients to a pan. Your desire to take care of him warms him up enough already. He walks up to you and wraps his arms around your waist. He buries his face into your neck as he hums in response. The domesticity of it slaps him in the face. A warmth spreads through his body. He understands, in this moment, what it is to truly love someone, but he'll keep it as his little secret for a while longer

✩♬ ₊˚.☁️⋆☾⋆⁺₊✧

Buggy

Everyone is so mean to him. All his life, he's been treated poorly. Then he meets you; you're a subordinate of Mihawk's that he's brought along to the cross guild. Mihawk is a solitary creature, so the fact he keeps you around must mean you hold some value to him. This fact scares Buggy; it makes him distrust you, even if you're so kind to him.

You talk to him gently, offer to pour him drinks when he stops by Mihawk's tent and patch him up when his two business partners beat him down. At first, he thinks you have alternative motives, that this is a ploy, and you're going to hurt him in some way. Then, he thinks you're patronising him and taking pity on his poor soul.

It takes Mihawk stomping his boot down a little too hard, which causes you to step in and beg your boss to back off, to make him realise you genuinely care about him. You standing up to Mihawk despite what repercussions it may have is the day he realises that he doesn't ever want you to leave.

✩♬ ₊˚.☁️⋆☾⋆⁺₊✧

Crocodile

He's pretty into you from the beginning, but he doesn't fall quickly. You're a colleague, a hard worker, and he likes you. He takes you to many galas and events and proposes that the two of you should work together more often. That leads to the two of you being tangled in the sheets, and Crocodile makes it clear to you that this ‘relationship’ is sexual in nature and nothing more. You're fond of the man, but you keep your feelings to yourself. Until one night when he needs to take his stress out and finds himself unable to be rough with you.

He doesn't lay your back against his sheets, doesn't flip you onto your front and squish your head into the pillows. Instead, in a move that baffles you, he asks you for a kiss. You oblige, seated on his lap on a soft velvet sofa. His hook caresses your leg, keeping you pressed to him while his hands explore you. You gently ask if he's ok, careful not to anger the beast beneath you. He nods, moving his kisses down to your neck. He feels it in his heart, his chest crumbling from the inside as he bares it to you with every kiss placed on your skin.

He laughs at himself as he remembers telling you this was nothing more than sex. What a fool he was.

✩♬ ₊˚.☁️⋆☾⋆⁺₊✧

Dragon

Dragon and you are dating, and you have been for a while. He's quite frankly terrified of love. He's been there once, and it didn't work out for him. He takes things slowly with you. Every late-night talk and comforting hug in the privacy of your room pulls his heart deeper and deeper.

He realises just how deeply in love he is when he sees you standing with Koala, giving her some advice. Your heart is what attracted him to you in the first place. Seeing you so readily help other people makes him realise just how strongly he feels about you. He more than loves you; he admires you. He approaches you as Koala leaves, looking much calmer than she did before.

“Is she ok?”

“She's fine, honey. Are you ok?” It's a simple question of concern, but it still has his heart squeezing in a way he's never felt before. He kisses you softly, hoping the action will convey his feelings properly.

✩♬ ₊˚.☁️⋆☾⋆⁺₊✧

Mihawk

He's very straightforward and to the point. He knows what he wants. He realises he likes you pretty much immediately after meeting you.

The first time he meets your eyes from across the bar, he plans to take you back to your home, entertain you and leave you before you wake the next morning. Then he strikes up a conversation with you, and everything changes.

“Can I buy you another drink?” he asks, sliding into the seat next to you.

“Please don't, this cheap wine tastes like shit. I could probably use this as a truth serum against my enemies” You bite, smacking your lips together at the bitter taste. Something about your attitude lights a flame in Mihawk. He's found a kindred spirit in you. A fine woman with a fine taste. Now he's intrigued by you, suddenly struck with a desire to know more.

So he starts talking to you about wine. There's no flirtation in his words, no exaggerated flattery or innuendo. He asks about you, divulges very little about himself and then tells you he found you interesting. He asks if you'd like to go home with him and see his much more impressive collection of wine. Of course, you accept. He lets you break open a well-aged bottle, drinking happily with you.

✩♬ ₊˚.☁️⋆☾⋆⁺₊✧

Shanks

Oh, he's pathetic, actually. Everyone else realises before he does. He denies it with every fibre of his being. You've known each other for a long time. Every time you touch him, talk back to him, even look at him, his heart stirs. He has to tell himself the tightening of his chest is just the drink catching up to him.

After a night of drinking and joking, you go off to bed. When you part with your captain, you're so drunk that you don't even realise what you're doing and press a goodnight kiss to his cheek. You cart yourself off to bed, tiredly waving at your crew. You go to sleep, completely oblivious to the fact that Shanks is currently turning the colour of his hair while Yasopp and Roux tease him for it. Beckman gives him a look that says, ‘I told you so’.

“I'm not in love with her”, he groans as he's hit with flashes of all the times you've made his heart skip a beat. “ I just think she's beautiful, smart, talented, fun and” he pauses his sentence when he realises he's rambling, rambling about you. “I'm in love with her,” he sighs, putting his head in hand. What kind of captain falls for his crewmate?

✩♬ ₊˚.☁️⋆☾⋆⁺₊✧

Smoker

Smoker doesn't realise until it's almost too late. The two of you are co-workers and have known each other for years. While working together, an enemy you hadn't noticed takes a shot at you, and Smoker puts himself in the line of fire. The bullet hits his ribcage, and enough of the soldiers under his command help him away to be seen by a doctor.

Seeing that bullet fly towards you had every missed opportunity to kiss you, cycling through his brain. He moved to save you, knowing it would harm him because he realised at that moment he would rather die than spend a single minute without you. He needs you to eat, breathe and sleep. He convinced himself at one point that you two were just inseparable friends, but the singular bullet in his torso had the truth bleeding out of him.

When he wakes up from surgery, you're sat in his hospital room, asleep in a chair next to his bed. His busy heart relaxes, seeing you safe and sound. He considers the bullet a silent vow of protection. A vow he will never break.

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thank you so much for reading! I hope you enjoyed reading. comments and reblogs are appreciated ♡

tag list: @bloodfixnd @sexysapphicshopowner @beachaddict48 @lem-hhn @quanxifangirl @mythicallystupid

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#one piece x reader #fem!reader #shanks x reader #mihawk x reader #crocodile x reader #buggy x reader #smoker x reader #dragon x reader #benn beckman x reader #monkey d dragon x reader #sir crocodile x reader #buggy the clown x reader #op x reader

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fushiglow · 3 months ago

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Gojo cares a lot, actually

Perspective and empathy in Jujutsu Kaisen

Once again, I see accusations that Gojo only cared about people in relation to their strength. I can't believe that 236 and 261 haven't put this idea to bed already, but let's go over it again for the class. Here are some thoughts on the importance of perspective and empathy in JJK. Spoilers for chapter 266 ahead!

In 236, Gojo tells Geto he loves everyone. This single line, direct from the man's mouth, should be enough. However, moments later, Nanami says, "You never cared about protecting people". So why do some readers only take one of these perspectives at face value?

Perspective matters in JJK. Often, characters and even the narrator state things that are only true from their perspective in a given moment. What you choose to believe says more about you than it does about them — an idea I explored in my analysis of 236.

This is particularly important when it comes to Gojo and Megumi, because the moment they meet is the only (?) scene in the whole of JJK that we get to see from two perspectives.

The second time, the reader understands the emotional weight of it for Gojo — but Megumi doesn't. He's kept in the dark, so of course he thinks about their meeting in different terms.

Once again, whose perspective are we going to take at face value? From Megumi's point of view, he wasn't offered a choice. From Gojo's point of view, he extended to a child the little agency available to him.

Offering a choice is something Gojo does consistently throughout JJK — pick your hell. It's one of the ways he shows care for others that goes unrecognised, so it's ironic that readers and characters alike misinterpret it for a lack of empathy. However, this is no coincidence.

For much of the series, Gege keeps Gojo at a narrative distance from the reader. Most of what we know about Gojo comes from what other characters tell us, and our view of him is therefore coloured by their perspective.

However, while Gojo laments the distance between himself and others, he fails to recognise that he's the one maintaining it — and not because of his strength or his technique. He has admirable goals, but he chooses to work towards them alone.

There are many occasions where characters reach for Gojo, but he refuses to let them past his metaphorical Infinity out of a sense of duty and perhaps misplaced belief that he alone can or should bear this heavy burden.

All of Gojo's actions are about preserving the humanity of others at the expense of his own. That's precisely why he chooses to become the "monster" alone. In this way, Gojo is flawed but he isn't uncaring. Again, it's a matter of perspective.

Gojo sees strength as the solution because it's all he's ever known. However, recognising the strength of others doesn't mean that's all he sees — because Gojo knows that dehumanisation acutely. What's more, 261 also suggests he thinks of "strength" in different terms to others.

When they meet, Gojo tells Megumi not to get left behind. However, he later says he was "left behind" when Geto defected. We know Gojo's physical strength eclipsed Geto's, yet Gojo only refers to himself as "the strongest" alone after Geto dies.

Before that point, there's nothing in the text to suggest that Gojo ever stopped thinking of the pair of them as "the strongest" — as a unit, as a duo. This suggests that strength, for Gojo, is something much more intangible, much more sympathetic, and much more human too.

What do the strongest characters in JJK all have in common? Indomitable will, courage in their convictions, an overwhelming sense of self. Looking at strength through this lens shines a new light on Gojo's goal of raising "strong" allies.

When he forces a third option in Shibuya, Gojo proves that strength doesn't have to come at the expense of compassion. In the later chapters of the Shinjuku Showdown arc, Yuta, Yuji, and the rest of Gojo's allies reinforce that idea ten times over, and I have every belief that Megumi will soon do the same.

To suggest Gojo only saved Megumi for his technique is unfair when he has consistently proven himself committed to protecting the futures of others, even "weak" non-sorcerers who have nothing to offer him. Once again, it's all a matter of perspective.

Gojo's way of caring is still caring, even if it doesn't look familiar to you. His only flaw was closing himself off from others and choosing to care from afar. However, just like Gojo never stopped reaching for Geto after he left, Gojo's allies never stopped reaching for him.

There's a phrase we use to describe looking at things from another perspective: putting yourself in someone else's shoes. I think it's very telling that Gojo's allies have taken that literally — Yuta by stepping into his skin, and Yuji by standing in his place in 266.

TL;DR: Gojo cares a lot, actually. If Gojo talking about his innermost feelings can't make you empathise, and the students he supposedly "doesn't care about" recognising his burdens can't make you empathise?

Well, that says far more about you than it does about him.

Come read my fics about this!

In His Shadow explores the ways Gojo keeps his distance from Megumi, who isn't equipped with the tools he needs to reach him but finds his own ways to show he cares, born from ten years of history together.

Rivers Crossed, Mountains Scaled explores Gojo and Megumi's relationship through the vehicle of SatoSugu — why Gojo took him in, whether Gojo really gave him a choice, how Gojo sees him.

Hope you enjoyed the post! I love you, Gege Akutami ♥️

#jujutsu kaisen #jjk #jjk 266 #呪術廻戦 #gojo satoru #fushiguro megumi #jjk spoilers #jjk manga spoilers #jujutsu kaisen spoilers #jjk meta #jjk analysis #jujutsu kaisen meta #jujutsu kaisen analysis #glo's writing #glo's analysis #fushiglow

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hotshotsxyz · 2 months ago

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this method acting (might pay our bills)

(1.1k) (gen) 8x02 coda with spoilers from the 8x03 teaser. it's still thursday on the west coast, so i'm counting this as a same day coda. anyway brad torrence is a menace and i'm setting up camp in his brain

Let it be known to all, Brad Torrence takes his craft very seriously. So seriously, in fact, that when he’s called to a real emergency, he answers that call without hesitation. After all, what better to inform his performance than real experience? Tonight, Brad is a firefighter; he doesn’t just play one on TV.

His fellow firefighter, Buck, doesn’t seem terribly enthused about his presence. He generally seems to have a worried air about him, though, so maybe it doesn’t have anything to do with him at all. There’s a certain degree of vanity required in his profession, but he isn’t entirely self-centered. Honestly, he’s just glad that Buck doesn’t seem to be starstruck. That would make this entire situation far more difficult.

“Try Athena,” Bobby commands, but before Brad can ask for her number, Buck’s already dialing. That’s fine, he supposes. There’s no time to waste.

Brad’s not actually completely sure who Athena is. Someone important, obviously, perhaps his lieutenant? His character on Hotshots is a bit of a lone wolf, but maybe there’s something else there to explore. He makes a mental note to ask the writers room about adding a new character in the back half of the season, a lieutenant for him to butt heads and then bond with. They could even make it a bit of a will-they-won’t-they. He’s sure they won’t mind a few rewrites.

The phone rings twice, then, to Brad’s surprise, the call connects.

“Buck? Where’s—”

“I’m right here, Athena,” Bobby interrupts. His tone is magnificent. Calm but firm, no doubt inspiring nothing but faith in the woman on the other end of the line, whoever she is to him.

“Oh, thank god, Bobby,” Athena says.

Her voice is a bit garbled. It wouldn’t make for good television, but some concessions must be made for reality, Brad supposes.

“I’m on a plane,” Athena continues. “It’s—it’s not looking great.”

“Athena, if there’s anyone who can land a plane it’s you,” Bobby says. There isn’t a modicum of doubt in his voice.

“If there’s anyone who can land a plane, it’s a pilot!” Athena protests. Brad wishes he brought a pen and paper. Her comedic timing is excellent.

“She’s got you there,” Brad says, leaning forward until his head is between Bobby and Buck.

The look Buck shoots him is just shy of murderous. He’d be a terrible actor, Brad thinks. It’s all about focus and purposeful expression, neither of which seem to be at the top of Buck’s priority list.

“Who the hell was that?” Athena asks.

“Brad Torrence,” he says smoothly, “but you can call me Brad.”

Buck’s expression shifts from murderous to incredulous. Again, terrible actor.

“Don’t worry about him,” Bobby says.

He inflects his words with the tiniest hint of irritation. It’s brilliant – how better to redirect the anxiety Athena must be feeling into something more manageable. Brad only hopes he’ll be able to meet her in person once this nasty business is over.

“I’ve got plenty to worry about. He doesn’t even make the top ten.”

Buck snorts. Rude.

“Tell me what’s going on,” Bobby says.

“Air traffic control is directing us to LAX, but—Bobby, I’m not sure we can make it that far. The hole in the fuselage is getting bigger and our airspeed is dropping fast.” Athena sounds scared, desperate. Caroline could learn a thing or two from her about emotional resonance.

“Did—did you say there’s a hole in the plane?” Buck asks. His voice has a certain gravely, intense timber that Brad supposes would do well in some genres. Action movies, maybe, but not the high budget kind.

“What do you need from me?” Bobby asks before she can answer the question.

“Do you got a runway in your back pocket?” Again, brilliant comedic timing. She has that perfectly acerbic wit that any good heroine needs to have.

Bobby thinks for a moment. “Can you make it to the 110?” he asks finally.

“That, I think I can do,” Athena replies.

“Buck,” Bobby says, only it sounds less like his name and more like a command.

“On it,” Buck says. He twists around in his seat and looks at Brad. “Give me your phone.”

“My—why do you need my phone?” Brad asks. “You’ve got one right there.”

“Come on, man, now,” Buck says, all bite with no room for argument.

“Fine, fine,” Brad says. He slides his phone from the pocket of his turnout pants and hands it to Buck, who doesn’t even thank him for it.

Instead, he turns back to the front and types out a quick text before dialing a number. The call connects almost instantly.

“Maddie,” he says, “I don’t have time to explain. I need you to shut down the 110, get as much traffic off it as possible. We need it completely clear from Sepulveda to Torrance.”

The woman on the other end of the line doesn’t reply directly. “All available units, we’re shutting down the 110. Create roadblocks south of Sepulveda and north of Torrance. All traffic must be cleared between those exits.”

“Thank you, Maddie, you’re the best,” Buck says when she’s done. So, some people do, in fact, get thanked when they do something helpful. It’s fine.

“Is it Athena?” Maddie asks.

“Yeah,” Buck says. “They can’t stay in the air much longer.”

“Alright,” Maddie says. “I’ll coordinate with the IC over there, get triage moved as fast as possible.”

“I’ll keep you in the loop,” Buck says.

The line goes dead, and Brad’s expecting to get his phone back, but Buck sends another text and dials another number. This time, it rings thrice before the call is answered.

“Buck,” a man says on the other end of the line. His voice is warm and honey smooth. Brad should ask his dialect coach about that.

“They’re not—Eddie, they’re not making it to LAX,” Buck says, rushed and a little less polished than he was for Maddie.

There’s a short pause, then the quality of the sound changes. “Where?” the man—Eddie—asks.

“The 110,” Buck says. “South of Torrance. We need you over here, fast as possible.”

It’s odd, hearing his name this many times when he’s not the subject of the conversation. If this was meant to be a TV scene, it’d be far too repetitive.

“Pack it up, let’s go!” another voice calls. She must be a captain, if the authority she speaks with is anything to go off.

“We’re coming,” Eddie says.

Some of the tension in Buck’s shoulders seems to bleed away. Interesting. “See you soon,” he says.

He ends the call, and Brad turns his attention back to Bobby. After listening for a moment, he realizes that they’re now on a conference call, and Athena is speaking to someone who knows a great deal more about planes than he does.

Brad closes his eyes and leans back. They’ll be at the scene soon. It’s time to visualize. As long as he stays in character, nothing can go wrong.

#911 #911 spoilers #911fic #911 fic #911 abc #brad torrence #bobby nash #evan buckley #i'm gonna rb for tags and then go the fuck to sleep #i don't know why i do this to myself lmao

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ham1lton · 7 months ago

Text

summer came like cinnamon (so sweet)

pairing(s): logan sargeant x reader. oscar piastri x reader.

warnings: mentions of mental health, dieting, fractured friendships and constant mention of jim’s ice cream parlour. also different povs, it goes through the minds of all three of the main characters.

summary: after their rookie season, in a bid to repair their friendship, the two drivers decide to take their new paycheques and go explore the sun, sea and sands of greece. what they didn’t anticipate was to bump into you.

wordcount: 5.6k

author’s note: this is my first semi-interactive fic, please give it some love <3 any major issues in travelling and stuff like in terms of logistics? please ignore. also let me know who you’re planning on choosing. team oscar or team logan?

— wanna be updated on the next parts? join my taglist! —

— part one of the summer lovin’ series. —

[ i ain’t a kid no more / we’ll never be those kids again ]

logan didn’t know why he was so overwhelmed with anxiety, when he knocked on oscar’s door on that rainy thursday night.

this was his oscar, the oscar that had practically grown up with him. the one who knew how he liked his toast and that he was fond of a burger with all the extras. that he had a scar on his left ankle from when he was a kid and wrestled with his brother after watching too much wwe.

ever since he had signed to williams and oscar had been a mclaren driver, they had hardly talked in comparison to their pre-formula one days. when he had crashed out during a race, he half expected oscar to text him or come knocking on his hotel door.

he didn’t. logan pretended he wasn’t surprised.

fuck it. bite the bullet. he lifted his hand high and knocked on the door. three quick taps in succession.

“one moment!” oscar called from inside. logan would wait, even if that old lady from room 135 kept looking at him like he was an intruder. maybe he was. he hadn’t been in oscar’s room for a while.

oscar opened the door with messy hair and a shirt that had been clearly shoved on before he opened the door.

“logan? hi.” oscar swallowed. the awkwardness in the space between the two of them felt heavy. “you okay mate?”

“yeah! yeah.” logan fake laughed, rubbing his sweaty palms against his jeans. “just wanted to come see you.”

“i’m here.” oscar grinned, with no teeth, at his own joke. “wanna come in?”

“sure. kinda awkward talking in the hallway anyways. that old lady is about five minutes from calling the cops on me.”

“oh that’s just brenda.” oscar said after leaning out and getting a glance at the woman, who waved at him. he waved back. “she’s harmless.”

logan followed oscar into his room. it was bigger than his and he didn’t know if feeling jealous was appropriate. he had felt many emotions when it came to oscar; happy, sad, angry, and others. he didn’t want jealousy to join the list.

“sorry, my room is a mess. i wasn’t expecting company.” oscar laughed with no heart behind it as he sat down on his unmade bed. “take a seat logan, you’re giving me anxiety just standing around.”

logan immediately sits down on the desk chair.

“so, what are your plans for the summer?”

“mine?” oscar thinks to himself. “probably just to go see my family and my friends back home.”

“i was thinking maybe we could, i don’t know.” logan bites his lip anxiously. “do something together?”

“like what?” oscar is curious now, his eyes focused.

“maybe go on that european holiday we always talked about? we have the money now and no parents to tell us no like last time.” logan speaks in a rush. “but obviously if you say no, dude that’s totally fine.”

logan looks at oscar, who’s actually considering it? he thinks to himself for a moment before turning to logan.

“how many days?”

“as long as you’d like.”

“where would we go?”

“anywhere you’d want.”

“make a decision, logan. i’ll say yes or no.”

“we always wanted to go to greece? how about there? maybe for three weeks?”

“we should go for a month. we can travel.”

wait. so that means? oscar’s face is still impassive. he doesn’t say yes or no, but he is still considering it. that’s a positive.

“that’s fine. i’m flexible.”

“i’ll plan it.” oscar nods.

“so is that a yes?”

“obviously.” oscar finally smiles, open and dazzling. logan grins too, allowing himself to bask in the approval. he was almost 67% sure that oscar would say no. he’d already done the maths, but it wasn’t his strongest subject anyways.

“i’ll text you the details.” oscar nods and logan gets up, running a hand through his hair. giddy with happiness that he’ll finally win his best friend back. this’ll be the trip that heals them. that heals him.

-❀-

oscar gets stressed when he’s not in charge. everything has to go through him. the plans, the schedule and especially the driving. he’s never liked being in the passenger seat. his hands get fidgety and he doesn’t know how to calm them down.

he’s lucky that logan is all too happy to sit in it, his eyes focused on making the perfect road trip playlist. for some reason, they’d decided to drive from london all the way down to munich.

they’d already driven down from london and through the eurotunnel and took a break sightseeing in france - which oscar had already scheduled for. they ate their weight in croissants. they ate steak and frites. logan had bought them matching ‘i ♥︎ paris’ t-shirts and oscar rolled his eyes but packed it neatly in his suitcase anyways.

they hadn’t talked about anything other than surface level topics. logan talking about his favourite sports teams, them both discussing the grid and plans for the upcoming season and the usual small talk about their family’s wellbeings.

they didn’t talk about how they ignored each other unless a camera necessitated a conversation. they didn’t talk about logan’s bad season. they stayed up till stupid hours watching badly dubbed french movies and ordering takeout.

they drove to germany, dropped off their rental car and then got a plane from munich to athens. it wasn’t very long at all but logan still curled up against the window and tried to sleep. they were both connected to the spotify account on logan’s phone - logan using his headphones and oscar with his airpods. their road trip playlist still playing.

oscar didn’t know why he didn’t take them out, even when the playlist inevitably repeated itself.

-❀-

they’d been in athens all of two days when they met you. logan had gone an insanely bright red when he’d forgotten his sunscreen had ran out. oscar laughed at first but then ran to the nearest pharmacy to grab emergency sunscreen and aloe vera for the both of them.

after slathering themselves, they’d decided to seek refuge in a small ice cream store. despite the hot weather, the store was almost completely empty besides the two of them and you. you were fiddling with your phone in the corner as you attempted to hook it up to the speakers.

“fuck’s sake!” you shout quietly, frustratingly trying to make it work. “i can’t do this shift without any music. my thoughts’ll drive me insane.”

“um?” oscar breaks the awkward silence. you jump and turn around. the first thing that they both notice is that you’re pretty. really pretty. even in the unflattering oversized neon green work t-shirt.

“sorry! sorry! i apologise. i didn’t think anyone was in the shop. please forgive me.” you look flustered as you move to quickly wash your hands and dry them. “what would you both like today?”

to be honest, logan hadn’t been thinking about the ice cream. oscar didn’t need to think, he was going to get his usual order.

“can i get two scoops of mint chocolate chip?”

“oh that’s disgusting. i forgot that you eat that.” logan shakes his head in shock.

“it’s good. you’re just a hater.” oscar rolls his eyes. “stick to your boring vanilla.”

“it’s a classic!” logan turns to you and asks for two scoops of vanilla and one scoop of mango. you smile and begin to start their orders.

“you guys aren’t from around here, are you?” you ask.

“nah. the accents give it away?” logan laughs as he slings an arm around oscar’s shoulder. oscar rolls his eyes again but makes no move to push him away.

“yeah. a little bit.” you pinch your fingers together as you say it. “i’m not really from here either.”

“no?” oscar replies this time, curious.

“international student. this was one of the few places that’d hire me with my insane schedule. i’m lucky i have the next month off, thankfully.”

“aren’t you going back home?”

“i could if i wasn’t scheduled to work here practically every day for the next month.” you finish logan’s order and move on to oscar’s. you shrug. “and i need the money. the job could be worse really, i just wish the speaker fucking worked and the air conditioning. luckily i stand close to the ice cream.”

“what do you study?”

“archaeology.”

“best place for that is probably here.”

“yes. i don’t know why but ever since i was a little girl i knew i wanted to come to greece and study here. this is the less glamorous side of it but i’m here doing what i love.”

“that’s all that matters right?” logan chimes in. you nod as you scan their orders into your till.

“that’ll be €7.62.” you say. “cash or card?”

“cash.” oscar says as he pulls out his wallet. he’s infinitely glad he’d prepared and went to the cash exchange in london before he’d left. logan doesn’t even bother to offer, he picks up his ice cream and starts to eat it.

oscar hands you the cash as logan moves to a booth right by the open door to take advantage of the breeze. you count back the change and place it right in his hand. his heart doubles a beat as your hands touch for a moment but the moment is broken as your phone suddenly decides that now is the time to work.

the speakers start blaring natasha bedingfield’s ‘pocketful of sunshine’. you curse, close the till with your hip and turn to fiddle with the playlist.

oscar thinks he’s a little in love.

-❀-

logan knows that oscar likes you, which is a problem because he likes you too.

this road trip was supposed to be about finding themselves, not finding you. yet, when they find themselves back in your ice cream store the next few days, it’s no coincidence.

“you’re back again! the american and australian.” on day four, you’re not alone this time. you have a colleague, a girl who’s slightly older than you. she smirks at the two of them like she knows a secret they don’t know. “i’m not the only international one here!”

the speakers seem to work normally today, playing elton john as you hum along with it. your colleague decides that it’s time to take her lunch break, slipping off her apron and leaving the three of you to it.

“same thing as every day? or are we changing it up?”

“what do you recommend?” logan asks earnestly. he’s not losing oscar to you, maybe if he charms you enough, you’ll pick him. he doubts you will.

“everything is good here but if you really want my opinion? the chocolate fudge is a real crowd pleaser.”

“i’ll take two scoops of that and oscar’ll just have mint chocolate.” logan pulls out his wallet, opens it to find a mix of euros in there. he takes a moment to pick at the right change when you shake your head at him.

“no, it’s fine. it’s on the house today. i’m in a good mood.”

“why?”

“a lot of reasons. you know what? i forgot that i didn’t even introduce myself. i’m y/n.”

“we know.” oscar is amused.

“how? are you psychic? i used to know a psychic once and i also watched that’s so raven. great show.”

“your name badge.” logan nods at your shirt as he eats a spoonful of ice cream. you were right, it’s amazing. not too sickly but just the right amount of chocolate.

“oh.” you bite your lip in embarrassment as oscar takes his ice cream.

“i’m oscar and the american is logan.” logan smiles and waves his free hand at you. “is the shop always this empty?”

“no. it’s really busy after school and at peak times. you just always come quite early. lucky. it’s hell in here when it’s busy.” you seem relieved for the topic change. “you both here on holiday?”

“yeah. a break from our jobs.”

“lucky. my best friend is back home and i wish she was with me. she’s planning on coming up at some point thankfully. i hate being here without all my friends.”

“i can be your friend.” logan says. then he immediately regrets it. what if you think that he’s a weirdo? but when your face lights up, he realises that regret was a fleeting feeling.

“i’d love that. let me take your number. one of the guys from my class is hosting a beach party tonight if you both wanna come.”

logan looks at oscar who shrugs as if to say ‘i don’t mind if you don’t’. logan turns back to you, who is the middle of unlocking your phone and grins.

“we’ll be there.”

he types his number in your phone and sends a message to himself to save yours.

“i’ll text you the details.”

the speaker interrupts the moment that you have as it starts to malfunction. you curse again and throw your hands up in annoyance.

“stupid fucking speaker! so stupid!”

-❀-

the party is already well underway, when oscar and logan arrive. logan didn’t bother with buttoning up his shirt. he wasn’t necessarily the most confident man in the world but he was comfortable with his nakedness in a way that oscar didn’t think he’d ever be. oscar was in a undershirt with a loose overshirt.

you finally make your way over to them, panting slightly. you’re wearing a plain white bikini with an open oversized orange and yellow patterned hawaiian shirt. your hair is free from the bun they’ve seen you in work with. you smile, easy and happy.

“my two favourite customers!” you sling an arm around the two of them, hugging them so close that they can smell your perfume. “come on, let me introduce you to the five other people i know.”

you lead them down to the bonfire, where three girls and two other guys are crowded around. they cheer when you arrive with the two of them.

“guys, this is oscar and logan.” they wave politely. “oscar and logan, this is anya, jerome, alex, sienna and jaya.”

the group all cheer and welcome the two guys. it’s clear that everyone is already buzzed. oscar has never really been a big drinker so he declines a beer when offered. logan shotguns it, the residue dripping down his face. you laugh and attempt to wipe it off his face. logan goes lax in your touch and oscar can’t watch anymore.

the speaker that someone played is playing shakira as the two of you giggle in your own little world. oscar turns to jerome? or was it alex? and starts a conversation. talking about some footy game that they were watching earlier. oscar is about as into football as the next guy, but he really needs to focus on something else besides the two of you.

oscar knew that logan had always harboured some sort of inferiority complex when it came to the two of them, but logan had something that oscar doesn’t think he’d ever have - being genuinely likeable.

oscar knew he’d have to win because no one would support him as a loser. logan is just likeable regardless of what position he’s in - an underdog if he loses and a force of nature when he wins.

likeable gets the girl.

-❀-

you decide to walk the two of them to the end of the beach. the night is inky black and the only light is the remnants of the bonfire you’d lit earlier. logan is buzzed, oscar is distant and you’re still vibrating from the fact that logan made the two of you run into the cold water with him in the middle of the night.

“tonight was fun! i’m glad you were both able to make it!” you lean in and hug them both goodbye. logan swears you’d lingered a little longer while hugging him. “i’ll see you both at jim’s ice cream?”

“what is that?” logan asks bluntly. oscar elbows him lightly, not hard enough to cause damage but just enough to wind him slightly.

“the ice cream parlour she works at dumbass.” he turns to you. “we’ll see you there”

“well, i do work there. so yeah.” you laugh. all twinkly and bright. then you’re waving and jogging back to your friends. oscar watches logan look at you and sighs.

“come on man, let’s get you back.”

-❀-

logan wakes up with a hangover the next morning. oscar is a good friend and runs to the continental free breakfast and sneaks him out some waffles, croissants and eggs. he walks to the pharmacy again, paying for some ibuprofen (at least he hopes that’s what it is) with his cash and runs to the corner store to grab some extra snacks.

logan’s eyes are wide with both joy and disbelief. joy that something is there for his splitting headache and disbelief that oscar would do that for him. oscar feels a little ball of guilt unravelling inside. how bad had he let their friendship become?

they spend the day inside for the most part. watching television together. then they go outside to the pool, logan immediately jumps in but oscar sits on the side. he pulls out his phone and scrolls through the texts that he’s been ignoring. the ones from some friends, his mum, and you?

it’s not a coincidence right? that you spent the whole evening with logan and text him the next day?

he holds the phone close to his chest. he doesn’t want logan seeing this. he doesn’t know why that is. he quickly texts you back. then logan shouts.

“hey oscar! come in! the water is gorgeous.”

oscar grins and slips into the water, keeping his shirt on.

-❀-

the two of them end up at the steak restaurant together that night. they’re both dressed as nicely as possible. oscar in a nice sweater and logan in a dress shirt. the maître d’ smiled knowingly at the two of them and led them to their table.

“he thinks we’re together.” oscar whispers to logan.

“are we not?”

“we are in the literal sense. i meant in the romantic, relationship sort of sense.” logan laughs and bats his eyelashes all coy.

“oh no! oscar are you breaking up with me?”

“obviously. i’m leaving you for my secretary.” oscar’s deadpan voice just makes logan laugh harder.

“i knew it, that skank! i’ll get him fired.” oscar laughs too, breaking out into an easy smile that comes easily when logan’s around.

the sounds of the restaurant move around the two of them as they peruse the menu for a long time. it’s been a while with no conversation when oscar bites the bullet and brings it up.

“hey.” logan looks up. “i’m sorry.”

“for the secretary? don’t be. i’m running away with the pool boy.” oscar shakes his head, smiling.

“no.” oscar says. “for what happened. letting our friendship fall to the sidelines. i didn’t mean it but it didn’t excuse it. i really do like being your friend logan. i wouldn’t jeopardise that.”

logan is silent. oscar wonders if he’s crossed some unspoken line. he bites the inside of his cheek and looks at the wall of the restaurant’s decor. it’s all dark in here. would it kill them to buy some light bulbs? he understands its for ‘ambiance’ and that shit but he’s worried that he won’t be able to find his steak in the darkness.

“i was gonna say i was sorry. i thought it was my fault. that you didn’t want to be friends with,” he cuts himself off, laughing awkwardly. “a loser.”

“no. that wasn’t it. you’re not a loser, not to me.”

“i am. that’s a fact. it’s okay. you’re very nice for that but, it’s just not true.” logan swallows thickly. “now, should i get potatoes or fries as my sides?”

oscar doesn’t comment on logan’s facial expression, that he looks like he’s holding it together by a thread. he knew emotional vulnerability took a lot out of him but it was harder on the person who admitted failure.

“potatoes.” logan grins and nods before calling over the waiter.

-❀-

the next time you saw the two guys was two days after the bonfire party. they came in laughing at a joke that had happened way before they had even walked in. you find yourself standing up as soon as they enter.

“hi! y/n!” logan’s smile is always wide and happy to see you. oscar’s smile is muted but it’s still sweet. “what would you recommend for me? i liked the chocolate fudge.”

“hmm,” you think, running your hand along the counter. “we have a new flavour, chocolate covered raspberry? it’s quite popular. i think you’d like it.”

“i trust your judgement, ice cream girl.”

you crack a smile at the nickname, the smile so big that it momentarily hurts your face for a moment. you turn to oscar.

“and what about you?”

“same as usual, two scoops of vanilla.”

you nod, getting to work on the ice creams. you even offer to pay for them but they argue, threatening to shove it all in the tip jar anyway. oscar pays and when your back is turned, logan shoves twice the amount into the tip jar.

“wanna sit with us in the booth today y/n?” logan asks, taking a spoonful of his ice cream. “it’s not like anyones here.”

oscar looks up at you with his wide eyes, not really eating his ice cream. he just swirls it, until it turns into a sort of thick soup. you shrug and slide into the booth across from the two of them. you don’t have anything else to do and if a customer does decide to walk in? well, you’ll just slide back behind the counter.

“so, what’s your plan for the future?” logan grins. “and i know it’s the worst possible question to ask any young person but i’m curious. what’s the goal? is there one? it’s okay if there isn’t.”

“dream is to become an archeologist and backup plan? i don’t know. work in an office or something? maybe teaching. i haven’t thought that far ahead just yet.” you bite your lip and look out the window for a second. the day is hot, and you’re stuck inside. “what about you two? what do you do?”

“we uh, we drive.” logan looks at oscar.

“oh like uber? cool.”

“yeah, isn’t it?” oscar smiles at you.

“i still haven’t gotten my licence just yet. taxis aren’t too expensive and public transport is decent. also everywhere i need to be is pretty much walkable.” you smile at them. “have you visited all the touristy places yet?”

“not everywhere but we’re here for a while. we’re going to travel to santorini, mykonos and corfu. i’ve already planned them out.” oscar swallows his bite of ice cream. “scheduled to the exact moment we get there and get back.”

“an exotic european vacation.” you grin, waggling your eyebrows. logan laughs despite the joke not being very funny. “i’m jealous.”

“you could come with us.” oscar blurts out, his cheeks pinkening. “you’re probably busy though right? don’t worry about it. it’s weird.”

“no, no. it’s not. it’s very sweet and tempting.” you look outside the window again. “i’m not free for the whole time, but, definitely i could join you for a week? jim won’t care.”

“jim’s a real person?” logan asks, eyes wide. you laugh.

“yeah! he’s british actually. came over here when he retired and bought this place. he was one of the few people that’d hire me. my mum’s british.” you nod. “it’s a pretty decent job. if you ignore these hideous uniforms.”

you pull on the neon jim’s ice cream parlour shirt, face crumpling in disgust.

“you look good.” logan says, shyly, as he tongues the last of his ice cream. “this is good too. the ice cream. i knew i trusted you for a reason.”

-❀-

santorini is exactly like the instagram photos. well, despite being slightly too hot, a little less vibrant and he’s here with you and logan. logan has kept his shirt on this time, a loose linen blue one with a pair of shorts and flip flops. you’re dressed in a white skirt, a cropped tank top with a massive handbag.

oscar wants to do something crazy, like reach out and hold your hand or put his arm around your shoulders. he doesn’t because he’s not insane but he thinks about it for a solid moment. thinks about the way you’d curl into him or the way your shampoo would smell. he shakes his head.

“you don’t like it?” the two of you turn to look at him. fantastic. now he looks weird. his eyes widen.

“no, no! i love it. it’s lovely.” he reaches into his pocket, shaking hands grabbing his phone as he takes a picture. “i was thinking about the best angle to take this picture for my mum.”

“i’ll take a photo of you against the backdrop? maybe the both of you. your mum might like that. logan said you two were childhood best friends right?”

oscar nods. at least you bought his story. he stands against the barrier and smiles, awkwardly. he’s sure that all the other tourists are looking at him and thinking ‘what a weirdo, his crush on her is so obvious. she wants his best friend clearly, why even try?’

after a moment, logan stands next to him. logan dissipates the awkwardness with a wave of his hand and the two of them fall into an easy grin. when logan leans in and tells a joke, oscar finds himself laughing loudly with the click of your camera as background noise.

he sends it to his mother later on, when he’s in his hotel room with logan snoring in the room across from him. she texts him back quickly.

-❀-

— from mum.

well, it looks like you’re having fun honey!

— to mum.

yeah, i am.

-❀-

it doesn’t even feel like a lie when he messages her back in the cooling heat.

-❀-

it’s three days into the trip and two weeks into knowing the guys that you realise that you have a crush. it’s only a small inkling but you know it’s serious because no matter how much you try to dissuade it, it keeps popping up.

when you’re eating, when you’re brushing your teeth and even when you’re picking your outfit with him in mind. does he like blue? is he more of a yellow guy? or is it pink that’ll catch his eye?

the three of you head to a restaurant that night. it’s a seafood place, the three of you laughing and joking about something you’d seen earlier. they look good. smell good too. they even argue over who’s going to pay for the meal and look at you like you’ve got three heads when you offer to pay.

“it’s fine y/n, you’re a student.” oscar says, smiling as logan gives up. he pays quickly, all cash with no fuss. “we can get it.”

“ubering must make you a lot of money.”

“yeah. something like that.” he smiles again. this time with no teeth as he gets the receipt.

-❀-

logan goes to bed early that night, citing something about his family being desperate to check up on him. it leaves just the two of you outside in the corfu evening air.

“want to go for a walk?” you ask, looking at him earnestly.

“yeah. sure.” he’s trying not to be too eager. not to scare you off. the two of you start walking down the street.

“i always like to go for a slow walk after a big dinner. i feel like it probably helps with digestion.” you speak quietly, as if not to disturb the silence of the street. he likes your voice and is willing to listen at any volume you decide.

“i think it does. i try not to eat too much.” oscar responds, shoving a jittery hand in his pocket. “i can’t gain any weight for my job.”

“yeah, logan said. that’s weird. what kind of uber driver has a weight limit?” he shrugs and smiles. “do you miss australia?”

“sometimes. i’m used to travelling though. i’ve done it for so long.” he looks at you. “what about you? do you miss your home?”

“eh, i wanted to get out of there as soon as possible. i wanted to remake myself. i was gonna do it all y’know? a name change and everything.” you look up at the stars for a moment. “i didn’t go through with it. even if i changed my name, i’d still be y/n really. inside.”

“i get that. i think.” oscar looks at the gorgeous landscape in front of him. he ignores all the people milling around the two of you. to him it’s just you, him and the view. “so, y/n-“

your phone interrupts him. a loud, obnoxious ringing noise. you mouth an apology at him when you look at the caller id.

“sorry, it’s my best friend. she wouldn’t call me if it wasn’t important. she’s more of a texter anyways. do you mind?” you point at your phone. he shakes his head with a smile. you disappear to take your call and he finds a bench to sit on. he leans back, closes his eyes and takes a deep breath.

what was he thinking? asking you out? thank god the world or fate or god or whoever is in charge, stopped him before he made the biggest mistake of his life. you liked logan and he didn’t blame you. he really, truly didn’t.

when you come back, you ask him what he was going to ask. he shrugs. it wasn’t important anyways, he says. he asks what happened with your friend and listens you chatter all the way back about your friend’s current work drama.

-❀-

the next morning, logan and you head down to breakfast together. it’s a continental breakfast that the hotel offer. it’s good, with a wide spread of toast, pancakes, omelettes, cereal, fruit and sausages. you load up your plate, happy to get food for free even though technically you paid for it.

logan’s plate is smaller. you think about what they said earlier about weight limits and feel a pang of sympathy. i mean, your job was not very well paid but at least it gave you freedom in your spare time to do and eat whatever you want.

“is oscar not coming?” you ask, forking a fluffy piece of omelette and hash browns in your mouth. it’s gorgeous and you’re hungry.

“nah. he’s not feeling too good. i’ll bring him some breakfast in a bit.” logan methodically goes through his breakfast. slow, small bites and chews it for as long as possible. “wanna go for a swim later? it’s hot as hell outside. i feel my skin melting off.”

“you are going a little red.” you tease. he smiles again, shyly. his face does go red when you lean forward and press your cold cup against his cheek. “a little better?”

“it’d be better if you’d go swimming with me.” he smiles.

“of course i will. can’t leave you by yourself. who knows what’ll happen.” he laughs this time. “now wanna try some of this omelette?”

he sits politely as you lean over and feed him a forkful of the spinach and cheese omelette. for a moment, the two of you look into each other's eyes as you feed him. he turns away as soon as it’s okay and chews the bite.

“good?”

“yeah. yeah. it’s good.” he smiles at you. “let me just get some more water for us, be back in a moment.”

“is it getting too hot for you?” you tease.

“a little.” he sheepishly grins again. “let me cool down.”

-❀-

it’s your last day with the two of the guys before they drop you back off at the bus stop to go back to athens. your heart is still pinching at the thought of leaving, but you decide your last day can’t be in vain. they’ll be going home soon so it’ll be the best time to admit what you already knew. what you had known for the whole time.

you’d been on the phone with your best friend who had helped you to write a pros and cons list.

— pros - you could be a girlfriend to a great guy. you would be happy. you would have a rich boyfriend (your bff added that). you could touch them in any way they’d let you. you could sleep together. you could also sleep together (bff again). you would have a great time. you would have fun. would it improve your life? potentially.

— cons - they could say no and you’d have to jump off a cliff. they could be dating each other and you’d be embarrassed that you didn’t figure it out. they could laugh at you. they could be disgusted. they could be nice about it and gently let you down. they’re not even from anywhere close to greece. it’d be a long distance relationship. could you even deal with that?

you shake your head and lift your hand up to his bedroom door. the wood is cold under your knuckles. the world still moves around you, tourists laughing in their rooms and people walking around. their voices murmuring.

as your hand hovered there, you thought for a moment. about how this could change everything. was it too soon? too risky? then you remembered, it’s now or never.

take the plunge and with that, you knock.

liked by anyaaaa, alexjohnson and 183 others.

yourusername: this summer is going well. made two new friends, spent half of my savings and made some new memories and isn’t that what life is all about?

anyaaaa: when are you coming back? miss u girl!!

-> yourusername: soon! i just need to figure something out first.

-> anyaaaa: you’ll figure it out. you always do. can’t wait till you come back <33

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maelancoli · 1 month ago

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Writing Explicit Intimacy More Deeply

okay after the kissing post i've wanted to try to write something about actual sexual scenes. it's taken me a while to figure out what approach to take for such a broad subject because this is such a subjective form of writing and everyone has very strong opinions and varying proclivities. the truth is you are not going to please everyone and there will be a chunk of people who will always dislike your choice of words. and so even in writing a post to help others, there's going to be people who strongly disagree or find what i prefer to be cringe or unerotic.

the portrayal of sexual intimacy and the approaches taken are as varied as the sexual preferences, appetites, turn ons and turn offs of every day real people. this can either make you freeze up when writing, or free you to realize there is no 100% right way to approach erotic art and anyone who tells you otherwise is a smartass or trying to sell you something. so with no further ado, this post will be exactly what it sounds like so proceed at your own risk.

i'm going to focus less on style itself and more on approach. the first thing is that you don't need to divorce 'fluffy' non explicit intimacy from sexual writing. the exact same style and techniques you use for non sexual intimacy can often be applied to the sexual scenes too. kissing scenes, the chaste restrained touches filled with deeper desire, the linger looks from across the room, the build up to the first moments of vulnerability, the first few kisses, the first 'almosts' are connected to the sexual scenes themselves. it is all the same emotions and tensions. they're only heightened. and for sex scenes that are produced from these build ups are a simple escalation. you only need to expound upon what you've already built. don't view it as starting new and having to figure out how to write a different topic/moment. it's a continuation and all you need to do is use the tools you've already given yourself.

my second tip is to spend time shaping your character's tastes, kinks, turn ons and icks, their secret fantasies, their red lines they won't cross, their pleasure zones, the places they find attractive on others that they like to focus on and stimulate. if you want your sex scenes to feel real and not like it's just a emulation of generic smut or porn, you have to do what you do for literally anything else to make it not feel bland or contrived: character development.

where does your muse like to be kissed? what parts of their body make them feel stimulated, what parts are the most sensitive? not everything is about genitals. a lot of people like their foreplay to start with groping in varying erogenous zones. some are unconventional, some like their ears licked, they want their wrists kissed and sucked, they just want their partner to hold them close etc. the more you practice and explore what feels right for your character, the easier building on that foundation of tension will become.

if you feel awkward you can write the characters feeling awkward too because it often is. sex isn't always erotic or super steamy. it can be funny and awkward or just a natural physical thing happening between two people. focus less on if it sounds good in the first draft and focus more on if it makes sense for the characters, focus on how this moment makes them feel, where they feel their arousal and excitement in their body, how they respond to each other, what this means to them or what it doesn't mean etc. after you have gotten that down, then you edit it. add the prose, use the language that either make sit feel less crude to you or more erotic or more poetic etc.

lets take eliza and grabriella from last time so we can expound upon their previous interaction

it wasn't like she had never seen gabriella before. the first time they had seen each other outside of a dorm room or stuffy lecture hall was at dance club which was too crowded and too loud and was less 'dance' and more 'stand around and bob heads and take up too much space on the dance floor.' but she did remember what gabriella wore. she remembered her cropped blouse with ruffled sleeves and how she hadn't worn a bra beneath it. she remembered that she did dance. she remembered how effortless it looked. and the shorts which hugged her thighs and formed that little indentation that first made her wish she could tuck her fingers beneath the hemline and tug her close. she had denied those instincts then, those unrealized desires. but she wasn't denying it now. because now gabriella was on her mattress, sitting on her knees in only her bra and lacy underwear which evoked that same feeling. eliza imagined hooking a finger just at the waistline and tugging. butterflies swirled in her stomach and static radiated through her at the mere thought because this time she could do it. "you okay?" gabriella murmured. she was smiling. that smile made her feel all the warmth of the brightest stars which whispered she was meant to be here, with her. "yeah," eliza breathed out. she leaned closer and feathered her lips along the other woman's. even with a trembling hand she reached forth and brushed her fingertips at the edges of gabriella's panties. "i'm okay," she promised. she allowed herself to smile and in doing so realized she was already grinning. "more than okay." "good," gabriella kissed her back, one of her hands sliding into eliza's hair as the other tenderly began to caress her bare thigh. "have you ever...?"

"no," she admitted. heat gathered in her cheeks which were turning pinker by the second. her ears must have looked sunburnt and she had to resist the urge to cover her face. "not really...not like this." a pause. she bit at the inside of her lower lip and glanced up at gabriella's soft features. when their eyes met, she simultaneously felt all her muscles relax again. but those damn butterflies kept fluttering within her. "have you?" "once," gabriella nodded. then she smiled, a shyness in her expression which only made her features glow all the more. she reached down and gently grasped eliza's hand. she rubbed her thumb over her knuckles. "just follow my lead," she murmured. "we'll make up our own steps." she slowly guided eliza's fingers beneath the lacy waistband. and then further. until she felt the damp warmth between her thighs. eliza's breath hitched and she almost forgot how to control her lungs. "i think i can figure it out," she replied with a small smirk before she tenderly rubbed the pad of her thumb against gabriella's mound. when the other woman breathed in deep, almost moaning, she knew this was a dance she would happily memorize.

i put the rest below the cut to help the post from being too lengthy. but essentially here we see a continuation of eliza feeling uncertain in new territory but finding comfort and reassurance in gabriella. she might be nervous, but she has no doubts about this woman she's attracted to. rather than just describing one action after the other or focusing only on the biological responses happening, we're delving into the continuation of anticipation, we're showing the gentle push and pull between them. eliza has the desire to take control and give pleasure to gabriella. but she finds herself needing gabriella's guidance and that's okay.

because they met dancing, we can use dancing symbolism. deciding the contrasting language and euphemisms you want to use for your ship will help you broaden how you write the intimacy beyond the physical.

eliza wants to be more dominant we see hints of it here, but realistically someone who is new to a situation will not be able to go straight into that. but, say that there is continued scenes of intimacy between them, after the first time, we would start to let her slowly explore that. perhaps gabriella would coax it out of her, maybe eliza will surprise her. she'll tug her close by her belt loops, she let herself bite at her rather than just gentle kisses. it will happen slowly and surely. and that is typically also good advice for if you want to include more kinky content. the first time people have sex they're not gonna jump straight into that. even if they're experienced in kink they still have to get to know one another and get a feel for each other's bodies, what they do and don't like, etc.

there's further tension to explore if you utilize those intimate scenes correctly, continuing to build and escalate each time upon the previous moments. don't just jump straight to crazy sex. build up to it. let them explore each other and their sexuality together. that is where the steam comes from, the continuation of tension, the excitement of getting to know one another. don't just steamroll right over opportunities for development and sensuality.

anyway that's it folks bc this post is long af. have fun, write freaky shit, write cute shit, write what makes u happy and horny.

#on writing #creative writing #writeblr #writers on tumblr #writerscommunity #writer inspiration #writers of tumblr #writing tips #writing tools #writing help #writing advice #smut advice #smut tips #writing fanfic #roleplay advice #nsft #writing #writing process

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ghostdrinkssoup · 2 years ago

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something I find really interesting about hannibal’s character is how he uses people’s expectations and ingrained assumptions to hide himself. no one suspects he’s a serial killer because he doesn’t present as one. he’s elegant and refined and isn’t cruel to animals. he’s highly sophisticated, a polyglot and has a deep admiration for beauty and life. he appreciates saving lives just as much as he appreciates ending them. in fact, this particular aspect of his character is partly why it takes will the entirety of s1 to accept hannibal’s true nature. will saw hannibal save abigail and accompany her to the hospital in apéritif and he also saw hannibal save a man’s life by performing emergency surgery and taking over the operation at the end of sorbet.

this moment in particular is interesting because of how it’s framed to make hannibal look almost godly from will’s point of view:

1) hannibal is positioned immediately higher than will due to being in the ambulance, meaning will is looking up at hannibal, while hannibal is looking down on him

2) hannibal is standing under a bright light as he works to save this guy’s life, while will is standing in almost complete darkness

3) the usual orchestral, classical music is playing in the background, emphasising the apparent “holiness” of the act and framing hannibal as some sort of saviour

the impact of this scene is even more potent when considering the context of the rest of the episode, since will has already stated that the ripper is not the type to save people or enact mercy on anyone. his style of murders doesn’t suggest this characteristic whatsoever, and although will’s assessment is correct, hannibal’s personality and overall demeanour doesn’t match what we’d imagine a person like that might look like. I think will is confronted by this as well, because even if hannibal’s surgical skill means he matches the ripper’s profile (which makes him a valid suspect) his actions contradict will’s image of the ripper, while simultaneously affirming it:

it’s difficult to reconcile these facets of hannibal’s character. it’s inherently contradictory and defies our cultural expectations. nonetheless, hannibal’s inclination to save people is sometimes more insidious than his murders. he doesn’t save people out of altruism, he does it because he thinks he’s superior and enjoys deciding outcomes. he doesn’t view himself as insane, he views himself as god. this is most aptly explored in takiawase, through the acupuncturist/beekeeper killer. here we see a murderer who confesses that she killed a man to quiet his mind, and tells jack that it’s beautiful that she managed to protect him and her other patients. this is one side of hannibal’s character, the one who’s a doctor and therapist and sees death as a cure from disease, even if the ‘disease’ itself is literally just discourtesy. it’s ultimately an act of power.

and yet in this same episode he flips a coin and saves bella on a whim. this of course is framed to others as an act of mercy, however the reality is he took bella’s power away in an act disguised as kindness. once again, he hides in plain sight. this is the other side of his character, and it’s just as deadly.

it’s still about power.

but we don’t associate acts of mercy with monstrosity. when hannibal comforts abigail in trou normand we question whether he’s as bad as we think, because what negative connotations are tied to paternal tenderness? we miss that hannibal is fostering dependency, that he literally looks dead in the eyes as he holds her, and that he blatantly just told us that he’s using abigail to manipulate will:

hannibal often does this actually. he either directly says what he’s doing or suggests that he’s the culprit (often through cannibal puns, as we know) but no one ever interprets him correctly because doing so would contradict the image he’s carefully constructed for himself. it would cause too much dissonance.

and what’s fascinating is that on a subtextual level this is largely what the show is about. the story is an exploration of societal roles and the struggle to fit into stiff categorisation and expectations. will parallels hannibal in this regard because he’s desperately trying to repress his identity by taking on certain roles. and the audience is lured by this persona the same way the characters are lured by hannibal because will defies our understanding of certain tropes. on a genre level, will assumes the detective archetype, meaning we are primed to think he’s inherently good. when we see him say he wants to save people we believe him, even though he often only does so to prove to himself that he’s a good person. will is indeed righteous, a characteristic we often view positively, however he’s violent, wrathful and actively enjoys murder due to how powerful it makes him feel. he’s not dissimilar to hannibal, we just don’t see this straight away because doing so would disrupt our understanding of good and evil.

will hides the same way hannibal does, except will hides from us as well

#ghostie once again goes on a tangent #but it’s so !! I really love how the show fucks with everyone #and uses our expectations to do it #even on a narrative/genre level #the key to unveiling it is letting that conditioning and urge to categorise everything go #also wow I’m back to writing meta hello there #nbc hannibal #hannibal #will graham #hannigram #hannibal meta #ghost speaks

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bugsbenefit · 4 months ago

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who's getting books and who isn't?

tells you a lot actually

in lieu of us getting a Dustin companion book soon i'm doubling down on my point about how insanely telling these books are about where the story is going. especially if you look as who is getting books. and i'm saying this both about El and Will (where it's already kind of obvious why s5 is important for them) as well as Mike (where it's also kind of obvious why s5 is important for his character but it hasn't reached mainstream awareness yet apparently lmao)

as of now Lucas, Max, and Dustin (about to come out), as well as Robin and Eddie, and even Hopper and Terry have one. and they all explore things outside of the main canon by doubling down on what filmed canon already established and adding a bit more layers since they have the time to focus on a single character (like exploring racism and how Lucas deals with it in his book, something the show doesn't dwell on, or exploring Robin's queerness, taking place before the events of s3)

and the focus these books have makes sense since they're mostly written by commissioned writers. so obviously they want to skirt any topics that delve too much into plot heavy areas where the writers a) wouldn't know where the story is going or b) even if they got notes, you don't want important lore drops that impact the later story dropped in companion books

in short we're getting extra story's about no spoilery topics the main story doesn't have time to/want to explore

which makes it all the more interesting we're already getting books about someone like Robin when you know if you asked fans what povs they'd like to see someone like El would rank significantly higher if you trust favourite character rankings. but for some reason El, Mike, and Will have never gotten one

and some of these reasons are just really obvious, especially when it comes to El and Will

1) they obviously can't just drop a book on El yet. on one hand, because her backstory with the lab is a major plot point of the show and they can't spoil it in a book (even if they tried excluding it, writing 200ish pages for a character who can't remember what happened before they turned like 8 is one of those things that would be kind of hard to avoid coming up). even post s4 there's still so many questions about her past and time at the lab, they just shouldn't give unlimited access to her inner monologue about it yet. and on the other hand, El finding her place in the world is quite literally one of her characters main recurring motives, even a companion book as innocuous as "El tries out hobbies" would be exploring something we'd kind of want to see on screen since it'd be a resolution to her character growth and not a fun side quest

2) they also just can't drop a book on Will. the fact that we never found out what actually happened to Will in the UD is already reason enough, the show clearly wants to explore it on screen later on. (now even more obvious since there's already confirmed s1 UD Will in the s5 official teasers). you really can't write a book from someone's pov who's main trauma and life changing moment is something you don't want to get into yet. just doesn't work

there's plot points the show obviously saved for later so both Will and El are pretty unfit as book topics

but with Mike that doesn't actually apply in the same obvious way. Mike not getting a book despite being the leader of the party, having the most on screen defined dynamics with the other kids, and being part of the shows "main" ship would be really odd. like. Really odd. on paper he'd probably be one of the first choices for an easy book protagonist for a fun party side quest. of course unless one of the two book deal breaker reasons applies also:

they can't give his pov because giving his unfiltered inner monologue would spoil s5

they want to explore something relevant to his character themselves on screen and it's not fit for a companion book

but again, in comparison to Will and El where the why is really obvious Mike sticks out because we don't officially know what he's got going on yet. he has no mysterious absence where we don't know what happened to him like with Will and no open ended origin story like with El

it just makes it a bit funnier to me how many people are still fundamentally unconvinced Mike has something going on that's important for the outcome of s5. post s2 the show tries to get some distance from Mike's head and he's joined the club of main characters who don't get books alongside major canon event magnets El and Will. and yeah, obviously you wouldn't want a book from the characters pov who's feelings and sexuality you're actively hiding. it's also a bit of a no brainer you don't want a companion work going into how he's not been doing so great over the past few years because the reasons for that are kind of relevant to the main story. Mike feeling guilty for El dying all the way in s1 is something that might be more fit to bring up in show when their relationship is being addressed instead of in side material

but all in all? the fact that out of all the kids El, Mike, and Will are the only ones who don't get secondary material yet is probably the biggest give away that the three of them are who s5 is planning to give the most insight on even all the in show build up aside. they're being skipped as book povs despite existing public interest and seeming like conventionally easy picks for book side stories

in the current economy around shows franchises, going against what'd be a good marketing decision is always a dead giveaway something is going on

#st5 speculation #el hopper #mike wheeler #will byers #byler

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yannaryartside · 7 months ago

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CARMY NEVER WANTED TO CREATE A MENU WITH SYD.

AND WHY THAT IS THE CORE THEME OF THE SHOW

PART 1: THE LIE THAT CARMY BELIEVES

So, one of the bases of creating an efficient character arc is to give the character something they want, and something they need. In the pursuit of getting what they want, the theme of the show and obstacles will show them what they need. Most of the time, they need healing from an emotional wound that prevents them from growing into the ultimate version of themselves, capable of winning the challenges of the story. I will try to explore Carmy's wound and, more importantly, the lie that created that wound.

In 'The negative trait thesaurus" by Angela Ackerman and Becca Puglisi, it reads:

"Wounds are often kept secret from others because embedded within them is the lie-an untruth that the character believes about himself."

When I started therapy (disclaimer: this is not professional advice; I am just talking from how I interpreted all of this), I was introduced to the concept of "limiting beliefs:" lies we have told ourselves about our own nature or the nature of the world. The most difficult beliefs to leave behind are those established in our early childhoods, and we told ourselves those lies to make sense of the world, to make peace with realities we were not equipped to comprehend yet.

Some examples of lies people belive:

"I am too stupid to learn anything; my teacher said so" "It was my fault that I was molested." "I am a bad person for wanting a different life."

When people believe these lies, they will act accordingly, maybe attracting situations that hurt them but keeping the lie active in their lives. They may self-sabotage or create bonds with people who also believe the lie, even if it doesn't seem this way.

In some cases, people may develop complete personalities or behaviors to prove the lie wrong, but deep down, they still believe in the lie. Carmy falls into this last category. This is where we find the most contradictory parts of his personality, how he can act shy and insecure in some instances and appear confident and even aggressive in others.

Long post underneath.

THE RESENT OF A MOTHER:

We can only assume here because I think Storer is gonna let us know more about this soon, but I think I got an idea of this wound when I saw the only moment Carmy was alone with Donna on "Fishes."

I have a lot of things to say about Donna herself, but let's begin with the obvious: the conversation in this scene had little to do with the dinner itself. This was a woman stating that she felt alone and not valued, probably due to being abandoned by her husband and having to overwork herself at the beef to support her 3 kids, all while being a single mother. We don't know if this feeling of abandonment is something she has carried since childhood, but in the state of current womanhood, it wouldn't be uncommon. The work of women (especially mothers), particularly the emotional labor, is rather invisible and not valued at all.

But again, this is something she has used as fuel to resent her kids, who, at the end of the day, didn't ask to be here. Her anger has to go somewhere since she cannot direct it toward the people that ctually caused it. To get to the point:

THE BEARZATTO SYBLING DYNAMIC

Carmy said, "You are not alone; I am here with you." (This kind of comes back to telling Syd she was not alone at the end of the season.) This scene is about a kid trying to communicate to his mother that he loves her and trying desperately to connect with her, to get her to express her affection for him as well.

It tells me that growing up, he felt like he had to "earn" her affection. Donna likes to make her kids feel guilty about her unhappiness, so the kids feel that they are constantly walking on shells because they think their mother hates them, or at least that she resents them and that it is their responsibility to fix it.

In the scene, Carmy asked,

"What is so hard, Mom?"

I think what he was actually asking is, "What is so hard about being with us, to love us? What did we do to you that made you resent us this way?" He is asking because he wants to know, to finally understand. Why do you drink, Mom? Why do you yell? Why do you say such hurtful things?

When she answers, "Nobody makes things beautiful for me," you can see in his face the disconnection. He knows he can't do anything about that.

Then, a crucial part in the scene occurs when Donna calls him "Michael, " which indicates that the only one of her children who could make her feel happy was Michael, or at least that is how the other two kids felt. You can see the hurt in Carmy's eyes in the scene because this answer dismisses his effort to connect to his mother in his own right. She asks him to just leave. He offers to wait to connect with her. Then, it comes to the most chilling moment on the scene, the "we have a problem" using his full name, with resentment in every word. She hugs him while crying, kisses him, and then slaps him.

This is rejection. There is a book called "The Five Wounds of the Soul": wich are Rejection, Abandonment, Humiliation, Betrayal, and Injustice. I think Carmy's wound is rejection, for never earning his mother's love, particularly comparing himself to Michael.

Michael took responsibility for the Beef, finally giving their mom a break. It was Michael's job to make sure everyone was having a good time, to compensate for the discomfort that caused being in Donna's presence, to make sure all of them stayed as a family, which was Donna's intention, so Michael thought he had to make that happen for her. Therefore, Michael is the only one of her kids who succeeds and makes her happy. We know Donna rejects Natalie and Carmy. About Natalie, we can write another whole essay.

THE LIE THAT CARMY BELIVES

According to this scene, I think Carmy thinks that her mother didn't love him because he is not Michael; in fact, he is the most "not like Michael" someone could be. He was shy and stuttered and didn't have friends or girlfriends, comparable to Michael's ability to control every room he was in. Carmy was sensible and no macho alfa as Michael presented himself to be. Carmy left home and the family business, and both Michael and Donna expressed that they feel like he thinks he is better than them. Michael admitted later to admiring Carmy's work in Copenhagen, but Donna never did. carmy grew up having to live with the crumbles of Donna's attention that Michael left behind, wondering every day what was so wrong with him that made her reject him, and wondering what he could do to change that.

The lie that Carmy belives, could be sumarize this way:

I need to earn people's love. I need to always go the extra mile, doing the most possible at all times to earn people's love.

This all goes back to his trauma with Michael. It goes back to his career as a chef and how he became the best. He didn't need to succeed on a larger scale in the culinary industry to earn Michael's respect and love; he needed to be the best in the world, so he did that. He judges his own social abilities, comparing them to Miachae's. He left that promising career only because of Michae's death. He got the girlfriend Michael wanted for him (not saying it was the only reason, but it was there).

PART 2: WHAT DOES ALL OF THIS HAD TO DO WITH SYDNEY?

Well, what does a person who feels they always need to do the most? They do the most. I want to bring you back to the moments Carmy had to develop menu ideas with Syd on s1 and s2.

When Syd suggested items for the menu in s1, he gave her an inconclusive, not enthusiastic "maybe."

When she had to actually cook the thing for him to approve, he tried to make her feel small about it. He felt the need to remind her that she was "impatient and green," according to her previous bosses. He commented about her possibly ruining the flow by using time to cook her recipe. Yikes all around, but the core here is that he was treating her like an enemy, like competition, while she was trying to save the restaurant with what they had on hand to use the most efficient solution.

Then, when Carmy tries the dish and feels stunned by it, he has to make an ambiguous excuse on the fly and just finishes every chance of them using the recipe by saying, "is not ready yet"

And what does he do next? He goes to show the crew a recipe that is extremely complicated for the level they are operating at currently—they said so themselves. I think the recipe is a variation of Donna's butter chicken recipe. To put a nail on that coffin of his intentions to earn her love and approval at the end of it all.

But why does he do all this? Because he needs to be the hero, subconsciously, he is still that small kid begging for acceptance and love; he must go the extra mile. He cannot accept Sydney's help and partnership, because that will take away from him earning what he wants on his own merit.

In S2, he seems unenthusiastic about starting the menu in the first place. Then Claire comes along, and he tries to make it work with Syd and the menu, but I think he subconsciously thanks the universe for not having to go to his core wound. That is what self-sabotage is. That is why he bailed on the food tour with Syd, using such a stupid excuse as helping somebody else move out and never mentioning it again. He never asked her what she liked or what ideas she thought of. For most of the creative process, Syd is alone, working on her own creative crisis. The menu ends up being like two recipes they made in collaboration and then all of his family's traditional recipes. It is two of Syd's recipes and the rest of Carmy's. Then, desserts Marcus did on his own. The collaboration was superficial at best.

All of this creates the core theme of the show. The Bear was once a chaotic place (like their childhood home) that needs to evolve into an efficient, peaceful place built on love, support, and mutual collaboration like a functional family should be. Sydney is the member of this found family that forces Carmy to confront his core wound and learn he can actually be good enough while still accepting help. Therapy probably will play an important part in this theme, alongside with Carmy learning there was nothing wrong with him in the first place, that earning your parent's love is not something a kid can do.

Thankyou for reading. Gif and images are not mine.

#sydcarmy #the bear meta #sydney adamu #carmy berzatto #carmen berzatto #the bear fx #the bear #sydney x carmy #carmy the bear #carmy x sydney #the bear hulu #donna berzatto #michael berzatto #natalie berzatto

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aihoshiino · 9 days ago

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chapter 166 thoughts

As of chapter 166, Oshi no Ko has finished a roughly four-and-a-half year run started back in 2020. While there's some speculation about an epilogue or some extra content in volume 16 when it drops, this is where the main story ends. And you know what that means!!!

OSHI NO KO HAS OFFICIALLY ENDED WITHOUT ADDRESSING OR ACKNOWLEDGING THE FACT THAT RUBY KISSED HER BROTHER IN CHAPTER 143

please understand that this is FUCKING BOGUS

I'll probably do a longer post on this subject specifically, but my main critique of 143 when the chapter dropped was that while I liked the individual beats in it and I was really glad to see Akasaka finally addressing this tension bubbling underneath Aqua and Ruby's relationship, the immediate swerve away from showing us the aftermath of that kiss felt to me like an admission that the story was going to needlessly draw this out even more. Now that the story has ended and we can see that moment had literally no impact on the plot or even the character dynamics, I'd like to revise that statement - it feels like an admission of compromise. It feels like crumbs thrown to AquRuby fans to tempt them to keep reading and to stir up the waters of the ship wars, so people would keep reading and stay invested in the manga right to the very end. But most of all, it feels deeply disrespectful to both Aqua and Ruby as characters. Rather than exploring their feelings and giving both of them interiority and complexity in relation to incest or even just fucking acknowledging that the kiss had happened and letting their dynamic evolve, the series just memory holes the entire event and asks that you do too. Rather than letting Ruby have any development whatsoever as pertains to that relationship or, god forbid, let a female character move on romantically from the male lead, the series ends with her feelings so up in the air that I literally could not tell you what she thinks of Aqua by the time he dies.

ANYWAY… FINAL CHAPTER. BREATHES OUT VERY HARD.

I really can't believe it's taken us until the final chapter to actually deal with Ruby's grief over Aqua lol. We got a snippet of it last chapter but it was so brief that it really just felt like a tease. I also just think it's kind of bizarre that we're spending this little time on Ruby having feelings about Aqua's death to the extent that I have no idea how or when she found out about it.

It's also kind of hard to feel particularly strongly about Ruby's grief when the chapter doesn't really bother to explore it all that much. It's just a montage of Ruby quite literally Screaming, Crying and Throwing Up while Akane dispassionately narrates it all. The art also doesn't really help in terms of connecting with the emotions at play - I usually really like Mengo's expression work and the way she depicts extreme emotions but this all just felt like of… I don't know how else to put it. Goofy??? Is that an insane thing to say about Ruby grieving her brother???

Idk, something about both the panelling and just the extreme on-the-noseness of Ruby, again, literally Screaming, Crying Throwing Up while she's wearing a Burning cosplay Just In Case You, The Audience, Didn't Get It only for her to abruptly be done crying with no exploration or insight as to what's going on in her head that allows her to move forward.

Honestly, this is kind of the issue with everyone in the cast. The resolution is just sort of "Aqua died and we were sad about it but then we stopped being sad". I know what the story is trying to go for here - it's trying to express that even when you're in pain, life goes on and so you have to find a way to go on with it. But the result is that we spend all this time oogling at their pain without spending equivalent or even meaningful time on their recovery process.

It feels both excessive and undercooked at the same time and I'm left with the same icky, voyeuristic feeling I got from Aqua's funeral last chapter. This should be the point in the story at which we empathize with Ruby the most, but she remains a frustratingly distant figure right to the final pages. Part of this is an unfortunate consequence of Akane's narration directing these final chapters meaning that we're hearing about Ruby from an outsider's perspective and thus don't really see what's going on in her head… but if I can be frank, this has been an issue of Aka's with Ruby in particular basically nonstop since chapter 123.

As others & myself have noted, despite the absolutely catastrophic downward spiral Ruby is in at that point, Aqua revealing himself as Gorou basically flips it all off like a switch. There's some mild lipservice paid to the idea that Ruby is just using her dependency on Gorou to prop herself up and it's pointed out that the issues that contributed to her breakdown haven't actually been resolved - but none of these issues are ever even acknowledged again, let alone resolved. So, functionally, that reveal does fix all Ruby's problems in the space of a single chapter and the result is, again, that we spend multiple chapters gourging on depictions of Ruby's absolute rock bottom only for her to ping back to normal like a lightswitch. As such, the depictions of her pain feel less like explorations of Ruby's interiority and more like voyeuristic oogling at Ruby's misery and trauma and the effect is that the resolution to it all is both unsatisfying and a little gross. The result is that it feels like Akasaka is just indulgently mining the imagery of cute girls suffering because it causes simple thoughts neuron activation but doesn't respect these girls enough as characters to build them back up.

It doesn't help that this is basically the in-universe excuse for Ruby's career further skyrocketing. Instead of Ruby becoming a star on her own merits as the story keeps insisting she was supposed to, she's artificially buoyed by the public's morbid fascination with her tragedy. If I was feeling charitable towards the story right now, I would say this is an avenue of intentional critique but… well, I don't feel super charitable about the story right now lol

I WILL say that the one part of this chapter I did just uncomplicatedly like was the beat of Mem trying to suspend activities (presumably in the wake of her grief for Aqua) only for Kana to basically immediately explode into her room and help her get back on her feet. It's a beat that would've been much more effective if we'd, you know, seen it, but I otherwise enjoyed it and I thought it was sweet.

But. pbbbbtttt. I guess I can't talk around it any longer… let's get into the Dome concert.

To start things off on the immediately worst note possible, Akane describes Ruby performing at the Dome as being 'everyone's dream', including Aqua's. I'm reminded once again of the strange turn the story took in insisting that um, actually, performing at the Dome was totes Ai's dream all along (even though she literally didn't give a shit even a week before she was due to perform there herself) so Ruby performing there is fulfilling that dream for her!!! and I can't help but wonder if this abrupt shift in focus is an attempt to make readers forget what Ai's actual dream was - to see her beloved children grow up happy and healthy. Hell, it wasn't even really Aqua's dream, until the story suddenly had to try and convince us that his entire purpose for existence was to kill himself so Ruby could be an idol for slightly longer than she would've otherwise. The only people whose dreams she's textually fulfilling are Ichigo and Miyako and Ruby herself, but…

Honestly, is this really Ruby's dream anymore?

Who is Hoshino Ruby? What does she want? Why does she want it? These should be the very least of what we can concretely say about not only a protagonist but a character who has become a central figure of the entire story as Ruby has, but with the way Oshi no Ko has warped and distorted her, I find myself increasingly unsure of what the story wants her to be or how I should answer those questions.What does Ruby feel about Aqua? Was she still in love with him? Had she moved on, romantically? Was she still waiting for a response to her confession? Did she finally realize it was probably kind of shitty to respond to her brother going "lowkey wanna kms" by sticking her tongue down his throat? I Guess We'll Never Know.

This extends to whatever the fuck Ruby's relationship with idols and being an idol is. Almost the entirety of Ruby's time in the story has been spent reiterating over and over that Ruby cannot just be an idol who imitates Ai and that to truly shine, she needs to step out of her mom's shadow and shine in her own way. Ruby even literally tells Kana in no uncertain terms in 137 - "I'll be a star in my own way. I won't be like Mama."

While this has always been the text of the story, as I've pointed out before, the actual art with which Ruby's idolhood depicts her basically just as Ai 2.0. It relies so heavily on mining the imagery of Ai's charisma and personality as an idol and using them as the measure of Ruby's success as an idol that Ruby essentially has no visual or conceptual identity of her own as an idol. She's just Ai, But Arbitrarily Better, For Reasons The Narrative Fails To Actually Establish But Hopes That You Just Accept Anyway. This was always kind of annoying, but now that friction seems to have been resolved by… just making her Ai 2.0, But Arbitrarily Better (etc, etc) in the text as well. The fact that we're given no further insight as to Ruby's feelings and continue to just have Akane Explain Ruby's Character Arc to the camera also doesn't help.

All this combines to make the Dome concert and the final few pages feel exceptionally cold in a way I really don't think was intended by Akasaka. Yes, that splash page was nice and flashy but… I just felt nothing. I have no idea if or why Ruby cares about this. And even though the Dome concert has been hyped up through the entire story as the peak of Ruby's achievements as an idol, I feel no sense of accomplishment in her finally being there - not just because her journey to it was basically sneezed at us across two panels, but because it just feels hollow as a victory lap for Ruby. Again, she feels so distant and abstracted as a character that I can't bring myself to feel very strongly about her good or bad.

I think the perfect encapsulation of this are the final four pages of the story. Ruby's words here are very clearly intended to be a callback to Ai's words to Gorou in chapter one but as @all-of-her-light pointed out in our initial discussions of the chapter, Ruby very much does not have an equivalent to Ai's conclusion that she nevertheless wants and values the opportunity to find personal happiness and fulfillment outside of being an idol. Are we supposed to believe that simply being an idol is all that Ruby needs to achieve a similar degree of happiness and fulfillment? Is there no more to her than that?

I've seen a lot of people interpret this ending as exceptionally bleak and, as usual, gleefully predicting Ruby's immanent suicide because her beloved oniichansensei isn't around but this is indulging in, if you'll allow me to be frank, some pretty transparently ship-motivated flanderization. Despite what certain sections of the fandom would like to believe, Aqua and Ruby's lives, past and current, have never revolved around each other to the exclusion of every other relationship in their life. Ruby has a massive support network of people who love and care for her and actively want her to get back on her feet. I can one hundred percent believe that she does not need Aqua in her life to be happy and content.

The issue is that we don't see enough of Ruby to understand that ourselves. Again, she has become such a distant figure with so little insight into what she's thinking and why that this ending is basically a Rorschach test in which you can interpret basically whatever the hell you want or assume because we have so little canon basis to support or debunk our assumptions.

and yes. don't think i didn't see them. it IS both grimly hilarious and weirdly tonally appropriate for this ending that ruby has a bunch of oshi goods of ai and aqua including their fucking autographs set up to say goodbye to every day.

AND…… WE'RE DONE!!! THAT'S OSHI NO KO, BABY!!!! well, technically, there's going to be a 20 page extra chapter in volume 16 but I don't see it being big or substantive enough to meaningfully change my feelings about the ending so… I guess we're leaving it here. Damn. Feels crazy to be done with it.

I'll probably do a bigger post down the line about my thoughts on the ending as a whole but in terms of just How This Chapter Made Me feel, I guess the word is just… meh! It's definitely not an ending I like and I think the execution is sloppy and rushed but I also just don't really have the energy to feel angry about it. Maybe that's sad in its own way but tbh… I still really love Oshi no Ko! I still find it engaging and I find the characters I enjoy rewarding to talk about. I like the artistry of the anime adaptation. I don't blame anybody else for being so turned off by this ending that they're done with the series but for me, I like what I like about OnK too much that this ending could retroactively ruin it for me. Whatever else happens with the OnK franchise, whatever directions the anime and live-action take, this will always be the series that gave me Ai and the Hoshino family and. look at me. look at what she's done to my brain. could I really ask for anything more than that?

That being said, I'm definitely not done with discussing the series! I have fics to write (including a VERY exciting large scale project lined up with some friends), my Ai analysis post to finish and I also want to do a re-read of the series and finish my anime rewatch. I'll be here to discuss Oshi no Ko as long as I have things to say about it and as long as you guys will have me! Despite how the series ended, I've had a genuinely wonderful experience in the fandom and I really don't want to let go of the little community we've built together just because the series is done. I'm Ai's fan for all eternity!!!

#oshi no ko #oshi no posting #onk spoilers #chapter reviews #IT ALL... RETURNS..... TO NOTHING....#IT ALL COMES #TUMBLING DOWN TUMBLING DOWN #TUMBLING DOOOOOWN

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phantomantz · 3 months ago

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some changes i would have made to the characters storylines in tua s4

disclaimer: i am no writer, it's just fun to think about the possibilities. btw anyone feel free to use any of these ideas for fics idc

lila doesn't cheat for starters. instead she and diego have both been secretly doing vigilante missions and keeping it from the other because they think they'll be mad. on one of these missions the two run into each other and rekindle their spark. basically the five and lila story but with diego and lila instead thanks. maybe one or both of them almost die or their kids are put in danger, and they decide to find a much less dangerous hobby, because while its thrilling in the moment they realize they wouldn't sacrifice their family for it

luther is shown to be much more depressed about sloanes absence (if there really is no way for her to come back) but he's trying to hold it together to be there for his family. would be nice if he bonded with characters like klaus, viktor or allison who have also lost their lovers. diego and lila shenanigans means they need luther to babysit a lot and luther finds happiness caring for his nieces and nephew. maybe he also finds a fulfilling job where he can meet a lot of people and help others.

five still finds the time subway but without lila. we get more time exploring the alternate timelines and seeing different ways the apocalypse has happened including ways the other sibs have ended the world. his PTSD and reliving his trauma is also explored. he eventually ends up in the five diner where he's told that they end the world every time but instead of excepting defeat and making everyone sacrifice themselves he finds another way (what exactly that is im not so sure) and becomes the first and only five to successfully prevent the apocalypse forever

allisons relationship with claire and ray are explored more heavily as well as everything she did in s3. i like the idea that she takes care of klaus because 1: hes the only sibling that will still talk to her and 2: because of the guilt she feels after getting him killed. i just wish her arc focused on something OTHER than saving klaus because thats basically all she did this season. would be nice if she spent more time with viktor and luther the two people she wronged most heavily in s3.

i would keep viktors confrontation with reggie but alternatively i would make this reginald umbrella reginald so it has much more weight to it. either that or have viktor express that even though he said his piece toward this reggie he will never actually get closure with their real father and nothing will remove the pain from his childhood. the rest i would keep pretty similar. reginald wants to kill ben and viktor wants to stop him at any cost. viktor knows what its like to be "the bomb" and doesn't want the same thing that happened to him to happen to ben. instead of working together to find ben however they're more in a race against eachother. maybe allison joins him and they make up on the way. i would have liked for ben and viktor to have had a heart to heart in the beginning of the season, maybe about how ben felt like a monster sometimes because of his powers, and viktor relating. idk how this would work with sparrow ben because he doesn't seem to hate his powers the same way brelly ben did but it would have been nice to show another reason why viktor is going through so much trouble to save him. and the ending where he trys to talk him down would be more impactful i think.

for klaus i would keep everything pretty much the same up until he runs into that quinn guy. instead i would have him travel to the subway with five in lilas place. five and klaus' powers are the most mind boggling out of the bunch not to mention time and death are inherently intertwined and this needed to be explored. also, you're telling me klaus literally has the power to talk to GOD and this never has any plot relevance???? klaus should have been involved in finding the solution to the apocalypse imo. also we needed klaus and ben interactions. idk how or when but it NEEDED to happen

ben and jennifer being the catalyst for the apocalypse is making it very hard for me to figure what to do with him tbh. i just wish he had more time with the other sibs and didn't turn into a horrific blob monster at the end 😭he felt less like a character this season and more like a plot device and he deserved to have some scenes that actually fleshed him out. it would have been cool if the reason he causes the apocalypse was actually because of his powers and not just because he happened to be the one to make skin contact with jennifer. i really thought that the twist was gonna be that the squid that jennifer was stuck in was the one that ben summons and that was why they were connected. not the fact that they both just had reactive magic particles in them that anyone could have set off. like what if jennifer being cut out of the squid was what killed ben?

OH! what if jennifer was an eldritch horror from the same dimension that bens tentacles are from and for some reason she wants to kill the brellys/end the world and because bens powers are linked to her she can control his mind ???? c'mon i feel like i've got something here

a have a couple of other ideas but don't know where they would fit in rn so yeah.

#the umbrella academy #tua s4 #tua spoilers #tua s4 spoilers #tua season 4 #umbrella academy #diego hargreeves #five hargreeves #allison hargreeves #klaus hargreeves #viktor hargreeves #luther hargreeves #ben hargreeves #lila pitts #reginald hargreeves #jennifer grossman

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theslut4smut · 1 year ago

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𝘁𝘂𝘁𝗼𝗿 𝘄𝗶𝘁𝗵 𝗯𝗲𝗻𝗲𝗳𝗶𝘁𝘀 | 𝗸𝗶𝗺 𝘀𝗲𝘂𝗻𝗴𝗺𝗶𝗻

𝗰𝗮𝘁𝗲𝗴𝗼𝗿𝘆: smut

𝗱𝗲𝘀𝗰𝗿𝗶𝗽𝘁𝗶𝗼𝗻: y/n is struggling with learning korean and seungmin is here to help! with some extra motivation 😉

𝘄𝗼𝗿𝗱 𝗰𝗼𝘂𝗻𝘁: 3.7k

𝗶𝗻𝗰𝗹𝘂𝗱𝗲𝘀: afab reader, dom!seungmin, sub!reader, established relationship, non-idol au, kissing, teasing, slight degradation and hitting, a sprinkle of pussy slap, face and finger fucking, hair pulling, penetrative and unprotected sex

𝗻𝗼𝘁𝗲𝘀: anything bolded means that i typed it in english, but the characters say it in korean

i didn’t want to type a full on foreign language since i know that can be a lil intimidating to read and i also feel that it’s disrespectful? of me? since i don’t speak that language? okay! 🩷

_____________________________________

“y/n, i know you can do better than that.” seungmin shakes his head slightly as his brown eyes lock onto yours.

you huff before throwing your head back. “seungmin, i’m just not meant to learn korean. i’ve been trying at it for months now and it’s not sticking.”

you slump further into the comfy sofa the two of you were sitting on as you let out a groan.

“too bad. i’m not letting you give up this easily just because you messed up a few times.” he responds.

“seungmin!” you whine.

“y/n!” he mocks.

you glare at him before rolling your eyes.

“try to remember why you wanted this. what drives you to increase your fluency?”

“i don’t know.” you quickly respond, messing with the fabric of your shorts.

“y/n.” he says firmly.

you groan once more.

“mm...” you bite your lip as you look around the room. “i really wanna have more meaningful and deeper conversations with the guys. like minho or jeongin.”

“there you go.” he says, pointing at you.

“and those shows you watch.” you start, sitting up. “i wanna be able to understand what’s going on instead of just laughing whenever i see you laugh.”

he stifles a laugh.

“it’s not funny!” you say with a faux pout.

“i didn’t say it was funny, y/n. it’s endearing, actually.” he tilts his head to the side. “is that all?”

you feel the warmth of embarrassment cloud the skin of your cheeks as you begin picking at your nails.

“well… i wanna talk to you.” you start, looking at him with slight embarrassment.

he raises his brows. “you’re going to have to further elaborate, y/n.”

he was such an asshole sometimes. he knew exactly what you meant. but you knew he wouldn’t let you get away with having him say it for you.

“i… wanna use it during our… intimate moments.”

you could feel his eyes burning into the side of your face as you avoid looking at him.

it’s not like this was a new thing for the two of you. you had been together for awhile now and had explored each other sexually more times than you could count.

there was just something about this that made you feel so shy.

“is that so?” he finally speaks.

you bury your face into one of the pillows next to you as you made an uncomfortable whimper of some sort.

“no, no. look at me.” he reaches over and redirects your gaze back onto him.

you stare up at him bashfully as he held your face firmly in his grasp.

“you know i’d love that for us. having my pretty girl talk dirty to me in a different language? gets me worked about just thinking about it.” he stops to press his forehead against yours. “but how do you expect to be on that level when you can’t even properly introduce yourself?”

you push him off of you, causing him to laugh loudly.

“you’re a dick.” you snap, crossing your arms.

“y/n.” he sighs, sitting up and adjusting the wrinkles your shove left in his shirt. “i’m not trying to be mean. i just want you to do your best. you’re being really insecure about the whole thing and that’s only hindering your progress.”

“it’s hard, seungmin. i can’t get my brain to retain anything.”

it’s silent for a moment as seungmin taps his chin in thought.

“you’re just not motivated enough.” he says.

you glare at him. “did i not just tell you all of the reasons i started this whole language learning bullshit?”

“no, no.” he closes his eyes as he shakes his head. “those are all long term goals. they’re not obtainable until you’ve reached proper fluency, which then leads you to feel discouraged because of how far out of reach they seem.”

you look at him with slight confusion.

“how about this.” he starts, biting the inside of his cheek. “for every answer you get correct, you get a kiss.”

you perk up, a wide smile decorating your face.

he holds a finger up at you, signaling there was more.

you furrow your brows at him.

“i believe that training yourself should require both rewards and punishments.”

oh god.

here he goes again. being a big meanie.

“you’ll get your kiss from me when you get something right, but if you don’t… that’s one item of clothing from me off.” he smirks as he looks into your eyes. “and you have to keep your hands to yourself.”

your jaw drops. “that’s not fair! you know i can’t stand the teasing, seungmin. that’s just gonna distract me even more.”

“you have to learn one way or another.” he shrugs. “and i feel this will be the most effective for you.”

this was just great.

seungmin knew how easy you were. how the littlest thing had you so desperate and needy for him.

he was stubborn too. which meant no getting out of it.

you knew that you better get it together and start saying some correct answers, or else you’d be feeling the pain of deprivation.

“alright, come on. i need you to focus.” seungmin says.

you let out a small and shaky breath as you got into a more comfortable position on the sofa.

“alright, we’re meeting for the first time. how would you introduce yourself to me?” he asks.

you bite your lip as you look around. “formal or informal?”

he smiles as he grabs your face and kisses your lips tenderly. “ah, you get a kiss for that one. i wasn’t even thinking.” you bat your lashes up at him with a sweet smile before he continues. “let’s do formal.”

you clear your throat as you straighten your posture. “um… hello… my name is y/n.”

he chuckles softly before placing his hands on either side of your waist. “baby, you don’t have to be so nervous. it’s just me.”

you close your eyes as you let out a sigh.

“don’t let that discourage you.” he starts, caressing the side of your cheek. “i just want you to relax.”

“okay.” you say.

“why don’t you try that sentence again? this time with more confidence.”

you nod before taking another deep breath.

“hello, my name is y/n.”

he smiles before pecking your nose.

you pout, causing him to furrow his brows. “what?”

“just a nose kiss? at least give me one on my lips!”

he shrugs. “all you did was introduce yourself. nothing too impressive.”

you cross your arms. “some encouraging teacher you are.” you roll your eyes.

seungmin sighs as he shakes his head at your ridiculousness.

“now.” he starts, clearing his throat and adjusting himself on the sofa. “tell me about yourself. how old you are, any hobbies. things like that.”

you bite your nails as you rack through your brain, trying to remember all of the words and vocabulary seungmin had taught you over the last few months.

“um, i’m- i mean, i am… thirty years old.” you give him a small smile, awaiting his response.

he tilts his head to the side. “you’re thirty?”

you gasp, burying your face in your hands. “the numbers are so hard to remember!”

he clicks his tongue before making a tsking sound. “you know what that means.”

seungmin pulls his t-shirt over his head, tossing it to the side before leaning back into the sofa.

it’s just his chest. just his olive toned, soft, lovely chest. you feel your heart rate quicken.

he smirks knowingly, cocking an eyebrow. “what do you like to do in your free time?”

you close your eyes for a moment, trying to calm yourself down. why did you have to be so weak for this man?

“i enjoy baking.” you respond, eyes still squeezed shut.

“oh? what’s your favorite dessert?”

your eyes snap open, looking at your boyfriend. “how am i supposed to know what you’re saying?!”

“how are you supposed to learn if you’re only being asked questions in english? that’s not realistic. you know what i’m saying, y/n. break apart the sentence and figure out the words you know.”

you take a deep breath as you picture what he’s saying, picking out the words that you do recognize until you’ve created a somewhat sentence of your own in your mind.

“[favorite dessert]”

he smirks slightly, nodding his head. “very good.” he places a kiss on your lips. his fingers ghost over your skin as he does, never getting too close.

it left you yearning for more. how could he just kiss you and leave it at that? he surely couldn’t go on for much longer. but you knew kim seungmin; stubborn and aware of his affect on you.

“what are your plans for the day?” he asks.

you glare at him, causing him to laugh softly.

“seungmin-” “what are your plans for the day?”

he gestures for you to speak.

you groan before rolling your eyes. “breaking up with my boyfriend.”

“hey.” he starts, furrowing his brows. “you don’t get to be mean to me in a language you can’t even properly say your age in.”

you sigh and shake your head. this small talk was not going to do it for you.

“have you eaten?”

you whimper softly and involuntarily at the thought of how long this could last, causing his mischievous smirk to widen and dick to twitch.

“how are you feeling today?” he changes the question and gets closer to you, rubbing your inner thighs while gently touching the side of your neck with the tip of his nose. you feel his breath fanning on your collarbone, causing goosebumps to paint the surface of your skin.

you shiver, placing your hand on top of his. “y-you said no touching.”

“i didn’t say anything about me touching you, did i?” he raises his brows at you. you bite your lip, feeling as if you could cry at just how worked up you were.

“now, answer my question.”

you let a shaky breath out. “i’m feeling frustrated.”

“awe, why?” he nibbles at your ear while cooing.

“you’re so mean, minnie.” you say softly, squeezing your legs together as you try to fight the throbbing pain in between.

“let’s set up a little scenario.” he starts, playing with the outline of his dick in his sweatpants, making your mouth water. “you want something really bad. but, you have to ask me for it. how would you say it?”

you let out a whine, quickly getting up from the couch.

seungmin places a firm grip onto your arm and pulls you down. you give him a shove, turning away from him.

he pins both of your hands down before grabbing your jaw and forcing you to look at him. “you are not giving up. you cried and cried about how much this meant to you and now you’re acting like a brat. how many times am i going to have to put you in your place before you realize that you don’t always get your way with me?”

you begin breathing quickly as your head spins.

he places a hand on your rising chest, looking into your eyes. “beg for it.”

you open your mouth to speak, only to be cut off by a moan slipping out. you look down to see seungmin’s knee firmly pressed against your thinly clothed core and grinding.

you look up to him, panting. he cocks an eyebrow as he waits for your answer.

“i-i need you, p-please.” you swallow and release a shaky and desperate breath. “i need you so bad.”

“oh.” he coos. “would you look at that? struggling to make simple conversation, but you sure know how to beg, don’t you?” he places a firm slap on your thigh, causing you to cry out.

“so nasty and desperate all of the time, aren’t you?” he says, yanking your pajama shorts off.

one less layer made you realize just how wet you were. if only seungmin could be as easy as you were. one look at your swollen and eager sex would have him practically clawing at you. his lips would be on yours while his cock was stuffed inside of you, filling and stretching out your warm walls.

the sting of another slap causes you to snap away from your heavenly thoughts and moan, this time right on your pussy.

“i asked you a question.” he snaps.

you take a moment, truly trying to remember what.

“y-yes, seungmin.” you whine. “so nasty, just for you.”

you lean in to kiss him, only for him to stop you with two single fingers against your lips. you pout.

“what did you do to deserve your kiss?” he looks down at you as he speaks.

“i’ve been good. so, so good.” you grab onto his torso desperately, pulling him closer.

he scoffs before pushing your hands off of him.

“seungmin!” you whine, arching your back as you try to get some relief.

he grabs your face firmly, squishing your cheeks together as he does. “all you do is bitch and complain. why don’t you put that mouth to good use for once?”

before you could say anything, he re-positions you to your knees on the couch, quickly removing both pairs of bottoms he still had on.

you weren’t going to tell him that he was the one who was technically giving in. that he was the one who was giving into you. that you hadn’t gotten enough answers incorrect for him to even fully undress yet.

for once, you got the better of him. he couldn’t control himself over you.

but you couldn’t tell him that he lost. you needed him too bad to risk him realizing his mistake and making you wait even longer.

“stick your tongue out.” he speaks soft, yet firm.

you quickly oblige, putting the wet and soft muscle on full display for him. you bat your pretty lashes up at him, knowing how crazy it drove him.

he slaps his dick on it a couple of times, causing strings of your spit and his pre-cum to stick together. he hisses at the sinful sight.

he sticks his length in and pushes until he hits the back of your throat. you cough, trying to pull away.

“ah.” he holds you by the throat. “this is what you wanted. you don’t get to run from me.”

he teases you by continuing to dip in and out of your warm and soft throat. quick and deep touches to your uvula that causes you to gag before he pulls out again.

“tell me you who belong to.” he orders through gritted teeth.

you let out another gag as he pulls out. “you.” you say breathlessly.

“in korean.” he places his dick in your mouth again, making it to where you only had a few seconds in between to speak.

“i’m yours.” gag. “i belong.” gag. “to you.”

“yes you do.” he inserts himself fully, this time grabbing a handful of your hair before thrusting in and out quickly.

you choke as he fucks your throat at a rapid pace, feeling your slick pooling underneath you.

drool and mascara stain your oversized top as he continues his movements.

he rubs his palm over you throat, loving the feeling of his bulge through the skin.

you lose yourself to the feeling of slight oxygen restriction, the way he twitched and throbbed in your mouth, his strong grip on your face. there was no better feeling than being dominated by seungmin.

the trance like state you were in had you completely unaware that he was no longer in your mouth and that you were now lying on your back.

he quickly puts the both of you into the spooning position before lifting the leg of yours closest to him and running his two middle fingers up and down your drenched slit.

“m-minnie.” you say, eyes rolling back.

“should i give you the satisfaction?” he asks, teasingly. “you really didn’t work that hard today.”

you begin to bable incoherent words, far past the point of understanding and clearly deep in subspace.

he finally fulfills your craving as he leans down and captures your lips into a deep and passionate kiss.

you moan into his mouth.

his two digits make their way inside of your needy cunt, causing you to break the kiss as you sing in ecstasy.

there’s no preparation or warming up as he immediately pumps his fingers in and out of you, filling the room with the lewd sound of your squelching heat.

it reminds you of how shy you used to be with seungmin. how he had to create this slut that you’ve become. he likes to say it’s always been there and that he just brought it out of you, but it didn’t matter anymore.

this state of vulnerability would have your past self red in the face and full of embarrassment. the way you obey every command he has, fulfill any of his wishes, let him control you both mentally and physically.

it made you so hot for him.

you squeal as you feel the intense build up of an orgasm, grabbing onto his forearm as a way to ground yourself.

he removes his fingers and stands on his knees.

“n-no! minnie, minnie!” you claw at his arms, too desperate to notice that he’s actually just moving you onto your tummy.

he laughs like the little shit he is as he takes in your fucked out state all caused by him. he loves it too much.

he arches your back before lifting your ass up to him, rubbing the tip of his dick at your entrance.

you mindlessly grind against him, your eyes closed as you try to focus on your own pleasure.

“awe.” he coos, stroking your sweaty and tangled locks. “so needy. impatient.” he yanks a fistful of hair, causing your head to jerk back.

you moan loudly.

“you think you can fuck yourself the way i do? go ahead. show me.”

you whine like a bitch in heat before inserting his long length into you, sloppily circling your hips.

he laughs and shakes his head at your cute yet poor attempt to satisfy yourself.

he knew that he ruined you a long time ago. your vibrator would never be his tongue, your fingers would never be his, those flimsy and lifeless dildos would never hit every spot inside of you the way his dick did.

but it was adorable to watch you try.

"it's not easy, is it?" he asks.

“no.” you cry, genuine tears slipping past your lashline, making your cheeks a sticky and pink mess.

“i know it’s not, baby.” he says softly, placing his hands on your hips. “you require a lot to please. not just anyone can do it. not even you.”

you feel a shiver run up your spine at his words.

“why don’t you thank me, huh?” he wipes your pitiful tears before placing a gentle kiss on your cheek. “thank me for always being able to take care of you. being so good to you.”

“in korean?” you ask, grinding harder on his length.

“there you go. already catching on. so much smarter than you lead everyone to believe.” he massages the skin of your hips roughly, causing you to squeeze and contract on his cock.

“t-thank you so much. for always taking care of me. and treating me good.”

“good girl.” he whispers as he slowly begins to thrust in and out.

the feeling causes your mind to go blank as you take in the addictive sensation of his length brushing past every surface of your sensitive walls.

“keep going.”

“thank you for being so amazing. so handsome and smart. you’re- you’re the greatest i could ever have.”

you gasp as he snaps his hips into you, beginning his intense pounding as he grabs onto your hair once again.

“ah! y-yes, seungmin!” you cry out, grabbing onto the hand of his that was pressed into the couch.

all of his prior teasing made it to where you knew you weren’t going to last another second of him inside of you. he had just started, but you already felt your previously denied orgasm making a much stronger comeback.

“m-min, i’m gonna cum!” you scream, digging your nails into his skin.

“what do you say when you want something?” he responds breathlessly, feeling his peak approaching as well.

“please! please, please, please!”

he feels himself throb at you remembering to use korean without him asking.

“fuck, cum.” he demands.

stars cloud your vision as you release onto his hard cock, the screams and cries falling from your lips most likely being heard from planets away.

he spills inside of you with a groan, gently fucking you through your orgasm and allowing you to come back down.

you release a breath you didn’t know you were holding in.

“oh my god.” you say softly, closing your eyes as you exhale.

he flips you onto your back before cuddling up with you, peppering your face with kisses.

seungmin giggles against your skin. “that was pretty good, huh?”

you playfully glare at him.

“you know.” he starts, placing his chin on your chest as he looks up to you with his cute puppy eyes. “you sure knew a lot of what to say. i think you’re better than you give yourself credit for.”

“or maybe i’ve just studied things to say when you’re fucking me instead of the basics like i should be.” you respond with a smile.

he rolls his eyes, shaking his head.

he places a kiss onto your lips. this one different from the rest. soft and filled with love. you smile onto his lips.

“you really are more capable than you think. you just need to apply yourself more. i’m serious about not letting you give up.” he points at you, raising his brows.

“yeah, yeah. i know.” you lay his head back down. “korean lessons are over for the day. now it’s cuddle time.”

“same time tomorrow, though.” he says.

you cover his face with a pillow.

“i’m serious!” his muffled voice yells.

#stray kids #stray kids smut #seungmin #seungmin smut

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staraxiaa · 5 months ago

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sunflowers, the afterword:

author's corner/first thoughts.

okay. so. i am insane. i am a god. i just wrote 18k words for a fic that i thought of, planned, and created fully in less than two days, bc someone said i like to make ppl suffer and yes i do. but then i was like, i am GOING to write fluff and i took it personally. to that one reader, thank you!! anyways. i wrote this with the intent of using the prompt "you wanna kiss me so bad it makes you look stupid" and barely even ended up using it. i don't know whether to laugh or cry. i hope it doesn't flop but also it's okay if it does bc i literally spent almost 48 hours brainrotting and word vomiting like it's out of my brain now and this feels glorious. it was random unfiltered thoughts and grinding away at 3am until i am empty. no thoughts left in my head. can you see? i could eat the world raw, the itch has been scratched. the sheer amount of motivation i had w this fic is never happening again. cheers! will update as i think of things! sorry to anyone who ends up reading this fully. i have been unreasonably fixated and have brainrotted over this for two hours, inclusive of sleeptime. while sleeping. i kid you not. i would wake up and something would click and i would hop over to the laptop and fucking grind away i am so sick of myself

unwritten scenes, headcanons

you guys are 20. you haven't started dating yet. you're a doctor. you guys are yelling at each other. you say 'you want to kiss me so bad it makes you look stupid.' katsuki's so angry that he does. ⇁ this was the original ending btw but i thought this one kinda fit better he brings you sunflowers sometime. real ones. he's sneezing all the while. you take one look at him and you die of laughter. he's still sneezing. you tell him: you know i actually didn't even care about them until i found out you were allergic. ⇁ if i could write nsfw i would do it here like dude do u see the vision omfg a whole side plot where he's like what the fuck do you mean you weren't dating deku. you're like. what the fuck. are u stupid. someplace where you actually address how you treat midoriya, his lack of a quirk, and how you stood by and watched it all happen ua sports festival. you kick everyone's ass. #you have been trained by eraserhead and you are super duper cool i also don't remember if i included this, but: your mother asks you after the first evening. "you're not really friends are you." you say: "nope!" and it is the happiest she has ever seen you. the ua boys try to flirt with you and get hurt really stupidly a lot on purpose. you wonder why they've stopped showing up. it's bc katsuki gives them a whole earful. and you're like bitch what the fuck im a doctor and and hes just tsundere about it first kiss scene instead of the ending where he's like you care and you're like of course i do??? what the fuck?? are u stupid?? you guys start yelling at each other and you're both acting like ur 2. he calls you stupid and blind. you call him ugly. he's so mad he literally just lurches forward and kisses you. it's awkward and messy and you guys are so mad at each other. you literally headbutt him in the face. ah young love. ⇁ this was another alternative ending more exploration behind reader's character, her insecurities, and about some of the stuff i info dumped before the start of the katsuki povs? i feel like i didn't handle that as well as i could have, but i also didn't want to go on 10 billion tangents for things that had very little relevance to the story. i also think the transition to the last scene was a little abrupt, but tbh at that point i was just so ready to call it like. i just didn't see the point. i think it would have made for a more natural reading experience, so here's the tea: he's proud of u but u guys are angsty and ignore each other until after training camp. [more brainrot pining moments]. if i had to write the above scene, i think i'd do something along the lines of: you're first aid relief at the sports festival, not actively participating. dunno if you'd be nearly as badass, though. you definitely get pissed when they muzzle katsuki and probably get rly mad but ofc u cant show it. so u just unmuzzle him and walk away and hes staring after u. this is ur ??? elsa arc? i dont remember the disney princess. the training camp is torture. aizawa makes u run with them. you tell him straight up that u hate his guts. he grins like that is the best thing anyone has told him in his life. katsuki definitely blows up some earth monsters for u. but while ur not looking. he's angsty like that. the bath scene? oh lord u just know he blows mineta up. maybe he lowk fucks it up too and you have to heal it! the potential HAHAHA. i dont know how you end up getting kidnapped, but id probably just bullshit a reason like ur the #1 healer in the world hurr durr and afo wants u! idgaf if the plot makes sense or not this is entirely secondary to my scheming. katsuki just about loses it when he hears you're one of the targets -> how you get kidnapped? idk. you're not a remedial student, so you're probably participating in the game (odd number of ppl right). unsure of how i'd handle the news of your kidnapping: just know katsuki loses it again. for like the 5th time. yipppeeeeee

character notes, thoughts

your quirk is literally just you take people's injuries into your own body and heal it yourself. you're superhuman. i put 2 thoughts into this: 1) you're a healer and 2) i like cool characters. congratulations. you have now been born. i don't even remember if i kept the shouto scene. but anyways i think my bias was showing. just had to throw him in there. also the kuroo mention. sorry i'm totally normal and i mean it ⇁ btw i love you all (everyone who likes/interacts with my fics) but i joke to my friends everytime someone interacts w my first bakugo/midoriya ones from lacuna bc guys!!! my shoto fic is RIGHT THERE!!! the baby that launched the entire collection. please show him some love this reader is probably one of the favorite ones i have written, more of an oc at this point i think, and i wasn't expecting her to grow on me so much. but lowk i love her and am so proud of the way i wrote her growth!! i do feel like i wrote her very soft, but i hope her flaws were made very clear⏤ she is meant to be a sort of unreliable narrator, so she also is overly critical of her own, but there were several things that were not addressed as i was writing, particularly concerning midoriya. (quirk, the bullying, bystander's guilt.) however, i think that including them would have made me go off on a tangent, and detract more from the main point of the story i also do think i wrote katsuki a little ooc, if only because i didn't see the point of including what's already there in canon. sorry. my brainrot did not extend that far, and by the end of this, i was literally ready to drop. his perspective isn't meant to be all-encompassing (in the story, it may seem like it purely bc of how i paced it) but those are meant to be like. random thoughts that appear in several scenes. reader does not have bakugo living rent free in her head 24/7, and neither does he. they're just stupid and pining and i just wrote all the moments in my head where they do.

#[❀] — afterwords

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viviennevermillion · 1 year ago

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ᴀ ʜᴀᴘᴘʏ ʙᴇɢɪɴɴɪɴɢ ɴᴏᴡ ɪꜱ ᴏᴜʀꜱ...

❝ there's no storm we can't outrun, we will always find the sun, leave the past and all its scars [...] ; if we're facing endless night, take my hand and join the fight, past the clouds we'll find the stars... ❞ — cast of once upon a time

notes: these wedding headcanons are part of our @briarvalleyarchives wedding event! it was super fun brainstorming how weddings would be in the characters' homelands. used my own experience of german customs for vil's, for leona i checked out some kenyan wedding traditions and lion king lore! hope you guys like these ♡

contains: wedding headcanons, character x gn!reader

characters: malleus, vil, azul, leona

warnings: some blood in malleus's (pricking your finger)

You were a little nervous, when the day had finally come for Queen Maleficia to introduce you to her kingdom's people as Prince Malleus's fiance. News that the heir to the throne of Briar Valley was getting married travelled very far very quickly, and that despite the lack of modern technology. But contrary to your fears and extensive list of worst case scenarios, you were well-received as Malleus's beloved and your prince was more than excited about the upcoming wedding.

According to Briar Valley traditions, both of your wedding attire is going to be black, as it is the royal color of the Draconia family. Nevertheless, neither the queen nor the people will mind you having a little color on your otherwise black clothing, symbolizing how you were not native to your beloved's kingdom; yet your union made you a part of fae society nonetheless, regardless of your origins.

The wedding venue is deep in the forest and has been in preparation by the castle staff for months. Malleus and you are to be wed under a floral arbor, decorated with roses from Malleus's garden.

On the day of the ceremony, butterflies and fireflies surround the venue and rose petals are scattered across it.

You're waiting under the arbor as the queen leads Malleus down the aisle, guided by small forest fae who were chosen as the ring bearers. They carry a small wooden basket with local plants of Briar Valley and the rings are placed upon them. Halfway through, Queen Maleficia lets go of her grandson's arm and lets him walk the rest of the way to you on his own, symbolizing her trust in him to walk his own path from here on out and a new part of his life beginning. You can see a soft smile on her face that is only seen from the usually so serious and stern queen on rare occasions. The guests are assembled at the side of the venue, watching you unite under the arbor and giving you their blessings.

You and Malleus exchange your vows. He takes your hands into his as he speaks to you. "I have to confess that when I met you, I was inexperienced and still had so much to learn about this world. But sharing these experiences with you, exploring what lies beyond the borders of my home by your side, were some of the happiest moments of my life and I still have no doubt that they marked the beginning of something even more grand to come", Malleus's expression was so loving and soft, but you could also tell how giddy and excited he was feeling inside, "just by being there, you brought so much color and vibrance into my life and made me look at the world through different eyes. From the moment we met, I never wanted to lose you and now I promise to you to stay by your side forever, if you allow me. I love you dearly and with all my heart."

Malleus listens attentively to your vows and his heart beats faster when he hears them. He's definitely tearing up.

In remembrance of the Thorn Fairy, it is custom in Briar Valley to prick your finger on a thorn to sign the wedding certificate. Malleus heals the cut with his magic immediately, so there's no need to worry.

Next you shall be crowned as part of the royal family. Every member of the Draconia family receives a custom-made crown. You have a say in deciding how it looks and Malleus hasn't actually seen it until he gets to place it on top of your head at the ceremony. Before doing so, he kisses the dragon markings on your forehead or the skin where they should be, if you had them, and you do the same with him. Malleus smiles as he feels your lips on his markings, taking your hand into his once more and squeezing it gently. You know him too well not to be aware that he's basically itching to pull you into a kiss.

Malleus and you exchange rings and are pronounced newlyweds. "You may kiss-"

Malleus's lips are already on yours before that sentence is even finished. He kisses you deeply and lovingly and holds you tightly in his arms. He doesn't let go of you just yet even after the kiss has ended, hugging you closely and nuzzling your temple.

It is said that the marriage is sealed with true love's kiss.

The eldest fairies in the royal court bestow their magic blessings on you. How effective these actually are? You're not sure, but you're willing to be surprised.

The wedding reception is held in Malleus's rose garden and the guests are reduced to the royal court, both of your family members, friends and the closest noble associates to the Draconia family.

Bowls with flowers as well as twigs decorate the tables at the reception and fairy lights adorn the rose garden.

Traditional Briar Valley folk music plays as you and your guests dance the night away.

Vil and you ring in your wedding celebrations with a "Polterabend", as is typical in the area of the Shaftlands that Vil lives in. This custom is held on the night before the wedding. The guests bring porcelain, but also commonly flowerpots and ceramics to the party that are later smashed onto the ground, supposedly to bring good luck to the couple.

A barbecue is held to provide food for the guests. Vil made sure there's lots of salads and grilled vegetables as well to provide enough variety of foods. Lively chatter can be heard at the tables between your family members and friends as drinks are served.

This gathering is used as an opportunity to accept well-wishes from acquaintances, co-workers and people who aren't able to come to the actual wedding. They stop by for a while to give wedding cards and small gifts to you and Vil. This includes your former classmates from NRC.

"Epel, I swear to the Seven, this is your grandmother's antique tableware, don't you dare", Vil scolds his Pomefiore underclassman as the porcelain smashing ceremony is about to begin. "Are you kidding me, this is the literal point of this evening", Epel pouts. Vil also has to stop Ace from smashing a whole mirror. "Did you never hear about smashing a mirror meaning 7 years of bad luck?", Vil sighs. "Aw, come on, let them have their fun for the night", you chuckle. Vil raises his eyebrows at you. "If we end up cursed, it's your fault."

The actual wedding ceremony happens on the next day at the registry office. You greet your guests in front of the building and provide them with champagne and juice to toast to your marriage. The guests take their seats and eagerly await the beginning of the ceremony. You and Vil have decided to walk in together. One of your guests sings a love song with a piano accompaniment as you two enter and take your seats in front of the registrar's desk. Vil's dad is tearing up as he sees you walk in to the slow music.

You and Vil exchange vows. "Y/n... I have met plenty of people who have said that there's hardly one who understands beauty better than I do. But you proved to me that there were things I had yet to see and understand about the beauty surrounding me", Vil smiles at you and takes your hand into his, "your love made me see a new kind of beauty in this world and just like the radiance of the Beautiful Queen, our love, too, will shine on eternally. I cherish every day we spend together and I know that I can count on you to be there through the good times and the bad. And I promise that I will stay by your side and love you more with every year that passes. I will be there for you whenever you need me. I love you with all my heart."

You exchange rings (Vil's own design) and the registrar makes your marriage official. Vil seals his promise with a kiss. His kiss is soft and doesn't last very long, but you know he's saving the passionate kisses for later.

The guests congratulate you for your union and you leave the building, getting into the car that has been specifically rented for the occasion and decorated with flowers. With your guests behind you, you drive to the reception, hearing them honk their car horns in celebration of your wedding. "I just know we're interrupting some poor soul's afternoon nap", Vil sighs and chuckles.

A log has been placed in front of the entrance of your wedding reception, resembling the first obstacle you and Vil have to overcome as newlyweds. Vil's father hands you the saw to cut it as per tradition. "Hold on, I need to get my gloves", Vil gets his gloves from the car and you chuckle at how on brand this was for him. God forbid Vil Schoenheit breaks a nail on his wedding day. But since Vil is pretty physically strong, the two of you saw through the log rather quickly. "Magnifique!", Rook exclaims and starts clapping.

As the wedding reception you picked an elegant ballroom that reminds you a lot of Pomefiore during your school years. Carefully designed flower bouquets decorate the tables.

You and Vil sit down at the forefront of the tables where all your guests are able to see you. Before the buffet is opened, one of you holds a speech, thanking the guests for the gifts and their attendance and telling the story of how you met and fell in love. Vil's father and optionally, your closest family members, hold speeches as well to express their joy about your union.

After everyone has finished dinner, you share your first dance on the ballroom floor. Vil being Vil, has actually practiced this dance with you for a while before the wedding. Still, even if you'd step on his foot today, he's too happy to care. A slow song plays as you seem to only have eyes for each other for as long as your waltz lasts.

Once your dance concludes, you open the dancefloor to your guests as well to dance with their partners, friends and family. Vil and you hand-picked every song on your wedding playlist.

Sometime later during the evening, your guests have prepared some speeches and party games for you, including a slideshow of your most important memories together and a round of musical chairs which Vil happens to win.

Azul and you decide to hold two wedding celebrations, both under the sea and on land. You hire a wedding planner to help you set the whole thing up and you convince Azul not to charge the guests for the food.

Only your closest family members and friends attend the wedding ceremony under the sea, to make sure that Azul is able to provide enough potions for all of you to breathe underwater.

He's totally the nervous one out of the two of you. Kinda freaks out internally if anything doesn't go according to plan and during the time you spend planning your wedding, he sometimes needs you to take his mind off things and let him rest his head in your lap as you run your fingertips through your fiance's silver hair.

Since there's no real "wedding attire" for merfolk, Azul receives some traditional coral sea body paint which is temporary and luminous. You cup his cheeks before the ceremony. "You're so pretty", you gush quietly and Azul reminds you to save this for after the wedding with a blush on his face.

Azul's mother has to be the happiest guest. She sweeps her son up in a hug. "Awww my little Azul is getting married....they grow up so fast", she wipes her tears, "I remember when you were just 3 and you tried practicing your signature with ink on our living room walls." You giggle. "Mum...please", Azul groans and hides his expression behind his hand.

In remembrance of the mermaid princess's beautiful singing, the mermaids who have been invited to your wedding sing for you as you are united in front of the altar. Azul wraps an arm around your shoulder as the two of you listen to the siren song.

During your vows, you make sure to drive the point home about how beautiful you think Azul is inside and out, something that still gets him a little flustered even after all this time.

"My dearest y/n", Azul begins his own vows and can't resist pressing a kiss to your forehead before continuing with his speech, "when we met, my heart knew no rest nor satisfaction. I grasped for everything within my reach because I myself was unsure of what I was looking for. I know now, that what I really needed was closure and acceptance and love. You were there throughout my journey so far and I want you to be there for the rest of it. I have grown to love you from the bottom of my heart and I fall in love with you more and more every day. I want to share my future with you and I'll stand by your side, come what may, for as long as you'll let me be part of your world."

You seal your marriage with a soft and loving kiss and Azul can't repress the joyful "It's a deal!" that comes out of his mouth. "The only contract I'll be happy to sign with you", you joke.

You receive headpieces that are decorated with shells, featuring a golden shell reminiscent of the necklace the Sea Witch used to wear as the centerpiece.

After the ceremony you are given gifts by your guests. The merfolk typically give you items from land to accompany you on your journey beyond the sea, a tradition that originated from the collection of the mermaid princess and her union with the human prince.

Your celebration on land happens the day after at the beach. There's food and drinks and the atmosphere is as lively as you would expect from a beach wedding. There's sparklers and a bonfire as well.

As the sun sets, you and Azul are sent off in a boat to a ship you have rented where the celebration continues. Your closest friends accompany you with boats as well before the rest of your guests follow you. Your merfolk guests are watching from the surface of the sea.

The wedding celebration ends with a huge firework at midnight. "I love you", Azul whispers to remind you as the fireworks light up the night sky. He has his arms wrapped around you and presses a kiss to your cheek.

After the guests have left the ship, you and Azul are sent off to your honeymoon together.

Leona sees his family members gather around him and ask him a million questions about your upcoming wedding and everyone seems to have their own ideas for how to improve the festivities for the second prince. “You know”, he holds you in his arms on the evening before the wedding, “it’s not too late to ditch everyone and have a shotgun wedding in a neighboring country.” You chuckle and shake your head. “I think Farena would have a crisis if we did that.”

A couple of months before the wedding, the royal family invites your family and they get together over dinner to get to know each other better and discuss your wedding plans with you. Farena is really happy that Leona is getting married and that he’s seeing him actually put effort into something.

The wedding ceremony is held at Pride Rock, just as recorded for every royal couple since the time of the King of Beasts. You, along with several guests, are wrapped in cloth and Leona has to guess which one is his betrothed. His senses never fail him though.

“You know, it would have been so embarrassing if you actually got it wrong. I would have never let you live this down”, you tease him. Leona shrugs. “Literally no one else here smells this much like herbivore”, he smirks and pokes your side affectionately. “I like to think this is a compliment”, you grin. “It is by now. I thought you were a pain back when I met you”, he whispers into your ear. You roll your eyes with a laugh. “What? I’m not allowed to say this during my vows, might as well do it now”, Leona pulls you close as your guests are busy talking to each other, “I don’t know what possessed you to stick around even through my obvious annoyance and terrible attitude but you crawled your way into my heart. I admit I wasn’t…the easiest person to love in the beginning. But I promise that I’ll never let you down again. Or… overblot. Actually I would appreciate it if we could just forget about the overblot.” Leona cringes. “Anyway, ‘suppose what I wanted to say is, thank you for stickin’ by me. I love you. A lot, actually. There was a long time where I didn’t really see a future for myself. But now I do. And I want to spend it with you.”

You are escorted to the wedding ceremony by your respective families. They shake hands before entering the venue together, accompanied by singing, dancing and drums.

Leona’s official vows are very formal and something you knew Farena had beta-read. Nevertheless, you appreciate the gesture. You and Leona exchange rings and your families sign off on it as you are pronounced a married couple. Leona pulls you close and kisses you, wrapping his tail around your waist.

Your closest relatives and associates of the royal court assemble in a circle with you and Leona and your ceremony is concluded by the Royal Mjuzi giving his blessings for your marriage, just as it had already been done during the times where the King of Beasts roamed these lands. The Royal Mjuzi takes his bakora staff adorned with baobab fruits and shakes it in front of you.

Leona and you light a unity candle before you ascend to the top of Pride Rock along with Farena and the queen. “I could lift you up and show you to the people like they did with Cheka when he was born”, Leona whispered with a smirk on his face. “I would prefer it if you do not do that”, you whisper back and shake your head. “Seriously don’t”, Farena warns his younger brother and Leona lets out a quiet laugh.

When you reach the top of Pride Rock, masses of people from Sunset Savannah have assembled below you, clapping and cheering as congratulations to your marriage. The royal family waves to the people and the live music reaches its climax.

As you descend from the large rock, the elders of the community give their wisdom and encouragement to you and Leona

The celebration after the ceremony happens on the palace grounds. Several emissaries from foreign countries as well as Sunset Savannah nobles have been invited and the celebration is also seen as an opportunity to improve Sunset Savannah’s ties with other nations. “Now we get to talk to stuck-up politicians, advocate for King Farena’s ideas and look pretty”, Leona whispers, never really having dropped the cynicism about his status as the second prince, “unless you’re open for suggestions…” “Leona, we’re not going to ditch the celebration, take a jeep out into the wilderness and kiss under the stars….okay maybe after the event we can do that.” “You know me too well”, your husband chuckles and wraps his arms around you from behind.

“Do you think the great kings of the past give us their blessings as well?”, he asks, looking up at the stars. “I thought you said the stars were just giant balls of hot gas burning millions of miles away from us?”, you raise an eyebrow. “Eh, it’s a pick and choose thing for me, really”, Leona smiles and kisses your cheek, “I love you, herbivore.”

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