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pippin-katz · 9 months

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Alright, I have mostly restrained myself, but I cannot stay quiet any longer. There is a question that has been eating at me...

Whose fucking idea was it to have Henry (Nicholas) constantly grabbing Alex's (Taylor's) hair?!

Note: I'm adding this in after finishing writing this because this was supposed to be a relatively short post, and then it spiraled out of control, so if you want to listen to me gradually lose my sanity over this question, feel free to keep reading, cause it is admittedly funny lmfao

Another Note: This is me being overly sarcastic and hyper cause it’s funny for me to think about that situation. This is supposed to be a funny post. I said that at the end, but I’m adding it here too.

Listen, remember what they said about the intimate scenes: they were planned down to every detail. Remember what Nicholas said about having conversations with Taylor, Matthew, and Robbie about boundaries, what was okay, and not okay. Remember that they have A LINE IN THE FILM ABOUT HENRY GRABBING HIS HAIR (iconic).

Do you see it? Do you see where this is going?

The hair pulling/grabbing is not random. It doesn't happen in just the New Year's kiss to set up a funny line later.

It happens all the time.

Even in soft moments, Henry has a hand in his hair.

The hair grabbing gets its own shot in their love-making scene.

Consistent small actions (twisting a ring, biting nails, drumming with fingers, etc.) are character habits. They're things that they do all the time, subconsciously or for a decisive reason, usually if you know that action causes a specific response that you want for any reason.

There's a coworker that drives you crazy, so you purposefully hum really loudly whenever they're in the room to piss them off. Your friend has a sensitivity to the color red, so on days you know you're going to see them, you avoid wearing it. Your partner has muscle cramps, so you massage their shoulders whenever you're standing behind them.

These habits usually start as conscious decisions, then gradually become subconscious, hence the term "habit". You've been doing something for so long or for frequently enough that you do it while on "autopilot".

I think it's pretty obvious why this action happens. It's because A: Henry likes feeling of his hair, and/or B: Alex likes when someone touches his hair. Note: This could be in any context, not just sexual; running fingers through it, washing it, styling it, etc.

Either you figured out what I am going to say, and you're wondering why I'm blabbering on so much, or you're just confused about where I'm going with this at all, so here's where it all clicks together.

When you have a character, habits are something you give them to give them more personality, more insight into their mentality through subtle things they do. It's something the director/writer/actor chooses to give to the character.

BUT - nothing in the intimacy scenes happen without being discussed and agreed upon.

This isn't like Nicholas fidgeting with the signet ring to show Henry's nerves. This isn't like Taylor frequently making little hand gestures (peace signs, finger guns, tapping the side of his glass, etc.) because Alex has undiagnosed ADHD and that's one way to physically imply it.

They can do those things without being told or given "permission" because it's their portrayal of the character, it doesn't effect anyone else, and small details like that are typically up to the actors, unless the director is incredibly strict.

BUT - AGAIN WITH FEELING - NOTHING IN THE INTIMACY SCENES HAPPEN WITHOUT BEING DISCUSSED AND AGREED UPON.

That means that someone, one of the four of them, brought up grabbing his hair as a suggestion, and further more, Taylor (and Nick, but obviously Taylor's consent is more important in this specific case) was fine with it.

Think about it. Think about them sitting around a table discussing the kinds of stuff that Matthew and Robbie would want to see, and what Nick and Taylor would be okay with. Think about the fact that one of them was sitting there, and looked at the other three, and said: "What if Henry grabs Alex's hair a lot?"

And then the four of them had to sit there, and talk, in depth, about what that would mean.

*inhale*

Who... the fuck... said it?

WHO SAID IT?!

Did Matthew and Robbie present it as part of the initial planning?? Or did one of them look Taylor and Nick in the eye and say it?? Did Nick throw it out there as something he thought Henry would do?? Was it Taylor??? Since it's his hair???

Cause it's not just like, running Nick running his fingers through it, combing it during some tender moment, like when Alex talks about his father being an immigrant.

HE FUCKING GRABS IT.

What the fuck were these conversations like?! I cannot think of a single way to have that conversation where someone wouldn't have to say something that would make me make me go UHHH-

What? So - Matthew's like "how do you guys feel about touching each other's hair?" -and they're like "what, you mean like running our fingers through it?" -and he's like "nah yanking it while you're making out"

Like... what do you say to that?! - "oh which one of us would do it to the other?" -and what, did Taylor fucking volunteer?? Just like - "he can pull my hair, it's chill" - WTF?!

Or did he suggest it in the first place, like they were discussing things that would that could be part of Alex and Henry's dynamic and he's just like - "he could pull my hair?" -and the other three just stared at him for a second, because wtf that's a intensely intimate action to suggest?!

Hair touching in general is really intimate, in like, every context, at least I think to most people, and definitely to me. Most people wouldn't just let someone, even someone they were friends with, start playing with their hair or touching their head. I wouldn't even let my best friend randomly touch my head; I would instinctually try to bite their hand off (not a joke). Maybe I'm a slight bit more touch-repulsed than most, but I feel like it's safe to say that the majority of people don't want their hair and head being touched, grabbed, or played with unless they say so.

And again, they do it CONSISTENTLY. It's not a one and done scene. It is an actual dynamic between Alex and Henry they chose to establish.

SO I ASK AGAIN: WHOSE IDEA WAS IT?!

I'm looking at you four, Matthew, Robbie, Taylor, and Nicholas. I know it was one of you cheeky bastards that suggested it. One of you brought it up, and the rest of you were like "sure".

I will be forever haunted by this mystery, as I doubt I will ever get an answer.

Note: Please don't take this super seriously. I'm not trying to imply anything; I'm literally just joking around cause the concept of having that conversation boggles my mind lol

#lol you thought my next essay would be another one shot analysis #but autistic and have adhd #so you have to wait lmfao #red white and royal blue #rwrb #rwrb movie #rwrb thoughts #alex claremont diaz #taylor zakhar perez #henry hanover stuart fox #nicholas galitzine #matthew lopez #robbie taylor hunt #firstprince

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jeysbvck · 3 months

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you made a mark on me (a golden tattoo)

welp, here it is! cody has been my favourite wrestler since 2007/2008, and i NEVER thought i'd write a fic about him, but here we are! after mondays segment, i couldn't get this out of my mind and i hope you all enjoy reading it as much as i enjoyed writing it!! please reblog & comment, they are really helpful & motivating to fic writers!

taglist; @nightmare-viper @harmshake @wrestlezaynia @alyyaanna @xtripleiiix @afterdarkprincess @courtninacole @crxssjae @wrestlingprincess80 🫶🏻 (if u wanna be taken off the list or added, lemme know!!)

warnings; teasing in public, f receiving, m receiving, slight praise kink, p in v penetration, slight exhibitionism, jealous!cody (if i've missed anything please let me know!)

word count; 2.7k

summary; once again, teasing Cody works wonders.

Even from the other side of the room, you could feel those blue eyes on you, staring so hard you were sure you'd find a burn mark on your cheek when you looked in a mirror. You leaned your elbow on the bar, twirling a piece of hair around your finger as you half listened to Damian; giggling and playfully slapping his arm or chest at the right times. You could barely pay attention to Damian. All you could think about was Cody and how he was reacting to the very obvious flirting happening. You could picture his face clearly in your mind; the way his usually soft gaze would be hardened watching the scene play out, the way he'd be clenching his jaw or biting the inside of his cheek; waiting for the moment he could drag you away without causing suspicion.

The moment came sooner than anticipated when Dom dragged Damian away to rejoin the rest of The Judgement Day in the booth they'd occupied all night. You looked around the room, searching for Cody, but when you couldn't find him, you opted to join Sami and Jey, who were waving at you wildly. Before you could, someone came up behind you, and their hand gripped your bicep tightly.

"I know what you're doing," Cody said, his voice low in your ear.

You craned your neck so you could smile up at Cody. "What? I was just having a very lovely conversation with Damian." You said innocently.

Cody spun you around and glared down at you, his eyes looking brighter under the dim lights. "It won't work." He told you, and you tilted your head, pouting slightly.

"I don't know what you're talking about." You replied, batting your eyelashes, making Cody roll his neck. "You wanna dance?" You quickly asked before he could say anything else.

He glanced at the mass of people dancing and pulled a face. "We really shouldn't..."

"Come on, I was dancing with Jey earlier. It doesn't -"

"You were dancing with Jey?" He asked, his nostrils flaring as he narrowed his eyes. "Fine, let's dance." He conceded, unable to hide his jealousy as he pulled you to the dancefloor as you giggled.

You took advantage of the number of people on the dancefloor and pressed your body up against Cody while snaking your arms around his neck. His hands rested on your waist, and he raised his eyebrow, to which you shrugged, a smile dancing on your lips. "Sorry." You mouthed, and he shook his head, unable to hide the smile. "You're terrible." He replied, making you grin.

"Oh, you know you love it." You said, massaging the back of his neck with your fingertips, just like you did when you were curled up in bed together. Being this close to him was driving you wild, and if you couldn't touch him the way you truly wanted to, you'd revel in driving him just as wild.

You pushed your pussy into Cody's bulge as you danced, and his grip on your hips tightened. "Don't tease me," He warned, his voice almost a growl. "I'm not sure I'll be able to control myself."

You lifted yourself onto your toes and whispered in Codys' ear, your breasts pushing against his chest. "Who's asking you to control yourself? You could just let go."

Your breath on his neck and your scent in his nostrils was intoxicating. It sent a shiver down his spine, and he closed his eyes as he inhaled through his nose; a futile attempt to control the effect you were having on him. His hands made the journey from your hips to your ass and you glanced around the room, thankful that nobody was paying any attention to the two of you. Considering neither of you was ready for people to know about the two of you, you were playing a very dangerous game. Teasing each other and flirting around other people, stealing kisses and secret moments in crowded rooms, sneaking into each other's hotel rooms or onto Cody's bus; it was all so thrilling, and it was a miracle nobody had caught onto the two of you.

"Baby, you gotta stop." He groaned, squeezing your ass. "You're killing me."

Your eyebrow arched upwards, followed by a smirk. "You want me to stop?" You questioned, slipping your hand in between your bodies, sliding your hand down his shirt until you stopped at his belt buckle. "Just say the word, and I'll do whatever you want."

Cody dropped his head onto your shoulder, a low, almost animalistic sound emitting from his throat. He rutted against you, nipping at your neck as he did, the action making your pussy throb as you caught a moan in your throat. Before you could move your hand lower, Cody promptly grabbed your wrist.

"How about we continue this somewhere more private?" Cody said into your ear. He'd posed it as a question, but it wasn't intended as one— which was apparent when he didn't wait for your answer and practically dragged you out of the main party room and through the hotel lobby.

With his hand on the small of your back, he pushed you through the doors, the cold night air pinching your naked arms. Cody guided you around the corner, and before you knew it, you were up against the wall, his lips attaching to yours, forcing his tongue into your mouth. You reciprocated the kiss, tongues wrapping around each other; both moaning in harmony as he fondled your breasts over your dress. You unbuckled the belt and popped the button open, and when he bit down on your lip, you grinned. You tried to slip your hand into his boxers, ready to feel his cock in your hand, but Cody pulled away, breathless.

"Not here." He said, lacing his fingers around yours. You walked hand in hand across the parking lot, towards where trees lined the edge of the lot. The closer you got, the more you noticed the large outline of Codys' bus, hidden in the shadows of the trees, tucked away from the moonlight.

"You brought your bus here?" You laughed. "You couldn't use the car?"

Cody unlocked the door and ushered you up the steps. "It's a good thing I didn't, isn't it? I knew you'd try something." He teased, slapping your ass lightly. You turned to face him.

"I knew it'd work." You said, reciprocating the soft smile he sent your way as the lock clicked. He took a few steps towards you, his eyes boring into your soul. They were mesmerising, like two oceans you were certain to drown in, and you wouldn't mind a single bit if you did.

"Of course, it worked," Cody said softly. "It'll always work."

You couldn't wait any longer. You pulled Cody towards you by his tie, your lips smashing together forcefully, his fingers tangled in your hair as he tugged slightly, deepening the kiss. He was like a drug you were addicted to, one that you'd never want to give up.

Cody spun you around and slowly unzipped your dress, peppering your naked back with kisses. The black, velvet number fell to the floor, and you turned to face him, standing in just your heels and black panties. He took a step back and carefully studied you like he was looking at his favourite work of art. He grinned and licked his lips as he arched his eyebrow.

"Get on the bed." He ordered. You stepped backwards until your legs hit the edge of the small bed, and you lowered yourself down, the mattress dipping under your weight. Cody pulled at his tie until it loosened and unbuttoned his shirt, smirking at you as he did.

He stood in front of you, his trousers still open from the make-out session outside, and you maintained eye contact as you pushed them and his boxers down his thighs, freeing his cock from its restraints. Cody's tongue poked out of between his teeth as he smirked, his eyes dark as he flicked his thumb across your bottom lip before he lined his cock up against your mouth.

You stuck your tongue out just enough for it to brush the tip, the simple action making Cody buck his hips. You opened your mouth wider, taking as much of Cody's cock as you could. His hand bundled your hair into a ponytail and as you closed your mouth around him, a groan left his lips as he pulled on your hair, throwing his head back. You dragged your tongue up the underside of his cock, the sensation making it twitch in your mouth. You flicked the tip before curling your tongue around it,and you grasped the base of him, taking a moment to look up at him while you pleasured him.

Cody's eyes were glazed over, profanities spilling from him while he guided your head and fucked your mouth. You loved the noises he made, loved the look on his face whenever you were together. He was usually so calm and collected, so to be the one who made him lose control, to fall apart because of you, it made you feel incredibly powerful and confident; something you didn't have much experience with until you met Cody.

He found himself in a rhythm— one that you wanted to disrupt and so you rolled his balls in your hands, massaging them gently as you took the rest of his cock, choking slightly as the tip hit the back of your throat. The noise Cody made was sinful, and you weren't sure you could be any more turned on until you looked up at him through teary eyes. The sweat was beading around his hairline, his teeth almost biting through his lip as he grunted and thrust into your face.

You wrapped your tongue around his cock and he forcefully pushed your head into him before he couldn't take anymore. He tugged you off by your hair, a Pop! echoing out around the bus. You watched him lean towards you and you crawled up the bed slightly, until Cody was leering over you, his eyes full of lust. He wiped your wet cheeks with his thumbs and kissed you; so much passion in the soft and tender embrace. The longer the kiss went on, the more fierce it became, and your back hit the soft sheets, bringing Cody down with you. His mouth followed a path, planting little butterfly kisses down your jawline, your neck, down to your cleavage — where he latched onto your breast, sucking and biting as your hands ran down his shoulders, fingertips scratching his back. His mouth then continued its journey down your sternum to your stomach while his hand caressed your breast and rolled your nipple with his fingers.

Cody hooked his thumbs under your underwear line and ripped them clean from your body. He threw them over his shoulder and held your hips down with one arm, his other hand snaking back up to your throat. He flattened his tongue against your slit and slowly dragged it up your cunt, beginning his feast.

Your hands grabbed the back of his head, and you attempted to buck your hips, but his arm wouldn't let you. "Ohhhh, Cody," you whimpered through little gasps, "feels so fucking good!"

You felt him smile against your thigh as he kissed along the insides before burying his face back into you. "You're such a good girl." He said. "You're my good girl." He said, before flicking your clit with the tip of his tongue. Your hips bucked again, and his grip on your throat tightened as did the grip on your hips. Cody was great at everything he did, he had that Midas touch, but he was incredible at making you feel amazing.

You squeaked as he pushed his tongue into your entrance, releasing your throat so he could caress your clit with his thumb as he fucked you with his tongue. You writhed underneath him as much as he'd allow, pushing his head deeper into your cunt, gripping your thighs against his head, unintelligible sounds leaving your throat as your toes curled.

"Co-Cody, please! I'm gonna cum!" You gasped. He chuckled, picking up the pace and your moans got louder. You were certain that everyone in the hotel would be able to hear you, and that the bus would no longer be hidden from everyone— but you didn't care one bit.

You came undone in seconds, and Cody released your hips from his grasp so you could ride his face, his name spilling out of your mouth. His kept working as you rode the wave of your orgasm and when he came up for air, you giggled breathlessly.

Cody climbed up your body like a lion hunting its prey. He needed to be inside you, to feel your walls clench tight around him as he fucked you hard. He rubbed his cock against your slit, sliding it between your lips, without penetrating. You wrapped your legs around him, attempting to pull him closer to you, trying to force him to give you what you craved. He laughed, his tongue poking out the corner of his mouth and rubbed your entrance with the tip of his cock.

"Cody, please -" You whined, your heels digging into his ass cheeks.

"Use your words, baby."

"Cody- I want your-" His tip teased your cunt again and you groaned, your eyes rolling to the back of your head. "Cody, please fu-fuck m- ohhh ffuck!"

He slammed into you, guttural groans passing through his lips at the euphoric sensation. He would never tire of any of this— of being inside you, making you scream his name and lose control at the slightest touch. He loved feeling your body underneath him or on top of him. Even the smallest of gestures; the slightest touch of your pinky fingers secretly interlocking around people and his favourite— when you placed your palm on his cheek before a match, a little good luck ritual you'd implemented long ago. He would never get enough of the sparks that coursed through his veins when you touched.

His pace quickened when your walls clenched around him. Your moans echoed around the room, in harmony once again, and as another orgasm reached its peak, your arms reached around Cody's neck and pulled toward you, pressing your lips together. The kiss was messy and toothy, and he interlaced your fingers together, sending his free hand between your bodies, his finger circling your clit. You quickly became unglued and your head thrashed against the bed, screaming Cody's name, just the way he liked; as Cody reached his own orgasm, his mouth found your neck, biting down hard before he lapped at the skin with his tongue.

He dropped his body onto you, and you wrapped your arms around his back, enjoying the weight of him on top of you. He nuzzled his head into your neck, pulling the sheets over the both of you, and you closed your eyes, feeling content. With his chest on yours, your heartbeats combined, like your two hearts were one. There were so many reasons for you to go public with your relationship, to let people in on your secret. You wanted to scream from the rooftops about how lucky you were to be the one Cody Rhodes wanted to be with. But you also wanted to stay in your bubble, in your own world where it was just the two of you, nobody else mattered, or even existed.

Cody lifted his head off your chest and leaned onto his elbow, tilting his head as he grinned at you. "You okay?" He asked and you turned to face him, reaching your hand up and placing your palm on his cheek, smiling at the beautiful man with the hearts in his eyes that were for you, and only you.

"I'm starving." You whispered, grinning at him. He rolled onto his back, reaching for a phone that was on the bedside cabinet. He settled back onto the bed, and you found your usual space on his chest. "What do you fancy?"

"Apart from you?" You asked, tracing circles around his chest. Cody laughed loudly, and you grinned wider. "Chinese."

"Whatever you want, you shall receive." Cody replied, making you blush. "Yeah?" You asked, and he nodded, planting his lips on your forehead softly.

"Of course. Always."

#cody rhodes #cody rhodes fic #cody rhodes fanfiction #wwe fanfiction #wwe #wwe fanfic #cody rhodes x reader #cody rhodes x you #cody rhodes smut #my writing*

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toxicpineapple · 6 months

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writing tips masterpost

hello to my loyal tumblr followers... i am often asked to give writing advice but usually when people ask me this i'm nooooot completely sure what to say despite having a ton of advice to give. it's such a broad question when there are so many different things i can advise on, right? so i thought i'd make a sort of writing advice masterpost where i can compile the tips that i think people specifically in fandoms could benefit the most from hearing, OR that i wish someone had told me when i was still finding my footing as a writer.

hopefully this will be helpful to you. i am putting all of the advice under a read more since this is going to be a long one. let's roll!

✬ paragraph breaks are your friend

the fastest way to get me to stop reading a fic is if i click in and see that there are NO paragraphs made and the entire piece is in a huge block of text. no matter how good your work is, i just can't read it at that point. the giant paragraph makes me get lost, i can't focus on anything... it's a huge no.

the trick is you want your paragraphs to sort of act as a guide for your reader, taking them through the story, keeping them engaged. do not be afraid to do short paragraphs! i can understand wanting to shy away from one or two sentence paragraphs for fear of not having "enough substance" in your work, but the truth is, a thousand short paragraphs is ten times easier to read than a huge block of text.

realistically, you want to have a good amount of variety in your paragraph length. variety is key. readers will notice when your work gets formulaic, and some people will like that, but for others that can turn people away from your work. but don't force it! a paragraph should end at the end of a statement, or if the paragraph is getting too long then cut off the thought and continue in the next paragraph with a transitional phrase.

as a general rule of thumb, you want lines of dialogue by different speakers to be put in separate paragraphs. you also want to avoid doing huge chunks of narration or exposition in the same paragraph as you introduce a new speaker. just make a new paragraph! no big deal. i guarantee you your reader will be way more engaged and nobody is going to come at you for doing more rather than less.

✬ make sure the reader knows who is speaking and when

you don't have to end off every line of dialogue with "she said" and in fact i would really recommend you don't. but you ALWAYS need to have some kind of indication in the text as to who is speaking, otherwise the reader can get lost.

this doesn't necessarily mean that you always have to explicitly say who is saying what, though. if it is obvious in a scene who is saying something -- so for example, a scene where there are only two characters talking OR the dialogue has some kind of phrase, statement, etc that makes it obvious who the speaker is -- then in that case you can just let the dialogue speak for itself. sometimes in writing less can be more. you disrupt the flow of a scene if you start to exposit unnecessarily when the reader could reasonably work something out for themself.

✬ "said" is your friend too

related to the last piece of advice, here's another note: don't shy away from using the word "said".

don't overuse it, either. obviously, you don't want every single line to be "he says" "she says" back and forth, especially when they might be asking questions or shouting, in which case the word "said" probably isn't all that applicable at all. but it's a nice default. if you catch yourself busting out the thesaurus, my recommendation? quit it. just use said. it's not going to hurt you and the reader isn't going to mind.

but yeah, in the event that a character is raising their voice, whispering, inquiring -- there are tons of other words you can use in lieu of said and then an adverb. it's just context-dependent, and also, you don't really want to lean too far one way or another. like i said, variety is key. too much of the same breaks immersion.

✬ if you wouldn't say it yourself, probably don't use it in writing

another related tip. look, i get it. you want to spruce up your writing with synonyms. but the fact of the matter is that a lot of these words that "mean the same thing" on paper actually have wildly differing connotations and if you don't understand what those are you're going to look kind of silly whipping out a word you just found off the internet. we can usually tell, too.

your vocabulary will naturally grow and expand as you continue to read and learn. you don't have to try and force it to seem smarter in your writing. people who can write compelling prose and dialogue without throwing in fancy words they barely understand look a lot more intelligent than people who have a thesaurus at the ready 24/7.

✬ if there's a simpler way to say it, take it

this one can be sort of style-dependent, so if it's not your cup of tea then feel free to take or leave this tip, but in my opinion, taking a whole seven-line paragraph to describe a simple action wastes both your and the readers' time.

how many times have you read a fic where the main characters are having a conversation with these long rambling paragraphs between lines of dialogue? sometimes this makes sense! if you were writing a death note fic it would absolutely make sense for light or L to be pausing every few seconds to carefully analyse their opponent's move... but that's not always the case. sometimes characters are just making small talk.

i'm not saying you can't show off. you should show off where applicable. but there's a time and place. sometimes a scene benefits more from you taking the easy way to describe something and moving on. flowery language is great, but if you're meandering too much the reader will lose interest and attention.

✬ a metaphor is useless if nobody knows what it means

writing is subjective and highly personal. write for yourself first and foremost, and use the metaphors that feel right to you -- but the best metaphorical pieces, to me, are the ones that people can understand and identify with.

you've read a story like that, haven't you? with a reoccurring theme or motif that comes back into play at the end in a way that makes you feel so satisfied and complete? THAT'S what you aim for with literary devices like that. if you write a story that nobody can understand, with metaphors that just don't make any sense -- then you haven't really successfully told a good story, have you?

i understand wanting to have a magnum opus. i think it's easy to fall into the "misunderstood writer" mindset where you want your pieces to be so magnificent that only the likeminded will get it -- but writing is a form of communication. metaphor is just another means with which we can illustrate how we feel. you WANT your readers to understand what you're doing with the metaphors, you WANT the people who step away from your story to know what you were trying to say. you don't have to be obvious, just make it good. make it something that can be reasonably drawn from the text.

at the end of the day flowery language is just flowery language. that doesn't actually make your story good.

✬ grammar intermission

(.) period/full stop: used at the end of sentences. oftentimes not used at the end of sentences in dialogue, because lines of dialogue are considered a fragment of a larger sentence. use a period/full stop at the end of a line of dialogue if the dialogue is followed up by another complete sentence. example:

"i just went to the store," he said, scratching his head.

"i just went to the store." he scratched his head.

(,) comma: used in the middle or to separate different clauses (parts/sections) of sentences. used for incomplete clauses, AKA sections of the sentence that could not function as individual sentences. also used to indicate a slight pause. example:

she reached for the ripest banana, plucking it from the bunch.

a comma can also be replaced by a conjunction like "and" or "but". example:

she reached for the ripest banana and plucked it from the bunch.

(;) semi colon: used to separate different complete clauses in sentences, AKA sections of the sentence that are related but COULD function individually as their own sentences. example:

he sighed as he looked out the window; it had been so long since he stepped outside.

not to be confused with

(:) colon: used at the end of a line that leads into or introduces another line. example:

his fingers drummed restlessly against the window sill. it was finally happening: he was finally leaving this place.

(-) hyphen: used to connect compound words like three-years-old or hyphenated surnames like jones-smith.

(–) en dash: used to indicate ranges of time or distance, like 3–4 hours.

(—) em dash: a girl's best friend. slash j. but an em dash is used to indicate a few different things: an abrupt end to a thought or sentence, a "cut-in" where you interject something tangentially or unrelated before returning to the original thought, or a diversion in the sentence/thought. examples:

"no, listen, you don't understand—"

he scowled—an ugly look on his usually handsome features—and told her to be quiet.

it's not like she had wanted it to go that way—but when had it ever mattered what she wanted?

(()) parentheses: used to add additional context, information, or a semi-unrelated thought that would break the flow of an ongoing sentence without completely taking the reader out. example:

"no, i'm sorry. i just forgot to call you this morning," he said, looking away. (in truth, he'd sat by the phone for fifteen minutes trying to psyche himself into it, but hadn't been able to muster the courage.)

✬ show don't tell, and tell don't show

show don't tell is one of the classic pieces of writing advice that i do, often, think is correct -- but it's a little more nuanced than just never telling your readers what a character is thinking. you want the work to speak for itself without you implanting messages or themes into the reader's brain. at the same time though you don't want them to be doing too much work because it breaks immersion.

this ties into what i was saying above about simpler being better sometimes. you want to be concise especially in scenes that might call for it. a fight scene should be quick and snappy. no need to dig into the physical sensation of being enraged -- just say the character is pissed! but if a character is having a meltdown or panicking, you can get SO much more out of describing how that feels than just outright saying it.

✬ remember your perspective

another huge thing with show don't tell is that you don't want your character to be able to objectively say what everyone else is thinking and feeling -- unless that makes sense for them within the context of the story. really dig into it. DOES the character have a reason to know what their opponents, friends, etc are thinking? how well do they know the other characters? how attentive are they to the emotions of those around them?

it's better to focus on descriptions than labels in that case. say what face a character is making, describe their body language or tone. your character can have impressions, just make it clear that those ARE their impressions. and let your character be wrong! they do not have to be a completely objective source of information.

✬ when it comes to representation, if you aren't confident you can do it well, don't do it at all

i'm one of those people who's kind of of the opinion that white or cishet or otherwise systemically advantaged people have no place being the loudest voices in conversations about representation, least of all AS the representatives. if you are someone with systemic privilege and you choose to portray someone who is oppressed -- that's not necessarily a bad thing. but you need to be willing to do your research and have a sensitivity reader, and you have to be ready for people to say you did it wrong.

not much else to be said about that. your voice on the matter isn't actually all that important. there are people from the demographics involved who DO have stories to tell about themselves that will be MUCH more valuable than your perception of them, so it's honestly better to just let them tell it. that's how i feel.

✬ don't break the rules unless you know how to follow them. in other words, your rebellion should be obvious

a lot of times i see people breaking grammar or other rules and citing "stylistic" choices as their reasons why. which is all good and well, to an extent -- but you want it to be very clear that you ARE breaking the rules on purpose in a way that adds to the artistic merit of your piece.

if you don't know the rules, then it really just comes across like messy work. you both have to know how to apply the rules, and also how to break them in a stylistically significant way. if it doesn't make sense for the rules to be broken, if it says nothing... it's honestly better to just follow them. that's my take.

✬ don't be scared of names and pronouns

i said before that you want variety in your work, and that is very very true -- but it's also true that certain words like names, pronouns, etc will sort of blend into the background in writing. people don't notice them. that means if you're using a name or pronoun a lot in a scene to make it clear who exactly is being referred to...

hey. look into my eyes. breathe. it's okay. you do not have to resort to highlighting arbitrary characteristics of the characters. i know. just breathe. it's okay. use their names. they have them for a reason. it's all good.

this isn't to say that you SHOULDN'T do that, just do it when it makes sense to. if height is something the characters are noticing then use "the shorter boy". if age is relevant, eye colour, hair colour, whatever -- go ahead and use them. but don't be excessive with it. i should not be having to read the bluenette more than i'm reading shuichi's actual goddamn name.

✬ read

this is the huge one. reading other works informs your writing. it teaches you skills and tricks you can use. it helps expand your dialogue and your world view. it might even highlight to you things you do too much of in your own writing. read, all the time, whenever you can. it doesn't have to be books. it can be fanfic, articles, whatever -- just keep reading, because you will be passively absorbing knowledge during that time and it'll help you grow as a writer.

✬ practice

BOOOOOO TOMATO TOMATO TOMATO! SHE SAID THE THING SHE SAID IT!

but listen, it's literally just true. i write almost every day for at least a couple of hours and i have been on a trend of consistent growth for the past five years. go read my fics from 2019 if you don't believe me. i've grown fast and i've grown constantly. you just DO grow through constant practice, even if it doesn't always seem that way.

not only that, but you start to build confidence too. writing a lot helps develop those muscles to a point where you start to realise that you ARE that good and you DO have that dawg in you. or whatever. you just have to keep at it. you're not going to magically improve thinking for six months about how you want to be a better writer without practicing anything about it.

✬ yeah, betas are good

you want to have a good editor. i know that that can feel like having someone ELSE be the reason your piece is good, but that's genuinely not it. a beta reader is a second pair of eyes on your work, someone who can tell you about the issues and mistakes you're missing. they'll tell you when something doesn't make sense. they'll point out your punctuation errors. you don't NEED to have a good editor for every crummy little oneshot... but it's good to have one.

✬ numbers are fine and all but don't compare yourself to other people

i think almost everyone in some kind of creative pursuit wants to get some kind of acknowledgement for it. we want to be the best we can be, and it can be discouraging to receive utterly no validation along the way! i get it!!

just don't get caught up in crunching the numbers. you are not as good as your fanbase is. you alone know your skillset and you absolutely should not say "well this other writer got THIS much attention" because that'll just wear you down. it really will. external validation will only keep you going for so long, and you'll always end up needing more. you HAVE to build your own personal confidence first or you'll crash and burn.

✬ read your writing out loud

there is no quicker way to see if something is wonky in your prose than reading it out loud and seeing if it makes sense verbally. i highly recommend this to anybody who struggles with sentence flow. it's a good one.

✬ yippee hooray!

🥰 and that's what i've got for now. thank you if you made it this far, please take all these tips as you will, it is all subjective of course, these are just the tips that help Me the most when i sit down to write something.

please feel free to ask me for additional advice (on specific topics if you could!) at any time, i love encouraging new writers and i am passionate about writing so i will gladly offer support in any way i can, including beta reading works for anybody who might need that.

take care now 💖

#writing #writing advice #writing tips #fanfiction tips

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fillinforlater · 1 year

Text

Eleven to One: Needy Bold Confession

Male Reader x Ahn Yujin

Length: 2888 words

Tags: ROUGH SEX, brat taming, nah fuck it, brat breaking, borderline hate sex, cursing, degredation, humiliation, spiting, spanking, slaps, pussy slaps, hardcore sex, mating press, squirting, creampie, tears, queefing, overstimulation, mutual anger, emotional stuff, FUCKED UP kinks mentioned at the end, family issues? ultimate_brat!Yujin / ultimate_brat-breaker!you

TW: ^^ (srsly, read the tags and beware of the end kekw)

Inspiration: the ending has been in planning for months, the rest is literally BFH fueled by Yujin's inability not to look insanely good and fuckable.

Credit: @sooyadelicacies, my beloved co-writer!

(A/N: yo, 100 fics. Thanks for reading!)

"Oh, now you're back."

You haven't even fully entered your apartment yet, but a venomous, annoyed shout already flies your way. You can feel Yujin tremble in rage and disgust—and she is still out of your sight, in another room.

"Yuj—"

"Did you have fun with those Unnies? Did you enjoy breeding them?"

Yujin's voice drips with deadly sarcasm, increasing both in volume and viciousness. You lay down the keys and look through the floor, into the rooms. They're all dark, not a single artificial light turned on. It's quite normal for you to return late, exhausted, either by the stress of work or the constant pounding of pussies.

Yujin's brattiness increased to a toxic level. It’s probably because of her latest comeback, the hectic promotions and an obvious lack of attention by you. Partially your fault, the breeding had to come first, but you are still the Daddy in this, your house. With deadly coldness you speak into the dark living room:

"How dare you, Yuji—"

"Fine!" she snarls back and you hear the steps of strong leather boots behind you. "If you can hook up all the time with the others, maybe I can find someone else too!"

Eyes wide in disbelief, in unbridled rage, you slowly turn to look at your girlfriend. In the faint light of the moon falling into the apartment, you see the alluring, perfectly sculpted body of Yujin. Her pale skin and a tiny white crop top reflect some of the grayish rays, but the leather jacket on her shoulders and the tiny, miniscule mini skirt fit in perfectly with the darkness. They suck in the light and your gaze, which also shifts to her full thighs and the knees-high boots of a slut that could also kick ass.

Yujin is glaring, not as the usual bratty, Daddy defying girl, no, as a woman determined to convey you had fucked around and now would suffer the consequences, while also looking like temptation personified.

"Ahn Yujin, what the fuck do you think you're doing, wearing, saying? Someone else?

“You. Fucking. Belong. To. Me."

You emphasize each word like an arrow fired straight at her. Yujin sways in place for a second. She isn't playing, even your threatening finger, pointed at her face like the barrel of a gun doesn't faze her. She steps to the side, ready to walk past you.

"I can wear what I want," she snarks and places a hand on her hip. "I can wear what I want, I can fuck who I want. And You. Don't. Own. Me."

The two of you lock eyes. Not a word is said, not a single sound made, yet the tension makes it feel like a billion voices burst out in screams of fear, anger, lust. Your fingers ball into a fist.

"Bitch," you grunt through gritted teeth. "You're mine, bitch. Yujin, you will not go out there."

Yujin reaches past you, doorknob firmly in hand, devilish smirk on her features. She applies pressure.

"What if I just do?"

The door swings open, and it swings open faster when you pin Yujin against it. You stare down at her, trapped in between both of your arms on each side of her head. Yujin bites her lip for a second, but then avoids your eyes and tries to break free from your makeshift cage.

"Is that all that you got?"

Dig your fingers into her straight hair and twist, twist, twist with each second she doesn't beg for mercy for her foolish words. Yujin's face contorts in pain, but it does not lead to her breaking, instead she opens her mouth wide to moan impossibly loud.

"Harder, Daddy!"

"Are you—"

Pull her back into the apartment by her hair and close the door.

"—fucking out of your mind? Moaning in the hallway—you have gone insane!"

"You can't even talk properly," Yujin responds, her attempts at hiding her winces futile. Her knees finally go weak when you pull her hair down. Unfortunately, you lose your grip on the straight darkness and Yujin frees herself with a quick step backwards.

"Seriously, and you want to be my Daddy. I get someone to take me hard—"

Your hand is like the claw of a falcon in dive, grabbing its helpless victim before finishing it off. In this case, Yujin. She struggles to get a breath out as your digits tighten around her throat. Without relent you push her backwards, her fierceness and the grip on her boots no match for your anger. Somewhere in your large living room, she gives up.

"Ple-please, Daddy, ca-can't breathe."

Yujin falls to her knees and you loosen your grip a little. Just as she takes in new oxygen, you make her take a harsh slap to her face. Tears jump into her eyes, the hit has her flashbanged for a moment—a moment which you use to tear open the slutty mini skirt.

"You have been bad." Your voice is deep, booming straight to Yujin's glowing face with its faint imprint of your hand. "Worse than ever before. Take your punishment!"

Rinse and spit down at her. Bangs stick to her forehead as your saliva runs down her fearful face. From her throat, a hand snakes down into her top until you find a nipple. Pinch it, twist it while doing the same to her cheek.

"You want hard?" you ask, your voice indicating that you don't accept any answer, that her response is unwanted. "Then I'll show you hard."

In a terrible shrill sound, Yujin's crop top tears open. The shocked, panicking idol tries to keep herself upright on your legs, but you kick her hands away. The only stability for her are your hands that attack her body and its beautiful, sensitive spots.

Lips, nipples, tits, they all get resounding smacks that color them in a strong red. Yujin screams, whines and finally moans, but the thought of her experiencing pleasure before you enrages you even more. Slap her flushed cheek to send a wave of numbness and paleness over them before red pain follows in the imprint of your merciless fingers.

"D-Daddy, I'm so—"

"Apology declined." Spit at her again. "You don't mean it and you're far from understanding any of this."

Twist both nipples at the same time. Your constant pulls at them might have stretched out Yujin's tits a bit more. At least they look larger. Or is it just that the image of Eunbi with her enormous bosom is still burned into your mind?

Yujin throws her head back. She arches backwards and her leather jacket finally slides down her shoulders. For the first time, you go on eye level with her—just to immediately bite into her shoulder. This time, her loud, screeching voice is stuck in the back of her throat. Will she ever get her mind back after this?

"You are mine, Yujin, you are fucking mine. You are my whore, a stupid one at that. You don't think I know exactly what I did? I fucking bred Hyewon. I'd do it again. I bred Eunbi and I'd do it again. But you, you aren't ready to be bred!"

Interrupt your rant to give Yujin more slaps across her baffled, horny, pained face.

"You're a brat! You think if I dumped my seed inside you, if I got you pregnant, you would be ready to raise a child? Hyewon, Eunbi, they are ready. You will be fucking bred when I deem it time. You don't make demands, and you don't get someone else's attention. Yujin

"I have marked you!"

"Sorry, D-Daddy, I'm so-sorry."

The first tears start to roll down, straight from Yujin's ducts over her sore cheeks until they touch your fingers at her jaw. Make her stare up through blurry eyes at your almost hateful expression. You might allow yourself to go mad, but you're tapping into feelings you shouldn't. She is still Yujin, still your girlfriend.

"You might be a confident, independent idol," you growl into her ear, forcing her down until she is laying on the floor and you can drag her skirt away from her crotch. "But you are mine, mine alone. Don't ever do this again, because we both know there is no one else for you.

"Just look at how wet you are, you kinky pain slut."

Yujin's skirt rests at her knees, legs stretched out as best as she can. Your hand rubs her crotch, slick with her juices. Her pink panties are soaked, every inch a darker color than when she bought them. Squeeze the fabric in your fist, like you would wring out a sponge, and juice runs through your fingers.

"This is insane, you're such a needy slut."

"I-I missed you, D-Daddy, I need your touch so bad."

"And still you threaten me with finding someone else, someone who could never satisfy you."

"I—ah, Daddy!"

Get rid of the skirt and give her pussy a harsh slap, shutting down her excuses instantly. Your girlfriend starts to twist and turn on the ground, her breath heavy, her tears heavier as they find the floor.

"You need to be punished, Yujin," you bluntly say with new found calmness. "I know I can make you cum with just slaps, but not tonight. Tonight you will beg me to stop, but I'll only stop when I see fit."

Another slap, on her folds, a millimeter away from her clit. Yujin yelps.

"Do you understand, whore?"

"Y-yes, Daddy," Yujin stutters and looks at you with wide, submissive eyes. "I deserve this punishment."

She bites her lips, her eyes squeeze shut. Sensually, you drag your palm gradually over her labia before you take a swing.

A wet slap when you hit the drenched panties. Yujin buckles her hips towards the punishing hand and hisses. She is keeping her voice, her reaction down... a crucial mistake.

The smacks don't stop coming. Like a merciless bombing you make the covered lips turn a painful red. Yujin breaks, screams, cries, until her voice spills all of her sins before you:

"Daddy! I'm so-sorry! Your bitch, ha-has been re-really desperate, envious—a needy toy that needs your co-cock and cum!"

Push her panties into the twitching hole a bit and urge her to continue.

"I-I love Daddy, I wa-want him first, for me, bu-but—that wo-would not be fa-fair.

"Daddy needs to breed more."

You lean down to the disheveled face and pull away a couple of dark strands that have landed in Yujin's mouth and in her eyes. You stop her murmurs with a peck on her lips, but your sweetness is short lived. Push her legs apart and fish out your cock. Rub it over her clit and interrupt her hearty moans.

"You are right. You said it yourself. My good girl was never against it, but now you decided to react like this? Ts, what a bitch!"

"I'm so-so-sorry, Daddy."

Your cockhead twitches as you push aside the wet fabric and see the sore, burning mess of Yujin's gorgeous folds. Pretend to tease her, then fill her up without warning.

"Daddy! Ah, fuck!"

Press her knees a bit further apart. Her body is ready for the taking, her insides need to get stimulated, but Yujin knows that she can't deal with your length for long. Her orgasm is certain, right around the corner. It's only natural after weeks without your cock.

"Slo-slow, please," she whimpers, fingers searching for a grip on the smooth floor. "Sen-sen-sensit—hng!"

Yujin chokes. No need to squeeze her throat this time, just give her hard thrusts into the desperate pussy. Pain on the outer lips, followed by overstimulation inside are the catalysts for an earthquake in Yujin's body. Random babbles come through drooling lips as you pump into her recklessly.

"I can't believe you came from just this!" you say with fake shock, never stopping to move your hips. Throughout you make sure that your pelvis hits the outside of her pussy, to make her cry some more.

Yujin is beyond the point of begging, hell, she doesn't even know what to beg for. It's so bad, it's good—painful punishment and absolute, undeserved, sinful bliss every second, every thrust.

Before she loses her sense of when an orgasm starts and another ends, you go slower. Yujin writhes and twitches, the high fading slowly, until you restart it with fingers violently rubbing her clit.

"Daddy-ahh!"

"Cum, baby," you growl, sweat soaking your suit from the inside. "Don't stop cumming."

More and more slickness. Juice coming out as squirt is just lube getting fucked back into her. Yujin's walls ripple, her thighs as well when you press and fold her.

Pin her arms down with yours right above the mess that was her styled hair. Pin her face down on the ground with yours, tongue fucking her numb mouth. Pin her hips down with yours and force another orgasm out of her.

"Who else can fuck your pink hole until you cum, until it's loose, until it's stuffed?"

"Daddy, only Daddy!"

Strain her muscles more, the mating press now the ultimate position to suck all the energy out of the young brat. The wet slaps of crotch on crotch are now queefs, loud, but not as loud as Yujin's guttural moans. Viciously, you press your palm on her mouth and make her hear the embarrassing, lewd sounds that come from her pussy.

"You dumb slut," you laugh in between heavy breaths, your own strength gradually declining as you near your own orgasm. "Anything you want to say?"

Yujin's eyes are glassy, filled more with lust than life. She sobs into your ear, snort running down her cheeks.

"I wa-want to be-be Daddy's number one.

"In our family. Please, Daddy! I only wan-want this. Please, I beg you!"

"Family?"

You groan out in shock. As you piston your load in massive spurts into Yujin's clenching heat, the craziest thoughts flood your mind. A family, yes, but the most immoral one imaginable.

A mommy in Eunbi, a caring leader. She knows everyone inside out and never hesitates to help. Hyewon is a different type of mommy, the one who'd like to carry a lot of children, who is submissive to the male of the house, but also smart and successful.

Minju is the beautiful, gullible sister. A klutz that everyone loves, someone who could never harm a fly. Last but not least, Yujin, the center piece, the insanely talented bratty girlfriend of yours and "sister" to Minju.

Yujin's walls get stretched by the abundance of cum you dump inside of her pussy. Your mind stretches too, comes up with even crazier thoughts. What about an ex coming into your family life, a maid to clean your apartment, a pet to play with, a neighbor to distract, or maybe more realatives? People to fill your absurd family—you're starting to lose it.

Collapse onto your girlfriend, only your elbows saving her from being painfully squashed by your tired, sweaty body. The two of you breathe heavily to find fresh oxygen in this living room now smelling of sex and sex alone.

"Are you serious about this family?" you ask after a while. Yujin dries off the last remnants of her tears and gives you obedient puppy eyes. You continue. "Like, with Eunbi and Hyewon and Minju—it's crazy. I guess we are used to crazy, but this is taking it to a whole new level."

Yujin hesitates for a second. She reaches for your face and strokes your cheekbone down to your chin with her wet fingers. Her features contort as if she is about to cry again. You try to heal her—she's cried enough tonight—and press your lips on hers. Just a peek, but Yujin sighs in relief, the last remnants of tension leaving her nude body.

"Y-yes, Daddy," Yujin whispers, "I want that. I want to be together with them, and want to be sure that I won't lose them to you and you to them. Nothing should stand in between us, I-I'll be a good girl in the family, I'll do anything for you. Daddy, please, I'm sorry, don't leav—"

Plant another kiss on the girl below you. The tremble in her voice is like a hot bath for your cold heart, like a tea in winter. It's melting you, breaks the shell that you so attentively keep up around her.

Maybe you went too far. Yujin literally looks broken, the character of the girl, no, your girl, in danger of dissolving and disappearing. Swallow your pride, God dammit.

"Yujin, Yujin, I'm at fault here. No matter how much I hated the thought of you going out in that outfit and meeting another guy, I should not have gone this far. After all…

"You're mine, Yujin. My one and only girlfriend. We'll only do and continue pursuing this family if you are okay with it. Don't change, pl-please, but also, never attempt something like this again."

You kiss Yujin's hand gently. This you can do; it's better than saying this damn word starting with 'p' and ending with 'lease'. She smiles, weakly at first, but the longer you keep eye contact, the more of her bright, mesmerizing smile appears.

She kisses the back of your hand as well, her eyes in clear devotion, her voice honest and strong.

"I'm yours, Daddy."

(A/N2: Yujin bruh 😳☠️😳)

#kpop smut #girl group smut #female idol smut #ive smut #izone smut #ive yujin smut #ahn yujin smut #ahn yujin #male reader insert #male reader smut #eleven to one universe

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writingquestionsanswered · 1 month

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I'm trying to improve my writing and feel confused and worry over my punctation. Especially when it comes to dialogue tags and the use of semi-colons. They've always confused me. Is it alright to use a simile after a diagloue tag? So for example: "Of course I like ice-cream," he replies, like the answer was obvious.

Worried About Punctuation

Don't stress too much about punctuation. The whole reason we edit, polish, and have proof readers and editors is because being a writer doesn't necessarily mean you have a flawless grasp on punctuation.

Things you can do to improve your punctuation as you write:

-- use built-in punctuation checker in your writing program -- stop and Google the rule you're not sure about -- highlight/note the rule you're not sure about and check later -- ask someone who might know

Things you can do to improve your punctuation after writing:

-- Google things you're not sure about as you self-edit -- Use Strunk & White's or other punctuation book for help -- Use program like Grammarly or Pro-Writing Aid to edit -- Ask an eagle-eyed/educated friend to proofread for you -- Hire a proofreader or editor

Things you can do to learn better punctuation:

-- Google rules you're not sure about and fix yourself -- Read a punctuation guide like the one at Grammarly -- Purchase a punctuation book or workbook -- Watch punctuation explanation videos on YouTube

One last thing... just so you know, "like the answer was obvious" is not a simile. A simile is not any sentence containing "like" but rather a sentence comparing two seemingly unalike things using the words "like" or "as."

In the sentence "like the answer was obvious," nothing is being compared to something else. Rather, the sentence is saying "as though the answer was obvious."

Examples of a simile:

-- Her cheeks were like red tomatoes. -- His gaze was cold as ice. -- He was like a king peering out at his waiting subjects. -- The tension was thick as Aunt Betty's day-old brownies.

Having said that, yes, you can absolutely follow a dialogue tag with a simile:

-- "Of course I like ice-cream," he replies, his gaze cold as the scoop of mint chocolate chip on his cone.

And, you can also follow a dialogue tag with anything relevant to the dialogue:

-- "Of course I like ice-cream," he replies, like the answer was obvious.

I hope that helps!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

#wqaadvice

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perfectprettypisces · 10 days

Text

I try to stay out of tabloids and gossip sites and I'm probably end up deleting this, but something really irked me and I felt like I wanted to share...

⚠️ WARNING: LONG POST INCOMING (BUT IT'S IMPORTANT, I PROMISE) ⚠️

To be completely transparent, I am a big fan of both Glen and Adria as actors and I, admittedly, have not seen Hit Man yet. I also don't know personally (obviously) or as people. But I'm writing this post not as a fan, but as someone hoping to work in the industry one day as a writer. Something that bothered me about Entertainment Tonight taking this quote from Glen and Adria's InStyle interview is that it's almost trying to make cheap gossip out of what was actually a very important conversation that they had with the interviewer about filming the sex scenes in Hit Man.

This is the quote with context. The interviewer asks them: This movie is such a tonal mix: action, noir, comedy. How did you find the right balance? Were there other movies you used as touchstones?

In an industry that notoriously undervalues, mistreats, and silences women's voices, ESPECIALLY women of color, I think it reflects well on this film (as well as on Richard Linklater and Glen) that Adria felt safe enough that she was able to provide her input on these intimate scenes and how they can do it in a way that they're both comfortable.

This has NOT always been the case and unfortunately, still isn't the case for many women in film. Entertainment Tonight taking that quote out of context to make a graphic out of it cheapens the entire conversation because unfortunately, not everyone cares to read the rest of the article and will take that quote and run with it. Some people might not even read the caption. However, their caption wasn't that much better either.

This movie doesn't work without Adria and I know that even without watching. Both Glen and Richard Linklater have stated multiple times that they needed Adria to make this film work. By what they say about each other, it seems like there's a lot of trust there.

I hope my obvious fangirling on Tumblr about Glen and Adria (mostly Glen) doesn't discredit this entire post. Still, as I said in the beginning, even if I wasn't a fan of Glen and Adria, I would still side-eye this post after reading the entire InStyle article. Hollywood has always needed to do better when it comes to the treatment of women on film sets and seeing this important conversation boiled down to an out-of-context graphic is just not sitting right with me.

I highly recommend reading the entire InStyle article. With the way they talk about the film, it's obvious they both worked really hard on it and are proud of the outcome.

This could be me overreacting, but as someone who wants to work in a (hopefully but doubtfully) changed industry, I truly despise narratives like these blocking out bigger issues that deserved to be addressed.

#glen powell #adria arjona #hit man #might delete this

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thattimdrakeguy · 3 months

Note

Hey,

So if it's not too much to ask, can you give me a summary on the Core Four's personalities? I really wanna know for analysis reasons, I'm re reading all the core 4 young justice and teen titans books and trying to decipher my favorite one.

I can give you the personalities as intended by their creators no problem, Person Newtonote.

Now as you read you might think "Oh, hmm, that doesn't add up with what I've read" when it gets into the Young Justice and Teen Titans books, but that's 'cause different writers write different things, and some writers understand some characters better than others, and some of it is just plain character development, or in worse case writers doing what ever they please 'cause they don't care.

I'll let you judge when what happens.

Onto what you've asked though, I'll try to keep it simple as I can while still being detailed:

Tim Drake:

My personal favorite, that much is likely obvious.

As intended, he is an idealistic young boy, and dreamed of Robin as an even littler boy (he's pretty small for his age). He's clever, and resourceful, and thinks very very highly of the legacy of Robin. It's his heart though that got him his job as Robin, and his compassion and genuine passion for the role of Robin. And he displays what many may call boy scout tendencies. Even admitting to original Robin Dick Grayson that he enjoys helping old lady's cross the road (or something like that.)

Being raised in private schools, without a lot of friends (He's shown having no friends until he goes to public school to my knowledge), he's a pretty naive and oblivious, trusting person. And it's through out his journey's he has to learn how dark Gotham City can get. Though compared to the other Bat-Family members of this era (90s) he's very much the heart and light-hearted youthful energy to it.

His social ability is mostly perfectly fine, he's no complete weirdo. Kid can get friends easy peasy. Easily likable to folks. Endearing. But he has an oblivious side, and can get ahead of himself. Has a habit of getting spiritually adopted by people who instantly want to protect him. Anyone from Batman, to former CIA agents, and even villains. He's just got that babyface on him, and button nose.

He also deals with anxiety in terms of being Robin, being worried that he may be stripped of the job, or let people down, or mess something up. And sometimes that lends him having a lot of insecurities about himself. While having some prior training in martial artists, and implications of having taken gymnastics, also a former boy scout, he still doesn't naturally take to the role like all other Robins around him. Which means he has to try a lot harder to have his keep.

In the Bat-Family in this era (the 90s) he's the heart, and baby to everyone. They're uber protective of him, and take him out of the action when they deem it to be too much for someone like Tim. Within Young Justice he puts on a heavy Robin persona to hide what he's really like. Making himself out to be a more Batman-esque mysterious leader.

When really, he's a dorky, fanboy, who loves Kaijus, Crocky the ??? Crocodile I guess (Basically Barney the Dinosaur), super heroes, cars, Warlocks and Warriors (Dungeons and Dragons), sports, comics, Sci-Fi, fantasy, and cartoons. Self-admitted geek, with some popular interests in there.

Think of Tim as sort of Autistic kind of. He's never officially said to be. But when you read his origin, it's definitely a legitimate way to interpret him. Though I believe his uniqueness is intended to really be molded by Tim's passion, and obliviousness from a lack of parental figures in his very young life.

Tim is supposed to be an optimist, as told by his creator, but to be real a lot of writers seem to forget that, even when making jokes about how he's optimistic compared to others. I think sometimes the writer's own cynism leaks out into him. So remember that...despite a lot of writers forgetting it. Be better than them.

Cassie Sandsmark:

My personal second favorite member, but, please, make up your own mind here.

She's a rebellious teenage girl, and tomboy. She stays up pass curfew to party, but is at heart a good hearted individual who truly wants to help. This comes at odds with her stubborness and headfirst attitude. She hates being treated as a kid. And shows a great deal of intuition and cleverness. She's also a babysitter. Seemingly a good one too.

Her need to prove herself can put itself ahead of her own logic though. And she buts head with her very stuffy mother who doesn't appreciate Cassie's care-free nature. She means a lot to Cassie, and Cassie wants her approval. Cassie's natural being is...very much in contrast to what her mother would prefer though. It's fun.

A lot like Tim she's also shown to be a Super Hero fanboy. For her it's specifically Wonder Woman and the Flash, while with Tim it's basically anyone the writer decides he hasn't met offscreen yet.

Through her journey's she learns to contain herself though, and better use her powers.

Bart Allen:

The most teenager-y teenager you ever seen. He has ADHD, but not the uber-hyperactive, talkative, hugger you see in some more modern misunderstandings of him.

Originally he was pretty quiet. Super popular in his school. Girls loved him and considered him a pretty boy. But in reality he has no social knowledge, because he was raised in basically a video game for two years. He's essentially an alien learning to fit in with human civilization. So he's incredibly reckless without intention. It takes him awhile to truly process the concept of death and related repercussions. So he's sort of dangerous.

He can be quite surly, and mean spirited on occasion. But like most heroes, he has a good heart that comes out in the end. It's just simply the 90s and being Anti-Authority is the norm. His name is Bart after all. Underneath that is a young man who does sweet things when he has it in him.

Just don't think of him like a baby like how a lot of people make him out to be. He's a teen's teen.

Original Bart, like original Tim, and original Cassie, to me, is the best version of the character. The most nuanced, and interesting.

Oh, and minor violent streak on Bart too. Started a fight before, and stuff like that.

He cares inside. That has to count for something right?

Kon-El:

Hot-Headed pervert. Over-confident. Fame hungry. Lady magnet. Stubborn. Head first. Sort of a prick. But again good hearted.

I haven't read him as much as the others, because I don't personally care for him. Then in the early 00s with Teen Titans they decided just to make him an angsty young Clark, which is personally boring.

I don't have a lot of great things to say about him. His solo is very dated, and overtly sexual. Something I have no interest in reading.

He's at his best in Young Justice though, where he isn't written as jail bait by a writer who thought it'd be great if he dated grown women to fulfill teenage boys dreams. Instead you get to have fun with a very flawed character without the distracting perversion...mostly.

Punk styled. Loves dressing like a punk. Until he doesn't. Ruh-roh.

Again though, different writers write different things. They catch onto different things more than others, some are plain neglectful, others don't care, some want to change stuff for the sake of it. It's comics, you'll be lucky if it's consistent.

But on my years of studies, all that is what the character's where intended to be by their creators. So a lot of it is a starting pad, but it's also the purest form of them you're going to find.

#Tim Drake #Robin #Cassie Sandsmark #Wonder Girl #Bart Allen #Impulse #Kon-El #Conner Kent #Superboy #DC Comics #Young Justice #Young Just Us

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three--rings · 7 months

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God that David Jenkins interview collection post I just reblogged...

I hadn't read the Paste interview and my god David I have to just...marvel at some of this.

In particular:

"But I think him becoming a father figure to Ed in the last episode didn't really dawn on us until we were breaking the last episode. Asking what would this man say to Ed at the end because they've been together through everything? He went from a troubled and downtrodden employee to a jilted lover to a discarded employee, to someone that is just trying to find his footing again—no pun intended—to actually becoming this guy's parental figure on some level. And he's one person who kind of raised Ed right, because Blackbeard usually kills his parental figures. So, it felt right and it felt like that's how the mentor dies. The mentor in a story usually dies in the second act and then our hero has to go on and try to do it without them. It felt like the right journey for Izzy and a gratifying one for Con."

Like, okay we, the writers, hadn't considered him a father figure or mentor at all until the very last episode where we killed him. But we came up with it as we were writing it.

And then we didn't put anything about it into the episode at all, and then we talk about it in interviews about how obvious it is as a mentor relationship and like...I'm sorry. Yeah it was surprising to all of us as well, because you may have suddenly thought of it like that when you were DESPERATELY trying to justify this death to yourself as NECESSARY because you'd decided it WAS, but you also

DIDN'T PUT ANY OF THAT ON THE SCREEN.

So no, the audience is not on the same page, cause we weren't a part of those discussions you had. That only came up in the last episode. You can't in like 4 minutes of a 25 minute episode, the very last episode of 18, introduce a character dynamic when one of the characters is dying.

That's not how writing for TV works! Does he really think he put the Izzy is a father figure stuff on screen somehow in that death scene? Cause like, sure Izzy is showing AFFECTION for Ed in that scene, but there's nothing there that is PARENTAL. And family, which Ed says, doesn't mean that either. The ship is family. Queer family is different. IDK IDK.

And like it reminds me of something else he said in another interview, about Jim and Oluwande and how "in the writer's room we always thought of them as a friend relationship that got romantic" and that's why they got other partners. But like, okay, if your intent was they were more friends than romantic (which, I'm not sure that's what you mean, but if you're using it to say that's why they are now into other people, okay?) then did you convey that to THE ACTORS? Because it feels like the actors were definitely playing ROMANCE in S1.

That's what ended up on the screen. Two friends falling in love, sure, but actually falling in love and not just two friends who sleep together, as S2 tries to imply.

IDK but I really want to be like, dude sometimes it's not about writer intent. Sometimes it's about what ends up on the screen and you need to step back and look at what your audience is seeing. Because your actors are doing a lot of things that may take things to different places.

#ofmd #ofmd s2 #ofmd meta #my meta #david jenkins

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siriuslydeadfr · 6 months

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The thing about Luca is that. And I say this as a writer, I suppose, but also as a queer person, that he exudes a certain feeling of safety, and comfort. Like, to have him play something will mean he's going to give you his everything. No matter the character, you'll see a sincerity that isn't just the product of the script, or the demand of it, but also the mind of the actor.

To know that a person of his calibre is out there playing queer characters so effortlessly, and without a doubt in their mind, without any prejudice blinding his artistic choices and who he is as a person, it's obviously a ray of hope, but it is also, then, a kind of trust, even if it is just parasocial in many ways.

I know if it's Luca playing a certain queer character - regardless of what happens to them in the script, that is if the script is stupid and insincere to the queer perspective in certain ways - I'd still easily trust him to do justice to the queer experience, for how sincerely he plays everything.

The whole every-character-of-his having a underlying homoerotic quality to them is all fun and cool and great and beautiful, but also, it's so fucking refreshing

It's been decades of asking for the correct representation in media, it's been years and years of queerbaiting and, if not that, just general lack of care

I've been accustomed to just wanting some of my favourite characters to be gay. Just thinking and wishing and hoping that someone someday will let them reach the full scope of their personality, let them have the right sort of ending, see first the fabric of their person, and not just the thread of their sexuality, and maybe then write the script. There have been all sorts of emotions, and so to find now a person who is doing just that? It's pure beauty.

For a while now it's been changing, more and more shows and films are becoming inclusive and accepting and understanding of the queer gaze, and it's so beautiful that Luca contributes to it with his whole heart, and has been for a long while.

Many must remember how it used to get with artists and makers always denying or trying to tip toe around the obvious queerbait, or shying away from the conversations that involved that queer perspective, or outright rejecting the very idea- it happens still - but then you see the likes of Luca and Marwan being comfortable in each other's company and also about the love they shared on screen (especially, i think, it begs to say, with them being men), talking happily about their characters, making playlists for them, recommending poems for them

A lot many actors now are open to these conversations, a lot of them now talk about it with nuance and care, with just the right words, and though it's in no way any less a contribution to the conversation, or any less genuine, but again, there is something to be said about the ease Luca shows.

Again, as I said before.. it feels safe, with him.

In a lot of his interviews, he doesn't bat an eye before saying things like - I was lucky to have him as my husband. And he means it, you can tell that by the smile on his face. When people are focusing on the movies' objective and the friendships in it, he easily goes and says it's not only the friendship, but also the love.

In another of his interviews, there was once this question about Roberta, about if he knew what was demanded from him and how he prepared for a transsexual character. I remember it because I was almost sure I'll be hearing some generic answer like I studied trans people for this role and this that blah blah, something ignorant, basically. I was braced for it. But he just said. (And he was talking in english, and all that he was trying to say was conveyed more through his face and gestures, it was super cute actually) - I read the script, and I just felt something. I didn't think about playing a transsexual, but a woman, with a friend. It was important for me to show the love she had for him. So. I just played a woman helping out a friend :)

And I was like ?? wait that's? That's all? You're not going to go deep into the character's psyche and the great moral upstanding you must be feeling for doing a role like this? You're not going to talk about how you "prepared" for this role or how it was "different" for you?

I was so used to people doing that, his simple answer took me by surprise.

and that's what's so refreshing, so comforting.

There's no hesitation in him, no prejudice or preconceived notions or activism, even, compelling his choices and words.

It's just him, plain and simple.

He's committed to his art in a way that people rarely are. Especially in media, where even big companies and huge hollywood stars often fail you.

I wish more people in this world were like him. So gently open in his ways, so effortless in his understanding and acceptance that it becomes intrinsic to him.

He's one of the few people, I would say, who are an artist not just by work, but also by nature.

#luca marinelli #the old guard #le otto montagne #l'ultimo terrestre #writing #he's so?? sweet and beautiful #he's someone I want to sit and have a conversation with. the other person who i want to do this with is #andrew garfield

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tamelee · 4 days

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i just saw a posts about novels that went like

sarada told sasuke he has lipstick stain, sasuke tries to wipes it off and she says he doesn't have one and sakura doesn't wear lipstick.

how do they defend this novels with their lives? it confirms sasuke never kisses sakura and doesn't know if she wears lipstick or not and kisses someone else who wears lipstick. it also confirms naruto likes to wear lipstick XD.

Please. These novels are ridiculous. Kishimoto already confirmed they’ve never kissed in Gaiden. Twice.

(* something nicer = meant the forehead poke)

Though I wouldn't believe anyone if they said they actually like these novels, because the story (or lack thereof) is complete shit, but it’s fine if they do. A good story isn't the intention unfortunately. I genuinely wish that people understood what exactly it is they are defending. I’m writing a post for someone who asked something regarding canon, but I need to take brakes from it because it pisses me off that this happens constantly to franchises— not just Naruto.

And in this case it’s even worse, or perhaps it’s just a prime example, because Jun Esaka (writer for some of these novels) made such a fool of herself on twt by making it all too obvious what her intentions were by writing them. (If it wasn’t already obvious.) First, when people pointed out the many flaws, she admitted that it’s “just her story” and “just her interpretation” (she had only read 'Naruto' for the first time a few months before that), but when other ss-shippers started to defend her and said she was a better writer than Kishimoto (as there’s 0 love between SS when he writes), she basked in that glory and went along with it. Even to the point that she completely disrespected Kishimoto, the story, the craft, openly made fun of other characters (mostly Hinata) and ships like NH and demanded her other novels to be animated as well. It’s unprofessional af. And then when fans asked her for a nsfw novel for SS she agreed and told them to harass the company about it. (She didn’t say ‘harass’ exactly, but come on you can’t be that dense given their reputation with staff.)

What are they defending?

How can you defend anything when the motive is so obviously just personal bias/gain and/or financial profit to a company where both in this case don’t give a shit about the original story. It's not about shipping though, it happens all the damn time to all my favorite franchises and I'm genuinely sick of it. And it's not even about a writer writing about what they want either because I already expected that, but Esaka did her absolute best to try and disprove the bond between Naruto and Sasuke and change narratives completely even for individual cases for the sake of telling her "story". SNS-moments weren’t romantic to her and she quite literally made fun of it by copying them in her story to point out its "irrelevance", but give them to her het-ship and now all of a sudden it is romantic???? She basically calls Kishimoto a liar because ‘Sasuke Retsuden’ in particular is a direct response to ‘Gaiden’ (made by Kishimoto). She blatantly tried to disprove anything he said and indicated about her ship. She wrote about characters that, yes, have the same name as those in ‘Naruto’, but are so out of character it hurts. It took me months to recover my lost braincells.

I don't think my post about it is still up, but to name a few things in that novel if you're interested: Sasuke resents Naruto and his test-tube daughter because he’d rather travel with Sakura, his wife whom he loves so much. But he has to do stuff just because Hokage Naruto said so and his daughter wants to stay in Konoha so he has no choice but to comply. Being apart from his wife-(did we mention he loves her so much? because he does. so much.)- makes him feel so very lonely and he misses her body so much because he knows it so well. He fails to do anything other than being jealous about the women-deprived prisoners going after the new hot doctor, Sakura, who is his wife btw. that he loves a lot in case you missed it. and he rather stares at trees that remind him of her than helping his friend Naruto who’s apparently dying from his own chakra or whatever kind of bs. Sasuke lets himself be bullied by prison-guards that aren’t even Shinobi, for having long hair and looking like a girl, though Esaka makes sure to mention how so very handsome he is and he looks like a cat. Sasuke loses a battle against an overgrown lizard and tries the same damn jutsu 4 times(!!!!) before realizing it may actually not work, I think because he forgot how to fight, but he can however create anything from ice like Elsa (Frozen), or from dirt like some Gaara-hybrid to make Sakura a ring because he loves her so much ofc… oh and he’s now a healer too. Sasuke sacrifices people’s lives even when it’s not necessary at all bc ig Esaka thinks he's a killer, and also he wouldn’t mind being brought back with Edo Tensei if it means he can stay with Sakura, because fuck everything they’ve been through in the original story, yeah? They also immediately forgive the bad guy cuz he's so relatable even though he just murdered I dunno how many people. SS kiss while an injured Naruto is squished in between them because SS-shippers have some sort of “Naruto has to watch our ship being in love to really make it legit because that’ll learn him for getting in between!”-kink (that's real actually) and according to Esaka, Sasuke is so worried about his daughter and in fact did meet up with them during those 10+ years because he loves them oh-so-much and fuck you Kishimoto that’s why.

Be so fr right now. It’s such a joke. And these are just the few things on the top of my head that I remembered ;-; ...

Again, what are they defending exactly? It would be nice to just have a genuine fan of the story write an actual story. No other motive other than "I really like the story and would love to explore some options while respecting Kishimoto's work because it'd be fun!" Except, that's unfortunately not very marketable and ffs it's just sad. (I know there's a Kakashi version and I personally really want to know more about his role as Hokage and what he's done etc, but alas.)

#asktamelee #naruto fandom talk #naruto marketing #naruto rant #hetsuden

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nonstoplover · 2 years

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unstoppable apologies ~ bradley 'rooster' bradshaw

my masterlist | my imagines masterlist

pairing: bradley 'rooster' bradshaw x female benjamin!reader

summary: rooster can't find the courage to ask penny's daughter out, right up until one especially tipsy night when things take a turn.

words: 4.4K

warnings: nothing really, except a lot of fluff. oh. it's not proof read.

a/n: this is my first time writing for Top Gun, even though i've been obsessed with it for many years. i guess seeing Goose's son brought it out of me. i literally haven't thought about anything else but Rooster these past weeks. he even managed to bring me out of this half a year long writer's block. (thank you miles.) anyway. this turned into a much longer fic than i originally intended, but i'm not sorry about it.

i dedicate this one to my lovely @wecomrades (even though i know you don't like reading reader insert, i'm sorry), for being my partner in crime when it comes to obsessing over Rooster and TG and also for supporting me as always. i love you so much, L <3

It's been only two weeks since (y/n)'s started working at the Hard Deck when Penny decides to put up an addition to the sign announcing the bar's rules, saying that whoever makes eyes and/or relentlessly flirts with the bartenders will have to buy a round for everyone.

"Mom, what is this?" (y/n) groans the next day when she comes in for her shift, eyes landing on the piece of cardboard.

"Sorry, sweetie, but I'm not letting all these men undress you with their eyes. Not without a punishment anyway," Penny shrugs. "If someone wants to flirt with you, they should be serious enough about it to bear the consequences and pay a round."

"I hope you know just how embarrassing this is for me."

"Embarrassment is better than non-stop horny glances."

The girl just sighs with a roll of her eyes and goes on to help her mother clean the counter.

- - - - -

"Come on, Bradshaw, stop overthinking it," Phoenix grabs her friend's arm to slightly pull him in the right direction. "It's not like you haven't gone up there and talked to her before."

"I know, I just don't want to be too obvious with how it's always me going there. What if she doesn't like me back?" Rooster shakes his head, trying to get his arm free again.

"What if she does?" The female pilot retorts without a second of thinking. "Look, we all want another round of drinks, so please just move and get over it. Order our drinks while we continue this game."

Rooster sighs, bracing himself for the inevitable - the conversation with the girl he's developed the most ridiculous crush on. He sometimes feels like he's back in high school with the way he acts and his mind works whenever she gets in the picture, but he can't help it. There's something about her that makes him feel drawn to her when they're in-between the same four walls, making him lose all sense of rationality.

What if she does? The way Phoenix said it somehow suggested to him that she might know something he doesn't. What if?, the words keep on repeating in his head as he walks up to the counter with a little more bounce in his steps thanks to the alcohol buzzing in his system.

"(y/n) darlin', can you get us another round?" He leans in, palms spreading out on the wooden surface, his eyes focused on nothing else but the girl.

"Honestly, what is it with your group? Why can't anyone else come but you?" (y/n) giggles as she starts moving around, getting him their choice of drinks.

"Oh, be careful with your words, lady, in the end I'm gonna think you'd prefer someone else coming here."

"And what if I do? It'd be nice talking to Natasha for a change, not just to your boring face," she placed another glass in front of him with a wink accompanying her words, her teeth sinking into her bottom lip to prevent her from chuckling.

Bradley places a hand on his chest, pretending feeling pain inside. "You're deeply hurting me right now, (y/n) Benjamin."

"It's not like your ego can't handle a little bit of honesty, Bradley Bradshaw."

He hasn't even noticed how close their faces have gotten during the past few sentences until she finally starts laughing and he can feel the air leaving her lungs on the skin of his face. His heart skips a beat as an involuntary, gentle smile spreads across his lips. The next moment the girl leans back and pushes herself away from the counter, moving to another spot where someone else has been patiently waiting to get a drink.

Rooster stays in the exact same position, body leaning in to support himself against the side of the counter and hands lightly pressing into it, only his eyes moving around, following her every movement. She's so gorgeous it hurts.

He would've probably stayed in that position for a lot longer if it wasn't for the bell ringing out. The sudden noise brings him out of his daydream and he blinks before making eye contact with Penny, her eyes suggestive and a playful grin on her lips. A wave of cheering sounds across the bar and the man next to him pats him on the shoulder whilst saying thanks.

It's in that very moment he realises it's him who has to buy everyone a round. It's him who broke one of Penny's rules. Rooster swiftly glances down at the counter to see if he has his phone out but it's not there. He looks back up at the bar owner with confusion written on his face, only to catch her finger pointing in the sign's direction, at a specific part of the rules. His eyes land on the words written there and a moment later he feels the blood rushing to his cheeks, probably painting his whole face bright red in the embarrassment he feels.

He got caught staring at the girl like that. And by none other but her mother.

Bradley groans, fishing out his wallet from his pocket, not daring to glance back towards his friends - he can hear them shouting and whooping towards him perfectly without looking and having to face their grinning expressions too. As he pulls out his card and hands it to Penny, his eyes land on (y/n) standing not far behind her mom, her face just as burning red as his feels.

Great. He even embarrassed her, not just himself. He made her feel awkward.

Penny hands him back the card a couple seconds later with a joyous glare and a chuckle, and he turns around just in time to see Phoenix arrive, lending a helping hand in carrying their drinks. "What the hell have you done?" She whisper-screams with a giggle escaping her lips.

"Nothing. I don't know," he shakes his head, trying to get away from the scene of his crime as fast as possible, mentally promising himself never to go around the counter again if he gets even the slightest bit of tipsy.

- - - - -

"Go, I can finish this," Penny gently bumps her shoulder against her daughter's. "I think someone's waiting for you outside."

(y/n) glances at the window besides the front door, seeing the dark silhouette that seems somewhat familiar before turning her eyes towards her mom again. "I think someone's waiting for you," she giggles, suggestively nodding her head towards one of the tables in the corner of the otherwise empty bar, more specifically the man sitting next to it.

"Oh, stop it," the older woman laughs.

"Only if you will stop it too."

"What? I'm just playfully teasing."

"Me too," (y/n) shakes her head still grinning.

Moving out from behind the counter she grabs her bag and sets off towards the door. "Now go and have some fun. But not too much," she adds just as she grabs the handle, quickly stepping out into the warm air of the night with laughter bubbling from her lips, escaping from the loud, nonsense shout her mom sends after her alongside the towel she's been using to clean the counter up until she threw it away.

(y/n)'s still quietly chuckling away as her eyes land on the figure leaning heavily against the wall. "Rooster?"

The young man raises his head from its hanging position and lets his eyes wander up from her feet to her face. "Hi," he breathes out eventually.

"What are you still doing here? I thought you and your friends left more than an hour ago."

"They did."

She frowns, wondering why he might be still waiting here then, and can't help but feel her heartrate fasten, thinking about the possibility that he's been really waiting for her. As her eyes rake over his appearance, taking in the slighty dazed look he's giving her, the way his fingers noiselessly drum some kind of rhythm on his thighs, she concludes that he's probably still quite tipsy - if not drunk - from all the drinks he's consumed that night, no matter how long he's been sitting outside in the fresh, salty air.

"Oh, come on, you big baby, let's get you home," she leans down, grabbing one of his hands and gently tugging it upwards. For a moment he doesn't react, instead still keeps on looking at her, but after a second tug from her he starts moving, pressing his free hand down against the ground and pushing himself up. Standing upright he sways before her fingers wrap around his shoulder, gripping onto his flesh to keep him steady.

"I don't wanna go home yet," he announces.

"But you definitely should."

"No, I wanna take a walk on the beach first. With you. That's why I've been waiting here." Rooster's words come out more clear and confident than before, now definitely making her heart skip a beat.

(y/n) lets out a breath - she's not been planning to spend the rest of her evening with pampering a drunken man. But she has to admit that he looks utterly cute still holding onto her hand tightly, half leaning against the wall behind him, with a couple loose strands of his light brown hair falling in front of his forehead. And he's always been fun to be around. It's not like she can't push the planned curling up on her couch and watching some Netflix show to another day.

"Okay, let's go then," she smiles up at him, nodding towards the oceanside. His eyes light up and he pushes himself off the wall. The girl doesn't even try to pull her hand away - it just feels too good to be held by him to let that go so easily - but he still tightens his grip on her, as if being afraid that she'd tear the connection if he wasn't precautious.

They walk in silence for a while, only the sound of the waves crashing into the shore giving a constant background noise. A soft breeze moves around them, ruffling her hair and slightly pushing his unbuttoned Hawaiian shirt off his shoulder. It feels nice and comfortable to just stroll quietly by his side, she thinks. After spending hours in the non-stop, loud noise of the bar, her ears feel blessed to have been allowed to rest a bit.

"I'm sorry," Bradley breaks the silence eventually, making the girl frown and glance at him in confusion. She opens her mouth to ask him what for when he continues. "I'm sorry for embarrassing you earlier."

It still takes a moment for her mind to catch up to what he means, having almost completely forgotten about the bell being rung and Rooster standing there at the counter with flaming red cheeks. A tender giggle escapes her lips as the memory resurfaces.

"You don't have anything to apologise for, you didn't embarrass me," she delicately pats his shoulder with her free hand. "If I remember correctly, it was you who became the red-faced centre of attention."

Rooster lets out a low groan, his fingers flying to the back of his neck to scratch away at the skin there, clearly still feeling awkward about the situation. "Still, I'm sorry."

"You really don't have to, Bradshaw. It was probably just my mom revenging my constant teasing of her and Maverick," (y/n) shrugs, shaking her head at her mother's childishness. "She just wanted to tease you a bit in order to tease me."

It's like the man can't even hear her - he mindlessly rubs the skin of his cheek, eyes staring strictly at the sand beneath his feet as they move along the shore. "I didn't want to be rude or too straightforward. I shouldn't have looked at you like that."

"I'm sure you didn't even look at me like that in the first place." Even the thought alone is ridiculous. Why would he, Rooster, the man himself would look at her like that? God, why had her mother decided to put that sign up? "And you ordering for drinks is far from being too straightforward. You don't know the things I hear all the time. That's what my mom meant with that stupid rule, not what you did."

Rooster stays silent for a couple seconds, seemingly deep in thought before deciding to speak up again. "But that's the thing. I did."

(y/n) feels her brows furrow as she glances at him once more. "You did what?"

"I looked at you like that," he confesses, eyes rising up to watch what can be seen of the rolling waves in the dim light that comes from the Hard Deck.

"Oh." That's all the girl can manage as her mind slowly processes his words. But why would he? He was probably more drunk tonight than she thought he was, if he even for a second looked at her in a way that made her mom ring the bell.

"I feel bad because you're not an object to just stare at or whatever," he keeps on rambling, as if it's something he needs to get off his chest.

"Rooster, you're scaring me," (y/n) giggles. "Where's the cocky pilot I got to know and who's this utter mess next to me?"

"He left a couple hours ago," he mumbles so quietly she almost doesn't hear it, before speaking up louder again. "I truly feel bad."

"Okay, that's enough. If I hear you say that one more time, I'm gonna be the one who feels bad."

Her feet mindlessly kick away at a pile of sand in her way, and she watches as the dry grains of sand go flying in the air, get caught up by the breeze and being blown towards the ocean. "Look, I really don't care about it. Nothing happened so please calm down and stop worrying."

"I can't. I have to make you understand how sorry I am."

God, he's actually still drunk.

"I would never want to disrespect you. Not anyone but especially not you. I swear I will never do it again." His words slur as he keeps on lowly explaining himself, the word sorry appearing every other second and she actually has to bite into the inside of her cheek to keep herself from giggling out loud.

She watches with amusement as he's talking unstoppably, wondering if he even knows what's going on, trying to put a stop to it, interrupting him on several occasions, but it's like his mind is somewhere very far away - too far for her words to truly reach his mind.

With a shake of her head (y/n) abruptly stops, and pulling her hand away from his she turns to face him. Before he can even realise how the circumstances have changed, she's already grabbing both sides of his face with a fond but still somewhat firm movement. She can just see the moment a slight confusion appears in the glint of his eyes as she swiftly leans in and presses her lips to his in a way to finally shut him up.

For a short second it feels like not even this can stop him as his lips keep moving, muffled words sounding from them, but then he suddenly goes completely quiet, and then just one more second later he responds to her kiss.

The romantic books and movies she's read and seen all describe this feeling with mentions of fireworks and butterflies, but somehow it feels completely different than that as he practically melts into her hands. Her senses sharpen like they never did before, and she's sure she's going to combust right here and now.

She can feel crystal clear the exact moment his warm palm touches the small of her back, the heat radiating from his skin going right through the material of her T-shirt and onto her skin, sending a tingle up her spine. The breath leaving through his nose tickles her face and she can feel more than she can hear the soft sigh that leaves his lips as he leans into the kiss even more. Her hands slowly slide lower to rest against his chest just as his fingers tangle themselves into her hair. The light taste of beer transfers from his lips to hers and she revels in the tiny remnants of the alcohol seeping into her system.

When all oxygen leaves her lungs and she can feel them burn in a desperate plead, (y/n) takes a step back, allowing their lips to disconnect. Rooster chases after her lips for a moment, leaning closer still, until her finger presses onto his pursed and swollen lips, stopping his movement. His eyes flutter open and he just stays motionless, staring dazedly into her eyes.

It soon becomes too much to bear, and so she turns her head away, fingers gently wrapping around his wrists to guide them away from her body. Trying to put the buzzing of her mind and all her senses aside she slips a hand into his and turns the two of them around so they can start their walk back to her car.

"Come on, let's get you home to sleep this off, Bradley," she says quietly, a soft smile playing on her lips when she feels his fingers tighten around hers hearing his first name coming from her mouth.

- - - - -

The next day, when (y/n) can hear the sound of the bar's front door being opened and then closed, footsteps approaching the counter as she's placing the clean glasses back to their places, she speaks without looking up. "We don't open for another ten minutes, sorry."

"Don't worry, I'm not here to get a drink," a very familiar raspy, deep voice replies, making her spin around to stare at the man now arriving to the counter.

"Hey," she greets Rooster with a soft smile. Her glance travels all around him - at least the parts of him she can see above the wooden furniture - taking in the pink blush colouring his cheeks, the small and even shy smile playing on his lips.

Does he remember last night at all?

"Uhm, so I wanted to ask you a question, actually," Bradley speaks up, chuckling away after a momentary pause.

"(y/n), dear, can you help me-" Penny's voice rings out as she enters through the kitchen door, but stops abruptly when her eyes land on the pilot leaning against the counter, a knowing smirk slowly taking over her expression. "Oh, I'm sorry, didn't know anyone was in here already. I'll leave you to it," and with that, she moves back from where she's just come from.

(y/n) and Bradley look at each other and burst out laughing at the same time, the sound of their laughter combined helping to ease the previously formed tension. When they finally calm down and everything goes quiet again, (y/n) tilts her head to the side. "So what is it you wanted to ask me?"

"Oh, yeah. Uhm," the man mumbles and she raises an eyebrow, thinking back to the previous night and how similarly he's behaving right now - totally unlike him. "Is there any particular reason you kissed me last night besides wanting to shut me up?"

So he does remember.

Now it's her turn to become all shy and flustered, cheeks turning pink and eyes slightly widening. "Well, that was the main reason, to get you silent finally," she chuckles, but the not finished sentence sensibly hangs in the air still and she knows that he can feel it too, especially when he raises an eyebrow in a suggestive, expectant way.

"But?" Rooster breathes out, leaning just a tiny bit closer above the counter.

(y/n) gulps, closing her eyes for a moment to gather the courage to actually confess. "But I also did it because I wanted to."

"You wanted to?"

God, why wouldn't he let me be and stop my suffering?

"Yeah. For a long time, to be honest," she mumbles under her breath before raising her glance up to his face to his how he'll react.

She does it just in time to see that way too familiar cockiness sparkle up again in his eyes, that well-known, overly confident smirk spreading across his lips. "Yeah?"

The girl nods with a roll of her eyes - she can just feel the tidal wave of teasing coming her way, feeling more than surprised when it doesn't come.

"Good thing you did it then, I'm not sure I would ever have been able to make myself finally do it," Rooster continues, and as she's staring into his hazel eyes, she could swear she sees something else spark in there. Something that's tender and breathtaking and lovely and almost like adoration.

"You wanted to?" (y/n) can't help but repeat his previous question back to him.

"I still want to," he replies and it's like her heart is actually bursting out of her chest, beating so fast and loud she's sure even her mother can hear it. "If you'll let me," Bradley finishes, his voice taming down into a gentle mumble.

He leans even closer to her above the counter slowly, painfully slowly, and she can almost feel herself just give in and lean in as well, when her mind's still working part comes up with a rational thought and she swiftly pushes herself further from the counter.

She can see the confusion spreading across his face and she can almost hear the thoughts running wild in his head as he's probably wondering what he's done wrong, but before he can ask her, she's already on her way to move out into the open space of the bar. Her feet almost make her stumble in her slightly impatient hurry since she's not taking her eyes off his, not for even the shortest second to look at where she's going.

Dodging a few stools and her fingers finding support on the wooden surface as she drags them along the top of the counter she watches as his head is slowly turning, in sync with her own movements as if he himself wouldn't want to break the eye contact either.

By the time she comes to a halt in front of him, slipping into the space between the counter and him he generated whilst watching her move, he's seemingly caught up to what she had in mind, his lips curling back into the grin once more. "I'll let you, Bradley Bradshaw," she breathes out, noticing his eyes dart down to her lips and back up to her (y/e/c) orbs again.

Slowly, as if they had all the time in the world to themselves, he places both hands on the edge of the counter, trapping the girl there, standing right in-between his arms, mere centimetres away from his body. Then, with the same patience he lowers his head, gently letting his forehead rest against hers. He can feel the stutter of her breath against his skin as she practically shakes with anticipation, making the knowing smirk appear on his face just as he dives in to claim her lips his own.

The clatter of silverware sounding from the kitchen breaks the two of them away a minute or so later, and as (y/n) glances towards the kitchen door, wondering if her mother intentionally made the noise only to further tease them, Bradley untangles his hands from their previous positions on the side of her neck and her left cheek, both of them breathing deeply, chests touching with each inhale.

"Do I interpret the signs correctly and this means that you would say yes if I hypothetically asked you out on a date?" Rooster raises his hand once more, pushing a stray curl of her hair that has fallen in front of her face behind her ear.

"Only hypothetically speaking, yes," the girl replies, a wide grin practically cutting her face into two.

The next moment they share a chuckle, giddy from their previous actions and the weight of their confessions.

"Okay," Bradley leans in to press a soft kiss against her forehead. "Would you go on a date with me then?"

"Wasn't it only hypothetical?" (y/n) can't help but grin up at him.

"It isn't anymore."

She simply nods, letting her eyes do the talking as she stares deep into his gorgeous, sparkling hazel orbs. Rising up to stand on her toes she responds to his peck with a similarly delicate one, just on his cheek, on the spot of impossibly soft skin right under his eyes instead of his forehead.

"Good," he breathes out, eyes fluttering closed from the tenderness. "When does your shift end tonight?"

(y/n)'s just about to answer him when the kitchen door opens once more. "Okay, kiddos, I gave you a couple minutes, now I gotta open this place, so time's up," Penny walks out with a grin on her face, not even looking the tiniest bit of surprised by seeing her daughter and the pilot standing so close to each other, basically in each other's embrace.

Did she know about both our feelings? That's why she rang the bell too?, (y/n) can't help but think.

"Hey, Pen, can I somehow bribe you into letting your daughter finish her shift a bit earlier tonight?" Rooster grins at the bar owner, taking a small step back to let the girl escape from the trap his body created.

Penny rolls her eyes, shaking her head in pretended disbelief. "What are you up to, Lieutenant?"

"I want to take her out on a date, ma'am," he playfully salutes her, responding to her formality without a second thought.

The woman glances to the side, joyously noticing the utter happiness radiating from her daughter, before turning her gaze back to the young man at her side, nodding her approval. "Only this once, and just because I've been watching you pine for each other for too long already," she chuckles and moves to stand behind the counter, placing the towel that's been resting on her shoulder down to give the wooden surface one last wipe.

Rooster turns to (y/n) only to find her standing there with her cheeks flushed pink, looking oh so perfect - and he has to stop for a short second just to take the sight in and wonder if it's from the embarrassment because of her mother or from the kiss they just shared.

They discuss the details of their date under their breath in order to stop her mom being able to hear them perfectly, then he leans in and presses a short and innocent kiss to her temple before turning away and making his way out of the bar, disappearing behind the doorframe - but not before glancing back one last time to shine a wide, excited smile (y/n)'s way.

.::the end::.

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questiontocertaintyofreality · 7 months

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Yes bsd is a great manga and anime with thought-provoking story and great characters with philosophical senses but they aren't equal with their real life selfess. The above-mentioned writers put their thoughts into writing for years despite mental illnesses, thought floods and depressions. Some of them wanted their ideas to be remembered, some of them had something they wanted to say, some of them wrote without caring about being read, some of them addressed the world, but there was always one person that they all touched. They deserve to remembered with their ideas and ideologies or at least stories. In Japanese literature, which bsd start with, almost everyone had an anonymous pen name, and the world of japanese literature developed with sources covered up and without archives. The spread of misinformation among fans of this anime, which has very few sources compared to derivative literature and mainly features real-life Japanese authors, has to stop or literarature will be ruined. No longer human is NOT an autobiography. These authors, novelists and poets AREN'T equal with their real-life selfess. Osamu Dazai liked to give his character pieces of his personality and branch out, but that doesn't make No Longer Human an autobiography. The motivations, goals and personalities of the writers are not exactly the same. Of course, when you look deeply, the obvious connections are woven in detail, but they are not exactly the same. When I typed Nikolai Gogol into Google, bsd Nikolai came up and I realized how dire the situation was. Nikolai Gogol deserve to remember as author and with books, stories, poems he write. I mean, if you say i like Nikolai Gogol and i am a fan of Nikolai Gogol, if you don't mention the anime cheracter i want to talk with you BOTH real life author and bsd or only real life. If you mention anime so it's okay lets talk but if you don't then no, you mention real life by mention only Nikolai Gogol you can't denial this. I want to kneel at Asagiri's feet and beg to him to write on manga and anime episodes "The characters in this manga have the same names as living authors and are inspired by them, but they are fictional characters and have no direct connection to the authors." So that fanlad can start to recognize the authors as authors. Now, for Osamu Dazai and Fyodor, it is said that the character in the book creates the anime character rather than the author's selfes. I read The Flowers of Buffoonery (the first story included No Longer Human's protoganist) and I can't reject this theory with certainty. So if we know characters in anime aren't their real life selfess we also understand theories. This is important. False information about writers should not be spread, of course, this does not mean that humor should not be made or shipped, we just need to be able to distinguish the difference. Even though we say Soukoku is literally canon, we must warn those who cite Osamu Dazai's book Memories as a source.

Books and authors life CAN use for characters motivation and connection because Asagiri literally did this. Memories book ia still important for age!15 manga and story just not for soukoku

Credit: @bungoustraydogs-tr

Yes, the real Osamu Dazai was bisexual, but this has no connection to the anime. Fyodor Dostoyevsky also expressed his respect for Nikolai Gogol and quoted and praised him at every opportunity. Moreover, if the author dynamics in Russian literature are examined, it is possible that the two had a sincere conversation. (No historian has given this assurance and there is no evidence just a possibilty) Does this make Fyolai canon? Osamu Dazai imperessed by Fyodor Dostyevski. Or is Dostoyevsky a terrorist? Gogol?

....We cannot make these people, who wrote to keep their thoughts alive, appear to be someone they are not.

Imagine Osamu Dazai's situation. You are finally in peace that you never reach then you turn in to world to see peoples who look at you with no knowledge of you..

I am grateful to @bsd-bibliophile to all literature sources they archive

And if you like these NEVER stop ranting about characters, ship them and make memes. They are us, our loves and beloveds. They are bsd characters. Just stop using books as a source of ships.

What can i say bsd have a universe which ink of each letter written changes the fate of the next page. There are so much more thing to wonder

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epiphainie · 3 days

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hi! anon about buck and eddie’s facial expressions back here. I agree with everything you said. Particularly this part:

“If you look at it like it's subtext that is meant to one day come to surface, as some sort of proof that this is not the actual story, you're either too deep in your world that you treat these characters like they have agencies and thoughts and feelings and are not, yknow, fictional - or that actors are making the conscious choice to layer their performances with breadcrumbs for a plot that doesn't exist at the time.”

I think so many people fall into this trap of consistently looking for subtext in their words, expressions, and body language because they’ve convinced themselves that buddie is happening and it is in the words and it is exactly what the writers are writing towards. I think this belief has gotten worse/stronger since bi buck because people have taken on the assumption that bi Buck happened as the first step in making buddie happen. That it would not have happened if buddie wasn’t the plan. Or that, if they can make bi Buck happen, surely they can make queer eddie happen, and by proxy, buddie. (I think this is one of the reasons they especially don’t like tommy. because “why is he here when buddie is supposed to be canon”). I largely disagree with that line of thinking and I also think with what we’ve been hearing in the interviews from the actors and Tim, Im not sure how people are clinging so tightly onto those beliefs.

I also think people forget to consider that there’s a general audience out here who are NOT there to read subtext within expressions and words, especially not in an network procedural. They’re going to take what’s being said at face value unless it is explicitly identified that someone may have *other* intentions through musical cues, obvious dialogue, expressions that don’t need to be paused on, etc.

Another thing I wanted to talk about and sorry to bombard you, is long term couple and the endgame conversation. I know endgame conversations aren’t fruitful because the shows still ongoing and external factors can affect situations, but when I look at buck and tommy and what they’ve set up with them, and with what I hope they can do in season 8, I can see them being “endgame” in the same regard as the other solidified couples on the show. Even with those couples we don’t necessarily know if they’re endgame since the show is still going and things could change, but in the world of the show, in the writing of the show, and in our minds, those couples are endgame and are each others other half. Like Maddie and Chim are it. Athena and Bobby are it. Hen and Karen are it. Just like that, I think Buck and Tommy could be it too, in the sense of the writing and not considering external, factors out of creative control.

I think the endgame conversation is different for shows like greys anatomy for instance where there was a revolving door of LI and couples and characters and you just never knew what you were going to get and where you were going. 911 is so different in that we’ve been with the same people since the very beginning and the three main couples have also been with each other since the very beginning. The only two characters who’ve had some what of a revolving door of LIs are buck and eddie, buck more so than eddie. Now going into the 8th season of the show, they’ve found someone for buck who feels largely different than his past LI in many ways and i think if it was earlier on in the shows run, I might be more hesitant to say they could easily be long term and in the running for endgame, but because we’re on s8, 911 is not cheap to make, the stories are seemingly running out, actors may want to move, etc etc, I think what they’ve done with tommy or tried to do with tommy is create a LI and by proxy a relationship that has the same lasting power as the already established relationships on the show. A relationship you can hopefully by the end of s8, see alongside the others, and think yeah this is just as good and believable as the others, albeit in their own unique ways!

Hi anon!

You're not bombarding me, don't worry. Sorry I'll keep this one short as I touched a lot of the points you make here in a previous ask about BuckTommy's potential. Like you said, I find endgame talks very moot but BuckTommy has so much potential that none of Buck's or Eddie's previous love interests had. I think the biggest fail of all of these relationships was how hard it was to bring these women into the fold of the main plot and the group dynamic. Tommy already has so many established relationships with the characters. As a first responder, and specifically air op, he could open up the plot to so many new emergencies. And like I said, they laid the foundation for the romance so well that if they treat them with care in s8 like they did with Madney in s2, at the end of the season, they could make them feel as established as those relationships regardless of endgame conversation. So if they break it in s8, it wouldn't be because of a lack of potential but because a lack of execution imo.

And I totally agree with your point about the general audience. There are some shows that require the audience to look close, to interpret themes and events differently than what has been presented (one of my favorite shows, Black Sails for example, is brilliant at this). 9-1-1 is not that. This is not a diss or me bashing the show, it's just basic recognition of what type of media we're consuming here.

Thanks for your asks!

#mimi talks #911 #bucktommy

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