#having New Stuff with these characters when it's just been the one plot (the book's)(more or less) for years | Explore Tumblr Posts and Blogs

Visit Blog

Explore Tumblr blogs with no restrictions, modern design and the best experience.

Fun Fact

Tumblr has a 66 index score for customer satisfaction in the US.

#having New Stuff with these characters when it's just been the one plot (the book's)(more or less) for years

saerotonins · 4 months

Text

actor!yuuji & actor!sukuna headcanons

ft. itadori yuuji and ryomen sukuna

content warnings: fluff, itadori twins au, overall cuteness, implied x reader (separated), jjk manga spoilers, characters are aged up to 20+

wc: 2.3k (jesus christ lol)

note: i miss my little actors so much lol. also, i think this is a bit too long, my bad 😭

jjk actor au masterlist

as twin actors:

believe it or not, jjk is like one of the roles that had them cast together

both of them usually like to play different roles in different shows because they just don't want to be known as each other's twins

love that for them, they're so real for that

but when they were cast, they accepted it since the script and plot were interesting

yuuji is a sweetheart inside out and sukuna is the quieter one between the two, sukuna is soft for his brother though so don't get fooled by his tough persona

yes, he is the older twin LOL and always holds it against yuuji just to be petty

"dude can you get me that can of soda?""why are you ordering your older brother around? have some shame"

yuuji just rolls his eyes but before he gets up and get it himself, sukuna will wordlessly stands up and does it anyway

checks on yuuji whenever he does intense fight scenes

both of them do the stunt themselves since they ate both so physically active

education wise, yuuji graduated as a marketing major and sukuna has a degree in physical therapy

which explains why him and his brother always practice fight scenes together and he helps yuuji with his stance and warm ups!

it's adorable really and he's so tsundere about it too

"no not like that, put your legs this way dumbass" like that typa stuff

sukuna started off as a model but was later on casted because casting agencies thought he has that great villain face

yuuji started off as a side character and really likes acting (he is the theatre kid between the two and sukuna is the quiz bee kid, their mom is BOOKED and busy) and later on recognized because he's just THAT good

yuuji is usually a romance lead or 2nd lead and a slice-of-life guy so when fans found out he will be in an action show, they are excited!

sukuna on the other hand has been casted as a tsundere in romance shows, sometimes a bully and an antagonist in action shows, but a villain that is literally so powerful??? that is so new so his fans are anticipating

both of them usually arrive on the set together (sukuna is the one driving btw and yuuji just sleeps during the trip)

yuuji prepares both of their bento boxes btw

sukuna loves it

he can cook, but that's it LMAO

he won't admit it but yuuji is the better cook

lowkey a picky eater so yeah

ACTOR!SUKUNA HEADCANONS:

sukuna is the intimidating one (obv) so when him and the other casts first met + the first few readings, it was sooo awkward

turns out he's lowkey a goofy guy

has fun with his costars and helps them with fight scenes too, gotta put that physical therapy degree into good use

both him and nanami have this silent bond because whenever they're together they just don't talk and bask in the silence as they sit, they just peace amidst their crazy schedule

also an avid toji fan so when this guy found out he's in the same show with his idol he's almost shitting bricks

let out a really loud cheer when he found out and only yuuji knew about it LOL

has a deep-rooted respect towards him and it's sooo obvious whenever toji is around

he is such a fucking fangirl

he just thinks he's so badass and feels so honored to be casted in the same show as him

feels bad that he has to beat up almost everyone 😭 he is also a sweetheart deep inside

deep inside, he's such a caring and protective brother for yuuji because even though he doesn't have any scenes to be filmed, he still joins him on set whenever time allows him

he may not show it but he's sometimes lowkey terrified about fans tearing him up into shreds whenever he kills their favorite character

imagine sukuna dripping big sweats by the time THAT episode with [redacted] aired oh my GOD he was so fucking nervous considering their fanbase is so big

yuuji has never seen his brother THIS nervous before and he's enjoying it

luckily though, not much hate happened and most of the time it's just memes and playful banter

his ass is barely on social media LOL

in the years of his instagram existing he only has like 90+ posts or even below 😭 usually it's just promotion, being an ambassador, magazine shoots— very lowkey

doesn't have much digital footprint and i love that for him

whenever he posts, his fans are EATING IT UP since it happens every once in a blue moon lmfao

ACTOR!SUKUNA AS YOUR PARTNER:

as tough as he looks, he actually can be quite clingy, just behind closed doors though

lowkey feels bad when he has to beat up children (LMAO) and his co-actors and asks for cuddles from you for comfort

it's actually kind of adorable

sometimes if his schedule doesn't allow him to have time to visit you, you'll get messages like "babe i just beat up megumi :("

since he's not active on social media, he knows some stuff online through you or yuuji

kind of a sad reason why he doesn't go online as much is because as tough as he looks, he's just a guy scared of the hate he's going to have just because he plays a villain or antagonist most of the time

he knows it's not his fault, he just knows that some people just don't know how to separate reality from acting

especially when that scene where he had to off a certain jujutsu sorcerer actor with a huge fanbase

oh boy was he so fucking scared and ran into your arms for comfort :(

he's a softie deep inside ok

when they have to go out of town or even overseas to film, he gets incredibly homesick and misses you so much

expect a lot of "i miss you" messages, including selfies and candid pictures that he took around the set to

practicing his lines with you is close to impossible, this guy gets all blushy and shit because you're in front of him

and since most of his lines are mean as hell, he just doesn't want to be mean to you

he wants to impress you so bad but when you're around he just becomes a little high school boy with a big crush LMAO

he's such a sweetheart deep inside oh my god

when he decides he wants to post a new photo in his ig, you're the first and only person he'll ask for opinions

so this just means that most, if not all of his posts were handpicked by you

wears your matching stuff like accessories on set and gets sad when he has to take it off while filming

when he learned that his character would have face tattoos, the first thing he did was come home to you with his face makeup on (he had to ask his makeup artist to let it stay) and imitate it on your face

i have this headcanon that sukuna knows how to draw (and is very good at it) so it takes almost no effort to draw the tattoos on your face

you two then have a mini photoshoot (aka just taking a lot of selfies) with the both of you with sukuna marks on the face

it looks so cute that he made it his lock screen

he's lowkey such a sap don't let the character he's playing fool you

ACTOR!YUUJI HEADCANONS:

THE MAN THE MYTH THE BABY

he is literally a sunshine in or out of acting

so polite and so kind it's hard to hate him (not that he is even worth hating on)

so naturally, everyone on set loves to work with him!

unlike his brother, before acting, he doesn't really know a lot of fighting stance (he's a marketing major ffs lol) BUT ever since he was casted, he doubled up on his working out routine with the help of sukuna

even invested his time learning boxing which later on paid soooo much

can literally make everyone on set "aww" whenever his script requires him so cry or even witness a gruesome death scene *cough* nanami and nobara *cough*

during breaks, him and nobara do tiktok challenges and even those kpop challenges all the time and the crew enjoys watching them do it and the fans like it too

he does it too with choso and todo

this guy literally has 3 older brothers who are protective of him it's so cute

this man is so talented, he can cook, sing, dance, act, and is pretty smart too during his university days, it's so hard not to be in love with him

the greenest of the green flags (just like nanamin!) the girls the guys the folks LOVE him so much, literally the standard

just like sukuna, he was fangirling so hard when he found out he's going to be in the same drama with THE nanami kento

he's such a big big BIG fan

has a fan account of him on twitter that is pretty popular but you didn't hear that from me

it's so cute when they're together because they're literally THE father and son duo EVER

has the time of his life whenever he visits nanami and his wife's house and just chill there, sometimes brings his first-year trio besties too (both nanami and his wife don't mind at all)

aside from sukuna, he sometimes practices fight scenes with nanami too!

he is so active on social media 😭 interacts with as many fans as he can and posts all the time on ig and twitter

has a lot of cute interactions with fans too

by extension, his account is sukuna's behind the scene account LOL

since his brother doesn't post a lot, sukuna's fans tune in to his posts and stories of sukuna behind the scenes or even just some pictures of him that he doesn't post

some of it are just pics of the brothers chilling or going out

yuuji is literally the sukuna fan's saint because of the amount of sukuna content he's giving them LOL

ok but don't get fooled by yuuji's sunshine personality, because he knows how to bite too

whenever he saw hate tweets his brother is getting for playing a villain, he is quick to respond and defend his brother

lowkey a nightmare for the PR team but they know where he's coming from

and despite sukuna telling him to just ignore it, he appreciates his little brother more than anything

ACTOR!YUUJI AS YOUR PARTNER:

one word: ANGEL

he's literally so lover coded oh my goodness

leaves you some post-it notes on the fridge every single day before he leaves to film

if the trip goes on for days he will leave at least three long love letters for you to read when you miss him and he's busy

creates personal vlogs JUST FOR YOU so if the both of you can't facetime, you'll still know what he is up to

when he was contacted to be the main character of the show, he confided in you whether or not he should accept the offer

don't get him wrong, he is beyond grateful the people think he's capable enough to be the main lead but it makes him nervous

this is his first main character role and the pressure of it all is heavy on his shoulders

he asked for his brother's opinion too but he trusts you enough to talk about his feelings regarding this

of course, when you said that you'll be there with him in every step and support him all the time and do everything to keep the communication between the two of you going despite his soon-to-be hectic schedule, his heart is finally set on accepting the role

you are so proud of him! your baby finally getting the recognition he deserves? hell yeah

his busy schedule was never a barrier between the two of you, yuuji never forgets to update and call you whenever his time permits and he always appreciates every cheer you have given him

type of actor boyfie to show you off his social media platform!

he posts your dates and even hangouts with each other

his fans find it quite adorable and is in love with your whole relationship

likes to do those couple tiktok challenges with you and post them online, you guys even have shippers lol

of course, if you're the lowkey type, yuuji would respect that and will only include you in his online shenanigans when you feel like it or allow him to post it

practicing lines with you is always exciting but never productive LOL

you both just end up giggling and laughing

in the end you just both opt to cuddle instead (or even make our LMFAO)

yuuji just feels so lucky to have his ever-supporting partner along the way

928 notes · View notes

tangerinesilk · 8 months

Text

－ DISTRACTION : DAVE LIZEWSKI

dave was a great study buddy, but there's no doubt he was a distraction. he constantly made you turn your head twice at whatever he said or did whether it was some comic book character he rambled about or how his pale blue eyes shined under the warm lighting of his desk lamp.

pairing ✷ college!dave lizewski x college!fem!reader

rating ✷ r (18+ minors dni!)

tropes ✷ friends with benefits, spicy but no / little plot, unspoken love, domestic toward eachother but no dating, dorky and awkward people in love who just wont admit it theyre in love (sort of) | nsfw warnings below!

word count ✷ 1.7k

a/n ✷ um this was a random thought and it just sort of happened. stg it feels like i blacked out while writing this KSKFFKS what is going on with me. anyways been wanting to write about this cute dork for a while and why not make it really hot. posting now so i dont chicken out but ill edit later.... i always love feedback! xo

[ steamy warnings: mentions of public sex, dom & sub switches, p in v without protection, nipple play, hj + bj, f receiving oral from m, praising + heavy dirty talk, face sitting, finishing inside v ]

typical weekends: saturday night at dave's apartment.

dave was explaining something... it was something. something important, but all you could focus on was his pretty eyes and how soft his lips looked today. he pushed his glasses up more on his nose bridge again, looking down at his book for one of his college classes.

he was so into the subject, you didn't even have to nod. you were occasionally tapping the eraser end of your pencil against your blank notebook, only listening to every other word.

suddenly, your mind wanders to when you two were doing laundry at three in the morning and got a little spontaneous. then getting a bit handsy on the top floor of the library where no one usually was. maybe even the time when you were visiting him back home for one weekend and you both could barely keep it together with company downstairs.

ever since you both agreed on this friends with benefits agreement, your dry spells were no longer an issue. it seemed like both of you were touched starved, but not wanting to meet other people, strangers you didnt want or need to know.

so, after becoming lab partners in your fall semester of senior year, its been nonstop seeing each other. not just for sex, but hanging out to study, going to local comic book stores and libraries, even the occasional dinner and sleepover combo at his apartment or yours.

it seemed like a wild card at first, but you would never admit (outloud) to dave lizewski that you underestimated how great his tongue felt inside your pus—

"y/n, are you even listening?"

you cleared your throat, "hmm?"

he chuckled, "so you weren't... i know, its kind of boring."

now you felt bad, caught up from going down memory lane and he was excited about his new class.

you ran your hand over his curls, "im sorry, dave. my mind was wandering."

he turned, seeming interested, "about what?"

you felt the heat rise to your cheeks, "about... you know..." you trailed then shrugged, "stuff."

dave smiled, "oh yeah? you weren't, i dont know, thinking about me?"

you had seen this confidence grow inside dave as more time passed, and you weren't sure if it was cockiness, but you couldn't deny how cute yet attractive it was on him.

"why dont you go back to what you were rambling about? please. im all ears now." you lean in, placing your hands underneath your chin with your elbows on his desk.

its ironic how his full size bed was behind the two of you yet here you are, acting like this was the first time you've hung out.

he pressed wet kisses against your inner thighs, your clit aching for his mouth as his nose brushed against your skin. he'd let out a nervous chuckle as he noticed the wet spot forming on the center of your panties. you'd bite your bottom lip as he licked his lips, in awe of the mess you were for him.

dave pulled down your panties, shuffling them down your ankles before tossing them to the side. his strong hands run up the top of your thighs before holding your hips, pulling your core closing to his mouth. after his first, yet hesitant, kiss on your clit, you let out a faint moan.

soon his tongue was running over your open slit and tasting your sweet wetness. you arched your back, leaning back on his desk as he flicked your clit a few times. when he pushes his tongue inside you, a rush of heat runs over your entire body. you caress your own breasts and pull at your own nipples as he picks up his pace.

"fuck... god, yes. eat my fucking pussy." you whimpered. he got so weak when you uttered your sweet nothings. as dominant as he thought he presented himself, dave was a sucker for you.

just when you thought it couldn't get better, he slide his two fingers into your slit as his tongue flicks your swollen clit. you told him how you love when he curled his fingers inside you, knuckle deep and gathering your wetness every pump as he brought you closer to your orgasm.

your hips grind against his mouth and hand, painfully near your climax. he cursed under his breath as he felt your pussy clench around his digits. he pulls his mouth away from your clit, trailing more kisses over your stomach then rolls his tongue against your right nipple.

his hand still worked your slit, thrusting so fast that your head was spinning along with the pleasure of him sucking your erect nipple. you glanced down, seeing how his hard pressed against his khakis. just the thought of taking his cock into your mouth made you dizzy, bucking your hips against his fingers.

"yes... make me cum. i wanna fucking cum on your fingers." you muttered under your breath, pulling at his curls. dave's knees were giving out as he held his position but he loved to hear your continous begging.

he was about to see if he could pick up his pace before your hand reached down, sliding into the front of his stained pants and caressing his hard cock. he grunted against your chest, instantly weak from your touch which made him pause.

"hmm, what about i cum on your cock instead?" you giggled as your lips met his, "it's so hard... bet you've been thinking about cumming inside my tight pussy, huh, dave?"

he sighed, "shit..."

"that's what i thought, baby." you say before taking his fingers into your mouth, tasting your own cum. he takes a mental picture even though you've done this in your previous hookups.

you hop off the desk, playfully pushing him on his twin size bed. you slowly get on your knees, running your hand over the crotch of his pants that were already unbuttoned and half unzipped. it's easy for your pull his cock out, practically springing from his briefs.

his eyes are glued to you as your tongue runs up and down the base before wrapping your lips against his red tip. you half-giggle when you taste his pre-cum, then carefully take him all in your mouth. you gag a bit as his tip pushes further in, and he groans when your throat tightens around him.

you push your tongue out to make sure your teeth dont graze his cock as you deep throat him, incredibly slow, so he can watch in awe. he leans up on his elbows, falling apart as you take him in your mouth so easily and your hand pumping the rest of his base.

"fucking christ... fuck." he muttered, his dick twitching inside your mouth as your salvia runs down when you gag on his hard.

his hand runs over your hair, gathering it together to keep it out of your face— also to have a better view of him receiving one of the best blowjobs you've given him.

when you pull your mouth away, you giggle as you pump his cock with your spit lubricating for better motion. his face screws together the faster you pump, and he can barely take the pleasure.

"hmm, i bet you wanna cum on my face... and tits. but, i want you to cum inside me." you say as you but your bottom lip, running your thumb over the cum leaking from his tip.

"me too, baby. fuck!" he grunts, and it makes you smile at how much of a mess he is too.

you rise from your knees, relieving the pressure on them before straddling him on his bed. you pull off your top, tossing it on the other side of the room as he quickly peels his shirt off as well. his big hands run up your body, over your breasts once more as his thumbs move against your nipples.

"god, i want to feel every inch of your cock... so, don't stop until you're finished." you tell him as you run his tip agaisnt your slit before slowly sinking down on him.

"babe, shit... fuck." he whimpered, his fingers pressing into your hips as you arch your back.

"god, im so tight." you moan, "your cock is so big... can barely fit you inside me." you huff, your eyes closed shut as you slowly move your hips.

soon, you meet a nice pace of bouncing on his cock and he loosens up as he watches you move up and down. his bright eyes keep moving between looking at your tits and your face, completely amazed by your beauty.

you run your hands over his toned chest and abdomen, leaving light scratches on his skin from the waves of pleasure coursing throughout your body.

"dave, im gonna cum. oh, oh! i'm gonna cum." you announced to him and he was holding off anyways, his jaw clenched his much that it was beginning to feel painful.

as you arch your back and let out a long whine, he stills his hips as his warm cum fills you up. it was the first time he was fully inside you, and you were aching around his cock, feeling it throbbing against your walls.

he leans up, leaving a soft kiss just above your breasts before you two share another kiss. you can't help but giggle, both of you feeling that sudden hit of exhaustion.

you lift yourself from your cock and cum runs down your slit, letting him see the mess he made. dave smirks, expecting him to say that he'll get you a towel but instead licks his lips and starts to lean down between your legs again.

it was like deja vu. his tongue presses against your swollen slit, tasting your mixed cum before sucking on your sore clit. now you're so sensitive to the touch, you could orgasm again at any moment. he was so in tune with your body that he knew what pace to go and how long you could actually lasts.

you run your hands over your breasts, his tongue moving so perfectly between your slit and clit. you feel his press a light kiss against the area above your pussy before trailing more kisses up your body. then, you two shared another kiss, tasting each other's tongues once more before he laid next to you.

"you know, i've never had a study partner like you." you jeered, pressed a kiss against the start of his jaw.

he blushed, "me neither..." he raised his eyebrows, "trust me."

#dave lizewski #dave lizewski x reader #dave lizewski smut #dave lizewski x you #kick ass

2K notes · View notes

tossawary · 4 months

Text

There is something so funny to me about "Monster of the Week" format sci-fi and fantasy shows that are stuck in one location, especially when the supernatural is hidden from general society for whatever reason and that location is just not big enough to even have a hope of properly covering any of this stuff up. Like, if weird shit is regularly going down in one corner of New York City, then some people in that neighborhood are still going to notice that something is up, but you can handwave some of the usual "why does anyone with any ability to move still live here?!" due to the fact that it's a big, anonymous city where a lot of people don't really know any of their neighbors very well.

But with smaller towns? Whatever this town may have been originally crafted to be gets transformed and/or retconned by the wild stuff that happens over the course of the show. Sometimes this is purposefully done by the writers and sometimes not! The plot changes the location as much as it does the characters, whether you like it or not!

(I don't mean to say that big cities in sci-fi and fantasy cannot be similarly transformed. The NYC of comic book universes very much becomes a different place with teenage mutant ninja turtles running around fighting demons and people from space. And it's hard to beat what Gotham City has going on! And weird shit does absolutely happen in small towns too! I just think this genre effect is even more pronounced and maybe funnier in smaller towns where these things are supposedly "a secret".)

Sunnydale, California, in "Buffy the Vampire Slayer" becomes this place where half of the town have to know about the supernatural or are supernatural themselves. The Hellmouth has changed this place into something that is now in many ways just pretending to be "A Normal Town". And it gets so ridiculous that the show partially acknowledges it by making jokes and going with this flow.

People in Metropolis in "Smallville" must think that Smallville, Kansas, is Secret Meth Lab Central or something with the way that buildings are blowing up and people get killed every few months. The quaint name of this town is doing SO MUCH heavy lifting for its reputation here. Clark Kent says that he's from Smallville in this universe and some people go, "Ha, a real farm boy, huh? Hope you're not finding the big city too tough for you!" and other people must immediately go, "Oh, shit. You've definitely seen a murder victim before." And Clark can only be like, "...Yeah... :("

#tossawary watching #btvs #smallville #tossawary dc #character death #clark kent

566 notes · View notes

nanowrimo · 9 months

Text

How to Use Meal Scenes to Develop Characters, Relationships, and Your World

Worldbuilding can sound complicated, but why not make it a little more simple by focusing on food? It may be the domestic touch you need! NaNo Participant Lacey Pfalz talks about using meal scenes to develop your world and your characters.

There’s one thing that remains a universal human truth: we love food! While our perspectives on food might differ, people all across the globe gather together during mealtimes — and thus, mealtimes are made memorable.

Meal scenes can also help your story in a few key ways, especially if it’s fantasy, science fiction or historical fiction.

Meal Scenes for Worldbuilding

If we’re using food for worldbuilding purposes, does that mean we can say we’re worldcooking?

Just kidding! Worldbuilding, especially in historical fiction, science fiction, and fantasy, is an integral part of what you must do as a writer (In truth, it’s also important for writers from other genres, but we’re specializing in these three today).

Meal scenes can be an important part of the worldbuilding process. Food is intrinsically tied to a culture or a country, or even a small region. That’s why it’s important, when building your own world, to take time to figure out the bare minimum of what your characters will be eating.

Let’s do an example. Your world is fantasy, your kingdom set beside a wide river. Perhaps your capital city, where much of the action is located, is surrounded by wetland.

If this is the case, what types of food would likely grow there? Seafood, fished from the large river, might be your characters’ staple proteins, while rice might grow better than another grain because of your kingdom’s wetlands. Fruit, perhaps even coconuts, might be the sweet stuff your main character loves to devour.

Remember that your world directly affects what types of food your characters will be having: is there coffee in space? What about in Byzantine Turkey or your new riverside kingdom?

Shannon Chakraborty does a phenomenal job with this in her fantasy series The Daevabad Trilogy, which is set in the eighteenth century across the Middle East. Her first book, The City of Brass, is especially good at showcasing the often-fragrant dishes of the various cultures across this region of the world (some copies of the book even have a short list of recipes from the book that foodies can try whipping up for themselves).

While her book is set within the fantastical world of the Djinn, her food is based upon recipes that have been preserved for centuries.

There’s one small reminder with all of this: it’s important not to get too caught up in describing each dish so much that you end up taking the focus away from the characters in a meal scene. Meal scenes can be breaks from fast action, but they should also continue the plot.

Meal Scenes for Developing Characters & Relationships

Character development can be hard, especially if you have a handful of characters that you love! But in order to make your readers love them too, you have to show them interacting with the world around them.

That guy we love to hate? Maybe he’s a loner who has grown up eating by himself. Having him forced to sit and eat with a group of people who have known each other for years might be an awkward moment for him, but it helps readers to learn more about his own worldview — and it might just help get him out of his shell, or at least off the love-to-hate list.

Besides helping you develop a single character, writing meal scenes with some of your characters can also help readers learn more about the relationship between your characters.

Let’s say you have your main character, MC. MC leans over and steals a French fry from her best friend. There’s no issue, right? That’s because they like each other, and the best friend has likely eaten with MC before, and knows she enjoys stealing food from other people’s plates.

But when MC tries it again, this time with the guy sitting next to her, he whacks her hand to stop her from stealing. This sparks an argument that seems, at least to everyone else watching it, pointless, but readers will know from the rest of the story that they’re the enemies-to-lovers trope. This argument is just one of many before they finally acknowledge their feelings towards one another.

See how that worked? A meal scene wasn’t useless; it pulled the story along by giving readers another taste of the enemies-to-lovers trope that so many enjoy reading.

If you need a more visible example of how this can play out, try watching a movie like Pride & Prejudice, (the book is amazing, but I’m suggesting the movie as a visual aid). The movie does a great job showcasing just how different the members of the Bennet family are individually, how they act around each other, and how they act around company.

There’s often little action in meal scenes, so they’re not meant to be overused. The plot should also still be there — take the cringey proposal scene between Mr. Collins and Elizabeth in Pride & Prejudice, for example, which follows directly after a meal when the rest of her family abandons her. In this case, the plot (and Mr. Collins’ advances) ruin her meal.

Perhaps your meal scene is the much-needed respite in between battling fierce aliens for planet Earth, or the first time your main character’s enemy-to-lover has entered her home. Either way, meal scenes are an important way to immerse your readers in what kind of world they’re imagining as well as showcasing how your characters act and — more importantly — how they act around each other.

Lacey Pfalz is a travel journalist by day, hopeful author by night. She belongs to the class of graduates she dubs the Class of COVID-19, having graduated with a double major in history and writing at Wisconsin Lutheran College in 2020. Her writing passions include fantasy, science fiction and historical fiction (with a little bit of romance, of course!). As someone with a physical disability, it’s her dream to write a fantasy series featuring a main character like her. Header Image by Jack Sparrow

#nanowrimo #writing #writing tips #worldbuilding #characters #character relationships #by nano guest #lacey pfalz

1K notes · View notes

angelwithdemonictendencies · 3 months

Text

know me the way you know your childhood scars, like breathing; i wasn't running but if i was i'm glad it was to you.

tz11 x reader: a small town, a fresh start, a shared heart.

(warnings: blasphemous filth, unprotected penetrative sex (m on f), hair pulling, thigh-riding (this is newish), dirty talk (if you're new, welcome!), mentions of previous relationship being awful, i know i'm forgetting stuff but all my typical things. (please be warned, don’t read if you’re not 100% sure.)

(a/n: my favorites - i think jd6 getting traded was exactly what i needed in order to write a tz11 character who is actually a nice guy. i call that the best-friend-getting-a-new-best-friend-who-is-named-cam-york effect. anyways, this is long as hell (14k, anyone?), because i have recently been absolutely so over law school guys. i just want a guy who likes to get his hands dirty and actually has friends. too much to ask? okay. obviously, i got so insanely carried away here, as you will be able to tell. we've got about a million side characters, some of which you will recognize, some of which you will not, because i made them up (tell me why i'm so into the matt/bridget dynamic. could write about just them. maybe i will). you guys know that there will be plot holes and dialogue issues and the likes, but you love me anyways, and i love you for that. tz11 should enjoy this, because i know he will inevitably be back in my bad graces soon enough. next up is someone new (!) because i miss when people used to write about tyson jost left and right. hm, what else? tell me what you think, what you'd like to see. my one year anniversary since my first post is feb. 2 (i actually can't believe how fast it went by, and i'm so grateful for you for sticking with me). so, so much love to you and your snakes. go canucks. until next time.

this was probably a terrible idea, you thought, with your suitcases beside you, your head in your hands at the foot of the bed that would be yours for the foreseeable future. one bed of several at a local inn - local to this town, at least, not local to you.

no, you thought, jittery with unknowing and chance and uncertainty, none of this was familiar to you. not this town in the middle of nowhere, hundreds and hundreds of miles from your hometown, your university. not any of the few people you had interacted with, not the uber driver, the inn keeper, the housekeeping staff.

not one part of this place, this experience, not one part was familiar. but that's what you'd wanted, wasn't it? that was the whole point?

you'd wanted to find yourself, wanted to prove that you could take care of yourself, exist on your own, thrive outside of the bubble that was university.

you wanted a fresh start, away from ex-boyfriend and ex-best friend, their betrayal still fresh, a wound scabbing over on your heart. you wanted to breathe deeply and not worry about who was watching you exhale - a place where nobody knew you, where nobody could whisper about the girl whose boyfriend was cheating on her with her best friend. for three years. she's so stupid, how could she not have noticed?

well, here, you decided, that's what you would get. a humble job as a diner waitress lined up to start tomorrow, a booked room with no check-out date, not a laugh you'd recognize for miles and miles.

this is what you'd wanted, you told yourself, now, loneliness settling in your mouth the way the powder on sour candy does. this is what you have.

completely exhausted from travel and emotional havoc, you passed out that night amidst dreams of fresh starts and trees too tall to see you behind them.

such a lovely image did not last nearly an hour into the next morning, the first day of your new job, just a block or so from the inn you were staying at.

this was part of the reason you had chosen this place for your self-discovery journey, after all - the urgent hiring, competitive wage, amazingly low price for room and board.

you had worked in your university's coffee shop for a year or two to help pay your tuition, so, honestly, how different could it be?

very different, you realized, almost immediately. they were hiring urgently for a reason, which meant there was practically nobody there to train you. one of the line cooks, of all people, just threw you an apron and a name tag to wear over your uniform-compliant black skirt and shirt, mumbled something about a welcome, enunciated something louder about table three needing service.

and so your self-proclaimed new life began completely unceremoniously, with a name-tag that misspelled your name, the smell of waffles and western omelets permeating the air like some grandmother's perfume in an old living room.

at the very least, the business made the time pass quickly, as you paced from table to table, only pausing briefly to introduce yourself to the line, the host, the several curious patrons who asked about you.

"new girl," some impossibly old man husked, "they not have hot coffee where you're from?" he grimaced as he took another sip. "cold as a winter's -"

"okay, that's enough," his companion said, a woman, probably in her mid-twenties, with blonde hair chopped short. she gave you a sympathetic look, like you two were sharing some inside joke. you liked her immediately. "he's had about twelve cups already. don't mind him."

you felt your mouth tick up in a smile for what might have been the first time this morning as you introduced yourself to her, and her father, who you learned everyone affectionately called "old man peters." you learned that the young woman's name was bridget, and she insisted on giving you her number, in case you had any questions, or wanted to get together, or needed anything at all.

your day was already looking up, you thought, as you lifted your sulking ponytail from you back, loose strands curling at the nape of your neck, around your ears. bridget and old man peters bid you goodbye, and then the young host, a boy who stuttered so much over his name that you still didn't quite know what it was, sheepishly alerted you that he had seated a group at the booth in your section.

your flipped to a new page in your notepad as you walked back to the booth, your gaze quickly being tugged up by a drawl-ish voice blurting out "dibs! i call dibs!"

such as exclamation was followed by several groans and one "not fair, you're the only one facing the door."

your brow was slightly scrunched in confusion when you stood at the head of the group's table, four pairs of eyes faced to you in a way that made you feel like a politician about to give a speech.

you cleared your throat, not quite looking anyone in the face. "good morning," you said, "can i get you guys started with some drinks?"

you looked up from your notepad, clicking your pen against the surface of it, taking in the table of - well, you weren't really sure. construction workers, maybe? craftsmen? the four of them had on heavy canvas-like jackets, worn and worked in, highlighter-bright shirts underneath, callused hands that your observant eyes took note of immediately. they were young, too, probably about your age, which made you blush, only a little. these were not the kind of guys you had met in college, the kind who you would have taken a class on freud with, the kind who thought everything with a woman's hand around it was a phallic symbol.

"just coffee," one of them said, short. he tacked on a please when one of his friends smacked him lightly on the back of the head.

you motioned with your pen around the whole table. "for everyone?" you asked, but the question stumbled out of your mouth when your eyes caught on the last of the four, the one on the bench on the right, closest to you.

that sharp face, high cheekbones and cut jaw, should have been so serious, you thought, like some kind of statue, the kind your art history friends would have fawned over in a museum you didn't really want to go to. he should have been so serious, angular like that, but he was anything but. mirth danced in his eyes, so bright they almost sparkled. his full mouth was fixed in a sort of perpetual smirk, so ready to laugh that he was already halfway there. he had the lines around his eyes that told you his full smile would tear you in two.

you were probably staring at him, you realized, flushing deeper as his smirk broke free into something wider, all over his face.

"see, guys," he spoke, that goofy drawl you had noticed on your way over, nothing like the pretentious academics who spoke in circles. he leaned back in the booth. "doesn't matter that i called dibs. she likes me best anyways."

your face scrunched up in some combination of disbelief and hidden delight. "wait," you began, "when i was walking over here, when you said something about dibs," you fixed him with what you hoped was a glare, "you were calling dibs on me?"

he shrugged off his jacket, drawing attention to his wide shoulders, arms thick even through his bright long sleeve. you snapped your gaze back to his eyes, which shimmered, telling you that you'd been caught. "what's the big deal?"

you scoffed, blew a stray curl from your eye line. "you don't call dibs on people," you said.

"yeah, trevor," one of his friends teased, "what's wrong with you?"

"where to begin?" one of the others said, almost lost in thought.

"c'mon, sugar," trevor said, tilting his head, "'s a compliment, yeah?" his gaze rolled down your frame, almost gelatinous, meeting your eyes again reluctantly. "only 'cause you're so pretty, hm?"

you rolled your eyes, fixed your gaze on the one across from him, the one who looked the least engaged. "but, trevor," you whined, stretching out his name like salt-water taffy, "what if i wanted-" you paused, looked down at the blonde just below you.

"matt," he said, practically bored. you nodded your thanks.

"what if i wanted matt?"

his posture grew even more relaxed as he shifted his knees wider under the table. "oh, what if, sugar?" he mused, his eyes so expressive, never off of you for a moment.

"she's gonna spit in your coffee," matt said.

"how about we cut out the middle man and she just spits in my mouth?" he chirped, smirk so telling it made you flush pink.

you mumbled something about decorum before walking away in a flurry of annoyance and excitement. you couldn't really tell the difference, you realized, as you gave the poor host a pot of coffee and asked him kindly to drop it off at the back booth.

you were not something to be called dibs on, that was for sure, and you were here to find yourself, not anyone else, certainly not some guy. even if some guy had soft-looking hair and a witty mouth. even then.

you took a stabilizing breath and got back to work, noting that the back booth only got coffee, only stayed for about twenty minutes before making to leave, heavy jackets loud as they shrugged them back on.

three of the guys called out their thanks and headed out, leaving only a standing trevor there when you approached to settle their bill. thumbing through his wallet, he grinned down at you when you finally stood in front of him again.

he was taller than you thought, you realized, as he now stood at full height. you had to crane your neck slightly to look him fully in the face.

"thought you'd be shorter," you said, honestly, hoping to knock him down a peg, however mean that might have been. but of course he only smirked.

"get that a lot," he drawled, selecting a bill, putting his wallet back in his pocket with hands you had to force yourself not to stare at. "been told 've got the personality of a short guy in the body of a tall one."

you shook your head. of course someone had told him that.

you couldn't really ruminate on that, though, as he stuck the twenty in the front pocket of your apron, as well as something with a slight weight to it, urging an angry pink to the tops of your ears, the feeling of his wide hand warm, so close to you.

you peered up at him, sucked on your teeth as he pulled out his hand slowly, that ever-present smirk almost faltering at your gaze.

"thanks for the service, sugar," he said, and you probably imagined the way the end of his words sounded strained. "see you around, yeah?"

you didn't break eye contact, only let yourself smile back at him before turning and getting back to work, letting the push and pull of waitressing lull you into a rhythm during which it was practically impossible to think too heavily about bright eyes and broad shoulders.

by the end of your shift, you had been officially tired out. you were sure your hair reeked of coffee, and your ankles ached from standing all day.

going to empty your apron, however, right before you left, your hand settled on the bill from earlier, but also several wrapped butterscotch candies. your face contorted as you stared at them, wondering why trevor had put them there.

exhaustion won over curiosity though, as you thanked everyone for your first day and walked the short block back to the inn.

this won't be that bad, you were thinking to yourself as you walked up the stairs. you already had the phone number of a maybe-friend, after all, and as far as jobs went, this one could be a lot worse. good money, good way to meet new people, maybe even something pretty to look at -

as if summoned by your thoughts, when you turned out of the staircase to your hallway, there trevor was, standing on a ladder, looking into the ceiling, some box of tools on the floor.

you narrowed your eyes, bag suddenly feeling heavy on your shoulder. the presence of a new figure drew his gaze to you, and you had to scold your heart, the way it beat like a teenager at the way he looked at you, then. you didn't know him, after all, and you weren't here for anything romantic.

"you followin' me, sugar?" he asked, stepped down from the ladder, making his way over to you. his voice was slow and tired, from whatever he had done that day. you were shocked at the fact that you wanted to know what that was. his gaze shone as he gently took your bag from your shoulder and slugged it onto his own, fell into step beside you. you let him. "tell me you're following me."

you rolled your eyes, but the small smile on your face wasn't going anywhere. "this is where i'm staying," you explained, "so, if anything, you're following me."

you stopped in front of your door, leaned back against it, suddenly in no rush to lock yourself behind it, alone. not when he was on this side of the door, looking like this.

almost weary with hard work, but not weary enough to sour him, just enough to make his movements and expressions slightly slower, lazier, more indulgent, like they were drenched in chocolate ganache. not when he was here, looking at you like this, like you were the most interesting thing he'd ever seen.

after years at some preppy, pretentious university, at which ingenuity was the most valuable currency, one you felt you lacked so disgustingly, was it really too surprising that you softened under his gaze? that you wanted to stay in it, just a little bit longer?

"sugar?" he asked, head tilted, and you realized he had been talking.

"sorry, what?" you asked, your voice soft like sponge cake, willing your eyes to focus, your mind to focus harder.

he didn't tease you too badly, though, only let his smile grow sharper with a smirk. "i said that 'm sorry if i hurt your feelings with the dibs stuff," he said, and you were almost confused at his apology. you weren't even upset, and when was the last time someone had apologized to you so quickly after doing something?

your memory cut hazily to your ex, somehow trying to convince you it had been your fault that he cheated on you, that it was something you were lacking that had inevitably led him to do that. you practically shivered, then internally scolded yourself for comparing trevor, whom you had met today, you reminded yourself, to your ex-boyfriend.

"'s fine," you said, waving him off, your back softening further into the door. "didn't really hurt my feelings."

his eyes flashed. "didn't really or didn't, sugar?" he asked, searching your face.

you swallowed, acutely aware of his attention, how it slid down your nose, your cheeks, your jaw, slow and thick as sludge. "didn't."

he gave a nod. "'m sorry anyway," he said, and it came out low. "if you really want to go for matt, i won't stop you."

and part of you wanted to blurt out i don't want matt!

but it was your first day in this place, and honestly, you were still kind of hung up on his apology, and the way it sounded from his chapped lips, and you knew to correct him would be exactly what he wanted.

so you just said "thank you," and were shocked at how gentle it sounded.

"jesus christ, distracted, are we, trev?" the voice of the young inn-keeper called from the end of the hallway. he seemed awfully chipper as he approached, hands in his pockets. "i came up to check on your progress," he said, "or lack thereof, i guess." he looked between the two of you. "now i see who's stolen your attention."

"i'm on my legally-required fifteen minute break," trevor said, half-smiling, turning back to you. "sugar, you know my brother, griff?"

you nodded, suddenly clocking the subtle ways their appearances drew from each other. trevor was taller, griff had a wider face, bigger features. but they had the same eyes, same strong nose, mirroring grins. "he owns my room," you said, dumbly, tiredly.

griff only smiled. "she's had a long day, trev, leave her be."

trevor searched your face again, seemed to find all the proof he needed - your heavy eyelids, drooping shoulders. he gently handed your bag back to you. "i'll see you tomorrow, sugar," he said, as soft as you'd heard him. so soft it startled you. "sweet dreams."

"goodnight," you said to both of them, shutting the door behind you. sleep came easily that night, again, with dreams less so of hiding behind trees and more so of rough hands and laughing eyes.

you were surprised, pleasantly so, at how quickly you fell into a routine in your new home. surprised at how quickly you let yourself call this place that.

maybe it was the way that bridget wasn't just being polite when she had given you her phone number, as she had quickly set up dates to show you all her favorite hiking spots around. your weekly hikes with her became a highlight as she told you more about the town, about her young daughter, about book club, about anything and everything. she was so kind with you that you found yourself so comfortable confiding in her. it felt so easy calling her a friend.

maybe it was the way the town seemed to accept you as one of their own so quickly and genuinely. the line cooks flirted with you in the way only line cooks do (in ways that would not be acceptable outside of a kitchen). they made you food to take home, kept you from starving. the host, harry, began to trust you enough that he asked for your help on homework. the regulars began to recognize you, know your name, ask how you were doing. griff checked in on you, asked if anything was wrong with the room, said you should feel free to use his kitchen anytime (as your room was the simplest kind, and didn't have any cooking appliances). you began to know the names of the streets, the stores, the store owners. your fresh start was starting to feel like just that - a start.

or maybe it was that same group of guys who came in every morning, at the same time, who ordered only coffee and then left in a flush of waves and heavy jackets and called-out salutations. you learned that the one with the curly hair, alex, was the quietest, probably the smartest. his closest friend, cole, was the shorter one, who had the loudest laugh. and matt was warming up to you, you thought. the more you made fun of trevor, the more he seemed to like you.

it was that same group, every day, who came in loudly and left louder, who had paint and dirt smudged on their shirts, their hands. who drank coffee like it was water. who laughed like it was easy as breathing, and maybe that was how it was supposed to be.

and, of course, there was trevor, who, the more you got to know him, the more trouble he became. every day, his "good morning, sugar," would reverberate through your chest, and you would drop a pot of coffee at their table, ask how they were doing, listen for their answers.

some comments about how old man peters' roof is caving in, and he should have told them about it probably a year ago, or about how the police chief's plumbing is fucked, or about how they were going over to fix bridget's sink that day. and, if it was the last one, matt would flush, which would make your eyes widen, would make you pepper him with questions about his crush.

and then, at some point during their morning break, trevor would ask something about you, about how you were, about the way you were wearing your hair, the shoes you were wearing, the book you had been reading the week before. and then, as he left, without fail, he would slip a bill and several butterscotch candies into your apron pocket, each time his hand growing heavier, more significant as it settled so close to you.

it didn't particularly help your small crush that you saw him everywhere. he was always fixing something - in the diner, at the inn, in the park downtown. you couldn't escape him and his deft hands, his working mind, his strong frame and easy laugh and addictive smile.

he was everywhere, so of course he would be here, at the grocery store, after your shift one day. you were roaming the isles, looking for a specific kind of vinegar, your basket hoisted up onto your hip, when a low whistle made you turn. you were met with that lazy smirk, your favorite one of his, the nighttime one, the tired one. he approached you, his work boots heavy on the ground.

"you followin' me, trevor?" you asked, repeating what become something of an inside joke between the two of you.

"maybe," he said, looking down at you, shimmering eyes framed by long lashes. "do you want me to be following you, sugar?"

you hummed, noncommittal, some harmony between the fluorescent lights above, the whir of the fridges the next isle over. you turned back to the shelving, resumed your survey of the contents. "your brother offered his kitchen for me to use while he's out tonight," you said, not looking at him.

"did he?" trevor mused, an almost undetectable bite in his tone.

you nodded, eyes alight with excitement. "been eating pancakes and chicken noodle soup for weeks now," you said, referring to what the line cooks sent you home with. "swear my mouth's watering just thinking about something different." you ran a thumb along your bottom lip, as if checking for spit.

if you had been looking at trevor, you would have see his shallow swallow, the way his eyes tracked your movement, how his gaze hung from your mouth like lacy ribbon. he cleared his throat.

you finally located the vinegar you wanted, on the very top shelf. pushing yourself up on your tiptoes, you reached the tips of your fingers for the bottle, only just out of reach.

trevor only chuckled as he grabbed the bottle easily, took the basket from your hip and into his own hand, dropping the vinegar into it.

"i can carry that, you know," you said, suddenly wishing you had something to do with your hands.

"i know," he said, smug.

you rolled your eyes, huffed a thank you, anyways.

"so, what're you making?" he asked as you led him from aisle to aisle, loading your basket with ingredients.

you explained to him how, in college, this one salad had been your absolute favorite to make when you needed something that made you feel good. something about the combination of arugula, kale, chickpeas, sweet potato, whatever other vegetables you had on hand, sometimes chicken, if you were feeling fancy, something about the simple dressing of oil and vinegar - it was perfect. no meal left you feeling as good as this one did.

and it was how you had made it entirely on your own, too - it wasn't some fancy steak dinner your ex had buttered you up with after a fight, it wasn't boxed brownies shared with your old best friend the night before you found out - no, this was all you.

when you looked back at trevor, there was something molten in his gaze. "sounds amazing," he said, low, like he didn't want anyone else to hear.

you tilted your head, let your smile slant across you face, scrunched up your nose, teasing. "would you want to join me for dinner, trevor?"

his face split into a grin. "i would," he said, "i would want to, please."

and so you found yourself fumbling around someone else's kitchen with an audience, washing kale and peeling sweet potatoes with fingers that twitched towards the figure across the counter, practically irritated that they weren't touching him.

you scolded your hands to behave, which became easier as the night went on, as conversation flowed like cranberry juice, the flavor of it lingering in your mouth just the same.

he might ask you about how the diner was going, to which you would look around as if to make sure no one was there. his eyes would flash. you would miss this.

"harry's been making some real progress in precalc," you would say from behind your hand, speaking of the host, whom you had come to view very fondly. "and you didn't hear it from me, but i think he's going to ask his friend jason to the school dance next weekend."

you would be flushed with excitement and pride, and trevor wouldn't be able to get much beyond that, honestly, the way it lit you up from the inside out.

but then he would clear his throat, and lean forward on his hands, and tell you that if harry needed help asking jason to the dance, he knew exactly the best crew for the job.

"don't tell me you're talking about your rag-tag group of misfits," you would say, cocking a brow as you dressed the kale and arugula.

and he would feign offense, place a broad hand over his heart. "i'll have you know that this group of misfits went 16/16 in high school dance invitations," he would say. "all four of us, all four years."

you might roll your eyes. "real band of heartbreakers, were you?" you would say.

and laughter would shine behind his eyes like christmas tree lights behind store windows, and he would stretch his arms above his head, lazily, comfortably. "'course not," he would say, his voice the sort of raspy that comes with stretching, "only alex."

and this would pull a real laugh from you, as you tossed everything together, the kind of laugh that rung in his ears, that made him pleasantly dizzy.

as the night passed on, time moving altogether too fast and the kind of slow that oozes, you would learn about how he grew up in this town, how he went to trade school, how he had had the same friends his entire life. you would ask questions about if he ever felt the desire to leave (not really), how he got into manual labor (he never really felt like he was that good at anything else), what his family was like (close, but not overbearingly so).

and, in turn, between bites and sips and laughs, you would tell him about how you grew up (humbly), what school was like (hard, but rewarding), how you ended up here (cheap housing, good job, close community). and maybe you would actually tell him about the ultimate betrayal you had faced before you left, why that made you want to be somewhere, anywhere else, somewhere where you had no choice but to make a life entirely for yourself.

at the mention of your ex his jaw might clench, his mouth twitching ever so slightly. he would mutter something about nonsense, and you would smile.

he would ask questions about your family (just your dad and you), your favorite parts of your life here (hikes with bridget, homework sessions with harry, bickering with old man peters).

and he would pout, at that, his bottom lip looking so positively delicious it stole your breath. "'m not your favorite, sugar?" he would plead, joking.

maybe you would really look in his eyes, then, find something hot, tilt your head. "you wanna be?" you would ask, breathier than you intended.

and he would smirk, somehow flipping the dynamic on its head entirely with only a single expression. "you know i do, sugar," he would tell you, low and so loaded you would blush.

it might scare you how easily you let him in, how quickly you were warming up to him. his pretty face might scare you, because pretty faces had hurt you before. there had been no one prettier than your old best friend, after all, and look how that turned out.

so, when the night grew viscous, and the meal was long over, the dishes done, a portion for griff packed up in tubberware on the counter, when he walked you upstairs to your room, both of your steps slow, reluctant, when his gaze lingered on your lips and the smell of him grew distracting, the height of him all-consuming, even then, even though you wanted to, you didn't kiss him. you only bid him a gentle goodnight.

"thank you for tonight," he would say, instead, looping his arms around your neck, hugging you close to his chest. this was so much worse, you thought, as you breathed him in, wrapped your own arms around him and squeezed. the way he held you like he was afraid what would happen if he let go. his hair so messy and his tone so genuine it almost hurt. "sweet dreams, sugar," he said into your hair before pulling away.

even though, that night, you might have dreamed about how his rough hands might feel as they held your soft cheek, how his chapped lips might slot against your glossed mouth. even if you woke up, that next morning, practically sweating. not the sweetest of dreams.

today was your day off. you had plans later with bridget, but you decided to book a haircut and blowout at the salon downtown, since you had the whole morning to yourself. the salon was one place you hadn't been in, yet, and you hadn't had a haircut in months, so you figured now was a good a time as any.

the bell above the door rang when you stepped inside, but no one seemed to notice over the shrill thrum of hair dryers, sinks, and the steady stream of gossip that you appeared to have walked in on.

"she told me her trevor went on a date, julia," one of the stylists said seriously, her eyes expressive as she sectioned her client's head of long curls. "won't stop rambling on and on about her, she says."

your heart jumped in your chest at trevor's name, sunk accordingly. he had been on a date? you weren't sure why you had assumed you were the only girl in his life at the moment, but it stung, nonetheless. you pulled at a thread on your long sleeve, eyes down.

you can't be upset, you told yourself, don't you dare be disappointed-

"oh, honey, how long you been waiting?" one of the stylists called out, making her way over to you and the front desk. "swear you have to throw somethin' at one of us when you come in or we'll never stop talking." she had such an easy way of speaking, a comfortable posture, a genuine face.

"sorry," you said, looking around, still recovering from what you'd overhead.

she just waved you off with a smile. "it's us motormouths who should be apologizing," she said before introducing herself as ginger. "now, what name is your appointment under?"

you told ginger your name, and as soon as you did, her eyes sailed up to meet yours again, wide and bright. she snapped her fingers, getting the room's attention. "you're the doll who stole our baby trevor's heart!"

you blushed furiously, felt the words in your mouth twist and tangle like a toddler's hair. "me? no, that can't be right," you said. there's no way last night counted as a date, you thought. there's no way he's talking about me.

the other stylist just squealed as you were led to a chair. "of course it's you! look at her, julia," she said to the woman in her chair, practically elated, "what a treasure!"

your blush wasn't going anywhere any time soon.

"that boy's been talkin' to 's mama 'bout you, honey," julia said from her chair, her expression knowing. "he's just about smitten, she says."

"and a mother always knows," ginger said, emphasizing her words with hairbrush gestures.

so you spent your appointment getting a couple inches off, hearing about the trouble trevor used to get in when he was younger (apparently alex used to be the biggest troublemaker, though), hearing about how trevor just went around fixing whatever anyone needed fixing.

"swear that sweet boy wouldn't charge a dime if this town'd let him," ginger said as she worked long layers into your hair, "we have to sneak payment into his pockets, and even then he tries to give it back!"

your cheeks burned, your heart heavy with affection as she blew out your hair, leaving it soft and smooth. you paid, said goodbye for about ten minutes, found out just how hard it was to escape salon conversation.

"now go show off for our baby, honey!" someone called out the door after you, making you laugh. you guessed that all the stereotypes about small town hair salons were true.

you went on your weekly hike with bridget, who gave you that understated grin when she saw you. "looking good," she said, bumping her shoulder into yours. "trev doesn't stand a chance."

you rolled your eyes. "didn't get my hair cut for him."

she laughed. "i know," she responded, "but all anyone can talk about this morning is your date last night."

you couldn't help but scoff good-naturedly. "i can't believe people already know about this," you said, "it was literally last night, and it wasn't even a date."

she waved you off. "nobody cares about the logistics. even my girl was moping to me about it. she's got a little crush on her skating instructor."

"trevor teaches your daughter how to skate?" you asked, having never heard of this.

she nodded. "he's the highlight of her week," she said, her eyes soft, picturing her daughter's unabashed smile.

"get in line," you mumbled, covering your face with your hands.

why was everyone so intent on revealing adorable information about trevor to you today? didn't they know he already took up enough of your daily headspace?

"can't somebody tell me he hates animals, or something? or that he's really pretentious about art? or that he has, like, some weird fetish?"

bridget laughed. "sorry, babe," she said, "he's the town's sweetheart."

you were still reeling with all of this information when you got back to the inn, your face rosy from the outside chill, your body pleasantly awake from your walk.

you began up the stairs, humming to yourself, ready to collapse onto your bed, maybe catch up on some reading.

"you followin' me, sugar?"

you looked up, immediately, feeling your pulse in your neck, in your teeth.

there he was, of course, there he was, painting the railing in the stairwell, the sharp smell of paint faint in the air.

all dirtied up from the day, that slouch that only appeared in the late afternoon, that crinkly smile, all of it made him almost too good to be real.

"maybe," you said, like second nature now, after all those times before, his face forcing a tiny smile from your mouth.

you stood just in front of him now, held your breath as he reached up, twirled a strand of your hair around a finger. he let out a low whistle you felt in your stomach.

"lookin' awful pretty tonight," he said, not much more than a whisper as he thumbed the soft ends of your freshly-cut hair.

his words settled like thick caramel on your tongue. "thank you," you mustered, your mind spinning with all of the wonderful things you had heard about him, today.

he bent down to one knee in front of you as you collected your thoughts. "um, what are you doing?" you said, strained, dumb.

he looked up at you through those girlish lashes, smirk heavy on his perfect face. he tugged your foot closer to him. "shoe's untied," he said, gesturing to your sneaker. "may i?"

you blinked at him before nodding, because what alternate universe was this? you tried to imagine any other man you'd known willingly getting on the floor for you, just to tie your shoe. you couldn't.

he tightened your laces with nimble hands.

you cleared your throat. "heard something funny today from the ladies at the salon," you told him, trying to focus on something other than his proximity.

he hummed. "nothin' good, i'll bet," he mused, "ginger loves a good story."

"it was a good story," you said, reveled in the way his expression softened, giving you the courage to press on. he began to tie a double knot. "'bout how you're tellin' your mom we went on a date."

he pulled the bow tight, looked up a you for a second, a guilty, childish grin on his face, caught red-handed. you extended a hand to him, helped him back to his feet.

"oh, yeah," he said smugly, folding his arms across his chest, leaning back against the wall, easy, comfortable. "like how you asked me to dinner, and then cooked for me, and how it 100% was a date-"

you laughed, shook your head. "it was not!" you said, "i never said it was a date!"

he ran his tongue along the inside of his cheek. "call it wishful thinking, then, sugar."

and you couldn't focus too much on what he meant by that, so you just shook your head again. "you're too much," you said, wanting it to come out teasing, but instead there was a breathy sort of desperation behind it.

"yeah?" he asked, that smirk present as ever. you had grown so close to him without realizing it, now just a step away. him leaning back against the wall, you right in front of him, looking up at him.

you nodded, swallowed, your blood hot, your skin prickly, alive.

his eyes fixed you in place, teasing. "too much for you, sugar? can't take it?"

you bit your lip to stop any sound from escaping you, because everything seemed entirely too loud, then. you could hear your heartbeat, you swore you could hear his, the radiator could have been screaming at you. you didn't dare think about just how much you wanted to take.

to stop yourself from doing something much more serious, you simply reached your hand forward, swiped at a spot of paint on his face with your thumb.

your touch against his brow bone felt like an exhale, like melting wax. you could feel his warm breath on your hand as you pulled it back, but then he was looking at you, like that, like you were so, so special, like he would have doused his face in paint just to have your hands wipe it all away, and were you imagining the way his gaze grew fiery?

"trev! old man peters says his sink's still leaking!"

griff's voice rattled down the stairwell, smothering the flames in your eyes, if only just. just enough to break the spell, to pull away, to tell him you'd see him tomorrow for his coffee break, for his hungry gaze to follow you up the stairs until you were out of sight.

and so the routine continued, more butterscotch candies slipped into aprons, more pestering his friends, more slyly asking bridget what she thought about matt (she was deflecting, you'd observed, delighted). more helping with homework and reading in bed and cooking and snapping at old man peters to stop leaving his watch behind.

more stolen touches and longing glances and sideways smiles, backwards hats and work gloves stuffed in pockets, damp hair sticking to your neck, the hem of your skirt brushing against your thigh. more flame and softness and sweetness drenching your frame as he said hello, and goodbye, and sweet dreams, and anything else. that coil inside of you twisted tighter and tighter as you wondered what exactly was holding you back, what exactly you were waiting for.

one day, after work, there was a knock at your door. you'd be lying if you said you weren't a little bit disappointed when you opened it.

"you coming?" griff said, "town hall meeting starts in 5."

you scrunched up your nose. "town hall? what, is it required?"

he smiled, kind. "no, but they're usually a good time," he said, "and trevor's going to be there."

you had your jacket in your hand already. "he's not the reason i'm coming," you said, following him out the door and down the street.

"i won't tell anyone," was all griff replied, his smile understanding and gentle.

you had never been to a town hall meeting before. you'd guessed that the closest thing you could imagine was a student government meeting, which you'd been a part of in college.

this seemed much more laid back, though, taking place in the middle school gymnasium. it looked like almost everyone from town was here. you noticed old man peters, sitting with bridget, her daughter buzzing around from person to person. the salon ladies were talking to pretty much everybody. there was harry, sitting next to his mom. you approached bridget as griff went up to talk to the fire chief, one of his close friends.

soon enough, the meeting began, the first issue on the docket being the prospect of a stoplight on the intersection of drysdale avenue and york street.

bridget yawned, "same issue every meeting," she whispered to you. "always divided down the middle." this time was no different, you observed, the parents in the crowd seemed completely for the stoplight, the older crowd significantly against.

"next issue, a write in from the community, quote," the representative began, reading from notecards, "should the implementation of the 'dibs' rule be observed seriously, unquote." he cleared his throat, looked up to the crowd. "thoughts?"

you stifled an embarrassed laugh, held your face in your hands as bridget rubbed soothing circles in your back. "is this actually a real-life discussion topic?" you asked, incredulous.

"just let them have their fun," she whispered in a way that made her smile evident.

"i think 'dibs' is outdated and juvenile," a woman said, "sets a bad example for the kids."

the man up front was taking notes.

"i think it's cute," bridget piped up from her chair.

"me, too!" her daughter giggled, jumping into her lap.

"alright, i've got two for cute, one for bad influence," the man said, "anyone else?"

"i think it's lame," a very matt-like voice said, gruff, short.

"one for lame," the scribe said aloud.

"well, i think you're lame," that goofy drawl called out, making you pull your head up, look around until you spotted him, near the front. he was swatting matt on the back of the head. "and i learned it from alex, so take it up with him."

his curly-haired friend hid a smirk. "it's a high school move," he explained to the crowd, before turning to face trevor. "we haven't done it in years."

"until now," trevor amended, "but you guys understand. you've seen her. you've talked to her."

ginger put her hand over her heart as if swooning.

someone coughed. your face was burning up. bridget nudged you gently.

"she's here, trev," griff said, to which the fire chief let out a hearty laugh.

"really?" he turned to face the crowd, his voice excited, hopeful, searching. "where are you, sugar?"

you raised your hand, of all things, immediately wanted to smack yourself. "hey," you said, mousy.

"hey," he parroted, mocking, but of course not maliciously. his smile broke you apart.

and then you were having a conversation with several rows of people in chairs between you, on a gymnasium floor.

"you're the only one with the dibs curse on you," he said, "so what's your take on it? should we abolish the practice for good? is it outdated?"

you swallowed, were looking only at him as the scribe sat at the front, pen at the ready. "well," you began, "it works, from what i can tell." his smile put you together again. "so it can't be that outdated."

his eyes shone, only for you. "you heard her," he said, "case closed."

"are we actually still talking about this?" old man peters asked, to bridget, but much too loudly.

the rest of the meeting passed, absolutely delivering on laughs and nonsense, as promised.

"last thing before we go," the man said, "does everyone have a ride to the away game tomorrow?"

you leaned over to bridget. "what's that?"

"the rec hockey team is away this weekend," she whispered.

"rec hockey?" you said, confused, "like kids?"

she shook her head. "like kids, yes, but not kids."

"sugar, do you have a ride?" trevor's voice rang clear against the mumbled chatter of the room.

you looked up, met his eyes again. "uh, i don't think i'm going?" you said.

there was a collective gasp, followed by silence. your eyes widened. "babe," bridget whisper-screamed at you. "everyone goes."

you cleared your throat, realizing your grave error. "well, then i don't have a ride."

"you can ride with me, honey," ginger said, sweetly, with a warning in her eye.

"trevor has to go super early since he's playing," bridget whispered from next to you. you nodded, signaling that you had heard her.

"thank you!" you called out.

rides were sorted, the meeting ended, everyone saying their goodbyes, folding chairs scraping against the waxy floor. trevor and his friends caught up with you and bridget on your way out.

trevor slung a heavy arm around your shoulders that you couldn't help but lean into. he smelled like sawdust and something citrusy. "i didn't know you played hockey," you said, looking up at him curiously, not letting yourself ruminate on how good he felt slotted against your side.

he shrugged.

bridget scoffed. "he's good, too," she said, "i hate to pump his tires, but only the best teacher for my baby girl." she pressed a kiss to the cheek of her smiley daughter, whom she had hoisted up onto her hip. "all of them play," she said, a vague gesture to the group. "lit it up in high school."

"not all of them are as good, though," trevor said, which caused some annoyed groans.

"what about heartbreaker alex, over here?" you teased.

"heartbreaker alex has grown up since junior year," alex said, soft spoken. "and it's not my fault my hair looks like this."

the shortest friend of the group, cole, the one with the loudest laugh, whom you had come to rely upon for book recommendations, put a hand in line with his brow bone, as if blocking out the sun to search for something.

"what are you doing?" alex asked.

"oh, me?" cole said, "just looking for all the girls you must be getting, since you've still got all that hair."

alex rolled his eyes, the group laughed.

"what about you, matt?" you asked as trevor held open the door, all of you stepping out into the night air. "i've heard the team's got a perfect record for dance invites. any high school stories?"

matt didn't say anything for a second, but bridget laughed. "you're really telling people that, trev, as if i didn't ask him freshman year?" she nodded towards matt, who was actually blushing, you thought, but the dark made it hard to tell. "was a tough sell, eh? he was so quiet when i asked i thought he pretending that i wasn't there."

"oh, we remember," cole said, tone alight with understanding. "funny how we grow up, but so much stays the sa-" he blew out a breath when matt elbowed him in the gut.

you smiled to yourself. "i'll see all of you tomorrow, for the game, then?" you said, the inn now steps away.

goodbyes rang out, and you made to remove yourself from trevor's embrace, but he only spun you back into his chest, pulling you close, his arms now wrapped around your back, your nose against his breastbone. you breathed in, melted into him, squeezed him back.

"did you mean it?" he said, soft, so only you would hear him.

you mumbled your confusion into his chest.

"when you said it was working? did you mean it?"

your heart jumped, his words so vulnerable you couldn't look at him. "i meant it," you whispered into his bright shirt. "you're working on me, trevor." you felt his lips brush against your hair, featherlight, before he let you go.

"sweet dreams, sugar," he said, and you walked back to your room with wobbly legs and an overactive heart.

the following day, ginger graciously gave you a ride to the next town over. she, of course, chatted you up the entire time, which you welcomed.

"i know i must be super late to the party here," you said, carefully, picking at your nails, "but what's the story behind bridget and matt?"

ginger tsked. "we're a bad influence on you, honey," she said, taking a right. "you're gonna be a big mouth like me in no time."

you laughed. "it's only 'cause matt's so obvious about it," you told her, "they've known each other forever, and i learned yesterday that she asked him to their freshman dance." you trailed off, hoping that ginger would take your cue.

she nodded, smiled fondly. "our bridget was always such a spitfire," she said, "always going for what she wanted. smart as a whip, too, but you know that."

you nodded. you did.

"and she could have had anyone, but she wanted our matthew, and he wasn't a sight for sore eyes then, like he is now."

is matt good-looking? you'd thought to yourself. you surely hadn't noticed. perhaps you were distracted. perhaps your gaze always wandered.

"but bridget marched right up, asked him to the dance, and the poor boy was so stunned it took him a full minute to say yes." she shook her head, lost in the memory.

"did they ever date, like for real?" you asked, enraptured.

she frowned. "no, i don't think so, at least. bridget was always bouncing around flings, trying out guys for a few weeks, then cuttin' 'em loose." her smile grew wistful. "then she had her darling girl, middle of senior year. dad booked it, never looked back. don't think she's been with anyone since."

you frowned, too, hating the thought of someone abandoning your friend, as lovely and wonderful as she was. what a privilege it would be to be a part of her family.

"and matt?" you asked, as the car pulled into the parking lot. you ran your palms up and down your jeans.

ginger whistled. "that boy's been starry-eyed over her since grade five," she said, "but me and the girls aren't surprised he thinks he doesn't have a shot. his self-esteem's never been the highest, not like the rest of 'em."

"not like cole, who swears he could land a plane, if it came around to it?" you said, grinning.

ginger laughed. "exactly. and not like alex, who was never without a girlfriend, and not like your trevor, who's never needed anyone to tell him how great he is."

you sucked on your teeth. "but we do, anyways," you reminded her.

"that we do, honey," she finished, putting the car in park. "let's go cheer on those knuckleheads, shall we?"

the rink was colder than you thought it would be. the walls were practically made of aluminum foil. you wrapped your arms around yourself, blew out a foggy breath, followed ginger to the away section, absolutely packed with everyone you recognized.

as you settled into the stands, your eyes immediately searched for trevor.

"he's number 11," bridget said, coming to stand next to you.

you rolled your eyes. "and what number is matt?"

she shoved you, playfully, but when spoke, it was bashful. "12," she said. "cole's 22 and alex is 39. police chief is 8, fireman spence is the goalie, and griff is the ref."

you furrowed your brow. "isn't that a conflict of interest?" you asked.

she huffed in a laugh. "if anything, it's a disadvantage for us."

the game started, and you realized very early on that maybe trevor hadn't been lying when he said not all of them are as good. he practically flew around the ice, graceful, mesmerizing. and it was obvious that he wasn't looking to show off, either, that he was just playing to have fun, and if he really wanted to, he could run the scoresheet up into oblivion.

you could feel bridget smile beside you. "yeah," she sighed. "it's pretty crazy."

"he could play professionally," you breathed.

she shrugged. "he's happy," she said simply.

cole scored twice, the other team clawed their way back in. griff threw alex in the box for boarding, which old man peters, even with his granddaughter in his lap, would not let go, keeping a one-man ref, you suck! chant going long after the power play was over.

"does he know it's griff?" you asked bridget.

"of course he does," she said. "he'll buy him a beer after this."

such was small town life, you supposed.

in the end, fireman spence made some crucial saves, keeping it tied late into the third. with about a minute left, trevor made an unreal, practically magical pass to matt, who finished it off in a one-timer that sunk into the back of the net.

the crowd erupted. you and bridget jumped up and down, holding each other as the goal horn sounded.

the team went through the line in celebration, then skating by the away section before the next face off.

trevor blew you a kiss. you shook your head at him, but couldn't wipe the smile off of your face.

the game ended in a win, and the town migrated over to the local bar. you busied yourself with harry's mom, telling her that no, she had nothing to worry about, yes, harry was quiet, but he was kind as anything, and that was most important.

everyone cheered when the team walked in. you clapped along with them, feeling a smile tug at your lips as soon as your eyes locked on trevor.

his eyes found yours immediately, that lazy grin following as he squeezed past people to get to you.

you met him halfway, a hazy neon light over your heads, making color dance in his eyes like starlight. his long hair was damp, curly at the ends in a way that made you want to reach up and tug at them.

"speechless, eh, sug?" he teased, shrugging one shoulder with exaggerated arrogance. "i know, my play tends to evoke that reaction from people. i-"

you scrunched your mouth to the side, smacked him lightly in the chest. "god forbid i try to think of something nice to say to you," you said, smiling. you made to pull you hand back, but his warm, wide palm came up to cover it, holding it against his chest.

you exhaled, looked up at him, unsure.

"what was your favorite part?" he asked, those shining eyes careful. "did you like cole's between-the-legs? or maybe my last assist?" he winked. "always a crowd favorite."

suddenly confidence welled up inside of you, a vault. but we tell him anyways, you had said. that we do.

tell him, the overhead lights whispered.

"when you blew me a kiss," you said, reaching your free hand up to cup his jaw, textured under your touch from his five-o'clock-shadow. "that was my favorite part."

flame crept into his gaze abruptly, suddenly, shockingly. he settled his other hand on your hip, pulled you closer to him, his grip making your breath catch. "was it?" there was a roughness to his voice that felt tangible.

you nodded slowly, speaking to his mouth. you weren't scared. you weren't running. you weren't stalling. your skin was humming, your blood felt hot. he was so perfect against you, his hand over yours somehow the most intimate touch you could remember.

he ducked his head to yours, just a breath away, so you could see the gold in his eyes. "let me do you one better," he rasped, waiting for your single nod before finally crushing his mouth to yours in a kiss that felt like early sunrises, slow and meaningful and only the beginning.

you pushed up onto your tiptoes, looped both of your arms around his neck, tugging him closer, closer, as he kept one hand on your hip, the other grasping the back of your neck, keeping you from collapsing into him.

kissing your ex had felt almost robotic, scientific, stiff in an endearing way at best, stiff in an awkward way in reality.

there was nothing stiff about this, nothing scientific about him. this was all feeling, all malleable, all calloused hands and chapped lips. he kissed like someone who had to work for it, like someone who didn't have to prove anything to you but wanted to, anyways.

just that was enough for you to sigh against him, the fact that there were other people around the only thing stifling your soft moan.

he smiled into your mouth, like a low-spoken secret between the two of you. "taste like butterscotch," he mumbled against your lips, pulling away only just enough to make sure his words didn't disappear unheard down your throat, almost drowsily. "you like those candies i give you, sugar?"

your chest rose and fell against his. the low music in the background roared in your ears, the neon light making him look like some stained glass thing worth kneeling for. "like 'em because you leave 'em for me," you said, your fingertips tracing the top of his spine.

his eyes shimmered. "can i tell you something?"

you nodded.

he hummed, gave a guilty sort of smile. "gave 'em to you because i didn't like the taste of 'em," he started, smirk growing wider. "and i wanted to convince myself to hold off on kissin' you. not to rush you, you know."

you understood, and your swollen lips quirked at the story, but your eyes flashed with something like hurt. "you don't like the way i taste, trevor?" even if it was his own doing, you suddenly wanted to brush your teeth.

"that's the thing." he ran a steady thumb along your hairline. "think my plan backfired, 'cause butterscotch's my new favorite flavor." his thumb reached your chin, tilting it up to his mouth again. "can't get enough of it," he murmured, a man possessed, barely audible as he kissed you again, this time with a softness that cut like a dagger.

you swore your head was still spinning the next day. what was supposed to be just another shift at the diner quickly turned into a flurry of questions, of neighbors looking for a side of gossip with their french toast, of line cooks swearing there was something different about you.

it was hard to answer anyone, to do anything, honestly, when it felt like you were floating, like your head was far, far away, up in the clouds.

harry gave you a fist bump when he saw you. old man peters told you in a stern tone that public bars were no place for fornication, to which an ecstatic bridget patted his shoulder and reminded him that it was only a (sort of) innocent kiss.

she pulled all the details out of you, lit up as you flushed and stumbled over your memories.

the police chief made some joke about that boy being a bad influence when you accidentally brought him whole milk instead of soy milk for his coffee.

ginger and the girls were like some insatiable beast that only let you be when you reminded them that if they kept you much longer, the diner would go hungry.

of course, your heart instinctively fluttered when that tell-tale gust of loud laughter burst through the door, along with the drag of heavy work boots, the shuffling of canvas outerwear, the shoving of gloves into back pockets.

you made your way to the table with their regular pot of coffee, met trevor's dancing gaze almost sheepishly.

"morning, guys," you said, smiling at all of them.

they chimed their chorus of good mornings, pouring their coffee into mugs themselves, as they always insisted on.

"so, what's new?" cole asked, his head resting on his fists. "probably nothing, right?"

alex and matt hid their laughs.

you rolled your eyes, smiled nonetheless. trevor had a hat on, today, making his hair curl out from the bottom of the brim. you tucked a curling lock behind his ear, ran your nails soothingly along the hair at the nape of his neck.

anyone watching would have seen the way his gaze melted like milk chocolate, how his shoulders softened, his posture relaxing completely into your small touch.

he looked up at you, eyes so soaked in affection it spilled down his face like mascara-stained tears. "i missed you," he said.

his friends groaned, as if they'd heard this a million times. suddenly, with a blush, you had a guess as to what his morning had been like. perhaps he had been just as distracted as you.

"i missed you, too," you said, because it was the truth.

"he almost dropped a crate on my foot this morning," matt said, bitterly.

you put a hand over your heart. "how tragic." you looked up, making eye contact with your friend across the diner. "hey, bridge! matt almost hurt his foot this morning. has science found a cure for that, yet?"

she huffed a laugh as she approached, shook her head at matt when she stood in front of the table. she held the back of her hand to his forehead, as if checking for a fever. "are you sure you're okay, sweet boy? this sounds serious," she joked.

matt had paled. trevor pulled you into his lap and you hid your laugh in his collarbone.

"'m fine," matt bit out, to which bridget smiled.

"thank god, that was close," she said. her gaze wandered, landed on something out the window. she squinted. "did somebody dig up some of the flowers outside?" she asked.

"dig?" alex mused, "maybe rip is a better word, eh, trev?"

"right. almost forgot." trevor held you in his lap with one hand, reached the other to the side. suddenly several flowers were being held in front of you, thin, spidery roots still intact. "sugar, will you go to the valentine's day skate with me?"

you smiled, wide and toothy, touched one hand to his face as the other grasped the humble, earthy bouquet. "of course i will, handsome," you said, "what's the valentine's day skate?"

"pta event, tomorrow," bridget said, looking on with interest. "whole town shows up."

"this town shows up for everything," you replied.

she smiled fondly. "heart-shaped balloons and fruit punch and ice skates. what's not to love?"

you turned your neck to look back up at trevor. "'m honored to have been on the receiving end of one of your famous invitations," you teased, "even if it's not for a dance." his delight rumbled into your shoulders, the back of your thighs, firm and warm.

cole yawned, stretched. "duty calls, fellas," he said, making to get up.

you reluctantly pushed up from trevor's lap, quickly pouring his untouched mug into a to-go cup. the team filed out with their typical string of thank yous and goodbyes, matt's extra glance at bridget met with a returning smile.

then it was you and trevor, as the morning break always ended, like clockwork, like a bedtime story that was comforting in its predictability. he tucked a bill in your apron, several candies, the weight of them alone making you smile.

"did i tell you how pretty you look today?" he told you.

"no," you mused, your hands clasped behind your back, shifting on your feet.

he hummed. "so pretty, sugar, never been so nervous to ask someone out," he admitted, that smug smile lazy across his face.

you tilted your head. "don't be nervous," you told him. "you're the easiest yes i've ever had."

at your words he ducked his wide shoulders down to you, flipped his hat backwards on his head so as not to impede you in any way, kissed you with a rough palm on your soft face, your hands still behind your back as you met him up on your toes.

a different kiss, one so lovely, still, soft and beautiful, drenched in daylight.

would your head ever stop spinning, when it came to him? would you ever come down from the clouds, again? even if you did, would there not be cumulus tufts in your hair, wisps of cirrus in your lashes?

he was proving it difficult, especially that next day, the fourteenth of february.

you had the morning to yourself, existing slowly and methodically, reading and running errands, finally starting to get ready for your date in the late afternoon.

before you knew it, there was a knock at your door, just as you had swung your jacket on. you swung it open to find him leaning against the doorframe, the picture of ease, shoulders drooping the way they always did after a working morning.

"ready to go?" you asked, making to close the door behind you before pressing up on your toes to kiss him on the cheek. he caught your face in a hand before you could, though, steering your lips towards his mouth instead. you laughed against his lips. "greedy," you taunted, pulling away, letting yourself lean into his warm side.

"got no idea, sugar," he admitted, voice twinged with a day of speaking. you walked together to the high school ice skating rink, only a few minutes away, the brisk february air biting at your nose, your ears. you caught up on the morning, what book you had finished, how annoying ginger's husband was being about the state of his rain gutters.

when you entered the rink, finally, pushing forward the old doors, you couldn't help but smile, and trevor couldn't help but watch you.

everyone was here, of course they were. balloons hung from the top of the glass, streamers decorating every archway and spare inch. a massive table of themed refreshments was just next to the bleachers.

it looked like something out a ninety's film, mixed with the unique small town charm and wintery love you had come to know so personally.

you and trevor quickly got your skates on, all lingering touches and knowing smiles, and headed for the ice.

you were shaky at first, but his hands were so tight on yours, you knew there wasn't a chance he would let you fall. he spun you around the rink easily, twirling you like a ballroom dance floor, ever the show-off, anything to make you laugh.

"hey, harry!" you called out, at one point, noticing your host-friend helping a taller, skinner kid his age onto the ice. he waved, his eyes glittery in a way you recognized. is that jason? you mouthed. harry nodded, smiled shyly. you gave him an impressed thumbs up, trevor whistled.

you asked trevor how he got into hockey, watched how his mind waltzed behind his eyes when he talked about outdoor rinks with his friends in elementary school, how even piled-on scarves and hats and puffer jackets didn't stop that flying feeling.

significance would gather in your stomach, butterflies morphing into something much more serious, the kind of flame you'd find in a living room fireplace, in the hearts of teenage lovers.

you skated by cole, scooping up the snow he had made with quick starts and stops, and alex, whose neck was becoming the new home of said snow.

alex grunted, immediately breaking into stride to catch a fleeing cole, whose bright and clear laugh echoed under the roof like church bells.

the fire and police departments had started a relay race, ginger and her girls had formed a circle close to the hot chocolate.

old man peters held his sleeping granddaughter in his lap, bouncing his knee gently, both of their smiles blissful.

trevor's hand found your far hip, pulling you into his warm side. you sighed, looked up at him as you let your fingers trace along his jaw.

"touchy today, sugar, hm?" he said into your hair, a rumble to his tone that told you he liked it.

you hummed, nodded. "you just look so..." you trailed off, in thought, thinking about what, exactly, you meant to say. he looked what? practically edible? like an ocean you wanted to drown in?

how could you tell him you'd been avoiding looking at his hands, for fear you'd blurt something out about wanting them around your neck?

you just swallowed, cleared your throat. his smirk was a flash of teeth.

"you feelin' okay?" he cooed. "should i take you home?"

you found yourself nodding, even though you hadn't been at the rink for long.

"yeah?" he mocked, taunting, his hand on your hip suddenly firm, burning.

bridget's laugh cut through the sizzling air like a stream of cold hose water. you both turned to look at where she now sat, having obviously fallen onto the ice. she peered up at matt through her blonde bangs. "some teacher you are," she laughed, "i knew trev was the right choice for my girl's lessons."

matt shook his head, a barely-there smile on his thin lips. he offered her a hand, steadily helped her to her feet, an almost undetectable shake in his breathing as bridget grabbed onto his forearm for extra stability. "alright, smart ass," he mused, "no help for you, then."

he made to drop her hands, to leave her on her own, but she latched onto him tighter. "yeah right," she said, "you're not going anywhere, sweet boy."

cole's laugh sparkled at matt's flush.

you and trevor were already on the way out, bidding your short goodbyes, half-assed excuses about not feeling well given and taken with knowing eye-rolls.

he walked you back to the inn, up the stairs, his hands on you ever-so-distracting, his voice a careless rasp, your heart beating heavy in your chest.

you finally made it to your closed door, your back against it as he looked down at you with that heated gaze, his frame boxing you in.

"well, get some rest, sugar," he said, slowly, smiling. "since you're not feeling well." he twirled a strand of your hair around a finger.

you sputtered. "what? trevor-"

his eyes widened in mock-surprise. "oh, is there something you want?" he asked.

you clutched at his shirt with your fist, pulled. "please."

"please, what, sugar?" he asked, so smug you wanted to punch him. "gotta tell me what you want, hm?"

"you," you whined, but that wasn't enough.

"oh, is that it?" he drawled, ducking his head down to you, so close, but not close enough, not even a little.

you worked your jaw, so frustrated. "just," you tried, "just please, touch me, trevor, i just wanna feel you."

he smiled, held the side of your face in his palm. "am touchin' you, sugar," he said, "tellin' me this isn't enough?"

you ran your tongue along the inside of your cheek, groaned at his feigned confusion. "shut up," you breathed, his mouth an inch from yours.

"make me," he bit back, and then you were kissing him. you swore your lips would be charred, later, as if in proof. you reached a hand behind you, twisted open your door, while the other rooted in his hair, tugged him inside your room as he moaned against your lips.

one of his hands grasped the back of your neck, the other a bruising grip in your side, walking you backwards until the backs of your knees felt the blunt edge of the bed.

you barely registered as he reached under you, flipped you onto his lap, your legs straddling his hips as he sat down on the comforter, far too caught up in this kiss, somehow still so different from ones you has shared before. so charged you felt the air might combust at any second, that, despite his relentless repairs, there was no way this inn could withstand the way he was kissing you, now. surely, the roof would cave in under the weight of your want, water would sear straight through the pressurized pipes.

he smiled against your mouth when you started to rock your hips back and forth across his lap, just so desperate for something, anything.

your exhales came out short, little pants as you reveled in the little friction you were getting against his firm thigh, covered in his heavy work pants, nothing close to what you really wanted, but something, at least.

mercifully, he moved your clothes aside, rocked you more forcefully, making the sensation practically blissful. you dropped your heavy head to his neck, moaned into it.

"oh, sugar," he cooed, and you squeezed your eyes shut. "so greedy for it, hm?"

you nodded into his neck, the tough texture combined with the heavy weight of his thigh catching you in just the right spot, urging a whimper from your throat.

"makin' a mess of me, yeah? could cum just from my thigh?" he said, almost like he felt sorry for you, but you could hear the smile in his voice. you bit down gently on the space between his neck and shoulder, your small retaliation, smiled at his groan.

you slowed your rhythm, picked your head up, let your chest rise and fall as you looked at him in the face, searched his eyes.

his face was slightly flushed, his eyes only just a bit glassy, but he looked at you like you were a wonder, like some divine power had made her way into his lap.

you pressed a feather-light kiss to the corner of his mouth, loved the way you could feel his smile crinkle and widen under your lips.

"please, trevor," you whispered, your touch so soft around his neck. "please just give me what i want."

you shifted on his lap until you felt him, hard and hot and heavy underneath you. his voice came out with a strain. "anything, sugar," he told you, "just tell me."

you lifted your hips up, could feel how wet you were, could tell you had probably left a trace of yourself on his pants. "wanna cum on your cock, trevor," you breathed, couldn't help your sly grin when he immediately began to tug his clothes aside. "please, please let me. i know i'm so greedy-"

he was nodding like he understood as he angled your hips up higher, shifted you so that you sat right above him as he pumped himself up and down, once, twice, so obviously ready for you. "you are, sugar," he said, so eager it almost sounded like a whine, "but i'll give you anything you want, swear it." his hands found your hips. "just promise you'll only be greedy for me, hm?"

you sank down onto him with a nodded promise, bit your lip at the slow, scorching pressure, the pleasant stretch that pulled at your middle, that you felt in your toes. you blinked, trying to get used to the sensation, trying to muffle the groan in your mouth.

"fuck," he moaned, his fingers clutching at the flesh of your hips like you might float away if he let go, "all the way, sugar, 'atta girl." you huffed a short breath when he was all the way in.

words felt far away, suspended in bubbles that whirled around your head.

"speechless, eh?" he teased, and you had a sense of deja vu. "don't worry, sugar. common re-"

and you could have growled at him for alluding to the fact that other girls had felt this, that there were other people in the world who knew what this felt like, so you fitted a delicate hand over his mouth and rolled your hips up and back on him until he was the speechless one, moans falling from his mouth, his brow pinched in pleasure.

"don't worry," you breathed, your mouth an inch from his ear. "common reaction."

you began to move your hips up and down faster as the stretch gave way to something dizzyingly good, as he began to thrust back up into you. so hard and fast, but he held you like something precious. his rhythm built until your mouth fell open, until sweat shone on the high points of his face, until time melted away, until you were reminded of what you'd mistaken him for when you'd first seen him, all that time ago - some ancient sculpture. a work of art.

he cursed as your clit caught on his pubic bone, the friction so overwhelming, and you clenched down on him. "give it to me, sugar," he said, but the strain in his voice made it sound like a plea. "fuck, let me hear you, yeah?" his tone grew gentle. "been wantin' to hear you for so long."

you tightened around him further at his small admission, let your nails rake down his neck, probably a little too hard. he grunted, thrusted harder, shifted you closer to him.

you moaned his name at the new angle, one you felt in the tips of your ears, your hairline, your tongue.

you were so close, so impossibly almost there. "please make me cum," you whined, "please, need you so bad." your exhale was practically pained as you ran your fingers over the red marks on his neck your nails had left. "don't i deserve it, baby?"

he grunted, and it was different. you felt his stomach and thighs clench, his hips sputter as his head spun with the fact that you'd gone right to begging him, skipped the asking part. he pressed his hand to your lower stomach, let his thumb catch against your clit, sending you over the edge in moments. "'course you deserve it, sugar," he rasped, gravelly, in your ear as you rode out your high, his thrusts growing wild. "been so good."

you clenched down on him, forcing his own orgasm, fast and all-consuming, the smell of him everywhere, mixed with your perfume. your exhales were warm and heavy, transparent clouds that settled on the floor of your room, making it every bit the dreamland it had become in your mind.

he held you so close to him as he pulled you to his chest, leaned you both back on your bed. you stared up at the ceiling.

about time, one of the tiles whispered, holding a crisp fiver.

couldn't have waited another week? the losing tile muttered bitterly.

you smiled as his rough hand found your face, tilted it towards him. he was smiling. your stomach fluttered as you felt your own mouth pull wider.

"what?" he asked, his voice rough, drowsy with use.

you shook your head. "nothing," you said, "just you." your eyes crinkled under the weight of your happiness. "i'm callin' dibs on you."

his eyes lit up as he pulled you in for another kiss, slow and overflowing with meaning. he hummed. "butterscotch," he whispered against your mouth. "my favorite."

fin.

590 notes · View notes

quinton-reviews · 3 months

Note

Hi Quinton!! I have been a HUGE fan of your stuff since a friend sent me the Tobuscus Fallen Titans (I used to watch him back in high school and was like "huh, wonder what happened to him after those allegations") and I gotta say, it is REALLY FUNNY every time my fiancé and I watch the iCarly videos again, because when you cover Gibby's stunt double breaking his ribs, you cut to a clip of The Official Podcast. I used to play D&D with one of the main dudes from the podcast, so when he talks during that clip I do a goddamn double take literally every time.

Anyways, I remember an original Patreon stretch goal being a Fallen Titans on Homestuck! I was really big into Homestuck in my early 20s, and was wondering if that's still on the table at some point? If not that's fine, I understand plans change! I just love Fallen Titans lol, the Fred episode and the Neil Cicierega unFallen Titans are some of my favorite videos of yours!

That's a real funny story!

So here's the rundown on the Homestuck video. When I first started making long videos, they were actually inspired by the relationship I had with other YouTubers at the time. I used to watch, like, H3H3 and Filthy Frank, etc; and I'd always see people obsessed with the versions of creators from the past. Like, "Oh 2015 H3 was the best" and "Oh 2012 Frank was peak." So I had this idea that it would be crazy if H3 posted, like, a video he spent a decade on and you got a new video with 2015 H3 10 years on. (I don't watch H3 anymore ironically)

So the original idea for the "long video" format was that it would be cool if, throughout a long, analysis/review/recap video, you kept noticing someone get older. Maybe my months, maybe by years. That's why I always like to get a haircut when I start one of these videos. If you scrub through and you see my hair get longer and messier as it goes on I think that adds something magical you can't fake.

So... My pitch to the Homestuck video was that it would be funny to work on it just once per year. To record one segment, say "That's it for 12 months", and then come back around to it. And when I was making the iCarly and Victorious videos I actually recorded a few minutes of the video! I think it was two segments in total. But then I had a bunch of personal stuff happen and my work drive has been much lower, so any "back burner" video hasn't gotten much attention since then.

Now that the iCarly mini-series is done with, I want to focus on some short one-off videos I can make before April. But once that's done with, I would REALLY love to start work on a few more long-term projects which will take months or years to finish. I think returning to work on the Homestuck video, to at least get the first 20-30 minutes done, would be a great idea this summer.

Now, if you want to know my pitch for that video, here it is. The video is not a recap of the creative history of the franchise. I do not get into drama, community hell, lawsuits, or other YouTubers. My idea is this: you always hear about Homestuck as an outsider but you never hear about the actual content. Most franchises on Earth I know something about, even and especially if I've never been interested in them. I can tell you a bunch of facts about wrestling and MLP and the Fast and the Furious simply through cultural osmosis and having friends who are into those things.

I can't tell you the plot of Homestuck, who the characters are, what the themes are, nothing. I've known a lot of people who were into Homestuck but nothing about the series!

So I thought it would thus be funny to make a video about a bunch of people who know nothing about the series starting from the beginning and giving their reactions, even if it's been years since it all started. I call this part of the video the "Homestuck Book Club." So the next step is me picking out the members (who all have to have no history with it) and making sort of a podcast setup. We'd then read and record every six months or so, IDK.

This is why the video has been stuck in production hell! Everyone who wants to work on it and messages me about it already knows the franchise. I don't want spoilers, I don't want people writing for the video who get it already. I want to capture the "what the fuck is this" energy of three dudes just getting in the middle of it.

Also, I think that I really like the theme of the video capturing our lives as they go by, capturing us aging and changing. If you came back from the future and told me this video comes out in five years, I'd say great. If you told me it comes out in ten years, I'd say awesome. Until then, the latest edit will always be on Patreon, even if you have to dig a little.

#homestuck #quinton reviews #long videos

326 notes · View notes

spookberry · 1 month

Text

Shadow High series 3 my new beloved

I didnt even like most of em until i saw them in person, but the knowledge that they'll probably never be in the show has my brain in a "well its free realestate" kinda mood

Random list of information cuz ive been plotting out friend dynamics and background lore

-i like to pretend Rainbow High/Shadow High are actually Rainbow University/Shadow University cuz im in art college Right Now and i think it makes more sense with the whole dorm room situation. And also major makes more sense than focus IMO

-I changed Pinkie's major from film to just undeclared. I think she eventually does land on Film. She just has a lot of interests! Her dream has always been to one day direct films, and I think she comes to love them even more while developing ideas her with the group as she winds up in a Director/Producer position for most of them. BUT also every time she takes a class in a different program she cant help but fall in love with that way of making art too. So she has a hard time picking for a while and changed her major a couple times before landing on Film.

-Pinkie and Berrie bond a lot over a shared interest in vocal synths (tho Berrie knows more about them than her).

-The two made Pinkie's vtuber model together!

-the fandom wiki says PJ is from germany?? Idk how canon that is tbh but ive decided to embrace it i guess

-Rooney's canon name is Scarlet Rose, but i thought it was kinda lame especially when Rosie Redwood is also in this line sooo I renamed her! Stuck to the color name puns tho. Mar Rooney. Maroon. Haha

-Speaking on her though i love that shes from texas and likes writing scifi mystery type stuff and that being said i just Know deep in my bones that she was a Voltron Legendary Defender fan and Keith was/is 100% her favorite. She has a continued fondness for mothman specifically cuz of this.

-PJ and Rooney actually talk about fandom and shows/movies ALL the time. They dont have a ton of overlapping interests, but where they do? The two literally never shut up.

-Rosie is such a random character, like outside of her design she feels very poorly considered. So I scrapped the cosmetology thing and made her an illustrator instead! I think it works better with her love of making art in nature. I can see her being really into illustrated guide books. I think shes a bit snooty when it comes to art too. It takes being friends with other artists to become more open minded.

-I like the idea that Rosie is mainly friends with Rooney and Berrie ontop of that. The three of them often tag team storylines and how theyd interpret them into different mediums. Rosie will draw up a bunch of concept stuff while Rooney writes up a pitch bible and Berrie will start making shit move and throwing in her own ideas on camera angles and character designs.

-as an animation major Berrie was required to take a sound design class early on, which is where she met Oliver! Hes very laid back, and likes to go with the flow, but functions a little like the "mom" of the group. Often reminding the girls to take breaks, drink water, stop looking at their screens lest they get eye strain etc. He's multi-talented tbh but Music is his one true passion and he likes how the girls are always giving him collaboration opportunities.

-Oliver and Rosie like to talk sports a lot, both having played a bunch when they were younger and throughout high school.

-Lavender Lynn is Oliver's number one "person who needs constant reminders to settle down" she is in a constant buzz of trying to get the best shots and is utterly obsessed with the process of artistic documentation. Everything must be documented.

-the whole school loves her for this actually, she has a whole side gig where other students hire her to help photograph their projects. She saves everything she earns from this for her future dream plans to visit paris. She has it set really, many of the artists who she helps photograph now will remain steadfast clients of hers forever onward.

-PJ and Lynn actually took a print media class together at one point. Which didnt at the time spark an everlasting friendship. But it did give PJ an easier in to ask for Lynn's help documenting a project the group was working on. One of Lynn's first times photographing them work happened to fall on a day where Rosie had planned to trick everyone into going on a nature walk sans devices... Lynn wound up really appreciating this outing and decided to continue hanging around the group even after that project had ended.

#shadow high #rainbow high #my art #fanart #i had to write down all my ideas just to get them outta my head #now im free

202 notes · View notes

writingquestionsanswered · 4 months

Text

Trouble Making Stories Work

Anonymous asked: I keep getting stuck on ideas. I can pick out one base idea to work with but can't get further than that. I could get an idea for a external conflict, but no ideas for the characters or stakes. It doesn't matter if I get an idea for a conflict first, a character, a world, or a "what if" scenario, it all just stops after that. Do I just not have enough creativity? I've been wondering if storytelling is for me at all... I have read your Creative Well stuff multiple times. I do have one, but it doesn't always have what I need. And it takes time for things to get added. If I'm working on a story and get stuck, I need ideas as soon as possible. I can't really use my time watching movies and going on walks and hope for some ideas when I need them when I'm finally at my computer trying to write. It's not often I'm able to get myself to do it.

(Ask has been edited for length...)

If you make sure your creative well is full, and stays full, and you still struggle with ideas in the moment, the problem is that you don't have a solid enough understanding of how stories work. The ideas don't go anywhere because you don't know what to do with them. You don't have a solid enough grasp on internal conflict, external conflict, motivation, goals, internal wound, plot points, story structure, character development, and world building to know where to take each idea. It's a little bit like loving cars but trying to design one without knowing anything about car construction.

I really wish I could just say "do this" or "do that" and it would magically solve the problem, but there's no quick solution. You'll have to spend some time learning about your craft before you can bring these ideas into full stories. The more books you read or listen to, the more you'll understand how stories work. You can also read writing books and articles, and watch writing videos.

While you're doing that, you can continue to work on your current stories. Pushing your brain to come up with solutions is actually helpful, and the more you fill your brain with craft knowledge, the easier those solutions will come. Here are some posts that will help in the meantime:

Fleshing Out Plot Ideas Turning a Barrage of Ideas into a Plot How to Turn Ideas into a Story Finding a Story in Characters and Setting Finding a Plot to Go with Characters/Setting Can Come Up with a Back Story but No Plot Want to Write but Can’t Come Up with a Plot Guide: How to Turn Ideas into a Story Guide: Starting a New (Long Fiction) StoryGuide: Filling in the Story Between Known Events Guide: How to Outline a Plot Basic Story Structure Beginning a New Story How to Move a Story Forward Plot Driven vs Character Driven Stories Understanding Goals and Conflict

Happy writing!

•••••••••••••••••••••••••••••••••

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!

LEARN MORE about WQA

SEE MY ask policies

VISIT MY Master List of Top Posts

COFFEE & FEEDBACK COMMISSIONS ko-fi.com/wqa

#writing tips #writing help #wqaadvice

253 notes · View notes

gffa · 17 days

Note

Hi, since you’ve been reading the star wars books, do you have one you’d recommend as a starting point for someone who’s never read any of them and is interested in seeing what they’re like?

Hi! This is going to be very subjective, given that I'm not sure what your favorite characters are or which era you're interested in, and if you're interested in the best books out there or ones that typify what the books are overall like. BEST BOOKS: - Revenge of the Sith novelization by Matthew Stover, god-tier ability to take my favorite SW movie and make it even more emotional and hard-hitting. It adds even more depth to the story, has beautiful writing, and just is a really satisfying read imo. - Padawan by Kiersten White, which is a story about a young Obi-Wan going on an adventure by himself and I think really captures how I see his youth, that there was struggle and difficulty, but overall it explains why he loves being a Jedi and why there's so much joy in his life. - Light of the Jedi by Charles Soule is good for if you're interested in the High Republic stories and I still think is easily my favorite of the entire line. There was so much good foreshadowing and banger lines that really got Star Wars and was an exciting plot to really hook me on THR.

BOOKS THAT MOST TYPIFY WHAT SW BOOKS ARE LIKE: - Brotherhood by Mike Chen is one that I have some stuff I side-eye in it (everything with Mace) and some stuff I was over the moon for (everything with Obi-Wan) and some stuff I was in the middle about (everything with Anakin). That's Star Wars novels in a nutshell for you! (I also think Dooku: Jedi Lost by Cavan Scott is another good starting place, it's an audiodrama, but it gives an interesting backstory to the character, has some interesting Jedi worldbuilding, and does some really great character work with Asajj Ventress.) - Wild Space by Karen Miller is a Legends book (and I usually try to stick to Disney continuity just for ease's sake) but it has some eyeroll-worthy stuff, some unearned stuff, and some absolutely batshit bonkers in the best way stuff. It's a RIDE to read and maybe not one to take super seriously but I feel like it captures the spirit of SW books. (Alternate suggestion: Dark Rendezvous by Sean Stewart is a really good Yoda & Dooku book with a lot of good appearances by other Jedi characters and one of the better books for Jedi stuff, plus lots of feelings and banger conversations between characters.) (Alternate-alternate suggestion: Another Legends suggestion, since there are a lot of SW books in that continuity, you could read the Jedi Apprentice series by Dave Wolverton and Jude Watson, as long as you know they're aimed at a pre-teen audience and are written accordingly and they are SUPER dramatic and put Obi-Wan through the wringer. I'm not always wild about Watson's writing, but when she writes a banger line, she writes a BANGER line, and they're very fun books that a lot of fandom still folds into their writing.) - The Aftermath trilogy by Chuck Wendig is a good place to start if you want to explore the connective tissue between the originals and the sequels, though I always recommend that I think they work a thousand times better as audiobooks. It's mostly new characters (which, welcome to SW novels) but it also has some really good Leia and Mon Mothma scenes, too. - Leia: Princess of Alderaan by Claudia Gray is for if you're more interested in the Original Trilogy characters and while I wish there'd been more worldbuilding in this one, it's a solid story from someone who genuinely loves this character, and will give you a good idea of what you can expect from Leia books. (If you're more interested in a Han/Leia story, The Princess and the Scoundrel by Beth Revis is on the same level. Solid story with occasional moments of fantastic. I had a blast with the Leia sections especially!)

#lumi.txt #star wars #novel recs

126 notes · View notes

dduane · 9 months

Text

The Novel as Cake

I was reading through the 'writing' tag on your blog, and came across your wonderful post about how you outline your novels using Cherryh's 'Shopping List' technique. My question is - how do you decide/come up with the 10 things in the novel? I have about 3-4 things I know must happen in my idea, and other random details about the world. But what is important enough to be one of the 10 things? And also, how do you generate your ideas for those 10 things? - Asked by Anonymous

…Okay, let’s take this from the top. (And for convenience’s sake, let’s stay in the shopping-list idiom; it’s useful enough.) (ETA: the blog entry that discusses the Shopping List outlining method is here.)

Let’s say you want to make a cake. …This cake also being your novel.

To have a solid story (in the western-novel tradition, anyway), you need at least two things: plot and theme. The plot is what happens. The theme is the why of what happens, and (to a certain extent) the book-wide spectrum of thought and emotion that underlies that; the answer to the question “But what’s the book about?”* …Think of this duality, for the moment, as the equivalent of having both liquid and solid stuff in your cake. You’ve got to have both or it won’t rise. A book with a plot but no theme has no soul.

So: you’re going to make a cake. What kind?

As an example, I’m going to ease myself out onto a limb here and equate “chocolate-chip devil’s food with chocolate buttercream frosting” with “epic-fantasy quest fiction with strong political, exoreligious, and quasiromantic components.” (A favorite for me, over time, as some folks will have noticed. I just can’t get enough of those chocolate chips…)

So how do you determine the ten things you need (or whatever number you like, but ten works for me) as major ingredients / sections?

Well, ideally from some familiarity with what has gone in other/similar cakes/works of fiction in the past: because (in genre fiction, anyway) you have at least some reader expectations to manage. If you haven’t been reading in your chosen genre, you really should be. ...Now, this doesn’t mean you have to do what other people working in the genre have done. Indeed, at all times you remain at liberty to “flip the punchcard” and do exactly the opposite of what everybody else has been doing, if that’s what suits you. But they’ve set out possible recipes for you, so (as a beginner at this work) it'd seem wise to examine those recipes and see what’s in them that might be useful for you. Once you’ve been doing this for a while, you don’t need to go looking, just as an experienced baker doesn’t need to run for the recipe book every time they want to make a cake.

Naturally you can substitute ingredients, add some or lose some, when you’re creating something new; just as you like—while always making sure you don’t throw away anything routinely required/expected in your genre. (Such as, for example, the Happily Ever After at the end of a genre romance.) But certain basics must be in place, things that make what you’re creating recognizably A Cake, as well as your own additions and embellishments.

In this case, that could be:

For a cake: flour, milk, eggs, butter, baking powder, cocoa, chocolate chips, vanilla extract, seasonings, a little bit of salt (because without that, even the sweetest cake tastes just a little insipid somehow)

For a novel: a protagonist/pairtagonist (is that a word? It is now…); an antagonist (not necessarily a character: an antagonistic or stymie-ing situation that keeps the antagonist from easily getting what they want/need will do just as well. This is where at least some of the interior drama will derive from); a change in interior or exterior conditions that sets events in motion; a “ticking clock” or similar construct that means the desired result must be achieved within a certain time or before certain conditions change or expire; various reversals or hiccups in the flow of the story that will inject a sense of realism (because when does anything ever go perfectly smoothly…?); a crisis point at which everything assembled against the protagonist rises up to be dealt with, and the protagonist rises up to meet the challenge and deal with it; and finally, a set of resolution events that (even if it doesn’t absolutely finish the story proper) brings about an end state that will leave you, and any theoretical reader, satisfied with the completion of the current story arc.

…Needless to say, this is an incredibly oversimplified take on the kind of strategizing needed when you’re creating the recipe for a novel that won’t simply collapse the minute you take it out of the oven. But starting simply is often best. The more you do this kind of work, the easier it gets.

Now: “How do you generate your ideas for those 10 things?”

There are a lot of possible answers to this, but the simplest is: Make them up out of nothing, as usual. :)

…This isn’t meant to sound like sass. You made up those first three or four things you came up with out of nothing, and now (because they’ve been there for a while, probably) they may well have started to acquire a kind of secret, temporally-based superiority in your mind—starting to feel somehow more valid than what needs to come next to fill in the gaps. This kind of creeping sense of validity-via-temporal-primacy is a commonplace when you’re in mid-process, and I invite you to ignore it.

Just insert those three or four things into your shopping list in (roughly) story-temporal order, and then spend some time thinking about what kinds of events could usefully come between / flow from them. Hints:

Events that could realistically have been caused by the ones you’ve got already, and could also realistically be seen as causal to later ones you’ve already established, are always useful. Ideally, you’re trying to establish a chain of events in which none of them look accidental, or coincidental (because readers are rightfully sensitive to plots that only work because all the characters are idiots, or keep having “lucky accidents”). What you’re working toward is an event flow that seems, when viewed in completion, inevitable: as if it couldn’t have happened any other way. You will almost certainly not achieve this easily, early on in your novel work, and maybe not at all. But it strikes me as a good thing to be striving for.

Events that badly screw things up for the main characters are also always useful. Heroes do not become heroes by having everything go their way. Their heroism is achieved and manifested by having things go to shit around them again and again and AGAIN, and nonetheless still finding their way through all that shit to do what needs to be done. The lines attributed to the Confucianist philosopher Meng-tse (sometimes translated from Japanese into English as “Mōshi”) are a touchstone in this regard:

When Heaven is about to confer a great office upon a man, it first exercises his mind with suffering and his sinews and bones with toil: it exposes him to poverty and confounds all his undertakings. Then it is seen if he is ready.

So put your protagonists through the wringer. This is the greatest service you can do them: showing who they are by showing what they're made of.

A variant on this theme: Spend a little time thinking, “What is the absolute worst thing that could happen to these characters in this story / in this world?” And when you’ve figured that out, stick it into one of those gaps as a Main Thing—ideally one between the story’s midpoint and its already-planned crisis, if you’ve got that in place—and then start thinking about how to best exploit it to show how terrific your characters can become if you kick them around a bit. (Addendum: you are allowed to have one Absolutely Terrific and Beautiful Thing happen to assist your characters in recovering from this awfulness. Because they deserve it; but also, all invented worlds [if you ask me] should have beautiful things in them—things to long for, things that make your reader wish they could live there. And that you find beautiful, and worth returning to. You are absolutely allowed to keep yourself entertained, and emotionally refreshed, while you’re creating.)

…Anyway, take your time about getting those gaps filled in. It may take a little while: laying down basic story structure is worth not rushing, if you can avoid it. Once you’ve got everything major in place, the secondary lists will follow more easily.

HTH!

*This is a hilarious oversimplification, but my job at the moment is not (as the saying goes) to explain the workings of the entire universe while standing on one foot. :)

#writing #outlining #the Shopping List #how-to #suggestions #writing process #themes

264 notes · View notes

blossomthepinkbunny · 7 days

Text

Vivzepop will always be the biggest issue with her own show if she doesn't change. And i'm not saying that because I desperately want to shit on her but rather because it's so clear that her attitude is what made Hazbin Hotel be so dissapointing after the long wait. The pilot released four years ago and Viv had these characters for much longer than that. One could assume that with this much time on her hands she would have a concise plan for how a series of her story would play out (I can imagine that having an own show is a dream for lots of creative people out there). And I get that that plan might get screwed up by a shorter episode count then expected, but she should be the one who knows her story best and who should know what stuff could also be cut out. The first season of Hazbin Hotel is so incredibly overstuffed with characters and plot that it completely looses the main premise the show was originally pitched with (the idea of a hotel were sinners are redeemed. As it is now the hotel is really not important at all). People have talked endlessly about how Viv can't handle criticism and it really sucks because criticism is one of the best ways to improve your writing, drawings, music etc. Without criticism you won't refine the thing you're working on in a meaningful way. Of course it feels bad when you put something out there you wanted to share and then people critique it, but that's part of pretty much every creative journey, or atleast it should be and Vivzepop shouldn't get a pass from this just because she doesn't like it. And there are great shows, movies or books that are rarely or almost never criticised. But the artists behind these works probably went trough years of honing what they do by being criticised for the stuff they put out. And I don't want to say that Vivzepop didn't work hard to make Hazbin Hotel, but it is hard to claim that she improves in her craft, when everytime someone says they don't like her show she throws a hissy fit. She wants the same reactions that these other amazing pieces of media get without ever listening to criticism. Which she sees as a personal attack rather than a tool that could help her to achieve the same level of writing prowess the creators behind media like that have. She believes she is already on the same level as them, just because she basically shuts anyone out who disagrees with her. There's this clip at the end of a Drew Gooden Video which I think sums up the situation with Viv pretty good (the Video is called "Leaving the YouTube Bubble"). He is talking about Lily Singh and her talk show but I feel like a lot of the stuff he says about handling criticism applies to Vivzepop as well.

(you might have to turn up the audio).

Unprofessional behaviour like that might be excusable when the creator is pretty young or they are interacting with publicity for the first time really. But neither of that applies to Viv. And Hazbin Hotel isn't just an indie animation pilot on youtube anymore. It's now a fully realized show created with a pretty prominent studio on a major streaming network and it should be held to the same standards as other shows or movies alike (not saying indie animation or animation on youtube doesn't have a standard but with more budget and support, there's obviously going to be different expectations for the show now). There have been issues in Helluva Boss and the Hazbin Hotel pilot ever since their release which could've been handled with more time and the new show. But Vivzepop shows time and time again that she isn't willing to listen to people who criticise her, which could actually lead to her show getting better. I don't like Viv or her work a lot. I think she is incredibly unprofessional and she has done her fair share of questionable or problematic stuff, which often leads to issues in her shows. There have been some characters I like, some songs or scenes that were pretty well done, very cool animation and an actually interesting premise on paper in HH and HB. There are things that make me come back to these shows to watch the next episode. And i'm obviously passionate enough about these shows to make whole posts about what I think was done badly and what could be changed. But for the aspects of HH or HB I enjoy, there are soo many more problems I have with it. Problems that won't go away unless Viv stops seeing every criticism as a personal attack. Because if Vivzepop doesn't stop acting like her writing is some unreachable stuff that needs no changes I don't really see a point in assuming that these shows will ever get better.

#vivzepop critical #hazbin hotel critical #hazbin hotel criticism #hazbin hotel critique #helluva boss critical #helluva boss critique #helluva boss criticism #i dont support vivziepop

143 notes · View notes

pellaaearien · 1 year

Text

Hey so here’s a really mean Sandman thought I had...

I just finished reading The Kindly Ones for the first time. (Yeah.) And I must say, it was a very interesting experience from the perspective of someone who both watched the show first and has also been hanging around deeply into fandom enough that I’ve absorbed spoilers/meta/whatever else surrounding the end of the comics before reading them to draw my own conclusions.

Now I have. And I think I’ve come to some interesting ones.

First off, naturally, Neil Gaiman has written the ultimate tragedy. Everything comes full circle, every decision made with the best possible intentions has the worst possible outcome, and it was always going to be this way. It’s a masterstroke, and as I read I was less sad than admiring at the completeness of it, the way everything slots into place so neatly.

Ever since I spoiled myself for the ending (which I’m glad I did,) I’ve read quite a bit of Kindly Ones meta. Many words have been spilled around the subject of “if someone had just SEEN what was wrong...” but MANY people did! Fiddler’s Green. Matthew. Nuala. And, of course, Hob, who Dream walks out on - again - because he’s being too perceptive. Again.

I was also reading the book with the foreknowledge that this is all an elaborate suicide plot on the part of Dream. After all, as Death says at the end, “the only reason you got yourself into this mess is because this is where you wanted to be.” And, later, when Dream says he has made all the preparations necessary, “You’ve been making them for ages. You just didn’t let yourself know that was what you were doing.” To which Dream replies, “if you say so.”

So we have lots of people saying lots of things about Dream, but what do Dream’s actions say for themselves? Because I must admit, reading the book knowing how it was going to end threw a lot of those assumptions into a new light.

Let’s go back to the conversation with Death. Dream says: “I did not plan this, my sister. I had imagined that I would be able to keep events here in check. I intended to play a waiting game, in which, ultimately, no harm was done.”

This I believe. One of the things that never sat right with me was Dream sitting back and letting his creations suffer, if his intention all along was to destroy himself. I don’t believe that’s in character for Dream in any incarnation.

What was Dream’s motivation? Dream is tired. He says so himself. He’s been tired for a long time, probably even before his imprisonment and having to basically remake the Dreaming and since then he hasn’t had a moment’s peace, what with Season of Mists and Orpheus and everything else. I think meeting Daniel planted the seed in his mind, that there was an out. As Death says, “...the stuff you do. Where you do it, and you won’t even admit to yourself it’s what you’re doing.”

Meeting Daniel was that moment for Dream. Someone who could take over his responsibilities in the Dreaming. He can’t just walk away, like Destruction and Lucifer. That’s not who he is. I think Dream’s plan was to wait for Daniel to grow up some, and then... something. ??? profit. Maybe he would’ve gone to the Fates himself and taken their punishment for Orpheus. (Because he does, as Nuala astutely points out, want to be punished for Orpheus).

BUT, Daniel gets stolen while he’s still a baby. So Dream sends Matthew and the newly-remade Corinthian after him. Lyta, meanwhile, instigates the Furies, so now they’re on a ticking clock.

(I don’t, personally, think that Dream freed Loki with the intention of setting all this in motion, but that’s up to reader interpretation.)

Dream makes preparations. It certainly seems like he’s making peace with the fact of his death. He visits Nada (a small boy in Hong Kong), does a census of the Dreaming, acknowledges his servants, feeds pigeons, examines his properties in the waking world, and reviews various treaties and agreements to which the Dreaming is subject. He is responsible. He’s getting his affairs in order in case things don’t fall the way he expects them to.

When his Griffin is killed, Dream tells Furies: “I can create another, who would not even know that it had ever died.” Cold, perhaps, but very in keeping with the type of backwards kindness we’ve seen from Dream throughout the series. He also says: “This is my world, ladies. I control it, I am responsible for it. You with neither destroy it nor will you destroy me.”

The last part, as we know, is simply true. The Dreaming can be restored endlessly, and even if the facet known as Morpheus is destroyed, Dream will continue. But it’s the first part that’s significant. I control it, I am responsible for it. That part says to me that he would not allow his creations to suffer. He is responsible for them. And yes, he could restore them with a thought, but why bother? If he’s trying to get himself killed, why doesn’t the story just end here and now? With the Furies and Dream alone in his throne room?

Clearly, he’s waiting for Daniel. He can’t allow himself to be removed without a successor in place. Once the Furies leave, he immediately calls Matthew for an update. Matthew comments on how cold Dream sounds - he’s feeling the pressure.

Fiddler’s Green is killed. Does Dream say “I can create another?” No. He immediately goes in search of Lyta, to hopefully negate the wrath of the Furies. A stopgap, as the Furies would find another avatar in time, but Dream is taking action. He is not passively letting his doom collapse around his ears.

He’s foiled by Thessaly (all my homies hate Thessaly). While they are estranged exes, Thessaly admits that protecting Lyta from Dream was “not entirely” to hurt him: she struck a deal with the Three for a bit more life. Hurting Dream was an added bonus. She knows Dream well enough that he won’t break the rules in order to kill Lyta.

Dream is visibly upset by this. He won’t break the rules, but Thessaly’s actions (and his own, by extension) mean that more destruction will be wrought in the Dreaming. Lucien takes him to task for it:

Lucien asks why he isn’t restoring the things the Furies destroyed, but it makes sense to halt the source of the destruction first, rather than needing to fix things over and over again. Dream is at a loss. His plan was foiled and now he has no way to hold off the Furies. And Daniel is still missing. He could summon his sister right now (as he says, “by his own hand or another’s”) but that would leave the Dreaming in disarray, and he won’t do that.

Now to add Nuala’s summons into the mix. While Death will later point out that yes, Dream could have rejected the summons, I think it’s important to remember that he does actually try, at first:

“I must most earnestly beseech you...” That is begging. That is literal begging from Dream of the Endless, and it doesn’t stop there. “You do me a disservice, Nuala,” Dream says, after Nuala quotes his promise back to him. He tries to get out of it! But Nuala won’t let him, throws his words in his face, and thereby seals his fate. Because Dream of the Endless, if nothing else, keeps his word, follows the rules. As he says later: “If we did otherwise, we would not be ourselves.”

He can’t just leave his realm like Destruction. He can’t ignore the rules and kill Lyta anyway. He can’t go back on his word and reject Nuala’s summons. If he did that, he would no longer be Dream.

So, he sets Daniel up in his new role as best as he can with the time he has left, and then he takes his sister’s hand to prevent any further damage to the Dreaming. Death accuses him of planning the whole thing, and perhaps that’s true. Perhaps he saw where the pieces were laid on the board and manipulated them to his advantage. I certainly don’t deny that ever since Orpheus he had intended to take himself out of the picture, one way or another. But I truly don’t think he meant for it to happen like this. I don’t see him as a cold-hearted chessmaster, forcing himself into a corner until he has no way out, with his creations’ existences hanging in the balance. I think he had a plan, and tried to stick to the plan as best he could, as the true tragedy spun into place around him: it was always going to happen like this.

Are y’all ready for the mean thought?

Because thinking about it this way, if truly all he wanted was a way out, he could have expedited the process at any point. As I hope I have shown here, to the contrary, his behaviour reads to me as someone who held out until the absolute bitter end, until he literally had no other choice. What are we to make of this? On the one hand, we have Death’s accusation about “...the stuff you do. Where you do it, and you won’t even admit to yourself it’s what you’re doing.” Maybe that’s true. Death knows Dream, and knows what she’s talking about.

On the other hand, we have a scene, way back at the beginning, with Hob. (Hob who, incidentally, doesn’t seem all that surprised to see Dream outside the confines of their century meetings, given that he thought their toast during Season of Mists was a dream, but I digress.) (Dream also goes to see Hob the instant there’s any inkling of trouble, again, as he does in Season of Mists, but I digress a second time.) And Hob is, as in 1889, too perceptive by half. As Dream is walking away, Hob says:

“You take care of yourself.”

What if Dream went to Hob, knowing his friend, being perceptive, would guess that something was up?

What if he just wanted to be reminded that someone cared whether or not something happened to him?

He gave Hob a promise that he would take care of himself. And so he did, in the face of overwhelming odds. (Odds that he may or may not have set in motion himself, true, but that just makes it more extraordinary.) Until he couldn’t any more. Until taking care of the Dreaming took precedence over taking care of the aspect, Morpheus.

Because Dream of the Endless always keeps his word.

#the sandman meta #the kindly ones #dreamling

334 notes · View notes

septembercfawkes · 28 days

Text

The "Bathtub Story": Why It's a Problem, How to Fix It, When to Use It

Writing a "bathtub story" is rarely a good idea. It often fits right up there with flashbacks; most of the time you shouldn't use them, but in certain circumstances, you can get away with them. Bathtub stories lack immediacy and as such, often bring the narrative to a grinding halt.

Yet they are common for new writers to write. So let's go over them, why they're a problem, how to fix them, and when to use one (if you dare 😉) . . . I also have a little offer for my followers at the end, so don't miss that 😊

What is a "Bathtub Story"?

The term "bathtub story" originates from author Jerome Stern, who talks about them in his book, Making Shapely Fiction. He writes:

In a bathtub story, a character stays in a single, relatively confined space . . . While in that space the character thinks, remembers, worries, plans, whatever. Before long, readers realize that the character is not going to do anything. . . . The character is not interacting with other people, but just thinking about past interactions. Problems will not be faced, but thought about.

A bathtub story is essentially a story that takes place in introspection.

While most novels won't literally be an entire bathtub story, many new writers have bathtub scenes or chapters, where the character simply reflects and doesn't do anything meaningful. While Stern likens this to someone in a confined tub, I would argue these can happen even when the character is moving. The character may be taking a walk or washing the dishes, but the story elements only exist in her head.

Why Bathtub Stories are Problematic

Bathtub stories are a problem because all the interesting stuff is in the character's mind (if there is any interesting stuff). This brings in several issues.

1. The Story isn't Moving Forward

Because the bathtub story happens in a character's head, the character isn't taking action. Instead, she's likely ruminating on the past. While you can have a characteristically lazy protagonist, when it comes to the actual plot, all protagonists need to be problem-solvers. And not just in thought, but in deed. A true protagonist is a driver of the story. She must be actively trying to solve problems (that come from antagonistic forces and conflict). Otherwise, she is a passive victim or passive observer (in which case, she probably isn't the true protagonist, but just a viewpoint character).

If she's not problem-solving, the plot probably isn't moving forward. The protagonist should be in the concrete world, taking action or revealing important information, creating turning points. She should have a goal, and a plan, and should be pursuing them--even if the goal is to avoid something.

When she's stuck in her head, she may be thinking about her problems (or past experiences), but she's not influencing the trajectory of the story.

If she's not acting, she's also not completing a meaningful character arc. A character arc shouldn't be superimposed on a story, it should happen because of the story. How the character responds to meaningful antagonistic forces (which includes how she tries to solve problems), creates the character arc. The antagonists challenge her to change, or test her resolve. That can't really happen if she's not doing anything.

At the end of the bathtub scene, ask yourself: Has the protagonist's goal or plan shifted? Has her belief system been challenged or tested by antagonists?

If the answer is no, you likely haven't progressed the story.

2. The Character doesn't Demonstrate Agency

The protagonist needs to be making meaningful choices. For those choices to be impactful, they will be shown by the character taking significant action or revealing important information. Otherwise, his choice never leaves his skull, and therefore doesn't actually matter. So what if he thinks about what he wants to do? Real decisions will be shown.

We all think about things (goals, plans, or otherwise) that we don't actually pursue. If someone thinks about fixing your leaky roof, but never shows up, who cares? If someone thinks they can help with your relationship problems, but never reveals any advice, does it matter? Not really.

Because the role of the protagonist is to be a driver (and not just the antagonist's passive victim), he needs to act on choices to try to achieve goals and solve problems (which helps move the story forward).

Many writers mistakenly think that making the protagonist a passive victim makes him more sympathetic and likable. In reality, the opposite is true. An active protagonist who demonstrates agency is more sympathetic, because he carries some level of responsibility and accountability for any negative outcomes that happen (plus, he also shows us how badly he wants his goal). We all have random crap happen to us. It's more painful and sympathetic when well-intentioned choices lead to heartbreak. (For more on this topic, scroll down to #4 on this post.)

Not demonstrating agency, again likely means the plot or character arc isn't moving forward (and that your protagonist isn't interesting.)

3. Lack of Immediacy

With the "interesting" stuff happening in the character's head instead of concretely, the bathtub story lacks immediacy. The story isn't unfolding for the audience, and because the character is confined to introspection, she's not impacting anything at hand. A lack of immediacy almost always means a lack of tension. If there isn't a current threat, there isn't potential for problems to happen.

4. Focuses on the Past

Speaking of a lack of immediacy . . . bathtub scenes almost always segue into one or more flashbacks, which are likewise frequently frowned upon. Bathtub scenes at least usually focus on the past (even if there is no official flashback.)

Writers tend to look at the past--how the character got to where he is now, or how the current situation came about. While that can be meaningful for the writer, it's often boring for the audience. Or at least less interesting.

The past has already happened. You can't change it. What the character or antagonist does now, won't influence what happened then. (Well, unless you are writing a time travel story, but let's assume you're not).

Instead, the audience wants to be in the present, which holds more tension (or it should, if you've set up your story right). In fact, they actually prefer to lean into the future on a regular basis. The future hasn't happened yet, so it's more exciting, and what the character does now, will (or should) alter the future. While the audience likely can't verbalize it, they want you to imagine the different paths forward the story could go, and then convey them on the page. This is what creates stakes. Stakes are potential consequences. They are about what could happen if a certain condition is met. And what could happen is exactly the sort of thing that hooks and reels readers in.

Think about it. At the most basic level, hooks work by getting the audience to look forward to a later point in the story--to anticipate something they may read later (or soon). So, they keep reading.

You want to regularly lay out what could happen, and almost always in relation to the protagonist or antagonist. If the protagonist successfully does X, then Y will happen. If the antagonist successfully does A, then B will happen. Now the audience needs to see if the protagonist successfully does X or the antagonist successfully does Y. (Or something of that sort.)

In fact, one of the few times visiting the past works well (including with flashbacks), is when doing so provides insight that could affect the future.

5. It's Abstract

If there isn't a flashback, then chances are the bathtub scene is full of abstracts and hypotheticals. The character is musing or even pontificating about the meaning of life, love, society, or what it means to be a homo sapien.

A story that is full of abstracts, often isn't as interesting. This relates to the "Show, don't Tell" rule. Stories are almost always more effective when they appeal to the senses and render a concrete world.

Even if you do want to write about love, it's usually more effective to "show" it, than tell it. (And if you tell it too much, in the wrong way, the story may sound preachy.)

6. Hurts Pacing

For all of the reasons stated above, the bathtub scene almost always leads to poor pacing. The lack of proper plot elements (and often, the lack of proper structure), paired with too much introspection focused on the past or abstracts, kills immediacy and brings pacing to a grinding halt.

If the story isn't going anywhere, then the reader is probably out before you can say "bubble bath." Maybe they'd rather watch paint dry and do their own pontificating in the tub.

Now that we've talked about all the problems, let's get into how to fix a bathtub scene!

How to Fix the Bathtub Scene

1. Get Out of the Bath

Bet you didn't see that one coming, did you?

Get the character out of the "bath" (or off her walk or away from the dishes) and put her where the action is. Or better said, where the true antagonist and conflict is (and that doesn't always mean a "bad guy" or a fistfight or shouting match (see links)).

2. Give the Character a (Current) Goal and an Antagonist

Give your character a current goal with a plan she can start taking current action toward. At the basic level, there are three types of goals: obtain, avoid, or maintain. Any of them is fine, as long as the goal has an antagonistic force opposing it.

Often big goals will break down into little goals, which turn into scene goals. So really, most scenes should have a goal for that scene.

The (scene) goal should be significant, meaning whether or not the character achieves the goal somehow shifts the direction of the story and influences what happens in the near future.

A goal to shave your legs in a bathtub or wash the plates probably isn't significant enough to merit a scene. It's unlikely those goals have the potential to shift the plot's trajectory or affect the character arc. (If they do, well, that might be a reason for a rule break.)

For a scene, the shift doesn't have to be huge, but it needs to be impactful enough to somewhat alter the protagonist's path forward.

The shift for an act should be bigger.

And the shift for the whole story should be huge (read: super impactful).

If you have a bathtub act or literally an entire bathtub book, you probably have a major problem.

3. Demonstrate Choices, through Action and Revealing Knowledge (Information)

As per #2 above, make sure your character is demonstrating agency. A choice doesn't matter if it doesn't leave his head. His choices should be shown in how he interacts with others and the environment. If he chooses to fix a leaky roof, he needs to actually get his tools and climb the ladder. If he chooses to give relationship advice, he needs to open his mouth and reveal his knowledge there to another individual. Thinking about it isn't enough.

4. Write in the Present

Do you really need that flashback or long introspection about the past? For most newer writers, the answer is no. If the info isn't contributing to the plot (how to get the goal, how to defeat the antagonist, how to resolve a conflict, or how to influence consequences), or the character's journey (her heart's deepest desire or her character arc), or the theme (what the story is exploring and arguing), then there is a 99% chance it doesn't need to be in the story. If it does affect those things, it may be worth including. Ask, does taking it out "hurt" or weaken one of those elements I listed?

If the past info really needs to be in the story, does it have to come through a bathtub scene? Is there a way it can come into the story other than straight-up introspection? Can it be "exposition turned into ammunition"? Can mentioning it contribute to the present, or better, the near future? Is there a way the story can be organized so that it happens in real time? Sometimes the flashback can actually be moved into the present by starting the scene or story just a little earlier (though this depends how far back in the past the flashback takes place).

Strive to focus on the present, and even mention the near future. Sprinkle the past in when it contributes to, and doesn't take away from, what is currently playing out.

5. Be Concrete

Show more than tell. (That's really all that needs to be said here.)

When to Use a Bathtub Story

With everything terrible a bathtub story brings in, is it ever a good idea to write one?

All rules are really more like guidelines and can be broken effectively, when handled with care.

In order to do that though, you have to understand why the rule exists, so you can downplay the costs that come with straying off the proven path.

So, now that we understand why the bathtub story is a problem and how you can fix it, let's marry what we've learned and talk about how to make one work.

1. You're Writing a Frame Story

A frame story is a story within a story. It will open with a character telling a story, and end with him finishing it. It's also possible that more than one story is told by the character.

The main story, is the story within the story, which essentially comes from the speaker's memory, so it is usually part of the past, as well as part of his mind.

I'm personally not a big fan of this method, but it does exist and can be useful in providing additional context for the main story. It's also usually more effective when the main story is affecting whatever is currently or about to happen to the speaker.

Obviously a frame story often acts as a sort of bathtub story.

2. The Antagonist is the Self, and this is Internal Conflict

A bathtub story or scene may work if the character is in (meaningful) conflict with himself. We are often cautioned against using a lot of introspection, but if a character is having internal conflict, then he both holds a goal and is also his own antagonistic force. This can be used to create a sort of rising action, as long as the proper plot elements are in place. It is a wrestle within the mind (or perhaps, between the mind and heart.) The climactic moment, the turning point, is the character coming to a definitive decision.

With that said, however, as Ross Hartmann points out in The Structure of Story, it's usually more effective to dramatize or "show" the internal conflict. Have the character take one action toward one outcome in one beat, and then an action toward the opposing outcome in the next.

But depending on where in story structure the internal conflict shows up, it may be handled better one way over another . . .

3. You're in the Falling Action

Story structure is a fractal. Not only should the story as a whole have a rising action, climax, and falling action, but inside of that, so should each act, and so should each scene.

During the rising action, the character should (almost) always be proactive. During the falling action, almost always, the character is reactive. She's reacting to whatever just happened.

If you are familiar with Dwight V. Swain's approach to scenes, this is essentially what he calls the "sequel."

At this point in the structure, it may not matter too much what the character is doing physically, what matters is how she is reacting, and then, what she decides to do next.

If you are in the falling action, it may be perfectly acceptable to write a (short) bathtub story.

4. It's Focused on the Future

As mentioned above, we are often cautioned against writing a lot of introspection. This is in part because writers often focus introspection on the past.

But when the introspection is focused on the future--what could happen if a goal is or is not reached and/or what the character plans to do next--then it becomes more relevant and more interesting. In fact, not only does it not take away from the story, but it can strengthen the plot. Introspection can be used well to lay out significant stakes. And, technically, this could be done in a "bathtub."

Just make sure having the character think about the future, leads to him soon taking action to try to influence it.

5. The Point is to Show Nothing is Happening

In rare, rare situations, the point of a scene may be to illustrate that nothing important is happening, and no changes are taking place. Such scenes almost never work (and if anything, are usually better conveyed in summary), but, someday, in some story, you may find yourself in need of such a moment. A bathtub scene might arguably work there.

Just don't make it longer than it needs to be to get the point across.

There are a couple of other times you may get away with a bathtub scene: if it's somehow contributing to theme, or if it's super entertaining or intriguing.

All in all, be cautious.

They fail more often than they succeed.

#writing tips and tricks #writeblr #writers on tumblr #writing tips #Let's Write #writing resources #writing #writer stuff

62 notes · View notes

graceshouldwrite · 11 months

Text

How to Write Devastating Betrayals (Pt. 1)

Here are some elements + tips on satisfying betrayals that will destroy both your characters AND your readers!

1. Relationship Between Trust and Betrayal

The #1 Betrayal Rule:

MORE TRUST = WORSE BETRAYAL

This is because TRUST implies 2 main things:

The traitor has probably PROVEN their trustworthiness, and now has a shared history + bond with the character they’re betraying

The traitor probably has access to a LOT OF INFORMATION about the character, whether it’s career-wise or personal. Probably at least some information the character considers STRICTLY confidential

An act of betrayal undermines Point 1 by manipulating Point 2 to their advantage.

So, if you want your betrayal to DESTROY, have the traitor be CLOSE with the character they’re about to betray. Lets compare examples:

you are a gang boss. You hire a new recruit who doesn’t really know anything except one insignificant operation, like “today we buy groceries at 2PM”

your recruit tells the rival gang about the grocery trip

→ betrayal doesn’t really matter that much

you probably didn’t place much trust in a new recruit

the implications of information leak are insignificant

→ not much plot weight

On the other hand:

you find out that the entire time, your RIGHT HAND MAN (also your childhood friend!) has been feeding information to the rival gang and sabotaging your operations

→ HURTS a lot more emotionally

might ruin everything you’ve built, career-wise, for good

→ LOTS of plot weight

From a completely SECULAR PLOT STANDPOINT (please don’t come for me, theologians), Judas’ betrayal of Jesus is a good example because:

Judas was one of Jesus’ disciples, a.k.a. the people considered closest to him, and who followed Jesus throughout all of his preaching years

Judas’ information about Jesus’ identity and whereabouts led to Jesus’ crucifixion → LOTS of plot weight (the entire Bible from a Christian standpoint foreshadows this moment, and every point after is spreading word of this moment. Talk about plot implications!)

ONCE AGAIN, I know all the “Jesus knew and allowed it to happen” “it was the will of God” stuff but this is purely used as a good plot example!!!!

2. Reason for Betrayal

“’Cause it’s super edgy/evil/cool” is DEFINITELY not a valid option.

All the plot points in a book build towards achieving a goal, and all the characters do things they think will get them closer to what they want. Likewise, the traitor must want a specific thing that ONLY betrayal can get them, or that betrayal can get them more efficiently.

People generally portray typical traitors as:

completely selfish with no personality trait aside from infinite ambition and ruthless pragmatism

a hero whose had enough

someone who sees the person they betrayed as a “worthless disposable” or something

Traitors don’t have to be morally bankrupt, even though betrayal is typically seen as something inherently bad, or just a bad means to a good end at best.

They can be conflicted about the betrayal (like Macbeth delaying his murder of King Duncan), remorseful about it (like Discord from MLP feeling super guilty after he hands the main protagonists over to the villain), or even do it for the “greater good.”

e.g. Brutus thought Caesar was becoming too power hungry, and would destroy the republic by becoming a dictator, so Brutus betrayed him to preserve the republic

→ example of a betrayal that was NOT self-serving

However, building on the MLP Discord example, a traitor can also have been manipulated into it themselves.

(For context, the villain basically promised Discord lots of power if he handed over the protagonists, but then the villain also sucked away Discord’s powers afterwards—won’t bother explaining MLP magic mechanics LOL)

3. Foreshadow It

A satisfying betrayal is usually a subtle, looming shadow that creeps over your plot before it makes its grand entrance during the scene when the character realizes the traitor sold them out.

A good example is in Shakespeare’s dramatization of Brutus’ betrayal:

Brutus’ loyalty to the REPUBLIC is made super clear throughout. When Caesar starts deviating, seeming more dictatorial, Brutus remains firm.

Their values are CLEARLY conflicting, so SOMETHING has to be done. Either:

they reconcile by both agreeing on either dictatorship or democracy

they turn on each other...and that’s what happens

Basically, planting the possibility in your reader’s mind is a great way to foreshadow a betrayal.

Other ideas could be:

traitor begins suddenly acting a lot warmer to the unsuspecting character, or even colder right BEFORE the betrayal

traitor is always TOO obedient and/or sycophantic

traitor acts suspicious, e.g. caught in lies, using inconsistent body language (ex. pretending to cry when talking about something really bad), caught talking to people they shouldn’t be talking to (e.g. rival gang)

∘₊✧────── ☾☼☽ ──────✧₊∘

instagram: @ grace_should_write

stay tuned for part 2!

Hope this was helpful, and let me know if you have any questions by commenting, re-blogging, or DMing me on IG. Any and all engagement is appreciated <3333

Happy writing, and have a great day!

- grace <3