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suzannahnatters · 9 months

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Trope Talk: Villain Romance

So, I was watching a villain romance cdrama again lately (GOODBYE MY PRINCESS) and it has been forcing me to think about what makes some villain romances work for me so well, and others…not so much.

First of all, a lot of my comments on romance at large, and on enemies-to-lovers as the broader trope to villain romance, apply here. For me, GOODBYE MY PRINCESS failed on a few different levels. It failed as a romance because the male lead so rarely, if ever, allowed himself to be vulnerable to the female lead that I couldn't believe either of them could genuinely be falling for each other. It failed as an enemies-to-lovers story because the female lead didn't feel like a match for the male lead in terms either of power or of morals: he was irredeemably awful and held all the power in the relationship, while she was unquenchably pure and naive, holding no power at all. But then, it also failed for me as a villain romance, and because I eat up villain romance with a spoon (WUTHERING HEIGHTS? THE LAST JEDI? LOVE BETWEEN FAIRY AND DEVIL? TILL THE END OF THE MOON? That ONE SCENE in RICHARD III? yess?) I've spent a lot of time thinking about different kinds of villain romance, how some are easier to "sell" to an audience than others - as a convincing HEA, I mean - and how each of them can and can't be made to work.

So far, I think a lot of it has to do with how the villain is built. First off, how does the villain present himself to the audience and other characters? Second, does the villain get a character arc, and is it for the better, or for the worse? Finally, does the villain have genuine feelings for the heroine, and does he achieve a happily ever after with her? Or, in other words: where does your villain come from, where is he going, and how does he get there?

There are a few different choices awaiting the author here, and some of them are, I believe, easier to sell an audience than others. Let's begin with the villain's character arc over the course of the story.

POSITIVE CHANGE VILLAIN This one is the classic: your villain love interest starts out bad, but gets better. See: Erik from THE PHANTOM OF THE OPERA, Kylo Ren/Ben Solo in the STAR WARS sequels, Nux in MAD MAX: FURY ROAD, Dongfang Qingcang in LOVE BETWEEN FAIRY AND DEVIL, Thyme in F4: THAILAND.

Redemption arcs are honestly not easy to write, because they need to satisfy both justice and mercy; and authors, like everyone else, tend to want to prioritise one over the other. It's interesting that of the five examples of this trope I listed above, not one of the three the Western examples end in a HEA; two out of three equate redemption with death. Meanwhile, I could also note how the Asian examples pull their punches when it comes to facing the villain with the consequences of his actions, and these are some of the BEST examples.

Still, audiences can pull for a character who's clearly capable of learning from his mistakes, and we all want to inhabit a fantasy where a terrible man learns better and earns his happy ending. I've written this kind of villain romance a couple of times, notably with Vasily in my gaslamp books. Basically, if you plan to have a HEA as an endgame in your villain romance, a positive arc is the best way to make a longterm relationship convincing.

ANTIHERO WITH IMAGE PROBLEMS This one is a bit more complicated. The love interest starts out well and gets better, but along the way he struggles with a dark side and an unfortunate predilection for angry black clothing and eyeliner. He isn't so much as a villain, as a well-meaning antagonist desperately trying not to live up to his dark reputation. See: Tantai Jin from TILL THE END OF THE MOON, but also Galadriel Higgins from THE SCHOLOMANCE books by Naomi Novik, who is in a very similar predicament though not part of a villain romance.

This one is tricky to write, because there aren't a lot of ways a genuinely well-meaning person is going to convincingly pose as an existential threat to the universe. Both TTEOTM and the SCHOLOMANCE books pull it off by invoking the future, either through time travel or through prophecy: the antihero is going to become the Dark Lord/Lady and destroy the world. This makes them a target in the present, and gives them a threatening dark side to struggle against. In TTEOTM, Tantai Jin is torn between his vindictive impulses to revenge himself on those who have wronged him, and his natural longing for the love of others. In this case, it's not so much that he's a villain intrinsically, as that he plays that role in the heroine's head.

I've never written one of these, except as a stage in a positive change arc, but it's a really fun character type that I'd genuinely love to see more of.

NEGATIVE CHANGE HERO This is another classic: the hero who lives long enough to see himself become the villain. See: Anakin Skywalker from the STAR WARS prequels, Heathcliff from WUTHERING HEIGHTS, or Wang So from SCARLET HEART RYEO. If the Antihero With Image Problems withstands the temptation to become a villain, then this character succumbs with more or less struggle. He ususally also doesn't get the girl. In face, the heroine often doesn't survive this sort of story at all.

Audiences have less trouble with this kind of story, because it can come across as properly cautionary. "If you fall in love with someone who gets a villain arc, you will die, and it is probably your fault." Everyone is happy, except the characters. Personally, I think this is realistic, because I don't think a thorough-going villain CAN be a stable longterm relationship; but just once, instead of dying, I really would like to see the heroine nope out and go to live her life in peace and quiet, as happens in the wonderful Daisy Ridley OPHELIA film.

I've actually never written one of these, either, mostly because I've never been able to bring myself to write a tragedy. But I do love reading them.

UNREPENTANT VILLAIN Or, Bad Man With a Crush. This is another really common iteration of the trope, but it's usually played from the point of view of the male hero, and the heroine usually doesn't reciprocate the villain's interest in any way. The great exception to this, of course, comes in Shakespeare's RICHARD III, where the unrepentant villain convinces the widow of one of his murder victims to marry him because he's THAT GOOD. Watching Laurence Olivier in this role at 13 may have been a formative moment of my life. Other examples are thick on the ground: Frollo from THE HUNCHBACK OF NOTRE DAME, Scarpia from TOSCA, the Darkling in SHADOW & BONE. Heck, I've written at least one of these myself.

Again, audiences expect this kind of villain either not to have his feelings returned or, if they are, to see either the heroine or the villain die by the end. In fact, this villain is the sort most likely not to have genuinely romantic feelings for the heroine at all; it's usually simply lust. The only example I mentioned where the villain arguably does have more complicated feelings for the heroine than a mere appetite for sex and power, and where she is tempted to reciprocate, is the one written by a woman, SHADOW & BONE - because a female writer is going to treat her heroine as a more fully orbed person, and insist on male characters treating her the same way.

The second question to ask when writing a villain romance is: how does the villain present himself to others, including the audience? Again, there are a few options here, but in any case I think one of the most important ingredients, if you're going to make the audience care about the villain, is a sense that the villain COULD be a better person than he is.

SHEEP IN WOLF'S CLOTHING The villain projects a terrifying image, but deep down he has a heart of gold. Note that this is not about character arc (for instance, this describes both Tantai Jin, who is an antihero on a positive arc, and Wang So, who is a hero on a fall arc). Rather, it's about how other characters, and the audience, view the character throughout most of the story.

A Sheep in Wolf's Clothing is easier to "redeem" because half the work is done when you show that after all, the character is better than we thought, and doesn't need as much work to be redeemed. For this reason, it's a really good choice in any sort of villain romance, because you get someone who LOOKS bad but is in fact plausible as someone who IS capable of changing and learning.

Vasily from my Miss Dark series is definitely a sheep in wolf's clothing, which is extremely fun to write. Vasily's had a traumatic change of heart which has taken away his taste for blood, treachery, and power. His habits haven't quite caught up with his heart, yet, and his determination to hold onto a semblance of power and terror makes him desperate to playact as a villainous vampire prince even though he's none of those things any longer.

SHEEP IN SHEEP'S CLOTHING I was nearly not going to include this variant at all, because where's the villainy in that? But then I remembered Anakin Skywalker. Anakin has a dark side, like Tantai Jin, which he gives into on occasion, but the prophecy that he will bring balance to the Force seems to predict a bright future for him. And he genuinely is a well-meaning person, who only wants to protect the people he cares about. For most of the story, Anakin is a good person and an upstanding Jedi with a bright future. This only makes his eventual downfall more tragic.

While how the villain presents himself is not always linked to a particular arc, this one is, since it requires a genuine hero to begin with. As I mentioned above, this kind of fall usually spells death for the heroine. I think this particular villain romance tends to be underexplored, because the freaks who like villain romance aren't into the aesthetic of a genuinely good man being corrupted, while those who write the downfall arc usually aren't into the aesthetic of villain romance. Nobody has ever written a romance about the Macbeths, and this strikes me as a missed opportunity.

WOLF IN WOLF'S CLOTHING This villain is exactly as bad as he appears on the outside, but if he's lucky, big changes are coming for him. In LOVE BETWEEN FAIRY AND DEVIL, Dongfang Qingcang is about to have his cold dead heart magically melted. In FALLING FOR INNOCENCE, Kang Min-Ho is literally given a new one. As a Christian, I love seeing fantasy elements used to explain why the wolf in wolf's clothing is suddenly forced to trade a heart of stone for a heart of flesh, because in Christianity the only way this ever happens is through a literal miracle.

And I do think this kind of villain IS difficult to redeem for his HEA without some kind of miracle, because he's genuinely done some dreadful things, and he's determined not to repent for any of them. Kylo Ren from the STAR WARS sequels is a really excellent example of a Wolf in Wolf's Clothing: when Rey spits at him, "You're a monster!" he responds almost proudly, "Yes, I am." In a way, the Wolf in Wolf's Clothing's honesty is his one redeeming feature: he may be terrible in almost every way, but he never pretends to be a good man. This is something that the next option on the list lacks altogether.

WOLF IN SHEEP'S CLOTHING This villain looks like a good and upright person, but it's all a facade. In reality, he's conniving, ruthless, and manipulative, and whether he's a "hero" on a negative arc or a straight-up Unrepentant Villain, the story is about to unmask him as the bastard he is.

Western literature has a whole array of this type of character, and they're usually the smooth hypocrites of the canon: TOSCA's Scarpia, HUNCHBACK's Frollo, MEASURE FOR MEASURE's Angelo, KNIVES OUT's Ransom. There's just something particularly evil about someone who sees and experiences true goodness and sees it as his opportunity to mask his evil deeds, and that's why we recognise such people as irredeemable. This is why BLUEBEARD is one of the trickiest fairytales to retell, at least if you're interested in a HEA - because Bluebeard, unlike the Beast or Hades or any of the other dubious bridegrooms of fairytale literature, commits awful crimes while pretending to be an ordinary, upright businessman.

This is also where we find GOODBYE MY PRINCESS's Li Chengyin, who marries this with a corruption/fall arc. Very early on in the story, we see that although Chengyin has genuine feelings for the heroine, he's fully capable of betraying her and murdering her family for purely political motivations. At first, Chengyin is neither experienced nor hardened in evil, but he absolutely will betray anyone in his path if it will benefit his plans.

This sort of villain is particularly difficult to redeem, because he's someone who has approval and love already but chooses to destroy everyone around him anyway. He is also uniquely enraging, because we've all known people this terrible in real life - from high profile teachers and carers being caught in ongoing sexual predation, to that crumby ex-husband who traumatised your good friend. I don't think I've ever seen a character like this be convincingly redeemed, and while I think it COULD be done - I do have a Bluebeard retelling of my own up my sleeve - I do that, as with the Wolf in Wolf's Clothing, it would have to come with some kind of fantastical/miraculous explanation.

And in the end, let's face it, it's always most cathartic to see this sort of person get their comeuppance.

Third and finally, is your villain romance going to get a happily ever after? I'm one of those people who will get a lot of fun out of a romance that ends badly, like SCARLET HEART RYEO, or even something that isn't a romance at all, like RICHARD III and the ill-fated Anne Neville. But whatever you pick, I'm begging you, be very clear about whether the villain has genuine feelings for the heroine or not, and don't reward some horrible person who's never convincingly expressed care for another, with any kind of romantic validation.

HEA VARIATIONS Maybe your villain and heroine make a match of it. Most of the time this is because the villain undergoes a positive character arc to earn his happy ending, and I've got to say, this is a very sensible choice. I personally do not need to see an unrepentantly terrible person get any kind of longterm romantic relationship, either because he's trapped/deceived the heroine or because he's corrupted her to become as bad as himself; I honestly don't think that terrible people CAN have a successful longterm relationship. That said, I've written a relationship where the villain DOES make the love interest worse, but where ultimately the genuine love, empathy, and trust between them ultimately does drag both of them back to the light.

TRAGIC VARIATIONS There are a great many more options available here. The main thing I would say is that you have to give an ending that is justified by what comes before.

A common choice is to give the villain a positive arc culminating in a heroic death. I've seen this done well (FURY ROAD). I've seen it done terribly (RISE OF SKYWALKER). Personally I feel that unless the themes absolutely demand this, you should avoid it, because too often it comes across as the writers arbitrarily ridding themselves of a character they don't know what to do with.

Another common choice is to give the villain a negative arc culminating in the heroine/love interest's death. I've seen this done in ways I don't hate. In RICHARD III, Richard kills literally everyone he touches. In SCARLET HEART RYEO, death is a realistic result of the heroine's trauma and closes the door definitively on the villain's hopes for reconciliation; but it also returns her to her far better life in the future, so it becomes a glimmer of hope for her (though not quite enough). Too often, however, this choice carries with it sexist overtones. Death becomes the heroine's punishment for the crime of loving a bad man (or something else equally fatuous), while the villain is "punished" only by having to live without her.

What about a negative arc culminating in the villain's death? Well, I strongly disliked the choice made in SHADOW AND BONE, in which the heroine guts the villain while hissing "there is no redemption"; to me it was lacking in either tragic catharsis OR eucatastrophe. I think you CAN have a satisfying ending in which the heroine or somebody else kills the villain, but it needs to be an expression of catharsis or eucatastrophe, and we definitely need to feel that the villain is beyond saving - which, if you've made him a genuine romantic possibility, is often hard to feel.

I love the ending of WUTHERING HEIGHTS, in which the villain dies frustrated after realising that after all, cruelty and abuse DIDN'T have to turn him into a villain; he then reunites with the ghost of his equally terrible love interest. I also love the ending of OPHELIA, in which Ophelia, realising that Hamlet cannot be redeemed from his quest for vengeance, quietly nopes out and goes to live a happy life on her own. And then, there's the gold standard for bittersweet endings, THE PHANTOM OF THE OPERA, in which the villain doesn't get the girl, but neither of them have to die, and her compassion for him causes him to go off and live a better life on his own. I think the thing all these have in common is that even though none of them end with the couple together, they afford the whole story a sense of hope: cycles of abuse are broken, some people get better than they deserve, and even those that don't are doomed by their own actions, rather than being killed off in a way that feels punitive or vindictive. And I feel that this is an essential ingredient of tragedy: that justice arises naturally out of the villain's own actions rather than being imposed by some righteous warrior.

PUTTING IT TOGETHER Some of these options are easier to sell the audience than others. For instance, a Wolf in Sheep's Clothing on an Unrepentant Villain arc is absolutely not good material for a HEA romance, while a Sheep in Wolf's Clothing on a Positive arc is probably your best bet (it's a classic for a reason). Others, like a Wolf in Wolf's Clothing on a positive arc, may require careful handling to ensure that the audience is happy to come along for the ride. Whatever you choose, however, it pays to be conscious of which tropes you're using, where the audience has seen them before, and what they expect to see happen to the characters that enact them. This doesn't mean that you can't defy audience expectations, of course; just that it might take a little more work to bring the audience along with you on the journey that you've planned, and that it might not be wise to pick all the worst possible options and expect the audience to embrace the character in question. (cough Li Chengyin cough).

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cas-backwards-tie · 1 month

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Chapter One: In the Dead of Night

Vladimir Makarov x Reader

The Long Road Masterlist

Summary: Soon after your fiance's murder you find yourself diving face first into enacting a plan to avenge his death. Regardless of your friend's approval, your wellbeing, livelihood, or future, you find yourself in it for the long-con.

Words: 2.2k

Warnings: Violence, Guns, Death, Major MW3 Spoiler, Main Character Death, Grief, Loss, Angst, Anger, Hatred, Revenge, Dark Themes,

A/N: This is... sooooo self-indulgent and utterly crack, tbh. I'd thought it up a while ago and keep thinking about it. I kept trying to think of a way to make it realistic, but... I just feel like there is no way of doing that, so I'm just gonna write it. However it goes, it goes. Also fyi I am using google translate so I really hope it's coming out okay. I do speak Russian, but only Duolingo tiny bit. divider by @saradika

You were prepared for this, you knew it was bound to happen one day, you just didn't know when that day would be. It only looks like, now, it's finally come. As you sit at the counter, stirring the bowl of oatmeal you'd just made and are trying your best to get to cool down, you can't help but think about the man currently in the other room.

You'd expected an entrance something akin to that of a Mission Impossible movie: a loud boom, doors knocked down, guns blazing, venomous words shouted in a language you've hardly begun to understand despite the tedious month of learning to the best of your abilities. Thunder cracks in the distance, rattling the windowpane in the next room; you don't know when the heavy downpour started, but it hasn't given any sign of yield since his arrival only a half hour ago now. Part of you can't help but think back to the myths and legends your husband... husband--your fiance--you remind yourself, mentally scolding as this isn't the first, and you doubt it's the last time you're going to mentally interchange the two words. Part of you can't help but think back to the myths and legends your fiance used to tell you.

The rain reminds you of the the way the Vikings would personify the Norse Gods to Earthly elements. Sure, you know some of the comics, like Thor, and Loki... but nevertheless, with your upbringing, the heavy pounding of the rain against the tin roof and the approaching thunder only makes your thoughts drift back to him. Johnny.

What would he think? What would he do? If he knew you were here... Maybe it's the spiritual part of you that never quite left, possibly having been ingrained from your grandparents when you were younger, or an aunt, an uncle of some sort, perhaps... but you think he'd do something silly like this. Come back as a thunderstorm, manifesting himself as something so threatening and dangerous, symbolizing his distress, unhappiness, and worry for you with torrents of rain, yet trying to protect you from the beyond even with lightning. Yet, you know that's impossible, and certainly not the case. Your heart begins to ache once more as you think of him, not wanting to get caught up, again, in the overwhelming grief you hadn't fully let yourself fall into. This is for him, you remind yourself once again.

"What are you giving her?" The voice comes from the doorway, and you're not entirely surprised by the venom in his tone, albeit taken aback. While he's not loud due to the (presumably) resting woman in the next room, you know that the lack of volume doesn't mean he wouldn't yell if the situation were anywhere else.

"What do you mean? This?" You quirk an eyebrow as you continue to stir in the little additives you'd put into the oatmeal: honey, sugar, and a pinch of salt. "It's oatmeal?" You explain, the confusion obvious in your tone as you hold the bowl up a bit, angling it for him to better see. As if the man has never seen oatmeal in his life; the thought would elicit a whirlwind of laughter from you any other time, or, more accurately, if it were any other person... but this was him. Makarov.

Vladimir Makarov: Thirty-six years old; born in Moscow Russia. Commander of Konni; the ultranationalistic private 'military contractor' group.

You'd done what research you could, found what information you had access to, some you didn't. Utilized what connections, resources, and favors were owed to you. Maybe some of them did it out of pity, out of guilt, or some other sense of failure on behalf of the SAS. Regardless, you'd set your plans into action, intent on making your promise to your late fiance come true. You will kill the man before you. It won't be today. No. After all, that'd be too soon, you have to earn his trust first. Only then, after he's comfortable, and settled, will you pursue your slow and agonizing torture.

"Христос," he curses, "she said you're poisoning her," he speaks slowly, a menacing quality to his tone as he unravels the crossed arms from his chest. Anger is evident in his irises as he stalks toward you with each step, eyebrows in a thick and harsh line. "I ask again-"

"The medication? Is that what you're talking about?" You ask. Feeling your own anger continuing to effervesce in your gut, you turn to face him on the stool, sliding from the counter. While he's still a couple feet away, you have to be more than a handful of feet shorter than him. Of that, you're sure. "Because from what I've deduced so far from being here, she bribed the last caretaker to not give her the medication on the agreement that she'd get more time off!"

He shifts his weight onto his left foot, eyes widening ever so imperceptibly, yet he remains quiet, so you continue. "They gave me her medication, told me to give it to her twice a day, so I'm doing that because she's been prescribed that medication. She clearly needs it, as per her doctor's orders. So unless you think the doctor isn't right, then, that's not my problem! I, however, am not surprised if she's telling you that since she obviously didn't even want me here in the first place."

Rounding the counter, you continue about your--at this point it could be considered daily--routine. Hand grasping your cool blue glass of water, you take a few sips while silently studying him. Despite having infiltrated his life and unknowingly (to him, ethically) disposed of his mother's last caretaker, you haven't officially met your late fiance's murderer till tonight.

KILLER

Slaughterer...! You destroyed him... You took him away from me. You're the reason he's gone. All the thoughts continue to run through your head rampantly, and you can't help but turn to face the wall opposite of him. Pretending to be busy with some of the drying dishes, you try to calm yourself. Acting on impulse and emotion will get you nowhere, you know this.

A heavy sigh permeates the silence that'd fallen between you, and there are the following taps of approaching dress shoes against hardwood floors. Quickly turning to make sure he neither invades your personal space nor dares to touch you, you're met with the visage of Makarov slumped at the counter, head in his hands.

You don't speak, you don't know what to say. Silence fills the space between you. Seeing him like this is weird considering all the stories you'd heard about him. Though you suppose even the most evil of men are still that... human. "How long have you worked as a caretaker?" He suddenly questions.

"A few years," you answer, swallowing the anxiety that starts to bubble up in your throat. "I started as a nurse and thought maybe I'd become a doctor, but it was... too much for me, and... not what I wanted to do. I discovered I liked helping people better as a nurse." It's not all lies, in fact, most of it is true. The only thing that meets your admission is silence, and that fact only raises the tension building within the cottage. Wincing at the rumbling outside, the sound does nothing to help the obvious discomfort you're experiencing finally facing him in person.

"And would you say you're good at your job?" He asks, eyes slightly narrowed in questioning as he slowly raises his head from his hands. The intensity of his dark brown eyes scream hostility and a hurt you can't immediately place your fingers on. Yet despite it all you refuse to waiver underneath his gaze.

"Yes. They wouldn't send me all the way out here otherwise. Not with a case like hers, Sir," you reply.

"Then what-" he tests, pronouncing each word clearly, "would you suggest I do?" He asks. There's a slight breathiness to his voice; with the thin windows, you can't help but feel as though the torrents of northern lake air through the meadow with its water.

Eyebrow raising in response, you're honestly shocked he'd ask such a thing. You're a complete stranger! A whirlwind of emotions go through you; excitement, bewilderment, shock, curiosity... you can't get ahead of yourself. With a sigh out, you shake your head. It may come across like disappointment to him, but really, it's to clear your head and collect yourself.

"Look... it's not something anyone wants to hear, bu-"

"Tell me!" He interrupts, demanding.

"But..." you emphasize, considering you were only putting up polite pretenses for show anyhow. "Really, family members do better when they're living with the family, even with caretakers to help. Whether you can't do it because you're busy or have other priorities, I understand."

"But at the end of the day, family members usually pass more quickly estranged like this on their own in a separate house because they feel lonely and like no one comes to visit. Maybe they have no one, or maybe they feel like they have nothing to live for anymore? She said you only visit her once or twice a year, if that... and while you write letters, that sometimes isn't enough for people, unfortunately. If you really want the truth."

Finished while your spiel, you shift your weight to the other foot as you place the finished oatmeal on the tray you reserve for his Mother. While, yes, you may despise him to the end's of the Earth... his Mother didn't do anything besides give birth to him. You accepted that the night you met her. Afraid to take another sip of your water, you stand in waiting, observant as Makarov seems to silently process everything you've said, his eyes shifting back and forth for a moment.

"I'll be back," he declares before sliding from the stool and rounding the corner into the small living space his Mother used to use more frequently. Shoulders sagging, a breath leaves you that you hadn't realized you'd been holding in. Onto your nightly routine with dinner, you attempt to distract yourself from the continuous torment of thunderstorm outside, meanwhile inside you can hear urgent demands in Russian faintly from the next room. It's clear he's on the phone... but with who? His goons, of course... right? Who else? But to kill you? To background check you? Do you need to prepare to flee?

As you stir the pot of soup you've just put on the stove, you can feel yourself start to sweat and panic. In an attempt to switch gears, you finish her dinner. Oatmeal ready, medication on the tray, you grab the lemonade you two had made the day prior and pour a glass for her before getting a steady grip on the tray and taking it down the hall. With a gentle rap of your foot as best you can against the doorframe, you announce your presence.

"Привет, Как вы себя чувствуете?" You ask, knowing the word for 'hi' and having figured out early on with the help of technology to ask how she's feeling.

"лучше теперь, когда он здесь." She responds with a soft but tired smile. It's a good sign that she's sitting up and alert at this time of night too. You don't understand the first part of what she says as she's talking too fast and you also don't have your phone out to capture what she says into your real time translation app, however you can grasp the last part. 'He's here.'

Placing the tray down on her lap, you shake your head and signal behind you with a frown. A second attempt, pointing to her, you give her a thumbs up and a smiling face for a moment, and then do the opposite. With a thumbs down and a sad face, you try again. "как дела?"

With a wave of her hand, she shakes her head now with a chuckle. "хорошо," she responds, lifting the spoon. "мой Володя!"

Whipping your head around, you find him standing there leaning against the doorframe most likely having been observing the two of you. Hopefully not for long... or maybe not at all since she would've said something. "она так просто с тобой разговаривает?" He says to his Mother, walking up to the bed and into her outstretched arms for the hug she craves.

"она не очень хорошо говорит по-русски," she quietly answers, holding him tightly for a moment, rubbing his back before letting go. With a pat on the bed next to her, she looks between the two of you. "My baby," she struggles to pronounce the word, "Vladimir." A proud smile sits upon her lips for a moment as she gestures to him. He smiles at her, too, and you nod.

"Yes, да. I have met your son just briefly. But it is good to officially meet," you tell her, even if you know she doesn't understand all of it. Shifting your gaze, he meets it with animosity. "Vladimir," you repeat.

"My mother tells me you are," he repeats your name, to which you nod, "it's a pleasure to officially meet you. Now that you're both here, I have news."

"News?" The question pops out of your mouth before you can stop it.

"Yes, news. Since you're taking care of my mother, you technically work for me. What you said stuck with me. You're right-" he shifts his speaking from you to his mother. "I've been a bad son to you, Mama. ты собираешься жить со мной." Again, he shifts his focus back to you. "We have to pack. You will both live on my compound from now."

~~~~~~~~

acronyms|translations:

Христос = christ

Привет = hi

Как вы себя чувствуете = how are you feeling

лучше теперь, когда он здесь = better now that he's here.

как дела = how are you

хорошо = good / fine / ok

мой Володя = my voldoya (nickname for vladimir)

она так просто с тобой разговаривает = she speaks to you so simply

она не очень хорошо говорит по-русски = she does not speak very much Russian

да = yes

ты собираешься жить со мной = you're coming to live with me

~~~~~~~~

forever taglist: @ohdamnadam , @safarigirlsp , @jynzandtonic , @moonlightsolo

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j-nipper-95 · 5 months

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Six Sentence Sunday

Yes, 2023 is drawing to a close. Yes, I have been lurking for (I think) months at this point. Yes, I have been writing. Thank you so much to everyone who has been tagging me in recent weeks/months, I'm so sorry I haven't been interacting as much with you all as I have in the past. In the last few months I just haven't had the social battery to do much more than just lurk in comments sections, and sometimes not even that (autistic burnout is not fun, can confirm, 0/10, do not recommend).

But I'm back, and here's hoping 2024 is a good year, and one that's productive where writing is concerned! 2023 was a pretty good year for me; I published my first fic (which was also the first bit of writing I've properly published anywhere!), and I sent off my first query for ASR! To a proper literary agent! Like ... WHAT?! I still can't believe it!

As for the end of this year, let's get one last hurrah in for the year of 2023 with the final WIPsday of the year. Chapter 11 of Trails is coming, it just needs to be edited. Here's an unedited snippet of the chaos you have to look forward to.

“When I tell you to, run like fuck,” Fiona tells us, clicking the hammer back on her revolver. “How many more rounds have you got?” Penny asks. “Enough to take down half the idiots aboard this ship.” Fiona takes up a position on one side of the hatch, her finger on the trigger guard. As she moves I hear the tell tale clink of a box of rounds, and see the outline of it in her trouser pocket for the first time. “Fiona,” I caution. “Maybe we should try to do this quietly.” “No chance of that, boyo. I’m killing as many of these fuckers as I can before we go overboard.” “Fiona,” I try again, but she isn’t listening. “The lifeboat is on the right side,” Penny whispers to us, eyeing Fiona out of the corner of her eye. We’ll lower you into it, Baz, then follow.” I guess I don’t have much of a say in this, as Snow is literally the only reason I’m still standing right now. I nod, and Penny creeps up the stairs behind Fiona, who does so about as well as a bull in a china shop. She storms out onto the deck and I’m actually surprised by how long it takes for bullets to start flying. There’s a solid fifteen seconds or so, which allows Bunce to make it up the stairs and gesture for us to follow, before an alarm is raised and Fiona does what she does best: cause chaos.

This hiatus with Trails wasn't planned, but work and general holiday madness got in the way of the tentative schedule my beta's and I had. New Year, fresh start, once more into the fray, as they say. I hope you can join us for this fics future shenanigans.

Tagging for the new year: @artsyunderstudy @aristocratic-otter @bazzybelle @blackberrysummerblog @bookish-bogwitch @cattocavo @chen-chen-chen-again-chen @cosmicalart @cutestkilla @dragoneggos @erzbethluna @ebbpettier @fatalfangirl @frjsti @henreyettah @hushed-chorus @ic3-que3n @ileadacharmedlife @ivelovedhimthroughworse @krisrix @larkral @letraspal @martsonmars @nightimedreamersworld @orange-peony @prettylightsbigcity @palimpsessed @phoxphyre @raenestee @shrekgogurt @skeedelvee @stardustasincocaine @subparselkie @that-disabled-princess @theearlgreymage @wellbelesbian @you-remind-me-of-the-babe

#snowbaz #snowbaz fanfiction #the trails we blaze #the road to el dorado!au #cotta2023 #2024 #writing in 2024 #roll on the new year #happy new year everyone!#ASR #A Survivor's Revenge #original fiction #watch this space

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tediousdelusion · 2 years

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the absolutely most chaotic modern steddy hands au i can imagine is established couple ed and izzy with recently out divorce attorney stede.

like, izzy and ed got married young. maybe because they were drunk in vegas. maybe for the spousal immunity since they are and always have been involved in some less than reputable dealings. but they aren't exactly a "real" married couple in their own minds even tho they live together and their lives are needlessly intermingled.

ed is going through his midlife crisis. he's unhappy, wants to find out that there's more to life. and izzy is done with his shit after the most recent flight of fancy. because i love irony, i think that he buys a boat and comes up with some flimsy justification for why he needs it for "business purposes."

and so izzy threatens divorce, like he has a million times. and ed doesn't buy it because izzy is all talk. but izzy is serious this time - or at least he wants ed to think he's serious - and so he goes and hires a lawyer. not some bus stop lawyer either, no. he wants the real deal and his name is on the joint account, dammit, so ed's money can pay for it too.

enter stede bonnet, divorce attorney at law.

stede is from one of those old legal families. his father was a lawyer and his grandfather was a lawyer and his great-grandfather was... well, you get it. and stede doesn't really want to be a lawyer, but he doesn't have much choice in the matter. his biggest rebellion is practicing family law instead of becoming in house counsel for an investment bank.

for forty-odd years he plays the part of the good son, well after his father is dead. marries the girl he is supposed to, has two kids, a nice house, a steady job. and sure, he's never really happy happy, but he's a divorce attorney! every day he sees marriages so much worse than his own that he figures what he and mary have must be the best a person could hope for.

until woops! actually, no! his marriage is just as bad as half his clients' and now he's going through this whole process himself and oh, yes, on top of it all, he just realized that he's gay!

so between chauffeuring the kids, reading about all the gay culture he's missed in the past four decades, and catching up on his other cases, he ends up meeting one izzy hands. sad case, stede hates to see the end of a long marriage, but it seems easy enough.

except things aren't easy at all because 1) izzy and ed don't actually want to get divorced and 2) stede is starting to fall for ed, izzy's enigmatic and charming husband.

ed is falling for stede, too. of course he is! stede is interesting and new - he comes from this old family tradition that ed's never seen before, but he's also creative and witty and fascinated by ed. and so ed takes it upon himself to help introduce stede to gay culture, preferably by a hands on demonstration.

izzy knows what's going on. of course he does. he's seen ed take interest in someone before, knows what it looks like. but what he doesn't like is that stede is starting to return his interest. stede is izzy's fucking lawyer. if anyone should get to fuck him, it should be izzy.

cue a series of rom-com style hijinks where ed and izzy are both trying to seduce stede, stede is trying to save izzy and ed's marriage, and all three of them think they know what the others want. for more angst and more comedy, you can throw in some actual ethical rules, like how lawyers aren't supposed to start fucking their clients. (there's also a lot of conflict of interest here but shhhhhhhh)

of course, this ends in a throuple. exactly how could go a few ways. maybe izzy walks in on ed and stede and stede is waiting to be fired, but izzy just loosens his tie and joins them in bed. maybe they make it all the way to the first court appearance and when the judge asks if they really want the divorce they're like, nah. he's shagging the lawyer but i guess i want to be fucking him too. maybe stede forces them all to go to lucius sponsored couples counseling and they get perma-banned when they start making out on the couch.

anyway, no matter how it happens, i think stede quits divorce work to become izzy and ed's criminal defense attorney and they all have a long and morally bankrupt good time together

#steddy hands #steddyhands #is it one word or two???#izzy hands #i just think it would be funny your honor #ofmd #our flag means death #trying out just posting ideas that i wont actually execute #bonus points if izzy and stede actually meet before izzy hires him #like stede fucks up his car or smth and izzy meets him at the side of the road and is a real dick about it #and then shows up at the office like 45 min later to hire stede #the revenge crew all works for the firm in this #in varying roles #like i think that jim would be the pi #oluwande is the paralegal #roach runs the cafe in the building #frenchie would be better at the front desk but buttons would be so much funnier #ed this whole time is just making stede's job harder but more fun #stede: i am representing your husband in the divorce and i need to go over some papers with you #ed: okay i will meet with you but only at 8pm at a queer bar

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