ayyyy, guess who’s back with writing? finally :’)) I’ve just been a lil busy recently, but I’m back!!! and requests are indeed open! (writing under the keep reading cut!)
- was actually like super fucking nervous like
- sweaty hands nervous
- was so, so gentle
- “can I take this off baby?” as he paws at your shirt
- quick removal of remaining clothing
- “you’re so beautiful and I’m so lucky”
- desperate kisses
- soft and loving touches
- gentle hands on your hips as he pushes his body against yours
- doesn’t leave any marks,,,for his first time at least
- kisses down your neck
- hands roaming
- quiet noises at first
- which turn into desperate loud noises
- “Ready princess?” before he eases himself into you
- waits for you to tell him to move
- goes so, so slow and soft at first but it’s a challenge for him
- because his hips keep wanting to buck but he has to stop them
- your hands on his back, pressing him flush against you
- might have to hold off, so you can cum first
- forehead kisses after you both cum
- naps after
- pretty confident actually
- which probably isn’t surprising
- starts out with a kiss and leads to you straddling him
- “You sure you wanna do this doll..?” as you pull his shirt over his head
- which causes you to nod and pull your shirt over you head
- his eyes widening slightly, “Damn baby…you’re so beautiful..”
- him laying back and pulling you on top of him
- grinding his hips into yours as he leaves marks down your neck and onto your chest
- slow removal of clothing, a teasing tone to it
- “C'mon baby, don’t hold back. Let me hear you make some noise.”
- soft sighs of pleasure as you kiss down his neck
- he flips you guys over, intertwining your fingers
- lip biting, mostly on his end as his eyes met yours
- slowly pushing himself into you
- immediately a moan leaves his mouth
- accidentally lets his hips buck forward sometimes, because he can’t control it
- “I’m sorry baby..you just feel so damn good..”
- does his best to make you cum before he does, probably succeeding
- sweet kisses after you both do cum
- laying in bed, cuddling afterward
- was also pretty nervous
- cause he was so worried he would fuck up
- would probably want you to take control
- gentle kisses
- him laying down on the bed as you get undressed to your lingerie
- heavy breaths from him as you pull off his clothing
- “It’s okay Pony. Don’t be so nervous” as you kiss down his chest in hopes to get him to calm down some
- his hands on your hips as he looks up and down your body
- “You look so perfect…hell, you are perfect..” in a whisper
- he actually gets a little confidence and pulls off your lingerie and his boxers
- him closing his eyes and pulling his bottom lip into his mouth as you carefully sink down onto his cock
- you’d probably make a slight noise and he’d immediately think he hurt you
- constantly giving him reassurance that he didn’t
- he wouldn’t be able to control his hips so they’d buck a few times
- somewhat hardly gripping your hips
- him cumming first, but you cumming soon after
- him pulling you close after, kissing all over your face
- “I love you baby…”
- “I love you too Pony.“
What do you do when you work with a bad veterinarian?
There are only two real options if you want to maintain your integrity: Try to improve them or leave.
I assume you’re asking me, myself, and not in a rhetorical sense.
When I have worked for a bad vet, I tried to leave. While trying to leave, I attempted to mitigate his influence as much as possible. This included steering him away from cases I didn’t want his useless hands touching, mostly by making them sound ‘boring’. There was also some gentle, off the record coaching for clients that perhaps they would like a second opinion somewhere else.
When I have worked with bad vets I have initially tried to tutor them, to guide them into making better decisions and practicing better medicine. But when you are faced with a bad vet who doesn’t think they are doing anything wrong, and are compromising patients because of this, that’s very difficult to do. In those circumstances I set about documenting everything to get them fired, whilst still trying to mop up cases as much as possible. This is a real challenge when they never asked for help, because I often don’t know everything they were doing.
It’s a difficult situation because I don’t want to bring the profession into disrepute, but vets that can’t or wont learn are detrimental and against what I stand for, so I have to do something about it.
What would it be like dating you sorry im genuinely interested.
ahaaa besides the fact ive never dated anyone ever? just like a date date…lots of eye contact honestly i wouldnt be able to take my eyes off my lover, touches, talks and kisses, hand holding im very big on pda..get them a little gift or trinket for every date cause i love spending money on others and always act before thinking afuvgbhjnkj, all eyes on us tbh im always being looked at all the time i know for a fact im enchanting and i want them to know im with you and you have me..your romantigoth gf..
He sat back giving her space “I’m sorry if my presence upset you.” He refrained from smiling fearing his fangs might upset her more than she already was.
“It wasn’t you” she reached across the couch touching his hand gently with hers. His skin was cool to the touch causing her to smile up into his apprehensive eyes. She closed her eyes pushing the vision away. After regaining control she opened her eyes “you’re exactly as I envisioned you to be.” She smiled taking her hand from his sensing how uncomfortable her touch had made him. “I’m Esme Stone” she introduced herself as she got to her feet.
“You’re not going already” Adam asked “we just barely met.”
She pointed at towards the camera and the timer counting down. “The resident genie was very adamant we don’t go over time. As you can see my time is almost up.” She paused inside the doorway “I’d rather not upset anyone on the first day.” She smiled again as she before turning and skipping from the room.
Hi! I'm totally in love with your writing, it's so cute! Can I request some cute fluff with V and MC on a rainy day?
There is something mesmerizing about the rain.
It swirls in pools on the ground, flowing in an ancient rhythm. This was universal. This was to be alive.
What could be better than this?
A hand touches yours, cold yet soft, fingers curling inwards. Clarity. You are drawn from your thoughts in an instant. Skin brushes skin, and the electricity of his touch sends goosebumps up your arm.
Blue skies peeking through gray clouds. Blue eyes glossed with a gray haze. Eyes lidded with that loving look…
The sound of rain pitter-pattering on the gazebo’s roof dulls as your senses focus solely on him. His light breathing draws soft clouds of steam that swirl and fade into the air.
He tugs on your hand, pulling you closer.
Your lips connect, warmer than the chilled air around you. Heat rises in your chest, and you feel a flush of excitement. Blue strands of hair brush your forehead as your noses press against each other.
He sighs lovingly, still hovering near your mouth. You lower your head, letting his lips rest on your forehead as you lean into him.
You feel his arms wrap around you, his body heat enveloping you like a snug blanket. You stare over his shoulder out at the downpour of rain, smug satisfaction settling over you.
My first rivamika week. I was so excited to finally join in the fun. It’s not easy actually coming up with something though. I tried though.(Also, I couldn’t hit all eight days. Sorry.) Kinda angsty. You warn about that, right?
NoctNyx; Nyx decides to sneak the prince out of Insomnia one night (he's a Glaive, he's good at not getting caught) to just enjoy time for themselves and forget about the war. Noct is forever grateful and shyly thanked him.
Noctis sat at his father’s side, a wan, pale smile on his
handsome face, and as Nyx stood patiently on duty, his heart ached at the sight
He came to the prince’s rooms when the audience was over and
found him moping quietly.
“Come on, highness,” Nyx rumbled, holding out his hands,
drawing him to his feet. “Let’s go. Just you and me,” he said, his voice low
Noctis frowned, but changed and allowed himself to be led
from his apartment.
Outside the secret exit, Nyx took his hand and led him to
their favourite escape.
Lights, music, darkness, anonymity. Two bodies entwining,
nothing existing outside their gaze, their touch, their hands.
Back in his rooms, sometime past midnight, Nyx whispered
into Noct’s neck as the prince pressed his body tight against his. “I can’t
“I know,” he blushed, mumbling. “Thank you. I needed that.”
As a thank you for reaching 150 followers, I have been writing 150 word drabbles. Requests are technically closed (as of 23rd June), but you can still send me a person or a pairing plus a word or a sentence. It just might take me a bit longer to respond now, as I’m working on other projects.
me, giving the babadook his daily bucket of worms from 7 feet away in my basement: h-h-h-here y-you go m-m-mr. babadook i-i hope… i hope they’re to you’re l-liking….
the babadook, screeching inhumanly for a moment before stopping abruptly: ellie should i have stayed in the closet?
me, shocked at his forwardness to show his emotions, letting my guard down as my inevitable need to comfort others overwhelms me: b-baba, no… sweetheart don’t you ever think that… you are loved. you are valid. you are an inspiration to all of us. please tell me you’re not rethinking coming to pride?
the babadook, clicking his long, spindly fingers together and gently kicking the bucket of earthworms with his toe: i dunno… everyone just has this predisposed idea about me that i’m just like. a stereotypical gay guy, not that there’s anything wrong with that but it’s like… idk. i just wanna be accepted y’know? like i just love men a lot and it took me a long time to be able to say that… you know what i mean?
me, sitting down next to him and offering him a worm as we chill on the basement floor: yeah dude i feel you. tell you what… you think over it for the next day or two, and if you don’t wanna go i wont force you. but, those people who think those things of you are such a small minority that they hardly matter in the grand scheme of things. you’re important and loved and valid and you’re gay! and there’s no right or wrong way to BE gay, no matter what straight people say.
the babadook, slurping some worms: ur right ellie, thanks… ur a real one…
me, touching my hand to my chest in quiet contemplation, shaking my head gently: no i… thank You baba. really. thank You.
Any advice on how to write a heist story something like oceans Eleven?
Well, you can start by watching Ocean’s Eleven, and Ocean’s Eleven, and then Leverage, and then Burn Notice, and then The A-Team, and then Mission: Impossible, and then all the other heist stories like The Italian Job or Heat. Watch, read, uncover as many stories about criminals as you can from fiction to nonfiction to reading security analyst blogs. Read the spy memoirs, the thief memoirs, the fake ones and the real ones. Check out magicians, hypnotists, card tricks, and sleight of hand. Watch the making ofs and director’s commentaries looking for clues behind the thought process of these stories. The hows and the whys as you look into the research they did. Burn Notice, for example, is famous for using stunt props and technological rigs that work in real life. Like using cell phones to create cheap bugs on the go.
The worlds of criminal fiction and spy fiction rely on being able to present (or convincingly fake) a world which feels real. A heist is all about exploitation. So, you need a world with security structures to exploit. You’ve got to know how things work before you can craft a way to break them. Social engineering, hacking, and every other criminal skill is about breaking the systems in place. So, you’ve got to get a baseline for how law enforcement and security analysts work. What security systems are set up to look like. The ways we go about discouraging thieves. Better yet how people behave. Real, honest to god human behavior.
So, you know, pick somewhere in order to start your research. Get an idea of what you want write about stealing, then learn everything about the object, the museum, the city, the country, and its customs as you can.
If you’re setting a heist in a futuristic or fantasy setting then luck you, you get to make all of it up.
Learning the plot structure and conventions of the heist genre is the first step. This means watching lots and lots of heist movies, shows, and reading books. Over time, as you become better at critical analysis, you’ll begin to see specific story structures and character archetypes emerge.
The Heist Story is a genre. Like every other genre, it comes with its own structure, cliches, archetypes, plots, and genre conventions which necessitate the narrative. The better grasp you have of those, the better you’ll be at writing a heist.
For example, a heist story like Ocean’s Eleven relies on a collection of thieves rather than a single individual. The character types are as follows:
The Pointman- Your planner, strategist, team leader, and the Jack of All Trades. Can also be called the Mastermind. They’re the one who can take the place of anyone on the team should they fall through. They’re not as good as a specialist, but they’re very flexible. Narratively, he plans the cons and subs in where he’s needed.
The Faceman- Your experienced Grifter, here for all your social engineering needs. These guys talk their way in.
The Infiltrator - Your cat burglar or break-in artist. Basically, the conventional genre thief.Your Parker, Catwoman, Sam Fisher, or Solid Snake. The stealth bastards, they’re all about silent in, out, and playing acrobatic games with the lasers.
The Hacker - The electronics and demolitions specialist. Usually this is the guy in the van overseeing stuff remotely. Your Eye in the Sky. Their skill set can be split up and swapped around as necessary.
The Muscle - The one who is good at fighting. They’re combat focused characters, usually with mercenary and special forces backgrounds. Though, that’s optional.
The Wheelman - The one who handles the getaway. They’re your often overlooked transport specialists. It’s not just that they can drive, they’re skilled at getting lots of people around, figuring out how to move your valuables, and exiting hostile cities or countries undetected. They get the team in and they get them out.
For an example of these archetypes, I’m going to use Leverage. Nathan Ford, The Pointman (technically, he’s written like a Faceman). Sophie Devereaux , The Faceman. Parker, the Infiltrator. Hardison, the Hacker. Eliot, the Muscle. They all take turns being the Wheelman.
Other examples like Burn Notice: Michael Westen, the Pointman. Sam Axe, the Faceman. Fiona, the Muscle. They all take turns with explosives, Michael will invariably take all the roles during the course of the show.
Ocean’s Eleven has multiple variants of these archetypes, all broken down and mixed up.
You can mix and match these qualities into different individuals or break them apart like in Ocean’s Eleven, and more than one character can fill more than one role, but that’s the basic breakdown. For example, your hacker doesn’t need to be a guy in a van overlooking the whole security grid. One guy or girl with a cell phone can sit in the lobby of a building with an unsecured wireless network and crack the security. Welcome to the 21st century. The skills don’t necessarily need to take the specific expected shape.
What you do need is the basic breakdown: You need someone to plan the con, you need someone to be your face or grifter, you need someone to break in, you need someone to watch the security/electronics, you need muscle to back you up, and someone’s got to cover the getaway.
These shift depending on your plan, but this is the expected lineup for a heist narrative. The first step of a heist narrative is not the plan because we don’t have one yet. We’ve got an idea. Pick your target. Maybe it’s a famous painting. Maybe it’s a casino. Maybe it’s a rare artifact from a private investor’s collection loaned to a museum for a short period of time. Maybe it’s art stolen by the Nazis during WWII. Whatever it is, figure it out.
The next step is simple. If you want the thing, you’ve got to find a way to get it. This is a big job, your standard thief won’t be able to pull it off alone. So, you gotta go recruiting. Get your team together. Make sure to establish the goals of the different members for joining. Who they are. Their pedigree. One might be an old flame or an old enemy. This is where we lay out some character driven subplots.
When everyone’s together, we’ve got to lay out the plan. Before we have a plan though, we need to establish where the object is and the issues in getting it. Why this has never been done before. So, what are the challenges? Invariably, an object worth a great deal of money will have a lot of security protecting it. Figure out what that security is, who the item belongs to, what sort of retribution do the thieves face beyond what they might expect. Lasers, pressure plates, cameras, security, other career criminals, mob bosses, the rich and powerful, whatever.
After that: How do you get it? Then you’ve got to plan the con, while taking everything into account.
Then, We prep the Con. There will be steps to take before the con can be put into place, your characters taking their positions in plain sight. Stealing whatever pieces you need to make it work. Casing the joint. Etc.
Then: Run the Con. This is the part with the actual stealing. Better known as the first attempt. Things go well, there may be a few mistakes, but things are going well and then we…
Encounter Resistance. While running the con, something goes wrong, pieces fall apart, the thieves come close to success but the object gets moved and they suddenly need a new plan. New information may pop up, it may be one of your artists was running a con of their own separate from the rest.
If there’s a double cross in the works then this may be when and where it lands.
We’re ready now, so it’s time hit up: Steal the Thing, Round Two. Your characters put their new plan into play and get about thieving the object of their desire.
Lastly: The Get Away. This is the part where your thieves make for the hills with their stolen treasure. This can be short or long depending on the kind of story you’re telling and other double crosses may occur here. It could be the end of the story or the beginning of a new heist.
Heist stories are like mystery novels. They’re all about sleight of hand and misdirection. You’ve got to keep just enough information on the table to keep your audience on the hook, and just enough information off the table to surprise them later on the twist. Yet, when they go back to re-read the novel again, they’ll find the answer was there all along. They just didn’t see it coming.
If anything, learning how to write a well-done heist or a mystery or any kind of novel in this genre will teach you a lot about how to manage your foreshadowing and create superb plot twists. Like any good con, you need to lay out all the conflicting pieces where people can see them, let them draw their own conclusions, withhold the critical context, and then hit them with the whammy.
Like lots of audiences, new writers (and even some old ones) can get distracted by the shock and awe. They see they’re impressed by the conclusion, not the lay-up. If you want to write any kind of fiction, you need to learn to see past the curtain and pay attention to the critical pieces leading into an important moment rather than the moment itself.
Good writing isn’t modular, you can’t just strip out pieces and run with them because you’ll end up missing the crucial, sometimes innocuous pieces that ensured the scene worked. Like the Victorian Hand Touch, every moment between the two leads and most of their scenes with secondary players are working for that singular instance of eventual, gleeful catharsis.
If you’ve got a plot twist coming in your novel, every sentence from the second you start writing is working towards it. You start laying out your pieces, funneling in your tricks, and playing with misdirection. You may have multiple twists, to cover yourself, divert your audience, congratulate them for successfully guessing your ploy, and reassure their initial suspicions before catching them again on the upswing.
The clever writer is as much a con artist as their characters. The only difference is the target of their con is their audience. The tricks in their bag are narrative ones, and they work with the understanding that it doesn’t matter if someone guesses the end so long as they’re entertained by the journey. A great story stays entertaining long after the audience has figured out all the twists.
So, don’t get caught up in Red Herrings and frightened about not being able to outsmart other people. Tell a good story with conviction and heart about a bunch of crooks out to steal their heart’s desire.