A/N: Now, this one has A LOT of angst, starting from around chapter 2. The title should’ve tipped you off on who it’s about. Y’all gonna need a strong heart for this one, especially the chimchim and kookie stans. Enjoy darlings~Kae
NOT MY GIF
“You’re stressed baby” I purred into his ear as he leaned back into my touch.
I moved my hands over his shoulders and upper back working out the tension knotted there best I could. My fingers coaxed and massaged the knots of tension from his shoulders and back, his quiet groans letting me know I was doing something right. I pressed my robe covered body into his back, knowing that he could feel my unclothed breasts against his back. My bent legs spread to either side of his hips, encasing his thighs gently and I inhaled slowly as I let my arms encircle his neck, my head dropping down to the crook of it. My lips brushed against the smooth and soft skin there, the salty taste of his sweat somehow arousing me further. I could hear him suck in a breath and hold it, signalling he was trying to keep his moans in best he could. I smirked against his skin, relishing in the simple fact that I was winning.
“Please” he whimpered.
“Hmm?” I gave a small noise before letting my tongue dance across the side of his neck as I pretended I had no idea of what he was talking about.
I only realized how far gone he was when I raised my head to look at him in the mirror. His head was thrown back, blonde hair falling into his eyes as he leaned back into my touch. The way his head kicked back showed off his gorgeous neck perfectly and I wanted to mark it so bad. My eyes trailed over his gorgeous neck before he slowly raised his head, his eyes meeting mine in the mirror and darkening perceptively. I let my hands drop from his neck, running down his chest slowly. He bit his lip at the motion.
“Stop that” He groaned.
“But you need to relax Minnie, I’m only trying to help” I spoke in a soft tone, pushing myself into him further.
I let one hand go down further, reaching his lower stomach and when I felt him tense, I slowly brought it back up to his chest again.
“Does she know about this?” I asked, prompting him to answer me and give me the satisfaction of knowing that I was getting to him.
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.
toothpick everything i made you feel from your teeth with the same tool you used to carve out every inch of you i touched with these hands, and show how much more clean you are now; how much brighter. that’s okay. i want you to be happy.
your pain is loud. i know. it’s fierce and it’s stubborn and when you need it least, it clings to you most. i know. it will come and go, and it won’t stop knocking on your door, no matter how old you are, how successful you are, or how in love you are. some say that pain is your worst enemy.
i have this theory. pain is your best friend.
it will break you when you need to be broken. and yes, everyone needs to break. it will be there for you when you are too weak or afraid to break on your own. it will give you a kickstart. and then it will cling to you until you recreate a version of yourself that is good enough for you. it will stay by your side, reminding you why you are fighting so hard. it won’t leave you. and you will hate it. you will threaten to take your own life if it doesn’t leave. you will cry and be afraid and blame every person that did you wrong. and pain will sit there, take all this, and stay. it won’t leave. it will stay. and it will hold you. and breathe with you. and help you create a pulse strong enough, that when it leaves, you will know you can survive. you will survive. it will teach self-love, and self-care when love just isn’t showing up. and it will humble you. it will humble you and soften you and teach you to understand others. and to wish them well. it will humble you. when you never thought you will get there, it will bring you there. and that person that hurt you? that person that took and took until you were opened up completely, and then swung a hammer at all the places inside you that screamed to be admired? that person that contributed to your break? to your shatter? to your insecurities? to your scars? that person, well, you won’t feel the aches when you think of them. you will notice calm. crawling on your skin like a caterpillar that doesn’t even know yet how many versions it still has yet to be. you will notice it, and for the first time, you will appreciate the pain. the break. the everything that got you to this point. you, are just a caterpillar. this part-this part that you feel is the end-that was solely you breaking out of the egg. that was you growing inside the egg and feeling the discomfort of growing big in a small space, but being too afraid to get to the next step. but you broke. however, whoever, contributed, be humble. because look at you now. you are one step closer to growing wings. to growing colour. to growing. and you are one step closer to flying. and god, you’d make such a powerful butterfly.
you can be angry and you can be hurt, i know. trust me, i know. but i have this theory. i have this theory that bad people aren’t born. they are created. and i think it starts when they break out of their egg. i think they fear pain. so instead of looking forward to being free, to being broken open, they cling to that moment of breaking. that moment someone or something did them wrong. and they don’t let go because they are afraid of what they have to become if they do. the responsibility that is placed on them to become. i think they fear that. they fear the process of pain. the process of growing.
so, go. get your heartbroken. fail an important exam. get fired from a job you enjoyed. lose a few friends. fail. break. destroy. and then when pain sneaks up on you, welcome it. hold it back. and then move. just move. keep moving. anywhere. everywhere. discover what you weren’t able to before because of the limitations that were placed on you. and then look back, look back at where you got your heart damaged, and be humble. be loud. be stubborn. and wish them well. all of them. all of it. wish it well.
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?
Put your entire library (I don’t have Itunes so I used 105 song Youtube playlist) on shuffle and write down the first 10 songs then tag 10 people
I’m Breaking Down (Falsettos)-I Can Cook Too (On the Town)-Yo Girl (Heathers)-Shy (Once Upon a Mattress)-Halloween (Be More Chill)-Two Tickets to Wicked-To Kiss a Girl (Run Far Away)-Shine a Light ((reprise) Heathers)-We’re Just Friends (I Love You Because)-Touching My Hand (by Joe Iconis)
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.
If, IF, this scene is after them fighting about the Serpent thing or they are a little distant and not in speaking terms because with Fred and all that they haven’t had the time to really talk about Jughead’s involvement with the gang and he is at Pop’s, with his head buried under the hood of the car and trying to get it to work but damn it he is the worst mechanic and Betty spots him struggle and of course she goes over to help and there’s this awkward silence and only truck-related questions even though they are dying to ask other question and he goes to show her something on the engine or she needs assistance screwing something or, better yet, she is screwing something hysterically while freaking out in a rant because she is nervous and frustrated and his hand flies to stop hers and their hands touch and then that momenthappens you know when they stop and look at each other and there’s a pause and all those “I love you, you dumbass” being left unsaid and he lets a soft “Betty…” with his freaking heart-eyes, that’s it I’m literally going to die!
And if the scene goes differently, then I’m rioting!!!!