I love your art! You do really good realistic looking drawings. Do you have any advice for someone who has no experience with digital art and wants to start doing fan art?
OMG WOW Thanks! skjhfsdjkfg
Also, idk if I’m qualified to give advice? So I’ just gonna tell you some tips based on my experience.
First is obviously buy a good digital tablet. I know some people are going to say that you don’t need a good one when you start but that’s bullshit. My recomendation is to buy a tablet that you know it’s going to last you a lot. I’ve been using mine for like 10 years (and I bought my first nibs replacement just the other day). It is also important to regulate the pen pressure to your necessities. I mean, I know of people who need to replace the nib every week, and that’s insane!
You have to find the program that suits you better. There are loooooots of good programs and you can even use one to draw and other, let say, to retouch a couple of things. I prefer to use SAI because I think the lines are more smooth and it detects the pressure better, but this is just my personal opinion. I also do the final retouches with PS.
Use references (or combine them). Idk where this stupid idea that “using references is cheating” came from, because is NOT. Btw, it’s better if the reference you choose have a good contrast (shadows and light, I mean) because this helps when you are measuring (more points of reference). Save a good pic of a pose you want to draw, open it and start drawing in another canvas, like this:
(senshitosckis amazing, but you can find references everywhere)
Also (and this is REALLY important) use the flip option to see if your drawing is proportionated. You might not be able to see it until you invert/flip your canvas because you probably think your drawing looks good but OH BOY, how wrong you are:
Just like drawing traditionally, you have to take rests because if you focuss too much in a drawing you won’t see the mistakes.
When you paint you can try different types of brushes to archieve that texture you want, play with the opacy, the blending, density, size… Ask your favourite artist if they can tell you what brush (and the settings) they use and try it, download new brushes… This is not science, do whatever you want until you find a brush you can work with.
You can also use palettes if you think you are not that good choosing color combinations.
Watch speedpaint videos (this helps more than you think… even if it’s a bit depressing to see how good some artists are, it’s good to see and compare how they work in order to pick the things that you need).
And practise, draw all the fucking time. Your art looks like trash? Good, you have something to work with, keep drawing and you’ll improve. The worst you can do is stay in your comfort zone and think your art is already perfect so you don’t have to improve
And I think this is all? (probably not, but I told you I’m not good at giving advice oops). Anyway, ask me more questions if you want ;)
Omg Jace and Alec do have chemistry.. I stopped the show at season 1 thinking it wasn't good and did not see any chemistry between Jace and Clary (or really any chemistry between anyone). Seeing those gifs though.. like wow, chemistry does exist on that show. Like god, Jace looks in love with Alec in the last gif. I was a reader of the books who shipped Clace so it's just like, you did this show all wrong. Now I'm digging Alec and Jace though
Literally, LITERALLY, the only time I stop bashing Shadowhunters when I watch it is when Jace and Alec are onscreen because their chemistry is actually insane and I’m always like, I deserve to see a really hot love scene between the two of them for sitting through the bullshit that is this show.
Like do you know how much I wanted this to turn to a love scene
Like sorry but Alec never looks at Magnus like this
the best part abt the Canadian Utopia propaganda is when justin trudeau looks into the camera with his Vaguely Condescending Smarmy Smile like “hm…those situations in Other Parts Of The World such as with our Good Friends To The South…so tragic….but let me take this moment to tell u that we do not know these problems ourselves….You See, in the Canadian Utopia™, We Have No Problems” and everyone goes “wow tru…wise….moving 2 canada….did u know he likes star wars and walked in pride and is friends with tony stark. Canadian Utopia™”
[#2017BTSFESTA] OPENING CEREMONY : Skit about 2017 FESTA!
[Audio Trans]: NJ: Are preparations for Festa going well? HS: Yeah. YG: It’s a mess, it’s crazy. HS: It’s Festa soon. NJ: First off, Taehyung and I are forming a team to compose a cool song. TH: One song. HS: Ohh~ SJ: Wow~ JM: I’m really looking forward to that. NJ: Taehyung contributed a lot to it. TH: No, (it’s because) hyung [Namjoon] did everything well.. JM: We haven’t even heard the song- SJ: Right, right. JM: So we’re really curious. JH: What am I going to do? What are you guys doing? NJ: What are the others doing? YG: I’ve already thought of something. SJ: I’ve thought of something too. NJ: Ah, really? YG: I’m going to be the main character. SJ: It’s gonna be amazing. JM: Anyways, I… HS: This hyung [Yoongi] has good ideas. YG: Idea King. JM: I’m looking forward to Suga-hyung the most. Really. YG: I’ll show you a sneak peek. TH: Personally, I- YG: It’s crazy. JM: It’s crazy? TH: Recently, I’ve been wanting to see black-haired J-Hope. SJ: It’s been crazy these days, everyone goes wild and screams “HOPE!” when they see J-Hope now. TH: Black-haired J-Hope! NJ: He should go from J-Hope to J-Black. JM: I think I’m the problem. SJ/HS: Why? JM: My practices aren’t going that great. HS: Ahh~ NJ: But I’m really looking forward to it. YG: Well, from the start, it’s not easy. SJ: That’s right, don’t worry… NJ: It’ll turn out well. SJ: Let’s all work hard to prepare and go take a photo. NJ: For this Festa as well, let’s work hard and show cool things. JK: Let’s work hard to show the best result. YG: Preparations are almost done, anyways… NJ: I think we’ll get a good response and lots of people will like it. JM: Lots of people are looking forward to it, so we have to prepare well. HS: Let’s take the photo, come on. TH: Let’s do ‘bangtan bangtan bang bangtan’ once. SJ: Bangtan bangtan… ALL: Bang bangtan! HS: Yah, go go go! Selca, selca!
Hey, you're awesome, thanks for existing, basically ^_^ Anyway, I wanted to know if you have any tips on how to write different personalities? My characters (all of them) always end up with the same default personality that I fall back on. Thanks!
Thanks for your question, darling! I think most of us have struggled with this – after all, we’re conditioned to one way of thinking, feeling, and acting for as long as we live. That doesn’t necessarily mean we write characters like ourselves, though. In fact, many of us have a “default character” that’s sassier than we are, sweeter than we are, or in some way different enough from us that we still feel like we’re writing a character.
The problem, then, isn’t that we can’t visualize a different personality than ours. On the whole, we can. What we’re missing are the small details that make it feel whole – otherwise, it’s like painting the same room six different colors and trying to pass it off as six different rooms. Different dominant traits can’t hide the fact that you’re working with one template!
So the question we’re left with: what are the traits we’re missing? And how can we change them to create a unique and whole personality?
Three Types of Character Traits
There are, as the title suggests, three major categories of personality traits as I see it: fundamental traits, acquired traits, and detrimental traits. A well-rounded character needs some of each to be three-dimensional and realistic.
The fundamental traits of a person’s character are not as simple as interests and preferences; they are the very base of all decisions and desires. They are either learned in early life or developed over a long period of time, rooting deeply into the personality. A few examples of fundamental personality traits include:
Upbringing – The word choice here is conscious, as upbringing encompasses many different aspects of a person’s development. Consider who raised them, and with what morals and practices they were raised to adulthood. Consider their influences, both familial, social, and in media; consider the relationships that were normalized during their development, as well as the living conditions (financially, emotionally, environmentally, etc.). The people, places, emotions, and conflicts made common during a person’s developmental period are essential to their personality in adulthood. This is why psychologists often draw present-day problems back to a person’s childhood memories – because those formative years can subconsciously dictate so much of a person’s future!
Values – These may not coincide with the values a person is raised to hold, but upbringing certainly has an influence on this. A person’s values will direct the course of their life through every decision, large and small. You don’t need to outline everything your character believes is important – every moral and every law they agree/disagree with. But those values which stand above others will give your character purpose. A few of my favorite examples are: Jane from Jane the Virgin (whose initial storyline is heavily based on her religion and desire for a beautiful love story, as well as her childhood influences who inspired these values) and Han Solo from Star Wars (whose character development rested upon his values shifting from money and gratification to more honorable things).
Beliefs – Different from values, beliefs are a more general set of guidelines for how a person believes things are supposed to be. Beliefs can also be a source of great conflict, as a character tries to stay aligned with their beliefs despite other values or desires. These beliefs can be established systems, like religion or politics; they can also include more personal belief systems, like nihilism or veganism. A characters beliefs, like their values, can change over the course of the story – but even if a character is questioning one system of belief, like religion or pacifism, they should have other belief systems in place to govern some of their activity.
Reputation – A lot of human activity, whether consciously or not, is dictated by how others perceive them (or how they believe others perceive them). There are two types of reputation: personal and passing. For instance, a woman named Sally who gains a personalreputation of sleeping around will behave in reaction to this reputation – either sleeping around because everyone already expects it of her, or specifically not hooking up because she wants to shake this reputation, or developing a thicker skin to deal with the rumors until it passes. A man named Billy who, because of his tattoos, bears a passing reputation as an intimidating man will either try to soften his demeanor with strangers, own up to the image, or at least learn to expect judgment from strangers as a consequence.
Self-Image – Also relevant to a person’s behavior is the way they perceive themselves, which can often have little to do with their reputation. A lot of self-image is based on definitive moments or phases in the past. For instance: for several years after I started wearing contacts and cutting my hair, I still saw myself, in dreams at night, with long hair and glasses. One of my friends, similarly, could not seem to notice when boys would flirt with her during sophomore year – because she still saw herself as an awkward middle schooler with braces, and not as the charming cheerleader with the great smile. Inversely, self-image can be inflated, causing character to behave as though they are funnier, smarter, or more prepared than they truly are (see: the rest of my sophomore acquaintances). This can be an overlooked character flaw opportunity – or flawportunity…
Now we move on to the acquired traits of personality, which are the ones you’re more likely to find on a character sheet or a list of “10 Questions for Character Development”, alongside a million other things like their zodiac sign and their spirit animal. But the traits I’m about to outline are a little more relevant to a character’s behavior, and more importantly, how to make this behavior unique from other characters’ behavior. The following traits will be learned by your characters throughout their life (and their story), and are more likely to shift and grow with time:
Interests – I know, I had to reach deep down into my soul to think of this one. But it’s true! Interests, both in childhood/adolescence and in adulthood, are an important part of a character’s personality and lifestyle. Childhood interests both reveal something about the character (for instance: my nephew loves trains, Legos, and building, suggesting a future interest in construction or engineering) and create values that can last for a lifetime. Current interests affect career choice, social circles, and daily activity for everyone. Forgotten or rejected interests can be the source of pet peeves, fears, or bad memories. There’s a reason I’ll never play with Polly Pockets again, and it 100% has to do with bloody fingertips and a purse that wouldn’t open.
Sense of Humor – This can be a little hard to define, understandably. If you were to ask me what my sense of humor is, I’d probably start with a few stupid memes, pass by Drake & Josh on the way, and somehow wind up telling you bad puns or quoting Chelsea Peretti’s standup comedy. A person’s sense of humor can be complex and contradictory! Sometimes we just laugh at stuff because someone said it in a funny way. But anyway, to help you boil this down to something useful: take a look at a few kinds of comedy and relate it to your character’s maturity level. Do they laugh when someone lets out a toot? Are they the kind of person to mutter, “That’s what she said,” or simply try not to laugh when something sounds dirty? Can puns make them crack a smile? Do they like political humor? Do cat videos kill them? Is their humor particularly dark? Can the mere sound of someone else laughing make them laugh? Figure out where your character’s sense of humor is, and you’ll feel closer to them already.
Pet Peeves – For every interest a person may have, and everything that makes them laugh, there’s something else that can piss them off, large- or small-scale. Are they finnicky about their living space and neatness? Do they require a lot of privacy? Do certain sounds or behaviors drive them crazy? What qualities are intolerable in a romantic interest for them? What kind of comments or beliefs make them roll their eyes? If you need help, just try imagining their worst enemy – someone whose every word or action elicits the best eye-rolls and sarcastic remarks and even a middle finger or two – and ask yourself, what about this person makes them that mortal enemy? What behaviors or standards make them despicable to your character? That’s all it takes.
Skills – Everybody has them, and they’re not just something we’re born with. Skills can be natural talent, sure, but they’re also cultivated from time, values, and interests. What is your character okay at? What are they good at? What are they fantastic at? Maybe they can cook. Maybe they have a beautiful eye for colors. Maybe they have an inherent sense of right and wrong that others admire. Maybe they’re super-athletic or incredibly patient or sharp as a tack or sweet as a cupcake. Maybe they know how to juggle, or maybe they’re secretly the most likely of all their friends to survive a zombie apocalypse. Where do they shine? What would make someone look at them and think, “Wow, I wish I were them right now”?
Desires – A good way to “separate” one character from the next is to define what it is they want, and then use every other detail to dictate how they pursue that goal. Every real person has a desire, whether they’ve defined it or not – whether it’s something huge, like fame or a family of five with triplet girls and a beach house on an island, or something small, like good grades for the semester. These desires can cause a person to revise their values or forsake their morals; and these desires can conflict with other people’s desires, influencing how people interact with each other. Remember that every character is living their own story, even if it’s not the story you’re telling.
Communication Style – A majorly overlooked character trait in pop fiction is unique communication styles. Having every character feel comfortable arguing, or bursting out with the words, “I love you,” is unrealistic. Having every character feel paralyzed at the idea of confronting a bully or being honest to their spouse is also unrealistic. There should be a healthy mix of communicators in a group of characters. Some people are too softspoken to mouth off at their racist lab partner. Some people wouldn’t see their girlfriend kissing another guy and just walk away without saying something. Some people just don’t react to conflict by raising their voice; some people enjoy sharing their opinions or giving the correct answer in class. Boldness, social skills, and emotional health all have a part to play in how people communicate their thoughts – so keep this in mind to create a more realistic, consistent character.
Emotional Expression – Along the same lines but not the same, emotional expression is more focal on feelings than thoughts. If you’ve ever heard of the fight-or-flight response, the different types of anger, the stages of grief, or the five love languages, then you’re aware of different “classifications” of emotional expression and management. Read up on some of those things, and think about how your character handles emotions like happiness, sadness, fear, anger, loneliness, paranoia, and so forth.
While acquired traits are certainly more enjoyable to brainstorm during the creation process, detrimental traits are as important – or even more important – to the character’s wholeness as well as their role in the story. Not only do these negative or limiting traits make your character realistic, relatable, and conflicted – they create a need for other characters and their strengths to move the plot forward. A few examples of detrimental traits include:
Flaws – Character flaws are probably the first thing that came to your mind while reading this, but they’re the essence of the category. Flaws in a character’s personality, morality, or behavior can be a source of character development; they set an individual on their own path and provide a unique motivation for them. Having Character A struggle with sobriety while Character B learns to be a more patient mother can do a lot to separate their stories and personalities from each other. Even if certain flaws don’t reach a point of growth, they create a third aspect to personality and force us, as writers, to be more creative with how our characters get from Point A to Point B, and what they screw up along the way.
Fears – Everyone has fears, whether we’re conscious of them or not – and I’m not talking about phobias or “things that give you shivers”. Just like everyone has a primary motivation throughout life (romance, family, success, meaning, peace of mind, etc.), everyone has a fear behind that motivation (loneliness, failure, emptiness, anxiety). We all have something we don’t want to happen– places we never want to be and things we never want to do. We’ve all been in situations that mildly bothered others but wildly affected us at the same time. For me, it’s a lack of autonomy, or in any way being forced to do something or be somewhere against my will. What does this mean for me? It means that when other people have nightmares about being chased by an axe murderer, I have nightmares about being kidnapped and locked up. It means that I’m continually aware of my “escape plan” if something goes wrong in my living situation, and I’m hypersensitive to someone telling me, “You have to do this.” It means I struggle to follow rules and usually don’t get along with authority figures because I have to assert my independence to them. It’s irrational and continual and doesn’t just affect me in one situation; it subconsciously directs my steps if I let it. That’s how real, guttural fears work. Phobias are only skin deep, and they don’t make you feel any closer to the character.
Secrets – Even goody two-shoes Amber from the swim team, with her blonde blonde hair and her good good grades, has a secret. Everybody does, even if it’s not a purposeful, “I have a deep, dark secret,” sort of secret. We have things we don’t tell people, just because they’re embarrassing, or painful, or too deep to get into, or they don’t paint us in a good light. While the secrets themselves tell a lot about a person, so do the reasons a person keeps a secret. Hiding something out of shame suggests a person is prideful, or critical of themselves, or holds themselves to a higher standard than they hold others. Hiding something painful suggests that the person struggles to handle sadness or regret, or that they feel uncomfortable showing raw emotion in front of loved ones. And so on and so forth.
Conflict – Whether internal, interpersonal, legal, moral, societal, or what have you, conflict will limit your character’s actions at every turn. A story is nothing without conflict driving the plot in different directions and causing your character to rethink both their plans and their lifestyle. Without Katniss’s moral conflict over killing other tributes, The Hunger Games would be the story of a girl who entered an arena, killed a lot of people, and lived the rest of her life rich and comfortable. If Luke Skywalker didn’t have interpersonal conflict with Darth Vader, Star Wars would be the war-story of a guy who joined a rebellion and then… yeah.
Health – Physical, mental, and emotional health is a huge limiting factor for characters that often goes untouched, but it’s valuable nonetheless. Not everyone has a clean bill of health and can jump off trains without pulling a muscle, go through a traumatic life experience without any hint of depression or anxiety, or watch a loved one die in gunfire and shove right on without emotional repercussions. Consider creating a character who’s not perfect – who isn’t perfectly in-shape or abled, or neurotypical or stable day-to-day, or completely clean and clear of residual heartache, unhealthy relationships, or bad emotional habits. Don’t define them by these traits, of course – but don’t feel that you can’t write a character with health issues without writing a “sick character.”
So this post got ridiculously long, but I hope it works as a reference for you when creating unique characters. Remember that you don’t need to outline all of this information to create an individual, realistic character. These are just some relevant ideas to get you started! It’s up to you, as the writer, to decide what’s necessary and what’s excessive for your creative process.
Still, I hope a majority of this is helpful to you! If you have any more questions, be sure to send them in and we’ll get back to you :) Good luck!
Au where Jack didn’t go to Samwell and after a few years and a cup with the Falconers he gets traded to a team in Canada, so now he lives around 2-3 hours from his parents.
Meanwhile Bitty graduates and is hired by Alicia Zimmermann to be her assistant, partly because he was a Samwell alumni but also because he was super sweet and brought a pie to the interview.
Bob tried to poach him within a week, but Bitty thought he was only joking. So did a lot of the retired hockey players once they tasted the pies including Mario. Alicia doesn’t allow Bitty alone with Bob or his friends anymore.
Which is why she made Jack promise to stick to him like glue during a charity event she won’t be able to attend, but that Bitty will be at.
“Jack, Eric is the most efficient and pleasant assistant I’ve ever had. He’s also charming, hard working and discreet, and when I had the flu last month he made me go home to rest and brought me chicken soup on his day off. If your dad or his friends try to take him from me again, I can’t be responsibly for my actions.“
This is how Jack somehow ends up playing interference and trying to distract Bitty from talking to anybody at the charity event.
And wow ok this isn’t exactly unpleasant and Bitty is gorgeous and funny, and played hockey.
Bitty is in the middle of trying to explain how increasing his social media would be beneficial, and how he could use his platform for good when Jack sort of blurts out.
"Do you wanna get coffee?”
And Bitty paused, looks at him and smiles, “sure! I’d be happy to go over everything with you again over coffee.”
Jack is too flustered to explain that was a very lame attempt to ask him out, so he goes along with the work orientated coffee situation with the intention of maybe asking him properly afterwards.
Of course, then shenanigans occur where Alicia thinks Jack is now trying to steal Bitty to be his assistant and casually invites herself over for the coffee, so obvs Jack doesn’t ask Bitty then.
“I trusted you,” she says very dramatically when he comes over for dinner that week. “How could you be trying to take my assistant?”
“I am not trying to offer him a job,” Jack groans dramatically, “I’m trying to ask him out!”
Alicia paused, considers this and does a complete 180.
“Jack! This is an amazing idea! I fully support this, oh I can’t believe I crashed your date.”
“It wasn’t a date,” mumbles Jack.
“Ok, we need a plan. You need to woo Eric, he’d be such a wonderful son in law.”
Meanwhile Bob is quietly watching this whole exchange and making his own plan. He absolutely supports Jack’s interest in Bitty, and Alicia is right he’d be a wonderful son in law.
But also Bob does need an assistant since he can’t seem to keep one for more than 2 months at a time, so he’s now planning to steal Bitty while his wife is distracted playing matchmaker.
Bitty had no idea what’s going on, he just wants to continue working for Alicia since she’s so nice and amazing, save enough money to open his own bakery and try not to let in on the fact he has a massive crush on Jack.
I mean, how unprofessional would dating the boss son would look!?
No, he’s going to keep things strictly professional because that’s who he is, a professional who totally doesn’t have the hots for the son of Alicia Zimmermann.
The Joys of Having a True Neutral Druid in the Party, Pt. 2
Druid (upon encountering a nobleman abusing his horses): I turn into a bear and attack the nobleman. DM: You do that. It’s a crit! He’s dying. The rest of the party (most of us are Neutral Good): Can we stabilize him? We don’t want to kill him, but we don’t really want him conscious either… Druid: I’m going for his throat. Fighter: Wait…are you about to eat this guy?! Druid: *matter-of-factly* Yeah. The rest of the party: WOW! Look at this super interesting thing over here! Did you see this weird blade of grass over here?! Golly gee! Look at that sky! DM: It appears the rest of your team has decided to neither help nor hinder you in murdering the abusive nobleman. Druid: Cool. I eat him.
“Are you going to get in?” Stiles asked, peeling out of his last shirt, his words a little slurry around the edges. “In a- a- a-” He paused, trying rather unsuccessfully to shake his hand free of his sleeve. He started laughing uncontrollably and collapsed to the floor to work on his shoes. “The water, are you?”
“No,” Derek groused, pointedly not looking when Stiles flopped onto his back and began to shimmy out of his soaked pants. Black slime coated almost every square inch of the floor. “This is your bath, not mine.”
“Mine,” Stiles echoed, now just lying on the floor in a puddle of black, his pale skin coated head to foot in the gunk. “This is not my house.”
“Yes,” Derek agreed, as patiently as he could, checking the water’s temperature before turning off the tap. It had to be extra hot to affect the stuff. “This is the clinic.”
Deaton had explained that even minimal contact with the ichorous substance gave a contact high. Stiles had been practically drenched in the stuff when they had killed it. Luckily it was not deadly or even toxic- which was the problem. Someone had been keeping the creature as a pet, drawing out the fluid and selling it, and it had escaped three days ago to wreak havoc.
Very, very unfortunately, Derek had drawn the short straw for ensuring Stiles got cleaned up and came down from the high safely. Isaac, Boyd, and Erica were taking care of disposal of the body while Scott and Allison swung by Allison’s house to return weapons and report to her father. Deaton had been kind enough - or perhaps had enough self preservation - to give Derek the key to the clinic so he could get Stiles washed up away from his father’s questions.
“Come on,” Derek said gently, slipping from the edge of the tub to crouch at Stiles’ side. It was, he reflected, a very good thing that werewolves were not susceptible to the substance’s effects. “You gotta get cleaned up.” The effects wouldn’t wear off until every drop of the ichor was gone.
Stiles lifted his head, looking all the way down his lean form. “Oh, no, no that’s too far,” he told Derek, head falling back with an audible clunk he was probably going to feel in a few hours. “Wow, this is the best floor ever. Do you think I could take it home with me?”
“No,” Derek said with a sigh. Looked like this was going to have to be the hard way. He shifted, kneeling beside Stiles, and grabbed at his wrists to haul him up.
Despite that they slipped and slid a bit, Derek managed to get a very naked Stiles upright and across the three feet to the tub. For a second Stiles stood very still, holding tightly onto the edge of it like he was going to resist going in. Then he tipped forward and faceplanted directly into the basin so quickly Derek had to scramble to keep him from drowning.
“Hoooooo!!!!” Stiles shouted the second his mouth was above the surface, water sluicing away the ichor clinging to his skin. “It’s hot, Derek! This is really hot, why is it so hot? Oh my god, I’m melting!” He started grabbing at the black liquid coming off his skin.
Closing his eyes, Derek counted to three. Then five. Then ten, for good measure, and when he opened them again, Stiles had fallen very, very still and was staring wide eyed into the middle distance. It was not exactly an improvement, but at least he’d stopped thrashing, slopping water and ichor all over the floor and flinging it onto the walls and- and was that- on the ceiling?
“Stiles, how did you- you know what, nevermind,” Derek grumbled, reaching for the spray nozzle.
This setup was supposed to be for cleaning dogs, but it would work just as well for ornery, tripping humans. He began to run the spray over Stiles’ hair, watching the black give way to brown. When the tub had filled completely, Derek pulled the plug and let it drain. Diluted like this with water, it wouldn’t hurt the general populace; at worst, they’d all have a really good day soon.
Stiles’ eyes slid closed, and he relaxed into the gentle touches Derek used to turn him this way and that, to get at the last of the ichor still clinging to strange places like inside of his ears and between his fingers and- well, at least Stiles was unlikely to remember any of this very well tomorrow.
By the time he had gotten the last of it, Stiles had turned to putty in his hands, making a soft, pleasant humming noise that might have been purring on a cat. Derek swallowed hard, trying to keep it together. He still needed to get Stiles someplace to wait out the high, and get this place cleaned up so no one else would be affected.
Difficult to think of anything beyond the way Stiles pressed himself into Derek’s touches. “Feels good,” Stiles murmured, unwilling or unable to keep his eyes open. “You should touch me more.”
“Tomorrow,” Derek mumbled back, prodding Stiles to his feet. The floor was still covered in ichor, so Derek just leaned over and scooped a completely unresisting Stiles into his arms. Immediately, Stiles looped his own arms around Derek’s neck and burrowed his nose against Derek’s shoulder. “If you still want me to touch you tomorrow, I will.”
“Okay,” Stiles agreed muzzily.
He wouldn’t remember. No one else had. Still…
He allowed himself a small smile, and a measure of hope. Stiles had never been one for following the rules, after all.