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#‘’too bad. here’s the underlying feeling of dread for the next few hours. have fun!’’
gongedtornado · 9 months
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help girl i got too silly <\3 (overthought every interaction ever)
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moonlitceleste · 3 years
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straight up villain (Villain AU)
This is a songfic based on “Villain” by K/DA ft. Madison Beer and Kim Petras. There’s really no plot to it; I started with a vague idea and just went along with whatever my brain told me. It kinda jumps around and I didn’t proofread this at all, so sorry if it’s confusing!
I’d suggest listening to the song and watching the visualizer video because it’s honestly such a vibe. If I could animate I’d totally make a video full of epic fight scenes, but unfortunately I don’t have that talent learned yet.
This version of the song is a little more chill, so if you find the original too intense you can always listen to the slowed one instead.
On the low Only love myself, no more Take you to the grave, I'll ghost I know I can be so cold In the dark Where I like to keep my heart Know I'm all bite, no bark Like to catch you way off guard
A shiver ran down the crime boss’ spine.
His eyes darted around the room, searching through the darkness.
Shadows flickered. He swore he could see movement in them.
The night was crime’s time to rule; people feared the darkness it brought.
Now, he was the scared one.
I'll stay so deep inside your brain And take you somewhere far away
“Who’s there?”
A bead of sweat trickled down his forehead, revealing his false bravado.
Shaking hands gripped the gun around his waist, knuckles turning white with pressure.
Creeeakk.
The man whipped around, heart hammering in his chest.
Who—or what—was lurking in the shadows?
A snap echoed through the air as he fired a round.
Silence.
The only sound came from distant echoes of Gotham’s nightlife and the frantic beating in his throat.
He swore he had seen something sweep out in the corner of his vision, if only for a moment.
Perhaps it was the paranoia.
He slowly lowered his gun, shoulders relaxing—
Only to whip around when he felt a phantom hand brush his shoulder.
A pair of eyes flashed in the darkness, gone the next second, but he knew what he had seen, what he had felt.
Icy fear seized his body, taking hold of his limbs.
Something was watching him.
Time to roll the dice, you know I'm the type Type to risk my life, not afraid to die Type to make you cry, type to put a price All up on your head, do just what I said I'm a straight up villain, straight up villain Yeah, no feeling, yeah, no feeling Straight up villain, straight up villain Yeah, no feeling, yeah, no feeling
“Stop toying around.”
The gravelly voice was met with a cackle, almost cat-like in nature.
That was his only warning before it stepped from the shadows: a creature out of his nightmares, shrouded in darkness like part of the night itself.
Sharpened black claws glinted under the streetlights, and dark black orbs pinned him in place as it slunk forward. He couldn’t move, frozen like a deer in headlights.
The thing was so human-like in shape, but it was too monstrous to be one.
A wicked smile spread across its face, and his face blanched as he caught sight of the fangs protruding from the top.
The creature stalked forward like a predator chasing its prey.
Then, it pounced.
I'm alive, but I'm dead Hear my voice up in your head Watch it fill you full of drеad 'Til you go pow
It was common knowledge within Gotham’s criminal underworld that the Arkham Knight worked alone. He played by his own rules, merciless in his distribution of justice.
But lately, it was rumored that the Knight had an ally.
There was no proof of this, no sightings to go by, but there was a subtle shift that could be felt—an underlying sensation of imminent danger.
Gunfights and confrontations lessened, and the Knight’s enemies started disappearing without a trace. No blood, body, or evidence of struggle could be found; it was as if they had simply ceased to exist.
Whoever this new player was, they were dangerous.
Is it really a surprise if I'm playing with your mind And I treat you likе a prize, then I throw you to the side? And am I really that bad if l love to make you mad? And get happy when you're sad, only care about a bag
Jason shook out his hair, metal helmet in his hands, and leveled a glance at his companion.
“Did you really have to take so long to kill him?”
The two were in one of their few safe houses, recuperating after their long night of fighting.
“It’s the thrill of the chase.”
Marinette, no longer transformed, stated this as if it were obvious—which it was. Jason had been with her long enough to understand her concept of fun. She leaned forward and stretched, looking much like the animal after which her magic ring was themed.
“We can’t waste time playing around. There are more important things to be done,” he growled.
Marinette simply giggled, bounding over to bat her eyes at him with mock innocence.
Jason’s eyes narrowed. “You know what you’re doing.”
Her smile grew wicked, arms darting out to wrap around his waist.
“You look so good when you’re mad,” she purred.
Jason leaned down, and their lips met in a kiss.
In control That's how I like it and I'm never letting go, nah Never had a soul (soul) So you ain't taking nothing from me when you go, nah
Crack.
Marinette smirked as her staff made contact with the target’s skull.
Normally she would use Cataclysm for a more swift kill, but the remains were needed in order to send a message to Arkham Knight’s enemies.
They were growing more volatile, more desperate to expose whatever they thought she was.
Phantom Killer, they called her. The name sounded like something out of a badly-written horror movie. Marinette much preferred the one she had already: Reine de L'ombre.
Of course, she didn’t need a title, but Jason had come up with it. She was pleasantly surprised by his naming skills—it meant Shadow Queen, for she was a queen, and Jason her knight, as he put it.
She didn’t feel any remorse as the pile of bodies below her grew. Perhaps this made her soulless, but she didn’t need one anyway.
Marinette had all she wanted right beside her.
I'll stay so deep inside your brain And take you somewhere far away
“...you do what you gotta do, am I right?”
Marinette nodded at the man standing across from her, a smile on her red-painted lips.
He had been leering at her from across the bar the whole night, and although that was the goal, she was still disgusted. He had to be at least twenty years older than her. Heck, he was old enough to be her dad.
The intel she and Jason had acquired said the businessman had a thing for younger women, which was apparent. According to the same source, the company he ran was also a front for trafficking and drug rings.
Marinette wanted to see him bleed.
“How about we take this to my room?”
The comment was abrupt, and Jason would probably kill her for her indiscretion later, but she was getting tired of the man’s blabbering.
Her hand moved up his arm, the expensive material of his suit cool against her fingers. She bit her lips seductively, which seemed to convince him.
Bingo.
Time to roll the dice, you know I'm the type Type to risk my life, not afraid to die Type to make you cry, type to put a price All up on your head, do just what I said I'm a straight up villain, straight up villain Yeah, no feeling, yeah, no feeling (yeah, yeah) Straight up villain, straight up villain Yeah, no feeling, yeah, no feeling
Marinette gritted her teeth as the man tried to reach for her butt again. 
She attempted to stop him by saying she wanted to wait until they entered her room, but he was persistent. She couldn’t wait to get rid of him.
As soon as she opened the door to her hotel room, she shoved him inside and up against the wall. He seemed to be expecting a kiss, but she punched him hard. For a crime lord he certainly wasn’t a good fighter. Maybe it was the drugs she slipped into his drink earlier that contributed to his quick defeat.
Marinette cuffed his arms behind his back with a pair she had stashed earlier. She could have waited for the man to undress so she could ensure he didn’t have any weapons, but she had gone through enough torture already. Her eyes didn’t need to see that.
She turned him around, giving him a smile that promised warmth and kindness, before pulling out a dagger and pressing it to his throat.
“Now talk.”
I'm alive, but I'm dead Hear my voice up in your head Watch it fill you full of dread 'Til you go pow
“Claws in.”
Marinette’s black suit faded away, revealing her now blood-spattered red dress.
She flopped onto the couch, not bothering to remove her shoes or dirty clothing.
After hours of trying to get information out of the businessman, she only managed to wring a few coded phrases from him. He seemed to only be a figurehead of his shady organization rather than its actual leader.
A Cataclysm later and here she was, back to the drawing board.
“Jay?” Marinette called.
It was unusually quiet in the safe house; usually after solo missions they’d greet one another with a kiss. Now, he was nowhere to be seen.
“Jason?”
Silence.
Marinette huffed. She knew exactly what this was about.
Bang, bang You can do anything No fear, no pain Listen to your brain go Go stupid, go dumb, go stupid and Then we go insane, woah Just do what I say Follow me, I'll lead the way
“Are you jealous?”
Jason whipped his head around, caught off-guard by the appearance of his girlfriend in his doorway. It seemed as if she wasn’t wasting any time.
“I’m not jealous. That guy couldn’t get you if he tried.”
“Then why are you mad?”
His jaw clenched.
He wished he hadn’t agreed to let Marinette extract the information alone; Jason almost wished he was there to see the man in pain.
“He was putting his hands all over you.”
“It was for a mission. Besides, I thought you said he couldn’t get me even if he tried?”
Her last words were said with a lilt, and Jason knew she was riling him up. He couldn’t stay mad, anyway—she had a point.
He deflated and leaned forward to brush his lips against her. Marinette smiled into the kiss, then pulled away. She looked him up and down, a glint in her eyes.
“I guess I’ll have to make it up to you, hmm?”
She paused, then wrinkled her nose.
“After I take a shower. I don’t want this guy’s blood on me any longer.”
Maybe they acted stupid sometimes, but the two always followed one another in the end.
Time to roll the dice, you know I'm the type Type to risk my life, not afraid to die Type to make you cry, type to put a price (Woo-ah) All up on your head, do just what I said I'm a straight up villain, straight up villain Yeah, no feeling, yeah, no feeling Straight up villain, straight up villain (Yeah) Yeah, no feeling, yeah, no feeling (Woo-ah!)
Marinette panted deeply, adrenaline coursing through her veins.
A mass of bodies surrounded her, but she wasn’t paying attention. This wasn’t just a battle. It was war.
It was a fight for her life, and she wasn’t going down now.
Reine de L'ombre tore through her enemies like a terrifying force of darkness, one after the other. The Arkham Knight fought by her side, fueled by pure destruction.
Maybe they wouldn’t make it out, but they wouldn’t go down without a fight.
I'm alive, but I'm dead Hear my voice up in your head Watch it fill you full of dread
'Til you go pow
A week later, a couple rose hand-in-hand from the ranks as new rulers of the Gotham Underworld.
Reine de L'ombre and the Arkham Knight—a queen and her king.
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PERMANENT TAGLIST @avengerthewarrior @enternalempires @freesportspalacesalad @h1sss @nathleigh
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perriewinklenerdie · 4 years
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I’m the powder, you’re the fuse (Ethan Ramsey x MC)
Open Heart, Ethan Ramsey x MC
A/N:  Hello, hello, hello! It's smut time! I'm pretty sure it's been six months since I last wrote smut, so be gentle with me :D It's part of the Ever Since I Met You series (can be read as a separate fic, all you need to know is that Ethan and Claire got married before she started working with him) This work is NSFW, you have been warned.
AO3 link:
https://archiveofourown.org/works/23686729
Tag list:   @paleweasels, @hopelessromantic1352, @kittykatchoices, @valiantlychaoticbarbarian , @radlovedreamer , @usuallyamazinglyaverage, @strawberrwess @palestazure, @cordoniaqueensworld, @universallypizzataco, @princess-geek, @faithhasnowords, @mightyfangirlofthefandoms, @drakewalkerfantasy, @timmagicktoad, @laceandlula, @greywitchyshots, @llamasgrl, @gingerjane15, @bucket-harrington , @marywrites-things , @ethanplaysfavorites , @mfackenthal , @betelgeusebee , @simsvetements,  @i-only-signed-up-for-fanfiction, @buzz-bee-buzz, @owleyes374, @cora-nova, @aworldoffandoms, @l822, @cream-ray, @ughhhxjazzy, @silverlitskies, @justendlesssummerfeels, @togetherwearerapture, @desmaranj, @edgiestwinter, @friedherringclodthing, @daisy-ashton, @waytooattuned, @choicesgremlin , @lapisreviewsstuff, @the-soot-sprite, @writerapprentice, @chasingrobbie, @choicesobsessedd, @x-kyne-x, @thisperfectmemory, @drakewalker04, @rookie-ramsey, @jlynn12273, @thepinknymph @dr-brianna-casey-valentine, @a-i-n-a-a-s-h 
Enjoy! <3
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The tranquility of his office provided the much-needed silence that his head longed for after a day of work. It seemed as though the second he closed the door behind him, all the tension began to fade away. His phone was pressed to his ear, his mind focused on the sole reason he’s going through the day as swiftly as he is.
“It’s really hard to focus on anything really, when all that is on my mind is you.” he muttered under his breath, a delicate smile pulling on the corners of his lips. He was met with a bright laughter on the other end of the line, making his heart skip a beat.
“I would make fun of you, if it wasn’t for a fact that I feel exactly the same. Maybe that’s why my professor had to ask me a question twice today…” Claire trailed off, and if Ethan had to guess, he’d say she was smiling. He sat down in his office chair, leaning back as his eyes swiped over the books on the shelf.
“I’m that distracting to you, huh? Can’t say I mind that.”
“You’re saying that as though you didn’t have Naveen repeat the patient information three times because, and I quote “you had dreamy eyes, practically swooning”.” She shot back, laughter coloring her tone.
“How do you… Naveen. I knew that you two having each other’s phone numbers was a bad idea.” He muttered, running his hand over his face. The vision of her face flooded his mind, relaxing his muscles a bit, taking away from the frustration he felt. “Will I be seeing you today?”
‘Unfortunately, no. We just finished the last lecture and now we’re going to grab something to eat and then hit the bar.” Claire’s voice betrayed her anticipation to kick back and not worry about her academic duties for one night. There was an underlying sliver of regret that he wouldn’t be joining her, but he expressed time and time again that he didn’t really feel comfortable with her university friends and they both knew that she should have a space of her life that wasn’t completely occupied by him. Ethan was the very first man in her life that understood that need for space, and when he told her about it, she was so happy she could cry. She loved him and he loved her, the mutual trust and understanding were a big part of that.
“And here I was, hoping to occupy all your thoughts for the night.” He trailed off, smirking at the suggestion in his words. Her laughter cracked on the other end of the line, warming him on the inside.
“I’ll hold you to it the next time we see each other. Until then, have a good evening, Dr. Ramsey.”
“Be careful out there and have fun, Miss Herondale.” He bid her goodbye, looking back to his workload with dread in his eyes. It was going to be a very long afternoon, and an even longer evening, since he didn’t have anything specific to look forward to after work.
His phone rang shortly, signaling an incoming text. Upon unlocking the screen, he saw her face, smiling brightly, surrounded by her friends. He smiled wider, despite himself, then put his phone down to get back to his papers.
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The sun has set hours ago, leaving the streets of Boston in complete darkness, save for the streetlamps that lit the way for his car. Jenner greeted him as soon as he stepped over the threshold of his apartment, barking at the sight of Claire missing from his side. He petted him for a while, then went to prepare dinner for himself.
It wasn’t anything unusual for him to be alone in the evenings. Most of the days of the week ended that way for him, for she was only staying with him for three days a week, despite them agreeing to four in a memorable game of Monopoly a few weeks back. As it almost always happened, life got in the way and they had to reduce that number by one. That gave them still plenty of time together, while not interfering with their schedules and duties.
That being said, every time she went out with her friends, he got that quiet voice in the back of his head to be on alert, just in case something went south. It was worse in the beginning, when they were still getting to know each other, and the feeling intensified when one of her friends got attacked after they went home one of those nights. They were both better now, both mostly over the paranoia that took over their lives for the first week after that incident, but the caution remained, for better or worse.
Throughout the evening, he got plenty of updates from her in a form of various photos, both taken by her and her friends. It wasn’t that Ethan didn’t like those people, they all knew him and got along with him splendidly, it’s just that he preferred to not get dragged to one bar after the other. Those years were far behind him, or, at least, that’s what he claimed was the case for him. Claire made fun of him for being old and teased him about them having too many years apart, grinning like a mad woman when he picked her up and kissed her senselessly, pouring all of him into the act.
It must have been well after ten in the evening when his book reading was interrupted by a gentle knock on his door. He wasn’t expecting anyone, but there was a chance that his neighbor came to complain about Jenner barking, again, no matter how many times they talked about it. He stood up, still reading, and went to open his door.
“Can I help you-“ he started,  pulling his gaze away from the passage of the novel he was reading and aiming it at the person in the hallway. To his surprise, Claire’s bright eyes stared right back at him, her teeth sunken into her lower lip gently, teasingly.
“You can help me by pulling that sweater off.” She mused, walking towards him confidently. She kicked the door shut with her heel, wrapping his tie around her hand and pulling on it, making him stumble towards her. The book fell to the ground with an empty thud, forgotten in the hurricane of endorphins that rushed through his bloodstream.
Her back hit the door, her hand resting on his shoulder made its way down his chest, slowly, teasingly, tracing the lines of his muscles beneath the material of the shirt. A pleasant shiver followed her every move, his eyes watching her with adoration, giving himself up to her, being completely at her mercy.
Eventually, her hand reached his pants, her nails scraping the top seam with a look of wonder in her eyes. She breathed out deeply, as though she didn’t have anything else to do, so she might as well be doing this.
Without a warning, she hooked her finger into the beltloop, pulling him against her even more, the force combined with the one already existing from her grip on his tie causing him to slam his body against hers in the most pleasurable way one could be colliding with someone.
He groaned slightly, slowly reading into the game she had planned for them. The confidence that she glowed with stunned him into oblivion, like waking up from a trance. His hands, previously at his sides, hanging there aimlessly, now reached as far down her legs as they could, dragging upwards with the slightest of touches, rising the light material of her dress up along with them. The moment he reached her hips, his grip tightened, the fabric still bunched up, exposing her stockings and the skin of her thighs to the cool air of his apartment.
“Don’t move.” She whispered, moving her hands to the lapels of his sweater to push it down his arms. He complied, helping her remove it, then resumed his hold on her. She grinned at his eagerness to go along with her actions, nudging his chin with her nose.
“I thought you were going out this evening.” he noted, pressing circles into her hipbones with his thumbs. Her hands travelled up to the knot of his tie, working it off in unhurried motions.
“It’s technically night. I thought about you being in here, bored and all alone… I just couldn’t resist. But I suppose… “ she explained briefly, undoing the tie with precise movement. “… I could leave… “ the material fell loose, allowing her to grab both ends with her hands and wrap them around her wrists. With one strong move, their faces were aligned, noses touching, breaths quickening with excitement. “… If you want me to.”
“Don’t.” he panted, snaking his arms up and around her waist, pressing their bodies flush against one another. Her cheekbones went up as she smiled, her teeth sinking into her bottom lip absentmindedly. His voice was hoarse when his eyes fell to her lips, his pupils dilating.  “I lose my mind when you do that. You don’t know what you’re doing to me, do you.”
Claire brushed her fingers up the lines of his neck, hooking her index fingers behind his ears to grab his face securely. She shook her head at his words, her green irises sparkling in the dim light. “Maybe I know exactly what I’m doing to you.” Leaning forward, she let their lips brush together, just for a second, just enough for a spark to jump between them. Just enough to give him a taste of what was to come. “Maybe I like it.”
The last bit of restraint flew out the window, the hot and intense want burning beneath his skin. Claire’s lips pressed against his once more, the touch fleeting, barely palpable. Then again, more pressure, still gentle, after which she leaned back to gauge his reaction. He was breathing shallowly, his eyes almost closed in anticipation.
Mercifully, generously, she pressed their lips together, but she didn’t move them yet. It was a game that she intended to win, and a bit of teasing wouldn’t kill them. He breathed in sharply at the contact, focusing on reading her actions. His hands caressed her back gently, reveling in the softness of her body beneath the material.
After what felt like an eternity and a half, she fell back against the door even further than before, pulling him along with her, finally kissing him like she meant to. A quiet moan rose in the back of her throat, in perfect symphony with his groan, mixing and falling around them.
Ethan’s hand traveled up her spine, wrapping his fingers around the back of her neck and pulling their faces even closer together. Their lips clashed with bruising force, tongues brushing once, twice, tempting the other with slow and insecure movements. Intensity skyrocketed when her hand once again made its way down his chest and between their bodies, dipping two fingers beneath the ridge of his jeans and pulling him against her. He bit back a groan that threatened to ring in the quiet room, standing out like a scream in the dead of the night.
The way their bodies moved put all kinds of images into his mind, but it wasn’t in his nature to wander into the territory that wasn’t his to roam, so with an effort that boarded on being painful, he pulled away from her, his hold on her just as tight as moments before.
“Claire, do you-“
“I want you to take those clothes off.” She breathed out, reaching for the first button of his shirt. He followed her lead, still unsure where they were standing. “I think it’s time we stop being so formal.”
I think it’s time you make love to me is what she meant to say, and he got the meaning perfectly well.
“Like we were ever formal to begin with.” He pointed out, working on the buckle of his belt while she finished her way down the middle of his chest. Maneuvering around his wrists, she undid the smaller buttons on his cuffs, then finally reached to touch his skin beneath the shirt.
Halting his efforts to take his jeans off, she pushed the fabric away from his arms, leaning forward to press her lips to the hollow of his throat. The skin was hot to touch, as though he had fever, and given the circumstance they were in, his temperature was perfectly normal.
“You’re making it impossible to focus.” His voice didn’t resemble his own, his throat tightening at the sensation of her lips following the line of his muscles to his collarbone. With much more effort than he anticipated, he finally got rid of his pants, standing before her in his underwear. She pushed him away slightly, leaning back against the door herself to give herself a good vantage point.
“I promise to be as distracting for you as I can.”
Claire’s eyes started their journey from his feet and moved upwards, focusing on the lines and dips in the outline of his muscles. His whole body felt like it was on fire. Everywhere she looked, everywhere her eyes lingered, left hot flash and goosebumps in its wake. Unsurprisingly, she barely brushed the general area of his hips, completely missing the point, instead moving upwards almost immediately, making a mental note to follow all the lines she’s seeing with her tongue sometime in the future.
At last, her gaze reached his face, and it focused on his lips for a suspicious amount of time. Teasingly, he opened them, just slightly, waiting for a reaction, but got none. When their eyes finally met, it was as though something clicked. Both were unable to move for a few lingering moments, and then they crashed against each other like a wave crashes onto the shore.
Hands everywhere, legs tangling in an awkward position, lips coming together and separating messily as they moved down the hall and into the bedroom. Right as they reached the bed, she turned them around and pushed him onto the mattress with a smirk. He looked up at her with adoration and wild desire, irises so dark they might as well have been black.
“You’re overdressed.” He panted, pressing his palms into the comforter to keep himself from reaching out for her. She flashed him a teasing smile, then slowly crouched, grabbing the hems of her dress. Dragging the fabric up her body, she observed closely how his eyes watched her every move, how they devoured every new piece of her that got uncovered.
Inch by inch, she revealed the black stockings, still trapped in her heels. Then her panties, navy blue lace, matching the color of her bra that got revealed mere seconds later. Her hair fell down her back when the dress was finally removed, the piece of fabric being thrown to the floor in the back of the room. She put her hands on her hips, tilting her head to the side, awaiting his reaction.
At that clear invitation, he sat up on the edge of the bed and beckoned her to come closer to him. She complied, coming to a stop a few inches away from him, just barely within his grasp. Looking up at her, she noticed the spark of mischief, and then his hands were on her hips and she was being pulled way closer to him, after which, it was all peaceful again.
He traced the lines of the stockings mindlessly, dipping his finger beneath them once or twice. With just the tips of his fingers, he trailed a path up to her panties, following the intricate patterns of it, teasing her mercilessly. Everywhere he touched felt like coming alive, again and again. He ran a single finger over the line in the center, prompting her legs to spread just enough for him to tease her briefly before he retreated. She protested with a whimper, swaying just a bit.
“It sounds as though you want something.” He asked, straight and without any veils to cover his intention. She huffed, shaking her head to let her hair fall behind her shoulders.
“I want you to take my underwear off and stop playing around.”
“But I like teasing you so much.” he grinned, softly at first, and then even wider when he met her eyes and saw the frustration in them.
He hooked his fingers into the sides of her panties, dragging them down her legs slowly, not making it any easier on her. The sound of her heavy breath, her tiny whimpers of anticipation were the music for his ears, the most personal and perfect melody, only for him to enjoy.
Once he reached her ankles, he helped her lose her shoes, pondering upon the idea of leaving the stockings on for a moment before deciding to take them off. He wanted to feel her, not the fabric that covered her body.
Ethan sat back up, waiting for a long moment, riling her up a bit more, and just when she was about to say something, he reached towards her with his fingers, prompting her thighs apart. With the soft touch, he ran his fingertips along the lines of the inside of her thighs, getting closer and closer to her center, but never quite reaching it. Right as the words of annoyance were about to fall off the tip of her tongue, he ran a finger through her folds.
Her whole body stiffened, the sensation being much more stimulating than she expected. It’s been a while since she was intimate with anyone, but she remembered what it was like. And all of those times had nothing on what she was feeling right now. He didn’t stop at that, instead continuing with his ministrations, tracing circles around her most sensitive parts, running up and down from time to time. Claire’s breathing was getting heavier by each second that passed with his touch on her, and just when she thought about taking a step back to undress him, he found her clit and pressed on the bundle of nerves gently.
A surprised yelp escaped her lips, causing her to double over and grab his shoulders for support. His face was pressed against her stomach, allowing her to feel the smirk that bloomed on his face. And he was just getting started.
Slowly at first, he ran small circles in that exact spot. Alternating with various pressures and movements, he listened to her moans and whimpers, learning her body as he went.
“Those moans of yours won’t leave my head for weeks.” He groaned under his breath, taking his touch away from her.
Any sign of protest was lost the moment he pressed a finger into her. She breathed out slowly, awaiting his next move, getting lost in the pace he set for her. Adding a second one made it impossible to keep silent anymore, the sound of pleasure ringing straight into his ear as she leaned down over his shoulder to try and catch any amount of air.
“Right there…” she breathed out softly, gathering enough strength to lean back into somewhat of a standing position. Ethan looked up into her eyes, then slowly, while maintaining eye contact with her, pressed his lips to her clit and grazed it with his tongue.
The new sensation tore a low groan out of her, her grip on his shoulders tightening. His fingers continuously moved in and out of her and combined with the feeling of his tongue grazing the sensitive nerve endings, provided the sensation that felt so impossibly good, she could cry. Her hips began gently moving along with his actions, seeking friction and stimulation that she yearned for.
His other arm wrapped around her lower back, holding her upwards as he worked her more and more intensely, and when his teeth grazed her, all the tension and pleasure that has been building reached its peak and she came with a silent scream, breathing heavily as waves crashed through her. She was grateful for him keeping her up, for she was certain she would have fallen if he hadn’t.
He slowed his actions bit by bit, helping her ride out the aftershocks of her orgasm, and then he retreated entirely, running his hands up and down her sides soothingly.
“Oh god.” She managed to mutter after who knows how long, finally able to stand up on her own. He was looking at her as though she was a miracle, and she was pretty sure there was a very prominent sense of pride on his features too. She leaned down, kissing him gingerly, tasting herself on his lips.
“You’re beautiful.” He told her, stroking her skin continuously. She laughed gently, massaging his shoulders.
He continued his journey up her body, tracing the lines of her bra, slipping the straps off her shoulders, one, then the other, before reaching behind her and undoing the clasp, letting the garment fall aimlessly to the floor.
With the touch so light that she could have sworn it was barely there, he traced the outline of her nipple, then ran his thumb over the sensitive flesh with equally gentle touch. While continuing his actions, he kissed up her stomach and settled his lips around her other nipple, kissing and sucking gently, running his tongue over it. A shuddered breath escaped her lips, her head falling back as her eyes closed.
He let her skin go, continuing his journey up, reaching her arms and then making his way down her arms until he reached her hands, lacing their fingers together. They stared at one another for a while before she spoke again.
“Okay, handsome, time to level the playing field. Up.” she nodded towards him, pulling him to his feet. He hesitated, shaking his head, indicating that she didn’t have to do anything, but she silenced him with one look, grinning teasingly. “If I don’t have you right here, right now, I will lose my mind. Come on, you’re overdressed, stop stalling.”
She dragged his boxers down his legs, then trailed her hands up against his skin. Her nails teased him out of nowhere, causing him to gasp in surprise, and then once more when she pushed him onto the bed again and straddled him.
“Now tell me, what were your plans for tonight?” she asked, pressing their bodies a bit closer together. His eyes flashed dangerously, but nevertheless, he tried to focus and remember what he was supposed to be doing while she was gone.
“I was going to go over the files again, drink some tea, finish the book that we so rudely threw onto the floo- oh…” he started listing all the plans he made, but in an instant, they became irrelevant. Looking straight into his eyes, she sank down onto him, watching with a smirk how his face expression morphed from a neutral to a tense one, and then laced with sparks of pleasure.
“All that work will have to wait, I’m afraid. I’m terribly sorry.” She ran her fingers through his hair, then moved her hips up and down, slowly at first, then with a bit more speed, keeping the tempo steady.
“I’m not.” He confessed, teasing the skin of her back with his fingers as he held her in his arms. The tension kept on building steadily, with each move or her hips against his, with every word of a hushed conversation that they had. “Did you plan this all along?”
“You mean did I plan to come here… and seduce you instead of… drinking my ass off in a bar with my friends?” she asked, rolling her hips in an opposite direction experimentally, a surprised moan cutting her words off momentarily, then again and again. His own brain was beginning to get too clouded to think straight and he had no idea how much longer he would be able to have a conversation with her. Claire’s lips brushed against his ear as she whispered. “Yes, I did.”
“I’m not sure if I should be glad for the surprise or relieved that I’m on the receiving end of this heaven.” His sentence turned into a moaning confession when she squeezed him with her inner muscles, watching with satisfaction how he stumbled over his words, seeing the warning signs of his breaking point approaching.
Her movements became more desperate, her hand brushing against his lips to stop him from talking more, then grabbed his shoulders and began riding him, grinding against him, her head falling back, exposing her neck to his ministrations.
His hands grabbed her hips, helping her move up and down, his own hips snapping upwards, creating a different angle every time he entered her. Her whimpers were telling enough for him to know that she needed more, and knowing her body more than he did three hours ago, he moved his right hand between them, finding her clit and pressing his fingers up and down against it.
Immediately, he was awarded with a deep moan from her, her words breathed out into the night. “A little to the right- that’s it, oh god…”
The slowness and tenderness were a bit further away from them than they were moments before. Their movements turned desperate, both chasing release, both craving the relief that would crash against them in mere moments. He felt himself approaching the limit but willed himself to wait until he was sure she was satisfied.
Their lips met in sloppy kisses, the constant rocking of their bodies making it almost impossible to kiss properly. With a couple more strokes of his fingers, she clenched around him and came with his name on her lips, hanging onto him as though she was drowning. Her nails sunk into the skin of his back, the pain such a contrast to the pleasure he felt, triggering his own orgasm, his grip on her tightening slightly as he pressed his hips up against hers and kept her there, hiding his face in the juncture of her shoulder. Their cries mixed, ringing against the walls and falling into the dead silence when the aftershocks finally subsided.
She ran her fingers through his hair absentmindedly, catching her breath with her eyes closed. After a long moment, she got up from his lap and left him with a wink, disappearing behind the bathroom door to clean herself up.
Ethan fell back against the pillows on his bed, staring at the ceiling. When he was thinking about their first time together, he had something else in mind, but nothing he could ever come up with would match what they just did.
Claire walked back into the bedroom, wearing the shirt he wore that day, smiling cheekily at him when she jumped into his arms, resting her head on his chest. He embraced her, pressing his lips to her forehead, his fingers tracing abstract patterns on the skin of her shoulder, peaking from underneath the fabric of his shirt.
“So… how did this evening compare to what you wanted to be doing?” she asked slowly, a playful undertone in her voice, but he also could sense a sliver of insecurity. His grip on her tightened, pressing them closer as he covered them with a blanket.
“I couldn’t imagine a better evening if I tried.” He replied, looking down at her with an amused face. She gazed up at him, immediately bursting out laughing, nuzzling against his chest.
“I sure hope so. They had a discount for med school students tonight at the bar I like, but I didn’t go. If you said it wasn’t worth it…” she wondered out loud, coaxing a laugh out of him. She leaned up, their noses touching, eyes meeting. “… you would be in trouble.”
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empyreanwritings · 5 years
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Second Chances
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Pairing: Tony Stark x mutant!Reader
Word Count: 3.4k
Warnings: mentions of miscarriages, angst central (ends fluffy tho, i swear)
Request:  Hi! Could you write a fic with Tony x reader? It can be a little angsty but fluffy at the end ? Maybe reader being pregnant or sth?
A/N: I wasn’t sure where I was going to go with this at first, but I’m very happy with where it went. I hope you enjoy it! Thank you so much for requesting, I hope you like it! Please let me know what y’all think (:
The look on Bruce's face when he walked into the exam room told you everything you needed to know. It was a look you had seen twice before already. He pushed his glasses to the top of his head and took a seat in front of you. You didn't want to meet his gaze; you didn't want to see the regret and worry that filled his eyes. It would only make you feel worse.
"Y/N-"
"I know," you whispered.
The first miscarriage happened when you were sixteen weeks along. You and Tony had already started decorating the nursery for your baby girl. Both of you thought that it had been the stress from going on missions, so when you decided to try again, you took a few months leave. And then you were ten weeks along when the second one happened. Despite Bruce running every test possible, he had no idea what was causing it. Your hormones were level. You were stress-free, for the most part. Not knowing had hit you harder emotionally than you thought it would.
You didn't know you were pregnant this time around. From the cramping you felt, you thought it was just your period showing up early. But the alarms went off in your head, and something told you to go see Bruce. There had been too much blood - too much pain - for it to be normal.
He didn't have to say anything this time because you knew. Complete miscarriage. It would be your third one within the last two years. You weren't sure if you could be sad about this one since you weren't attached to the idea of being pregnant yet, but you couldn't stop the dread from forming a pit in your stomach.
"I know this might not be what you want to hear, but I think I've figured out what may be causing the miscarriages."
Bruce flipped through the file in his lap and looked up at you expectedly. He wasn't going to tell you unless he knew you were ready to hear it. You gave him a curt nod, signaling him to continue. After everything you've been through, it couldn't possibly get worse.
"I went over the ultrasound we did when you had the second miscarriage. It looks like your gynecologist missed something." He handed you a picture from the ultrasound, but you had no idea what you were looking at. "There's scarring on your ovaries and your uterus. The damage is severe, and it's a miracle you managed to get pregnant in the first place. Three times is even more surprising."
You chewed on your bottom lip. You didn't like where this was going.
"The scarring is-" Bruce paused for a moment and took a deep breath. "The scarring is congruent with radiation treatments."
You squeezed your eyes tightly and shook your head. You were wrong, it got worse. So much worse.
You were eighteen when you and your sorority sisters got mixed up with a group that promised to give you abilities beyond your wildest dreams. You thought it was a hoax, but you went along with it anyways. If your friends were going to do it then you figured you might as well too. Five hundred dollars and three radiation treatments later, you were granted with the gift of electricity manipulation. None of you should have gone through with it. It had been dangerous, and some of you didn't make it out alive.
"So, you're telling me that because of a dumb decision I made when I was eighteen, I can't have kids? I have to go home and tell my husband when he returns from saving another country that I am the sole reason he cannot have a child." You sniffled. It was your fault. All this grief and false hope happened because of you.
Bruce tried to stop you from walking out of the room, but you pushed him to the side and darted out. You couldn't breathe. It was all your fault, and you'd have to be the one to break the news to Tony. Tears poured from your eyes as you thought about what his reaction would be. What if he hated you? What if he didn't want to be with you anymore? You couldn't blame him if he chose to leave. He deserved to be with someone who could give him everything he wanted.
Someone who wasn't broken.
---
You weren't ready to go back home yet, so you took the long route there. You found yourself stopping at the park that was only a block away from your building. It wasn't a large park, but it had a charm to it that a lot of people admired. All it had was a couple of benches, a swing set, and a metal merry-go-round. You didn't think merry-go-rounds like that still existed, but you had always told Tony it was going to be fun to play with your future kids on it.
You swallowed the lump forming in your throat. You felt lost. You had no idea what you were going to do with your life now. You had a plan and didn't think you needed a back-up one until now.
You wiped at a stray tear that managed to fall and sighed. You hated crying, but it felt like that was all you did these past two years.
"Thought I'd find you here." You turned your head to see Nat standing next to you. You hadn't heard her walk up because you were so wrapped up in your thoughts. "Bruce called. He told me that you might need someone to keep you company until Tony returned from the mission."
"He told you, didn't he?" You mumbled.
She nodded and wrapped her arm around your shoulder. "I know what you're thinking, and it's not your fault."
"But it is, Tasha! If I never did the radiation to trigger my underlying mutant abilities, I'd be able to have kids."
"And if you never had your mutant abilities, you never would have joined S.H.I.E.L.D. You never would have met Tony and fallen in love with each other. You can't believe that this is your fault because of one decision that did a lot of good for you."
She wasn't surprised when you didn't respond. You didn't want to believe her, but you knew her statement held some truth. Meeting Tony had been a whirlwind of a time. You had met him just after the Chitauri attack on New York. He struggled to cope with everything that happened, and you helped him through it. Well, you helped him with what you could anyways. He had a lot of internal battles he needed to figure out for himself.
When he got better, he asked you out to dinner to say thank you. Dinner had gone a lot better than you both expected, and he insisted you keep seeing each other. You almost said no because he seemed a little too confident in his ability to woo you, but you ended up agreeing anyways.
Part of you couldn't believe five years had passed since that first date.
"What am I going to do now, Tasha?" You whimpered. "What if he doesn't want to be with me anymore? He's talked about having kids for the past two years. The more we struggle, the more it affects him. I can't disappoint him with this."
Nat rubbed her hand along your arm and rested her head on top of yours. "I think you're underestimating how much Tony cares about you."
You shrugged and looked over at a toddler who was playing with a remote-controlled car. He started wailing because the batteries died, and it wouldn't drive anymore. His mother tried to comfort him and promised to buy new batteries tomorrow, but he didn't stop crying. You sent a small jolt of electricity towards the toy and watched it come back to life. The little boy gasped, which brought a smile to your face.
The smile didn't last long, though. You started to think about all of your lost opportunities, and it had slipped right off your face.
Nat looked between you and the toddler and let out a frustrated breath. There was nothing she could say right now that would make you stop wallowing. You had every right to be upset. Your whole life had been turned upside just a few hours ago, and she knew that you'd be hurt for a while. All she could do was offer a shoulder to cry on and try to distract you.
"Why don't we get some food? I think we both deserve to cheat on our Avenger diets and eat a pizza," Nat suggested.
You managed a small laugh. "That sounds good."
It really did sound good. You couldn't remember the last time you had eaten pizza.
You invited Nat back to your penthouse apartment. She ordered a large pizza to split between the two of you while you searched for a movie to watch. It was silly to think that a girl's night would help clear your head from the thoughts plaguing your mind, but it was worth a shot. You didn't want to send Nat away and be alone for the next few hours. Being alone was never a good thing when you were upset.
You held up two DVD cases and turned to face Nat. She already made herself comfortable on you couch, her feet propped up on the coffee table. You were torn between watching The Shining and Pet Sematary and needed a second opinion. You were in no mood to watch sappy chick flicks tonight. You needed some horror to balance out your feelings.
Nat pointed at The Shining, and you nodded. It was definitely a good night to watch The Shining.
You plopped down on the couch next to her and placed your head on her shoulder as the movie started. The pizza wouldn't be here for another hour, if you were lucky, so you didn't hesitate to get comfy. Nat pulled the blanket over the both of you but stayed quiet. You were thankful she didn't push talking about what happened. You didn't want to think about it. Not until Tony got home.
There was going to be a lot to talk about then.
---
Tony stepped into the apartment, surprised at the silence that greeted him. He walked towards the living room and smiled when he saw you curled up on the couch fast asleep. He moved to turn off the TV when Nat emerged from the kitchen, an empty pizza box in her hand. Tony jumped in surprise when he saw her.
"You know, I'm starting to feel bad for Bruce. You spend more time here with my wife than you do with him," Tony observed. "If you're looking for a threesome kind of experience, you should know that I'm not at flexible as I used to be. I'd hate to disappoint you."
Nat rolled her eyes. "Don't flatter yourself. If I wanted to sleep with your wife, I wouldn't want you in the middle of it."
"I'm going to choose to ignore that comment."
Tony walked past Nat and headed into the kitchen to grab a drink. He motioned for her to follow him, which she did. He had a feeling there was a reason she was here, and by the grave look on her face, he knew it wasn't just for a girl's night. He wanted to make sure their chatter didn't wake you up.
You rarely slept lately, and you didn't think he noticed, but he did. He wasn't about to ruin your chance to get a few hours in before he brought you to bed.
"To what do I owe the visit, Romanoff?" He grabbed a beer from the fridge and popped the top off. He offered one to Nat, but she declined.
"She had another miscarriage, Tony."
He stared at the bottle in his hand, and his eyebrows furrowed in confusion.
"But she-"
"She was only a few weeks along this time. Neither of you knew about it."
His stomach twisted, and he wasn't in the mood to drink anymore. He placed his hands on the counter, trying to steady himself as he processed what Nat told him. Why hadn't you called him? You had to have known he would have abandoned his mission and come home right away. He should have been there for you during this time. Not Bruce. Not Nat. It should have been him.
He didn't know the extent of what the miscarriages could do to your body, but he had a feeling it wasn't healthy to experience three within two years. You refused to talk about it with him. You assured him that you were fine, and you were ready to keep trying for a baby. You didn’t think he noticed the changes in you, but he did. You looked exhausted. You were always nauseous. No matter how many times you swore you were healthy, he never believed you.
If you kept pushing to have a baby, he worried it would kill you. Maybe thinking that was just paranoia eating at him, but he didn't want to risk anything. He couldn't lose you.
"Do we know why this keeps happening?" Nat looked down at her hands. She didn't want to tell him before you did, but she knew you were terrified of Tony's reaction. "If you know something, please tell me."
"Bruce found scarring on her uterus that was overlooked during her last miscarriage. He said it was a miracle that she even got pregnant and kept a baby for as long as sixteen weeks." She reached over and gently placed her hand on top of his. "She's blaming herself, Tony. The scarring is from radiation exposure."
He cleared his throat and stepped back from Nat's touch. His mind was reeling from this new information, but he was more concerned for you. He knew how your mind worked. As soon as Bruce told you about the scarring, you must have hated yourself. He understood why you didn't call now. You hadn't been ready to face him. You thought he was going to hate you.
After everything you two have been through, he could never hate you. Not in a million years.
He thanked Nat for telling him and excused himself from the kitchen. He didn't bother with saying goodbye - she knew when to take her leave. The only thing he wanted to focus on right now was you.
He had a plan. He just needed time to get everything together.
---
You woke up feeling confused. All remnants of Nat being there earlier had disappeared. In fact, the living room was more spotless than it had been before you fell asleep. You folded the blanket and placed it on the back of the couch. There was no way Nat was still here, but you wondered if Tony had come home yet. And if he had, why hadn't he woken you up?
Your heart hammered in your chest. The idea that Bruce called Tony during his mission had you frozen in front of your bedroom door. You should have called him immediately after you found out the news. If he found out from someone else, you couldn't imagine how upset it made him.
When you opened the door, you saw Tony sitting on the edge of the bed. You noticed a small stack of papers in his hands, and your heart dropped. Divorce papers. They had to be divorce papers because what else could they be? You bit down on your lip until you tasted blood. You couldn't cry in front of him. You had to be strong. You had to listen to what he had to say and accept whatever decision he had made.
You didn't blame him. You couldn't.
"Hi," you greeted weakly. You hated how your voice betrayed your calm exterior.
Tony looked up at you, a soft smile on his face. He placed the stack of papers on the bed next to him, and he patted his lap. You hesitated a moment before stepping over to him. You straddled his thighs and wrapped your arms around his neck to keep you steady. You couldn't bring yourself to look at the papers. You weren't ready to know the truth.
"I know about the miscarriage." Your head dropped at his words, but he tapped under your chin to get you to look back up at him. "I wish you would have called me. I should have been here for you. I know I'm not a sexy red-head who gives great advice, but I'd like to think I'm somewhat decent at comforting you."
You chuckled and hid your face in the crook of his neck. "I'm sorry. I'm so sorry. This is all my-"
"Ah, ah! No, I don't want to hear you say that it's your fault. None of this is your fault, do you understand?"
"But-"
"I'm sorry, it sounds like you're trying to argue with me. I thought we agreed, I'm only ever wrong when I agree that I am."
You rolled your eyes. Somehow, even with his usual snarky self, he still knew the right thing to say to make you feel better. You thought he would hate you, but you should have given him more credit. He stuck around after two miscarriages. A third wasn't going to magically make him stop loving you. You'd never admit it out loud, but Nat had been right. You underestimated how much he cared for you.
"I love you," you mumbled against his skin. "I love you so much."
Tony rubbed his hands up and down your back, and you instantly relaxed at his touch. You spent so much of your day panicking and hating yourself because you thought you would lose Tony, it drained you. You were ready to fall asleep in his arms, but you still had one more thing to question.
"What are the papers?" You asked, raising your head to look up at him again. "If you're not. . .if you're not leaving me then what are they?"
"I'm going to pretend like you didn't just suggest that I would ever leave you over this and just show you." He grabbed the packet and held it in front of you. You adjusted yourself in his lap, so you could grab the papers from him. You tried to ignore the smile that was making its way on his face as you looked through the papers. You didn't understand what he was so excited about yet.
It was an application packet. You flipped through pages and pages of questionnaires, trying to understand what you were looking through. You finally flipped back to the front page, and your eyes grew wide when it clicked in your head. You were looking through an application for a local adoption agency.
"Tony, I- I don't-"
"You are the one person in this world that I cannot lose. I don't want to keep trying for a baby if it's going to hurt you." Tony delicately pushed your hair behind your ears, and you smiled at the gesture. "We're still going to have a child together, though. You are going to be the best mother, Y/N. I have no doubt in my mind about that. I just need you to trust me here. We're in this together."
Tears pooled in your eyes, and you looked between his face and the application. There was an overwhelming feeling of happiness swelling your chest. What you were feeling reminded you of the first time you found out you were pregnant. You both had been overjoyed with the news, and you were ready to take that next step.
This was your chance to try again. It wasn't what either of you had planned for your future, but you learned early to roll with the punches. You were married to Tony Stark, and you were a mutant. Normal had never been in the cards for you, but you were grateful that you had each other.
"Did I mention that I love you?" You teased, wiping the happy tears away with the back of your hand.
"Once or twice, but I don't mind hearing it again," Tony quipped. "I love you most. And I will always love you."
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kimberlycook95 · 4 years
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Avoid Divorce And Save Your Marriage Staggering Diy Ideas
Respect and show your effort by loving your spouse.In a nutshell... that's how a crisis is developed.Ways to save your marriage and it could just be the only way to deal with them in order to save lots of useful information and tips about how to save my marriage was to beg him to give up, it is most likely to simply view your partner's critics.This book is simply because they are trained, they may never be allowed to be made.
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Save A Relationship
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How Do You Save A Relationship Knowing Its Already Lost
Moreover, you can take all their time, and this is where help from professionals should be aware of it.Also, the marital community's most feared word: divorce.There are several methods of saving your marriage has been shown that half of all the other side.Failure to do this, you're doing yourself and you will be able to identify the negative direction which their marriage and avoid divorce.Once you have given you 4 suggestions on who you can apply to your pastor's can be a past hurt or dislike your partner.
Important tip: Both husband and wife in the relationship.If you want to try and get the best marriages.It's not fun to try to fix your marriage areIf you're in a little bit of work the next step is to go back in a friend you should not go along with it, this will be different for the couple involved, it also wears on the verge of a happy married life.If so you don't want to get the better your chances for a marriage therapy and have fun with your spouse expects you to have that foundation in place then talk about it
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talabib · 4 years
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What You Need For People To Read What You Write.
Have you ever dreamed of being a prized novelist, famed screenplay writer or a slick Mad Men-esque copywriter? You’re not alone. Even so, chances are no one wants to read what you write – that is, unless you are ready to take some tough but tried and tested advice to heart. If so, you’re in luck.
This post looks at several different writing genres and different strategies for each of them, as well as useful techniques that work across almost all types of writing. So, get ready to learn the stuff you need for people to read what you write.
Nobody wants to read what you write, unless it’s exceptionally good.
If you’ve just put the finishing touches on your novel or screenplay, after months or even years of hard work, you might be at the stage where you’re nervous and excited about how readers are going to react.
Well, here’s your first piece of advice: don’t get too excited, because odds are nobody wants to read your writing.
We grow up thinking there is an audience for our work, since teachers and other students read our writing in school – but that’s only because they’re either being paid or forced to read it.
The reality is, people have other things to do. Most parents are less than eager to read their kid’s newest blog post or Harry Potter fan fiction.
A big reason for this is that most writing just isn’t very good. So, if you’re a young author looking for your big break, this doesn’t mean that all is lost – it just means that your writing needs to be exceptionally good.
Now, you may think that “good” writing means clever phrasing or high-minded literature, but that’s not the case. The good writing that will give you the best chance of capturing and holding people’s attention will be clear and easy to understand.
You don’t want to bore people, so make sure your work is either suspenseful and scary, beautiful and tragic or just plain fun; in other words, don’t spend a hundred pages describing the existential crisis a character experiences over his breakfast. You want to create writing that people won’t be able to put down.
What most people find difficult is learning to write for someone other than themselves. So, instead of focusing on what you find fascinating, spend time thinking about the interests of your potential readers.
While you might find the migration patterns of turtle doves fascinating, if you want to develop a readership, you need to find a way of injecting romance, adventure or tragedy into that subject.
It’s hard to find success in the writing business, but an apprenticeship can teach you lessons and build contacts.
You’re probably wondering: if nobody has the time to read, how is my writing going to become the next best seller or blockbuster? Well, nobody said it would be easy, did they?
Making a living through writing is tough, and it can take a lot of hard work before you start making a name for yourself.
For example, Bill landed in Hollywood in the 1980s with big dreams of becoming a successful screenwriter. Over the next five years, he worked on nine different scripts, each one taking him around six months to complete. Yet each and every one of those scripts was rejected by producers; clearly, something needed to change.
One of the best ways of getting your foot in the door of the writing business is an apprenticeship. After five stagnant years, Bill’s agent recommended that he partner up with Stanley, an established screenwriter with two successful movies under his belt.
It wasn’t a dream gig by any means. Stanley was always late showing up to their writing sessions – and not just five or even 30 minutes late, but three to five hours late. Before long, Bill was beginning to understand how this arrangement was supposed to work; he would do all the hard work so that Stanley could swoop in, make a few brilliant changes and call it his own.
While this might seem unfair, Stanley did know how to make a successful script, and he had plenty of Hollywood contacts that could make life a lot easier for Bill.
It’s just a fact of the business that a writer might have to slave away as an apprentice before they learn the tricks of the trade. While Stanley got all the credit for the scripts they worked on, Bill learned the valuable lessons of what makes a successful script and how to sell one.
Whether you’re working in advertising or writing literature, you have to have a concept.
You don’t have to watch a whole lot of TV before you see a bad commercial that makes you think, “no one’s gonna buy that.” When this is the case, it’s usually a result of the commercial having bad writing and a lousy slogan.
Successful advertising has a great concept – an idea that turns a dull product into something special.The secret to coming up with a perfect concept is to think about what the audience would find surprising, intriguing or otherwise exciting.
Let’s look at Avis Rent-a-Car, which has always struggled in the shadow of Hertz, the world’s number-one car-rental service.
With this competition in mind, Avis came up with a great concept for an ad campaign that turned being second banana into an advantage. Avis told people that being in second place meant they had to work twice as hard to make sure each customer gets the best possible service. So, when you pick Avis, you’re sure to have a better experience than Hertz, a company that’s just resting on its laurels.
But it’s not just advertising; literature and good storytelling also need to have a strong concept. Even Homer’s Iliad, one of the world’s oldest stories, has a great concept.
The Iliad is about the Trojan War, which lasted ten years. If Homer had tried to tell the full story of the war, it would have been exhausting and probably rather dull. So Homer found a strong concept by focusing on just a few days of the war and the thrilling story of Achilles and his anger.
Achilles is one of the great heroes in Greek mythology, a fearsome fighter who was once insulted by Agamemnon, the King of the Greeks. Angered by the king’s words, Achilles withdrew from the war and, as a result, the tide began to turn against the Greeks. But then, in the nick of time, Achilles charged back into battle and saved the day.
As you can see, even something as expansive as Greek history can be made into a tight and compelling narrative with the help of a good concept.
In advertising as in fiction, defining the problem or the theme is the first step toward creating a story.
If you’re the “tortured artist” type, then you might feel like you have no shortage of problems. But when it comes to writing, problems are a good thing to have, since they lead to both conflict and resolution – which is what a good story is all about.
In advertising, figuring out the problem is a big part of the process. Every writer trying to come up with a good advertising concept asks the question, “Why is this product not selling?” Maybe a product is simply bad, like a bathroom mat that turns red when it gets wet. In these cases, the best ad campaign in the world won’t help matters. But for many other products, once you identify the problem, it can lead you toward the solution.
Let’s look at classic brands like 7UP and Burger King, both of which are constantly battling against more successful competitors like Coca-Cola and McDonald’s.
In 1967, the marketing wizards behind 7UP came up with the “Uncola” slogan, which was a perfect way to set it apart from Coca-Cola. This way, it wasn’t presented as the inferior beverage, but was something else altogether. Like its ad campaign’s catchphrase said, “There’s no cola like the uncola.” Soon thereafter, sales went through the roof.
When writing fiction, once you find the problem, the next step to crafting your story is finding the theme. The theme is what allows you to cut right to the core of what your story is about; is it a tale of greed, revenge, envy or perhaps survival?
In the popular TV series Breaking Bad, it was all about transformation. In the very first episode, we’re introduced to our protagonist Walter White, and find out he’s a chemistry teacher diagnosed with terminal cancer. In order to make enough money for his family to live comfortably after he’s gone, White begins an unlikely transformation into a methamphetamine cook.
There are a lot of great stories over the five seasons of Breaking Bad, and coming up with good stories is always a challenge. But whenever the show’s screenwriters were stuck, they could always come back to the underlying theme, transformation, and get back on track.
Reading and writing are important to finding your voice, but great writing comes with maturity.
There’s a good chance you’re reading this post because you have stories you want to tell but don’t feel you’re talented enough. But here’s the good news: writing is like any other skill, so the more you keep at it, the better you’ll get. And one of the best ways to improve your authorial voice is to read.
Spend some time getting to know your local libraries and read the classics that represent the kind of story you want to write.
If you feel like your writing is coming off as phony, strengthen your authentic voice by writing more letters to your friends.
When we communicate to people we’re familiar with, we lay off the fancy language and stylistic flourishes that can make us sound inauthentic. You might even have some friends who say they love the prose in your letters but dread having to read the next draft of your novel. Instead of struggling with that phony voice, focus on the authentic voice that appears in your letters.
It’s also important to be patient, and remember that real wisdom and authenticity come with age. For years, Ben felt frustrated that all his writing felt fake and contrived. But as he started to mature, his writing got better.
At the beginning, Ben’s writing was like a selfie – a disposable plea for attention that was all about him and his life. But since he hadn’t done much living, there wasn’t much substance.
Young authors often fall into this trap. Eventually, though, they begin to experience more of life and all the hardships, broken hearts and suffering that it entails. This is where real writing can begin and when writers will have genuine wisdom to offer their readers.
Most stories follow a three-act structure, unless you’re aiming for an epic narrative.  
If you’ve seen enough movies, you’ve probably noticed that most of them follow a very similar story structure. And there’s a good reason for this, since a good structure can ensure that a movie delivers a satisfying story.
For most movies, this is the three-act structure, which condenses and breaks a story down into three segments that all help to make sure audiences are kept in rapt attention.
The first act is all about hooking the audience and getting them interested, the second act is about creating tension and conflict and the third act is about resolution, which often comes in the form of a showdown.
Just about any traditional story can fit into this structure, whether it’s a joke being told by a stand-up comedian, or a narrative that’s used to market a product. And this isn’t some cheap gimmick – it’s a tried and true recipe that even Shakespeare adhered to.
Romeo and Juliet, for instance, although it technically has five acts, can be divided into three distinct parts; the first part introduces the characters and setting, and leads up to the first encounter of the titular duo; the second part piles on the conflicts and problems stemming from their rival families; and the third builds toward the tragic death of our star-crossed lovers.
Now, as with most rules, there are exceptions, especially when it comes to long, epic stories. Lawrence of Arabia is a famous movie for many reasons, including its epic length of nearly four hours. The movie’s director, David Lean, specialized in epic films and believed these stories were best structured using eight to 12 segments.
In a structure like this, each segment can be treated like it’s own self-contained movie. But, since they are all still part of a linear narrative, each one should prepare the audience for what’s coming next. This way, it all adds up to a grand and epic tale. If you’re working on a four-hour movie or a 400-page book, you might try to keep this in mind.
The first act hooks the audience, the second act highlights the villain and the third act delivers the climax.
One of the reasons Star Wars was and continues to be so popular is that it drew audiences into a whole other world, making them leave the theater with a feeling of wonder and amazement.
If you want to carry your audience off to another world, you first need to hook them – and this is what the first act of your story should do.
Now, at the same time you’re hooking your audience, you also need to kick off the plot of your story. Let’s see how David O. Russell’s Silver Linings Playbook managed to do this.
The first act introduces us to our hero, Pat Solitano, as we learn about his psychiatric issues and obsession with getting back together with his ex-wife. Pat is then invited to a dinner party where he meets Tiffany, a charming but equally unstable woman.
The first time Pat and Tiffany meet is the precise moment when the plot truly begins, and it’s also when the audience gets hooked. We know that these two are going to fall in love, but we don’t know how Pat is going to overcome his obsession with his first wife.
Moving on to the second act, this is a good time to focus on the villain or antagonist. You introduced the hero in the first act, so now you can create a clear conflict by introducing the details of the villain and let them get the upper hand, if only for a moment. In Christopher Nolan’s The Dark Knight Rises, after re-establishing Batman, it’s the Joker who takes center stage in the second act. In other stories, the villain might be some other inner or outside force, like an approaching hurricane, an economic crisis or even some internal demons within the hero.
By the end of the second act, the stage should be set for the third act and story’s final showdown. In Bridget Jones’s Diary, this came with the revealing of important information: Bridget Jones, the protagonist, finds out that her love interest, Mark Darcy, isn’t actually in love with another woman, only for Darcy to then find harsh words about him in Jones’s diary – can love triumph above all?
Great actors are attracted to complex characters and important themes.
If you want to write a movie that will be brought to life with the help of megawatt star power like George Clooney and Jennifer Lawrence, then it makes sense to write something that will appeal to these actors, right?
To pull this off, you need to win them over by creating truly memorable characters. Let’s say you want Tom Hanks to be the male hero in your film. Remember that this was the man who played the lead role in Forrest Gump, Sully and Philadelphia, all of which are movies that feature a unique character with depth and nuance, thus allowing him to give a memorable performance.
Or think of the characters that legendary actors Diane Keaton and Jack Nicholson played in Something’s Gotta Give, characters that were layered, well rounded and worthy of their talents. If you don’t create something brilliant, you shouldn’t expect a brilliant actor to waste their time with it. If it doesn’t live up to these high standards, you know you still have work to do.
One of the secrets to writing a great character is finding a meaningful theme that supports a memorable, larger-than-life performance.
A lot of popular movies are filled with car chases and sex scenes, but if you want something award-winning and memorable, you’ll need to go deep.
Out of Africa won seven Academy Awards, including Best Picture, and the character of Baroness Karen von Blixen was played by the award-winning actress Meryl Streep. She was drawn to the role because the movie touches on complex themes about how everything in life is fleeting, including our relationships and our dreams of creating something meaningful.
In this movie, Streep plays a character who is passionate but unwilling to commit to a relationship, and though she wants to build a great school in Africa, her dreams fall apart. With these rich themes and possibilities for nuance, it was the perfect role for a great actor.
Nonfiction follows the same basic rules as fiction, and both rely on a strong theme.
You might think that your book on the migratory patterns of the turtle dove doesn’t need to be as thrilling as the latest Game of Thrones novel, but there’s really no reason to think that way. Nonfiction can be every bit as exciting as fiction, and the same rules apply to both genres.
When the Steven was working on his nonfiction books, he was dealing with subjects that didn’t necessarily lend themselves to thrilling stories of heroes and villains. One of those books is The War of Art, which is about the process of creative writing. Nevertheless, he treated it the same way he would if it were filled with devilish villains and car chases.
So, if you’re looking at your thesis on nineteenth-century opera and thinking there’s no way it can be interesting, here are some helpful tips.
Just like fiction and a good screenplay, nonfiction needs to be focused on a central theme in order to be engaging and coherent.
Let’s say you’re writing a biography on your great-great-grandmother Rosie. She was an early American settler who crossed the country in a covered wagon while she was pregnant, faced the threat of potentially violent native Americans, and had eleven children and three husbands before she passed away.
This is a potentially thrilling story, but if you just go from one event to the next, it runs the risk of being stale and predictable. Instead, you need to find a theme and focus on it.
In this case, you could focus on the American dream and the quest for a better life in the face of hardship. Now, whether it’s being stranded in a broken-down wagon or facing the loss of a child or husband, every event in her story would have this theme running through it, tying them all together.
So, now there’s no excuse for turning in a dull manuscript, screenplay or ad campaign. Now that you know what to look for go, it’s time to get to work crafting a great story.
A good story doesn’t require clever wordplay and flowery prose. Instead, it’s about creating a powerful, well-structured story that has a meaningful theme and characters with depth and nuance that reflect that theme. Whether it’s exciting, dramatic or romantic, by working hard and being well read, you can reflect on your own experiences in life and use structured narratives to create something people will love to read.
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talabib · 6 years
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How To Write Captivating Work That People Would Love To Read
.Have you ever dreamed of being a prized novelist, famed screenplay writer or a slick Mad Men-esque copywriter? You’re not alone. Even so, chances are no one wants to read what you write – that is, unless you are ready to take some tough but tried and tested advice to heart. If so, you’re in luck.
This post looks at several different writing genres and different strategies for each of them, as well as useful techniques that work across almost all types of writing. So, get ready to learn the stuff you need for people to read what you write.
Nobody wants to read what you write, unless it’s exceptionally good.
If you’ve just put the finishing touches on your novel or screenplay, after months or even years of hard work, you might be at the stage where you’re nervous and excited about how readers are going to react.
Well, here’s your first piece of advice: don’t get too excited, because odds are nobody wants to read your writing.
We grow up thinking there is an audience for our work, since teachers and other students read our writing in school – but that’s only because they’re either being paid or forced to read it.
The reality is, people have other things to do. Most parents are less than eager to read their kid’s newest blog post or Harry Potter fan fiction.
A big reason for this is that most writing just isn’t very good. So, if you’re a young author looking for your big break, this doesn’t mean that all is lost – it just means that your writing needs to be exceptionally good.
Now, you may think that “good” writing means clever phrasing or high-minded literature, but that’s not the case. The good writing that will give you the best chance of capturing and holding people’s attention will be clear and easy to understand.
You don’t want to bore people, so make sure your work is either suspenseful and scary, beautiful and tragic or just plain fun; in other words, don’t spend a hundred pages describing the existential crisis a character experiences over his breakfast. You want to create writing that people won’t be able to put down.
What most people find difficult is learning to write for someone other than themselves. So, instead of focusing on what you find fascinating, spend time thinking about the interests of your potential readers.
While you might find the migration patterns of turtle doves fascinating, if you want to develop a readership, you need to find a way of injecting romance, adventure or tragedy into that subject.
It’s hard to find success in the writing business, but an apprenticeship can teach you lessons and build contacts.
You’re probably wondering: if nobody has the time to read, how is my writing going to become the next best seller or blockbuster? Well, nobody said it would be easy, did they?
Making a living through writing is tough, and it can take a lot of hard work before you start making a name for yourself.
For example, Bill landed in Hollywood in the 1980s with big dreams of becoming a successful screenwriter. Over the next five years, he worked on nine different scripts, each one taking him around six months to complete. Yet each and every one of those scripts was rejected by producers; clearly, something needed to change.
One of the best ways of getting your foot in the door of the writing business is an apprenticeship. After five stagnant years, Bill’s agent recommended that he partner up with Stanley, an established screenwriter with two successful movies under his belt.
It wasn’t a dream gig by any means. Stanley was always late showing up to their writing sessions – and not just five or even 30 minutes late, but three to five hours late. Before long, Bill was beginning to understand how this arrangement was supposed to work; he would do all the hard work so that Stanley could swoop in, make a few brilliant changes and call it his own.
While this might seem unfair, Stanley did know how to make a successful script, and he had plenty of Hollywood contacts that could make life a lot easier for Bill.
It’s just a fact of the business that a writer might have to slave away as an apprentice before they learn the tricks of the trade. While Stanley got all the credit for the scripts they worked on, Bill learned the valuable lessons of what makes a successful script and how to sell one.
Whether you’re working in advertising or writing literature, you have to have a concept.
You don’t have to watch a whole lot of TV before you see a bad commercial that makes you think, “no one’s gonna buy that.” When this is the case, it’s usually a result of the commercial having bad writing and a lousy slogan.
Successful advertising has a great concept – an idea that turns a dull product into something special.The secret to coming up with a perfect concept is to think about what the audience would find surprising, intriguing or otherwise exciting.
Let’s look at Avis Rent-a-Car, which has always struggled in the shadow of Hertz, the world’s number-one car-rental service.
With this competition in mind, Avis came up with a great concept for an ad campaign that turned being second banana into an advantage. Avis told people that being in second place meant they had to work twice as hard to make sure each customer gets the best possible service. So, when you pick Avis, you’re sure to have a better experience than Hertz, a company that’s just resting on its laurels.
But it’s not just advertising; literature and good storytelling also need to have a strong concept. Even Homer’s Iliad, one of the world’s oldest stories, has a great concept.
The Iliad is about the Trojan War, which lasted ten years. If Homer had tried to tell the full story of the war, it would have been exhausting and probably rather dull. So Homer found a strong concept by focusing on just a few days of the war and the thrilling story of Achilles and his anger.
Achilles is one of the great heroes in Greek mythology, a fearsome fighter who was once insulted by Agamemnon, the King of the Greeks. Angered by the king’s words, Achilles withdrew from the war and, as a result, the tide began to turn against the Greeks. But then, in the nick of time, Achilles charged back into battle and saved the day.
As you can see, even something as expansive as Greek history can be made into a tight and compelling narrative with the help of a good concept.
In advertising as in fiction, defining the problem or the theme is the first step toward creating a story.
If you’re the “tortured artist” type, then you might feel like you have no shortage of problems. But when it comes to writing, problems are a good thing to have, since they lead to both conflict and resolution – which is what a good story is all about.
In advertising, figuring out the problem is a big part of the process. Every writer trying to come up with a good advertising concept asks the question, “Why is this product not selling?” Maybe a product is simply bad, like a bathroom mat that turns red when it gets wet. In these cases, the best ad campaign in the world won’t help matters. But for many other products, once you identify the problem, it can lead you toward the solution.
Let’s look at classic brands like 7UP and Burger King, both of which are constantly battling against more successful competitors like Coca-Cola and McDonald’s.
In 1967, the marketing wizards behind 7UP came up with the “Uncola” slogan, which was a perfect way to set it apart from Coca-Cola. This way, it wasn’t presented as the inferior beverage, but was something else altogether. Like its ad campaign’s catchphrase said, “There’s no cola like the uncola.” Soon thereafter, sales went through the roof.
When writing fiction, once you find the problem, the next step to crafting your story is finding the theme. The theme is what allows you to cut right to the core of what your story is about; is it a tale of greed, revenge, envy or perhaps survival?
In the popular TV series Breaking Bad, it was all about transformation. In the very first episode, we’re introduced to our protagonist Walter White, and find out he’s a chemistry teacher diagnosed with terminal cancer. In order to make enough money for his family to live comfortably after he’s gone, White begins an unlikely transformation into a methamphetamine cook.
There are a lot of great stories over the five seasons of Breaking Bad, and coming up with good stories is always a challenge. But whenever the show’s screenwriters were stuck, they could always come back to the underlying theme, transformation, and get back on track.
Reading and writing are important to finding your voice, but great writing comes with maturity.
There’s a good chance you’re reading this post because you have stories you want to tell but don’t feel you’re talented enough. But here’s the good news: writing is like any other skill, so the more you keep at it, the better you’ll get. And one of the best ways to improve your authorial voice is to read.
Spend some time getting to know your local libraries and read the classics that represent the kind of story you want to write.
If you feel like your writing is coming off as phony, strengthen your authentic voice by writing more letters to your friends.
When we communicate to people we’re familiar with, we lay off the fancy language and stylistic flourishes that can make us sound inauthentic. You might even have some friends who say they love the prose in your letters but dread having to read the next draft of your novel. Instead of struggling with that phony voice, focus on the authentic voice that appears in your letters.
It’s also important to be patient, and remember that real wisdom and authenticity come with age. For years, Ben felt frustrated that all his writing felt fake and contrived. But as he started to mature, his writing got better.
At the beginning, Ben’s writing was like a selfie – a disposable plea for attention that was all about him and his life. But since he hadn’t done much living, there wasn’t much substance.
Young authors often fall into this trap. Eventually, though, they begin to experience more of life and all the hardships, broken hearts and suffering that it entails. This is where real writing can begin and when writers will have genuine wisdom to offer their readers.
Most stories follow a three-act structure, unless you’re aiming for an epic narrative.  
If you’ve seen enough movies, you’ve probably noticed that most of them follow a very similar story structure. And there’s a good reason for this, since a good structure can ensure that a movie delivers a satisfying story.
For most movies, this is the three-act structure, which condenses and breaks a story down into three segments that all help to make sure audiences are kept in rapt attention.
The first act is all about hooking the audience and getting them interested, the second act is about creating tension and conflict and the third act is about resolution, which often comes in the form of a showdown.
Just about any traditional story can fit into this structure, whether it’s a joke being told by a stand-up comedian, or a narrative that’s used to market a product. And this isn’t some cheap gimmick – it’s a tried and true recipe that even Shakespeare adhered to.
Romeo and Juliet, for instance, although it technically has five acts, can be divided into three distinct parts; the first part introduces the characters and setting, and leads up to the first encounter of the titular duo; the second part piles on the conflicts and problems stemming from their rival families; and the third builds toward the tragic death of our star-crossed lovers.
Now, as with most rules, there are exceptions, especially when it comes to long, epic stories. Lawrence of Arabia is a famous movie for many reasons, including its epic length of nearly four hours. The movie’s director, David Lean, specialized in epic films and believed these stories were best structured using eight to 12 segments.
In a structure like this, each segment can be treated like it’s own self-contained movie. But, since they are all still part of a linear narrative, each one should prepare the audience for what’s coming next. This way, it all adds up to a grand and epic tale. If you’re working on a four-hour movie or a 400-page book, you might try to keep this in mind.
The first act hooks the audience, the second act highlights the villain and the third act delivers the climax.
One of the reasons Star Wars was and continues to be so popular is that it drew audiences into a whole other world, making them leave the theater with a feeling of wonder and amazement.
If you want to carry your audience off to another world, you first need to hook them – and this is what the first act of your story should do.
Now, at the same time you’re hooking your audience, you also need to kick off the plot of your story. Let’s see how David O. Russell’s Silver Linings Playbook managed to do this.
The first act introduces us to our hero, Pat Solitano, as we learn about his psychiatric issues and obsession with getting back together with his ex-wife. Pat is then invited to a dinner party where he meets Tiffany, a charming but equally unstable woman.
The first time Pat and Tiffany meet is the precise moment when the plot truly begins, and it’s also when the audience gets hooked. We know that these two are going to fall in love, but we don’t know how Pat is going to overcome his obsession with his first wife.
Moving on to the second act, this is a good time to focus on the villain or antagonist. You introduced the hero in the first act, so now you can create a clear conflict by introducing the details of the villain and let them get the upper hand, if only for a moment. In Christopher Nolan’s The Dark Knight Rises, after re-establishing Batman, it’s the Joker who takes center stage in the second act. In other stories, the villain might be some other inner or outside force, like an approaching hurricane, an economic crisis or even some internal demons within the hero.
By the end of the second act, the stage should be set for the third act and story’s final showdown. In Bridget Jones’s Diary, this came with the revealing of important information: Bridget Jones, the protagonist, finds out that her love interest, Mark Darcy, isn’t actually in love with another woman, only for Darcy to then find harsh words about him in Jones’s diary – can love triumph above all?
Great actors are attracted to complex characters and important themes.
If you want to write a movie that will be brought to life with the help of megawatt star power like George Clooney and Jennifer Lawrence, then it makes sense to write something that will appeal to these actors, right?
To pull this off, you need to win them over by creating truly memorable characters. Let’s say you want Tom Hanks to be the male hero in your film. Remember that this was the man who played the lead role in Forrest Gump, Sully and Philadelphia, all of which are movies that feature a unique character with depth and nuance, thus allowing him to give a memorable performance.
Or think of the characters that legendary actors Diane Keaton and Jack Nicholson played in Something’s Gotta Give, characters that were layered, well rounded and worthy of their talents. If you don’t create something brilliant, you shouldn’t expect a brilliant actor to waste their time with it. If it doesn’t live up to these high standards, you know you still have work to do.
One of the secrets to writing a great character is finding a meaningful theme that supports a memorable, larger-than-life performance.
A lot of popular movies are filled with car chases and sex scenes, but if you want something award-winning and memorable, you’ll need to go deep.
Out of Africa won seven Academy Awards, including Best Picture, and the character of Baroness Karen von Blixen was played by the award-winning actress Meryl Streep. She was drawn to the role because the movie touches on complex themes about how everything in life is fleeting, including our relationships and our dreams of creating something meaningful.
In this movie, Streep plays a character who is passionate but unwilling to commit to a relationship, and though she wants to build a great school in Africa, her dreams fall apart. With these rich themes and possibilities for nuance, it was the perfect role for a great actor.
Nonfiction follows the same basic rules as fiction, and both rely on a strong theme.
You might think that your book on the migratory patterns of the turtle dove doesn’t need to be as thrilling as the latest Game of Thrones novel, but there’s really no reason to think that way. Nonfiction can be every bit as exciting as fiction, and the same rules apply to both genres.
When the Steven was working on his nonfiction books, he was dealing with subjects that didn’t necessarily lend themselves to thrilling stories of heroes and villains. One of those books is The War of Art, which is about the process of creative writing. Nevertheless, he treated it the same way he would if it were filled with devilish villains and car chases.
So, if you’re looking at your thesis on nineteenth-century opera and thinking there’s no way it can be interesting, here are some helpful tips.
Just like fiction and a good screenplay, nonfiction needs to be focused on a central theme in order to be engaging and coherent.
Let’s say you’re writing a biography on your great-great-grandmother Rosie. She was an early American settler who crossed the country in a covered wagon while she was pregnant, faced the threat of potentially violent native Americans, and had eleven children and three husbands before she passed away.
This is a potentially thrilling story, but if you just go from one event to the next, it runs the risk of being stale and predictable. Instead, you need to find a theme and focus on it.
In this case, you could focus on the American dream and the quest for a better life in the face of hardship. Now, whether it’s being stranded in a broken-down wagon or facing the loss of a child or husband, every event in her story would have this theme running through it, tying them all together.
So, now there’s no excuse for turning in a dull manuscript, screenplay or ad campaign. Now that you know what to look for go, it’s time to get to work crafting a great story.
A good story doesn’t require clever wordplay and flowery prose. Instead, it’s about creating a powerful, well-structured story that has a meaningful theme and characters with depth and nuance that reflect that theme. Whether it’s exciting, dramatic or romantic, by working hard and being well read, you can reflect on your own experiences in life and use structured narratives to create something people will love to read.
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