WIP Whenever
WIP Whenever
I've been tagged by a ton of people and just haven't had either the energy for the post or anything to share. This is from a fic for @dear-massacre that I'm writing as repayment for a somnophilia rec list. Fuck or die Deter under the cut.
Stiles had thought it was funny at first. He'd made a million jokes about sex pollen. They stopped when he looked up the flowers Peter had been sent. When he realized Peter would actually die, and this time it would almost certainly stick. Derek wasn't going to risk Peter's life on the slim chance that it wouldn't.
He would have said something already, but he really doesn't know how to tell two packs, one sometimes hostile, that he's going to fuck his uncle. He doesn't think the majority of them will see it simply as something he's doing to save Peter's life.
They would be right, but he's certainly not going to say that to any of them.
"I mean, it's Peter, so we already know normal rules may not apply, but yeah, that's exactly what I'm saying. If we don't do something about this, Peter will die," Stiles confirms for the dozenth time.
Derek has to give him credit. In spite of how little Stiles likes his uncle, he doesn't sound smug at all. He sounds completely serious for once. It makes Derek feel a little better about what he's getting ready to do.
Well, more like makes him feel better about what he might have to reveal if the pack doesn't shut up about who's going to have to bite the bullet and fuck Peter, like he isn't worth it. Like it would somehow sully them to fuck someone to save his life. Like he's not pack, like he wouldn't do it for any of them, like they haven't all done things they needed forgiveness for.
"OK, everyone, head home," Stiles says, standing. "Derek and I will figure something out for Peter None of your extremely reluctant volunteer efforts will be needed today."
His sarcasm doesn’t go unnoticed, but no one says anything in response. Derek bites back his growl, but doesn’t try to don a more neutral expression. Stiles looks just as angry, which makes him feel better.
The house clears quickly, until Scott is lingering in the entry with Stiles. Derek notices Stiles hasn't put his shoes or coat on but doesn't have much time to think about why. because Scott is glaring at Derek in a way he hasn't in years. His eyes are red and there's a hint of rumbling coming from his chest.
Derek isn't sure he could have stopped his eyes from changing or the growl he let out if he'd tried. He didn't want to, though, so he just let it happen. At the sound, Stiles' attention snaps to Derek.
Stiles doesn't waste any time trying to talk them down. He steps between them. It makes Derek's wolf crazy, but Derek maintains control. He trusts Stiles.
"Alpha McCall, I am speaking to you as Emissary of the Hale Pack."
Scott blinks and his eyes are brown again. He looks at Stiles, clearly confused. Derek tries not to look smug. He's been saying for years that Scott underestimates Stiles. He loves being proved right.
~
Low-pressure tags for either Wednesday or whenever: @dear-massacre @lucky-bishop @calenlily @definitively-different-drivel @yogi-bogey-box
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IS FLYING GENDERED?
On the masculine default, typifying gender in genre, and women as the other in the transformers cartoons.
question for the ages
once again i said back in the halcyon days of watching g1 (aka 5 months ago) i was like. Nooooo, decepticon is NOT a gender that's Silly. It's funny, but as a Read Of The Text, I thought it largely unneeded. (The concept came about, as a joke, involving dismissing the bad guys using the same language you would abt women (sexistly) that they're emotional [heh, flighty], vain, and shrill) after all. If in the 80s era there are 5 whole named/speaking woman tfs, its only ever gonna get better from here right? (<- booboo the fool)
anyway
Let's consider the axiom that the assumed default gender is male, that maleness is often seen as LACK of gender, and femaleness and gender variance are the PRESENCE of gender. In certain reasoning and worldviews, of course (See Androcentrism). Then add that, for transformers, the assumed default thing a transformer turns into, is car. (Autocentrism, if you will)
(The most general term for what a tf turns into is "Alt mode" as some of them are not vehicles at all. The other mode is "Robot Mode", whether its humanoid or not)
So I will be laying out why I believe the cartoon iterations support: non standard alt modes = non standard genders. This is in spite of the fact that FIRST lady tfs were all cars. Sleek cyber cars, but still. For whatever reason, (possibly, the reason for everything in tf, toys) they might as well not exist for how woman tf characters presence in the cartoons progressed over time.
And, to be clear, this is a reading of how these works of fiction are created, not a new unified bioessentialism but for robots aliens I'm proposing for like. In universe lore reasons. I hate that idea.
That said, alt modes in order of most to least gender: Spider, motorcycle, flying (in general, with rotors, jets), tank, and then FINALLY, car. (water and space crafts are already too marginal to rank, but they too can be assumed in relation to default maleness, AND that in making one a woman, would still qualify as othering her).
The NUMBER one reason for this is the bizarre need to have an ESTABLISHED woman tf character before making new ones. AS YOU MIGHT IMAGINE. With a g1 gender ratio something like.... (counting even the most marginal cases for the ladies) 9:120? (That's a rough count from a quick scanning of the tf wiki g1 char list) Shits dire out here.
The second is, ofc, character design based. cis people [stand in phrase for the hegemonic world view] are not okay, and their opinions about how tf gender must need be depicted visually is. uh? Im not a fan. Size and shape dimorphism in general is a given, and specifically having women tfs as far more humanoid and curvy in specific. Also general cartoon lady face syndrome but, whatever. I think there's exactly one character here who doesn't have "lips" or "lipstick" as a distinguishing factor. I'm so tired.
Third is generally, the idea of The Girl Of the Team. When there's The Girl, she often isn't JUST a normal character, who happens to be a girl. See, of course, the Smurtfette Principle. But in my view there's also a trend to give The Girl "special traits" on top of "Girl", maybe even to directly combat the idea that the Girl Character has no other traits? To stop this from being a General Primer on Woman in Media, my explanatory focus is things specific to the tf franchise.
(A phrase I use for thinking about normative modes [in general, not just the Alt ones] in within the tf universe is "unique transformerdom" or, even more clunkily, "A transformer of unique transformerdom". The excessive verbosity is amusing to me personally. All I mean by it is to have an umbrella term for any of the ways tfs can be made unique from their peers in the non allegorical realities of the fiction).
I could, and do, and greatly want to, speak about this AT LENGTH. But it keeps spiraling away from me. So I'll say for now were looking at ways a character is being depicted different from her peers, not because she is the only woman (which she likely is), but cause she's a different kind of transformer, AND if she's othered for it.
(IN SOME forms of the lore. Being a transformer woman, IS A UNIQUE KIND of transformer unto itself. Let's just say I hate it and move on)
Fourth, is the gender of villainy. There is much to be said about gender presentation of villains, the ways they are allowed to be aberrant. We will get to it. There is also all the tropes specific TO evil women, and the modes of villainy open TO female characters. But a general thing I think impacting the gender ratios of the factions is the how "Good" and "Evil" female characters are written. I'll generalize and call this the "Damsel vs Temptress" dichotomy. (See concepts like the Madonna-whore complex). Transformers, is by and large, an action franchise. Unless special reasons are made, characters who can impact the action– have more screen time, and likely more memorable, and iconic presences. A villainous woman can be unchaste, violent, aggressive. While a heroic woman, even if not a literal damsel are more likely to be in a support role. The secretaries of the action genre: medics and techs.
(Another factor is that tfs are giant robots, and the good guys are often friends with tiny squishy little humans. These make very good damsel fodder, and can be taking up the spots on the roster that might, in a different franchise, go to women. Additionally, while woman characters in transformers overall is an interesting topic. When I say tf women, I'm referring to ones that are in fictionally, transformers.)
SO, now understanding our points of attack/obstacles for getting woman into transformers. (Getting established, gendering the designed, uniqueness of existence, and general villainy). Lets go over those alt modes, and the characters that have em, in more detail.
Spiders
The "Beast Era" (1996) intro-ed the spider ofc. And what don't we have with this one. She's a villain, but shes also misunderstood, the era and design style let to these more organic shapes. And they used them to make sure she was very sexy. She's genre aware, she's quippy, she's an absolute icon. So naturally. She gets ported to other later shows. Which means we just have sexy spider ladies running around when everyone else is a fucking truck and shit.
Her own origin is, well think of her as a "Bride of Frankenstein" to the resident evil scientist, also a spider. She was designed for, and manipulated by him in multiple ways. Her protoform (A blank robot base), was supposed to be one of the good guys (a Maximal), but was reprogrammed into a bad guy (Predacon). Even then, she eventually joins them, for her own reasons. She's not even the first predacon to do so, the difference? Well the characters are a lot more NORMAL about his autonomy. Both of these characters stress that being a predacon is an identity they still see as important. But only the woman is told that really, she is was was always MEANT to be a maximal. And while that's true in a sense. There's also a plot were she's forced (by plot contrivance, not the other maximals) to get corrective robot surgery for it. And when they think she died from, everyone's more sad for her boyfriend than for her. Ouch.
The second spider, in the 2007 show, is now one in a world where she is the only "techno-organic" transformer, hence, she is spider, everyone else is a vehicle. Similar to the first, her narrative is very gendered, but less in the way were, like, I do literally think the first was was experiencing in universe sexism from other characters. Here, they really focus on the "techno vs organic" narrative, and the tragic circumstances on how that happened. In this case its just real world sexist writing.
THIRD SPIDER, (2010), instead of misunderstood and tragic evil, this ones just super mega likes to cause pain evil. She also occupies a strange place between the typic vehicular tfs, and the insecticons. This is because she has a helicopter alt mode, and her robot mode is just, a lady with spider characteristics. And, more than just a passing bug like similarity, she has the power to control the insecticons (you know, cause evil woman mind control). However, she doesn't fit in with them either, as the insecticons are at the most insect like they've ever been, in look, living in hives and that most don't even speak.
They may vary in exact character, relationship to the story's moral conflict, and design. But they stay comfortably established, dimorphised, flirty and flirting with villainy. And bonus points, always, for black widow spider trope.
SO. SPIDERS. Established: ✅️ Gendered designs: ✅️ (Extremely!) Unique: ✅️ Othered: ✅️ Villainy: ✅️
Motorcycles
Tooooo my knowledge the first bike lady was in 2004, and fairly minor, in the actual plot, but rest assured, they did go the previously established woman route, by being pink, though, which one shes named after varies by language. But neither were previously motorcycles. (And yes, there is also this problem of mixing together or swapping out one woman tf for another. As if we have the ladies to spare). Even though motorcycle men also exist, this one just stuck for a bit. Maybe something to do with Those Movies. I think the Gendered Existence of a motorcycle is pretty evident though, general sex appeal, being smaller, the mode of riding a motorcycle is different, more physical and intimate. Mainly this ranks so high for the level of grossness they can pack in. Just how objectifying it can be, particularly with two instances where the human rider is an annoying teen boy. Naturally, I've also never seen a male and female motorcycle in the same room, but the approach to design tends to be different. And yeah most of em are Arcee, who's first alt mode was cyber car, but it's not just her.
Established: ✅️ Gendered designs: ✅️ Unique: ✅️ Othered: Depends on iteration, I do NOT like the way one gets called "tough, for a two wheeler". Villainy: ❌(they wouldn't need to be motorcycles if they weren't making them the Special Girl Autobot, after all)
Flying
General: It just tends to stick out when your one girl is only flyer in the group, even she's otherwise tactfully done. Only flyer of the Maximals, a falcon, only flyer of the dinobots, a Pteranodon.
Rotors
I can barely even figure this one. Maybe it's just a general, aesthetics and use case of the actually vehicles, the associations? None of these ladies (and special case) are very connected otherwise. As previously mentioned, the spider helicopter. ¯\_(ツ)_/¯
A big one for this is the preschool demo shows, which are rescue team focused. In the first one the only woman on the human response worker team pairs with the helicopter, they mention she does medical at times. The helicopter is male, like the other tfs. But also he's afraid of flying, and while not the first case of a flyer with a fear of heights, their personalities are, pretty different. As he's both fearful AND effeminate, fine as character traits go but, with the tone of humour used, marks him as Other.
In the second, Whirl (pointing to icon) becomes a girl for the first time, now with standard humanized face. I assume as move to keep with the previous show of having a girl one, as there's no human team mates. She's also the only one who really likes rescue school. Aaaand that's all know of her. What more do you want from me.
Helicopters: Unique: ✅️ Othered: ✅️ (milder than some)
But why'd I call this section rotors instead of helicopters? That would be because one of the latest Sole Female TF we just put in everything™ is a VTOL jet with rotors. She'll tend to be the only jet of her type, which is also smaller than the type of jet used for the villains.
And, of course, aside from alt mode, the thing that makes her stand out most in the cartoons? That she's very clearly a comics character. (I find the emphasize that she's "fan created" over done, as it only controlled minor aspects, and irrelevant cause tfs get completely overhauled in new versions all the time). From her design, which is a bit busier than most characters she stars with. And also uses Japanese aesthetic signifiers in ways that I think are a bit misappropriated and untactful. (VERY USamerican comics). Also, when she stars next to a guy, also from comics employing Japanese aesthetic, you can tell its not deployed in the same manner. (E.I she has hair and makeup, he has armor). Either way, her depictions have her either as badass sword lady on mission from god who's constantly getting hit on by an annoying guy. Or have her be from a different planet and has special telepathy.
Do we see how both her gender AND the cultural signifiers are having affects here? That the main woman tf in a series can be a literal alien even among our alien robots, with cultural signifiers they don't have?
Ratings Established: ✅️ (made the comics to cartoon jump) Gendered designs: ✅️ Unique: ✅️ Othered: ✅️ (SO SO EXTREMELY, using methods in fiction and real life)
Jets
I think my association of jets with tf gender is stronger, than some of the above examples, even if there's less reason to it. And why is that? Well, lets get socratic. Here's another question.
Is This All Starscream's Fault?
No. He's not real, he can't do things. But. His legacy as THE main stay transformers character that gets to subvert gender? Yeah. (Sure, the G1 autobots have their own effete, but he's not in every single cartoon they ever made now is he? Plus now that I think about it, he is a FLYING car...)
From the get, he's not a Man's man. He's shrill, he's manipulative and duplicitous, petty and emotional, cowardly and wheedling. He is, of course, the Perfect character. Now naturally, the 80s cartoon was not concerned with your paltry logics. Starscream and his ilk are the jets, but every decepticon can fly. The gun, the cassette player, the camera, the cassettes.
And each to a last, more masculine than he is. Vocally or behaviorally, physically. Every one of them fit the gender expectations more than he does. Even being a small time grunt, is a masculine trait, after all, more so than unchecked ambition. So its not femininity from flying, from jets. But direct relationship, reference, and descendancy from Starscream that makes it. I've yet to see female versions of Jet fire and or the aerialbots, for example.
So what to do when an effeminate male villain was less maltese falcon and more that man has effeminate hips? Well. We had to start getting his ass for being effeminate, explicitly. They made the female clone of him, which yeah, is an offensive joke stemming from the various The Gender Anxieties. (Transmisogyny, homophobia and sexism. General relation toxic masculinity. A heady mix of all and more).
But I mean. It's free girl tf... Once given a name in extra canon materials, she start's showing up in other things. Once you're in books, video games, comics, and most importantly, toys, you're real. And then eventually, her first non clone appearance in a cartoon, and how her presence shaped it.
That being, Cyberverse. Which is a cgi show, you need to know this for reasons of production. Making new models is expensive. This has always been the reason you just make recolours of Starscream and name them different things. Chicken or egg on this one, I don't know, But because CV has Slipstream, and the only difference between her and the generic "male" decepticon jet, is a more feminine face; Suddenly, any random decepticon goon can be a woman.
An absolutely revolutionary take for striving to populate a fictional world with gender parity. By at large it also means they're way more lady villains, and specifically flying model of villain. The show has other woman, but none who get the same androgynous body mold treatment.
Established: ✅️ Gendered designs: Mildly to NO. Unique: By design, no. Othered: Yes for the clone, and Screamer himself, I suppose. No, otherwise. Villainy: ✅️(That's, the whole idea)
Tanks
It needs to be said. Sometimes, when doing things that transgress a norm, anteing up is less subversive. This is another reason why gender variance, female agency and overt sexuality are more common traits of villains. When already defying strictures of society. What's one more.
That's Right. TANKS ARE THE BUTCH WOMAN OF TRANSFORMERS.
Alright. Let me back up. Strika is the stone cold knock out undefeated champ of lady tf designs that, actually has a reoccurring cartoon presence. She is, admittedly, only a reoccurring to minor character.
Her introduction is in another show with techno-organics, this one involved in the struggle between well, the techno and the organic. Strika as we see her, and as the design that will go on to be iterated, is not in her normal transformer body. She has been transferred into a 'vehicon' body. Without a preexisting essence contained in one, vehicons are not considered alive, in the way a transformer is. Visually, they lack the more human body plan, a standard face, feet and hand like appendages.
To further contrast Strika against the two techno-organic woman. Both of them are tall, and slender. Their softer organic shapes designed towards elegance or beauty, whatever your subjective opinion of that result might be. They both have romance subplots too. By the way. Or honestly one subplot and one main plot. Strika. In contrast. Is built like a brick shit house. Her face is. Minimal. And her goal: protecting her planet... by terminating the heroes.
Now, existing as a character that can be referenced for other media, and given the detail that she was a "Famous general", it's off to the races. She makes a wonderful big tank menace that can fill out a background shot, too.
Without her I hardly think we could have Clobber, also from CV. Who is. The true goat. The finest thing, the achievements of all we could ever hope for. A big fuck off woman, gender swapped from a previous male design with minimal faff, with now even more personality and show presence. Friends, wants, desires. Emotions. Thank God for Clobber, Thank Clobber for Clobber. Thank Randolph Heard and Mae Catt for Clobber.
Established: Depends if you want to count that Strika had so much swag they kept drawing/modeling her Gendered designs: FUCK NO Unique: ✅️ Othered: only originally Villainy: ✅️
Cars
So now you have the final piece of the puzzle. In transformers, Autobots are Cars. Yes, there are plenty of autobots that are NOT cars, and there are cars that are not Autobots. But they're exceptions, they're aberrances. They're unique. And Autobots are the norm. They oppose the Decepticons. Decepticons are Villains. And Decepticons can fly. Modal simplified binaries and false dichotomy abound!
And the thing about those original Autobot woman, the one's who largely did not influence all of this? They were cars, it's true, but not like how the men where cars. They've not been designed from transforming car toys, with a shellac of humanoid gender over top. Their designed in the way of human gender. With the car on top.
When the preexisting clause leads to the original designs to be revisited, which, has largely only happened in more recent years. They aren't car woman robots. The cars are literally not part of their bodies, they are additional. Instead of a unifying identity of a robot who is a car, its Arcee and her backpack. Parts of cars get grafted onto their petite lady bodies, and placed anywhere out of the way.
In order to make a transformer a woman, they have to give her a gender, not understanding that that's always been the case. And to give her a woman's gender, she's got to LOOK like a woman, not a transformer. And to look like a woman, she's got to act like a woman. She must be heroic but reactive instead of active, or else, villainous, conniving and or self centered. To be a woman, we must have some other previous woman to explain her presence, or else explain it anew with her unique, strange, or exotic origin. How could she ever be a woman if she simply, existed, looked average, talked average. How could she be a woman if her body is hunks of ungendered car. How can she be a woman if she's everything we expect a transformer to be.
A woman is transgressive, a woman is not normal. Autobots are normal. Autobots are heros. Autobots are men. And Autobots do not fly.
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tags. fem!reader, boss/employee relationship, stupidly domestic, little wife kink in there somewhere, nanny reader, single dad gojo, breeding kink [18+ only]
You sometimes find yourself wistfully imagining having a family of your own—a soft and sweet little bundle to cuddle and someone strong and capable (competent) at your side. But you can’t think of the last time you’ve been on a date where that person had the same interest in something more serious than casually sleeping around.
Nannying seemed like the natural conclusion, especially when you’re still settling in a new city and barely scraping by for rent and student loans for a degree you don’t use.
You pick up a few jobs just to get a feel for it: parents going away for a honeymoon, a last-minute call-in, a weekend business trip. Then a friend of a friend says she makes enough to afford one of those picturesque apartments that overlook tall high-rises and iridescent lights, the very ones you’ve dog-eared in real-estate magazines.
All it takes are a few phone calls and an interview until you’re packing up your apartment and taking the freeway outside of the city to somewhere remote and expensive, your car looking almost out of place parked beside the shiny new one in the long driveway.
You rap on the front door before you lose your nerve, and a few moments later, it opens, and you’re unsure who looks more out of place: this man with a smile too big, dressed for work, immaculate suit dampened by the baby rag slung over his shoulder and what looks like drool on his crisp collar, or you in your scuffed shoes and second-hand store clothes, standing in front of the nicest house you’ve ever seen.
“The nanny?”
“Yes,” you mutter, licking your lips. “That’s me.”
“Good, Ren just woke up from his nap,” he says, opening the door a little wider with a creak. The darkness behind him is almost comforting.
You take a deep breath and pass over the threshold into his home.
The entire time, his hand stays on the small of your back to steer you toward the nursery, and a shiver threatens up the length of your spine.
Three months. That’s how long it takes before your employer poses a problem.
It’s not that he’s a terrible boss; in fact, he’s quite the opposite. He lets you take over one of the many spare rooms in his massive house, pays you double the regular rate, and gives you time off when you ask for it.
It also helps that Ren is cute, only a year old, and still so sweet and tiny.
Perfect.
The problem lies in that you know what he sounds like first thing in the morning, that he knows how you like your coffee, that he helps you fold laundry in the living room while the baby naps, how you catch him staring anytime you hold his son—his expression shuttered, a foreign thing that you can’t read. It’s all so terribly domestic.
Terrible in that you think it’s a horrible idea to develop a crush on your boss, that you can’t help but get flustered anytime he so much as looks your way, even if it’s fleeting. How a sleepy smile before he retires to his room for the night can turn your thoughts into a scattered, ill-defined mess of what they used to be until all that’s left are words like spun sugar melting on your tongue.
But also, it’s not normal, at least not from your experience.
You were lucky in the past if your employer even wanted to know about their kid’s day. Barely saying hello once they walk through the front door before sending money to your bank account.
Satoru—because that’s what he asked you to call him one afternoon while you were in the middle of feeding Ren mashed banana, a lazy smile curling the edges of his lips after you say it for the first time—wants to know everything: what Ren ate, if he laughed, how your day was, if you finally got your hands on that book you’ve been meaning to buy.
“You don’t have to ask about my day,” you tell him shyly, accepting the glass of wine he proffers you after spending the past hour trying to put a teething baby to bed. “To make me feel better, that is.”
“Would it be so bad if I said I want to? You live here, too.”
You try to separate the two: that he cares as your employer and not for any other reason, and how you sometimes catch the soft look in his eye whenever he looks at you could make you believe otherwise.
Cool fingers cup your chin gently, thumb caressing the top of your cheek, now close enough that you catch a few of the warm notes of his cologne, a move that’s probably very inappropriate between a boss and an employee.
“I never say anything I don’t mean.”
You swallow, nodding, slightly shaky, breath caught in your chest. “Okay.”
“Good girl.” He retreats to his office before witnessing how those two words knock the wind out of you.
He starts saying things like our shopping list, our car—because he gave you the keys to the SUV parked beside his car and hasn’t touched it since; for you and the baby, he said, plus it’s terrible on gas when I drive it to work—our house, our baby. You don’t think he means to do it; it's more of an easy slip in conversation.
But then, one morning, he’s rushing around the kitchen, hair still damp and smelling like his shampoo, as he grabs his coffee and briefcase from the counter, kissing Ren’s forehead first…and then yours.
You’re half convinced that you imagined it—that his lips hadn’t stayed there for a second longer than necessary—until he straightens his tie and heads out for the day with a ‘be good’ tossed over his shoulder, and you’re left wondering if he meant to say that to you or Ren.
It sets off a chain reaction of thoughts whirling away in your head, leaves you wanting and wondering—only ever allowing yourself to fantasize a little when the house is quiet and dark, the baby monitor humming on your nightstand, and images of your boss flit behind closed eyelids as you fit your hand underneath your soft sleep shorts.
In the morning, you worry he can tell what you did, his smile almost too sharp, too something—more teasing than what you’re used to—his hand resting on your lower back as he leans down to kiss Ren’s chubby cheek while you make breakfast.
“I have a meeting this afternoon, so I’ll be late. Want me to pick up some food on the way home?”
No, you think, there’s no way he knows.
You spend most of the morning cleaning and folding the array of graphic onesies Satoru has a penchant for dressing Ren in, and the later half walking around the pool because it’s warm and Ren enjoys splashing around in the water. It’s enough to tucker him out for bed early, unable to keep his eyes open while eating a plate of mashed potatoes.
It’s also the first time in weeks that you have the night to yourself, no baby keeping you busy, no Satoru to—well.
After a long shower, you step out of the bathroom, moving into the hallway. And there are many reasons why you felt confident walking the few steps it took to reach your bedroom. Most revolve around what Satoru told you that morning, so you don’t expect him to be standing there, shirtsleeves rolled up, piercing gaze sliding down the length of you wrapped in a towel and little else.
“I brought home those drunken noodles you like,” he says when his eyes focus back on your face, his whole expression softening into a smile.
A beat. “Thank you,” you whisper, unable to look away.
He tucks the wet strands of hair clinging to your cheek behind your ear. “Why don’t you get dressed, and I’ll join you downstairs?”
The noise in your brain goes static.
You’re unsure what causes it, but everything changes when he comes home early one afternoon and finds you and the baby napping in the nursery. He has this soft look on his face and something else you can’t decipher with his piercing blue eyes settled firmly on you.
Ren coos softly into your shoulder.
When Satoru picks him up and settles him in the crib, then walks you to your room—here, let me help you—and when he hovers in your doorway, you let him in without question.
He doesn’t waste any time peeling off your clothes, eager to have you naked and splayed out underneath him. You cum on his tongue more times than you can count until you’re silently begging him to fuck you.
He laughs, large hands spread over your tummy.
“Use your words, baby. I’m not a mind reader.”
You feel like you’re someone else watching you from somewhere else, another body rocking against the length of your boss’s cock, back arching every time you manage to find the friction you need. He’s hard against your back, thick in a way that makes you wonder if he did enough to stretch you out.
“I-I want—”
All other thoughts are obliterated by the stretch and press of him against your cunt.
“Think I’m going to keep you,” he rasps, lips dragging over your throat. “Keep this drippy little cunt spread open on my desk whenever I want while the baby naps. Would you like that? For me to fuck you full until you give me a baby.”
You clench, nerves shot.
“Gonna get all round with my baby, stay here forever,” he mumbles when he draws away, and you can’t tell if the words are meant for you to hear or slip out without him realizing. “Fuck—breed my little wife until it takes—”
Your eyes roll up, lost in the little promises he paints across your skin, body shivering over and over until you’re sobbing from it until he has to clamp a hand down over your mouth—shh, you’re going to wake the baby—going limp when he finally cums, pressing as deep as your body will allow, as if he can somehow imprint himself there.
Wonders if maybe he’s been building up to this moment all along.
It’s so easy to lay there after, blissed out while he litters kisses across your face and collarbones, letting him lift your hips up to slide a pillow underneath, even though the position is awkward when he tries to cuddle you afterward.
His fingers draw shapes on your stomach, giving you a wistful look, like he can’t believe he’s laying here with his cum still dripping between your thighs—no matter how many times he scoops it up and pushes it back inside you. “Do you think it’ll take?”
And you don’t have the heart to tell him about the little foil packet of pills tucked away in your nightstand.
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·.⌇ 𝐒𝐘𝐍𝐎𝐏𝐒𝐈𝐒. staying at your boyfriend’s house for the first time is nerve wracking. though luckily satoru understands your situation all too well.
wc. around 870
tags. older bf!gojo satoru x female reader. fluff, teeny tiny bit suggestive implications. reader is implied to be a virgin + has no experience dating. satoru being a gentleman hehe. nicknames used ‘sugar, sweetheart’. not beta read.
“are you sure?” you ask your lover who’s making himself comfortable on the couch. satoru sits down and gives you a reassuring smile. he adjusts the blue blanket he’s covering himself with before responding.
“mhm. a hundred percent,” he nods and reaches for your hand. his thumb brushes over your knuckles in a soothing manner. his blue eyes glow with the purest form of love—pure unadulterated love for you.
it’s your first time staying over at your boyfriend’s. it’s nerve wracking for some reason. maybe because you have all kinds of ideas running through your head about how your night could possibly go.
the thought about possible intimacy is scary, because you’re not sure if you’re actually prepared. you had set your mind to it on your way to his house; you will be ready if satoru asks to take things further. for his sake. .
but, when the time had come, nothing happened. you expected at least something to happen. he’s kissed you as per usual, however more than that has not occurred. perhaps it’s your own fault for trying to predict what will happen.
though how can you not? you assumed that if a boyfriend and girlfriend spend the night together, they’ll surely do something more. at least you think that’s what happens most of the time. with other couples that is.
you should’ve known by now that satoru doesn’t compare to other men. especially not to the college boys your age—who only want to hit and move on. satoru is serious about your relationship. committed.
“what’s going on in that pretty head of yours, sugar?” satoru’s smooth voice interrupts your thoughts. you clear your throat and shake your head, dismissing your own tendencies to overthink every little thing.
his big hands cover both of yours completely. they’re warm. nice to hold. the older man lifts your hands up to his lips and kisses your palms. you sigh and finally relax after what feels like hours, “nothing, ‘toru.”
nothing, you say. little did you know that satoru has long noticed what’s wrong. you’re easy to read—your body language reveals every little thing you’re feeling.
you subconsciously had your fists clenched at your sides the second you stepped into his apartment. you’ve been avoiding eye contact more than usual and you keep nibbling on your bottom lip. those were all the signs he needed.
satoru knows you well enough to realise that you’re overly nervous. he understands why. it’s your first time staying overnight at a man’s house—your boyfriend’s house.
satoru’s sure you’re thinking that he’ll ask you to sleep with him. it’s obvious. each time he kisses you, you tense up. you normally get flustered, though today you’re more than just nervous.
he doesn’t want you to be uncomfortable. he doesn’t want you to think that he’ll do anything you’re not ready for. the last thing satoru would do is take advantage of this precious moment. of his precious girl.
it’s also why he suggested to sleep on the couch. he figured that you’ll be less nervous if you have the bed to yourself. all he wants is for you to relax around him.
“may i?” satoru whispers. his warm breath caresses your hands and you instantly give your consent to whatever he wishes to do. the older man thanks you quietly before putting his forehead against yours.
you look into each other’s eyes and you’re once again stunned by the beauty of his blue orbs. satoru brushes his knuckles over your cheek, adoring just how adorable you look from up close, “it’s okay, yeah? i won’t ask you to do anything. i promise.”
you blink. it’s only then that the realisation dawns upon you. no wonder satoru has immediately noticed your nervous demeanour. he’s always so perceptive of how you feel. it’s quite heartwarming.
those comforting words are all you need. you smile brightly and hug satoru out of reflex. you hear a giggle escape his lips before he returns the gesture. his strong arms wrap around your form and he squeezes you to his chest.
“aww, there’s my baby,” satoru coos. he’s happy that he’s finally succeeded at calming you down. he’s also happy that he got your usual self back. he tenderly kisses the top of your head.
you lift your head up to get some air. satoru’s tight embrace and familiar scent nearly suffocated you—not that you would mind going out like that. you kiss his cheek, “thank you for being so. . err, patient and understanding.”
your boyfriend shakes his head with a soft smile playing across his lips. satoru leaves a trail of ticklish pecks down your face until he reaches your lips. after waiting for your usual sign - a faint nod - he captures them in a gentle kiss.
he pulls away after a few seconds, though stays close to your face. you’re filled with an incredible feeling of warmth because of satoru’s obvious adoration for you. pure content.
he lets out a breathy laugh at your cute, flustered expression. he pulls you in for a hug again and presses your head against his chest, “heh, no, i should thank you for trusting me. i love you s’much.”
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How to Write REALISTIC and SMOOTH Dialogue
In a story, dialogue is quite important, it helps the readers paint a picture of what's happening and the characters themselves. However, it can be difficult to avoid the unnaturalness and choppiness that comes with a lack of experience. But luckily, I have put together A LOT of advice on how you can get over that rockiness and improve!
*** KEEPING YOUR DIALOGUE REALISTIC, AND PACING ***
>> Keep your characters in character:
Dialogue is a remarkably quick way for readers to determine your character's personality. Thus, you want their speech patterns to remain fairly consistent so the audience won't get confused. If your character is more serious, then they will use less slang and perhaps a more impressive vocabulary. If your character is more relaxed, they will use more slang and compress the words. (such as "dunno," "kay," "y'know," etc.)
Basically, you want their tone to match their traits so the way that they talk is more realistic and personlized to themselves. If the way all your characters speak is the same, there's something wrong. A strong tip is to put yourself in your character's shoes and imagine how they would respond!
>> Take the situation into consideration:
This is another part of keeping your characters in, well, character. Different emotional situations will have a different effect on separate people, so make sure that you have an idea of how your character will act during stressful, irritating, and sad times.
If your character is normally cold, they will struggle if it comes to comforting other people because they have less experience in that field.
>> Don't take too long with their words:
Unlike when narrating something, most people talk just to get the idea across. They will be more specific and quicker with what they say. (This excludes any character who likes to talk a lot.) Unless it's on purpose, they won't dance around the topic. Think of when you casually chat with your friends; you're pretty unlikely to use certain words and/or phrases that might be common to use while narrating.
If you want to explain something complicated, instead of writing out a paragraph of just one person talking, use a question-and-answer prompt! This is where another character continuously asks related questions that get answered by another person, so you can indirectly reveal your explanation.
*** HOW TO WRITE A SMOOTHER CONVERSATION AND DIALOGUE TAGS***
>> Having a variety of dialogue tags:
This is a pretty basic thing to look out for if you're new to writing conversations. Using words like "said," every other sentence can easily make it feel choppy and robotic. Instead, use words like "murmured," "smirked," etc. to paint some emotion into their words. Additionally, vary the location of the dialogue tags! They don't all have to go after the statement, you can include something in the beginning or even the middle, too!
Examples:
Beginning - She tilted her head, "What are you talking about?"
Middle - "Oh," he blinked, "I actually never thought about that."
End - "Wait up!" She exclaimed loudly, waving her hands around.
>> Using no dialogue tags to create a smooth conversation:
Having too many tags can also overwhelm your reader--remember, sentence variety is a crucial part of writing--so you can always drop them if they're unneeded. This applies when your characters (two is the suggested amount) are talking back and forth in a pattern straightforward enough for the reader to understand who's talking without it having to be labeled.
Dropping dialogue tags in these moments can create a smoother atmosphere during the conversation because the reader only has to focus on the talking present.
*** USING SLANG, STUTTERS, FILLER WORDS, AND PAUSES ***
Human speech is often not perfect; when talking, we often make mistakes such as filler words, grammatically incorrect phrases, etc. Hence, for more natural-sounding dialogue, it's important to incorporate some of these.
>> Pauses and stutters:
When reading dialogue, we read it at a steady pace unless it's written otherwise. However, that steady pace can soon get too robotic and too smooth. Luckily, there are several ways to change this! You can use dialogue tags, (ex: she quickly spoke) commas, and ellipsis (...). These are often integrated when the character is hesitant, nervous, answering something, or when they need to admit something. The same idea applies to stutters--they're mainly used to demonstrate anxiousness, which can be found in varying situations.
>> Filler words and slang:
Filler words can really just be used where you see fit. They may be used in the situations I previously mentioned (because it shows someone stumbling over their words) but it's ultimately up to you!
Slang, just like everything else, should not be used too often, or it will seem forced and exaggerated. The point is to sound natural, and increasing amounts of repetitiveness can ruin it. It's also important to remember that in real life, our conversations move slower; when someone speaks, another person usually doesn't respond quite literally, right after. However, in writing, dialogue can actually often seem that way, which is why using tags and these imperfections of speech is pivotal for building a realistic conversation!
*** CONCLUSION ***
Lastly, a key point when writing dialogue is to ALWAYS read the conversations! Whether it be in your head or out loud, it can often help you catch anything that seems off! Additionally, like I mentioned at the very beginning, write dialogue from your character's perspective! Imagine yourself as them and how they/you would talk. Try to keep your dialogue tags, sentences, and word use varied to create a natural conversation!
If you were struggling before, I hope that this (extra) long guide was able to really offer you some insight and useful tips! If you read this far, thank you!
Happy writing~
3hks <3
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