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greenglowinspooks · 7 months

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(DCxDP) The obligations of a rogue versus those of a parent

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Tw: vivisection mention (not in detail), bad Fenton parents

Will be crossposted to AO3 eventually

(Pt. 2 here) (Pt. 3 here)

(Masterlist/subscription post)

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It was a dark, cold, miserable night, and Scarecrow, Jonathan Crane, wanted nothing more than to be home, covered in blankets with the heater set to max as he worked on his most recent strain of fear toxin.

Instead he was at the docks, standing in as backup for the Penguin as he made a deal with some sleaze-bag smugglers. Something about some sort of body armor for his hired help. Crane hadn’t really paid much attention to the Penguin’s words, only caring enough to show up because of the reward.

But honestly, he couldn’t care less about the money at this point.

He was cold, and miserable, and his leg hurt something fierce (he’d had chronic pains ever since being mauled by Killer Croc some time ago), and he was so, so close to a breakthrough with his new toxin, and he really couldn’t stand the Penguin anyways. The only thing keeping him there was his reputation as a rogue.

Just as Crane was deciding that the whole ordeal wasn’t worth it, he heard the sound of a chase a few blocks down. With a deep, heavy sigh, he moved from the wall he had been leaning against, looming in the alleyway as he waited for the potential threat to reveal itself.

A few moments later, a boy came careening into the alleyway, sliding to a stop when he noticed the Scarecrow, his eyes growing impossibly wide. Beneath the mask, Jonathan grinned.

The boy swore, loudly, glancing between Scarecrow and the exit of the alleyway. As the echoing sound of footsteps grew closer, he chose to face the way he came, turning his back to Scarecrow.

What an idiotic way to get killed. Either the boy was a complete and utter fool, or there was something out there worse (to him, at least) than the Scarecrow.

Jonathan Crane tilted his head slowly, considering. He could just cut his losses and leave, Penguin be damned, or he could stay and see what had the boy so spooked.

Eventually, unfortunately enough, his curiosity won out. He shifted, bringing a hand to his side where he kept several canisters of fear toxin.

Crane had to bite back a groan when the boy’s pursuers entered the alleyway.

It was those damned idiots in white suits.

They had been tailing him for weeks now. They were easy enough to fight, but they were annoyingly persistent, and always seemed to have a way to find him. (Not to mention, the Riddler had strong opinions on their outfits, and if he had to hear the white-suit-in-Gotham rant one more time he was going to throttle him.)

Led by the men in white was a woman in a teal hazmat suit. Jonathan had seen her around, too, though less frequently than the others. He had honestly assumed that she was just a new C-tier rogue and avoided her like the plague.

Her eyes went wide as saucers when she saw Jonathan standing a few feet from the boy. No one moved a muscle.

“Danny,” the woman spoke softly. The boy, Danny, flinched, glancing between her and Scarecrow, “come on, we can talk about this. Your father and I only want to help you.”

He was running from his mother?

Scarecrow paused after that revelation, choosing to fully take in the boy’s appearance.

He was lean, almost gaunt, and wearing clothes several sizes too big for him, probably stolen. His entire body shook, from fear and cold both, and he clutched his stomach with one hand. At first, Scarecrow assumed that it was due to being out of breath, but as he looked closer he could see blood staining the dark fabric of the boy’s shirt.

He was injured, underweight, and running from his parents.

Something that felt a lot like rage swelled in Jonathan’s heart.

“Danny, you don’t get it! We’re so close now. We can fix you, and then we can go home, and everything can go back to normal,” she said, smiling in a way that was clearly supposed to be reassuring. She took a few steps forward, the men behind her clearly readying their weapons.

The boy backed away from his mother, inadvertently coming closer to Scarecrow.

He glanced up at Crane again, his blue eyes shining in fear, but not of him.

Sickening. Sickening.

In one fluid motion, Jonathan grabbed the boy by the wrist, pulling him behind him, and threw a large canister of fear gas into the group who had been chasing him.

The liquid in the container turned to gas as soon as it broke open, billowing out and filling half of the alleyway with a thick yellow smog.

The boy gasped, pulling his shirt over his face in a pathetic attempt to filter out the toxin. It would have to do, though, Scarecrow thought, rushing forward to force the boy’s aggressors to breathe in the gas.

The fight that the men put up was pitiful. The few individuals who didn’t breathe in the toxin immediately were clearly unused to fighting hand-to-hand, and dropped like flies in Scarecrow’s wake.

Just as the men began to spasm and shout in their terror, as if on cue, the familiar wail of police sirens reached the Scarecrow’s ears.

He heaved a heavy, irritated sigh, fingers twitching for a cigarette. He was trying to quit as of late, but he felt that after today, he might deserve one.

Though now was not the time to be thinking of cigarettes.

Jonathan approached the boy, mindful of any signs he might run off.

The boy didn’t seem to notice his approach in the slightest, just staring at the woman in the jumpsuit as she writhed on the ground.

Right. That would most likely be traumatic for a child to see, wouldn’t it?

Scarecrow moved in front of the boy, blocking his line of sight. The boy looked up at him now, his face completely blank.

“The police are on their way,” Scarecrow spoke, his voice low. The boy didn’t acknowledge him in any way.

“You don’t want to be here when they arrive, do you?”

After several moments pause, the boy shook his head slowly. He looked numb.

Dissociation, most likely.

“You’ll come with me, then.”

It was a statement, not a question, but he waited for the boy’s response regardless. As soon as he nodded in agreement, Jonathan lifted him up, carrying him out of the cold, miserable alleyway.

Scarecrow paused briefly to warn the Penguin of the incoming officers through the comm he had been given, and then he was off, weaving through the streets and alleyways towards his getaway car.

…

The drive back to his safe house was quiet. The boy didn’t look over at him once, instead opting to stare out ahead of him.

…

Luckily, they were able to make it back without detection. Jonathan ushered the boy into his small apartment, sitting him down on the dingy couch that had come with the lease.

“Wait here, alright?” Jonathan said, the boy nodding once in response.

With that, he retreated into the small kitchen, looking for some sort of warm beverage.

It was nearly three in the morning now, so coffee was out of the question. He was completely out of the hot chocolate he had bought for whenever Eddie or Harley came over for a visit, so that was out too.

He supposed the only option was his chamomile tea. Did teenagers like tea? He supposed it didn’t really matter, the kid was on the run from his parents in the house of a Gotham rogue. Surely he had bigger things to worry about.

Jonathan made the drinks quickly, leaving the kitchen with two mugs in hand. He gave one to the boy, who looked up at him in surprise, before settling into his own seat.

It was an incredibly comfortable old leather armchair that he had gotten some years ago and stubbornly held onto ever since. He usually had one of the rogues he was at least somewhat friendly with pick it up when he entered Arkham.

Whenever Eddie and Harley were over, they would call it his old man chair, and he would tell them to leave.

The two of them sat quietly for a while, drinking their tea slowly. It was clear that the boy was leaving whatever headspace he had slipped into, becoming more alert (and uncomfortable) by the second.

“So,” Crane began, pausing before speaking more quietly when he saw the boy flinch, “you knew them.”

It was not a question.

The boy nodded, curling in on himself. He held the mug close to his chest, no doubt soothed by the warmth.

“They’ve been following me around for some time now,” Crane continued, “and you’re going to tell me why.”

The boy looked up at him, a pained expression written all over his face.

“You won’t believe me,” he murmured, curling up even further.

His clothes were soaked. Jonathan should have put down a towel before letting him sit down.

“Sure I will,” he said, ignoring the blood and water seeping into his furniture.

The landlord would not be happy.

“It’s gonna sound crazy.”

“I’ve been to Arkham.”

The boy paused, before mumbling something quietly.

“Again? I couldn’t hear you.”

“I said,” the boy huffed, quickly changing his tone when he remembered who he was talking to, “they…think you’re a ghost.”

“A ghost,” Crane repeated flatly.

“I told you it was gonna sound crazy!” The boy protested, before wrapping his arms around himself.

“Well,” Jonathan hummed, “it’s not the strangest thing I’ve heard in Gotham. Explain it to me.”

The boy paused, glancing up at his face, no doubt looking for some sign of mockery. He found none.

Then, he opened his mouth, and explained everything he could.

Ghosts, the portal to another world, the GiW, his parents. It was all incredibly far-fetched, but also far too consistent to be made up on the spot, and Crane could tell that the boy genuinely believed what he was saying.

“…but, if you don’t believe me, fine. I know it probably sounds stupid and fake,” he mumbled, looking away.

“I’ll believe you for now,” Crane said. The boy whipped his head up, staring at him in shock.

“If I do trust that what you’re saying is true, though, then why do I show up on their equipment as a ghost? I’m not dead, and never have been.”

“Um,” the boy hummed, looking somewhat nervous. Understandable, really.

“Well, have you by any chance been involved in any lab accidents recently..?”

Jonathan Crane froze, his face dropping. The boy noticed his change in demeanor, flinching slightly.

“Penguin,” he hissed out, his voice slightly inhuman. “Cobblepot, that motherfucker.”

“Wait—calm down! The angrier you get, the easier you’ll show up on the radar!”

Crane glared down at the boy, seething with rage. He once again flinched, looking away from him. With an extraordinary amount of effort, Jonathan slumped back down in his chair, breathing deeply in an effort to calm himself.

When he cracked his eyes back open, the boy was openly staring at him, curiosity written all over his face.

As soon as he noticed Crane looking back at him, he glanced away, straightening in his seat.

“Well, you’ve given me a lot to think about. In the morning, we’re going to discuss this in a lot more detail,” he said, standing up with slow movements. The boy stood as well, hands clasped together.

“For now, though, you’re going to let me take a look at that wound of yours, and then you’re going to take a shower and go to bed.”

The rest of the night went rather quickly.

The boy was rather hesitant to show him his wound, instead assuring him that it had been properly sewn up and that he was fine. Crane was having none of it, though, and gave him a once-over just in case.

It was, very clearly, the kind of cut used during an autopsy. Danny didn’t offer any information, so Crane had to assume that he was either back from the dead, or he had been vivisected. Either was possible in Gotham.

At the very least, Danny hadn’t lied about the stitches, and the wound was already beginning to heal.

With that, Danny showered quickly (he leapt out with a shriek the moment the hot water ran out), and went to bed in borrowed clothes without much complaint.

Thus, Jonathan was left with cold water for his shower, and slept on the still-damp couch so that the boy could have a bed to sleep in. Somehow, he found that he didn’t mind as much as he thought he would.

#dcxdp #dc x dp #dp x dc #dpxdc #dc x dp crossover #dc x dp fic #liminal scarecrow #AWWAWAW IM DONE #FINALLY #this was super fun to write btw #edited while I was sick in bed so if the paving’s still bad there’s not much I can do about it HDKFNSJDJF #*pacing

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poorly-drawn-mdzs · 6 months

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Gaslight, Gatekeep, Girl found dead in a hidden room.

[First] Prev <–-> Next

#poorly drawn mdzs #mdzs #lan xichen #jin guangyao #jiang cheng #wei wuxian #qin su #EDIT: Tumblr published an earlier draft with only half the notes I wrote so: late entry on my JGY thoughts.#Unlike the mystic powers of the stockmarket (what the OG meme is referring to) I think this situation calls for more active investigation.#qin su is such a deeply tragic character to me and I really wish we got a bit more from her.#Love everyone who sent me messages about her after the last time she appeared.#I think she needs a spin off of her being a transmigrator SO badly.#MDZS has so many interesting characters - but it sometimes fails to give them the proper room to really develop past a role in the plot.#That's just the consequence of writing a story like MDZS. Not every character in a book *needs* to have a rich inner life and backstory!#To do so would bog down the story and obliterate any notion of pacing. It's just not possible.#Jin Guangyao (nee Meng Yao) is unfortunately not free from this leeway rule. He is the culprit of this murder mystery plot #and thus NEEDS to encapsulate the themes of the book. And personally he's a 7 out of 10 at best on this front (in the AD).#MDZS is about rumours twisting reality and working towards truth. And about how people & situations are rarely ever black & white #JGY has his motivations. He's well written in regards to his actions making sense for his character.#What started as good traits (drive to succeed & improve his image) became twisted over time (do anything to maintain his image)#and it's a good parallel to WWX! He has the same arc (with different traits)! Bonus points for IGY in that regard.#but man....by the time we confront this guy for murder there's not a lot of grey morality. He's just...deep in the hole *he* dug.#There's a beautiful tragedy to it! More on JGY in later comics - this is getting pretty long already!

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physalian · 5 months

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Pacing your Story (Or, How to Avoid the "Suddenly...!")

Arguably *the* most important lesson all writers need to learn, even for those who don’t give a damn about themes and motifs and a moral soap box: How your story is paced, whether it’s a comic book, a children’s chapter book, a doorstopper, a mini series, a movie, or a full-length season of TV (old school style), pacing is everything.

Pacing determines how long the story *feels* regardless of how long it actually is. It can make a 2 hour movie feel like 90 mins or double the time you’re trapped in your seat.

There’s very little I can say about pacing that hasn’t been said before, but I’m here to condense all that’s out there into a less intimidating mouthful to chew.

So: What is pacing?

Pacing is how a story flows, how quickly or slowly the creator moves through and between scenes, how long they spend on setting, narration, conversation, arguments, internal monologues, fight scenes, journey scenes. It’s also how smoothly tone transitions throughout the story. A fantasy adventure jumping around sporadically between meandering boredom, high-octane combat, humor, grief, and romance is exhausting to read, no matter how much effort you put into your characters.

Anyone who says the following is wrong:

Good pacing is always fast/bad pacing is always slow

Pacing means you are 100% consistent throughout the entire story

It doesn’t matter as much so long as you have a compelling story/characters/lore/etc

Now let me explain why in conveniently numbered points:

1. Pacing is not about consistency, it’s about giving the right amount of time to the right pieces of your story

This is not intuitive and it takes a long time to learn. So let’s look at some examples:

Lord of the Rings: The movies trimmed a *lot* from the books that just weren’t adaptable to screen, namely all the tedious details and quite a bit of the worldbuilding that wasn’t critical to the journey of the Fellowship. That said, with some exceptions, the battles are as long as they need to be, along with every monologue, every battle speech. When Helm’s Deep is raging on, we cut away to Merry and Pippin with the Ents to let ourselves breathe, then dive right back in just before it gets boring.

The Hobbit Trilogy: The exact opposite from LotR, stretching one kids book into 3 massive films, stuffing it full of filler, meandering side quests, pointless exposition, drawing out battles and conflicts to silly extremes, then rushing through the actual desolation of Smaug for… some reason.

Die Hard (cause it’s the Holidays y’all!): The actiony-est of action movies with lots of fisticuffs and guns and explosions still leaves time for our hero to breathe, lick his wounds, and build a relationship with the cop on the ground. We constantly cut between the hero and the villains, all sharing the same radio frequency, constantly antsy about what they know and when they’ll find out the rest, and when they’ll discover the hero’s kryptonite.

2. Make every scene you write do at least two things at once

This is also tricky. Making every scene pull double duty should be left to after you’ve written the first draft, otherwise you’ll never write that first draft. Pulling double duty means that if you’re giving exposition, the scene should also reveal something about the character saying it. If you absolutely must write the boring trip from A to B, give some foreshadowing, some thoughtful insight from one of your characters, a little anecdote along the way.

Develop at least two of the following:

The plot

The backstory

The romance/friendships

The lore

The exposition

The setting

The goals of the cast

Doing this extremely well means your readers won’t have any idea you’re doing it until they go back and read it again. If you have two characters sitting and talking exposition at a table, and then those same two characters doing some important task with filler dialogue to break up the narrative… try combining those two scenes and see what happens.

**This is going to be incredibly difficult if you struggle with making your stories longer. I do not. I constantly need to compress my stories. **

3. Not every scene needs to be crucial to the plot, but every scene must say something

I distinguish plot from story like a square vs a rectangle. Plot is just a piece of the tale you want to tell, and some scenes exist just to be funny, or romantic, or mysterious, plot be damned.

What if you’re writing a character study with very little plot? How do you make sure your story isn’t too slow if 60% of the narrative is introspection?

Avoid repeating information the audience already has, unless a reminder is crucial to understanding the scene

This isn’t 1860 anymore. Every detail must serve a purpose. Keep character and setting descriptions down to absolute need-to-know and spread it out like icing on a cake – enough to coat, but not give you a mouthful of whipped sugar and zero cake.

Avoid describing generic daily routines, unless the existence of said routine is out of ordinary for the character, or will be rudely interrupted by chaos. No one cares about them brushing their teeth and doing their hair.

Make sure your characters move, but not too much. E.g. two characters sitting and talking – do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them gesture, wave, frown, laugh, cross their legs, their arms, shift around to get comfortable, pound the table, roll their eyes, point, shrug, touch their face, their hair, wring their hands, pick at their nails, yawn, stretch, pout, sneer, smirk, click their tongue, clear their throat, sniff/sniffle, tap their fingers/drum, bounce their feet, doodle, fiddle with buttons or jewelry, scratch an itch, touch their weapons/gadgets/phones, check the time, get up and sit back down, move from chair to table top – the list goes on. Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t – what does that say about the both of them? This is where “show don’t tell” really comes into play.

4. Your entire work should not be paced exactly the same

Just like a paragraph should not be filled with sentences of all the same length and syntax. Some beats deserve more or less time than others. Unfortunately, this is unique to every single story and there is no one size fits all.

General guidelines are as follows:

Action scenes should have short paragraphs and lots of movement. Cut all setting details and descriptors, internal monologues, and the like, unless they service the scene.

Journey/travel scenes must pull double or even triple duty. There’s a reason very few movies are marketed as “single take” and those that are don’t waste time on stuff that doesn’t matter. See 1917.

Romantic scenes are entirely up to you. Make it a thousand words, make it ten thousand, but you must advance either the romantic tension, actual movement of the characters, conversation, or intimacy of the relationship.

Don’t let your conversations run wild. If they start to veer off course, stop, boil it down to its essentials, and cut the rest.

When transitioning between slow to faster pacing and back again, it’s also not one size fits all. Maybe it being jarring is the point – it’s as sudden for the characters as it is for the reader. With that said, try to keep the “suddenly”s to a minimum.

5. Pacing and tone go hand in hand

This means that, generally speaking, the tone of your scene changes with the speed of the narrative. As stated above, a jarring tonal shift usually brings with it a jarring pacing shift.

A character might get in a car crash while speeding away from an abusive relationship. A character who thinks they’re safe from a pursuer might be rudely and terrifyingly proven wrong. An exhausting chase might finally relent when sanctuary is found. A quiet dinner might quickly turn romantic with a look, or confession. Someone casually cleaning up might discover evidence of a lie, a theft, an intruder and begin to panic.

Whatever the case may be, a narrative that is all action all the time suffers from lack of meaningful character moments. A narrative that meanders through the character drama often forgets there is a plot they’re supposed to be following.

#writing advice #writing tips #pacing #writing tools

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yujateaandpi · 1 year

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Thank you to @somerandomdudelmao for giving us PEAK heart wrenching storytelling this year

#I have never been more invested in an AU of an AU from a movie of a show of a franchise #Cass knows how to pace and write a hell of a story #And how to get an audience to care deeply about the characters #Corporate scriptwriters need to take notes #rottmnt #rise of the tmnt #cass apocalyptic series #cass apocalyptic au #save rottmnt #unpause rottmnt #rottmnt meme

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harmonysanreads · 2 months

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The "darling being able to see Sunday's high-Fe social mask and avoids it" is so funny.

Because Sunday probably ends up thinking that you will be someone who he doesn't have to pretend around, he can be more free around you because you can see through him. I can even see the attraction being platonic at first before turning into something darker.

But because you can see through him, you know that there's something dangerous about him under that ethereal, beautiful appearance. There's no way you're getting yourself involved with that. Sunday simply wants someone he can be real around :')

But you keep on running away from him :')

-💅

#sunday chasing around a reader like that would be so funny #'why is the oak family's spokesperson always trailing that random person and why are they running from him?'#sunday brainrot #tbh i thought many people would request hsr this time but surprise surprise #before any of y'all think i'm procrastinating by posting memes (which i am) i'm writing your requests at my pace<3 #sunday x reader #sunday x you #this is all fun and dandy until trailblaze quest drops 💀#yandere sunday #yandere sunday x reader #hsr x reader #honkai star rail x reader #──⚝💅anon

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super-paper · 2 months

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The rest is confetti.

(My Hero Academia x The Haunting of Hill House)

Had a particularly violent revelation about what AFOhouse reminds me of a couple days ago and decided I had to make this.

#Nell's parting speech will forever be one of my top ten moments in fiction so I couldn't resist #anyway i hope Horikoshi gets to write a horror manga at his own pace in the future because it's clearly his element #my hero academia #shimura tenko #shigaraki tomura #long post #all for one #the haunting of hill house

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tangledinink · 3 months

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:000 happy one year of i'm sorry, teenage mutant what now?

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charlesoberonn · 2 years

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Bad pacing is the most common problem I see in stories, regardless of medium. I tried reading a new fantasy book today that had good prose, decent characters, and a world with a lot of potential. But the way it was paced killed all investment I had or could've had in it.

Also, the way people talk about pacing is very rudimentary and shallow. The criticism is either "pacing too slow" or "pacing too fast" and that's it. No room for nuance and no explanation for what makes a certain pace too fast or slow.

Makes me want to write a short guide on how to pace stories properly, or at the very least a "what to avoid" guide.

#writing #pacing #charles writes #oberonn originals #pacing is also the thing I worry about a lot in my own writing

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museaway · 2 years

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I wish I could write anything as quickly as tumblr collectively invented an entire film

#I love it here it's so weird and fun #writing #goncharov #unreality #i see I'm not the only snail-paced writer here #This is a joke about writing btw #Don't take it seriously

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deception-united · 2 months

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Let's talk about pacing.

Pacing is crucial to consider in plot development. It refers to the speed at which events unfold in your story.

It's important to vary the pacing to keep readers engaged. By effectively managing it throughout, you can maintain reader interest, build tension, and create an overall compelling narrative.

Fast-paced scenes: Use quick, action-packed scenes during moments of high tension, such as intense action sequences or pivotal plot points. Short sentences and rapid-fire dialogue can help create a sense of urgency and keep readers on the edge of their seats.

Slow-paced scenes: Slow down the pacing during moments of introspection, character development, or when you want to build atmosphere. Take the time to delve into emotions, descriptions, and inner thoughts to deepen the reader's connection to the characters and world.

Transitions: Smoothly transition between fast-paced and slow-paced scenes to maintain momentum while allowing readers time to catch their breath and process information. (See here for more on how to effectively implement transitions!)

Avoid prolonged lulls: While it's essential to have slower moments for character development and world-building, be cautious of prolonged lulls in the story where nothing significant happens. Keep the plot moving forward, even during quieter scenes, by introducing new information, conflicts, or character dynamics.

Balance: have a balance between fast-paced and slow-paced scenes throughout your narrative to create a dynamic reading experience. Too much action without sufficient downtime can exhaust readers, while an excessive number of slow scenes may lead to boredom.

More writing help on my blog! ❤

#writeblr #writing #writing tips #writing resources #writing help #plot development #creative writing #pacing #deception-united

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millaneyy · 4 months

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hello hazbin hotel fandom is this anything

#hazbin hotel vox #hazbin hotel #tally hall #ruler of everything #edit #he's literally the guy ever i hope he gets another song #stayed gone is a BANGER #been a vox fan since his 3 seconds in the pilot it's neat to see him do things finally #tbh the show hasn't been great so far (pacing and writing issues imo) but i'll stick around for the rest of the season #hopefully it goes up from here yk!!!#certified millaney moment

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novlr · 1 month

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Rethinking pacing

Pacing isn’t all about action. It’s about making sure that everything you write advances the story, even the quiet moments.

Instead of asking whether a scene is exciting, ask whether a scene is important.

Does it develop the plot?

Does it develop your characters?

If it does one of the above, then it's important and will fit into the pacing of your story. If it's important, that makes it interesting. If it's not important, it will be boring — and that's what pacing is all about.

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writingwithfolklore · 1 year

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Controlling Your Pacing

Pacing is one of my favourite things to pay attention to when reading or writing something. The pacing of a scene is literally how ‘fast’ or ‘slow’ a scene appears to be moving. Action scenes that spring the story from one place to another tend to go faster than introspective scenes or scenes that explore character dynamics.

All of this is created through putting space and words between elements of the scene. What I mean by that is that readers interpret a passage of time between ‘things’ (actions, dialogue, gestures, etc.) on the page, and pacing is controlling that interpretation.

For example,

“Georgia sat on the couch, “wow it sure is hot in here,” she said. “It sure is,” Henry agreed, sitting next to her.”

This sentence is just about the actions with some breaking dialogue, but it goes pretty quickly through what’s happening.

Whereas, if we were to intentionally pace this scene, it may look like this:

“Georgia swiped at her brow, wandering over to sink into the couch. “It sure is hot in here,” she said, peering up at Henry through the wisps of her bangs. He nodded weakly, his entire body sagging from the heat. Crossing the room to collapse next to her, he added dryly, “it sure is.”

It’s not perfect, but you can get a sense of the time between things happening. The added detail between the two characters talking conveys maybe a minute between sentences, which might be accurate for two people dogged down by a heat wave.

To speed things up, we want less space between elements:

“Adam slammed open the door with his shoulder, letting it bounce off the concrete wall behind him. “Everyone out!” He shouted. A crack in the roof snapped above them.”

The added (or subtracted) elements of a scene that control your pacing is the sights/sounds/feelings/smells/maybe tastes of a place. When we’re anxiously rushing to get out of the house we may not acknowledge that the kitchen smells like the bread our roommate baked that morning, or that there are smudges on the window from when the dog climbed up on the couch. However, when we have a second to contemplate, we’re going to notice these things, and it would be appropriate to write them in.

Another important element to controlling pacing is your character’s thoughts or acknowledgement of feelings.

For example:

“Adam slammed open the door with his shoulder, it bounced off the concrete wall behind him. He winced, his mother’s high voice ringing in his head, chiding him for damaging the walls even though he knew the building was coming down on top of them. How long would he live with her constantly in his mind? He tried to wave away the memory. “Everyone out!” He shouted.”

That slows down the scene quite a bit, yeah? And maybe that’s what you wanted in that moment. Play around with the details and pacing in your scenes, you might be surprised how much can change.

Good luck!

#writing #writers #writing tips #writing advice #writing inspiration #creative writing #writing community #books #film #filmmaking #screenwriting #novel writing #fanfiction #writeblr #controlling your pacing #pacing

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mikareo · 7 months

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megumi doing smth pls

⌗ THIRTEEN YEARS ₊ ˖ ་. megumi fushiguro x fem reader (2.6k)

⊹ ⠀⠀ 3 times megumi wants to tell you he loves you, and the 1 time he does.

contains; attack on titan au, marleyan!megumi, eldian!reader, aot spoilers!!! (season 4), forbidden lovers, fluff, angst, kissing, major character death, cannabalism? (titans), annie cameo! author's note; here u get an old draft (psa none of this will make sense if you haven't watched attack on titan!!!!)

i. what is love at first sight

it's almost human instinct; knowing which people are more likely to have good fortune. some are simply born with an advantage— these people having the freedom to walk along the river bank, skip flattened rocks down streams, and laugh with their peers. with families who shop in the market together, hand-in-hand with woven baskets strewn over their shoulders, and all the time in the world to live their lives to the absolute fullest as true freelancers facing the rising sun that sees tomorrow and the day after that and the day after that.

but in the truth of it all...the sun doesn't shine on everyone.

there are countless amounts of souls who aren't as blessed as marleyans like megumi. souls entangled with the devil herself, ymir, a woman who singlehandedly birthed the 'race from hell'...which he's never fully agreed with. everyone he knows refers to eldians as humanity's sin, but it's not their fault their biology is simply different.

humans are humans, right? they've done no wrong by being born. especially the warrior candidate he's been staring at for the past hour from a distance. you can't be that bad. after all, you're beautiful.

okay, yes. he has a little crush. he can't help it! one day, he was minding his own business on a walk home from the lab, when gojo had the bright idea of sneaking a peak at the warrior training. that's when megumi first saw you and his world stopped. sure, you were covered in mud and crawling through trenches with a rifle strapped to your back; but that didn't make him any less awestruck. since then he's hidden himself in the same bush, week after week, just to get a glimpse of your face.

"she's a cutie. you've got good taste." okay, creepy.

megumi rolls his eyes, glancing up at his mentor who's the only person who knows of his little secret. "don't you have women to harass?"

"ouch, sassed by a ten year old. i see how it is." gojo chuckles, ruffling his black hair and crouching down to the younger boy's level. "you see her out there? she's killing it. i heard she's the top contender for the female."

"i hope so." his blue eyes are locked on you, watching as your focused expression turns to determination whilst helping your teammate off the ground. "she'll have a better chance of living that way."

"...and maybe your family will let you meet her."

ugh, his family. since he was six, the zenin's have raised him with their questionable values and ideals. as the leading researchers in the modern world, they've revolutionized how eldians are studied! at least that's what he's been told. to be frank, he doesn't care about the right or wrong battle they've propagandized to the rest of humanity. all he cares about is knowing your name and telling you how pretty your eyes are.

"i want to talk to her, at least once." his voice is quiet, but gojo hears.

"why? you wanna tell her you love her?"

he hates him so much.

"no!" megumi exclaims, pushing back the older man in defense. his cheeks are bright red from embarrassment and he can feel the flames emitting from them. "i just want to be her friend, that's all. why do you always make things so weird?"

it's amusing to gojo how his little friend is so flustered. usually megumi is a shy boy, keeping to himself and avoiding contact with his peers; but whenever the conversation topic is you, he seems to perk up...and gojo loves to tease a lovestruck kid.

"don't worry," he smirks, "you'll understand your feelings when you're older. you don't need to tell her quite yet that you love her."

love you?

"just shut up and let me watch." megumi grumbles, resting his head in his hands as you're jumping up and down after being praised by your captain. he wishes he could make you that happy one day. "it's not love, i'm serious."

he'll understand what love means when he gets older. for now, he'll just imagine confessing.

ii. what is love that is forbidden

you're a lot more annoying than he thought you'd be.

after having been selected as the new female titan, your ego is boasting with energy and won't stop boasting no matter how often megumi tells you to zip it. though he was excited to meet you, his thirteen year old self now wishes you'd give him a moment of peace. instead, you insist on following him around whenever and wherever you can and yapping his ear off with comments on everyone and everything about your day. please, just give him a break.

"uh, fushiguro..."

he sighs with exhaustion. "what?"

"i think i locked us in here."

dammit.

"you forgot the key?" he asks.

"i forgot the key." you confirm.

of course you did.

with an exhausted grumble, megumi settles himself on the cold, cement floor of the supply closet you'll both call home for the next few hours. it's both of your days off, but he'd wanted to prep his supplies for his training on monday; to which you, of course, invited yourself along for the ride. you'll stay out of the way. it's fine, he can just ignore you. that's what he told himself...though, it's impossible for him to ignore you.

it's likely that no one will visit the storage room until the evening time— with most of his colleagues at home with their families, cooking a warm meal with lamb and stew. it's also uncommon for any of the researchers to be in liberio on their off days. megumi's just the special kind that doesn't think he'll be plagued by breathing the same air as eldians.

"mind if i join you?" he knows you're asking a rhetorical question and you know he'd never reject you.

with a small plop, you take a seat next to him. he's used to your warmth by now— considering you to be an essential part of his every day, despite how much he enjoys complaining about you— and leans his head against yours. it's obvious that you're sleepy. though, you never indulge in conversations about your training, megumi is well aware of how overworked you are. he can't imagine fighting in wars at this age, especially wars in which you're fourteen meters tall and smashing through brick walls; which is why he tries his best to be there for you when you need him.

your life is a battlefield and he's the peaceful conclusion.

"you know..." the sound of your voice is faint, a great contrast to your usual noise and megumi can tell something is wrong. "when they find us here, they're going to think i kidnapped you."

"i mean what else would the zenin heir be doing with a titan shifter?" you start to choke on your words and he instinctively wraps his arms around you. "you don't need to comfort me, fushiguro. we both know i'm going to be punished after this. you can't apologize and make everything okay like usual."

to your surprise, his pointer finger touches your cheek and gently wipes away your running tears. "...fushiguro—"

"it won't always be like this." he interrupts you, cupping your face as if you're a rare gem that he can't afford breaking. "when i'm in charge, i'm going to change things. you won't have to do this anymore. i won't let them do this to you anymore!"

the two of you are a mess on the floor, crying in each others arms, and wishing that the world was a better place. "you still have thirteen years left. please...please keep fighting for me. i promise i'm going to save you."

"fushiguro..."

"call me by my first name."

"...megumi."

you're beautiful. he wants to kiss you so badly, but he knows now isn't the time. he wants to hold your hand in public, but he knows you'll be berated for doing so. he wants to tell you he loves you, but he's too afraid.

megumi fushiguro is a coward.

...but he's a coward in love; and one day, when he's taller and stronger, he's going to be able to tell you that. he's going to be able to protect you.

iii. what is love that is hopeless

"hold still." megumi's voice is soft, his fingers of the same gentle malice as they tend to your open wounds that haven't quite healed yet. with titan steam wafting from the slashes scattering your forearms and shoulders, they blow into his face in a fury of pain. "dammit, i said hold still."

his brings both arms down to your shoulders, heart breaking at the sight of you wincing in retaliation to his force, but carries on. there's no telling what you would've gotten yourself into if he hadn't insisted he care for your wounds; after making it publicly known that he's to be the only researcher allowed within your vicinity after your tireless warrior missions, none of the other researchers even attempt to get near you. he hates how often you put yourself in harms way in order to save your comrades. you're too brave. you've never been just a warrior of marley, but more or less a warrior of all people.

"i've been sitting here for an hour already, megumi." you roll your eyes, swinging your legs over the metal rims and turning to face your very pissed off best friend. "i'm tired and i'd like to get at least an hour of sleep tonight."

his expression is somewhat terrifying. if you didn't know megumi was such a scaredy cat, you'd be intimidated by his reddened cheeks and eyes of fury. it's almost as if he's an inflamed torch held against fluorescent lighting, pasty and saturated in fear and exhaustion. "i need to make sure you're okay."

"well, i have another plane to catch at dawn," you deflect his concerns. "there's some issue i was assigned to when i landed this morning. i guess one of our enemies isn't afraid of titans yet."

"you're not going."

he's firm in his statement. megumi doesn't like how his colleagues take advantage of you and your abilities. they're working you to skin and bones. if they were the ones checking up on you after every battle they'd know so, but they wouldn't treat you with as much care. his only wish in the world is to keep you safe, which he's doing an awful job at as of yet. "i don't want you getting more hurt than you already are."

"as if it matters." you scoff, leaning towards him in an attempt to get him to back off. "i'll just give 'em a little taste of my titan and they'll run away like mice. it's easy, 'gumi. trust me—"

"life isn't a game!" he's furious.

"well mine is!" you're angry as well.

why don't you get it? why can't you just run away with him?

"i only have four years left! four years, megumi! i don't care if i die tomorrow or the day after that or the day after that. i'm going to either way. you don't have that problem. you don't understand."

without warning, his lips are on yours in his best attempt to stop you from spouting all of his fears and worries from your mouth. he doesn't want to hear it. he just wants to pretend none of it is happening, and you're going to be okay. you are going to be okay. he'll make sure of it.

it takes a moment for you to respond until your intertwined in a feverish kiss that sends his medical supplies clanging to the floor— but megumi doesn't care about order, all he cares about now is being as close to you as possible. he's dreamt of this moment for years. what you taste like...feel like...sound like. he knows you're his soulmate. what he doesn't know is why it's taken him so long to kiss you.

but before your connection can move forward and become something more, your touch is gone.

"i'm sorry, i can't do this." there are tears creeping from the corners of your beautiful eyes. "i—"

he calls out your name as your figure dashes out the door, wishing that he was able to confess. he wants to tell you he loves you so badly; except he doesn't have the bravery he needs. with four more years left, megumi has two things on his agenda.

1.) find a way to save you.

2.) tell you he's yours forever.

iv. what is love everlasting

he's finally become a monster like the rest of them.

from the first time he saw you, he told himself he'd be your savior. he made countless promises that he'd find a way for eldians and marleyans to live in peace, that he'd find a way to save you from this shitty war; only to be the very person to lock you in chains, awaiting imminent death as the next female titan will be born.

megumi wanted to be brave. he wanted to stop being such a coward, but some people just aren't capable of changing so much— and what a disappointment that is.

"hey, fushiguro?" when did you stop calling him by his first name? "can you keep a secret?"

he's not supposed to be civil with you. his orders are to chain you up, inject the child, and watch as she devours you; but you're his weakness. he can't resist you. "of course i can."

a smile graces your lips. it's not a smile of happiness or joy...it's one of anguish and pain. "i wish i ran away with you. i should've run away with you. even though we only had four years, we could've been happy."

why are you saying all of this?

now of all times?

you should've told him years ago! you should've let him know your secrets before he let them change him! before he distanced himself from you and became distracted with his work!

"...megumi..."

"yes?" he's desperate to hear you.

"...i don't want to die."

a thought crosses his mind. it's a scene in which two main characters beat all odds and escape the chains and prisons they've faced, running off into the sunset, never to be seen again. this scene has a happy ending, one where there's a small and intimate wedding with no witnesses except the meadow's flowers. he lifts your veil away from your eyes and murmurs sweet nothings as you kiss him to start off your forever. his heart wants that to be true. he wants that to be true. it's too late, though. you have no time left. your thirteen years is up. his thirteen years of knowing you is up. it's time to say goodbye.

"i can't save you." he's struggling to get his words out while maintaining his composure; and your heart breaks as his promise does as well. "i'm sorry."

he's a monster.

you hang your head, nodding and accepting your fate as he makes his way down the stairs. seeing you like that, knowing what your fate is, almost causes megumi to pass out from lightheadedness. he knows he shouldn't be worrying about himself. after all, you're the one who's about to die. he has a whole lifetime to continue living, and your lifetime was a mere twenty-six years.

gently, he takes the newest warriors hands and tells her what he's about to do. the blonde girl nods along to his words, trying her best to ignore your radiating hopelessness as she's about to become the next you; and megumi injects his needle into her neck.

he wants to look away so badly as she grows into a pure titan with eyes locked on your frail body, but he doesn't want it to end like this. there's gotta be something that he can do to help you. anything to save you from this fate; but to no avail, he's powerless. so powerless that the only thing he manages to do is mouth three seemingly meaningless words as he locks eyes with you.

"i love you."

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