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confessedlyfannish · 2 months

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Writing Prompt #12

Bruce is reading the paper when the pour of Tim's coffee goes abruptly quiet. It would be hard to pinpoint why this is disturbing if it wasn't for the way the soft, tinny sound the vent system in the manor makes cuts out for the first time since being updated in the 90s. The pour, Bruce realizes, has not slowed to a trickle before stopping. It has simply stopped. And there is no overeager clack of a the mug against the marble counter or the uncouth first slurp (nor muttered apology at Alfred's scolding look) immediately following the end of the pour.

Bruce fights the instinct to use all of his senses to investigate, and instead keeps his eyes on the byline of the article detailing the latest set of microearthquakes to hit the midwest in the last week. Microearthquakes aren't an unusual occurrence and aren't noticeable by human standards, which is why this article is regulated to page seven, but from several hundred a day worldwide to several hundred a day solely in the East North Central States, seismologists are baffled.

Bruce had been considering sending Superman to investigate under the guise of a Daily Planet article requested by Bruce Wayne (Wayne Industries does have an offshoot factory in the area) when everything had stopped twenty seconds ago. That is what he assumes has happened (having not moved a muscle to confirm) in the amount of time he assumes has passed. His million dollar Rolex does not quite audibly tick but in the absolute silence it should be heard, which confirms the silence to be exactly that—absolute.

While Bruce can hold his breath with the best of the Olympian swimmers, he has never accounted for a need to remain without blinking without being able to move one's eyes. Rotating the eyeballs will maintain lubrication such that one could go without blinking for up to ten minutes. But staring at the byline fixedly, he estimates another twenty seconds before tears start to form.

These are the thoughts Bruce distracts himself with, because he doesn't dare consider how Tim and Alfred haven't made a (living) sound in the past forty-five seconds. About Damian, packing his bag upstairs for school after a morning walk with Titus that was "just pushing it, Master Damian".

There is a knife to his right, if memory serves (it does). In the next five seconds—

"Your wards and guardian are fine, Mr. Wayne," the deepest voice Bruce has ever heard intones. For a dizzying moment, it is hard to pinpoint the location of the voice, for it comes from everywhere—like the chiming of a clocktower whilst inside the tower, so overpowering he is cocooned in its volume.

But it is not spoken loudly, just calmly, and when he puts the paper down, folds it, and looks to his right, a blue man sits in Dick's chair.

He wears a three piece suit made entirely of hues of violet, tie included. He has a black brooch in the shape of a cogwheel pinned to his chest pocket, a simple chain clipped to his lapel. Black leather gloves delicately thumb Bruce's watch (no longer on his wrist, somewhere between second 45 and 46 it has stopped being on his wrist), admiring it.

"You'll forgive me," the man says with surety. "Clocks are rather my thing, and this is an impressive piece." He turns it over and reveals the 'M. Brando' roughly scratched into the silver back. He frowns.

"What a shame," he says, placing it face side up on the table.

"Most would consider that the watch's most valuable characteristic." Bruce says, voice steady, hands neatly folded before him. Two inches from the knife. To his left, there is an open doorway to the kitchen. If he turns his head, he might be able to get a glance of Tim or Alfred.

He doesn't look away from the man.

"It is the arrogance of man," the man says, raising red eyes (sclera and all) to Bruce, "to think they can make their mark on time."

"...Is that supposed to be considered so literally?" Bruce asks, with a light smile he does not mean.

The man smiles lightly back, eyes crinkling at the corners. He looks to be in his mid thirties, clean-shaven. His skin is a dull blue, his hair a shock of white, and a jagged scar runs through one eye and curving down the side of his cheek, an even darker, rawer shade of blue-purple.

The man turns the watch back over and taps at the engraving. "Let me ask you this," he says. "When we deface a work of art, does it become part of the art? Does it add to its intrinsic meaning?"

Bruce forces his shoulders to shrug. "It's arbitrary," he says. "A teenager inscribes his name on the wall of an Ancient Egyptian temple and his parents are forced to publicly apologize. But runic inscriptions are found on the Hagia Sophia that equate to an errant Viking guard having inscribed 'Halfdan was here' and we consider it an artifact of a time in which the Byzantine Empire had established an alliance with the Norse and converted vikings to Christianity."

"The vikings were as errant as the teenager," the man says, "in my experience." He leans back in his chair. "I suppose you could say the difference is time. When time passes, we start to think of things as artistic, or historical. We find the beauty in even the rubble, or at least we find necessity in the destruction..."

He offers Bruce the watch. After a moment, Bruce takes it.

"The problem, Mr. Wayne, is that time does not pass for me. I see it all as it was, as it is, as it ever will be, at all times. There is no refuge from the horror or comfort in that one day..." he closes his hand, the leather squeaking. And then his face smooths out, the brief severity gone. He regards Bruce calmly.

"You can look left, Mr. Wayne."

Bruce looks left. Framed by the doorway, Tim looks like a photograph caught in time. A stream of coffee escapes the spout of the stainless steel pot he prefers over the Breville in the name of expediency, frozen as it makes its way to the thermos proclaiming BITCH I MIGHTWING. Tim regards his task with a face of mindless concentration, mouth slack, lashes in dark relief against his pale skin as he looks down at the mug. Behind him, Bruce can see Alfred's hand outstretched towards the refrigerator handle, equally and terrifyingly still.

"My name is Clockwork," the man says. "I have other names, ones you undoubtedly know, but this one will be bestowed upon me from the mouth of a child I cherish, and so I favor it above all else. I am the Keeper of Time."

"What do you want from me?" Bruce asks, shedding Wayne for Batman in the time it takes to meet Clockwork's eyes. The man acknowledges the change with a greeting nod.

"In a few days time, you will send Superman to the Midwest to investigate the unusual seismic activity. By then, it will be too late, the activity will be gone. They will have already muzzled him."

"Him."

"There is a boy with the power to rule the realm I come from. Your government has been watching him. The day he turned 18, they took him from his family and hid him away. I want you to retrieve him. I want you to do it today."

"Why me?"

"His parents do not have the resources you do, both as Batman and Bruce Wayne. You will dismantle the organization that is keen on keeping him imprisoned, and you will offer him a scholarship to the local University. You and yours will keep him safe within Gotham until he is able to take his place as my King."

This is a lot of information to take in, even for Bruce. The idea that there could be a boy powerful enough to rule over this (god, his mind whispers) entity and that somehow, he has slipped under all of their radars is as frustrating as it is overwhelming. But although Clockwork has seemed willing to converse, he doesn't know how many more questions he will get.

"You have the power to stop time," he decides on, "why don't you rescue him? Would he not be better suited with you and your people?"

"Within every monarchy, there is a court," Clockwork. "Mine will be unhappy with the choice I have made," he looks at Bruce's watch, head cocked. "In different worlds, they call you the Dark Knight. This will be your chance to serve before a True King."

Bruce bristles. "I bow to no one."

"You'll all serve him, one day," Clockwork says, patiently. "He is the ruler of realms where all souls go, new and old. When you finally take refuge, he will be your sanctuary." He frowns. "But your government rejects the idea of gods. All they know is he is other. Not human. Not meta. A weapon."

"A weapon you want me to bring to my city."

"I believe you call one of your weapons 'Clark', do you not?" Clockwork asks idly. "But you misunderstand me. They seek to weaponize him. He is not restrained for your safety, but for their gain."

"And if I don't take him?" Bruce asks, because a) Clockwork has implied he will be at the very least impeded, at worst destroyed over this, and b) he never did quite learn not to poke the bear. "You won't be around if I decide he's better off with the government."

"You will," Clockwork says, with the same certainty he's wielded this entire conversation. "Not because he is a child, though he is, nor because you are good, though you are, nor even because it is better power be close at hand than afar.

"I have told you my court will be unhappy with me. In truth, there are others who also defend the King. Together we will destroy the access to our world not long after this conversation. The court will be unable to touch him, but neither will we as we face the repercussions for our actions. I am telling you this, because in a timeline where I do not, you think I will be there to protect him. And so when he is in danger, even subconsciously, you choose to save him last, or not at all. And that is the wrong choice.

"So cement it in your head, Bruce Wayne," the man says, "You will go to him because I tell you to. And you will keep him safe until he is ready to return to us. He will find no safety net in me. So you will make the right choice, no matter the cost."

"Or, when our worlds connect again, and they will," his voice now echoes in triplicate with the voices of the many, the young, the old, Tim, Bruce's mother, Barry Allen, Bruce's own voice, "I will not be the only one who comes for you."

"Now," he says, producing a Wayne Industries branded BIC pen. "I will tell you the location the boy is being kept, and then I would like my medallion back, please. In that order."

Bruce glances down and sees a golden talisman, attached to a black ribbon that is draped haphazardly around the neck of his bathrobe, so light (too light, he still should have—) he has not felt its weight until this moment.

Bruce flips the paper over, takes the pen, and jots down the coordinates the being rattles off over the face of a senator. By his calculation, they do correspond with a location in the midwest.

"You will find him on B6. Take a left down the hallway and he will be in the third room down, the one with a reinforced steel door. Take Mr. Kent and Mr. Grayson with you, and when you leave take the staircase at the end of the hallway, not the elevator."

The man gets up, dusts off his impeccably clean pants, and offers him a hand to shake.

"We will not meet again for some time, Mr. Wayne."

Bruce looks at the creature, stands, and shakes his hand. It feels like nothing. The Keeper of Time sighs, although nothing has been said.

"Ask your question, Mr. Wayne."

"I have more than one."

"You do," Clockwork says. "But I have heard them all, and so they are one. Please ask, or I will not be inclined to answer it."

"What does this boy mean for the future, that you are willing to sacrifice yourself for him?"

There is a pause.

"So that is the one," Clockwork says, after a time. "Yes. I see. I should resolve this, I suppose."

"Resolve what?"

"It is not his future I mean to protect," the man says. "It is his present."

"You want to keep him safe now..." Bruce says, but he's not sure what the being is trying to say.

"I am not inclined," Clockwork repeats, stops. His expression turns solemn, red eyes widening. In their reflection, Bruce can see something. A rush of movement too quick to make heads or tails of, like playing fast forward on a videotape. "Superman reports no signs of unusual seismic activity. With nothing further to look into, you let it go in favor of other investigative pursuits. You do not find him, as you are not meant to. He stays there. His family, his friends, they cannot find him. His captors tell him they have moved on. He does not believe them, until he does. He stays there. He stays there until he is strong enough to save himself."

Clockwork speaks stiffly, rattling off the chain of events as if reading a Justice League debrief. "He is King. He will always be King. He is strong, and good, and compassionate, and he is great for my people because yours have betrayed his trust beyond repair. He throws himself into being the best to ever Be, because there is nothing Left for him otherwise. We love him. We love him. We love him. My King. Forevermore."

The red film in his eyes stall out, and Bruce is forced to look away from how bright the image is, barely making out a silhouette before they dull back to their regular red.

"I am not inclined," Clockwork says slowly, "To this future."

"Because of what it means in the present," Bruce finishes for him. "They're not just imprisoning him, are they."

"They will have already muzzled him."

Clockworks is right in front of him faster than he can process, fist gripping the medallion at his neck so tight he now feels the ribbon digging into his skin.

"Unlike you, Mr. Wayne," and for the first time, the god is angry, and the image of it will haunt Bruce for the rest of his life, "I do not believe in building a better future on the back of a broken child."

"Find him," the deity orders, and yanks the necklace so hard the ribbon rips—

Clack!

"sluuuuurp!"

"Master Timothy, honestly!"

"Sorry Alfred!"

#i feel like I'm going to reread this and want to add other stuff #but I also just want to post it and get it out there #fun fact i scribbled a bunch of lines down at 2am bc i didn't want to forget them #im bad at multiple drafts #my writing #dp x dc #dp x dc au #dp x dc prompt #dp x dc crossover #danny phantom #batman #i live to make everybody dramatic #but also i subscribe to a world where clockwork doesn't know how NOT to be dramatic #lol he's a ghost from all of time he doesn't know how to speak to humans and tailor it to the century let alone the decade #and his favorite little girl who calls him clocky loves how he speaks so #he doesn't need to change for nobody #nor feels inclined to #also I feel like as god he's way more inclined to threaten to get what he wants than like...be vulnerable #jazz: let's unpack that #clockwork: we never do #jazz: are you saying that because it's true or because that's what you want to be true?#clockwork: ...#also I cannot take credit for BITCH I MIGHTWING #wish i could #that is cash money right there #shoutout to 11thsense

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dear-ao3 · 2 months

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i think the japan update of the f1 silly season post may in fact be the thing that kills me. this is all for you all.

#im quietly loosing my sanity #i think ive been writing this since a very solid 4pm and it is now 9 #the race has not happened yet #it is on sunday #today is thursday #the post is already too long #and i accidentally got stuck down a nico rosberg youtube rabbit hole and had to go on lestappen ao3 #this is what i get for not writing the whole thing in a mad dash at 2am #not a tag #from saph #f1 #im loosing my sanity so much that my brain registered disturbia by rihanna as by brittney spears #tho maybe thats because i got stuck down the nico rosberg rabbit hole #katya said i need to go touch grass and hes probably right

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pillowspace · 9 months

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NOTE: although I've now finished Ruin, this was written for fun when I had only seen the first half. Its relation is limited

(Wasn't) Worth Fixing by clutterspace

You find the Daycare Attendant of your childhood hidden behind your apartment building, severely damaged.

You... probably weren't intended to.

G | Words: 1,386 | Chapters: 1/1

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Your mother used to work as a technician at the pizza place half-way across town when you were little. It took some time for you really memorize the name—Freddy Fazbear's Mega Pizzaplex—when all you did as a young child was raise your hands up high to your mother so tall and ask when you could go to pizza.

For every day she had gone to work, she brought you with her. You boundlessly scribbled in Freddy Fazbear themed colouring books with crayon on the near silent bumpy car ride there, as she had always requested the quiet before the cacophany of shouting noise the mall offered its full family guests. And much too young to be let loose among the older children, you had always been dropped off at the establishment's daycare before her shift.

The place had once held a charm to it, a brightly coloured wonder of dizzying family fun that evolved into a more thoughtful appreciation for the advanced robotics you eventually grew old enough to possess. Even the daycare had been attended to by a single machine, and to this day, you genuinely wondered sometimes if the bounciness of life its creaky frame held had really been there at all, a marvel of technological advancement, or if it was only the low standard magic that all little eyes saw the world through. Your memories were few and far between, but it had been a joyous place that looked upon you kindly, and much of that credit went to that very machine in place.

It was enough to make you feel a little bad for just how much you begged your mother to let you freely roam outside of the daycare later on, but life went on and on for little minds, and it wasn't a thought worth lingering upon.

When you blessedly just barely became old enough for it, you had gotten your wish granted to you by your exhausted mother, and stuck closely around the Glamrocks and their masses of crowds from then on. It was an endlessly exciting change from the norm, and the musical daycare of childish screams and brightly enthused words of encouragement that had welcomed you with open arms became an afterthought.

You had asked your mother one day where Bonnie went. The older kids had spoken in jokes that fell like cruelty upon your ears, and it was only your mother who might as well have been the CEO in your eyes who you could trust. Older now, you knew there was no harm in the jokes the other children had made among one another, but that a mind so easily swayed could only listen in horror.

Your mother had not sugar-coated it, much too used to the more grown-up side of her occupation to bother. You would have been fine to hear that he was on vacation, or off to bigger and better performances across the globe. You would have smiled, proud to hear of his accomplishments. But the words she told you had been without care.

He wasn't worth fixing, so they got rid of him.

It had been a nagging fear that crept over your spine for a year afterwards that the same could ever happen to you, childishly lacking in the understanding of your differences in value to the surrounding world.

And it was as you silently stared back into the wild, frozen, broken eyes dimly illuminating the dark, filthy alleyway between apartment buildings in vibrant yellow and red hues, with a right hand on your own open back door's handle and a left hand tightly gripped around a filled garbage bag at your side years later, that those very words rung back to you.

Police sirens blared in the distance, but that was the usual.

People talked, but knew little. There had been something off from the usual in town lately, police cars circling the area endlessly. They were looking for someone, or something. And your neighbours speculated, but they all speculated different topics amongst themselves, bringing all that mystery down to a he said, she said, who cares anymore. It all became naught but a backdrop with no follow-up.

Maybe no one wanted to hear a possibly dangerous animatronic was on the loose. Or- no. Maybe just no one wanted to admit to the potentially catastrophic failing, what with the previous rumours already spiralling out of control. A silent capture was in play.

The animatronic looked banged up, shattered holes all along its body. Fabric was littered with rips and tears, while not an inch of casing went uncracked. Its rays adorned with a familiar blue hat were broken, and its faceplace was almost entirely shattered in half. But despite all of the horrific damage it bore, you could recognize the animatronic for the daycare of your early childhood from anywhere, even though only an hour prior, you would not have recalled its form. It held itself still under your gaze, and you too did not move, for there was a shocked terror in the way it held itself firmly pressed against the bottom of the wall, too-thin metal fingers cracking the pavement beneath it.

It looked so scared for something (someone?) that could easily do to you what it was doing to the pavement. Though you doubted that it had any desire to do so.

You didn't know how long you two stared, until finally, you took the slowest step you could towards the garbage bin that stood only a couple feet away in the dim alleyway. The second you moved even an inch, a mechanical hum rose in volume from the wary animatronic's metal body that reminded you of the sounds your own computer makes. It didn't move, didn't talk, only watched you out of the corner of your eye as you ever so slowly made your way towards the bin. You lifted the garbage bag into it, and the clattering sound of its contents shifting within rung out much too loud for the careful silence you required. You internally recoiled from the noise, but outwardly showed not a reaction as you inched your way back towards your door as if nothing out of place had been seen at all.

Your hand fell upon the door as you stepped up across the threshold. You did not walk any further, and instead looked over your shoulder at the vulnerable state the broken, hiding animatronic you had unintentionally spotted was in. You inhaled, feeling doubtfully uncertain, but reminiscent for the sounds of shrieking laughter and the ever so foggy memory of a large sunshine grin poking into a play structure to announce that you had been found. As advanced as its facial recognition likely was, you sincerely doubted that it could connect you back to the toddler you had once been. It had no idea who you were, and therefore had no intentions of ever having been seen by you. But even if it did, would that matter at all? You couldn't be but a single file and a brief, fading memory to its systems.

(It seemed smaller like this, but you knew that you had only grown taller.)

He wasn't worth fixing, so they got rid of him.

"They check this alleyway," you whispered into the cool night air. A small clicking sound of an unknown origin sounded out from the animatronic at the sound of your voice. It did not respond, but you did not expect it to.

You turned away and walked inside of your home, intent on brushing your teeth and going to bed.

You did not close the door behind you. An unspoken invitation, because surely you would not be to blame if the ever so frightening machine found its way into your home all on its own.

You stayed in your bedroom for the rest of the night, and when the muffled sounds of police sirens finally circled back towards your street, you just barely heard the almost inaudible sound of your back door quietly clicking shut. You did not emerge, no matter what shuffling noises you heard afterwards, and instead rolled over in bed to play a song from your phone's lit screen into your newly pushed in earbuds.

If anyone asked, they had been in all night.

#pillowspace writing #i wrote this at 2am but it's fine. looking away #dca fandom #um im gonna use x reader tags but it's platonic #eclipse x reader #dca x reader #ruin eclipse #fnaf daycare attendant #ruin dlc #pillowspace art #ok bye i am making pasta rn

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doufudanshi · 1 year

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for anyone who criticizes jyl for bringing soup to yiling instead of like, money—

we should first ask: could jyl actually have given wwx money? she must have something, you say. the jins are rich! she could even give him some of her betrothal gifts.

but realistically jyl probably didn't have much money at all! let's think this through. not only did she not marry jzx yet at the time of her yiling visit, but (based on many, many imperial palace tv shows lol) all her worth would be in betrothal gifts of jewelry, fine clothing, or other misc items, which is 1) heavy and difficult to transport without notice, but that doesn't actually matter bc it's ultimately 2) disrespectful to sell and worse to have the gifter find out when they come by for tea and you begin chatting about the event in two days and they say oh where's that one-of-a-kind jade bracelet I gave you wouldn't it match the also one-of-a-kind silk garment that lady jin gave you sooo well oh you will look so lovely in it won't you wear it.

or worse, have it recognized in some random pawn shop on the street by someone who has never really liked you and WILL get you in deep shit for it.

does jyl have any money from the jiang side? well, jc has been busy at work rebuilding lotus pier and the clan since before wwx's defection, and even if he's not borrowing a shitton of money from the jins (which he almost certainly is), he definitely has the opposite of surplus funds. he's also busy organizing and buying gifts for the wedding too, making him go more in the red because you know the jins aren't going to want cheap-ass things even if you don't have money.

let's say jyl did get a significant bride price (aka given money money)—not only does that go to her family (jc), but it is given during the ceremony (which, again, hasn't happened yet). and, realistically, jc probably will have to use it to offset the costs of the above.

beyond that, let's just take this scene from a storytelling perspective. sometimes it is simply about the emotional resonance. the vibes. let's say jyl did have some funds to give wwx. but imagine if jyl was like here a-xian take all this money 😐 ok sure useful for some period. but is that the gift that wwx would want during the first time he's gotten to see her in months, and likely the last time he will see her in a long, long time (possibly years)? would that be impactful for the story?

meanwhile, the soup she brings represents her love. we hear in the extra, from wwx's own words, the care she put into selecting the ingredients, making sure the lotus root is fresh and perfectly ripe. it also takes hours for her to even make iirc. wwx derives so much comfort from it—that's why it comes up again and again. it is one of his first memories of feeling safe in lotus pier, of home. it provides wwx some semblance of normalcy. he hasn't had any this entire time, and is likely something he aches for whenever he's homesick or sad or questioning his choices. it is simply, given the circumstances, incredibly thoughtful. (and how meaningful was it to see wn treat it with such respect? seeing that is literally the moment in the chapter when wwx realizes—ah. the wens are people I cherish as well.)

and regarding jyl coming in her wedding dress—it is not for herself. it is for wwx. we saw how devastated wwx was just to even hear that jyl was getting married because he had to hear it from someone who wasn't jc or jyl. and to immediately then realize he cannot go? even more heartbreaking. and jyl, who clearly knows wwx extremely well, would know, without having to ask, how upset wwx would be to miss such a huge occasion in their lives that was previously a given. this is what she can do to offset that, even just a little. because jyl came in her dress, wwx gets to experience a piece of her wedding even though he cannot physically be there. not to be a 2000s mastercard ad, but there really are some things that money can't buy.

idk there's also some fist-shaking at the class discrepancy in the scene. and I get it. it sucks! her dress is certainly lavish, and the wens are farming on a corpse mountain and have only just started making a bit of money. yes, it's fine to think that if you were in the character's shoes, maybe you would've found it to be in poor taste—but the story isn't about you. it is about these characters, and what this scene means to them. and I'm of the camp that if there is no indication that wwx is upset by any of this, and in fact moved by it, there really isn't reason for the reader to be righteously indignant about these things on a character's behalf. that's just not the focus or the point of the scene.

plus, jyl is sharp. she is likely more aware of the discrepancy than most people think. she has also been shown in the text to not just be another sheltered, spoiled noble (re jzx soup incident). but if what you want is guilt from jyl—I personally think that guilt is performative, and accomplishes nothing. her guilt would've only made wwx unhappy. instead, here is an action that is meaningful and brings joy to wwx. to share her joy with him is not selfishness, nor is it some lack of awareness of their situation. if in this moment, she shows off her dress, if she revels in her joy, her happiness, it is for wwx, and wwx is incredibly moved by it.

and let's face it—wwx, of all people, would want to see jyl in a wedding dress that cost more than rebuilding lotus pier from the ground up. he wouldn't want anything less.

#cultural context is as always important people!#idk i just see a lot of jyl slander and it rubs me very much the wrong way #anyway this is not the jyl thread I intended to write but it's a subset of my thoughts #get ready for more later o boy #jyl #cultural meta #mdzs #mine #ps I think ppl should question their assumptions and reactions to the most traditionally feminine character in the novel #im writing this at like 2am after being unable to fall back asleep btw if there are mistakes whoopsies #jiang yanli

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silverskye13 · 2 months

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how do u write fighting or do u have any tips? i have an idea for a fanfic not mcyt related but im terrified ill write the fight scene poorly as it makes up a majority of the fic.

Fighting and fight scene tips! I have a couple I guess! The tricky thing is fight scenes are really subjective. It's hard to give a "and here's all the puzzle pieces you need for a good one" kinda answer. But I can at least tell you the stuff I think about while I'm writing.

You know the drill, writing tips under the cut:

1. Research

I feel like I put this on every tip list. Research the thing you're doing. The Internet is your greatest friend and confidante. Look up YouTube videos of fighting competitions. Look up the weapons your characters are using. Figure out how many bullets are in the magazine for the gun type your character is using. Research how far you have to be to survive that explosion. Figure out if the cool sword breaker was actually useful in combat and why. Get a reasonable measure for how much blood your blorbo can lose before they pass out. This will help you paint a clear picture for yourself about what needs to happen, and why. Your readers don't necessarily have to have that clear picture, but the more you, the writer, know, the more likely you are to write a consistent, understandable narrative.

2. Character POV is important!

What does your character even know about fighting anyway? <- the most important question to ask of your POV character. This establishes what your character can tell your audience about what's going on. Has your character never fought before? Are they familiar with the weapons used? Do they know counters for fighting styles? Do they even know how to throw a punch? Do they have a high pain tolerance? These things will inform how the character informs us, the readers, about what's going on. Generally speaking, lack of consistency is what makes fight scenes frustrating, in my opinion. Sitting there and going "hey wait, how did that teenager know better battle tactics than the general they're fighting?" Takes you out of the moment and ruins whatever cool thing that teenager just did. Going "hold on, what do you mean the sniper didn't realize he was out of bullets?" Does the same thing. Keeping the characters consistent stops your readers from questioning the validity of the scene.

3. What can your readers see, and is it the same as what the characters see?

Similar to above, but a little more meta. Fight scenes are often played for drama. You're putting the character in peril, and that peril is for a reason: to make the audience have an emotional response. Can the readers see an ambush because of your 3rd person omniscient perspective, but the characters can't? Is that a good thing? Will it ruin the shock and surprise of the ambush, or will it induce dread and up the stakes? The enemy has a poisoned sword. Is this obvious to the audience in a way that isn't for the character? This is playing with suspense in a fight, adding and subtracting stakes for the readers, and it needs to be balanced against what the characters know.

I'm mentioning this as a thing because revealing your hand to the audience can be a really interesting way to add suspense, but if the audience feels like a character should've been able to see it coming [ex. How come the assassin didn't anticipate someone poisoning a blade during a fight?] it ruins the immersion of the scene, and makes it feel like you the author are shoving the characters in a direction. Generally speaking if the readers can see the hand of the author moving, it breaks immersion.

[Notably, I don't write in 3rd person omniscient. I write in 3rd person limited. I don't often have a chance or reason to reveal information to the audience that the main character doesn't know, because the audience is observing the world through that character.]

4. What are the guys in the back doing?

Everyone knows the Main Character has to fight the Antagonist at some point, but normally the MC isn't alone. They have friends and allies, or their pet dog. They have a supporting cast, and that supporting cast wants to help the main character. So... where are they exactly? A pitfall I see in Big Final Fight Scenes pretty often is, the MC brings an army, or their crew, or their super friends or whoever, and yet somehow, they end up fighting the bad guy alone, and the writer just... Doesn't address the other people in the room. And you the reader are left going, "Wait, why is no one intervening?" This gets especially immersion breaking when the main character inevitably starts losing their fight [because drama, few fights are easy]. Our MC might die! Why is no one trying to run even a basic distraction on the Antag? This isn't to say you have to have your supporting cast get involved in the final fight -- sometimes you need that solo showdown! But you do have to have a convincing reason to keep the rest of the cast away. If we the readers are under the impression there's six other people in the room just standing there, because you the writer forgot they were there, it gets kinda awkward.

5. Zoom in! Feel it. Zoom out! See it.

Okay so, you now know: Basic information on how your character(s) fight, what your POV character(s) know, what the readers can see (either the same or different from your characters), and you know where everyone is and what they're doing. You have your god's eye view ready. How do you show it?

Zoom in, zoom out.

There is a balance to fight scenes, in about the same way there is a balance to an art piece. There is a foreground, middle ground, and background. Each have importance, each need focus. The foreground is what is happening immediately in front of your POV character, it's their thoughts, what their weapon feels like, any wounds they've taken. It's bullet time, and observations, and right in their face. The middle ground is the surrounding 5-10ft. It's the people beside them, it's what's just past their opponent. It's the rest of the room, or the sound just out of view, or the object just out of reach. The background is everything past that. It's distant explosions. It's their friend getting wounded. It's an archer on the next rooftop.

How much of that you want your audience to see, how you want to vary that, depends on what you as an author view as important. If you want to focus more on the character, their struggle, their opponent, you will write most of the fight scene in the foreground. Focus on what the character feels, the sensation of movement, the pain, fear, exhilaration. Focus on the words they're saying [or not saying]. Focus on what they know, what they're telling the audience. If you want to highlight the battle, how the main character is working in their surroundings, you will focus on the middle ground. This is what the character looks like from an outside perspective, how they fight against their opponent. This is them trying to reach an item, or shove their opponent into something. This is running, and kicking, and trying to figure out if your friend is still by your side. This is seeing your comrade go down out of the corner of your eye, or admiring someone's fighting style, or screaming orders at someone. The background is anything further away, a distant problem that is putting on pressure. A ticking time bomb. This is the building catching fire, the lightning in the storm overhead. This is superman fighting off the alien army while your MC is trying to kill the general. This is you reminding the audience the rest of the world hasn't stopped turning while the MC has been doing MC things.

Generally speaking, I like to move through all three spaces several times during a fight scene? The main character is hurting and holding onto their sword, and breathing is hard. The antag is pressing the advantage, trying to back them through the space. But they can't lose too much ground, because their friend is fighting the second antag over there, and they're bleeding from a fresh cut. They have to win, they have to escape, because the sound outside says the building is groaning on its foundation-- and the main character stumbles as the building rocks. [And I've just moved through all three types of ground, giving the audience a clear view of what's happening].

You don't have to bounce reliably through the space. Not showing the background for a long time means you can surprise your audience with a new hero or villain swooping in! Or leave us in suspense about that magic ritual we're supposed to be stopping. Not showing a middle ground side character implies your MC is so distracted they won't know their friend is hurt until it's too late -- etc.

If it helps, I like to imagine there's a little invisible camera panning around, taking dramatic shots of everything, like you're making a movie, and writing accordingly.

Uhm!! Hopefully that's helpful?

Some broader quick tips:

Fight scenes are very fast, and generally happen over a period of a few minutes. That time will feel significantly longer because it's jammed packed with Stuff Happening, but the fact remains, it's only a few minutes. Keeping the timing in mind helps you figure out if backup can arrive to help, or if it's reasonable for someone to miss the fight happening, etc,

On that note, if it's a battle specifically, battles [especially medieval ones] are short. They don't last all day, unless they're a siege, and even then, sieges are long periods of digging in and waiting with short clashes peppered around.

This might just be me, but try not to overuse metaphors? We get it. The swordsmen look like they're dancing. But not everything they do is graceful or dancer-y. Sometimes you can just say "and he punched him in the face." Unless your writing style is naturally super flowery, in which case, do continue. Consistency is key.

Do some basic research on wounds. Suspension of disbelief can only carry so far, and pain is genuinely debilitating. Also, yes coughing up blood is a very dramatic "the character is dying" cue, but in real life it only happens on very bad lung/throat wounds. If what you're writing is Super Realistic, maybe don't throw that in there.

Write confusion with care. You might not want your audience to know what's going on all the time, but if your audience genuinely can't figure out what's going on, why something is happening, or who it's happening to, you will eventually lose your immersion.

Write comedy with care. If your fight is non-serious, or if your character in a serious fight doesn't normally take things seriously, jokes are allowed to happen. But sometimes if you don't take it seriously enough, you will chop the knees off your drama. Maybe save some of the jokes for after the life-threatening battle is over.

I think! That's everything I can think of just now! I hope it helps :'D

#answering asks #anonymous #writing advice #writing tips #writing #apologies if this was incoherent at all #its 2am im very tired and this week has been hell #i wanted to answer this before i forgot it and it got buried

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parkermunson · 1 year

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I just know Peter Parker would eat you out like a man starved

Minors DNI. I mean it.

He'd start by kissing both your knees gently, little pecks so full of love and devotion

Then he'd open your legs a little. He'll place a kiss on the inside of your knee, a little sloppier and wetter

He can smell you and it consumes his thoughts. His mouth gets so watery just at the thought of your taste

He'll start placing more kisses on the inside of your thigh. He'll lick the skin, then suck on it to form a little bruise

The marks won't stay longer than a day but it's like a map to his meal

The inside of your thigh is sparkling with his saliva, and the closer he gets to your core, the sloppier his kisses

By the time he reaches your cunt, your upper inner thigh is dripping from his kisses

He'll look up at you with the biggest eyes, so full of admiration. He can't believe he has you, and that you're letting him do this

He'll kiss your mound, breathing in your scent until he's intoxicated

Then he'll move down to your clit, giving it little pecks

He'll kitten lick it while looking up at you, taking in every reaction and sound you make

Soon enough he can't take the teasing and just starts devouring your clit

He'll spit on it and slurp up his mess, hum against you because he loves your taste so much. The vibration is euphoric

He almost cums untouched in his pants when you grip his hair and practically ride his face

His tongue moves down to your entrance to suck up your leaking juices. You almost made a small puddle on the floor, but he's thirsty and didn't miss a drip

He has to snake an arm over your hips to keep you from moving too far from his mouth. It's a little too much and too little at the same time

Peter wants his fingers in you but that's for later so he's keeping them curled into your hip and thigh, flexing and gripping so hard its leaving bruises

Sometimes he won't pull back for breath until his vision is clouding over and he's getting lightheaded. He'll happily suffocate from eating you out. Tears fill his eyes from lack of oxygen

The sounds his mouth makes 😳🥵🥴

You couldn't feel embarrassed if you wanted to. His mouth is sucking the soul out of your body

His knees are screaming but he couldn't care less. This is his absolute favorite meal. The crease in his eyebrows telling you he's concentrating so hard

He creates a suction with his mouth and licks your clit. It has you pulling his hair and arching your back

This man is seeing Heaven when he looks up and sees your face in pure bliss

When you cum, he uses his thumb to rub circles on your clit so his can lick up your juices. He doesn't stop until you force him away from overstimulation

Then he's licking his lips from anything that remained

He'll give you a minute or two before he's on you again for round two. This time he'll fuck you with his fingers

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pineabble-soda · 2 months

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Ref sheet for this RGB thing

The cape having wrong overlapped colors was a conscious decision

update: more info and stuff

#my art #undertale au #ut au #sans oc #au sans #ignore all of the writing mistakes its 2am #if i have to edit another thing on this post im gonna go ham

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amvro · 5 months

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pairing: amuro tooru x reader

summary: he is home late (again) but you love to stay up for him

cw: i would not say suggestive but a lot of kissing implied ? IDK IM SORRY, it’s very short

It wasn’t rare for you to be staying up waiting for him to come home, but tonight he was especially late coming home and he truly did not expect you to still be up. The clock almost ticked 3:30am and he truly wished he didn’t have to stay out so late if he knew you would still be up. He was going to ask why you were still up and tell you about how you should’ve just slept without him, but he knew you would tell him you would be too worried to fall asleep regardless.

“I’m so sorry I was so late,” he said, apologetically. “But really, next time you shouldn’t mind me. It’s far too late.”

“And it’s far too late for you to be out with no one to greet you when you come home,” you replied with a soft smile. Gosh he was in love with you. “Waiting for you to come home is one of my happiest times, at least let me do this much. Besides, it’s a Friday we get to sleep in tomorrow.”

And you were absolutely correct. Although he’d tell you every single time to go ahead and sleep, it still warmed his heart when he saw you reading a book or scrolling through your phone with a warm tea, waiting for him to come home. The way your face would brighten up when he came home was truly the only thing that could heal him from a long day at work.

“I’ll hop in the shower real quick, so go to sleep okay? It’s still not good to be up this late,” he said as he took off his coat and put his stuff down, getting ready to step into the bathroom.

“Wait,” you said, almost subconsciously.

“What is it, love?”

“Oh, um,” you said, you hadn’t meant to say it out loud. You looked up at him slightly embarrassed. “....kiss?”

A faint blush covered his face as his eyes narrowed and lips pursed. He did not understand how you managed to make his heart flutter from such simple words after all this time, but he did understand that this wasn’t going to go away. He walked right back to you and pressed a kiss on your lips. He was going to kiss you again when he resisted the temptation and kissed you on your forehead instead.

“Why not?” you asked quietly. You were going to kill him if you kept this up.

“Because I’m not going to be able to stop at this rate,” he said, but you went and kissed him instead.

“But I don’t want you to...” you said. That was it, he was giving in. Saving the country was a whole lot easier of a challenge than the ones you gave him it seemed.

“Okay, now you’ve done it,” he said, kissing you again.

The shower will have to wait a little.

#furuya rei x reader #amuro tooru x reader #amuro x reader #furuya rei #amuro tōru #amuro tooru #detective conan x reader #NOTTTTT PROOFREAD #i sat down at like 2am and dumped whatever words would come out of me #so truly if i wake up and this is literally the most horrid thing ive written in my life please forgive me #um i am BACK !!!!#ALSO I SEE THE ASKS I PROMISE I WILL GET TO THEM #THEY ARE COMIGN #I AM SO EXCITED TO WRITE THEM ACTUALLY #I HOPE TO FINISH ALL OF THEM WHILE IM IN WINTER BREAK SO HOPEFULLY WITHIN THE NEXT FEW WEEKS THEY WILL BE WRITTEN #THANK U SO SO MUCH FOR READING I HOPE U ENJOYED #im sorry this is so short so consider it a drabble i was going to make it a blurb but it is past blurb length i fear

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fallingyams · 10 months

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Do y'all ever just ruminate on how insane Sherliam is

The sheer impact that this one detective has on the trajectory of William's whole life and future???????

William started out like this, seeking his own death.

Louis then goes on to admit that when a person can't see the worth in their own life, the only other thing that can ground them is someone else worth living for

AND THEN YOU SEE THAT WILLIAM IS ACTUALLY AFFECTED ENOUGH BY SHERLOCK'S WORDS TO CONSIDER (briefly) THE POSSIBILITY OF LIFE (and the problem is the scaffold that won't hold them both)

We then get William in a coma, where Billy tells us it's all up to William's choice/will on whether he wants to live

Of course then William wakes up!!!!!!!!! HE WANTS TO LIVE!!!!! SHERLOCK'S LAST WORDS TO HIM HAD IMPACT ENOUGH TO MAKE HIM CONSIDER LIFE

HE WANTS TO LIVE!!!!! FOR SHERLOCK!!!! TOGETHER!!!!!!!!!!!!

Forget "I'll die for you" or "I'll commit crime for you" or even "I'll jump off a bridge for you" (sry sherlock) how about I'LL WAKE UP FROM A COMA AND LIVE FOR YOU (forever if you'll have me)

ok goodnight yalls rant over thanks for stopping by <3

#sherliam #yuukoku no moriarty #the thoughts are falling #moriarty the patriot #im yelling it's like 2am AGAIN and i have work in the morning #booboo the fool that is me #my writing #william james moriarty #sherlock holmes (mtp)

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infernaltenor · 4 months

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missed their exact one year anniversary of the aquarium date but i figured id redraw it late anyway

#jshk #jibaku shounen hanako kun #tbhk #toilet bound hanako kun #mitsuba sousuke #minamoto kou #my art #mitsukou #god i love these two #i have not caught up on the manga btw i got busy graduating from high school nd going to college #and technically i shouldve been #writing two paragraphs of analysis #but theres gay people to draw so i drew the gay people #aquarium date makes me sooo unwell btw #im still not over it #ok. its 2am. i have class at 12:30 i should sleep.

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cubikzoa · 1 year

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fantasy nerds are always like “waaah waaah being immortal would SUCK bc you’re alone forever and your significant other always dies and humanity moves on without you 😢”

meanwhile I’m over here rolling my eyes heartily bc I’m an ADHD aroace introvert with an extreme passion for knowledge and cool shit, if I was gifted immortality I’d promptly fuck off to go hyperfocus for a couple centuries or just travel the globe until my feet fell off, I could procrastinate for 57 years and it wouldn’t matter, if we discover aliens 300 years from now I’ll get to see ‘em and you idiots WON’T, I will outlive both Jeff Bezos and my villainous student debt, I will experience infinite awesomeness and be perfectly content with my zest for the Loner Life™️, you cannot deprive me of this astounding opportunity go sit in the corner and suck on your loser lollipops of limited thinking and cry

#yes I’m the best #immortality yo #adhd #immortality #*awards myself a gold medal*#fantasy #plot holes #worldbuilding #shitposts #2am thoughts #deep thinking #vanilla extract #tumblr culture #any supernatural entities gonna take me up on my hubris orrrr…..#fantasy writing #fantasy worldbuilding #im fueled by spite and curiosity 1000000%#basically I’m an honorary stem major but I can’t do math for shit #doodle says

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raineandsky · 10 months

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#47

The agency is a place of horror, in the villain’s opinion—pristine white walls, blaring overhead lights, perfectly symmetrical tiled flooring. The place is, quite frankly, a minimalist nightmare.

So it’s a shame that the villain has to sit here, bored out of their mind, in the place they hate the most, with the person they hate the most.

“Oh, no, turn back the way you were facing.” The hero gestures slightly behind them with the tip of their pencil. A clipboard sits in their lap, well-loved and coated in pen marks. “The angle’s off.”

“I don’t know why you couldn’t just take a two second photo like everyone else,” the villain mutters with a scowl, adjusting uncomfortably in their cuffs, and the hero laughs like they’re joking.

“Because crime in the city is at an all-time-low and I’m bored.” The hero points a bit more violently with their pencil. “Now turn.”

They’re not allowed any goddamn dignity in this place, so they admit defeat and shift over slightly. The hero nods approvingly when they do, finally turning their gaze back down to paper in their hand, and the pair fall into silence.

“You know I’m gonna be busting out, right?” the villain says after a moment. The quiet was nice until they figured out that the weird screeching noise downstairs was human voices. “I don’t really see the point in me being here.”

The hero hums in lazy acknowledgement. “I know, but catching you gives me something to do.” The pencil scratches down the page in waves, their eyes still resting on their masterpiece. “And you make for a good muse.”

Thank god their drawing is so interesting, or the hero would see the light blush staining the villain’s face. “I know I do,” they say in a vain attempt to save their quickly plummeting dignity. “I’m hot shit, everyone knows that.”

“Yeah, you’re pretty conventionally attractive. Makes for some good lines in a study.”

Why did they have to phrase it like that? “You can admit I’m hot, it’s okay. Everyone else does.”

“Everyone else lets visual aesthetic blind them to their sense of morality, but I don’t.” The hero’s gaze finally flits back up to them, the ghost of a smirk on their face. “You’re conventionally attractive. Take it or leave it.”

The villain scowls. “I’m going to pretend that’s a compliment.”

“It is in heroic terms.” The hero turns their clipboard around to show the criminal their drawing. “What do you think? Looks like you, right?”

The hero’s a damn good artist. It’s amazing. “It’s shit.”

Their answer only gets another laugh as the clipboard gets discarded on the desk. The hero gets to their feet with a stretch, motioning for the villain to do the same. “Let's get you to your cell so I can go on my lunch.”

The villain’s henchmen are probably nearby. A few minutes in a cell are nothing. “I hope your lunch tastes like dirt.”

The cell is just as grim as the villain remembers. The hero shoves them inside mercilessly, clunking the door shut behind them.

“Looking forward to chasing you down on your way out,” the hero says innocently. They glance down at their watch as it beeps rhythmically at them. “And for the record, I do think you’re hot.”

The villain makes a face somewhere between disbelief and flattered. “I thought you said I—”

“I’m on my lunch break.” They hold their watch up, reading exactly 13:00. “I can say what I want when I’m not on company time.”

“You follow the stupidest sets of rules like a dog,” the villain spits as the hero turns on their heel. “You have to admit you’re a little pathetic.”

“Your guys don’t usually take long to get here, right?” They’re already at the door, loitering on the threshold. “I’ll see you in, what, half an hour?”

“Fuck you.”

The hero laughs again. “You wish. Take the drawing on your way out, yeah?”

The villain very much intends to. They deserve it for the time out of their day, at least.

#writblr #writing community #creative writing #writing #writers on tumblr #heroes and villains #hero x villain #came up with this idea half asleep. as you can see im a genius when my brain isnt turned on #if its the dumbest most random scenario youve ever seen chances are its from a 2am page of the notes app with 0 spell check

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the-ace-with-spades · 1 year

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I have the urge to write a seven-season-long medical drama, so here is a concept for Top Gun Hospital AU with ER hate-to-love hangster AU that no one asked for.

as a warning: this is a bit incohesive and silly

All the aviators are doctors and all the WSOs are nurses. With the exception of Bradley (but there’s an explanation for it).

Mav — cardiothoracic surgeon; Ice — former neurosurgeon and Chief of Surgery, current Head of Patient and Medical Services (so, entirely admin). I imagine they have the same kind of relationship as House and Cuddy in this, including Ice keeping an entire legal team for Mav’s unconventional practice methods. They've met during med school and had been rivals up until they both finished general surgery residency. Slider is an OR nurse turned anesthesia nurse. Goose was an ER nurse and met Mav during his rotation as a med student and died after an incident in the ER during Mav’s residency (that was the moment he switched from emergency medicine to surgery).

Phoenix — emergency, but she managed the impossible (like Mav) and switched from obgyn residency after the first year (only chose obgyn in the first place because of her mom, a renowned obgyn in Oregon), she's still really passionate about the obgyn field but didn't enjoy the work enough to do it for the rest of her life; Javy — general surgery; Payback — emergency with sub-spec in pediatrics; Friz — respiratory medicine; Omaha — oncology; Yale — ortho surgery.

Bob — a former OBGYN nurse, left because of a toxic work environment, working in the ER six months now, Phoenix's favorite nurse now, duh; Fanboy — started in peds oncology, had to switch because it was too hard on him mentally and is now peds emergency; Halo — started as a palliative care nurse, switched to oncology after a few years; Harvard — OR nurse, switched from general team to ortho

Hangman is the new trauma surgeon starting in their ER. Born and raised on a ranch, was expected to take over the ranch but never wanted to. Thankfully, he had too perfect grades to not send him to college — his parents wanted him to be a vet, which obviously didn’t happen, so he could stay close to the family business. He moved to California for his MD. He has terrible bedside manners with patients and patients’ family, but is surprisingly decent with kids, has lost respect for nurses sometime during his first residency year, and had a terrible case of Ego hit him during his trauma surg fellowship.

Now, about Rooster:

Bradley got into a pre-med program, Mav (who had set up Bradley’s college fund) said he’s not going to pay for it since he doesn’t want Bradley to be a doctor (long hours, lack of work-life balance, burnout, high stress, etc. It was more complicated because Mav still has the Goose trauma). So they had the fallout, Bradley moved out and deferred college to find a way to pay for it and, wanting to gather hospital experience, started working as a CNA in Peds ICU at a children’s hospital which accidentally was having a new CNA intake at the time. He liked it, actually loved it, and started hesitating whether he should continue with pre-med and be like Mav or go for nursing, like his dad. Year after, he got an offer from the hospital that said hey, we’ll fund some of your BSN as long as you work for us while you study and then work for us for another four years after getting your license. So he became a nurse, got certified as peds nurse after working two years in PICU and after another three, switched to the Pediatric Rapid Response Team, where he stayed for another two years before getting a spot as a senior nurse in adult/peds ER in a different hospital.

His relation to Mav and Ice only came to light a few months after the hiring process, as Bradley didn’t even know they worked there when he applied and it’s still a hash-hash topic in the ER. He’s been in the ER for almost three years now and has become an unofficial second-in-command as one of the few with substantial experience.

I imagine he’s definitely one the best nurses you could have as a patient — he’s honest but in an empathetic way, he’s worked in the most demanding environments with the most complex patients (ICU and RRT), he’s skilled and experienced in most procedures. Because he is one of the few male nurses, he’s the one dealing with inappropriate patients, aggressive patients, patients that need restraint, frequent flyers, etc. and he genuinely doesn’t mind — he is the perfect mix of calm and firm that makes him very reliable in most difficult situations. He is absolutely most reassuring and guiding with new stuff, be it new nurses or med students that don’t know what’s happening, and he doesn’t judge. It does help, too, that he was partially raised by two very cocksure surgeons and therefore knows how to deal with doctors that turned a bit too arrogant.

Before I go to the hangster part of this shit, I want y’all to know it all started because I found this Rooster-coded scrubs:

I imagine that he buys most of his scrubs since the work-issued scrubs don’t fit well on men (most unisex ones are very much just female fit stamped with unisex label) and peds nurses can have lots of cute ones so the kids feel less nervous around them

Also, this is a warning that yes, Bradley is trans in this scenario, too, because I said so. It's relevant to a few scenes, I think?? and there's tw for transphobic OC

Now, a bunch of scenarios I can see for this AU:

On the first day at his new workplace, Jake makes a reputation for himself. He confuses Nat, in her hospital-issued scrubs and with her doctor tag clearly on display, for a nurse and literally talks over her in front of a patient. Same thing happens with Billy because he’s Filipino and there is a large number of Filipino nurses everywhere and he’s stereotyping. Then he makes another patient’s parents agitated. This is when he meets Bradley — he takes over to talk to the parents and calm them down before it can escalate, basically shushing Jake out of the room. Jake doesn’t clock he’s a nurse at first — he’s a big, very fit, very well-built, very handsome dude with a questionable mustache who looks comical in a pastel pink scrub top with a teddy bear pattern and a matching headband on his forehead, but also the sheer shock of how different to all the nurses he looks gives Jake a pause — so he doesn’t say anything even if it pisses him off a nurse just forced him out of the room.

It starts innocently with Bradley though — Bradley comes up and asks, “Jake, can you put the narcotics order into the system for Lily?” and Jake scoffs and corrects, “Doctor,” tapping his full tag with Dr. Jacob Seresin.

Bradley, as the nurse’s tag says, raises an eyebrow and says, “Doctor Jake, can you put the narcotics order for Lily?” Natasha, standing behind him, snorts. Jake doesn’t even have the time to tell him off because he’s already gone when his brain processes.

Natasha drops off a patient on him — a taxi driver who had a stroke while driving and had been in a car accident, that had been thrombolysed but might need emergency surgery because of a suspected GI bleed. He’s stable, so they're going to check if he can be admitted to neurosurg and wait for his turn there or if Jake will need to take over before that.

Bradley hands him a tablet the minute he walks into the room.

“What’s that?”

“Results,” he supplies before going back to setting up an oxygen cylinder at the bottom of the bed.

“I didn’t order that,” he notes. The blood and urine panels are what he would order with suspected operable GI bleed but he’s barely looked at the patient’s case before he walked in there.

“I did,” Bradley tells him as he switches the oxygen from the wall socket to the tank supply. “Faster this way.”

“No,” Jake says, blood boiling. “You do exactly what I tell you to do and only that.”

Natasha raises her eyebrows, high on her forehead. Bradley doesn’t hesitate — waves on Bob from behind the glass wall and they both grab each side of the bed.

“I supposed you want to put the CT order yourself then,” Bradley says as Bob takes the small back monitor and attaches it to the frame. He steps on the bed brake and rolls out the bed, straight into Jake and Nat, fast enough that he moves out of the way on instinct. “Better do it fast because it’s free now and I’m going.” *

“Did you see that? Who the heck does he think he is?” Jake asks Nat.

“Better put that CT scan order,” is all Natasha replies as she walks away.

It’s Reuben’s patient, an eleven years old boy with blunt trauma, and Jake makes a verbal order to Bradshaw, who is the boy’s nurse. “I understand but I think that—” and Jake goes, “If I want your opinion, I’ll ask for it.”

The whole room gets quiet and everyone looks to him — Reuben, Mickey, and the technician are wide-eyed.

Bradley just says, “Alright,” in a perfectly leveled voice and leaves the room.

Mickey is not making eye contact as he quips under his nose, on his way out of the room, “You do realize he basically runs this ER, right? You’re making your life a lot harder.”

Jake orders IV fluids for one of his patients which is also in Rooster’s section that day and he bleeps the order info to Rooster. Fifteen minutes later he sees that it hasn’t been filled and is like, hah, I knew there is a reason I hate that guy. Finds him when he passes Jake in the corridor and is like, “I want you to start the IV for room 7. Now,” and Rooster just tells him, “No, do it yourself or find someone else.”

They have a little back and forth as Jake follows him down the corridor which ends with another, “No.”

There’s still no charge nurse in the ER (she’s on medical leave that will most likely end with her leaving employment, from what Jake gathers) so he makes a datix and the ER nurse manager (Warlock) following up is apprehensive because obviously, he knows Bradley, and hears about what actually happened — Bradley was getting an igel for a toddler from the peds side and deemed it more important than starting a bag of saline to bust someone's blood pressure.

Jake feels like an idiot.

Jake and Reuben are charting next to each other and Reuben gets bleeped his patient’s lab results. Jake, who is also waiting for lab results, complains about how he sent a pod to the lab before Reuben. Reuben just gives him a look and says, “Yeah, that’s because I asked Bradley to put my request in.”

And Jake is like, “What does he have to do with anything?”

Reuben looks at him like he’s dumb and says, “He has more sway with the lab,” and walks away with his tablet.

Javy is doing a consult for Nat and stops to chat to Jake (they know each other from residency days) and Bradley comes by and says, “Maggie’s becoming hypotensive again,” and Javy observes as Jake looks at the nurse that came, gives him a very long, very detailed look and licks his lips.

He manages to think Oh before Jake asks, “Maggie?”

The nurse looks seconds from rolling his eyes. “Mrs. Lawrence? Room 5?”

“That's Margaret.”

“She prefers Maggie.”

And it goes on, with Jake standing there rigid, puffing up his chest and cocking his hip out. “Did you start the fluids?”

“Finshed already.”

“Start another bag.”

The nurse looks unimpressed and instead of confirming says, slowly, like he’s talking to a child, “Her fluid balance is positive. She’s usually on pressors.” Jake’s face gets red and he goes, “Then put an order for her.”

It’s kind of funny to observe and to be fair, the nurse does give Jake a minute to go over what he said, leaning his elbow on the counter, eyebrows raised, before he points out, in that damn slow, unimpressed tone, “I can't put orders for things like pressors."

He hands Jake the closest tablet and starts walking away.

Jake calls after him. "What, you're not even going to draft it for me?"

He doesn't even turn around and Javy is silently shaking from the laughter he's holding in, "I thought I wasn't allowed to do that, doctor."

Mav comes down to the ER to talk to Rooster on a slower day — about how they’re about to sponsor a new CRNA for the cardiothoracic surg unit and maybe he could put a good word for their development team for Bradley and yada yada.

It happens like that: Mav comes down, Bradley is charting next to the monitors station, Jake is going over a scan on the opposite side when The Dr. Mitchell himself comes down and stops next to Bradley. He gives Bradley and his pink Paw Patrol scrubs a look and clears his throat a couple of times before Bradley raises his gaze toward him, turning away a second later and ignoring him again.

Jake is freaking out — this is The Dr. Mitchell and one of the reasons Jake wanted to work in this exact hospital, along with the rumored to-be-announced cardiothoracic surg fellowship under Dr. Mitchell he had his eyes on. He’s been thinking about how to make contact with Dr. Mitchell since he started in the ER and here he is, telling unresponsive Bradshaw, “I heard you’re looking to go back for your Master’s in the near future.” Bradshaw doesn’t say anything and Dr. Mitchell adds, “We have a CRNA development spot for—” and Bradley tells him, not turning away from the screen, “I’m not an OR nurse,” and then taps his card on the computer’s reader to log out and walks away.

Dr. Mitchell is a fucking legend, a VIP of this hospital, so Jake just stands there, contemplating how the heck Bradshaw could do that and hears him mumbling under his breath, “Really slick, Mav,” and jumps on the opportunity to say, “I’ll be talking to his supervisor about this, his attitude is unacceptable, Dr. Mitchell.”

And Dr. Mitchell turns to him, raises an eyebrow and asks, “Excuse me?”

“The nurse you were talking to. He might be senior in here but his attitude’s been horrible and I’ll personally step in. This won’t happen again.”

Dr. Mitchell gives him a look before slowly saying, “I suggest you mind your own business, Dr. Seresin,” and walks away.

Nat is silently laughing a few feet away and Jake asks her what’s so funny. His heart dead-ass stops when she says, “You do know Dr. Mitchell is Bradley’s dad, right? They might not be on the best of terms but that’s still his son.” And Jake has the urge to bang his head on the keyboard in front of him.

TW for transphobia.

There’s a new nurse practitioner to be (graduated, about to get her cert) that's rumored to be a candidate for the charge nurse position. Izzy. She’s quite young for that, younger than Bradley for sure, must have barely worked in the clinical area before going for her Master’s. Jake doesn’t know if it’s on purpose but the nurse manager and Bradley keep on putting her in his section.

She’s—well, she’s a bit too in his face. She agrees with everything Jake says and doesn’t roll his eyes at him, which is boring, and she’s, for an NP, not that knowledgeable. She doesn’t argue with him, which is a change, and Jake starts to hate it after about five hours. Her voice is saccharine sweet, she keeps on standing a bit too close to him at all times, and she’s decent with patients, but she keeps on asking him about the smallest of things.

Jake’s section is less busy, usually, since he deals primarily with trauma in the ER, but she never bounces off to help others when she is free, like Bradley did. She’s clinging to his section, a little bit, and he doesn’t get why. It’s not like he is any nicer to her than to Bradley or any other nurse.

She is busy taking bloods and Bradley finds him when he has a second alone, finally, and enlightens him about why.

“If you don’t believe me, you can just ask any other nurse. Everyone noticed.”

“If you really think that then why do you keep putting her in my sections?”

“I don’t. She’s senior as an NP, she’s taken over allocation from me now.”

Jake’s mind only focuses on one detail. “You were allocating yourself to my sections?”

“Only because no one wants to work with you and because I’m actually certified in trauma.” That makes sense. It’s not like Bradley would work with him voluntarily. “Look, all I’m saying, you watch out — you fool around with her and then reject her and she’s going to HR. I know the type.”

“The type?”

“You know, the girl that thought she’ll become a nurse, snag a rich doctor and never work again? Well, it’s not always women, there are guys who do that too, but in this case, she’s very much the type.”

“And you think she’s trying to—snag me?”

“She’s certainly not going after the residents that are getting paid twelve bucks an hour or Reuben who is married,” he points out. Which, again, fair, even if he didn’t know Reuben is married prior to this strange conversation.

Jake stares at him, processing, until he blurts out, “I’m gay.”

“Then you’ve got nothing to worry about,” Bradley says after a second, eyes barely noticeably a bit wider, before he walks away.

“Was he bothering you, doctor?”

She calls him doctor, always, and it honestly makes him grit his teeth. Now even more. He’s got a bad feeling about it.

It gets confirmed later when Jake is taking care of a six-year-old girl who had fallen down the stairs. She’s dehydrated and Izzy’s just tried to put a cannula on her three times before Jake told her to grab the bedside ultrasound and not make the girl cry even more.

Bradley passes by the room and Jake’s learned that he can’t leave a distressed child alone, so he comes in and gets the parents and the girl relaxed. He’s about to go in and tell him to leave it alone until Izzy brings the ultrasound when Nat grabs him by the arm and tells him, “He was in a Rapid Response Team, I’m pretty sure he can put a cannula in blind. Just let him do it.”

And he does let him. Watches, expecting the girl to burst into tears at any moment but she never does. Bradley’s literally been in the room for less than ten minutes and it’s all back to calmness.

Izzy comes back with the ultrasound. It should not have taken her so long to grab it. “What is he doing there? That's my patient.”

"He said he can put the IV line without the ultrasound.” Well, Nat said so. Jake can’t believe he’s saying but, “He’s a peds nurse, he’ll be fine.”

“I’m sure the girl's parents wouldn’t want him anywhere near her.”

This sets alarm bells in Jake’s head. “What do you mean?”

"People like him shouldn't be around kids," she says, to his horror. She leans in, way closer than needed, and conspiringly whispers, "Dr. Seresin, haven't you known that he is, you know, a she in disguise?"

He’s dumbstruck. "I'm sorry?"

"He's actually a woman, just pretending to be a man because he's mentally—You're the doctor, I'm sure you know better than I how the brains of people like them work. He shouldn't be around that girl, is what I'm saying. I certainly wouldn't like him around my child, if I had one."

Jake didn’t know this about Bradley but he understands what she means, even with how awful she is about it. This, however, should not be a piece of information thrown around in public if Bradley didn't wish to disclose it, and certainly not in such a manner. "And how do you know that, exactly?"

"Nurses share a locker room, it's not hard to notice how she, you know, mutilated herself."

Jake doesn’t say anything out loud but mentally he is preparing datix report in his head. He catches the ER’s nurse manager before he goes home, too, because that’s some shit he doesn’t stand for. He might be an asshole but he’s not a bigot.

Next time he comes to work, Bradley is back in his section and Izzy is no longer employed.

“Thanks,” Bradley says, when they’re at the station, next to each other, in a relatively slow moment. “If I went on my own, we’d have a weeks-long investigation that would probably end with her or me moving to a different unit.”

“She said this shit to your face?”

“Kept calling me she in front of patients,” Bradley admits after a moment. “I think most of them thought they misheard but—I knew.”

“Well, good riddance then.”

Bradley snorts, but he’s looking down at the tablet in his hands, smiling, and wow, the apples of his cheeks are so round and his eyes so bright and Jake can't breathe for a second.

---

(there might be a second part coming because I meant seven-season-long medical drama literally-- including Jake realizing he's an idiot, Mavdad drama, Jake having his hands inside Bradley (in the literal, surgical sense) and jealousy that could rival the McDreamy/Dr. Grey drama)

#this is unrealistic b/c its a med soap drama-like #not the actual chaos of er-like #as in med nonsense to be precise #also I don't know how american ers work #ive talked to a trauma surgeon twice in my life so sorry #i’ve mostly written it while trying to stay awake in the break room at 2am or to not fall asleep on the bus home #still having cluster headaches btw we're just too short-staffed to not go to work even if I have to sit out for an hour in the break room #bradley rooster bradshaw #jake hangman seresin #hangster #icemav mention #tgm #tgm au #trans bradley rooster bradshaw #<< im going to fill that tag even if it takes me years #op #charlie writes #hangster hospital au

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