I Am Black. This Is What I Need (& What I Don’t) From White Allies:

CDrama Rant

i am watching <<Love Game in Eastern Fantasy>> and in episode 11 theres a guy who was lazy, had no self awareness and had as a result of this got his sect killed and is still hanging around the area to keep up a ruse that his sect unknowingly died protecting.

I'm not all the way through with the episode so theres still potential for him to grow and change after this but I find it so frustrating how he's just blathering on about how lazy, coniving and idiotic he's been in his pursuit of greatness and the person he's talking to not once calls him an idiot, nor has he by himself learnt anything from the decades(!!) he's spent in this rural village.

He's still scamming people for fuck's sake, but he's acting like hes doing this ultimate good and that out main cast is over-estimaiting themselves just like he did and they're going to cause trouble.

NEWSFLASH

You stupid bitch, no one else on earht could fuck up as badly as you've done.

HE'S SO FUCKING FRUSTRATING OMG

to misquote kendrick "he deserves it all"

Let him have respect.

Let him have care and love, consistency and companionship.

Let him have it all.

Heart of the Great Wolf

Masterlist

Jon Snow x F!Baratheon!Reader (Slow Burn)

Robb Stark x F!Baratheon!Reader

Pre Series Content and Extras:

Scattered Memories of the Starks

Shadows of their Hatred

The Quiet Wolf's Reminisce

The Stag and The Young Wolf

The Lost Chapters of Jon Snow

A New Life's Darkened Lust

Interlude of Jealous Desires

The Trials of Resurrection

The Injured and the Perverse

NSFW Alphabet (contains spoilers for part 3 and 4)

Woes of a Modern Day Love (a modern!au)

Fresh Heals of Old Pain (a modern!au part 2)

The Aftermath of Envy (a modern!au part 3)

Stoking the Flames (a modern!au part 4)

Then Came the Explosion (a modern!au part 5)

A Family Conflicted (a modern!au part 6)

A Jealousy of Infighting (a modern!au part 7)

A Small Bundles Flash Forward (a modern!au part 6.5)

A Snowy Wolf Pup (a modern!au holiday drabble)

Part 1:

Wolves of the Lone Stag

Mouth of the Lion's Den

An Intrigue Drenched in Blood

Standing Behind a Betrayal

A War of Tragic Beginning

Part 2:

King and Queen in the North

Shadow of a Fiery Stag

Reunion of New Enemies

Pleasure of Conflicted Desire

The Sanctity of Children

What Lies Beyond The Veil

Part 3:

The Cost of Our Sins

Dragged Through the Violence

Only the Cold

Fire for the King's Blood

Part 4:

Ashes of Various Grey

Plans of Pain and Horror

Afraid of a Ravens Flight

Trust in the Gentle Rasps

Visions in Eyes and Flames

A Bastard or The White Wolf

Part 5:

Home of Bloodsoaked Stone

Blazing Fire of Storming Ice

Ghostly Dreams of Old

Sailing Through the Glow

The Last Dragon

The Winter Rose

Part 6:

The Clash of Three Kings

Shrouded Truth in Sickness

Winged Shadow in the Sky

Light in the Darkest Storms

Peeking the Realms Woes

Blood, Roses and All Lies

Broken Love of the Dead

The Souls Tethered in Death

Wolves of the Past and Back

The Crows and The Sight

Part 7:

A Brewing of New Mystery

Great Wolves of White Mists

Darkness Heavy in a World

Past Becomes the Present

The Thing in the Night

Waving Tides of Turmoil

Greenish White Boodraven

Dark Blood of Blinding Light

And Wait for the Snows

Part 8:

Into the Haunted Forest

Fist of the First Men

Through the Frost Fangs

News From the South

Lies Within the Sunlight

Night of Two Distances

Screams of Cracking Ice

The Final Marching Trek

Fear Overtakes a Night

Wolves Teeth and Claws

Part 9:

Forcing Past Our Safety

One Whirlwind to the Next

Court of the North

Glimpse into the Rains

Scattered Pieces of Truth

Reunions and Realizations

Laws of Gods and Men

A Mockingbirds End

The Cold and the Rats

Blood Filled Danger

Memories of a Dead Past

The Winterfell Sept

Young as Stained Red

Conflicting Boundries and Ties

I'm not friends with you because you serve a purpose to me, I'm friends with you because I just like you. That is to say, there is no one who can do what you do for me because what you do for me is just be you

🔥sex/smut |🌟 new |♾️ gn!reader |🌸 Author favorite

all fics f!reader unless otherwise specified

::My Dear Birdie::

-You meet Anselm Vogelweide, your true love and partner in crime. Note: Treat yourself and look at this beautiful art of Anselm done by @faretheeoscar :: this jaw-droppingly gorgeous Anselm by @silvernight-m

1- My Dear Birdie (~2.8k) 🔥🌸 2- Leave It On (~2.9k) 🔥 3- My Eternal Love, Anselm (an exchange of letters) 🔥 4- A Game of Words (~3.4k) 🔥 5- Gunshot Wedding (~5.6k) 🔥 🌸 6- Godzilla & The New Power Structure (~1k) 7- The Next Chapter (~7.1k) 🔥 8- Lucien & Claire, Anselm & Birdie (~4.4k) 🔥 9- Anselm's Balls (an exchange of letters) 🔥 10- Die Altstadt (~3k) 🔥 11- The Fight (~4.7k) 🔥

Dear Anselm (<500) Birdie's Gray Hair (<1k) Pillow Talk (<1k) 🔥 Anselm & Birdie on the run (<1k) Friends & Family (~3.6k) -Anselm & Birdie meet other Oscar characters Moonlight and hands (<500) Whining, Begging, Shooting 🔥 (<1k) -Edging Anselm with an accidental audience Short hc about Anselm's asthma Business Dinner 🔥 (~2k) -A private dinner, and private glass of wine Wine Drunk (~2k) -You're stuck in a wine cellar Harmless Flirting (~1.5k) -The creepy guy at the lingerie shop gets put in his place by Anselm That's It. Period (~1.1k) -Anselm comforts you during your period. Drabble- Dinner Party -One guy at your dinner party won't shut the F up. HC-Meeting the Parents -Anselm meets your parents Come (an exchange of letters) (~750)🔥 -You're both working from home, and exchange letters back and forth One-shot- It's Personal (~1.3k) -Sometimes, it's not business for Anselm. It's personal. Blurb- The Hunt -Does he hunt people? -Why is Birdie called Birdie? -*brief note about music -*brief note about nicknames -*brief note about food -*brief note about periods

🎅 A Christmas Tale (~1.1k) 🔥 and a bit about Christmas cards 🎅 🔥

One Weekend (part 1) 🔥 One Weekend (part 2) 🔥 Anselm Vogelweide x reader x Nathan Bateman

::Other Anselm Writings::

🌟 Strange Hungers (~1.7k) 🔥 -Krampus!Anselm punishes you (CNC) 🌟 Anselm w/ shy or awkward reader ♾️ 🎃 My Girlfriend is a Ghost (~2k)🔥 Little fic about Anselm getting his nails done Sympathy for the Devil (1.5k)🔥 -not-so-anonymous sex Anselm w/ asexual!reader HC- Medical Attention -Anselm w/ a Paramedic s/o (request) HC- Shooting w/ the Safety Off -when you tell Anselm you're pregnant Are You Scared of a Virgin? (~1k) -You're a virgin. Can Anselm handle it? Roman Empire (~1.3k) -Anselm appreciates your baking skills and makes sure others do too. NSFW Anselm Alphabet 🔥 In the Middle (Anselm x reader x Santiago Garcia, ~3k) Nothing Less Than This ( Anselm x reader x Santiago Garcia, ~2.2k) -Two men in competition for you, until you all discover you're better off together Blurb- Shady Ex -That one, horrible ex is back in your life. Anselm takes care of it. One Shot- My Greatest Asset♾️ -Anselm demands you are respected. One Shot- Romance & Death♾️ -You teach Anselm that he's been goth his entire life

Anselm gets high Anselm w/ so who has chronic pain Anselm w/ so feeling his scars Idea about Anselm & MK w/ Layla Meeting

This is, I think, my very first post about Anselm.

someone, reading my writing: wow great story!

me, sticking my hands in the plotholes: thanks it has pockets :)

Perhaps, Perhaps, Perhaps - CHAPTER 5 (Something's Gotta Give)

Noir!Jake Lockley x WOC Lounge Singer!Reader

written in collaboration with + header by @mrs-lockley

chapter 1 chapter 2 chapter 3 chapter 4

cross-posted to ao3

tags: late 1940s Noir AU, Reader is WOC coded but with no physical description besides being slightly taller than Jake while wearing heels, no use of Y/N, brief mention of past injury, spanish translation at end (courtesy of @queerponcho, thank you beloved)

wc: 3.4k

fic summary: Of all the gin joints in all the world, Jake Lockley walks into yours. Unfortunately for him, it's not quite the start of a beautiful friendship.

chapter summary: immovable object? the unstoppable force would like a word.

__________

As far as peace offerings go, it’s not the worst.

At least, that’s what you’ve told yourself as you stand outside your neighbor’s apartment, your fist failing to close the distance and knock. In one hand you hold a plate of pastries you’d bought earlier. Hopefully it’s enough.

Before you can raise your hand again, the door whips open. 

Leah Mendoza, ever the force to be reckoned with, stands with arms akimbo and eyebrow raised. “Quit shuffling your feet and come inside, nena.”

You oblige wordlessly. Crossing the threshold, you immediately feel the warmth of her apartment embrace you. Not that she’s escaped the chill that plagues your building; Leah is an artist, and every flat surface serves as either canvas or easel. Most spaces are covered in surreal portraits and near-magical icons, her handiwork displayed as a gorgeously chaotic gallery. Sunlight streams through gauzy curtains to feed sprawling plants and attempts to warm the richly colored rug beneath your feet.

You leave your shoes at the door and hold out the platter, smiling sheepishly. “Hope you still have a sweet tooth.”

“It's been so long, I'm surprised you remember.” Despite her playfully icy tone, Leah’s expression warms as she peeks at the pan de mallorca you hand over.

“...But I suppose going five blocks out of your way for breakfast makes up for it.” She nudges you with her hip before escorting  you to the kitchen.

“Look what the cat dragged in, Caro,” Leah calls out to the seating area as she pours two mugs of coffee. You see your other friend’s smiling eyes light up at the sight of you.

“Ohhh, it’s been ages!” she squeals as she rushes to your side, tackling you with an enthusiastic hug.

Caroline Ngo, the youngest of your trio, has always brought a much-needed energy to your time together. When she and her parents moved in, you and Leah decided to adopt her into your early morning ritual of coffee and gossip. As her rosy cheeks beam up at you, you’re (a bit selfishly) grateful that she’s delayed her college applications by a year. You’re not ready to part with your other baby bird just yet.

Still, you pry yourself from her grasp. “Something tells me you had an early start on the coffee.”

“Maybe,” she drawls as she saunters away. Leah passes you a steaming mug, prepared just the way you like it.

The three of you sit, sipping and smiling as the room grows brighter with the sunrise. Leah regales you with the results of her latest art show; Caroline badgers you for updates about Mauricio, dimpled cheeks flushed as she speaks. For a few moments, everything feels like it used to.

Leah finishes her pastry and turns to you. “So, ‘Ms. Songbird’. How are you?”

You shrug, dismissive. “Oh, you know. The usual.”

“No, I don’t know. You haven't been around for us to see your ‘usual’.” Leah's voice is measured, but she’s clearly frustrated. “Can you tell me the last time we've heard more than a ‘good morning’ from you? Or were together for longer than an elevator ride to our floor?”

You chuckle nervously. “Goodness, maybe… August? September?”

“June.” She sips her coffee before setting it down. “Are things really so busy at work that you can't spare a moment for us anymore?”

If only you knew.

“I'm sorry, ladies. Truly. But things have been picking up at the lounge, I've even had to get outside help–”

“Ah yes, the altar boy lawyer.” Leah shakes her head. “I thought you were done with him.”

“‘Done with him?’ Leah, he's my friend.”

“Oh, I recall. So good a friend that he lets you ice his bruises and clean his cuts.” She crosses her arms. “So good, he's even bringing new friends with the same scrapes to your door.”

“The other night was an emergency–”

“How long are you going to run around with that kind of crowd?” Her voice bites. “Believe me, I know my share of the nightlife. But every time you bring home some broken man, a load of trouble seems to follow.”

This is not where you saw the morning going. “I thought we were spending time together, not berating the company I keep.”

“Please don't be upset,” Caroline pleads, taking your hand from her seat on the floor. “We miss you. You haven’t been home in weeks,” she laments. “At least, not for more than a couple of hours.”

You shift in your seat but give her hand a light squeeze. “I've missed you, too.”

“Then do something about it.” Leah gets up, crossing the room to distract herself with more coffee but then doubles back to look you in the eyes.

“You know my gut is never wrong, nena. And I wouldn't be a good friend if I didn't speak my mind.”

You brace yourself as she continues. “You can spend your nights hiding behind your Songbird persona and running the lounge, but don't be surprised if the cage you're building around yourself is locked from the inside.”

With that, she turns on her heel and heads back to the kitchen, leaving you and Caroline in silence.

Slowly, Caroline slides into Leah’s empty seat, her hand still on yours.

“... I always liked your stage name.”

You don’t say anything, instead letting your eyes trail through the patterns on the rug.

She scoots closer. “Leah’s just looking out for you. Like always.”

“I know, Caro.”

You feel her head rest on your shoulder. Tough love has always been Leah’s strong suit; as hard as you are on your boys, it’s bush league compared to your friend.

Caroline’s next words are low, whispered just loud enough for you to hear. “I know that man you were helping.”

You look down at her, dumbfounded. “Really? You know Jake?”

She sits up, eyes wide again. “Well, not technically. I never learned his name. But when he was leaving your apartment, I recognized his face.” Her small smile grows as she speaks. “There were days I’d stay out late after school, and I’d catch a ride from him sometimes. He’s really kind, not like some of the other cab drivers.”

Concern suddenly sweeps across her face. “Is he going to be alright?”

You think back to the morning he left your apartment: his bruises, your stitches, the blood that still stained his coat…

His hand on your hand, your face…

You don’t feel your fingers grazing the apple of your cheek until you hear Caroline giggle. Your hand drops to your lap as your face warms. “He’ll be fine. If he wised up and saw a real doctor, that is.” You shrug, reaching for your coffee.

“You care about him,” she teases.

“Oh, come off it,” you huff, nudging her leg with yours.

“And he obviously cares about you!” She squeals, lowering her voice when Leah turns her head toward the noise. “I saw him leave your apartment, but he stood there for ages, staring at your door.” Her grip on your hand grows unbearably tight. “What happened that night?”

You’ve been asking yourself the same question from the moment he left you standing in a bloodstained gown, your apartment colder without him. Since then, there hasn’t been a moment where you’ve been free from the memory of his face.

“I did him a favor. And… he may have done one for me, too.”

__________

Jake Lockley is man enough to admit when he’s been beaten.

In this case, he's absolutely won over. Head-over-heels, and at your mercy.

Maybe years from now, society adopts stricter rules for how soon you should call on a lady. Even today, some would advise against showing your hand too early. Some men wouldn’t want to seem too eager, too desperate.

But Jake Lockley is not a liar.

If “desperate” is the word for the incessant drumming in his chest each time you come to mind; if it’s what has him cutting corners and driving recklessly, ushering customers along at double the pace so his thoughts can return to you; if it’s why his palms sweat and nerves ache at the memory of your face that night, that morning… then Jake Lockley is desperate.

It’s hardly been a day and a half since he left your apartment, cold and injured. The suit stitched him back together in seconds; the only ache that remained was at the thought of you. You, who scooped him off the pavement and took pity on him. Who stained your hands with his blood to make it stop. You, who set his skin on fire with the smallest touch and had him convinced he would burn with or without it.

Screw the three day rule. He has to see you.

Hot under the collar, Jake now sits at the bar– your bar, long before normal business hours. Next to him is Matt, whose face hasn’t untwisted from the wry grin he’s had from the moment they met up.

“It’s like a jackhammer,” he chuckles into his glass, dodging Jake’s backhand swing.

“Can it, Murdock.” Jake’s hand returns to his own drink. Downing the rest, he raises his glass to the bartender. “Top me off, Mr. Manalo.”

Teddy obliges with shaking hands. He scoops up the bills Jake slides his way before dashing off. The two men had asked for privacy, and he’s determined to stay in their good graces.

Jake knocks back the new drink, swiping the excess from his lip as Matt’s laughter grows louder.

“You really need to calm down.”

“That’s what this was for,” Jake retorts, shaking his glass so the ice clinks against the edge. It’s doing him little good, though; from the moment he snuck in here that stormy night, he knew The Paper Moon as an extension of you. Even with the house lights up and nobody onstage, the lounge makes his heart race as quickly as if you were right beside him.

Matt claps a hand on his shoulder. “You’ll be alright, you’ve been through worse.”

“Yeah,” Jake snorts. Matt’s quiet for a suspicious amount of time. “What’s on your mind, Murdock?”

“What’s on yours?” Telltale concern creeps into his voice. “How are things up there lately?”

Jake smirks, the expression not reaching his eyes. “Oh, you know. Loud… and quiet, in all the wrong ways.”

“Seems quieter than before.”

“Yeah?” Jake cocks an eyebrow. His mind doesn’t feel quieter, not the way it should. Khonshu’s been on his ass more often, doubling down when his thoughts dare to drift to anything besides the mission at hand. The god throwing a tantrum has become one of the few guarantees that remain.

“I mean it,” Matt reassures him. “It’s like night and day from when you returned stateside.” 

Jake stirs the ice in his glass, tempted to hop the counter and refill it himself. It takes everything in him to repress the memory of “before,” to not think of the bloody business in El-Alamein. To forget when the occupancy of his mind dropped from three to two.

“Must be the good old American soil.” His sneer drops as he considers his next words. “... or the fool of a pro bono lawyer I managed to snag.”

“Maybe,” Matt says. “Or it could be the little bird that's caught your ear.”

Before Jake can respond, a pair of footsteps cross onto the stage behind them.

He turns to see you and Mauricio, backs to the house, talking in rushed succession as you survey the stage. You’re in a blouse and trousers, your movements easy and unrehearsed despite the growing exasperation in your voice. 

“Maurie, I don't care how Leo feels the lights bounces off his new mustache wax, unless he can't follow my cues he's staying stage left. And–”

“No days off for you, are there?”

When you turn you see Jake, hat in hand and standing a few steps from the bar, as if he’d walked toward you but stopped halfway up the aisle. You can’t place the look on his face, but you're nevertheless pinned under the gaze of his now-healed eyes shining up at you.

“JAKE!” Mauricio startles you when he shouts, leaping off the stage to clasp hands with the older man.

“Hermano,” Jake chuckles, pulling him into a quick hug before letting go. “¿No te andas metiendo en problemas, eh?” 

“¿Parece que tu eres el que anda causando problemas, ey botero? ¿De dónde salió esa cicatriz?" Mauricio leans in, examining the pale line running through Jake’s eyebrow with awe.     

“Ah, just a scratch.” Jake shrugs as he brushes past him to approach the stage and offers his hand as you step down. You accept, hoping he doesn’t notice the slight tremor in your grasp.

“Leave the man alone, Maurie,” you chide, nodding your thanks and holding back a laugh. As much as Caroline fawns over you, Mauricio seems to do the same to Jake whenever their paths cross. It helps that he plays along.

As the three of you walk back to the bar, you notice Matt dial in to something and smile– far from his normal reaction. 

“I’m afraid I can’t offer you more than another drink, I have an appointment with Matthew this afternoon.” You cross over to your friend, whose smile only grows as you draw closer. But you brush it off, still focused on Jake.

“Actually,” he starts, his hand sliding into his pocket, “I was hoping to cut in on your consult time for a moment. That alright with you, doll?”

Matt clears his throat. “Mauricio, can you take me backstage? I should start unpacking this file.”

The drummer perks up. “Sure! But the band’s getting ready to play some poker… you feel like teaming up again? We can split the pot like usual.”

“Even better,” Matt grins. “Lead on.”

He gathers his portfolio and walking stick to follow. If you didn’t know better, you’d swear you could see a moment of panic flicker across Jake’s face.

It’s replaced in a flash with his usual smirk. “Sure you want to risk your pocket change, Matty?”

“If all my clients paid like you do, I'd be out of a job.” He collects himself and follows Mauricio’s footsteps, turning to Jake and mouthing “jackhammer” with a hand to his chest when he’s behind you.

Their footfalls fade and it’s just the two of you at the bar. You take a seat, drumming your fingers on the surface to soothe your nerves. Jake sits beside you.

“You look better.” You notice the scar Maurie was talking about: his former head wound is free of your haphazard stitches, instead healed into a light dash through his dark brow. “But I told you that would scar.”

He shakes his head, brushing his fingers past the spot. “I kinda like it. Gives me an edge,” he chuckles. Maybe Khonshu hadn’t healed his face the way he normally would as some sort of lesson. Joke’s on him.

“How did… I mean, you look really good, how did you recover so quickly?” Now that you’re closer, you realize there’s no sign he was hurt just two days ago. If not for his scar, you could pass that night off as some sort of dream.

“You told me to see a doctor, didn’t you? Looks like I’ve got the best one around.” 

You eye him, not sure what to think. “... yeah, alright.”

Your fingers drum the bar again. Maybe that night knocked all of Jake’s suave confidence from his head: when he’s not speaking (something you’re still not used to), he looks like a child about to lose his lunch. For all his urgency a few minutes ago, he’s taking his sweet time getting to the point.

Finally he sits up straight and takes something out of his pocket. “Here. For you, morena.”

A small black box slides toward you, stopping at your restless fingers. You raise an eyebrow quizzically, a familiar warmth spreading across your cheeks.

“A present? Didn’t take you for the ‘holly-jolly’ type.” You pick up the box, feeling its velvet casing and fighting back a smile.

“Nah, not really a Christmas guy myself. But I figured you could use a pick-me-up.” Jake crosses one arm along the bar, propping his chin in his other hand as he watches you open the box.

Inside, you see a delicate gold chain with a charm fastened to its middle: a small bird with its wings spread, intricate designs etched into its surface.

“Oh my…” You look back at Jake, who seems to have been holding his breath as you examine your gift. 

Your slowly unfolding smile is all the reward he could ask for, breathless laughter pushed from his chest with relief. “For the songbird,” he casually declares, relief mixing with pride at your reaction.

You take the necklace out and hold it to the light. “It’s beautiful,” you sigh. You undo the clasp and try to put it on yourself, but your fingers can’t seem to make it fasten.

“Allow me,” he says quickly, standing to move behind you and assist.

You feel his hands take over and drop your own in your lap. His knuckles brush the back of your neck and it takes everything in you not to shiver. The smell of smoke and spice dances on your senses, pulled away all too soon when he moves to stand in front of you.

“There,” he breathes, eyes going from the pendant draped below your collar to your eyes. “Looks perfect.”

Your fingers grasp the cool metal as you nod. “Looks perfect.” 

Silence falls again. You’ve come to hate the sound of nothing when you’re with him.

Jake’s the first to break it. He sits back down, his next words like a punch to the gut. “You know, now that I’m not driving Wesley around… I won’t have to take up space at your back table anymore.”

“Oh. No, I suppose not.” You toy with the charm around your neck. “So is this… goodbye?”

“That depends,” he says cautiously.  He turns to you, eyes swimming with the same unfamiliar mix of emotions from before. “Do you want it to be?”

Your fingers leave your neck as you meet his gaze. “Don't say you're going all soft on me, cabbie.”

“What if I was?” He leans forward, and for the first time you don't back away.

“Cards on the table: I haven't stopped thinking about you.”

That makes two of us. You bite your tongue to let him continue.

“Morena… would you ever want to get out of here? Just you and me, call it a truce or a… a date.” A smile plays on his lips before his brow creases. “I won't badger you after today, just… one way or another, put me out of my misery.”

The wings of the charm feel heavier with the weight of his confession. Hand to your heart, you feel the bird again, this time with Leah's warning running through your mind.

“I suppose a truce wouldn't hurt.”

When he smiles, wider than ever, you see the charming gap in his teeth. And you smile, too.  You both laugh, the heated stress in your nerves turning to effervescent relief.

You could spend an hour like this. But when you hear shouts of frustration and a bilingual litany of choice words echo from backstage, you know you have to go put out a different fire.

“I should make sure Matthew isn't in trouble,” you sigh, standing to straighten yourself.

“If I know Matt, he's the one causing the trouble.” Jake stands with you, desperate for this moment not to end but anxious for your next answer. “So when can we–”

“Sunday night,” you cut him off, starting to back away toward the stage. “I'll figure out how to slip away, but meet me under the sign at 9.”

You move to rush toward the stage at another outburst, but Jake's hand catches yours yet again.

“You can't keep doing that,” you groan, yet with a smile still on your lips as he tugs you back toward him.

“You're the boss,” he hums, pressing his lips to the back of your hand– the gesture all too routine, but you're ready to admit you've missed it.

He releases your hand and dons his cap, tipping it to you. You laugh again, a rich and easy sound he'd never tire of hearing. You bow slightly and dash backstage, with Jake's voice calling to you as you leave.

“See you Sunday, Songbird."

__________

“¿No te andas metiendo en problemas, eh?” - Not getting yourself into any problems, eh?

“¿Parece que tu eres el que anda causando problemas, ey botero? ¿De dónde salió esa cicatriz?" - Seems like you’re the one causing troubles, hey cabbie? Where did that scar come from?

note: in-universe Jake is Guatemalan and Mauricio is Cuban; as a non-spanish speaker, please let me know how i can improve in the future!

A/N: i've missed these two!! this chapter was a doozy but i'm so happy to have gotten back on track. i won't say PPP is on hiatus (we never had a promised release schedule) but after i take a wee break from writing, i'm set on finishing my Moon Knight Bingo prompts before 4/30 + starting on my OI fanzine entries (!!! exciting times). but if inspiration strikes before i finish, i certainly won't complain.

ty for reading!!

tag list: @my-secret-shame-but-fanfiction @mercurysjoy, @importantnightwerewolf, @cupidysm, @queerponcho, @nerdieforpedro, @fandxmslxt69, @shadystarlightgentlemen, @lunar-ghoulie, @casa-boiardi (lmk if you'd like to be added to/removed from this wee tag list)

Words for Skin Tone | How to Describe Skin Color

We discussed the issues describing People of Color by means of food in Part I of this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!

This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.

Standard Description

Basic Colors

Pictured above: Black, Brown, Beige, White, Pink.

“She had brown skin.”

This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.

Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.

Complex Colors

These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.

Pictured above: Umber, Sepia, Ochre, Russet, Terra-cotta, Gold, Tawny, Taupe, Khaki, Fawn.

Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.

For example: Golden brown, russet brown, tawny beige…

As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.

“He was tall and slim, his skin a russet, reddish-brown.”

Comparisons to familiar colors or visuals are also helpful:

“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”

Modifiers

Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.

Dark - Deep - Rich - Cool

Warm - Medium - Tan

Fair - Light - Pale

Rich Black, Dark brown, Warm beige, Pale pink…

If you’re looking to get more specific than “brown,” modifiers narrow down shade further.

Keep in mind that these modifiers are not exactly colors.

As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker, deeper brown. I turn a pale, more yellow-brown in the winter.

While best used in combination with a color, I suppose words like “tan” “fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.

Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)

Undertones

Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.

pictured above: warm / earth undertones: yellow, golden, copper, olive, bronze, orange, orange-red, coral | cool / jewel undertones: pink, red, blue, blue-red, rose, magenta, sapphire, silver. 

Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.

As shown, there’s a difference between say, brown skin with warm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).

“A dazzling smile revealed the bronze glow at her cheeks.”

“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”

Standard Description Passage

“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”

-From my story “Where Summer Ends” featured in Strange Little Girls

Here the state of skin also gives insight on character.

Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.

Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.

Creative Description

Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.

I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.

Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-prose-like, so do what feels right for your writing when and where. Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.

Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.

Natural Settings - Sky

Pictured above: Harvest Moon -Twilight, Fall/Autumn Leaves, Clay, Desert/Sahara, Sunlight - Sunrise - Sunset - Afterglow - Dawn- Day- Daybreak, Field - Prairie - Wheat, Mountain/Cliff, Beach/Sand/Straw/Hay.

Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.

When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.

So consider your character and what you see fit to compare them to.

Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.

“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”

“She had a sandy complexion, smooth and tawny.”

Even creative descriptions tend to draw help from your standard words.

Flowers

Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose

It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists. 

You’ll definitely want to avoid purple-prose here.

Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.

“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”

Assorted Plants & Nature

Pictured above: Cattails, Seashell, Driftwood, Pinecone, Acorn, Amber

These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.

At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone.“ 

I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.

“Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”

I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.

I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.

Wood

Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash

Wood can be an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.

Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.

“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”

Metals

Pictured above: Platinum, Copper, Brass, Gold, Bronze

Copper skin, brass-colored skin, golden skin…

I’ve even heard variations of these used before by comparison to an object of the same properties/coloring, such as penny for copper.

These also work well with modifiers.

“The dress of fine white silks popped against the deep bronze of her skin.”

Gemstones - Minerals

Pictured above: Onyx, Obsidian, Sard, Topaz, Carnelian, Smoky Quartz, Rutile, Pyrite, Citrine, Gypsum

These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.

If you use these, or any more rare description, consider if it actually “fits” the book or scene.

Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.

“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.” 

Physical Description

Physical character description can be more than skin tone.

Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.

Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.

How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…

General Tips

Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.

Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.

Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.

Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).

PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please. 

Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.

Want some alternatives to “skin” or “skin color”? Try: Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.

Skin Tone Resources

List of Color Names

The Color Thesaurus

Skin Undertone & Color Matching

Tips and Words on Describing Skin

Photos: Undertones Described (Modifiers included)

Online Thesaurus (try colors, such as “red” & “brown”)

Don’t Call me Pastries: Creative Skin Tones w/ pics I 

Writing & Description Guides

WWC Featured Description Posts

WWC Guide: Words to Describe Hair

Writing with Color: Description & Skin Color Tags

7 Offensive Mistakes Well-intentioned Writers Make

I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!

~ Mod Colette

Ousmane Sembène, Senegalese director and father of African cinema

"It is good to be at Cannes, but I wish Africa would create something of its own. We should not be eternal guests. It is up to us to create our own values. To recognize them and to carry them throughout the world." —Sembene! (2015)

Clips from Caméra d'Afrique + Sembene! (2015)

psa clint isn’t joel miller and if you’re flattening him into a joel archetype we need to talk about race again

i’m aware they both wear plaid, have a daughter, battle with grief, and are hot covered in blood and enacting violence

this isn’t a callout i just don’t remember where i saw these specific posts about the red handkerchief and clint as a ‘blue collar’ man. but i know i’ve seen plenty of clint = joel posts floating around. 

AND i wasn’t going to say anything bc i thought i was just being gatekeepy bc i didn’t wanna see clint get the dbf treatment which would be my personal problem and i can happily write about him on my own blog how i want etc etc and i know i don’t have to read anyone else’s takes BUT then i thought about it and once again…it’s always about race… re: the post i saw somewhere about someone having a head canon about clint having a red handkerchief as a snot rag - sorry i forgot where i saw it and this isn’t an attack on whoever wrote that, but an fyi to anyone thinking about him the same way… if you’re writing a latino man in 1987 oakland—especially someone working street-level jobs or tied to criminal economies—and you think a red bandana is just a ‘snot rag,’ you’re missing major context

fyi, in 1987, color politics were not optional if you were a man of color in california. even though bloods (red) and crips (blue) originated in LA, their color codes and the larger gang culture around them were already known across the state. in northern california specifically, norteños (tied to the nuestra familia prison gang) wore red. their rivals, sureños (tied to the mexican mafia), wore blue. 

who cares? well, even though oakland wasn’t dominated by bloods and crips the way LA was (in part due to the black panthers), it had its own street crews, plus a heavy norteño/sureño influence by the mid-80s. even outside organized gangs, the association between red and gang affiliation was strong enough that wearing a red bandana could get you profiled, targeted, or attacked—by cops, by other crews, or by random people trying to read your allegiance.

if you were a latino man in oakland in the 80s—like clint—you wouldn’t carry a red bandana by accident. it would be flagging. even if you weren’t affiliated. as a street smart guy, survival would mean being hyper-aware of how you present yourself, especially in neighborhoods policed by gang dynamics and racial profiling. cops would use color displays like a bandana as probable cause for harassment searches or worse during the height of the ‘war on drugs’ and the crack epidemic. 

characters like clint—latino, working-class, street-adjacent—would have understood the consequences of being read wrong. this doesn’t mean no one ever had cloths, handkerchiefs, or functional rags. it means the color and the way you carried it mattered: what pocket, what visibility, how deliberate it looked.

throwing a red bandana in your pocket wasn’t neutral. it wasn’t folksy. it wasn’t just blue-collar roughness. it was a risk, and survival was about reading the street, not walking through it like color codes didn’t apply to you.

clint wouldn’t casually rock a red bandana like a cowboy. latino men have never had the privilege of being casual about how they're read in public, especially not in a city like oakland, especially not in the 1980s.

re: clint as a ‘blue collar’ character there’s a difference between being ‘blue collar’ and being trapped in criminalized labor. wearing a plaid shirt and working with your hands doesn’t automatically make someone a blue-collar worker in the traditional sense. 

blue collar historically refers to wage labor—construction, manufacturing, trade work—where the worker is paid (poorly) but still operating within the boundaries of legal employment. union jobs. often unionized labor, tied to systems that, at least in theory, protected workers through collective bargaining, benefits, and job security. those protections were never equally available, especially to workers of color, but they existed as part of the larger working-class structure. 

clint’s labor isn’t protected. it isn’t recognized. it’s criminalized. he’s not just a man doing rough work for low pay—he’s disposable labor, surviving in a system that sees him as expendable from the start. calling him ‘blue collar’ erases the fact that he’s not inside the working class safety net. he’s on the outside, paying off debt with violence he didn’t choose.

it carries a specific context of class exploitation, yes, but it’s still different from the kind of criminal coercion characters like clint are caught in.

clint is not a proud working man making an honest living. his entire arc in freaky tales is about being forced into violent labor to pay off inherited debt he had no choice in. he is not rough and gritty because he chose a rugged life. 

he is rough because he was born into a system designed to keep him indebted, desperate, and expendable. he’s not working a blue collar job—he’s surviving in a criminal economy that feeds off people like him, using violence he doesn’t even want to enact just to stay afloat.

flattening clint into a vague ‘marlboro man’ archetype (joel coded)—rough clothes, kind heart, good intentions—it strips away everything sharp and painful about his actual story. it whitewashes the complexity of being a latino man criminalized by birth and survival, not by choice. it reframes his struggle as a generic americana fantasy about working-class virtue, when what’s actually at stake is how structural violence forces people into roles they never asked for.

especially when it’s a latino character, this flattening isn’t neutral. it erases the realities of racialized labor, racialized criminalization, and survival. clint’s tragedy isn’t that he’s a gruff tough guy with a soft interior. his tragedy is that he was forced to become violent in order to pay off a life he was never allowed to own, and he carries that weight without any guarantee of getting free.

you can’t understand clint if you don’t understand that. and if you’re not willing to sit with that discomfort, what you’re writing isn’t really him—it’s just a projection of a character he was never allowed to be.

clint and joel might overlap in aesthetics, being single girl dads, and physical strength—but reducing clint to a copy of joel misses everything that actually defines who he is, and why his story matters.

joel miller is a texas man—a man shaped by frontier mythology, southern survivalism, deep mistrust, and violent individualism. he is, by his own admission, a man whose grief and guilt hollowed him out so badly that even his brother was scared of him. he’s not just traumatized; he’s actively dangerous, closed off, and isolated. his story is about losing his humanity and clawing parts of it back, maybe too late.

clint is not that. clint is an oakland man—east bay, west coast, working-class and criminalized, not because he chose violence but because he was born into debt he could never pay off. he’s an underdog, not an antihero. 

he’s soft with his woman, he lights up under her attention. he’s goofy in the video store with the clerk. he’s not some hardened loner who scares everyone around him. he’s just a man trying to survive a system that was designed to use him up.

when you flatten clint into joel, you’re misreading two characters with different emotional cores and fetishizing the aesthetics of pain and ruggedness while ignoring race, class, place, and survival context.

clint isn't a texas cowboy. he’s not steeped in frontier violence or manifest destiny myths. he’s a west coast underdog who knows every step he takes could get him crushed, and he still tries to protect the people he loves without letting it rot him from the inside out.

the tragedy of joel is that the world took everything from him and he let it turn him into something colder, crueler.

the tragedy of clint is that the world gave him no choice- he says he was born into breaking bones to pay off his father’s debt, and he still tries to hold onto his softness anyway.

if you can’t tell the difference, you’re not seeing clint, you’re just projecting a fetishized joel trope onto another character…