Last Updated  → 23/10/18

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How to write a kiss

Rebloggable version, as requested by davrosbro. :)

Oooh!  Yes!  I love kisses.  Kisses are where it all starts ;).

Okay, first, remember that kiss is much, much more than just lips.  It is lips, but also tongues, teeth, eyes, faces, hands, noses, bodies, heartbeats,  breath, voice- and most importantly, a kiss is emotions.  A kiss without emotion is just wet mushy lips stuck together.  Ew.  Gross.  The most important part of a kiss isn’t the how, but the who- because of the emotions between the two people.

Okay so:

lips- Lips can slide, glide over each other smoothly, or they can be chapped and rough and dry and get stuck on each other.  They can match, top-to-top and bottom-to-bottom, or they can overlap, with one person’s top or bottom lip captured between the other person’s lips (yummy).  If there is lipstick or chapstick there is lipstick or chapstick flavor, otherwise, lips don’t have a taste (can you taste yours?).  Lips also can smack- the sound of two of them coming together or pulling apart, because they’re wet and warm and soft. 

tongue- Tongues are always wet, and always warm.  They’re very versatile.  They can trace over lips, teeth, or another tongue.  They can be smooth and graceful or teasing and flicking.  When tongues are involved, there is drool.  It’s only sexy when you like the person you’re kissing, or else it’s kinda gross. :P

teeth- teeth can clack together awkwardly, or teeth can bite down sensually.  A person biting their own lip is cute, a person biting another’s lips is sexy.  A person biting gently is sensual, a person biting roughly is sexual. 

eyes- Eyes can be wide open with surprise, half-lidded with desire, fully closed with pleasure.  Eyes can gaze lovingly, lustfully, wistfully, hungrily, seductively- it all depends upon the emotions of your characters.  Have them do whatever you like, but don’t leave them out- give them at least a mention!

faces- Faces are what the lips are attached to.  Noses bump, cheeks flush, ears turn red, foreheads either wrinkle or relax.  Kisses can leave lips, quite easily, and become kisses on chins, cheeks, noses, foreheads, ears, necks, throats.  Kisses on noses or foreheads are cute and adorable, kisses on cheeks are sweet, kisses on chins, ears, and throats are very sexual.  And a kiss on the lips can be all of those! <3

hands- Hands are super-important.  In order to describe a kiss, usually you want to also describe the hands.  Where are they?  Does one character have on on the back of the other’s head or back, holding them close?  Are they on someone’s shoulders pulling them near, or pushing them away?  Fingers brushing someone’s cheek or palms grabbing someone’s ass convey two very different kinds of situations, even if the kiss itself is exactly the same.

noses- Noses are annoying.  They easily get in the way, especially for first kisses!  People have to tilt their head to one side or the other, and if they don’t, noses bump.  I’d only mention noses if a kiss is supposed to be awkward or uncertain or nervous.

bodies- bodies are either close together, or far away.  Someone can be surrounded comfortingly by someone’s arms, or terrifyingly trapped by them.  Bodies are warm or hot, they are calm or nervous, relaxed or tense.  Body language says a lot.  Is your character pulling away, or moving closer?

heartbeat- Hearts can beat fast or slow, and that’s about all they can do- but there are lots of reasons why they do!  A heart can beat fast with fear or excitement or nervousness; a heart can pound with lust or race with terror or sing with joy.  Hearts can glow, cower, or shatter.  When you really want to drive the emotions of a character home, mention the heart.

breath- To me, the most consuming part of a kiss is the breath.  The air that someone else has just breathed going deep into your lungs is very intimate.  Lips and tongues don’t have a taste, but breath does.  Each person’s breath tastes different, smells different, and surrounds a person differently than anyone else’s breath.  Breath can be warm and sweet, breath can be hot and sexy, breath can be hot and frightening.  It is something that is very present and should not be left out.  A lot of writers leave breath out.  And it’s so important; it’s the most intimate part of a kiss.  Someone else is breathing into your lungs, and it’s either heaven or it’s hell.

voice- Voice conveys much, even without words.  A voice can groan, whimper, gasp, moan, catch, whine, scream, sigh.  Voice can convey emotion powerfully, and while some kisses are silent, usually they’re not. 

emotion-  Emotion is the most important- and the thing you try not to say.  You want to describe it, through all of the things above, so that it’s perfectly clear what your characters are feeling, without you ever using the “feelings words”.  If they’re in love, their bodies will lean close, their eyes will smile, their voices will giggle softly.  If they’re nervous, their palms will sweat, their noses will bump, their voices will shudder.  If they’re afraid, their muscles will be tense, their faces will grimace, their lips will not open.  Emotion is the color that you keep inside your mind as you write; it’s the base line that drives the description behind everything else you say.

Wow, that was a lot!  Gosh I hope it wasn’t too much!  Keep in mind not every kiss has all these things- this is just a list of things to consider when writing a kiss, and based on how long of a kiss you want to make.  Keep in mind that typing “they kissed for a long time”…that’s six words, it takes half a second to read, so that’s a short kiss!  If you want a long kiss, you need long sentences that make the reader linger. 

So maybe to start off, pick three things on the list to describe in your first kiss.  Don’t try to do it all- that would be too much for even the most epic kiss.  Just pick what’s most important to this particular scene, to these particular characters, and describe those parts along with the lips, and you’ve got yourself an awesome, emotional kiss. <3

Body Language: Eyes

So I stumbled across this really useful thing which I use for writing and wanted to share it with you all.

(source: changingminds.org)

The eyes are often called, with some justification, ‘the windows of the soul’ as they can send many different non-verbal signals. For reading body language this is quite useful as looking at people’s eyes are a normal part of communication (whilst gazing at other parts of the body can be seen as rather rude). When a person wears dark glasses, especially indoors, this prevents others from reading their eye signals. It is consequently rather disconcerting, which is why ‘gangsters’ and those seeking to appear powerful sometimes wear them.

Looking Up

When a person looks upwards they are often thinking. In particular they are probably making pictures in their head and thus may well be an indicator of a visual thinker.

When they are delivering a speech or presentation, looking up may be their recalling their prepared words.

Looking upwards and to the left can indicate recalling a memory. Looking upwards and the right can indicate imaginative construction of a picture (which can hence betray a liar). Be careful with this: sometimes the directions are reversed — if in doubt, test the person by asking them to recall known facts or imagine something.

Looking up may also be a signal of boredom as the person examines the surroundings in search of something more interesting.

Head lowered and eyes looking back up at the other person is a coy and suggestive action as it combines the head down of submission with eye contact of attraction. It can also be judgemental, especially when combined with a frown.

Looking Down

Looking at a person can be an act of power and domination. Looking down involves not looking at the other person, which hence may be a sign of submission (‘I am not a threat, really; please do not hurt me. You are so glorious I would be dazzled if I looked at you.’)

Looking down can thus be a signal of submission. It can also indicate that the person is feeling guilty.

A notable way that a lower person looks down at a higher person is by tilting their head back. Even taller people may do this.

Looking down and to the left can indicate that they are talking to themselves (look for slight movement of the lips). Looking down and to the right can indicate that they are attending to internal emotions.

In many cultures where eye contact is a rude or dominant signal, people will look down when talking with others in order to show respect.

Looking Sideways

Much of our field of vision is in the horizontal plane, so when a person looks sideways, they are either looking away from what is in front of them or looking towards something that has taken their interest.

A quick glance sideways can just be checking the source of a distraction to assess for threat or interest. It can also be done to show irritation (‘I didn’t appreciate that comment!’).

Looking to the left can indicate a person recalling a sound. Looking to the right can indicate that they are imagining the sound. As with visual and other movements, this can be reversed and may need checking against known truth and fabrication.

Lateral movement

Eyes moving from side-to-side can indicate shiftiness and lying, as if the person is looking for an escape route in case they are found out.

Lateral movement can also happen when the person is being conspiratorial, as if they are checking that nobody else is listening.

Eyes may also move back and forth sideways (and sometimes up and down) when the person is visualizing a big picture and is literally looking it over.

Gazing

Looking at something shows an interest in it, whether it is a painting, a table or a person. When you look at something, then others who look at your eyes will feel compelled to follow your gaze to see what you are looking at. This is a remarkable skill as we are able to follow a gaze very accurately.

When looking at a person normally, the gaze is usually at eye level or above (see eye contact, below). The gaze can also be a defocused looking at the general person.

Looking at a person’s mouth can indicate that you would like to kiss them. Looking at sexual regions indicates a desire to have sexual relations with them.

Looking up and down at a whole person is usually sizing them up, either as a potential threat or as a sexual partner (notice where the gaze lingers). This can be quite insulting and hence indicate a position of presumed dominance, as the person effectively says ‘I am more powerful than you, your feelings are unimportant to me and you will submit to my gaze’.

Looking at their forehead or not at them indicates disinterest. This may also be shown by defocused eyes where the person is ‘inside their head’ thinking about other things.

The power gaze is a short but intense gaze that is used to impose one’s will on another, showing power without aggression.

It is difficult to conceal a gaze as we are particularly adept at identifying exactly where other people are looking. This is one reason why we have larger eye whites than animals, as it aids complex communication.

People who are lying may look away more often as they feel guilty when looking at others. However, when they know this, they may over-compensate by looking at you for longer than usual. This also helps them watch your body language for signs of detection.

The acceptable duration of a gaze varies with culture and sometimes even a slight glance is unacceptable, such as between genders or by a lower status person.

Non-visual gaze patterns (NVGPs) involve rapid movements (saccades) and fixations while we are ‘inside our heads’, thinking. Rapid movements happen more when we are accessing long-term memory and fixations more when we are accessing working memory. This is useful to detect whether people are thinking about older events or recent events (or old events that are already brought to working memory).

Glancing

Glancing at something can betray a desire for that thing, for example glancing at the door can indicate a desire to leave.

Glancing at a person can indicate a desire to talk with them. It can also indicate a concern for that person’s feeling when something is said that might upset them.

Glancing may indicate a desire to gaze at something or someone where it is forbidden to look for a prolonged period.

Glancing sideways at a person with raised eyebrows can be a sign of attraction. Without the raised eyebrow it is more likely to be disapproval.

Eye Contact

Eye contact between two people is a powerful act of communication and may show interest, affection or dominance.

Doe Eyes

A softening of the eyes, with relaxing of muscles around the eye and a slight defocusing as the person tries to take in the whole person is sometimes called doe eyes, as it often indicates sexual desire, particularly if the gaze is prolonged and the pupils are dilated (see below). The eyes may also appear shiny.

Making Eye Contact

Looking at a person acknowledges them and shows that you are interested in them, particularly if you look in their eyes.

Looking at a person’s eyes also lets you know where they are looking. We are amazingly good at detecting what they are looking at and can detect even a brief glance at parts of our body, for example.

If a person says something when you are looking away and then you make eye contact, then this indicates they have grabbed your attention.

Breaking eye contact

Prolonged eye contact can be threatening, so in conversation we frequently look away and back again.

Breaking eye contact can indicate that something that has just been said that makes the person not want to sustain eye contact, for example that they are insulted, they have been found out, they feel threatened, etc. This can also happen when the person thinks something that causes the same internal discomfort. Of course, a break in eye contact can also be caused by something as simple as dried out contacts or any new stimulus in one’s immediate area, so it’s important to watch for other signals.

Looking at a person, breaking eye contact and then looking immediately back at them is a classic flirting action, particularly with the head held coyly low in suggested submission.

Long eye contact

Eye contact longer than normal can have several different meanings.

Eye contact often increases significantly when we are listening, and especially when we are paying close attention to what the other person is saying. Less eye contact is used when talking, particularly by people who are visual thinkers as they stare into the distance or upwards as they ‘see’ what they are talking about.

We also look more at people we like and like people who look at us more. When done with doe eyes and smiles, it is a sign of attraction. Lovers will stare into each others eyes for a long period. Attraction is also indicated by looking back and forth between the two eyes, as if we are desperately trying to determine if they are interested in us too.

An attraction signal that is more commonly used by women is to hold the other person’s gaze for about three seconds, Then look down for a second or two and then look back up again (to see if they have taken the bait). If the other person is still looking at them, they are rewarded with a coy smile or a slight widening of the eyes (‘Yes, this message is for you!’).

When done without blinking, contracted pupils and an immobile face, this can indicate domination, aggression and use of power. In such circumstances a staring competition can ensue, with the first person to look away admitting defeat.

Prolonged eye contact can be disconcerting. A trick to reduce stress from this is to look at the bridge of their nose. They will think you are still looking in their eyes.

Sometimes liars, knowing that low eye contact is a sign of lying, will over-compensate and look at you for a longer than usual period. Often this is done without blinking as they force themselves into this act. They may smile with the mouth, but not with the eyes as this is more difficult.

Limited eye contact

When a person makes very little eye contact, they may be feeling insecure. They may also be lying and not want to be detected.

In persuasion

Eye contact is very important for persuasion. If you look at the other person and they do not look back at you, then their attention is likely elsewhere. Even if they hear you, the lack of eye contact reduces the personal connection.

If you want to persuade or change minds, then the first step is to gain eye contact and then sustain it with regular reconnection.

Staring

Staring is generally done with eyes wider than usual, prolonged attention to something and with reduced blinking. It generally indicates particular interest in something or someone.

Staring at a person can indicate shock and disbelief, particularly after hearing unexpected news.

When the eyes are defocused, the person’s attention may be inside their head and what they are staring at may be of no significance. (Without care, this can become quite embarrassing for them).

Prolonged eye contact can be aggressive, affectionate or deceptive and is discussed further above. Staring at another’s eyes is usually more associated with aggressive action.

A short stare, with eyes wide open and then back to normal indicates surprise. The correction back to normal implies that the person would like to stare more, but knows it is impolite (this may be accompanied with some apologetic text).

When a person stares at another, then the second person may be embarrassed and look away. If they decide to stare back, then the people ‘lock eyes’ and this may become a competition with the loser being the person who looks away first.

The length of an acceptable stare varies across cultures, as does who is allowed to stare, and at what. Babies and young children stare more, until they have learned the cultural rules.

Following

The eyes will naturally follow movement of any kind. If the person is looking at something of interest then they will naturally keep looking at this. They also follow neutral or feared things in case the movement turns into a threat.

This is used when sales people move something like a pen or finger up and down, guiding where the customer looks, including to eye contact and to parts of the product being sold.

Squinting

Narrowing of a person’s eyes can indicate evaluation, perhaps considering that something told to them is not true (or at least not fully so).

Squinting can also indicate uncertainty (‘I cannot quite see what is meant here.’)

Narrowing eyes has a similar effect to constricted pupils in creating a greater depth of field so you can see more detail. This is used by animals when determining distance to their prey and can have a similar aggressive purpose.

Squinting can be used by liars who do not want the other person to detect their deception.

When a person thinks about something and does not want to look at the internal image, they may involuntarily squint.

Squinting can also happen when lights or the sun are bright.

Lowering of eyelids is not really a squint but can have a similar meaning. It can also indicate tiredness.

Lowering eyelids whilst still looking at the other person can be a part of a romantic and suggestive cluster, and may be accompanied with tossing back the head and slightly puckering the lips in a kiss.

Blinking

Blinking is a neat natural process whereby the eyelids wipe the eyes clean, much as a windscreen wiper on a car.

Blink rate tends to increase when people are thinking more or are feeling stressed. This can be an indication of lying as the liar has to keep thinking about what they are saying. Realizing this, they may also force their eyes open and appear to stare.

Blinking can also indicate rapport, and people who are connected may blink at the same rate. Someone who is listening carefully to you is more likely to blink when you pause (keeping eyes open to watch everything you say).

Beyond natural random blinking, a single blink can signal surprise that the person does not quite believe what they see (‘I’ll wipe my eyes clean to better see’).

Rapid blinking blocks vision and can be an arrogant signal, saying ‘I am so important, I do not need to see you’.

Rapid blinking also flutters the eyelashes and can be a coy romantic invitation.

Reduced blinking increases the power of a stare, whether it is romantic or dominant in purpose.

Winking

Closing one eye in a wink is a deliberate gesture that often suggests conspiratorial (‘You and I both understand, though others do not’).

Winking can also be a slightly suggestive greeting and is reminiscent of a small wave of the hand (‘Hello there, gorgeous!’).

Closing

Closing the eyes shuts out the world. This can mean ‘I do not want to see what is in front of me, it is so terrible’.

Sometimes when people are talking they close their eyes. This is an equivalent to turning away so eye contact can be avoided and any implied request for the other person to speak is effectively ignored.

Visual thinkers may also close their eyes, sometimes when talking, so they can better see the internal images without external distraction.

Damp

The tear ducts provide moisture to the eyes, both for washing them and for tears.

Damp eyes can be suppressed weeping, indicating anxiety, fear or sadness. It can also indicate that the person has been crying recently.

Dampness can also occur when the person is tired (this may be accompanied by redness of the eyes.

Tears

Actual tears that roll down the cheeks are often a symptom of extreme fear or sadness, although paradoxically you can also weep tears of joy.

Weeping can be silent, with little expression other than the tears (indicating a certain amount of control). It also typically involves screwing up of the face and, when emotions are extreme, can be accompanied by uncontrollable, convulsive sobs.

Men in many culture are not expected to cry and learn to suppress this response, not even being able to cry when alone. Even if their eyes feel damp they may turn away.

Tears and sadness may be transformed into anger, which may be direct at whoever is available.

Pupil Size

A subtle signal that is sometimes detected only subconsciously and is seldom realized by the sender is where the pupil gets larger (dilates) or contracts.

Sexual desire is a common cause of pupil dilation, and is sometimes called ‘doe eyes’ or ‘bedroom eyes’ (magazine pictures sometimes have deliberately doctored eyes to make a model look more attractive). When another person’s eyes dilate we may be attracted further to them and our eyes dilate in return. Likewise, when their pupils are small, ours may well contract also.

A fundamental cause of eye dilation is cognitive effort. When we are thinking more, our eyes dilate. This helps explain ‘doe eyes’ as when we like others people, looking at them leads to significant thinking about how we may gain and sustain their attention.

Pupils dilate also when it is darker to let in more light. Perhaps this is why clubs, bars, restaurants and other romantic venues are so dingy.

People with dark irises (the colored circle around the pupil) can look attractive because it is difficult to distinguish the iris from the pupil, with the effect is that their dark pupils look larger than they are. People with light irises make the pupils easier to see, so when their pupils actually do dilate then the signal is clearer to detect, making them more attractive ‘at the right time’.

The reverse of this is that pupils contract when we do not like the other person, perhaps in an echo of squint-like narrowing of the eyes. People with small pupils can hence appear threatening or just unpleasant.

Rubbing

When a person is feeling uncomfortable, the eyes may water a little. To cover this and try to restore an appropriate dryness, they person may rub their eye and maybe even feign tiredness or having something in the eye. This also gives the opportunity to turn the head away.

The rubbing may be with one finger, with a finger and thumb (for two eyes) or with both hands. The more the coverage, the more the person is trying to hide behind the hands.

Need Help!

Hey ladies and gents. I am writing a story on the side and I need some guidance since this first story and I haven't written in AGES, and it's something I have been doing for a while now and...it keeps me away from all the damn drama that happens in the world..So Yeah. DM me or comment doesn't matter 😁😅 HELP IS NEEDED.. Thank you in advance.

Masterlist: Thor Odinson

main list | taglist | ko-fi | graphic credit | * indicates NSFW/18+

Keep reading

Damon in 2.01:

“You’ve gotta be kidding me”: the rug gets torn out from under him.  He thought Elena kissed him, thought that this was why she believed he was worth saving, because she was in love with him, only to find out all at once that not only is that not what happened, but that it was his first love fooling him again.

“I’m just gonna ignore the bitch”: he plays this off as a strategic move, but he also wants Katherine to feel all the rejection he did when he found out she left him, and, more importantly, he’s just not ready to face her.  He wants to pretend that nothing’s changed, that the main event is still Stefan wanting to fight him about Elena.  Because if he faces up to what’s going on, there’s a choice he has to make, and he wants to pretend like it’s already out of his hands.

“Now I’m hurt”: a day ago, Damon didn’t believe Elena would kiss him.  After he thanks her/Katherine, he kisses her cheek, and it’s only based on her body language communicating obvious willingness that he very very slowly goes in to kiss her on the lips, and he’s shocked that she kisses him back.  But now, the lines of reality are blurring for him - he knows it was Katherine, but believing that Elena kissed him momentarily put their relationship (and his relationship with Stefan) back into categories that he understands.  Everything was clear for him, and now he’s having trouble going back to the more complicated, nuanced world where Elena cares about him and wants him to be saved without being in love with him.  He’s hurt because he can’t remember how to be thankful for her love as it is; all he’s feeling is the loss of what he briefly thought he already possessed.

“Looks like Katherine’s trying to steal your guy, I mean it’s only fair, since I went after your girl”: this dialogue could have come straight out of History Repeating.  Possession, manipulation, revenge: these are Katherine’s categories.  

“I’ll forget everything and we can start over, this can be our defining moment”: although he kisses Katherine rather than kills her, his attempt to recreate the past doesn’t last longer than a couple seconds.  Even when he’s kissing her, he’s not letting her push him around (literally) like she used to - he wants her, wants her love, but on new terms.  He wants them to be equals, partners, wants them to trust each other, because he’s had the smallest taste of what that would be and he can’t go back.  He can’t be who he was, he wants to forgive everything and start over - and in the process, he’s more sweet, innocent Damon than ever before.  He’s asking for a relationship with Katherine - but on Elena’s terms.

“You can’t imagine that I’d believe that you want to, that what we’ve been doing here means something?”: Stefan’s been telling him nothing was real with Katherine for a whole season, Elena’s told him she’s surprised he thought she’d kiss him back, and now he’s had the final confirmation that Katherine never loved him.  Everyone’s trying to strip away the reality he sees and replace it with lies and emptiness.  He’s too afraid to trust Stefan’s offer to stand together, and so he goes back to Elena again, sure that if anyone loves him, she does, but he’s still too fragile for her being his friend to be enough.  He knows it’s not nothing, and so it must be romance, and she must be lying.  

“Lie about this”: he’s asking for a relationship with Elena, on Katherine’s terms.

“You wanna shut out the pain, it’s the easiest thing in the world”: there is nothing left.  Elena, everything he thought was good, has just repeated the killing blow of his worst enemy.  There is no hope, nothing trustworthy, nobody who really cares about him - Stefan, who’s trying to make peace with him, inadvertently took everything from him twice today.  And still Elena thinks he’s better than this, that he should be strong and good enough to just stop wanting her - well, he’ll prove her wrong once and for all.  Maybe he thinks Jeremy will come back as a vampire, maybe he doesn’t - he’s not thinking, he is blind emotion, and he doesn’t want Elena to have any power over him anymore, so he does something he knows she can’t forgive.  But he doesn’t, or can’t, shut out his feelings.  He pushed her away, but now all he feels is his regret for her grief.

This post helped me a lot for my writing class! I loved it!

Words to use instead of “said” organized by emotion/intention

TVD Masterlist

Damon Salvatore

Oneshots

Helping Out

I Got The Girl

In My Arms

My Best Friend

Old Wickery Bridge

Falling For Your Best Friend

Imagines

Klaus?

Rebekah

Slip

Puppy

Dump Him

Switch

No One

Cry

Back On

Dance Off

Cool…

Football

Sis?

FWB

Love/Hate

DD/LG

Runaway

My Lexi

Worry

Paint

Bad For You

Hook Up

Rain

Almost

No, No, No

3rd Wheel

The Parents

Coming Back To Life

Text

Off Ya Go

Uh, Study?

Impress Me

There

Date

Ripper Spree

My Brother

Feelings

Big Bad  Vamp

Oh My…

Sis!

Journal

Elijah Let Me Go

Dancing

Ric’s Child

Wedding

Reassure

I promise You

Vamp Speed

Twin Sister

Opposite

Sharp Tongue

Pissed

My Name?

Love…ack!

Your  World

Spree

Flip It

Playthings

Magic

Bad Day? Bad Century.

Kisses

My Feelings

Smuts

An Orgasm Is In Order

Tease

Best Friend Favors

Stefan Salvatore

Oneshots

Blood Coach

Salvatored

Imagines

Klaus?

Rebekah!

Twin

She’s Gone

Compel

Ripper Twin

Call

Elijah’s Daughter

Elena’s Older Sister

Worried

Her Voice

Football

Sis?

Help

Sis!

Fourth Time

Drunk Sex

Stef’s Text

Sassing

Sorry

New Girl

Dates

Ripper Spree

SIster

Ric’s Kid

Compete

Blood

Yay..Love

Tears

I’m Here

Plaything

Smut

Oral Favors

Tyler Lockwood

Oneshots*None Yet*

Imagines

Bf Problems

Morning After

Tension

Smuts*None Yet*

Matt  Donovan

Oneshots*None Yet*

Imagines

My Human

Truck Keys

Smut*None Yet*

Caroline Forbes

Oneshots*None Yet*

Imagines

Mind

Smuts*None Yet*

Bonnie Bennett

Oneshots

New Leaf

Road Trip

Here For You Now

Imagines

Messed Up

Smuts*None Yet*

Jeremy Gilbert

Oneshots*None Yet*

Imagines

Training

Dreams

Dying

Sneaky

Smuts*None Yet*

Enzo

Oneshots*None Yet*

Imagines

Fall For Me

Enzo! No Punching.

Blood Spree

Smuts*None Yet*

Kai Parker

Oneshots

Tell me what i want to hear…

Turtle Necks

Naughty Girl

Stuck In 1994

New leaf

Imagines

Cooking Class

Confide in me

About Time

Miss me

Watching

Ric’s permission

Heal me already

Just alike

Except me

Crush on me

In the snow

Mixed emotions

I win

Sit with me

Begging

Stikai

Cupcakes

Meeting

She always comes back

Opposite attraction

Distraction

Falling

Overprotective bestie

I think i love you

Bonkai child

Is that you?

Cooking for you

Smuts

Just Helping Out

Finger Play

Great Lay

Dean One Shots #3

Dean x reader

The Jealous Type (Dean x reader) - Dean tags along to the reader’s high school reunion where meeting one of her ex’s makes him feel threatened.

Imperfect Little Demon (Demon!Dean x reader) - Dean is a demon and Sam and the reader have been attempting to cure him for two months to no avail. Dean’s getting out more often though and it’s only a matter of time before he finds a way out of the bunker for good. Can the reader and Sam figure out a cure or are they stuck with Dean as a demon forever?

Cabin Fever (Dean x reader) - The reader and the boys take a break from hunting for the holidays to head up to an out of the way cabin to meet up with some friends and have an old fashioned Christmas together.

Years In The Making (Dean x reader) - The reader meets the Winchester boys at a young age and develops a special bond with one of them in particular.

Sweetheart Firefighter (Firefighter!Dean x reader) - The reader ends up saving a man from a fire after a night out with her best friend Sam. Only it turns out to be his brother.

Wanted (Detective!Dean x reader) - The reader is wrongly convicted of a crime she didn’t commit by Detective Winchester.

Dark Side? (Demon!Dean x reader) - The reader is searching for Demon Dean. He finds her first and makes an unusual offer.

Alpha & Omega Life (Alpha/Omega!Dean x Alpha/Omega!reader) (smut) - After Alpha!Dean complains to Omega!reader that she has an easier life than him, the pair recruit the help of a supernatural being to teach Dean a lesson.

Save Your Skin (Hunter!Dean x vampire!reader) - The reader, a vampire, stumbles upon a hunter, Dean Winchester.

Save Your Skin (Part 2) (Hunter!Dean x vampire!reader) - The reader crosses paths with Dean again.

My Sweet Lord (Actor!Dean x reader) - When the reader’s nose is broken in gym class during senior year, she speaks to Dean Winchester for the first time, none too fond of the best friend of her school bully, Tom. But neither one could realize how important that one small act would be.

The Family Business (Serial Killer!Dean x reader) - The reader’s night doesn’t turn out as she expected when she winds up in the hands of serial killer.

The Family Business (Part 2) (Serial Killer!Dean x reader) - Dean tells the reader they’re working a case but she’s convinced she’s about to wind up as his next victim.

Forward (Daddy!Dean x reader) - The reader recognizes one of the strippers at her friend’s bachelorette party and life takes a turn for the Winchesters.

Dean & The Diner (Alpha!Dean x Omega!Reader) - When one of the patrons in a diner sends the reader into heat, they’re both forced to consider that it’s meant to be.

Forget Me Not (insane asylum au!Dean x reader) - The reader finds herself stuck in an insane asylum where she makes a new friend who wants to help her out.

Lost & Found (Afterlife AU!Dean x reader) - The reader wakes up in the afterlife to discover she’s got some searching to do in this new world.

Not So Happy (Dean x reader) - Dean and the reader have to pretend to be married to work a case. The only thing is they aren’t getting along.

Rainbow Dash (Dean x reader) - Dean and the reader go on a run of the mill witch case that leaves him feeling not quite like himself.

New Guy (PE Teacher!Dean x English Teacher!reader) - There’s a new gym teacher at school and the reader hits things off with him.

Stuffed Bunny (Dean x reader) - The reader sleeps with her stuffed animal because it helps with her anxiety, especially after difficult hunts. Sam and Dean find out about it and have different reactions to the news.

Fresh Starts (Pirate!Dean x reader) - Reader is having a relaxing day out on the water when she comes across a man in need of some help. Or not.

Romeo, Romeo (Undercover Cop!Dean x Mafia!reader) - Dean goes undercover and joins the Mafia in order to take them down because they killed his family, but things gets complicated because he falls in love with the bosses daughter. 

Long Time Running (Alpha!Dean x Omega!reader) (smut) - The reader is warned to stay away from scary Alpha, Dean Winchester. Only when she runs into him, he turns out to be a kind man and courts the reader before sweetly claiming her.

Don’t Move (Dean x reader) (smut) - Sub Dean can’t move. He doesn’t have a problem with this.

Better Man (Endverse!Dean x reader) - In order to be kept safe, the reader is sent to another universe per Dean’s dying request. However, the place she winds up in isn’t all that great and neither is the man that finds her.

Better Man (Part 2) (Endverse!Dean x reader) - After getting to know endverse Dean better, he confronts the reader about their friendship.

Happy Litter Accident (AU!Dean x reader) - The reader gets pregnant but when the father leaves, Dean steps up to help her with whatever she needs.

Thunder & Rain (AU!Dean x reader) - The reader is quietly trying to put her life back together after a traumatizing incident, only to have a stranger break in one rainy night.

It’s Gonna Be Okay (Dean x reader) - After the reader says yes to Lucifer in an attempt to stop him, Dean pays the price.

Patient D.W. (Dean x vet!reader) - Dean is hurt on a hunt and Sam takes him to a vet to help save him.

Lullaby (Dean x reader) - Dean decides to get in some practice when he and the reader are forced to sleep in separate rooms.

Come Again? (Baker!Dean x reader) - The reader is working late one night when her coworker Dean tells her something.

I Won’t Tell ‘Em Your Name (Neighbor!Dean x reader) - After a failed attempt on her life by her husband, the reader is forced into witness protection and a new home where she meets her new neighbor, Dean Winchester, who may be exactly what she needs.

Bedside Manner (Nurse!Dean x Surgeon!reader) - Dean’s having some stomach issues but the reader thinks it may be something else.

The Deal (Criminal!Dean x reader) - The reader is on vacation when the bank she’s in gets held up. Only they aren’t there for the money, they’re there for her. Her only option to get through this might be a little help from one of her kidnappers but even he isn’t exactly what he seems.

Feelings (Cop!Dean x reader) - The reader decides that she wants to be a mom despite not being in a relationship. Luckily her best friend Dean has offered to stick by her side through it all.

Knight Winchester (Knight!Dean x Princess!reader) - The reader is tired of looking for a suitable future husband but she’s not having much luck. Especially when one of her Knight’s betrays her.

Omega In Need (Alpha!Dean x Omega!reader) (smut) - The reader is having the worst heat of her life and desperately needs an Alpha to get her through it.

Too Late (MOC!Dean x reader) - Dean pushes the reader away when he has the Mark of Cain.

Dirty Girl (Dean x reader, Sam x reader, Castiel x reader) (smut) - After the reader reveals her dirtiest, kinkiest fantasy to her boyfriend Dean, he helps her get her fill.

The Corner Booth Guy (Omega!Dean x Alpha!reader) - The reader meets an Alpha one day at the coffee shop but he’s not exactly what he seems.

Heading Home (Alpha/Purgatory!Dean x Omega!reader) (smut) - The reader finds Dean in purgatory but he’s got the itch to do something before they leave.

All In Good Fun (Alpha!Dean x Alpha!reader) (smut) - Dean and the reader are having a small prank war when one of Dean’s goes wrong.

Head Games (Dean x reader) - The reader takes an extra liking to Dean’s shirts after a hunt goes wrong. But as time goes on, she starts to think that maybe she can’t trust her own head.

Girls, Girls, Girls (Demon!Dean x reader) - While the reader is working a case undercover at a strip club, Dean shows up and offers his help. The reader realizes he’s not the same Dean she once knew though and has the feeling he might be up to something more than just the hunt.

Someday (Greek God!Dean x reader) - Dean is a Greek God in training but he’s still human until he can get his powers to present.

Big Brother (Dean x reader) - After a witch hunt gone wrong, Sam and Dean have landed themselves in prison and can’t remember who they are, making the reader’s breakout attempts all the more difficult.

First Ghost (Weechester!Dean x reader) - When John Winchester and Bobby Singer have to work a ghost hunt, they have to leave the kids behind to fend for themselves. But when the kids stumble into the ghosts their dads are looking for, they might have to take care of it themselves.

The Offer (Michael!Dean x reader) - Michael is in control of Dean at the moment and the reader is working to get him free but the archangel catches her off guard one night and approaches her with a deal.

Black Eyes (Demon!Dean x reader) - The reader, one of Azazel’s gifted kids, loves demon blood to fuel her powers. When Dean Winchester becomes a demon himself, she decides she wants to keep him.

Soft (Dean x reader) - The reader helped rid Dean of Michael today but it came at a cost.

Good Girls & Bad Boys (Mafia Boss!Dean x reader) - Dean is a Mafia boss that frequents the restaurant the reader works at. She’s been told to be careful of him but he seems to have a soft spot for her.

Mine Now (Michael!Dean x reader) - Dean thinks the reader made a deal with Michael to free him but it’s not quite that simple.

Wolf Girl (Dean x werewolf!reader) - The reader finds herself in a bad situation when she’s caught by the Winchesters.

I Know A Guy (Dean x reader) - Dean runs into an old flame on a hunt and they talk about what caused them to break apart in the first place.