Hello!!! I have been looking and looking everywhere, but do you happen to know fics where Victor and Yuri adopt a child or something? I have been reading the fics you recomended and i loved them!💜💜
I love this request! I love Yuuri and Victor as parents (I mean, they’re already Yurio’s dads..) They would be so extra but amazing, loving parents at the same time. #prouddads ₍₍ (̨̡ ‾᷄♡‾᷅ )̧̢ ₎₎
Home by Kurenaito, Teen, 46k Three years after the series, Yuuri has retired, and he and Viktor live in America. It’s no secret that Viktor likes to make impulsive decisions. Cute adoption fic! Bonus angsty Yurio..
Bliss by QuinnTuha608, Explicit, 10k Yuuri and Viktor have been living together for a few years and they want to add another member to the family. They see six-year old Yurio drawing by himself in the orphanage and the moment they talking to the grumpy child they know he’s perfect.
Welcome to the Family by CallyCally, PetiteNiku, TalkingtotheSea, Not Rated, 1.2k For them, it’s a chapter of new beginnings. Another member of their growing family to cherish. Their Third “L word” to share for many years to come. SO CUTE I’M SCREAMING
Golden by PinkCactus, Teen, 10k (WIP) The baby shifted in his arms, but did not wake. Yuuri breathed a sigh of relief, thanking the stars that his son had not awoken. It had taken hours to get the child to sleep, and Yuuri wasn’t willing to try and get him to calm down and sleep again. Who knew babies could be so loud when they cried? Cute parent AU!
Trio by ceilingfan5, coolangelsthesis, Gen, 4.8k Yuuri and Victor, happily married, decide that it’s time to make their duo a trio and adopt a child, but this six year old girl isn’t going to make it easy for them. Cute!
quiet time by fan_nerd, Teen, 4.8k, The married men share a look. Victor sheepishly rubs the back of his neck and answers, “We’ve been thinking about adopting.” SO CUTE!
On Love: Storge by shark_meat, Gen, 19k (WIP) “When are we going to have kids?” Yuuri thought he might pass out, but in the end heeded to his husband’s wish. Next thing he knows there’s another Yuri in their lives. A blond one with a bad attitude, but Viktor insists he’ll grow out of it. AU where Yuuri wins gold at the Grand Prix and he and Viktor adopt little Yurio.
First Moment by yaboykatsudon, Teen, 3.2k Yuuri and Victor have been married for a little over a year now, and after much talk and consideration they finally decided to start a family together. Very sweet adoption fic!
A snapshot of happiness by GwenChan, Gen, 669 words Yuri simply can’t handle the cuteness of his husband holding their newly adopted baby. Super quick and sweet!
This depends on a lot: age, culture, gender, etc. That being said, I do have some generic advice to give.
Generic:
Eye Contact. Eye contact is a really major part of flirting. First, it establishes that you see and acknowledge the person. Beyond that, if they maintain eye contact, it can indicate mutual interest. It is also a general part of open body language, which is really important (and my next point).
Open body language. Shoulders open, chest forward, arms not crossed, back straight. Someone who is slouching or has their arms crossed often looks closed up, and while in some cases that may come across as cool, it doesn’t come across as approachable, which is essentially the point of flirting.
Smiling. Again, your character wants to look approachable. Smiling is a really easy way to do that. It is also a good way to show that the attention is positive, as opposed to staring at someone because they have food in their teeth, are doing something that they should stop doing, etc.
Physical contact. If your character is close to someone that they’re flirting with, they should touch them. It doesn’t have to (and shouldn’t) be aggressive grabbing or patting, but instead touching a shoulder, arm, hand, or knee. They should also position themselves close to someone that they’re flirting with even when they’re not touching.
Teasing. This is a really common verbal way of flirting, though one needs to be done carefully to make sure it’s not mean, because it can cross that line. If the character does cross that line accidentally, or hits a nerve that they don’t know about, have them cover it up with some more flirting, something that would keep the person’s attention and make them not be angry anymore.
Funny stories. Telling a funny story is another good way of flirting, because laughter can get people to open up. The conversation would probably need to be more than just funny stories, but it can be a good way for your character to get someone to open up.
Be suggestive. Again, something that a character would need to be careful of (and fairly confident to do). This can also be done over text, messaging, etc. so it can be a long-term way of flirting.
Awareness of others. A flirty character should be aware of the people that they’re flirting with. That isn’t just knowing that they exist or physically where they are, but what their responses and body language are. Unless you want them to be a mean or harassing flirt, they should be aware of when the person is sending the sign that they want them to continue and when the person is trying to get them to leave them alone. If it’s the latter, they should probably leave them alone, because otherwise they just come across as being obnoxious and/or a bad person.
For females:
Accentuate their chest and/or butt. For the chest especially, a small chest can be disguised depending on the clothing, and so a flirty girl with a small chest would probably wear clothing that disguised it, while a flirty girl with a larger chest would probably wear clothing that showed more of it off. Necklaces are also useful, because playing with them can draw the eye to the chest.
For males:
Make sure the character doesn’t come across as creepy/too aggressive. I have read more stories than I’d like where a guy’s “flirting” comes across as creepily sexually aggressive, especially when he doesn’t know the girl. This tends to happen significantly less with girls flirting, but when men are written as being suggestive, it tends to be essentially “here are all of the ways I am planning to have sex with you” instead of “oh, I’m not dressed because I just got out of the shower ;)”. The latter can be flirty-suggestive. The former usually reads as stalker-rapist-creepy.
Think about why the character is flirting. For some people, it is because they just like to flirt. For some, it might be because they’re looking for sex. For some, it might be because they’re looking for a relationship. For some, it might be because they like the power it gives them. The way they flirt should depend on their reason for doing so.
In my day job as an editor I see a lot of manuscripts, and
creating ‘authentic’ dialogue seems to be tricky for many a new author. The
trick is to find a balance that allows important information to be conveyed to
the reader while still making the speech feel ‘natural’. Have you ever felt
that the dialogue in your stories reads as self-conscious and stilted, or as an
endless monologue of exposition ‘disguised’ as one character talking to another?
I have the same problem. In fact, for me, dialogue is the hardest part to get
right. In this series, I will share everything I have learned so far about what
(not) to do when writing dialogue.
I was betaing someone’s (porn) fic last night and ended up talking about general strategies for writing.
One thing that I notice is that some people think they are bad at description when they aren’t at all. They are really good at visual description and description of action.
Where there is room for improvement is in remembering to describe things that rely on senses apart from vision. Remember that in real life, sometimes the things that provoke the strongest reaction in a situation are not the sights, but the things we experience through sound, touch, taste, or smell– the ache of working muscles and the smell of sweat are more important to the experience of exercising, for example, than the color of the sports bra you are wearing. Sometimes the most important thing is not what we sense but how it makes our bodies feel– the drop in your stomach when you hear bad news, the chill on your neck when you come to a surprising realization.
What you can do to improve your reliance on physical sensations that aren’t sight when you are writing is simple.
1) Write your scene as normal. Finish it the way you usually would.
2) Read each paragraph to yourself. Identify each action in the scene. Then think about what that action might provoke in terms of each sense. For example, a character is walking down the street. What kind of street is it? What time of day is it? A street in the suburbs at night is going to be empty; there might be the sound of crickets or a radio softly playing from a nearby house. You might smell grass clippings bagged for the morning trash collection. You might taste the lingering scent of food wafting from a nearby house, but it’s likely you’ll taste nothing at all. You’ll feel whatever the weather is, the pavement or grass beneath your feet. By contrast, a street in New York City at morning rush hour is going to be full and vibrant and carry a lot more sensation. There will be the sounds of buses, cars, cyclists. And pedestrians, of course. People may be loitering outside buildings chatting. There might be loud music blasting from a car. You might smell street food or the smell of trash, the mingling perfume or cologne of the person who just passed, exhaust from said traffic, even urine or human sweat, depending on the place. You might taste any of those scents, if they’re strong enough. You’ll feel varying temperatures as you pass the entrances of buildings with air conditioning or heating on, heat lamps, steam escaping from manholes, the rumble of the subway beneath your feet. Every city is going to have different sensations associated with it– the sensations of being in San Francisco or London or Rome or Tokyo or Mumbai will be different.
Smaller actions can have quite a lot of sensory information, too. Your character is eating ice cream. What flavor is it? What is the texture like? Ice cream can vary from icy to creamy, and it can have higher or lower melting points. Some ice creams are custardy and richer. Some are soft serve and easier to lick at. Is the character licking it as it melts down the side of a cone, or spooning it from a cup? Does it have hot fudge that smells rich and chocolatey? Do they hear the scrape of their spoon against the paper cup or the crunch of the waffle cone as they bite into it? Does it evoke a sense of nostalgia for them? A sense of satisfaction at a cold treat on a hot day? A sense of apprehension because they are lactose intolerant and forgot to bring lactaid? All of those things are helpful in establishing a scene beyond simply eating ice cream.
3) Now that you’ve thought through the sensory experience, think about which of those sensations are actually important to your scene. What kind of feeling are you trying to evoke? What emotions is your character feeling right now? You don’t have to describe a sensation for every action, and you don’t have to describe every sensation for the ones where you do want to describe one. If an action isn’t important to the story, you don’t want to call too much attention to it. You want to describe the most sensory information around the actions that are most important to you in the scene. Pick the ones that heighten the things about the scene you want to communicate, and pop them in where appropriate.
4) That’s it. Now you’ve got sensations in your writing that aren’t just visual. The more you do this and make it a habit, the more you’ll start thinking like this from the beginning of your writing. Good job!
I think the way Gaiman introduces Shadow is just near perfect.
“He
was big enough and looked don’t-fuck-with-me enough that his biggest
problem was killing time. So he kept himself in shape, taught himself
coin tricks, and though a lot about how much he loved his wife.
The
best thing — in Shadow’s opinion, perhaps the only good thing — about
being in prison was a feeling of relief. The feeling that he plunged as
low as he could plunge and he’d hit bottom. He didn’t worry that the man
was going to get him, because the man had got him. He was no longer
scared of what tomorrow might bring, because yesterday had brought it.”
In the opening page, Gaiman describes:
Shadows appearance.
Shadow’s passion.
Shadow’s Mentality.
Woah,
the trifecta right off the bat?? These six sentences show us three of
the most important things about Shadow. I think they solidify such an
image that there is hardly a need to add any more description about
Shadow throughout the book.
Now you try! What does your character look like? What is his passion, how
do they think? Write two sentences about each and mold them into a
paragraph. See how it turns out. What? you already have an agent?? Good job.
Bod’s Introduction from The Graveyard Book
“Bod
was a quiet child with sober eyes and a mop of tousled, mouse colored
hair. He was, for the most part, obedient. He learned how to talk, and,
once he had learned, he would pester the graveyard folks with questions”
Bod’s mentality. (He loves to ask questions and learn about the world around him)
Again, three characteristic all rolled up into the introduction.
Me: Neil Gaiman, could you give me advice on how to introduce my character?
Neil Gaiman: Show how your character thinks when you are introducing them. It can be as simple as, “so and so loved to ask questions.“
Me: Thanks!
Richard Mayhew’s Introduction form Neverwhere
“The night before he went to London, Richard Mayhew was not enjoying himself.”
If
you don’t see that pattern yet, then I’ll tell you. Neil Gaiman is
super direct and simple. Not that that’s a bad thing. This is really all
we need to know about Richard: “He was not enjoying himself,” once Neil
contrasts Richard’s mood with the scene (they are in a bar
celebrating), then we get an idea of what type of person Richard is. So
the advice from Neverwere is:
Be direct
Contrast how your person is feeling and thinking to what is going on around him.
Final Thoughts:
It’s ok to be simple and direct.
“Bod was a quiet child.”
“Richard Mayhew was not enjoying himself.”
“[Shadow] he kept himself in shape, taught himself coin tricks, and though a lot about how much he loved his wife.”
Try it with your own characters.
The thing Susan thought about the most, was how she was going to die.
Elliot liked to punch people in the gut. Elliot was an asshole.
Choose a verb that best describes your character. It gives you a clear understanding of goal, attitude and personality.
Write and develop your character around nothing but one verb.
Someone recently asked me the best way to write angst. Honestly, there is no best way. But I’ll do my darndest to explain what’s worked for me so far.
The best way to write angst is to write loss.
Now, I’ve seen this done so many ways before. I’ve seen death, I’ve seen destruction, I’ve seen cities burn and knives find their mark. With writers there’s an endless way to build and then knock down. Like lego bricks, you just have to find the best place to plant your foot for the entire structure to tumble down onto the carpet.
But my favorite kind of angst is actually something smaller.
My favorite is what I call “Writing a Sunset”.
A character is created. Someone that we all know and love. They’re build from the bone to the skin to every lash and every smile line. We watch them learn and grow and sink and fall and tower and realize and live. And I, as the author, make sure to give you every detail of her life until you can look at the page and want to reach in and steal their hand in yours.
I also make sure that this character loves sunsets.
It’s the most important time of day for them. That time when the earth is still and silent. That time when the warmth begins its slow travel past a seemingly infinite horizon. Thick in it’s colors, it sinks below and drowns, and in its panic it sends out flares of reds and oranges and pinks that shoot across the sky, burning holes into the atmosphere and letting the stars breathe.
And in that moment, when Orion is lounging against smothering blue and the tips of a nebula soak in the receding magma, this character owns their own world. All they have is the sky and all the sky has is itself and everything is perfect.
And it’s then that I make them blind.
There is something to say about taking away what a character cherishes most. Because in the end our families and our smallest loves are what keep us together. We crave things, it’s true. And material possessions help to find their places in our lives. Losing a grandmothers necklace could be sad and misplacing a treasure map leading to adventure could be devastating.
But I always found it best to not take away what someone loves. But to take away access to it. To know that every day there’s a sunset waiting for them same as always but no longer can they seek it out.
Don’t take away what someone loves.
Take away their hope of seeing it again.
If they’re a couple who want a child, take away that ability.
If he’s a dragon who needs to defend his keep, take away his fire.
If she’s a fairy who needs to fly, take away her wings.
But what I also find is that angst is not complete without hope. It’s pandoras box, really. And after sunsets, though it might seem dark, the dawn will eventually come.
And that’s where my favorite part comes in.
Taking away an ability doesn’t stop someone. It merely gives them a reason to try something else. And though it might seem bleak and hopeless, there’s always a chance. And that chance is sometimes the saddest and most joyful part of all.
When our character learns that by stretching their hands out and spreading their fingers like starfish to an aching sun, they can feel its first rays gliding though yearning fingers. Feel tears against their face and a smile stretching lines into permanence. Know that the darkness will always be there, but oh how the sunlight touches their skin…
If they can’t have children, have them adopt.
If the dragon can’t breathe fire, have it befriend the blacksmith.
And if she can no longer fly, then run until the wind burns her face and scars her feet and she feels free again.
Writing a Sunset is my favorite kind of angst because it’s the one we can relate to most. The fear of losing what we don’t realize we love and the need to reach out and tell them it’ll be okay. Writing a Sunset means having the will to accept a fate you had no choice in, and finding a new way to see once more.
Writing a Sunset reminds us all that sadness is real. But so is courage. And you can’t have one without the other.
