Dear Yuletide Writer - 2022
Oct. 16th, 2022 09:10 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
simplecoffeeHi! This letter is complete as of October 30, 2022. Thank you for your patience!
Hi there! Thank you so much for sharing my fandoms and for writing for me! <3 I am academicgangster on Tumblr, and simplecoffee on ao3. I am open to treats in any medium!
So, the thing I love most in fanfic is taking canon character dynamics and just...making them More. Taking them further, exploring their natural progression, in either a gen or a shippy way. I've mentioned the character dynamics and ships I love under each fandom, along with some rambly thoughts and prompts - speaking of which, please feel free to pick, choose, mix, match, play with any, all or even none of said prompts, if that's where the muse takes you. <3
I also love hurt/comfort with all my soul, so most of the prompts here will probably contain it to some degree.
I am here for any kind of exploration of character dynamics - h/c, casefic, fluff fic, angst, missing scenes, outsider POV, outsider POV contrasted with canon characters' POV, getting together fic, established relationship fic, you name it I love it. I'm also very much okay with or without smut - I like it, but please don't feel pressured to include it or not to include it. If you do feel inclined toward the sensual, I have a preference for a Mature rating over an Explicit rating, but I will likely enjoy whatever rating speaks to you. :D
I am super open to unconventional medium/narrative styles if you feel inspired to use them - outsider POV, outsider POV contrasted with canon characters' POV, epistolary fic, framing devices such as mission reports, medical reports, audio transcripts/debrief transcripts, text messages or post-its between characters, news articles, even official documentation, are all amazing.
Navigation
> Likes & DNWs
> The Hunt for Red October (1990)
Jack Ryan
Bart Mancuso
Marko Ramius
> The Devil's Own (1997)
Tom O'Meara
Sheila O'Meara
Frankie McGuire
> Double Jeopardy (1999)
Travis Lehman
Libby Parsons
Art Gallery Owner
> Meet Joe Black (1998)
Death
Susan Parrish
Guy From The Coffee Shop
> Space Cowboys (2000)
William "Hawk" Hawkins
Sara Holland
Frank Corvin
> War of the Worlds (2005)
Ray Ferrier
Worldbuilding
Likes & DNWs
General likes:
• Hurt/comfort of all stripes - sickfic, injuries, emotional h/c, all of it. (This is my favourite thing in all of fandom. Like, I absolutely live for it. ^^')
• Character studies, exploration of canon character dynamics, fallout of canon trauma
• PTSD, scars, illness messing with a character's grip on reality, combat/mission injuries, scars, old injuries acting up, touch starvation, sensory deprivation / sensory overload, characters not believing they deserve comfort or being surprised to receive comfort, selective mutism, hurting characters choking up at moments when they really need to speak (eg. leader unable to tell their worried team they're fine, submissive unable to safeword), stoic characters breaking down when faced with comfort, subdrop, characters bonding over trauma, characters so used to going through hell alone that they can't wrap their heads around someone wanting to help
• carrying, cuddling, characters wrapping ill/injured characters in soft blankets/clothes/their own jackets (especially jackets that are too big for them!), sweater paws, keeping characters warm, aftercare, forehead kisses, hands and touch
• Earned trust and casual intimacy (characters who know each other well or get to know each other well, clothes sharing, characters only allowing touch from people they trust, etc)
• Pain, bittersweetness, sadness, exploring the darker side and implications of canon is great, but I really need some happiness/comfort and hope along with it!
Smut likes:
D/s overtones. Service subs. Subs With Issues. Praise kink. Hands, fingers, touch; touch starvation. Finger-sucking. Hair petting/brushing. Aftercare. Subdrop and recovery. Tenderness, especially if the person receiving it isn't expecting it, isn't used to it, and it breaks them just a little.
Marking - hickeys/bruising/bite marks; hiding the bruises under clothing. Scar worship. Suit/uniform kink. Partners reverently undressing each other. Wrists bound or held down. Honour bondage. Careful sex / making out when one partner is hurt or ill and feverish (fever sex is, uh, a Thing of mine). Gentleness, affection, emphasis on touch and texture/physical sensation (clothing porn is so very welcome!). Or rough, desperate, life-affirming sex/making out.
There are some fandoms where I like the sex a lot rougher; see War of the Worlds. There are also prompts for dubcon and generally messed up sexual situations there.
General DNWs:
• Mundane/depowered/setting change AUs
• Bleak, hopeless endings (as long as there's hope, bittersweet endings are fine!)
• Unrequested crossovers and fusions
• Any mention of coronavirus or quarantine/lockdown situations
• Death of requested characters (even if they died in canon)
• Non-canonical death of non-requested characters
• Terminal illness (see Space Cowboys for Hawk exception)
• Permanent injury (the exceptions: Devil's Own, Meet Joe Black, fallout of Jack's past spinal injury in Red October)
• Gastrointestinal illness (nausea/vomiting is okay but not as a focus of the work, and not as a result of GI discomfort - so character getting nauseous or throwing up from a migraine or just severe pain in general, yes; character getting nauseous or throwing up as a result of a severe anxiety attack or PTSD episode, yes; character suffering anything related to food poisoning or GI bugs or overeating and similar, no)
• Marijuana use or mention of it in any capacity (other intoxicants a-okay)
• Infidelity (for Red October, I'd prefer that Jack and Cathy were never married, and amiably co-parent Sally but are not together any more. For Space Cowboys I'd like Sara and Barbara to be in on it and enthusiastic about Hawk/Frank)
Smut DNWs:
• Noncon or dubcon, except where noted
• humiliation as a kink, except where noted
• pain play, except where noted
• gags of any kind (hand over mouth is okay for canons with prompts for rougher sex like WotW or Devil's Own, but I would like it to trigger the character on the receiving end and for there to be some emotional fallout of it)
• anal, dirty talk, spanking, ageplay, scat, watersports, rimming, emeto, A/B/O, d/s-verse, mommy/daddy kink, maledom/femsub
[back to navigation]
The Hunt for Red October (1990)
Characters: Jack Ryan, Bart Mancuso, Marko Ramius
Ships: Jack/Ramius, Jack/Mancuso, Ramius/Mancuso, Jack/Ramius/Mancuso
Please no infidelity! (I'd like it if Cathy and Jack were never married - they just didn't work out, or were just friends with benefits for a while, and live separate lives while amiably raising their kid together)
I love this version of Jack Ryan so much! I love that he's a strategic expert and knows which hunches to play, but he's not a field agent and knows exactly Fuck All about field operations! I love every single character dynamic he has, especially the deeply promising ones he has with Ramius and Mancuso. I also love his backstory, his lingering PTSD and likely chronic pain from the spinal injury that ended his career as a Marine, and how he ploughs on regardless of how Very Much He Does Not Want To Be Ploughing On.
I really love the warmth of everything about this film - how deeply idealistic Jack and Ramius are, how Jack is an experienced analyst who knows a lot about strategy and history but absolutely nothing about operations (but still knows he has to try to get Ramius in alive), how Ramius makes sure to gain the trust of his officers about the terrible risk he's taking in defecting, how Mancuso's whole crew clearly loves and trusts him and admires him while he is so protective of them in return - indeed, how committed to duty Mancuso is, but how ready and willing to step up when Jack proves his orders wrong.
I love h/c for all my fandoms, but I particularly love it for this one. Jack and/or Mancuso as the hurt character would be great. I love the warmth of this film, and would love that warm atmosphere to carry over into fic. 💛 I'm very here for all kinds of softness and h/c, with Jack or Mancuso as the centre. (If you'd like some more ideas to bounce off of, here's my Hurt/Comfort Ex writeup on Jack; here's the one for Mancuso.)
Thoughts/prompts:
Jack, Ramius and Mancuso bonding post-film
I'd love to see these three getting to know each other better after the events of the film. I'm especially here for the differences between each dynamic, and how they all play off each other - Jack-Ramius, Ramius-Mancuso and Jack-Mancuso are all delightfully different axes, and whether it's friendship or eventual romance I would love to see how they all play out, and how they all form in the first place. Here are some prompts using the film as a jumping-off point:
• Cold and damp are not great for old injuries and chronic pain, and Jack's had a rough few days. When the action is over and Jack stays on the Red October (and later at a CIA safe house) as Ramius' security detail/fanboy in residence, he tries his best to hide how much he's hurting, but Ramius (and perhaps Mancuso, too) sees right through him, and takes care of him as best he can with the Red October's medical supplies.
• Ramius and Mancuso bonding over submarine nerdery and naval expertise, and slowly falling in love.
• Jack and Ramius going fishing, and getting to know each other, perhaps eventually intimately well.
• Jack and Mancuso striking up an acquaintance outside of the mission, and perhaps eventually falling in love.
• Jack and Ramius, and perhaps Mancuso too, spending some time together in a CIA safe house before debrief, and getting to know each other.
The evolution of their dynamics in the years afterward
I'm also here for what these characters are doing years down the line, what their inner lives are like.
• I'd love to see Mancuso's inner life, since we know less about him than the other two. What do Mancuso's quarters aboard the Dallas look like? What books does he have there, what photographs or paintings? (Are there eventually photos of him with Jack and/or Ramius? Does he take some of their clothes with him aboard, to sleep in?)
• Ramius and/or Mancuso getting to know about Jack's fear of flying, about the trauma response it is. One or both of them holding Jack's hand(s) on a plane, or holding him after a nightmare on the ground.
• Jack's back injury from the chopper crash acting up on cold or wet days, and Ramius and/or Mancuso looking after him with heating pads, medication and such. Jack having to learn to admit he's hurting, and Ramius and/or Mancuso making the effort to learn how to help him when he needs it.
• On a a cold and miserable day when Jack is hurting, Ramius and/or Mancuso coax him into a hot shower and cup his head against their shoulder while the warmth soaks into his back.
• Jack gets shot or otherwise badly hurt. Jack is not a field agent, was not on a field mission when he sustained the injury, and does not react to said injury like a field agent would. There's a great deal of medical trauma and pain, and Ramius and/or Mancuso are Absolutely Furious about it.
• Mancuso gets badly hurt or falls ill while on deployment. Jack and/or Ramius comfort him over the phone or via messages through the crew of the Dallas while he's laid up, or camp out by his bed if things get bad enough that he has to be taken to a hospital on shore, and make an enormous fuss of him and spoil him thoroughly when he gets home.
• Jack and Ramius spend more time together than they do with Bart, but when they do get to see him they're always sure to make him feel welcome (romantically or platonically).
Epistolary Fic Prompts
I really adore the idea of epistolary fic for this fandom! Here are some epistolary prompts:
• I'd love to see an article or an excerpt from a book that Jack wrote about Ramius, and/or one that he wrote about Mancuso. Either way, he's clearly in love with the subject - perhaps obliviously, or perhaps he's in a relationship with the subject and just can't talk about it in the article/book. (I'm envisioning it like, as dramatic as this post, for the record)
• Alternatively, this book extract or article coming to light years later when Jack is the President and Ramius and/or Mancuso is/are his husband/s, and the internet losing their entire minds over how head over heels President Ryan already was for his husband(s) way back around like, 1986-1996.
• Jack and/or Ramius writing to Mancuso while he's away aboard the Dallas, and Mancuso writing back. Maybe before they get together, maybe after, maybe both; hell, maybe that's how they fall in love in the first place.
• Ramius keeping a diary of his experiences in the New World, including his relationship with Jack and/or Mancuso.
• Jack or Mancuso stuck somewhere while sick or hurt, in unfamiliar surroundings (maybe Jack got hurt on another field mission he really shouldn't have been on, or fell ill on a book tour or exerted himself too much and is stuck in a hotel room with his back acting up, or Mancuso got injured or fell ill aboard the Dallas and had to be evacuated to an unfamiliar hospital), writing notes or letters to the object(s, could be the other of the two, could be Ramius) of their pining, all while possibly not entirely lucid. Maybe they read them back later and have some revelations about their feelings, maybe they eventually decide to send them after all, or maybe the intended recipient gets to read them years later instead, when they're happily together.
Further Shippy Thoughts
I love every ship on thisship submarine! Whether it's Jack/Ramius, Jack/Mancuso, Ramius/Mancuso or the whole triad, I would love Jack or Mancuso (or both) to get a whole lot of love and gentleness. Getting together, established relationship, G-rated caretaking to M- or E-rated loving, everything is wonderful. I'd love to see these characters look after one another, make room for one another in their lives, kiss and pet one another a lot, any time from right post-movie to years later, possibly with Jack getting into politics and eventually becoming the President with First Gentleman Ramius and/or Mancuso at his side.
I have a lot of feelings about the idea that Jack's back injury from the chopper crash might leave him in lasting pain that resurfaces on cold and wet days, and Ramius and/or Mancuso would learn how to help him through it. I also love the thought of Mancuso, as a career submariner, not having had many relationships and not being used to being comforted, and so that he'd be quietly overwhelmed when Jack and/or Ramius hug and pet him when he's exhausted, or when he's older and his hands start to hurt when it gets cold.
While I don't think these characters would get up to d/s shenanigans often - I see them mostly as sweet, intense vanilla - I am kind of destroyed by the soft-but-firm-d/s implications of the scene where Ramius presents Mancuso with the Red October. Ramius has enormous Dom Energy in general, especially with Jack, but that scene got me feeling things about Mancuso, who also has a lot of Dom Energy, being the only person in the world whom Ramius would submit to. This goes double because when we see Mancuso give orders on the Dallas, he gives them softly, gently, and everyone immediately leaps to obey; I'd love to see him have the same command style in the bedroom, especially if Jack is sick or hurt and feeling guilty about it and needs to be told to let himself be taken care of, or conversely, if Bart himself is mildly sick or hurt and needs to convince the others to stop worrying and kiss him already, damnit.
[back to navigation]
The Devil's Own (1997)
Characters: Tom O'Meara, Sheila O'Meara, Frankie McGuire
Ships: Tom/Sheila/Frankie
I love the intimacy between Tom and Frankie, but I also love Tom/Sheila and how DTF they were immediately after Tom told Sheila he wanted to retire. I would love to see that intimacy build among all three of them post-film in an AU where Frankie doesn't die of his wounds.
I love the dynamic between Tom and Frankie, where clearly Tom is older and more sensible/grounded and believes he is wiser/has seen more shit, and he clearly has indeed seen a lot of suffering and pain and injustice as a police officer and done his best to put it right, but then he has to face the fact that Frankie has lived the horrors of the Troubles all his life, that Frankie is intimately acquainted with a law-enforcement system that actively harms instead of helping, and is nowhere near the innocent, naïve young man Tom thought he was. And Frankie on the other hand, catching his first glimpse of the American dream, of a truly decent man and his family just trying to live their lives, and growing so fiercely protective of them that he would kill for them, in the only world he knows - one where you truly do have to kill.
• Being that Frankie knows he'd be dead as soon as he set foot in Ireland, and is driven enough to head there anyway, it's unlikely he'd stay in America - unless he's injured badly enough, requiring medical care for long enough, to make it impossible for him to head back. How does he deal with being that injured? How does Tom deal with the guilt of having put him in that position (injured him, and taken the choice to go home and face death on his own terms away from him)?
• Does Tom go ahead with his decision to retire from the police force? How does he feel about the whole awful Eddie saga, followed by injuring Frankie? Does he somehow manage to get the feds and the English police off Frankie's back?
• How does Sheila, the most neutral party in this whole situation, see both sides of it? She liked 'Rory' fine, she loves Tom, and she was pleased with Tom's decision to retire (and horny about that decision, too!) How does she feel about Frankie now she knows the truth? Does she start talking to him about his life and his choices, in the same way Tom did, as intimately as Tom did? What conclusions does she reach? How does she help Tom deal with all his many feelings?
• Perhaps as part of getting the FBI off Frankie's back, the O'Mearas agree to take him in again while he recovers long-term? How does this look, platonically or romantically? How does Frankie deal with both the pain of being less functional in a long-term way and of not being able to go home and fight? Does he find other ways to contribute to the cause? Does he eventually make peace with his situation?
• If you're going the romantic route with Tom/Sheila/Frankie, I would love to see if the Frankie/Tom dynamic develops into romance first, or if the Frankie/Sheila dynamic is first to reach there. Who realizes it first? Does Frankie beat himself up over developing feelings for a married man/woman, then realize he's fallen for the other spouse as well? Does Sheila or Tom realize it first and have a talk with the other about it over dinner or in bed? How do they bring up the subject?
• What is life like for the three of them once they're together (romantically or just living together long-term again)? If you're going the poly route I'd love to see what their new sexual intimacy looks like on bringing in a third, especially as that third is still healing up and needs gentleness rather than much exertion.
• Please assume they either don't plan on telling the kids, or that the oldest kid figures it out and is chill with it! Also please assume their church is cool with gay people and this doesn't affect their relationship with their faith, if they have much of a relationship with it beyond 'gotta go to church'.
[back to navigation]
Double Jeopardy (1999)
Characters: Travis Lehman, Libby Parsons, Art Gallery Owner
Ships: Travis/Art Gallery Owner, Libby/Healing (but seriously, if you're feeling Libby/OFC I would love some of that). DNW Travis/Libby please.
Signup details: DNW Travis/Libby but I would like character exploration of both, and I would like them to continue to be close friends long-term and support each other in their dating life. Travis/Art Gallery Owner or Getting Libby A Girlfriend would be A plus.
I love how sad and determined both these characters are, and how they save each other and even say so by the end. Libby is so resourceful and scrappy (even before she goes to prison) and is clearly willing to throw down for what she believes in, and especially for her son. Her rage fuels me, and I love that it doesn't feel like a rage that's going to stop at the end of the film - she's processing all the betrayal and danger and protectiveness and shock, sure, but now that she's found her son, she can be angry for herself. Travis, I think, by coming round to believing her, gave her the opportunity to find Matty and also to get revenge for herself, and I think that's the cornerstone of their lifelong friendship. (I also really love how GNC Libby is - she walks square-footed, dresses in practical clothes, favours fabrics that have a slight edge of rough/tough/heavy/durable about them, and her body language is that of an absolute bruiser and I LOVE it. I would love to see her come more into her own as a generally GNC woman with money - live the dream, Libby!)
Travis is suffering because of actions that were his own fault, but Libby offered him a chance to do something good and real instead of spending his time being strict and overbearing toward lady ex-cons. I think she not only helped open his eyes to injustice, but also shook him up out of the kind of miserable funk one gets into during sustained periods of suffering, where all empathy and all joy dull and fade - so in a sense, I think they both made each other a person again. (That's a big part of why I don't think they will date - they are far enough into healing to realize it takes two wholes to make a relationship work, and also to recognize in themself and the other that they're not quite whole yet.) I would love to see them support each other in little ways, such as Libby helping Travis get clean or get a new job, Travis helping Libby buy a nice new car...or just them spending time together and supporting each other in their respective lives.
• I would love to see Libby let her hair down, learn to live for herself, and enjoy the wealth she's now inherited for real. Maybe she has a triumphant tour de force of a trial, proving to the court and the public what Nick/"Jonathan" really did and that he got what he deserved, with Travis the star witness - maybe she just gets a quiet acquittal/overturning of the previous verdict and her record is cleared, leaving her free to live her life. Either way I'd love to see her let loose - buy a house and a boat of her own, get a pet, figure out what books and music and liquor and fine art she enjoys, develop her personal style or the clothes she likes or the way she does her hair, buy some sexy luxurious dapper suits and lingerie, or even just lounge around her house in luxurious robes and jerk off whenever she likes. I just want to see her enjoy nice things and have a good time!
• Continuing in the previous vein, I'd love to see Libby become a patron of the arts in her own right. She is reasonably well acquainted with how to navigate Rich People Things and she's clearly able to see the bullshit in rich people circles, so I'd love to see how she chooses to exert her rich people influence for good! Who are the artists she supports (fine art? music? theatre? poetry? new and emerging art forms?) What are the new hobbies she finds community in? Does she reunite with her friends from prison once they've served their sentences, and help them start new lives?
• If you're inclined to get Libby a girlfriend, I would fucking love that. She's discovering herself, recovering from trauma and from the bullshit of living as A Rich Man's Wife before that - why shouldn't she also discover that she's into women as well as (or instead of) men? I would love to see her have a good time with a lady, and perhaps settle down with a lady long-term. Please feel free to go wild inventing the OFC of your (and Libby's) dreams! I'd love to see Libby dom the hell out of her doting girlfriend if you're so inclined. Maybe after they've been dating for a while she even introduces her girlfriend to Travis, who delightedly third wheels throughout their nice dinner or something. MAYBE TRAVIS IS THE BEST MAN AT THEIR WEDDING.
• I would love to see Travis pick himself up, too! Maybe once he loses that government job, he gains the courage to finally get sober, and gets relicenced to practice law. Perhaps Libby is of help with that, offering him a place to stay while he detoxes and support while he searches for jobs or starts his own law firm. I'd love to see him enjoy life a little too, maybe enjoying spending time with Libby's pet(s) or getting one of his own. I would love for Libby to take him out and buy him something nice for his birthday maybe, like a nice suit or watch or something that really spoils him.
• I would love some good old-fashioned h/c for Libby. She is such a scrapper and has such a strong sense of justice that I could see her getting into fistfights over someone being mean to someone else in the streets, or at rich-people galas, or jumping in to help stop a mugging or try and help someone else who's hurt. I would love for Travis, her girlfriend, or her friends from prison, or anyone else to give her some looking after as she comes down from her righteous rage to discover she's Injured with a capital I. (Maybe some gentle sex if you're going the girlfriend route!)
• I really enjoy the art gallery owner who gives Libby information about the Kandinsky. He's so proper™, so willing to help Libby and so impressed with her, and he's so disconcerted when Travis storms into his life! They exchange this single adrenaline-fuelled moment of eye contact as she gets away, and ever since that moment they've been one of my tiniest pool noodle ships. If you're inclined to have Travis make contact with the art gallery owner, or perhaps for Libby to reach out to him as part of her funding more art initiatives, and for him and Travis to develop a friendship and then a relationship, I would be SO DOWN. They deserve nice things! I think art gallery owner telling Travis about art and Travis telling him about law in return would be super cute, and they'd have a lot of fun over coffee and with pets and books and then eventually in the bedroom.
[back to navigation]
Meet Joe Black (1998)
Characters: Death, Susan Parrish, Coffee Shop Guy
Ships: any and all among the requested characters, with all the weird bodysharing/bodyswap/possession/etc complexity you like
Signup details: I'm fascinated by Death, by what Susan knew or surmised, and by the poor guy who just gets chucked back into his body with vague memories of what it's been doing for the past couple of weeks. Medical consequences of regaining body? Susan and the guy getting to know each other for real? How much does Susan tell the guy? Death pining from afar and eventually gains the courage to tell her the truth explicitly, while she tells him how much she guessed? Does he temporarily possess coffee shop guy again to do that, this time with his consent? What is sex like for Susan with coffee shop guy compared to sex with Death? Death consensually possessing coffee shop guy again so Susan can fuck them both? Death gets to know coffee shop guy and falls in love with him, too? Long-term kinky bodysharing threesome????? (Death discovers he's kinkier than coffee shop guy, and ends up teaching coffee shop guy the joy of submission/possibly masochism? Alternatively, coffee shop guy is kinkier than Death, and teaches Death the joy of submission/possibly masochism?)
• How does it feel for Susan to date Coffee Shop Guy, after dating Death In The Body Of Coffee Shop Guy? We know just as much about Coffee Shop Guy as she does, and he seems like a lovely man - but he's not the same man. He's not the man she fell in love with - he's now, once again, simply a man she could fall in love with. I'd love to see the process of them falling in love - how is it different from the story of Susan and Death, and how is it similar? How does it feel to learn this man, a different soul in a body she knows? How does it feel for his conscious mind to learn her, when his muscle memory remembers her well?
• Coffee Shop Guy seems to know that time has passed, and have a vague impression that he's been somewhere else. Does he remember the afterlife/the half-existence between being and not being? Does he have nightmares, flashbacks?
• Does he, instead, have moments of insight, aftershock flashes of Death having been in his body - occasional moments of sharing consciousness with Death and perceiving what Death is doing/feeling/sensing in that moment? Does he sometimes feel overwhelmed with a love for Susan that feels different from his own love for Susan? Does he have a sense of the otherworldly, a perspective he never had before? Or was he already a guy with a lot of perspective and clarity, and occasionally he has flashes of this odd other consciousness who's busy having a whole ass crisis of feeling and he wonders what's up with that?
• How is Death feeling after his vacation on earth? I imagine he is having a Fucking Time of it. Is he eating celestial ice cream and moping with Bill? Does he stop doing his job for a while and then realize he's needed? I would love to see his arc of self-discovery, potentially ending up at the conclusion that instead of deciding to take Susan or deciding to leave her, he should have told her the truth and offered her the choice.
• Does Death occasionally check up on Susan and Coffee Shop Guy to see if they're doing okay? If he comes to the realization that he should have told Susan the truth and offered her the chance to know him, know everything, does he decide to leave her a sign - a note? Does he decide to possess Coffee Shop Guy again for a few minutes - consensually this time?
• Does Death occasionally find himself having flashes of what Coffee Shop Guy is thinking, feeling or experiencing at the moment? Is there a weird bond between them due to having occupied the same body, even though they were never in it at the same time and they never met? What would it be like if they did meet, or did share the body?
• I was deeply moved by Susan and Death's love scene, the sensory sensitivity of it, how gentle they were and how it really seemed like they were both completely lost in the feeling of it, how it was completely new to Death and his first instinct was to constantly ask permission, be polite, soak in the feelings. How is that similar or different to coffee shop guy? If coffee shop guy and Death are sharing a body, does coffee shop guy perceive sensory experiences as more vivid than he does while not sharing a body with him?
• What if Death got to know coffee shop guy and they also fell in love, leading to Long-Term Kinky Bodysharing Threesome.
[back to navigation]
Space Cowboys (2000)
Characters: William 'Hawk' Hawkins, Sara Holland, Frank Corvin
Ships: Hawk/Sara, Hawk/Frank, Hawk/Sara/Frank, Hawk/Sara/Frank/Barbara (Mrs Frank)
I would love an AU where Hawk lives (either the cancer was really a setup by Bob and not real at all, or he fights it and survives).
I love Sara with all my heart, and Hawk/Sara is one of my favourite onscreen relationships, but on this last rewatch I was really struck by the dynamic between Hawk and Frank. So for this request I'm specifically looking for exploration of that dynamic with Hawk/Frank overtones (potentially ending up in a happy poly foursome with both Sara and Barbara), with Frank having pined for Hawk for decades. I would really like Sara to play a starring role as well - perhaps she is the one who notices Frank's pining, or just that there are unsaid things between the two, and helps encourage them to resolve those feelings by making out or fucking (as a one-time thing or a long-term thing).
• So, the Hawk and Frank thing. They parted on a negative note, but they're clearly so fond of each other despite being frustrated with each other, and I'm so charmed by it. I love Barbara! I love Sara! I think Frank/Barbara and Hawk/Sara are both wonderful! I just also think that there's something tangibly romantic between Hawk and Frank, and has been all these years, and that they might benefit from acknowledging it and getting to explore it. That scene under Hawk's plane, where he goes from a deeply emotional moment with Sara to an equally deeply emotional moment with Frank? Destroyed my soul. They just love each other so much!
• So, maybe Frank realizes he has feelings for Hawk, and has repressed them all these years. Perhaps it's only recently occurred to him that men being attracted to men is a possibility at all - maybe he learns that from freewheeling Jerry, or from Tank talking about unconditional support for his gay parishioners, and in the aftermath of almost losing Hawk, he just can't stop thinking about it. So he talks to Barbara about it, since he shares everything with her, perhaps thinking he'll stop feeling that way if he just talks about it, but instead realizes it just intensifies his romantic feelings for Hawk. And Barbara, who also knows and loves Hawk (and is more sexually adventurous than one would think), simply encourages Frank not to hide it any more and to get Sara's permission to ask Hawk out.
• Cue Frank awkwardly talking to Sara, who is curious but emotionally moved and then delighted, and then equally awkwardly asking Hawk out. Which prompts Hawk to think about it, and have several revelations of his own...and more conversations with Sara about it...and then maybe with Barbara, before he hesitantly accepts.
• Cue Hawk being wooed in awkward curmudgeonly manner on an awkward curmudgeonly date with Frank, while they're both having several feelings about maybe having been in love for decades wtf???
• And maybe they go to bed together afterwards.
• Maybe, instead of Frank being the first to realize it, it's Barbara or Sara or both who figure it out by the way Frank looks at Hawk, and it's their idea that he should ask Hawk out.
• Maybe at first all four of them intend it as a one-time thing, but it ends up as a recurring theme and they realize, oh man they're in love love. Maybe Barbara and Sara also realize they like to kiss each other from time to time! Maybe they don't kiss but really enjoy each other's company and are cool with their husbands being in love with them and each other.
• I'd love anything that gets Hawk and Frank together after realizing they've pined for decades - there's absolutely no need to follow every detail I put there - but however they manage it, I would very much like it to be with both their partners' consent please!
• Outside of Hawk/Frank romance, I'd love to see Hawk/Sara, with Hawk going back to giving people joyrides or being a flight instructor, while Sara continues to kick ass at NASA. I'd love to see a slice of life in their relationship, how they spend their time, what they wear, where they go to stargaze, what else they do on the bonnet of their car. ;) I love the sensory detail we get on their first date - the clothes, the breeze, the colours, the beer; how quiet and low-key but intense they are. I would love literally anything that gives me more of that feeling.
[back to navigation]
War of the Worlds (2005)
Characters: Ray Ferrier
Ships: prompts are mostly gen-focused, but I'd very much enjoy Ray/OMC or Ray/OFC as well
Generally after some serious h/c for Ray after the film - I'd love some exploration of the ways in which he falls apart, and the ways in which he could start to recover. I'm also very interested in worldbuilding and Ray getting involved in communal trauma recovery post-film, and I welcome OCs and varied points of view. Here is a link to my Darkest Night tag cloud for this fandom, to give you an idea of where my headspace is at.
Ray is an exception to my permanent injuries DNW, and I have some permanent injury focused tags and prompts for him.
Thoughts/prompts:
Ray falls apart.
Whether at Mary Ann's house, or otherwise. I'm eternally frustrated by the fact that no one even invited him in for a glass of water after the absolute hell he's just been through. I'm here for Ray doing his best to keep going, possibly not even realizing how exhausted or hurt or sick he is until the kids are safe, at which point his body completely gives out on him.
Maybe Mary Ann doesn't want him around and he doesn't particularly want to impose on her family, but he blacks out literally right there on their doorstep and has to be hauled inside, and there's immensely awkward caretaking while he's very out of it, embarrassed that they're the ones who have to look after him but too messed up to try and leave. (Maybe he does try to leave and not bother them any more, and promptly passes out another time and has to be hauled back in again. Maybe he succeeds in leaving and gets caught in the rain or cold and gets even sicker. Maybe he finds himself crying in secret, or has to explain away the tears to Mary Ann's husband or a stranger.)
Speaking of strangers, I'm also here for Ray getting comfort from someone else - in fact, comfort from a stranger is more likely to be genuine comfort that really helps him. Maybe he passes out in a train on the way home and wakes up in hospital. Maybe, in the longer term, he starts to process all the awful things he's been through and bond with other survivors - does he even have a home to go back to, after Brooklyn was pretty much destroyed? Does the government put survivors and displaced folk up while deciding how to compensate them for the losses they've faced, so does Ray hole up with other people who've suffered, generally try to help out as much as he can with volunteering and relief work, and the people he finds along the way look after him when he crashes? Does he try to help with the rebuilding efforts, possibly while in no shape to do so, and crash on the job? Is he surprised that people care enough about him to make sure he's okay? I'm not opposed to him finding a cute romantic partner (of whatever gender!) who's also been through terrible things and can help him feel less alone, but I'm also very taken with the thought of this small community of traumatized people coming together to help one of their own when he needs it, and him kind of wondering why they'd even notice him or care about him. That's generally what I'm getting at with the injury, nightmare and PTSD-related tags - something happening to Ray, and a stranger, or the community of strangers he ended up a part of, helping him even when he doesn't want to be a bother and doesn't know why they'd care.
My reading of Ray is that he generally didn't see many people outside of work, and that he's the kind of person who does his utmost to help in any situation that needs it but keeps to himself a lot outside of that, so I'm very here for even the slightest bit of comfort, offered hand or kind word sort of breaking him into several pieces.
I've also added the 'child abuse' tag here, as something Ray might find himself having to process. This tag is specifically because of a throwaway line Ray says to Robbie when he's mouthing off and calling him 'Ray': "it's Dad, sir, or if you want Mr Ferrier - that sounds a little weird to me, but you decide." Which sounds to me a lot like he parroted those last two from his own childhood, and I know it's a bit of a reach from there to straight-up abuse but it's a reading I'm really not opposed to. At best there's a lot of emotional distance there between Ray and his own dad, and at worst physical abuse, and I'd read Ray having to confront and/or confess to it having been either, or even verbal or emotional abuse, and that he's tried his best not to replicate it with his kids but still feels like he's failed them in other ways.
Ray falls apart, tries to cope through substances.
Ray has...a lot to deal with, and no one to even listen let alone help. A lot of the altered states tags could be fever or illness related or PTSD related, and I'm super here for that, for someone getting to see how messed up Ray really is, and choosing to stay and look after him instead of leaving him to fend for himself. I'm also here for him trying to deal with the pain by getting as drunk as he can, or accepting a pill that someone gives him, possibly not knowing what he's getting into. (To clarify, I'm not looking for an addiction plotline here, more like a 'very tired, slightly clueless, trying anything once' situation. Though I can see Ray drinking every day, I would rather not see him binge drinking every day.) Also kind of here for someone slipping him something in a drink, either with malicious intent or with benevolent intent (getting him to lighten up or have some fun for once, hoping to stop the nightmares, etc) and that not ending well whatsoever.
Here for someone - as above, a stranger or partner or someone from a community Ray's ended up in - being with him while he's in that messed up altered state, perhaps talking him down from a bad trip or flashback or some kind of delirium, or holding him while he spills sad confessions and talks without a filter, without being able to stop himself talking, about everything that hurts. Very here for all the comfort.
Ray falls apart, tries to cope through ill-advised sex with strangers.
The Above, But More. This is what the sex/BDSM tags are getting at. I'm here for Ray kind of both trying to seek out physical contact, and trying to seek out physical pain to drown out all the mental and emotional pain, and getting those wires so crossed and knotted that he ends up not really knowing which is which. Maybe, because so many people are hurting and everyone deals in different ways, he finds an abundance of people willing to hurt him, and finds that it kind of gets him off, or finds that it's easier to get off to pain than to gentleness he feels he doesn't deserve. Maybe some of these partners aren't in the best of mental places either, and end up hurting him more than he wanted, or he and said partners both kinda forget what safe and sane mean because they have no barometer for it any more, and maybe aftercare kind of isn't a thing and Ray drops hard more than once. Maybe the drop and the pain are the only way he can manage to let himself cry. (Maybe he finally happens to find someone who is really into the aftercare, and it changes his life. Very here for gentleness breaking Ray into pieces here, too.)
Ray tries his best to hold it together, even if he doesn't always succeed, but then additional terrible things happen post-apocalypse to set him back/make him crumble.
These are plot tags for Additional Angst And Pain that could add on to any of the above thoughts to make the darkness even darker, or make for a dark fic on their own. Thunderstorms, for instance, are probably going to be a major trauma trigger not just for Ray but for everyone else who survived the tripods moving through their area; I could see Ray huddling with a fellow traumatized survivor or a bunch of them, one or several of them shaking or crying, just trying to comfort one another as best they can while they weather the storm. Similarly, a broken down car in the middle of nowhere would be an eerie parallel to what Ray experienced in the film - maybe he's alone this time and doesn't deal with it well, or maybe he's with a few other people who are compassionate and help him deal. Perhaps either of these is even a trapped with someone in need of medical care situation, with Ray hurt or sick and unable to hide it when in close quarters to others, and the storm being too intense for anyone to try and get him help until it passes.
Violence is also not unlikely in a survivor camp or just in general in a post-apocalypse scenario, and I could see Ray either stepping in to try and defuse things and getting hurt because of it, or just happening to be in the wrong place at the wrong time and be the kind of quiet, awkward, perceived-as-weird person that those looking for violence like to target. Both the tags for this situation involve impalement or near-impalement - pinned/stabbed to surface as a form of restraint, possibly through a sleeve or through the arm or leg, possibly because Ray was being inconvenient for someone who wanted to steal something or hurt someone else and had to be got out of the way, and crucifixion, for which I'm mostly seeing him being pinned to a surface through the wrist or hand. For both of these I'm interested both in the trauma of the situation itself and in the (probably long-term) healing afterwards - whether Ray ends up just weaker in that arm, or whether he ends up with a limp, or ends up losing the use of a hand entirely, I want to see the healing process and someone, or multiple someones, looking after Ray while he's badly hurt and in shock on top of everything else they've all been through.
There's also a Solitary Confinement tag, for the possibility that Ray is held as responsible by law enforcement for the violent incident as the actual instigators, and is put in a cell while he's hurt, and possibly someone who witnessed the incident or just someone from the survivor camp makes it their mission to get him freed and then help him heal up afterwards.
[back to navigation]
Once again, thank you so much for writing for me! I hope you have fun creating. 💛
Also, some extra fun stuff:
• Two for One (crossover prompts)
• Wrapping Paper (art prompts)
• Yuleporn (sexy prompts)
• Crueltide (darkfic prompts)
Hi there! Thank you so much for sharing my fandoms and for writing for me! <3 I am academicgangster on Tumblr, and simplecoffee on ao3. I am open to treats in any medium!
So, the thing I love most in fanfic is taking canon character dynamics and just...making them More. Taking them further, exploring their natural progression, in either a gen or a shippy way. I've mentioned the character dynamics and ships I love under each fandom, along with some rambly thoughts and prompts - speaking of which, please feel free to pick, choose, mix, match, play with any, all or even none of said prompts, if that's where the muse takes you. <3
I also love hurt/comfort with all my soul, so most of the prompts here will probably contain it to some degree.
I am here for any kind of exploration of character dynamics - h/c, casefic, fluff fic, angst, missing scenes, outsider POV, outsider POV contrasted with canon characters' POV, getting together fic, established relationship fic, you name it I love it. I'm also very much okay with or without smut - I like it, but please don't feel pressured to include it or not to include it. If you do feel inclined toward the sensual, I have a preference for a Mature rating over an Explicit rating, but I will likely enjoy whatever rating speaks to you. :D
I am super open to unconventional medium/narrative styles if you feel inspired to use them - outsider POV, outsider POV contrasted with canon characters' POV, epistolary fic, framing devices such as mission reports, medical reports, audio transcripts/debrief transcripts, text messages or post-its between characters, news articles, even official documentation, are all amazing.
Navigation
> Likes & DNWs
> The Hunt for Red October (1990)
Jack Ryan
Bart Mancuso
Marko Ramius
> The Devil's Own (1997)
Tom O'Meara
Sheila O'Meara
Frankie McGuire
> Double Jeopardy (1999)
Travis Lehman
Libby Parsons
Art Gallery Owner
> Meet Joe Black (1998)
Death
Susan Parrish
Guy From The Coffee Shop
> Space Cowboys (2000)
William "Hawk" Hawkins
Sara Holland
Frank Corvin
> War of the Worlds (2005)
Ray Ferrier
Worldbuilding
Likes & DNWs
General likes:
• Hurt/comfort of all stripes - sickfic, injuries, emotional h/c, all of it. (This is my favourite thing in all of fandom. Like, I absolutely live for it. ^^')
• Character studies, exploration of canon character dynamics, fallout of canon trauma
• PTSD, scars, illness messing with a character's grip on reality, combat/mission injuries, scars, old injuries acting up, touch starvation, sensory deprivation / sensory overload, characters not believing they deserve comfort or being surprised to receive comfort, selective mutism, hurting characters choking up at moments when they really need to speak (eg. leader unable to tell their worried team they're fine, submissive unable to safeword), stoic characters breaking down when faced with comfort, subdrop, characters bonding over trauma, characters so used to going through hell alone that they can't wrap their heads around someone wanting to help
• carrying, cuddling, characters wrapping ill/injured characters in soft blankets/clothes/their own jackets (especially jackets that are too big for them!), sweater paws, keeping characters warm, aftercare, forehead kisses, hands and touch
• Earned trust and casual intimacy (characters who know each other well or get to know each other well, clothes sharing, characters only allowing touch from people they trust, etc)
• Pain, bittersweetness, sadness, exploring the darker side and implications of canon is great, but I really need some happiness/comfort and hope along with it!
Smut likes:
D/s overtones. Service subs. Subs With Issues. Praise kink. Hands, fingers, touch; touch starvation. Finger-sucking. Hair petting/brushing. Aftercare. Subdrop and recovery. Tenderness, especially if the person receiving it isn't expecting it, isn't used to it, and it breaks them just a little.
Marking - hickeys/bruising/bite marks; hiding the bruises under clothing. Scar worship. Suit/uniform kink. Partners reverently undressing each other. Wrists bound or held down. Honour bondage. Careful sex / making out when one partner is hurt or ill and feverish (fever sex is, uh, a Thing of mine). Gentleness, affection, emphasis on touch and texture/physical sensation (clothing porn is so very welcome!). Or rough, desperate, life-affirming sex/making out.
There are some fandoms where I like the sex a lot rougher; see War of the Worlds. There are also prompts for dubcon and generally messed up sexual situations there.
General DNWs:
• Mundane/depowered/setting change AUs
• Bleak, hopeless endings (as long as there's hope, bittersweet endings are fine!)
• Unrequested crossovers and fusions
• Any mention of coronavirus or quarantine/lockdown situations
• Death of requested characters (even if they died in canon)
• Non-canonical death of non-requested characters
• Terminal illness (see Space Cowboys for Hawk exception)
• Permanent injury (the exceptions: Devil's Own, Meet Joe Black, fallout of Jack's past spinal injury in Red October)
• Gastrointestinal illness (nausea/vomiting is okay but not as a focus of the work, and not as a result of GI discomfort - so character getting nauseous or throwing up from a migraine or just severe pain in general, yes; character getting nauseous or throwing up as a result of a severe anxiety attack or PTSD episode, yes; character suffering anything related to food poisoning or GI bugs or overeating and similar, no)
• Marijuana use or mention of it in any capacity (other intoxicants a-okay)
• Infidelity (for Red October, I'd prefer that Jack and Cathy were never married, and amiably co-parent Sally but are not together any more. For Space Cowboys I'd like Sara and Barbara to be in on it and enthusiastic about Hawk/Frank)
Smut DNWs:
• Noncon or dubcon, except where noted
• humiliation as a kink, except where noted
• pain play, except where noted
• gags of any kind (hand over mouth is okay for canons with prompts for rougher sex like WotW or Devil's Own, but I would like it to trigger the character on the receiving end and for there to be some emotional fallout of it)
• anal, dirty talk, spanking, ageplay, scat, watersports, rimming, emeto, A/B/O, d/s-verse, mommy/daddy kink, maledom/femsub
[back to navigation]
The Hunt for Red October (1990)
Characters: Jack Ryan, Bart Mancuso, Marko Ramius
Ships: Jack/Ramius, Jack/Mancuso, Ramius/Mancuso, Jack/Ramius/Mancuso
Please no infidelity! (I'd like it if Cathy and Jack were never married - they just didn't work out, or were just friends with benefits for a while, and live separate lives while amiably raising their kid together)
I love this version of Jack Ryan so much! I love that he's a strategic expert and knows which hunches to play, but he's not a field agent and knows exactly Fuck All about field operations! I love every single character dynamic he has, especially the deeply promising ones he has with Ramius and Mancuso. I also love his backstory, his lingering PTSD and likely chronic pain from the spinal injury that ended his career as a Marine, and how he ploughs on regardless of how Very Much He Does Not Want To Be Ploughing On.
I really love the warmth of everything about this film - how deeply idealistic Jack and Ramius are, how Jack is an experienced analyst who knows a lot about strategy and history but absolutely nothing about operations (but still knows he has to try to get Ramius in alive), how Ramius makes sure to gain the trust of his officers about the terrible risk he's taking in defecting, how Mancuso's whole crew clearly loves and trusts him and admires him while he is so protective of them in return - indeed, how committed to duty Mancuso is, but how ready and willing to step up when Jack proves his orders wrong.
I love h/c for all my fandoms, but I particularly love it for this one. Jack and/or Mancuso as the hurt character would be great. I love the warmth of this film, and would love that warm atmosphere to carry over into fic. 💛 I'm very here for all kinds of softness and h/c, with Jack or Mancuso as the centre. (If you'd like some more ideas to bounce off of, here's my Hurt/Comfort Ex writeup on Jack; here's the one for Mancuso.)
Thoughts/prompts:
Jack, Ramius and Mancuso bonding post-film
I'd love to see these three getting to know each other better after the events of the film. I'm especially here for the differences between each dynamic, and how they all play off each other - Jack-Ramius, Ramius-Mancuso and Jack-Mancuso are all delightfully different axes, and whether it's friendship or eventual romance I would love to see how they all play out, and how they all form in the first place. Here are some prompts using the film as a jumping-off point:
• Cold and damp are not great for old injuries and chronic pain, and Jack's had a rough few days. When the action is over and Jack stays on the Red October (and later at a CIA safe house) as Ramius' security detail/fanboy in residence, he tries his best to hide how much he's hurting, but Ramius (and perhaps Mancuso, too) sees right through him, and takes care of him as best he can with the Red October's medical supplies.
• Ramius and Mancuso bonding over submarine nerdery and naval expertise, and slowly falling in love.
• Jack and Ramius going fishing, and getting to know each other, perhaps eventually intimately well.
• Jack and Mancuso striking up an acquaintance outside of the mission, and perhaps eventually falling in love.
• Jack and Ramius, and perhaps Mancuso too, spending some time together in a CIA safe house before debrief, and getting to know each other.
The evolution of their dynamics in the years afterward
I'm also here for what these characters are doing years down the line, what their inner lives are like.
• I'd love to see Mancuso's inner life, since we know less about him than the other two. What do Mancuso's quarters aboard the Dallas look like? What books does he have there, what photographs or paintings? (Are there eventually photos of him with Jack and/or Ramius? Does he take some of their clothes with him aboard, to sleep in?)
• Ramius and/or Mancuso getting to know about Jack's fear of flying, about the trauma response it is. One or both of them holding Jack's hand(s) on a plane, or holding him after a nightmare on the ground.
• Jack's back injury from the chopper crash acting up on cold or wet days, and Ramius and/or Mancuso looking after him with heating pads, medication and such. Jack having to learn to admit he's hurting, and Ramius and/or Mancuso making the effort to learn how to help him when he needs it.
• On a a cold and miserable day when Jack is hurting, Ramius and/or Mancuso coax him into a hot shower and cup his head against their shoulder while the warmth soaks into his back.
• Jack gets shot or otherwise badly hurt. Jack is not a field agent, was not on a field mission when he sustained the injury, and does not react to said injury like a field agent would. There's a great deal of medical trauma and pain, and Ramius and/or Mancuso are Absolutely Furious about it.
• Mancuso gets badly hurt or falls ill while on deployment. Jack and/or Ramius comfort him over the phone or via messages through the crew of the Dallas while he's laid up, or camp out by his bed if things get bad enough that he has to be taken to a hospital on shore, and make an enormous fuss of him and spoil him thoroughly when he gets home.
• Jack and Ramius spend more time together than they do with Bart, but when they do get to see him they're always sure to make him feel welcome (romantically or platonically).
Epistolary Fic Prompts
I really adore the idea of epistolary fic for this fandom! Here are some epistolary prompts:
• I'd love to see an article or an excerpt from a book that Jack wrote about Ramius, and/or one that he wrote about Mancuso. Either way, he's clearly in love with the subject - perhaps obliviously, or perhaps he's in a relationship with the subject and just can't talk about it in the article/book. (I'm envisioning it like, as dramatic as this post, for the record)
• Alternatively, this book extract or article coming to light years later when Jack is the President and Ramius and/or Mancuso is/are his husband/s, and the internet losing their entire minds over how head over heels President Ryan already was for his husband(s) way back around like, 1986-1996.
• Jack and/or Ramius writing to Mancuso while he's away aboard the Dallas, and Mancuso writing back. Maybe before they get together, maybe after, maybe both; hell, maybe that's how they fall in love in the first place.
• Ramius keeping a diary of his experiences in the New World, including his relationship with Jack and/or Mancuso.
• Jack or Mancuso stuck somewhere while sick or hurt, in unfamiliar surroundings (maybe Jack got hurt on another field mission he really shouldn't have been on, or fell ill on a book tour or exerted himself too much and is stuck in a hotel room with his back acting up, or Mancuso got injured or fell ill aboard the Dallas and had to be evacuated to an unfamiliar hospital), writing notes or letters to the object(s, could be the other of the two, could be Ramius) of their pining, all while possibly not entirely lucid. Maybe they read them back later and have some revelations about their feelings, maybe they eventually decide to send them after all, or maybe the intended recipient gets to read them years later instead, when they're happily together.
Further Shippy Thoughts
I love every ship on this
I have a lot of feelings about the idea that Jack's back injury from the chopper crash might leave him in lasting pain that resurfaces on cold and wet days, and Ramius and/or Mancuso would learn how to help him through it. I also love the thought of Mancuso, as a career submariner, not having had many relationships and not being used to being comforted, and so that he'd be quietly overwhelmed when Jack and/or Ramius hug and pet him when he's exhausted, or when he's older and his hands start to hurt when it gets cold.
While I don't think these characters would get up to d/s shenanigans often - I see them mostly as sweet, intense vanilla - I am kind of destroyed by the soft-but-firm-d/s implications of the scene where Ramius presents Mancuso with the Red October. Ramius has enormous Dom Energy in general, especially with Jack, but that scene got me feeling things about Mancuso, who also has a lot of Dom Energy, being the only person in the world whom Ramius would submit to. This goes double because when we see Mancuso give orders on the Dallas, he gives them softly, gently, and everyone immediately leaps to obey; I'd love to see him have the same command style in the bedroom, especially if Jack is sick or hurt and feeling guilty about it and needs to be told to let himself be taken care of, or conversely, if Bart himself is mildly sick or hurt and needs to convince the others to stop worrying and kiss him already, damnit.
[back to navigation]
The Devil's Own (1997)
Characters: Tom O'Meara, Sheila O'Meara, Frankie McGuire
Ships: Tom/Sheila/Frankie
I love the intimacy between Tom and Frankie, but I also love Tom/Sheila and how DTF they were immediately after Tom told Sheila he wanted to retire. I would love to see that intimacy build among all three of them post-film in an AU where Frankie doesn't die of his wounds.
I love the dynamic between Tom and Frankie, where clearly Tom is older and more sensible/grounded and believes he is wiser/has seen more shit, and he clearly has indeed seen a lot of suffering and pain and injustice as a police officer and done his best to put it right, but then he has to face the fact that Frankie has lived the horrors of the Troubles all his life, that Frankie is intimately acquainted with a law-enforcement system that actively harms instead of helping, and is nowhere near the innocent, naïve young man Tom thought he was. And Frankie on the other hand, catching his first glimpse of the American dream, of a truly decent man and his family just trying to live their lives, and growing so fiercely protective of them that he would kill for them, in the only world he knows - one where you truly do have to kill.
• Being that Frankie knows he'd be dead as soon as he set foot in Ireland, and is driven enough to head there anyway, it's unlikely he'd stay in America - unless he's injured badly enough, requiring medical care for long enough, to make it impossible for him to head back. How does he deal with being that injured? How does Tom deal with the guilt of having put him in that position (injured him, and taken the choice to go home and face death on his own terms away from him)?
• Does Tom go ahead with his decision to retire from the police force? How does he feel about the whole awful Eddie saga, followed by injuring Frankie? Does he somehow manage to get the feds and the English police off Frankie's back?
• How does Sheila, the most neutral party in this whole situation, see both sides of it? She liked 'Rory' fine, she loves Tom, and she was pleased with Tom's decision to retire (and horny about that decision, too!) How does she feel about Frankie now she knows the truth? Does she start talking to him about his life and his choices, in the same way Tom did, as intimately as Tom did? What conclusions does she reach? How does she help Tom deal with all his many feelings?
• Perhaps as part of getting the FBI off Frankie's back, the O'Mearas agree to take him in again while he recovers long-term? How does this look, platonically or romantically? How does Frankie deal with both the pain of being less functional in a long-term way and of not being able to go home and fight? Does he find other ways to contribute to the cause? Does he eventually make peace with his situation?
• If you're going the romantic route with Tom/Sheila/Frankie, I would love to see if the Frankie/Tom dynamic develops into romance first, or if the Frankie/Sheila dynamic is first to reach there. Who realizes it first? Does Frankie beat himself up over developing feelings for a married man/woman, then realize he's fallen for the other spouse as well? Does Sheila or Tom realize it first and have a talk with the other about it over dinner or in bed? How do they bring up the subject?
• What is life like for the three of them once they're together (romantically or just living together long-term again)? If you're going the poly route I'd love to see what their new sexual intimacy looks like on bringing in a third, especially as that third is still healing up and needs gentleness rather than much exertion.
• Please assume they either don't plan on telling the kids, or that the oldest kid figures it out and is chill with it! Also please assume their church is cool with gay people and this doesn't affect their relationship with their faith, if they have much of a relationship with it beyond 'gotta go to church'.
[back to navigation]
Double Jeopardy (1999)
Characters: Travis Lehman, Libby Parsons, Art Gallery Owner
Ships: Travis/Art Gallery Owner, Libby/Healing (but seriously, if you're feeling Libby/OFC I would love some of that). DNW Travis/Libby please.
Signup details: DNW Travis/Libby but I would like character exploration of both, and I would like them to continue to be close friends long-term and support each other in their dating life. Travis/Art Gallery Owner or Getting Libby A Girlfriend would be A plus.
I love how sad and determined both these characters are, and how they save each other and even say so by the end. Libby is so resourceful and scrappy (even before she goes to prison) and is clearly willing to throw down for what she believes in, and especially for her son. Her rage fuels me, and I love that it doesn't feel like a rage that's going to stop at the end of the film - she's processing all the betrayal and danger and protectiveness and shock, sure, but now that she's found her son, she can be angry for herself. Travis, I think, by coming round to believing her, gave her the opportunity to find Matty and also to get revenge for herself, and I think that's the cornerstone of their lifelong friendship. (I also really love how GNC Libby is - she walks square-footed, dresses in practical clothes, favours fabrics that have a slight edge of rough/tough/heavy/durable about them, and her body language is that of an absolute bruiser and I LOVE it. I would love to see her come more into her own as a generally GNC woman with money - live the dream, Libby!)
Travis is suffering because of actions that were his own fault, but Libby offered him a chance to do something good and real instead of spending his time being strict and overbearing toward lady ex-cons. I think she not only helped open his eyes to injustice, but also shook him up out of the kind of miserable funk one gets into during sustained periods of suffering, where all empathy and all joy dull and fade - so in a sense, I think they both made each other a person again. (That's a big part of why I don't think they will date - they are far enough into healing to realize it takes two wholes to make a relationship work, and also to recognize in themself and the other that they're not quite whole yet.) I would love to see them support each other in little ways, such as Libby helping Travis get clean or get a new job, Travis helping Libby buy a nice new car...or just them spending time together and supporting each other in their respective lives.
• I would love to see Libby let her hair down, learn to live for herself, and enjoy the wealth she's now inherited for real. Maybe she has a triumphant tour de force of a trial, proving to the court and the public what Nick/"Jonathan" really did and that he got what he deserved, with Travis the star witness - maybe she just gets a quiet acquittal/overturning of the previous verdict and her record is cleared, leaving her free to live her life. Either way I'd love to see her let loose - buy a house and a boat of her own, get a pet, figure out what books and music and liquor and fine art she enjoys, develop her personal style or the clothes she likes or the way she does her hair, buy some sexy luxurious dapper suits and lingerie, or even just lounge around her house in luxurious robes and jerk off whenever she likes. I just want to see her enjoy nice things and have a good time!
• Continuing in the previous vein, I'd love to see Libby become a patron of the arts in her own right. She is reasonably well acquainted with how to navigate Rich People Things and she's clearly able to see the bullshit in rich people circles, so I'd love to see how she chooses to exert her rich people influence for good! Who are the artists she supports (fine art? music? theatre? poetry? new and emerging art forms?) What are the new hobbies she finds community in? Does she reunite with her friends from prison once they've served their sentences, and help them start new lives?
• If you're inclined to get Libby a girlfriend, I would fucking love that. She's discovering herself, recovering from trauma and from the bullshit of living as A Rich Man's Wife before that - why shouldn't she also discover that she's into women as well as (or instead of) men? I would love to see her have a good time with a lady, and perhaps settle down with a lady long-term. Please feel free to go wild inventing the OFC of your (and Libby's) dreams! I'd love to see Libby dom the hell out of her doting girlfriend if you're so inclined. Maybe after they've been dating for a while she even introduces her girlfriend to Travis, who delightedly third wheels throughout their nice dinner or something. MAYBE TRAVIS IS THE BEST MAN AT THEIR WEDDING.
• I would love to see Travis pick himself up, too! Maybe once he loses that government job, he gains the courage to finally get sober, and gets relicenced to practice law. Perhaps Libby is of help with that, offering him a place to stay while he detoxes and support while he searches for jobs or starts his own law firm. I'd love to see him enjoy life a little too, maybe enjoying spending time with Libby's pet(s) or getting one of his own. I would love for Libby to take him out and buy him something nice for his birthday maybe, like a nice suit or watch or something that really spoils him.
• I would love some good old-fashioned h/c for Libby. She is such a scrapper and has such a strong sense of justice that I could see her getting into fistfights over someone being mean to someone else in the streets, or at rich-people galas, or jumping in to help stop a mugging or try and help someone else who's hurt. I would love for Travis, her girlfriend, or her friends from prison, or anyone else to give her some looking after as she comes down from her righteous rage to discover she's Injured with a capital I. (Maybe some gentle sex if you're going the girlfriend route!)
• I really enjoy the art gallery owner who gives Libby information about the Kandinsky. He's so proper™, so willing to help Libby and so impressed with her, and he's so disconcerted when Travis storms into his life! They exchange this single adrenaline-fuelled moment of eye contact as she gets away, and ever since that moment they've been one of my tiniest pool noodle ships. If you're inclined to have Travis make contact with the art gallery owner, or perhaps for Libby to reach out to him as part of her funding more art initiatives, and for him and Travis to develop a friendship and then a relationship, I would be SO DOWN. They deserve nice things! I think art gallery owner telling Travis about art and Travis telling him about law in return would be super cute, and they'd have a lot of fun over coffee and with pets and books and then eventually in the bedroom.
[back to navigation]
Meet Joe Black (1998)
Characters: Death, Susan Parrish, Coffee Shop Guy
Ships: any and all among the requested characters, with all the weird bodysharing/bodyswap/possession/etc complexity you like
Signup details: I'm fascinated by Death, by what Susan knew or surmised, and by the poor guy who just gets chucked back into his body with vague memories of what it's been doing for the past couple of weeks. Medical consequences of regaining body? Susan and the guy getting to know each other for real? How much does Susan tell the guy? Death pining from afar and eventually gains the courage to tell her the truth explicitly, while she tells him how much she guessed? Does he temporarily possess coffee shop guy again to do that, this time with his consent? What is sex like for Susan with coffee shop guy compared to sex with Death? Death consensually possessing coffee shop guy again so Susan can fuck them both? Death gets to know coffee shop guy and falls in love with him, too? Long-term kinky bodysharing threesome????? (Death discovers he's kinkier than coffee shop guy, and ends up teaching coffee shop guy the joy of submission/possibly masochism? Alternatively, coffee shop guy is kinkier than Death, and teaches Death the joy of submission/possibly masochism?)
• How does it feel for Susan to date Coffee Shop Guy, after dating Death In The Body Of Coffee Shop Guy? We know just as much about Coffee Shop Guy as she does, and he seems like a lovely man - but he's not the same man. He's not the man she fell in love with - he's now, once again, simply a man she could fall in love with. I'd love to see the process of them falling in love - how is it different from the story of Susan and Death, and how is it similar? How does it feel to learn this man, a different soul in a body she knows? How does it feel for his conscious mind to learn her, when his muscle memory remembers her well?
• Coffee Shop Guy seems to know that time has passed, and have a vague impression that he's been somewhere else. Does he remember the afterlife/the half-existence between being and not being? Does he have nightmares, flashbacks?
• Does he, instead, have moments of insight, aftershock flashes of Death having been in his body - occasional moments of sharing consciousness with Death and perceiving what Death is doing/feeling/sensing in that moment? Does he sometimes feel overwhelmed with a love for Susan that feels different from his own love for Susan? Does he have a sense of the otherworldly, a perspective he never had before? Or was he already a guy with a lot of perspective and clarity, and occasionally he has flashes of this odd other consciousness who's busy having a whole ass crisis of feeling and he wonders what's up with that?
• How is Death feeling after his vacation on earth? I imagine he is having a Fucking Time of it. Is he eating celestial ice cream and moping with Bill? Does he stop doing his job for a while and then realize he's needed? I would love to see his arc of self-discovery, potentially ending up at the conclusion that instead of deciding to take Susan or deciding to leave her, he should have told her the truth and offered her the choice.
• Does Death occasionally check up on Susan and Coffee Shop Guy to see if they're doing okay? If he comes to the realization that he should have told Susan the truth and offered her the chance to know him, know everything, does he decide to leave her a sign - a note? Does he decide to possess Coffee Shop Guy again for a few minutes - consensually this time?
• Does Death occasionally find himself having flashes of what Coffee Shop Guy is thinking, feeling or experiencing at the moment? Is there a weird bond between them due to having occupied the same body, even though they were never in it at the same time and they never met? What would it be like if they did meet, or did share the body?
• I was deeply moved by Susan and Death's love scene, the sensory sensitivity of it, how gentle they were and how it really seemed like they were both completely lost in the feeling of it, how it was completely new to Death and his first instinct was to constantly ask permission, be polite, soak in the feelings. How is that similar or different to coffee shop guy? If coffee shop guy and Death are sharing a body, does coffee shop guy perceive sensory experiences as more vivid than he does while not sharing a body with him?
• What if Death got to know coffee shop guy and they also fell in love, leading to Long-Term Kinky Bodysharing Threesome.
[back to navigation]
Space Cowboys (2000)
Characters: William 'Hawk' Hawkins, Sara Holland, Frank Corvin
Ships: Hawk/Sara, Hawk/Frank, Hawk/Sara/Frank, Hawk/Sara/Frank/Barbara (Mrs Frank)
I would love an AU where Hawk lives (either the cancer was really a setup by Bob and not real at all, or he fights it and survives).
I love Sara with all my heart, and Hawk/Sara is one of my favourite onscreen relationships, but on this last rewatch I was really struck by the dynamic between Hawk and Frank. So for this request I'm specifically looking for exploration of that dynamic with Hawk/Frank overtones (potentially ending up in a happy poly foursome with both Sara and Barbara), with Frank having pined for Hawk for decades. I would really like Sara to play a starring role as well - perhaps she is the one who notices Frank's pining, or just that there are unsaid things between the two, and helps encourage them to resolve those feelings by making out or fucking (as a one-time thing or a long-term thing).
• So, the Hawk and Frank thing. They parted on a negative note, but they're clearly so fond of each other despite being frustrated with each other, and I'm so charmed by it. I love Barbara! I love Sara! I think Frank/Barbara and Hawk/Sara are both wonderful! I just also think that there's something tangibly romantic between Hawk and Frank, and has been all these years, and that they might benefit from acknowledging it and getting to explore it. That scene under Hawk's plane, where he goes from a deeply emotional moment with Sara to an equally deeply emotional moment with Frank? Destroyed my soul. They just love each other so much!
• So, maybe Frank realizes he has feelings for Hawk, and has repressed them all these years. Perhaps it's only recently occurred to him that men being attracted to men is a possibility at all - maybe he learns that from freewheeling Jerry, or from Tank talking about unconditional support for his gay parishioners, and in the aftermath of almost losing Hawk, he just can't stop thinking about it. So he talks to Barbara about it, since he shares everything with her, perhaps thinking he'll stop feeling that way if he just talks about it, but instead realizes it just intensifies his romantic feelings for Hawk. And Barbara, who also knows and loves Hawk (and is more sexually adventurous than one would think), simply encourages Frank not to hide it any more and to get Sara's permission to ask Hawk out.
• Cue Frank awkwardly talking to Sara, who is curious but emotionally moved and then delighted, and then equally awkwardly asking Hawk out. Which prompts Hawk to think about it, and have several revelations of his own...and more conversations with Sara about it...and then maybe with Barbara, before he hesitantly accepts.
• Cue Hawk being wooed in awkward curmudgeonly manner on an awkward curmudgeonly date with Frank, while they're both having several feelings about maybe having been in love for decades wtf???
• And maybe they go to bed together afterwards.
• Maybe, instead of Frank being the first to realize it, it's Barbara or Sara or both who figure it out by the way Frank looks at Hawk, and it's their idea that he should ask Hawk out.
• Maybe at first all four of them intend it as a one-time thing, but it ends up as a recurring theme and they realize, oh man they're in love love. Maybe Barbara and Sara also realize they like to kiss each other from time to time! Maybe they don't kiss but really enjoy each other's company and are cool with their husbands being in love with them and each other.
• I'd love anything that gets Hawk and Frank together after realizing they've pined for decades - there's absolutely no need to follow every detail I put there - but however they manage it, I would very much like it to be with both their partners' consent please!
• Outside of Hawk/Frank romance, I'd love to see Hawk/Sara, with Hawk going back to giving people joyrides or being a flight instructor, while Sara continues to kick ass at NASA. I'd love to see a slice of life in their relationship, how they spend their time, what they wear, where they go to stargaze, what else they do on the bonnet of their car. ;) I love the sensory detail we get on their first date - the clothes, the breeze, the colours, the beer; how quiet and low-key but intense they are. I would love literally anything that gives me more of that feeling.
[back to navigation]
War of the Worlds (2005)
Characters: Ray Ferrier
Ships: prompts are mostly gen-focused, but I'd very much enjoy Ray/OMC or Ray/OFC as well
Generally after some serious h/c for Ray after the film - I'd love some exploration of the ways in which he falls apart, and the ways in which he could start to recover. I'm also very interested in worldbuilding and Ray getting involved in communal trauma recovery post-film, and I welcome OCs and varied points of view. Here is a link to my Darkest Night tag cloud for this fandom, to give you an idea of where my headspace is at.
Ray is an exception to my permanent injuries DNW, and I have some permanent injury focused tags and prompts for him.
Thoughts/prompts:
Ray falls apart.
Whether at Mary Ann's house, or otherwise. I'm eternally frustrated by the fact that no one even invited him in for a glass of water after the absolute hell he's just been through. I'm here for Ray doing his best to keep going, possibly not even realizing how exhausted or hurt or sick he is until the kids are safe, at which point his body completely gives out on him.
Maybe Mary Ann doesn't want him around and he doesn't particularly want to impose on her family, but he blacks out literally right there on their doorstep and has to be hauled inside, and there's immensely awkward caretaking while he's very out of it, embarrassed that they're the ones who have to look after him but too messed up to try and leave. (Maybe he does try to leave and not bother them any more, and promptly passes out another time and has to be hauled back in again. Maybe he succeeds in leaving and gets caught in the rain or cold and gets even sicker. Maybe he finds himself crying in secret, or has to explain away the tears to Mary Ann's husband or a stranger.)
Speaking of strangers, I'm also here for Ray getting comfort from someone else - in fact, comfort from a stranger is more likely to be genuine comfort that really helps him. Maybe he passes out in a train on the way home and wakes up in hospital. Maybe, in the longer term, he starts to process all the awful things he's been through and bond with other survivors - does he even have a home to go back to, after Brooklyn was pretty much destroyed? Does the government put survivors and displaced folk up while deciding how to compensate them for the losses they've faced, so does Ray hole up with other people who've suffered, generally try to help out as much as he can with volunteering and relief work, and the people he finds along the way look after him when he crashes? Does he try to help with the rebuilding efforts, possibly while in no shape to do so, and crash on the job? Is he surprised that people care enough about him to make sure he's okay? I'm not opposed to him finding a cute romantic partner (of whatever gender!) who's also been through terrible things and can help him feel less alone, but I'm also very taken with the thought of this small community of traumatized people coming together to help one of their own when he needs it, and him kind of wondering why they'd even notice him or care about him. That's generally what I'm getting at with the injury, nightmare and PTSD-related tags - something happening to Ray, and a stranger, or the community of strangers he ended up a part of, helping him even when he doesn't want to be a bother and doesn't know why they'd care.
My reading of Ray is that he generally didn't see many people outside of work, and that he's the kind of person who does his utmost to help in any situation that needs it but keeps to himself a lot outside of that, so I'm very here for even the slightest bit of comfort, offered hand or kind word sort of breaking him into several pieces.
I've also added the 'child abuse' tag here, as something Ray might find himself having to process. This tag is specifically because of a throwaway line Ray says to Robbie when he's mouthing off and calling him 'Ray': "it's Dad, sir, or if you want Mr Ferrier - that sounds a little weird to me, but you decide." Which sounds to me a lot like he parroted those last two from his own childhood, and I know it's a bit of a reach from there to straight-up abuse but it's a reading I'm really not opposed to. At best there's a lot of emotional distance there between Ray and his own dad, and at worst physical abuse, and I'd read Ray having to confront and/or confess to it having been either, or even verbal or emotional abuse, and that he's tried his best not to replicate it with his kids but still feels like he's failed them in other ways.
Ray falls apart, tries to cope through substances.
Ray has...a lot to deal with, and no one to even listen let alone help. A lot of the altered states tags could be fever or illness related or PTSD related, and I'm super here for that, for someone getting to see how messed up Ray really is, and choosing to stay and look after him instead of leaving him to fend for himself. I'm also here for him trying to deal with the pain by getting as drunk as he can, or accepting a pill that someone gives him, possibly not knowing what he's getting into. (To clarify, I'm not looking for an addiction plotline here, more like a 'very tired, slightly clueless, trying anything once' situation. Though I can see Ray drinking every day, I would rather not see him binge drinking every day.) Also kind of here for someone slipping him something in a drink, either with malicious intent or with benevolent intent (getting him to lighten up or have some fun for once, hoping to stop the nightmares, etc) and that not ending well whatsoever.
Here for someone - as above, a stranger or partner or someone from a community Ray's ended up in - being with him while he's in that messed up altered state, perhaps talking him down from a bad trip or flashback or some kind of delirium, or holding him while he spills sad confessions and talks without a filter, without being able to stop himself talking, about everything that hurts. Very here for all the comfort.
Ray falls apart, tries to cope through ill-advised sex with strangers.
The Above, But More. This is what the sex/BDSM tags are getting at. I'm here for Ray kind of both trying to seek out physical contact, and trying to seek out physical pain to drown out all the mental and emotional pain, and getting those wires so crossed and knotted that he ends up not really knowing which is which. Maybe, because so many people are hurting and everyone deals in different ways, he finds an abundance of people willing to hurt him, and finds that it kind of gets him off, or finds that it's easier to get off to pain than to gentleness he feels he doesn't deserve. Maybe some of these partners aren't in the best of mental places either, and end up hurting him more than he wanted, or he and said partners both kinda forget what safe and sane mean because they have no barometer for it any more, and maybe aftercare kind of isn't a thing and Ray drops hard more than once. Maybe the drop and the pain are the only way he can manage to let himself cry. (Maybe he finally happens to find someone who is really into the aftercare, and it changes his life. Very here for gentleness breaking Ray into pieces here, too.)
Ray tries his best to hold it together, even if he doesn't always succeed, but then additional terrible things happen post-apocalypse to set him back/make him crumble.
These are plot tags for Additional Angst And Pain that could add on to any of the above thoughts to make the darkness even darker, or make for a dark fic on their own. Thunderstorms, for instance, are probably going to be a major trauma trigger not just for Ray but for everyone else who survived the tripods moving through their area; I could see Ray huddling with a fellow traumatized survivor or a bunch of them, one or several of them shaking or crying, just trying to comfort one another as best they can while they weather the storm. Similarly, a broken down car in the middle of nowhere would be an eerie parallel to what Ray experienced in the film - maybe he's alone this time and doesn't deal with it well, or maybe he's with a few other people who are compassionate and help him deal. Perhaps either of these is even a trapped with someone in need of medical care situation, with Ray hurt or sick and unable to hide it when in close quarters to others, and the storm being too intense for anyone to try and get him help until it passes.
Violence is also not unlikely in a survivor camp or just in general in a post-apocalypse scenario, and I could see Ray either stepping in to try and defuse things and getting hurt because of it, or just happening to be in the wrong place at the wrong time and be the kind of quiet, awkward, perceived-as-weird person that those looking for violence like to target. Both the tags for this situation involve impalement or near-impalement - pinned/stabbed to surface as a form of restraint, possibly through a sleeve or through the arm or leg, possibly because Ray was being inconvenient for someone who wanted to steal something or hurt someone else and had to be got out of the way, and crucifixion, for which I'm mostly seeing him being pinned to a surface through the wrist or hand. For both of these I'm interested both in the trauma of the situation itself and in the (probably long-term) healing afterwards - whether Ray ends up just weaker in that arm, or whether he ends up with a limp, or ends up losing the use of a hand entirely, I want to see the healing process and someone, or multiple someones, looking after Ray while he's badly hurt and in shock on top of everything else they've all been through.
There's also a Solitary Confinement tag, for the possibility that Ray is held as responsible by law enforcement for the violent incident as the actual instigators, and is put in a cell while he's hurt, and possibly someone who witnessed the incident or just someone from the survivor camp makes it their mission to get him freed and then help him heal up afterwards.
[back to navigation]
Once again, thank you so much for writing for me! I hope you have fun creating. 💛
Also, some extra fun stuff:
• Two for One (crossover prompts)
• Wrapping Paper (art prompts)
• Yuleporn (sexy prompts)
• Crueltide (darkfic prompts)
