SUNFLOWER ā s.jy
-ĖĖā pairing: jake sim x female reader
-ĖĖā genre: neighbors to lovers Ā· single dad au Ā· fluff Ā· angst Ā· smut Ā· found family Ā· slow burn
-ĖĖā summary: You have lived in apartment 3B for two years. You know your neighbors the way you know background characters ā familiar, unremarkable, just part of the scenery. Which is why itās strange that youāve never properly noticed the man in 3A. Until 6:58 on a Tuesday morning when someone knocks on your door and you open it to find not him, but her. Small. Round-cheeked. Duck pajamas. Absolutely certain of herself. You fall for his daughter first. Jake is just the complication that comes after. But god, what a complication.
-ĖĖā word count: 21.1k
-ĖĖā content warnings: explicit sexual content, penetrative sex, oral sex, fingering, multiple orgasms, praise kink, soft dom/sub undertones, strong language, single parent theme, child abandonment (mother leaving), brief parental guilt, an absent parent reappearing, emotional manipulation attempt, jealousy, mention of custody, legal procedure, alcohol, crying, found family theme, a toddler who will ruin your life in the best way
-ĖĖā song: You Are The Best Thing by Ray LaMontage
-ĖĖā authors note: i started this fic because i wanted to write a soft single dad jake but the mia took over everything, she was supposed to be a supporting character but how can i make someone that cute not a main. she picked reader first and she always knew and i think thatās the whole story. jake deserved softness. reader deserved to be chosen. mia deserved a mama who showed up. everyone got what they deserved. if youāre reading this ā thank you. comments, reblogs, feedback and likes keep me writing and i am so serious about that. enjoyš
-ĖĖā my masterlist
You have lived in Apartment 3B of Wattle Grove Building for two years. You know Mrs. Kim in 1A leaves her recycling out on the wrong day every single week without fail. You know the guy in 2C plays guitar badly but enthusiastically every Sunday morning. You know the building super Danny will fix anything you need as long as you leave a coffee outside your door first.
You know your neighbors the way you know background characters in a movie youāve seen too many times. Familiar. Unremarkable. Just part of the scenery.
Which is why itās strange that youāve never properly noticed the man in 3A. Youāve seen him, obviously. In passing. At the mailboxes. Once in the car park when you were both leaving at the same time and did that awkward thing where you both reached for the door simultaneously and then laughed and said sorry at the same time. Heās tall. Dark hair. Has a nice face in the vague way that you register nice faces without really looking at them.
He moved in about eight months ago. Keeps to himself. Quiet. Youāve never heard a peep through the wall you share, which you appreciate deeply after two years of listening to the previous tenantās aggressive taste in late night television. You know his name is Jake because itās on the mailbox.
Thatās it. Thatās the extent of your knowledge of the man in 3A. Until 6:58 on a Tuesday morning when someone knocks on your door.
āā āā ā āā āā ā
You are not a morning person. You are, in fact, the opposite of a morning person. You are someone who sets four alarms and ignores three of them and considers getting out of bed before eight a personal attack. Your first class doesnāt start until ten. You were planning to sleep until at least eight thirty, mainline coffee until nine, and leave with approximately four minutes to spare.
So when someone knocks on your door at 6:58 AM you lie there for a full thirty seconds convincing yourself you imagined it. Then it happens again. Small. Rhythmic. Insistent. knock knock knock
You groan into your pillow. Drag yourself upright. Pull on the hoodie hanging off your desk chair and shuffle to the door, hair catastrophic, eyes barely open, prepared to be deeply unpleasant to whoever is on the other side.
You open the door. There is no one there. You blink. Look left. Look right. The hallway is empty and quiet andā āHi.ā
You look down. There is a child sitting on the floor outside your door. She is approximately three years old, round-cheeked and bright-eyed, wearing a yellow pajama set covered in tiny ducks. Her dark hair is escaping from two lopsided pigtails. She has a serious expression on her face like she has somewhere important to be and is merely pausing here briefly.
She is, without any competition, the most adorable thing you have ever seen in your entire life. You stare at her. She stares back. āHi,ā she says again, very patient, like sheās giving you time to catch up.
āHi,ā you manage. āUm. Who are you?ā
She considers this question with great seriousness. āMia.ā
āOkay. Hi Mia.ā You look up and down the empty hallway again. āWhere did you come from?ā She points at the door directly across from yours. 3A. āAre youāā You crouch down to her level. āDid you come out of your apartment by yourself?ā
āMr. Bunny is lost,ā she explains, as if this answers everything. And apparently, in her world, it does. She stands up, remarkably steady on her feet for someone so small, and peers past you into your apartment with undisguised curiosity. āIs he in there?ā
āIs whoā Mr. Bunny? I donāt think so, sweetheart. I havenāt seen anyāā
āCan I look?ā
āIā wellāā Sheās already walking past you into your apartment.
You stand in your doorway, blinking slowly, watching a three year old you have never met toddle into your living room and start investigating with the focused energy of a tiny detective. She checks under the coffee table. Behind the couch cushions. She picks up one of your throw pillows, examines it, puts it back. āHeās not here,ā she announces, sounding genuinely disappointed.
āIām sorry.ā Youāre fully awake now, adrenaline doing what four alarms couldnāt. āMia, does your dad know where you are?ā
She looks at you. Blinks. And then, for the first time, something flickers across her face that isnāt complete confidence. Something small and uncertain. āDaddyās sleeping,ā she says quietly.
Oh no. Oh no.
āOkay,ā you say, very carefully, going into full calm adult mode even though internally you are having a minor crisis. āOkay, thatās okay. Letās go wake daddy up, yeah?ā
You take her hand ā she gives it to you immediately, tiny fingers wrapping around yours with complete trust, and something in your chest does something weird and unexpected ā and you walk her across the hall to 3A.
You knock. Nothing. You knock louder. A crash. Muffled swearing. Footsteps. The door flies open.
Jake Sim, your neighbor from 3A, looks absolutely terrible. Heās in gray sweatpants and no shirt, hair destroyed, eyes wild with the specific panic of a parent who has woken up to find their child missing. Thereās a pillow crease down his left cheek. He looks like a man who has just experienced the worst thirty seconds of his life.
He looks down at Mia standing beside you, her hand still in yours, looking up at him with the expression of someone who has done absolutely nothing wrong. The relief that crosses his face is so profound itās almost painful to witness. āMia.ā His voice comes out wrecked. He drops to his knees right there in the doorway, gathering her up, holding her against his chest. She pats his back tolerantly. āMia, Iā you canātā how did youāā
āI was looking for Mr. Bunny,ā she explains into his shoulder, very reasonable.
āYou canāt leave the apartment by yourself, baby, Iāve told youāā
āBut Mr. Bunnyāā
āI donāt care about Mr. Bunny right nowāā
āDaddy.ā She pulls back to look at him, deeply offended. āMr. Bunny cares.ā
You press your lips together very hard to keep from smiling. Jake looks up at you over Miaās head, and he looks so mortified you almost feel sorry for him. Almost. It would be easier to feel sorry for him if he didnāt look ā even rumpled and panicked and creased from sleep ā really quite unfairly attractive. You file that observation away to examine later, when a child is not present.
āIām so sorry,ā he says. āIām so, so sorry, sheās never done this before, I donāt know how she got the door openāā
āShe knocked,ā you tell him. āVery politely.ā
He closes his eyes briefly. āOh god.ā
āI used my reaching stool,ā Mia informs him helpfully. āFor the handle.ā
āWeāre getting rid of the reaching stool,ā Jake tells her.
āNo.ā
āYes.ā
āDaddy, noāā
āMia.ā He pulls back to look at her properly, and his voice goes soft but serious. āYou scared me. Really scared me, okay? You cannot leave without waking me up first. Ever. Do you understand?ā
She looks at him. Her lip wobbles, just slightly. āI just wanted Mr. Bunny.ā
āI know, baby.ā He pulls her back in, pressing a kiss to her hair. āI know. But you have to wake me up. Promise me.ā
āPromise,ā she mumbles into his neck.
He holds her for another moment, and you feel like youāre witnessing something private. Something that belongs to them. You take a small step back. āIāll let youāā
āWait.ā Jake stands, Mia on his hip, and looks at you with an expression thatās somehow equal parts exhausted and sincere. āI really am sorry. And thank you. Genuinely, thank you forā I donāt even want to think about what would have happened if sheād gone downstairs instead of just across the hall.ā
āShe was perfectly safe,ā you say. āShe was very focused on her investigation.ā
āMr. Bunny is lost,ā Mia reminds both of you gravely.
āWeāll find him,ā Jake tells her. Then to you: āIām Jake, by the way. Since apparently weāve been neighbors for eight months and Iāve never actually introduced myself, which isāā
āTerrible,ā you supply.
āYeah.ā He winces. āYeah, it really is. Iām sorry about that too.ā
āY/N,ā you tell him. ā3B.ā
āI know. Iāve seen your name on the mailbox.ā He shifts Mia on his hip. She has turned to look at you with renewed interest, the Mr. Bunny crisis temporarily suspended. āI kept meaning to knock and introduce myself properly but then time justāā
āIt does that,ā you agree.
He smiles. Itās a tired smile, still coming down from the panic, but itās genuine. It does something to his face that you also file away for later. Mia is still staring at you. āYou have pretty hair,ā she announces.
āMiaāā Jake starts.
āThank you,ā you tell her seriously. āYours is very pretty too.ā
She reaches up and touches one of her lopsided pigtails, considering. āDaddy did it,ā she says, with the tone of someone being very diplomatic about a disappointing situation.
You look at Jake. He looks back at you. The pigtails are genuinely quite bad. āIām working on it,ā he says.
āWe couldāā You stop yourself. You donāt even know this man. Youāve spoken to him for approximately four minutes. āNever mind.ā
āNo, what?ā
āI was just going to say I could show you. If you wanted. Itās notā itās easy once you know the trick.ā You gesture vaguely. āBut you probably have things toāā
āI would love that,ā Jake says immediately. āGenuinely. Every morning is a disaster. She came home from daycare last week and her teacher had written a note that said āwe love Miaās creative hairstylesā and Iām pretty sure that was a polite way of sayingāā
āDaddy canāt do hair,ā Mia explains to you, very straightforward.
āI cannot do hair,ā Jake confirms.
You laugh. Actually laugh, fully awake now, standing in the hallway at seven in the morning in your old hoodie with your own hair catastrophic, and it surprises you a little. How easy it is. How natural. āCome over tomorrow morning,ā you find yourself saying. āBefore daycare. Iāll show you a couple of things.ā
Jake looks at you like youāve offered him something much more significant than a hair tutorial. āYou donāt have toāā
āI know.ā You crouch down to Miaās level. āI hope you find Mr. Bunny.ā
She studies you with those serious dark eyes. Then she reaches out and puts her small hand on your cheek, very gentle, the way toddlers sometimes do when theyāre deciding something important about you. āYouāre nice,ā she declares.
āSo are you,ā you tell her. She nods, satisfied, like this has confirmed something she already suspected.
Then she tucks her face back into Jakeās neck, done with the interaction, and Jake gives you a helpless sort of smile over her head. āThank you,ā he says again. āReally.ā
āAnytime.ā You stand up and take a step back toward your own door. āAnd Jake?ā
āYeah?ā
āMaybe put a chain lock on. Up high. Before tonight.ā
He looks at the door. Looks at Mia. Looks back at you with the expression of a man who has just realized how many things there are to think about when youāre doing this alone. āYeah,ā he says quietly. āYeah, good call.ā
You donāt go back to sleep. You make coffee and sit on your couch and think about the way Mia put her hand on your cheek like she was taking your measure. The way she gave you her hand without hesitating, tiny fingers trusting yours completely.
The way Jake held her when he found her safe. Like she was the most important thing in the world, which she obviously was, which was obvious in every single line of his body.
You think about his apartment, which you caught a glimpse of through the open door. The small pair of shoes by the entrance. The sticker on the light switch at toddler height. The general chaos of someone who is managing, but only just. You think about the note from the daycare teacher and the terrible pigtails and the way he said Iām working on it without a single drop of self pity.
You finish your coffee. Make another one. You have a feeling that next door is going to become a lot more complicated than background noise and a name on a mailbox.
Youāre not sure yet if thatās a good thing. But when you close your eyes you can still feel the ghost of small fingers wrapped around yours and you thinkā yeah. Yeah, youāre probably already in trouble.
Mr. Bunny turns up two days later. He is in the freezer. Neither Jake nor Mia can explain how he got there.
You laugh about it for five minutes straight when Jake texts you, and then you look at your phone and realize youāve been texting your neighbor for two days like itās completely normal and youāve known him for years. You put your phone down. Pick it up again. Type back: at least heās preserved.
Jake sends back a string of crying laughing emojis and then: Mia wants me to tell you that Mr. Bunny says thank you for looking for him
You smile so hard your face hurts. You are, you realize, completely and utterly done for. And you havenāt even properly met him yet.
The hair tutorial happens on Wednesday morning. You hear them before you see them ā Miaās voice carrying clearly through the wall at seven fifteen, a stream of cheerful commentary about something, Jakeās lower voice responding, the particular domestic chaos of someone trying to get a toddler ready for daycare on a schedule. Then a knock at your door.
You open it to find Jake holding Mia like a football under one arm, a hairbrush in his free hand, and the expression of a man who has already lost this morningās battle comprehensively.
Mia is upside down and completely unbothered. āHi,ā she says, from her inverted position.
āHi,ā you say. You step back and open the door wider. āCome in.ā
They troop inside, Jake setting Mia down on her feet in your living room where she immediately begins a thorough reinvestigation of the space, picking up where she left off two days ago. She examines your bookshelf. Touches the small succulent on your windowsill very gently with one finger. āPlant,ā she observes.
āHis name is Gerald,ā you tell her.
She looks at you. Looks at Gerald. Looks back at you with the gravity of someone receiving important information. āHi Gerald,ā she says politely. Jake makes a sound that might be him trying not to laugh.
āOkay.ā You take the hairbrush from him. āSit her up on the couch and Iāll show you.ā
What follows is twenty minutes that you will think about for the rest of the week for reasons you canāt entirely explain.
Mia sits between your knees on the couch, remarkably patient once sheās settled, holding Gerald the succulent in her lap because she asked and you said yes and Jake gave you a look that suggested he has learned to pick his battles. You work through her hair slowly, showing Jake each step ā how to section it, how to hold the hair so it doesnāt pull, how to make the pigtails sit even.
He watches with the focused attention of someone who is genuinely trying to learn this. Not just nodding along but asking questions, asking you to slow down, watching your hands. At one point he leans in close to see what youāre doing and youāre very aware of how near he is and the fact that he smells like clean laundry and something warm underneath.
You focus on Miaās hair. āThe trick,ā you tell him, āis that you do both sides before you tie either one off. Otherwise the first one pulls when you do the second.ā
āThatās what Iāve been doing wrong,ā he says. He sounds genuinely relieved, like youāve solved something thatās been bothering him for months. Which, apparently, you have. āI couldnāt work out why they always went lopsided.ā
āThey were very lopsided,ā Mia agrees pleasantly.
āThanks, Mia.ā
āYouāre welcome, Daddy.ā
You finish, tying off the second pigtail with the elastic, and smooth a hand over her hair. Perfect and even and neat. She reaches up and touches them carefully. āPretty?ā she asks.
āVery pretty,ā you confirm.
She twists to look up at you, satisfied. Then she holds Gerald out. āYou can have him back.ā
āThank you for taking care of him.ā
āHe was scared,ā she explains seriously. āHe doesnāt know me yet.ā She places him very carefully back on the windowsill, patting the pot once. āItās okay Gerald. Iām nice.ā
Jake is watching his daughter with this expression ā quiet and soft and a little undone at the edges ā and when he catches you looking at him he clears his throat and looks away. Picks up the hairbrush from the cushion beside him. āRight,ā he says. āWe should get going. Daycare at eight.ā
āNooooo,ā Mia says, without any real conviction. Sheās already moving toward the door with the pragmatic acceptance of someone who knows the schedule.
āThank you,ā Jake says to you. He means it. You can tell he means it in that way where the words are bigger than they sound. āSeriously. This wasāā
āItās just pigtails.ā
āItās not justāā He stops. Starts again. āShe talks about you. Since Tuesday. Youāre the pretty lady from across the hall.ā
Your face warms. āThatās very generous of her.ā
āSheās got good taste.ā He says it simply, matter of fact, and then looks slightly like he didnāt mean to say it quite like that. āI meanā sheās a good judge of character. Generally.ā
āY/N,ā Mia calls from the doorway where she is putting her shoes on the wrong feet with great confidence.
āYeah?ā
She looks up at you. āWill you be here tomorrow?ā
Something squeezes in your chest. āYeah, Iāll be here.ā
She nods, satisfied, like this is settled. Like you have made a commitment and she is holding you to it. Then she holds her foot up at Jake. āDaddy. Shoes.ā
Jake crouches down to fix them, and you lean against your doorframe and watch, and you think about what Liv said to you once about knowing when something is going to change your life. How you can feel it sometimes. The specific weight of a moment thatās about to matter.
You feel it now, watching Jake tie his daughterās shoes in your doorway at seven forty in the morning while she holds your door handle for balance and hums something tuneless to herself. You feel it, and you file it away with everything else, and you tell yourself itās too early for any of this and you need coffee.
You leave cookies outside 3A that afternoon. You donāt examine why. You made a batch because you were stress baking about an assignment and you made too many and they were just sitting there and Jake mentioned once ā in the mailbox, months ago, one of those nothing conversations youād forgotten until now ā that Mia liked anything with chocolate.
You leave them outside the door in a container with a post it note that says for Mia (and you, if you want) and then you go back inside and finish your assignment and donāt think about it.
At nine fifteen that night your phone buzzes: jake 3a: she ate four before I could stop her and is now absolutely feral and wonāt sleep. Iām blaming you
You grin at your phone. you: thatās fair
jake 3a: they were really good though like genuinely really good. Did you make them from scratch?
you: yes
jake 3a: of course you did
jake 3a: Iām sorry, I donāt know what that means, that came out weird. I just mean they were better than anything I could make. Iām a terrible baker.
you: how terrible?
jake 3a: I made Mia a birthday cake in August and it came out flat and she cried
you: oh no
jake 3a: not because of the cake. She thought it was funny. She cried laughing. It was actually one of the best moments of my life which probably tells you everything about my standards right now
Youāre smiling at your phone like an idiot. you: Iāll make the cake next time. You send it before youāve fully decided to, and then stare at it. Itās October. Youāve just committed to being in this manās life until at least next August.
Three dots appear. Disappear. Appear again. jake 3a: you really donāt have to
you: I want to. she told Gerald not to be scared because she was nice. I feel like she deserves a good birthday cake.
jake 3a: yeah she really does
āā āā ā āā āā ā
The drawing appears under your door on Thursday morning. You almost step on it when you come out of your bedroom, a folded piece of paper on your doormat. You pick it up and unfold it and find a crayon drawing ā several figures of varying heights and proportions, all labeled in Jakeās handwriting because Mia clearly directed and he transcribed.
Mia. Daddy. Gerald. Mr Bunny. And then, on the end, slightly larger than the others, with yellow crayon hair: Y/N. Sheās drawn you into her family portrait.
You stand in your kitchen holding a crayon drawing with yellow-haired you standing next to a rectangle that is apparently Gerald and you feel something crack open in your chest so softly and so completely that you have to sit down.
You take a photo of it. You put the original on your fridge. You text Jake a photo of it on the fridge and he doesnāt respond for ten minutes and when he does it just says: jake 3a: she worked on it for an hour last night
jake 3a: kept starting over because she wanted to get your hair right
You stare at that message for a long time. you: tell her I love it
jake 3a: sheās going to lose her mind. also she asked if you want to come to the park with us Saturday
Three dots. Then: jake 3a: I want that too, for what itās worth. If youāre free.
You look at the drawing on your fridge. Yellow-haired you, standing in a row with Mia and Daddy and Gerald and Mr. Bunny like youāve always been there. you: Iām free Saturday
Saturday at the park is easy in a way that surprises you. Youād half expected it to be awkward ā the three of you, still essentially strangers, trying to fill silence in an open space. But Mia eliminates the possibility of silence entirely. She has opinions about the swings (good), the slide (excellent, requires multiple repetitions), and the ducks by the small pond at the parkās edge (deeply suspicious, do not approach).
āTheyāre just ducks,ā Jake tells her.
āTheyāre watching,ā she says.
āTheyāre not watching.ā
āDaddy.ā She gives him a very patient look. āThey are watching.ā
Jake looks at you. You shrug. āThey do look pretty focused,ā you offer.
He points at you. āDonāt encourage her.ā
Mia takes your hand and pulls you toward the swings, away from the ducks and away from Jakeās protests, and you go because sheās three and determined and her hand is in yours and youāve decided thatās reason enough for basically anything at this point.
You push her on the swings while Jake sits on the bench nearby, and you watch him watching the two of you. He has his elbows on his knees and his face is open in a way youāre starting to learn is rare for him ā in a crowd or with strangers he goes carefully neutral, pleasant but contained. But here, watching Mia go higher and higher and shriek with delight, he looks unguarded. Younger, somehow. Like something in him relaxes when itās just the three of you. āHigher!ā Mia demands.
āYouāre already very high,ā you tell her.
āHigher.ā
āAbsolutely not.ā
āPlease.ā
āNice try.ā
She cackles. Pure delighted toddler sound, head thrown back. And you find yourself laughing too, pushing her at this very reasonable height, and when you look over at Jake heās smiling at you with an expression you donāt quite have a name for yet. You look away first.
After the swings, Mia finds a stick, which becomes the most important object in the world for the next twenty minutes. She examines rocks. She makes Jake carry her on his shoulders. She falls asleep on the walk home with her cheek on his head and one fist clutching his jacket, completely unconscious, utterly trusting.
Jake walks carefully, holding her legs, talking to you in a low voice so he doesnāt wake her. āShe doesnāt do this with many people,ā he says.
āFall asleep?ā
āTrust people.ā He adjusts his grip on her. āSheās friendly, obviously, sheāll talk to anyone. But she doesnātā she doesnāt hold hands with people she doesnāt know. She doesnāt draw people.ā He pauses. āShe drew you in four days.ā
You donāt know what to say to that. So you say, āsheās special.ā
āYeah.ā His voice is quiet. āShe really is.ā
You walk in silence for a moment, the easy kind. āHow long has it been?ā you ask. āJust the two of you.ā
He doesnāt tense the way you half expect him to. Just exhales, slow and steady. āSince she was four months old. Her mom left.ā He says it flat, without bitterness, which somehow makes it worse. Like heās had a long time to practice saying it that way. āJustā left. Packed a bag while I was at work. By the time I got home it was just us.ā
āJakeāā
āItās fine now.ā He glances at you sideways. āIt wasnāt, for a long time. But itās fine now. Itās good, actually. Itās really good.ā He looks up at Miaās sleeping face. āSheās the best thing thatās ever happened to me. I didnāt know it was possible to love someone this much.ā
You look at him. At the way he holds her. At the careful tenderness of it. āShe knows,ā you say softly. He looks at you. āThat sheās loved like that. You can tell.ā You hold his gaze. āShe knows.ā
Something moves through his expression. Quick and unguarded and gone before you can name it. āThanks,ā he says quietly.
You walk the rest of the way home in comfortable silence, Mia asleep above you, the afternoon sun going golden through the trees lining the street. It is, you think, a very good Saturday.
āā āā ā āā āā ā
It becomes a routine without either of you deciding it should. Wednesday mornings, Jake knocks with the hairbrush. You do Miaās hair while she holds Gerald and narrates her thoughts about the day ahead. Jake makes coffee in your kitchen like he knows where everything is, which after three weeks he does.
Saturdays are the park, or the farmers market two streets over, or just the three of you on one of your balconies eating whatever Jake has cooked because it turns out that while he cannot bake to save his life he is an genuinely excellent cook and he seems to enjoy having someone to cook for.
Evenings sometimes, when Miaās in bed and Jake knocks quietly and you sit on his couch and watch something and talk about nothing in particular until one of you falls asleep.
It is domestic and soft and easy. It is also, you are increasingly aware, becoming something that would hurt to lose.
Mia calls you her Y/N now. Not just Y/N. Her Y/N, possessive and certain, the way she says her daddy and her Mr. Bunny and her Gerald. You are hers in her taxonomy of the world and the certainty of it does something to your chest every single time.
She tells the woman at the bakery you buy her the jam scroll she likes every Saturday. She tells a child at the park. She tells Mrs. Kim from 1A who coos and looks between you and Jake with an expression that makes Jake find something fascinating to look at on the middle distance.
Youāre folding laundry in your apartment on a Thursday evening, three weeks in, when Jake knocks. You open the door. Heās holding two containers of leftover pasta, still warm. He holds one out. āMade too much,ā he says.
You take it. Step back to let him in. This is how it goes now. āMia asleep?ā you ask.
āOut cold. She had daycare and then apparently spent an hour reorganizing her stuffed animals by color.ā He sits on your couch. āIt took everything she had.ā
You sit beside him, open the pasta. Itās good ā itās always good. āDid the reorganization meet her standards?ā
āShe made me come and approve it before bed.ā He pauses. āMr. Bunny is in the orange section even though heās gray.ā
āHe has warm undertones,ā you say seriously.
Jake looks at you. Starts laughing. Not the polite laugh of someone being friendly but the real one, the one that takes over his whole face, and youāve been cataloguing that laugh for weeks now, the way it comes out surprised sometimes like he forgot he was allowed to do it.
Youāre laughing too, both of you over toddler stuffed animal color theory at eight PM with pasta containers in your laps, and when the laughter settles it leaves something warm and quiet in its place.
Jake is looking at you. Not the quick sideways glances youāve been trading for weeks. Really looking, steady and open, and you feel it the way you feel a change in weather. The pressure of it. The way the air shifts. āY/N,ā he says.
āYeah?ā
He opens his mouth. Closes it. Looks down at his pasta container, turning it in his hands. āNothing. Never mind. Itās nothing.ā
āItās not nothing.ā
He looks at you again and this time he doesnāt look away. āI really like spending time with you.ā
You hold his gaze. āI really like spending time with you too.ā
āI havenātāā He exhales. āI havenāt wanted to spend time with someone like this in a long time. Maybe ever. And I donāt know what to do with that.ā
The honesty of it lands softly. No performance, no deflection. Just him, telling you the truth. āI donāt either,ā you say. āBut I donāt think I want to stop.ā
He looks at you for a long moment. Then he leans in, slow and deliberate, giving you every opportunity to pull back. You donāt pull back.
His mouth finds yours, gentle at first, questioning, and then you lean into it and it stops being a question. Itās warm and unhurried and it tastes like the pasta and something underneath that is just him, and when you finally break apart youāre both quiet, foreheads almost touching.
āOkay,ā he says softly.
āOkay,ā you agree.
He pulls back just slightly. His expression is open and a little nervous and more serious than the moment requires, or maybe exactly as serious as it requires. āI need to say something,ā he says.
āOkay.ā
āIf weāā He pauses, choosing his words. āWhatever this is. Whatever it becomes. Mia comes first. Always. Thatās non negotiable for me. I need you to know that going in.ā
You look at him. At the set of his jaw, the quiet certainty in his eyes. A man who has built his whole life around a three year old with lopsided pigtails and a stuffed rabbit and absolute confidence in the people she decides are hers. āJake,ā you say.
āYeah.ā
āI know.ā You hold his gaze. āI love her. Sheāsā she put her hand on my face the first morning and I was gone. I was completely gone.ā You shake your head a little. āI think I fell for her before I even fell for you.ā
Something moves across his face. Deep and quiet and undone.āYeah?ā he says, and his voice is rough at the edges.
āYeah.ā He kisses you again. Softer this time. Like something has been settled, like the last lock has clicked open. His hand comes up to cup your jaw and you lean into it and outside the window the city is doing whatever cities do at eight oāclock on a Thursday and in here it is warm and quiet and it feels, very specifically, like the beginning of something.
āā āā ā āā āā ā
The first time Mia is at the babysitterās overnight, itās an accident.
Not the overnight part ā thatās planned. Sandy, Miaās regular babysitter three streets over, has been asking for weeks if she can have Mia for a sleepover because her own grandchildren are visiting and Mia and the youngest, a boy named Theo, have formed the specific intense friendship that only exists between toddlers who have decided they are best friends after forty five minutes together at a playground.
Jake agrees because Mia asks with her whole body, bouncing on her toes, and because Sandy has been his lifeline for two and a half years and he trusts her completely. Whatās accidental is what happens after.
He drops Mia off at four on a Friday afternoon. Youāre not there ā you have a late class ā but when you get home at six thirty and knock on 3A because itās become reflex, Jake opens the door and the apartment is quiet in a way it never is.
Youāve been in this apartment dozens of times now. You know its sounds. The particular creak of the second floorboard in the hall. The way the kitchen tap needs an extra turn to stop dripping. The constant ambient noise of Mia ā her commentary, her singing, her negotiations with various stuffed animals about bedtime.
The silence is enormous. āWeird, right?ā Jake says, reading your face.
āReally weird.ā You step inside. āHow long has she been gone?ā
āTwo hours.ā He closes the door. āIāve cleaned the whole apartment and reorganized the pantry and I donāt know what to do with myself.ā
You look at the pantry, which is indeed immaculate. You look at Jake, who is in dark jeans and a simple white t-shirt and looks simultaneously very attractive and genuinely a little lost. āHave you eaten?ā you ask.
āNo.ā
āCook me something.ā
Something in him settles. He moves into the kitchen, and you sit on the counter the way youāve started doing, and he makes pasta ā different from the other night, something with lemon and herbs ā and you open the wine you brought from your apartment and it is easy, it is so easy, the way everything with him has become easy without you noticing it happening.
You eat at his kitchen table. You talk about your classes and his current project ā branding for a new cafĆ© opening in the city ā and the book youāve both apparently been meaning to read for months and never have. You talk about Mia, because you always talk about Mia, about the things sheās said recently that have floored you both. āShe told me yesterday,ā Jake says, āthat she wants to be a paleontologist.ā
āSheās three.ā
āI know. I asked her what a paleontologist was and she said āa person who finds old bonesā and I have no idea where she learned that word.ā
āThatāsā thatās genuinely impressive.ā
āShe then said she also wants to be a cat.ā He takes a sip of wine. āSo. Range.ā Youāre laughing, and heās laughing, and the kitchen is warm and the wine is good and at some point the laughter fades and youāre just looking at each other in the quiet.
Itās been two weeks since the kiss on your couch. Two weeks of nothing changing and everything changing ā the same routine, the same easy rhythm, but with this new current running underneath it. His hand finding yours sometimes. The way he says goodbye now, at the door, that takes longer than it used to. The awareness of him that hums in your chest constantly, warm and insistent.
You havenāt had a night without Mia before. Youāre both aware of it. āY/N,ā he says.
āYeah.ā
āCan Iāā He stops. Starts again. His jaw works slightly, that tell youāve learned. āIāve been thinking about this. About us. And I want toā I want to do this properly. Take you on an actual date, not justāā He gestures at the table, the apartment, the comfortable domesticity of it. āNot just this. You deserveāā
āJake.ā You set down your glass. āI like this.ā
āI know, butāā
āI mean I really like this.ā You hold his gaze. āI donāt need a restaurant. I donāt needā I just want you. This. Whatever this is.ā He looks at you for a long moment.
Then he pushes back from the table and crosses to you and kisses you like heās been thinking about it all evening, one hand cupping your jaw, the other finding your waist. You slide off the counter and into him and he makes a low sound against your mouth that does something devastating to your concentration. āStay tonight,ā he says against your lips.
āYeah,ā you breathe. āOkay.ā
You end up on his bed.
It happens slowly, the way things happen when thereās no rush, when the whole night stretches ahead and neither of you is going anywhere. He takes his time, unhurried and thorough, like he wants to learn you. Like youāre something worth learning.
He lays you back against his pillows and looks at you for a moment, just looks, and something about being seen like that ā careful and wanting and completely focused ā makes heat pool low in your stomach before heās even touched you. āHi,ā he says softly.
āHi,ā you say back.
He leans down and kisses you again, and itās different from the doorway kisses and the couch kisses. Deeper. More deliberate. His hand slides up your side, pushing your shirt up, warm palm against your skin, and you shiver.āCold?ā he murmurs.
āOpposite.ā He smiles against your mouth. Keeps moving, finding the hem of your shirt, and you lift your arms and let him pull it off. He sits back to look at you, and his expression is so openly appreciative, so uncomplicated in its wanting, that you feel heat rise to your face.
āDonāt,ā he says quietly.
āDonāt what?ā
āLook away.ā His thumb traces your collarbone. āI want to look at you.ā You keep his gaze. He keeps his.
He gets rid of his own shirt and you run your hands up his chest, his stomach, the way youāve been wanting to sinceā longer than youāll admit. Heās warm and solid and he watches your face as you touch him like your expression is telling him something important.
āWhat?ā you ask.
āNothing.ā He catches your hands, pins them gently above your head, leans down to press his mouth to your jaw. Your neck. The soft skin below your ear. āJust thinking about how long Iāve been wanting this.ā
āHow long?ā
He mouths at your pulse point and you gasp, arching up. āLonger than I should admit,ā he murmurs. āProbably since the morning with Mia. You opened the door half asleep with terrible hair and you crouched down and talked to her like she was a real person and I thoughtāā He lifts his head to look at you. āI thought I was in serious trouble.ā
āYour daughter was upside down under your arm,ā you manage.
āI know. Terrible timing.ā He releases your wrists, hands moving to the button of your jeans. āIs this okay?ā
āYes. God, yes.ā
He undresses you slowly, pressing his mouth to each new piece of skin like punctuation. The inside of your wrist. Your hip. The soft skin of your inner thigh that makes you grip the sheets and breathe out his name. He looks up at you from there, chin resting on your thigh, expression somewhere between fond and wrecked. āJakeāā
āIāve got you,ā he says quietly. āOkay? Iāve got you.ā And then his mouth is on you and your head falls back and you stop being able to think in complete sentences.
He takes his time the way he does everything ā with complete attention, reading every sound you make, every shift of your hips, adjusting until he finds exactly what makes you come apart. He slides one finger inside you and then two, curling them just right while his tongue works your clit in slow, devastating circles, and you fist your hand in his hair and try to remember how to breathe.
āJakeā fuckā Iāmāā
He doesnāt speed up. Doesnāt change what heās doing. Just keeps that perfect steady rhythm like he has all the time in the world, like getting you there is the only thing on his agenda, and you come with your thighs clamped around his head and his name on your lips and it crashes through you in waves that donāt seem to stop.
He works you through every second of it, only easing off when you tug at his hair, oversensitive and shaking.
He moves up your body, pressing a kiss to your stomach, your sternum, your mouth. You can taste yourself on him and somehow that makes heat flare through you all over again. āHi,ā he says again, soft and amused.
āYou,ā you manage, āare very good at that.ā
āYeah?ā He looks pleased.
āDonāt get smug about it.ā
āIām not smug.ā He is a little smug. You find you donāt mind. āYou okay?ā
āMore than okay.ā You reach up, pull him down to kiss him properly, deep and unhurried. āYour turn.ā
You get his jeans off, and his boxers, and you wrap your hand around him and he hisses through his teeth, hips jerking slightly.āSorryāā
āDonāt apologize,ā you tell him. You stroke him slowly, learning the weight of him, and he drops his forehead to yours and just breathes. āTell me what you like.ā
āThat,ā he says roughly. āExactly that. Justāā He covers your hand with his, adjusts the pressure slightly. āYeah. Like that.ā
You watch his face ā the way his jaw goes tight, the way his eyes flutter. Heās trying to stay composed and not quite managing it and you find that incredibly satisfying. āY/N.ā His voice has gone rough. āI wantā can Iāā
āYes,ā you say. āPlease.ā
He reaches into his nightstand drawer. You take the condom from him and roll it on yourself, slowly, which makes him close his eyes and exhale hard through his nose.āYouāre going to kill me,ā he says.
āYouāll be fine.ā
He settles between your thighs and you feel him there, pressing in, and you both go still for a moment. He pushes forward, slow and careful, watching your face, and the stretch of him makes you exhale hard, fingers pressing into his shoulders. He stops halfway, checking. āGood?ā he asks.
āSo good.ā You shift your hips, urging him on. āDonāt stop.ā
He doesnāt stop. He seats himself fully and you both breathe through it, foreheads together, and then he starts to move and everything else falls away.
He fucks you slowly at first, deep and thorough, finding the angle that makes you gasp and then staying with it. His hand slides between your bodies, thumb finding your clit, and you make a sound that youād be embarrassed about in any other context.āThere?ā he asks.
āThere,ā you confirm breathlessly.
He keeps going. Steady and focused and impossibly good, hitting that spot inside you on every stroke while his thumb works you in tight circles, and you can already feel it building again, embarrassingly fast. āJakeā fuckā alreadyāā
āLet go,ā he says against your temple. āI want to feel you.ā
You come clenching around him, and he groans deep in his chest, the rhythm stuttering, and you feel him follow you over with your name on his lips, buried deep, shaking.
Afterward you lie tangled together in the quiet. He traces absent patterns on your arm. You listen to his heartbeat slow. āHey,ā he says eventually.
āHey.ā
āThat wasāā
āYeah.ā You tilt your head up. āIt really was.ā He presses a kiss to your hair. You feel him smile against it.
Outside, the city is doing its Friday night thing, indifferent and ongoing. In here the lamp is warm and the sheets are soft and Jakeās heartbeat is steady under your cheek and you think about the drawing on your fridge and the hand on your cheek and Mr. Bunny in the freezer and all the ordinary extraordinary things that have built this without you quite realizing. āStay,ā he says.
āIām already here.ā
āI meanāā He tightens his arm around you. āStay. Not just tonight.ā
Youāre quiet for a moment. āYouāre going to have to define that.ā
āI know.ā His thumb moves slow on your arm. āIām working up to it.ā
āOkay.ā You settle back against him. āIām not going anywhere.ā
Mia comes home at eleven the next morning. Youāre still there.
Youāre in Jakeās kitchen making coffee, wearing his hoodie and your underwear, when the front door opens and Sandyās voice floats through ā āhere we are, my love, home sweet homeā ā and small feet thunder down the hall.
Mia appears in the kitchen doorway. She takes in the scene. You, in her daddyās hoodie. The two coffee cups. The general evidence of your presence. Her face does something complicated and then completely simple. āMy Y/N,ā she says, delighted, and launches herself at your legs.
You crouch down and catch her, and she wraps around you like a koala, warm and sleep-soft and smelling like Sandyās house, and you hold her and look up at Jake in the doorway and heās looking at the two of you with that expression again. The one thatās bigger than his face can hold.
āHi baby,ā you say into Miaās hair. āHow was Theoās?ā
āWe found a worm,ā she says. āHis name is Dave.ā
āDid you bring Dave home?ā
āSandy said no.ā A pause. āI think that was wrong.ā
āDave is probably very happy in Sandyās garden.ā
She considers this. āOkay.ā Then, muffled against your shoulder: āAre you staying for breakfast?ā
You look at Jake. He holds your gaze, steady and warm. āYeah,ā you say. āIām staying for breakfast.ā
Mia pulls back, satisfied. āDaddy makes good eggs.ā
āI know he does.ā
āYou can sit next to me.ā
āI would love that.ā
She takes your hand and tows you toward the table with the authority of someone who has decided how this morning is going to go, and Jake moves to the stove, and outside the kitchen window the Saturday morning is doing its soft unhurried thing, and thisā this is everything.
āā āā ā āā āā ā
The weeks that follow are the best of your life. You donāt say that out loud. It feels too large, too exposed. But itās true in the quiet way that the truest things are ā not dramatic, not announced, just sitting solidly in your chest every time youāre aware of it.
The three of you fall into a rhythm so natural itās almost hard to remember the before. Jake knocks on your door with the hairbrush and leaves with coffee. You come to theirs for dinner more nights than not. Mia insists on showing you everything ā every drawing, every discovery, every development in the ongoing organization of her stuffed animal collection.
The farmers market becomes yours. Every Saturday, the three of you. Mia on Jakeās shoulders, small hands wrapped in his hair, pointing imperiously at things she wants to examine. You buy her a sunflower from the flower stall in week two and she carries it home with both hands like itās precious, and after that it becomes the thing ā every week, a sunflower for Mia, who has decided they are her favorite and cannot be argued with on this point.
Jake watches you with her constantly. You catch him doing it ā that soft unguarded look ā and he doesnāt stop when you catch him, just holds your gaze until you look away first, which you always do because the directness of it does something to your chest that you havenāt found words for yet.
Mia tells her daycare teacher about you. You know this because Jake texts you a screenshot of a drawing she brought home ā the same configuration as before, Mia Daddy Gerald Mr Bunny Y/N, but this time you and Jake are holding hands.
jake 3a: her teacher asked who the people were, she said āthatās my daddy and my Y/N theyāre in loveā
You stare at the message. you: sheās three
jake 3a: three and apparently very perceptive
you: what did you tell the teacher
jake 3a: I said she wasnāt wrong
You put your phone face down on the desk and press both hands over your face and sit there for a full minute. Then you pick it up. you: jake
jake 3a: yeah?
you: are you in love with me
A pause. Longer than usual. Your heart does something complicated in the silence. jake 3a: Iāve been trying to find the right moment to say it properly not over text but yes, very much yes. I have been for a while
jake 3a: is that okay?
You read it three times. you: yes, itās very okay. also I love you too
jake 3a: yeah?
you: yeah
jake 3a: okay, good. Iām going to say it properly tonight with Mia asleep so she doesnāt narrate it
you: she would absolutely narrate it
jake 3a: she would make it about herself somehow
you: she would bring Mr Bunny as a witness
jake 3a: heād be very moved
Youāre smiling so hard your face hurts, alone in your apartment at two in the afternoon, and you think about the morning you opened your door and found a small person sitting on your doormat in duck pajamas looking for her rabbit.
You think about tiny fingers in yours on the way back across the hall. You think about youāre nice delivered with complete certainty by someone who had known you for four minutes.
That night, after Mia is asleep, Jake says it properly. Standing in the kitchen, cup of tea going cold on the counter, both of you knowing itās coming and neither of you in any rush because thereās no need to rush anymore.
āI love you,ā he says. Simple and direct. āI love you and I love that she loves you and I donāt want to do any of this without you.ā
āI love you too,ā you say. āBoth of you. The wholeā all of it. Everything.ā
He kisses you there in the kitchen and it tastes like coming home, which is a thing you didnāt know kitchens could taste like until now.
Later, in his bed, you press your face into his shoulder and listen to the particular quiet of the apartment at night ā the creak of the building, the distant city, the soft sound of Mia breathing through the baby monitor on the nightstand. āHey,ā Jake says quietly. āYou know what Mia asked me today?ā
āWhat?ā
āShe asked if you were going to live with us.ā
Your heart turns over. āWhat did you tell her?ā
āI said I hoped so.ā He tilts his head to look down at you. āIs that okay?ā
āYeah,ā you say softly. āThatās okay.ā He pulls you closer. You close your eyes. Outside, a siren somewhere. The building settling. Miaās breathing through the monitor, slow and even and completely safe.
In here, you think. Everything is in here. You never see it coming. Thatās the thing about a knock at the door when youāre happy. You donāt brace for it. You donāt clock the risk. Youāre justā there. In the warm. Thinking about nothing that isnāt good.
āā āā ā āā āā ā
Itās a Sunday. Mia is at Sandyās. Not overnight this time ā just the afternoon, a regular arrangement while Jake works on a deadline.
Except Jake finished his deadline by noon and texted you and you came over and the afternoon became the best kind of afternoon, the kind that starts with coffee and talking and turns into something else entirely when Mia isnāt home, when thereās nowhere to be and no particular reason to leave the bedroom.
Youāre in his bed. Late afternoon light coming gold through the curtains. His hand on your back tracing lazy patterns on your spine. Youāre boneless and warm and half thinking about nothing and half thinking about whether Mia will want to show you the worm situation at Sandyās when Jake picks her up.
āSandy said she asked to bring Dave home three more times,ā Jake says, like heās reading your mind.
āPersistent.ā
āShe gets it from somewhere.ā His hand moves up to the back of your neck, squeezing gently. āYou hungry?ā āNot yet.ā
āOkay.ā He presses a kiss to your shoulder. āWeāve got a couple of hours before I pick her up.ā You hum. He pulls you closer. The afternoon light shifts.
Then someone knocks at the door. Jakeās hand stills on your back. āExpecting anyone?ā you ask.
āNo.ā He frowns slightly. āSandy would call.ā He sits up, reaching for his t-shirt. āProbably Danny about the tap.ā
You stretch out across the warm space heās left, drowsy and content, listening to his footsteps down the hall. The sound of the door opening. Silence.
Not the brief silence of oh hi Danny itās fine. A longer silence. A loaded one.
Then a voice you donāt recognize ā a womanās voice, careful and slightly uncertain ā saying his name. āJake.ā
You go very still.
Jake says nothing for a long moment. When he speaks his voice is completely flat in a way youāve never heard from him before. Like all the warmth has been removed surgically. āWhat are you doing here?ā
āI justā I wanted toāā The womanās voice. āCan I come in?ā
āNo. How did you find me?ā
āYour mum. She didnātā she thought I knew the address, I think. I donāt think she realizedāā
āWhy are you here.ā Not a question. A demand.
A pause. āI want to see her,ā the woman says. āI want to see Mia.ā
The name lands in the apartment like something dropped. You sit up slowly, pulling the sheet around yourself, and the drowsy warmth of the afternoon has gone completely. In its place something cold and alert.
āYou need to leave,ā Jake says.
āI know I donāt have the right toāā
āYou left,ā Jake says, and his voice is still flat, but underneath the flatness there is something enormous being held very carefully in check. āShe was four months old and you left. Youāve been gone for three years. You donāt get to knock on my door and say you want to see her like itās a reasonable thing to say.ā
āI know.ā The womanās voice cracks slightly. āI know that. I justā Jake, please, I just wantāā
āTo see her? Or to see me?ā Silence. āYeah,ā Jake says quietly. āThatās what I thought.ā
You get up. Quietly. You find your clothes in the soft afternoon mess of the room, pull them on, and you stand in the hallway outside his bedroom door and you look at the front door.
Sheās standing in the doorway. Tall, dark-haired, pretty in a way that might have been beautiful before whatever sheās been carrying got into her face. Sheās looking at Jake with an expression that mixes guilt and want in proportions you donāt have to be a genius to read.
She sees you. Her eyes move over you ā your rumpled clothes, Jakeās apartment behind you, the obvious geography of the afternoon ā and something hardens in her expression that you recognize. The specific hardening of someone who wanted to find a door open and has found it closed.
Jake turns. He sees you in the hallway. Something moves through his face ā protective, apologetic, something else underneath that you donāt have time to read. āY/N,ā he says. āHi.ā You keep your voice steady. āIāllā I can go.ā
āYou donāt have toāā
āItās okay.ā You look at him clearly, trying to say with your eyes what you canāt say in front of her: Iām fine. Iām not going far. Handle this. āIāll be across the hall.ā
He holds your gaze. His jaw is set, his eyes tight at the corners, but he gives you the smallest nod.
You pick up your keys from the bowl by the door ā yours, in the bowl by Jakeās door, which happened so gradually you canāt remember it beginning ā and you step past the woman in the doorway without looking at her.
You go into 3B. You close the door. You sit on your couch and you listen to the muffled sound of voices through the wall, and you hold yourself very carefully together, and you wait.
You sit on your couch for forty minutes. You know because you watch the clock. Not obsessively ā youāre not counting seconds ā but every time your eyes drift to it another chunk of time has passed and the voices through the wall have not stopped.
You make tea you donāt drink. You open your laptop and close it again. You pick up your phone three times and put it down without texting anyone because what would you even say.
My boyfriendās ex showed up. The one who left when their daughter was four months old. Sheās been there forty minutes and Iām sitting in my apartment trying not to think about the way she looked at him.
You put your phone face down on the cushion beside you.
The thing is ā and you know this, you do ā you trust Jake. Thatās not the part thatās making your chest tight. Youāve watched him for months now. You know who he is. You know the way he holds his daughter and the way he laughs and the way he looks at you when he thinks youāre not watching. You know he means what he says.
The part thatās making your chest tight is her face when she saw you. Not guilt. Not embarrassment at the intrusion. Something proprietary. Something that said what are you doing in my space even though she is the one who left. Even though she forfeited any claim to this apartment and this life and this man the day she packed a bag while her four month old daughter slept.
Youāre familiar with that expression. Youāve worn it yourself, briefly, watching other women talk to Jake at the market or at the park. You know what it means. She wants him back. Mia is the reason she knocked. But she wants Jake back.
Youāre still sitting with that when your phone buzzes. jake 3a: sheās gone, can you come back?
Youāre across the hall before youāve fully decided to move. He opens the door before you knock. He looks terrible. Not falling apart ā Jake doesnāt fall apart, youāve figured that out, he goes very still and very controlled when things get bad, which is almost worse ā but there are lines around his eyes that werenāt there this morning and his jaw is set in that way that means heās been holding something in for a while.
He steps back to let you in. Closes the door. You turn to face him and he looks at you for a moment like heās checking that youāre real, that youāre still here, that the afternoon hasnāt completely dismantled itself. āYou okay?ā you ask.
āI should be asking you that.ā
āIām fine. I was across the hall.ā You hold his gaze. āAre you okay?ā
He exhales. Long and slow. Runs a hand through his hair. āShe wants to see Mia. She says sheās been in therapy. That sheās beenā working through things. That she made a mistake and she knows that and she just wantsāā He stops. His jaw works. āShe was here for forty minutes and Miaās name came up maybe three times.ā
Your stomach tightens. āWhat did the rest of it cover?ā He looks at you with an expression that answers the question without words. āJakeāā
āI told her no,ā he says. āTo all of it. I told herā Mia doesnāt know her. Sheās three years old, she has no memory of her, and showing up out of nowhere and announcing herself as her mother would beā Iām not doing that to her. Iām not letting someone walk in and blow up her world because theyāve decided theyāre ready now.ā
āThatās right,ā you say quietly.
āIs it?ā He looks genuinely uncertain, and that more than anything tells you how rattled he is. Jake is not an uncertain man. Heās careful, heās considered, but when heās decided something he holds it steady. Watching him doubt himself is unfamiliar and uncomfortable. āBecause part of me thinksā sheās her mother. Biologically. Does Mia have a right to know her? At some point? And am Iāā
āJake.ā You cross to him. Put your hand on his chest, flat over his heart, and look up at him. āYou are the most present, devoted, thoughtful parent I have ever seen. You have been both of them for three years. Whatever you decide about this, it comes from that. Not from fear, not from jealousy. From knowing your daughter.ā He looks down at you. His hand comes up to cover yours. āSheās not here because of Mia,ā you say gently. āYou know that.ā
āYeah.ā His voice is rough. āYeah, I know that.ā
āSo you handle the Mia question in your own time, with proper advice, on your terms. Not because she showed up at your door on a Sunday afternoon.ā
Heās quiet for a moment. Then: āWhen did you get soāā
āWise?ā
āI was going to say steady.ā
āSame thing.ā You press your palm flatter against his chest. āYouāre okay. Miaās okay. This is justā a thing that happened on a Sunday. It doesnāt have to be more than that right now.ā
He looks at you for a long moment. Something in his face shifts ā the held-in thing loosening slightly, the lines around his eyes easing. āI really love you,ā he says quietly.
āI know.ā You reach up, press your hand briefly to his jaw. āI love you too. Go get your daughter.ā
He comes back with Mia at five thirty. Youāre in his kitchen making dinner ā youād found pasta and vegetables and half a block of good parmesan and it seemed like the right thing to do, to be here, to have something warm happening when they got home.
Mia comes through the door at full speed, as always, and finds you at the stove and absolutely loses her mind with delight. āMy Y/N is here!ā
āHi, my Mia.ā She barrels into your legs and you crouch down and catch her, and over her head you watch Jake close the front door and lean against it for just a second, eyes closed. Like heās taking a breath. Like heās counting the things still here and finding them all present.
Then he opens his eyes and sees you watching him and something in his face goes soft. āDave update,ā Mia says urgently against your neck.
āTell me everything.ā
āSandy said he moved.ā Her voice is full of significance. āShe doesnāt know where he went.ā
āDave is living his life.ā
āThatās what Sandy said.ā She pulls back to look at you. āI think he went to find his family.ā
āThatās a very hopeful interpretation.ā
āWorms have families,ā she tells you solemnly. āProbably.ā
āDefinitely,ā you agree.
Jake has moved into the kitchen. He comes up behind you ā Mia still in your arms ā and presses a kiss to the side of your head. Quick and quiet. Gratitude and love in a single gesture. āSmells good,ā he says.
āTwenty minutes.ā
āCan I help?ā
āYou can set the table.ā
āI want to help,ā Mia announces.
āYou can put the napkins out,ā you tell her, and she accepts this responsibility with great seriousness, and Jake sets her down and gets the napkins and she carries them to the table one at a time with both hands like theyāre fragile, and Jake catches your eye across the kitchen and mouths thank you and you shake your head slightly because thereās nothing to thank you for.
Youāre exactly where you want to be.
Later, after dinner, after Miaās bath, after two bedtime stories and one negotiation about the structural integrity of a fort she wants to construct in the living room (tomorrow, baby, itās bedtime), after small arms around your neck and a kiss pressed very seriously to your cheek and night my Y/N into the darkā
You and Jake sit on his couch in the quiet. He has his legs stretched out on the coffee table. Youāre tucked into his side, his arm around you. The lamp is the only light. The apartment has the particular peace of a small child asleep in the next room. āSheās going to come back,ā Jake says quietly.
āProbably.ā
āIām going to talk to a lawyer. Get clear on where things stand legally before she does.ā His thumb moves on your arm. āShe signed over custody voluntarily. I donāt think she has grounds for anything. But I want to know for certain.ā
āThatās smart.ā
āI donāt want Mia to know about this until I do. I donāt want her picking up on anything.ā
āShe wonāt hear it from me.ā
He turns his head to press a kiss to your hair. āI know.ā You sit in the quiet for a moment. āShe looked at you,ā he says. āThe way she looked at you when she saw you there.ā His arm tightens slightly. āI need you to know that whatever she came here wanting, it was never going toā she left, Y/N. She made her choice. Thereās nothing there.ā
āI know that too.ā
āI justāā He exhales. āI donāt want you to have any doubt. About this. About us.ā
You lift your head to look at him. His face in the lamplight, tired and earnest and completely, simply honest. āI donāt,ā you tell him. āNot even a little.ā
He holds your gaze. āGood,ā he says quietly. He kisses you softly, and you let yourself melt into it, and outside the window the night is doing its ordinary thing, indifferent and ongoing.
When you break apart you settle back against his shoulder. āStay,ā he says.
āObviously,ā you say. He pulls you closer.
In the next room, Mia sleeps, completely safe, completely loved, completely unaware that someone knocked on the door today and was turned away.
Sheāll know, eventually. Jake will tell her, carefully, at the right time, in the right way. Thatās the kind of father he is. But tonight she just sleeps. And you and Jake stay on the couch until you both drift off, warm and quiet and whole.
The lawyerās name is Ms. Park and she is very thorough.
Jake comes back from the meeting on a Wednesday looking lighter than he has all week. He finds you in his kitchen ā where you are most afternoons now, itās become accepted fact ā and he leans in the doorway and says:
āShe has no legal standing. She relinquished custody voluntarily and completely. If she wants any kind of access she would have to apply through the courts and demonstrate sustained rehabilitation and it would be a long process with no guarantee.ā
You set down the mug youāre washing. āOkay.ā
āShe came here once and I turned her away and she hasnāt come back.ā He exhales. āI donāt think sheās going to pursue it. I think she came here for me and when that didnāt workāā
āShe has no reason to stay.ā You cross the kitchen to him. Put your hands on his chest. āHow do you feel?ā
He thinks about it genuinely, the way he does. āRelieved,ā he says. āAndā sad, a little. That itās this way. That Mia doesnāt haveāā He stops.
āShe has you,ā you say. āShe has Sandy and Mrs. Kim and the daycare teachers who love her and Theo the worm friend andāā You meet his eyes. āShe has me. For as long as youāll both have me.ā
Something moves through his face. āForever, then,ā he says simply.
Your heart turns over. āYeah,ā you say softly. āForever works.ā
He kisses you there in the kitchen and it tastes like relief and sunlight and something settled and permanent. From the doorway comes a small voice. āAre you kissing again?ā
You break apart to find Mia standing in the hallway in her socks, Mr. Bunny under her arm, regarding you both with the patient exhaustion of someone who has seen this many times and has opinions. āSorry,ā Jake says, not sounding sorry at all.
āItās fine,ā Mia says, generous. āYou can kiss. But after can we do the fort?ā
āWe can do the fort,ā you confirm. She nods, satisfied. Turns and toddles back down the hall.
Jake looks at you. You look at Jake.āThe fort,ā he says. You nod in agreement and follow him and your daughter down the hall.
āā āā ā āā āā ā
Three months later, Mia stops calling you my Y/N. She starts calling you mama.
It happens on a Tuesday. Not a special Tuesday. Not a significant one. Just an ordinary Tuesday in February where the sky is doing that flat grey thing it does in late summer when the heat hasnāt broken yet and everything feels slightly sticky and slow.
Youāre doing her hair. The Wednesday morning routine has migrated ā itās every morning now, most mornings, because somewhere between October and February the question of which apartment are you sleeping in stopped being a real question. Youāre here. You live here, functionally, in every way that matters except the technical one. Your toothbrush is here. A drawer is yours. Gerald the succulent has been relocated to the kitchen windowsill where he gets better light and Mia waters him every second day with great ceremony.
Jake is in the kitchen. Coffee is happening. Mia is between your knees on the couch, holding Mr. Bunny, and youāre doing two neat braids because she has decided braids are her preference this week and youāve been practicing. āTighter,ā she instructs.
āIf I go tighter itāll pull.ā
āI want tight braids.ā
āYou want braids that feel comfortable and also look good.ā
She considers this negotiation. āOkay,ā she concedes.
You keep going. She hums something to herself, swinging her feet, and you work through the second braid, and itās quiet in the good way, the way that only exists when everyone in a space is completely comfortable. āMama,ā Mia says.
āHmm?ā You tie off the braid.
āCan I wear the yellow dress today?ā
Youāre reaching for the second hair tie when it lands.
Mama.
She said it like it was nothing. Like it was the most natural word in the world. Like sheās been saying it her whole life, which ā you realize, with your heart doing something enormous and unsteady in your chest ā maybe in her head she has been.
āYeah,ā you manage, and your voice comes out almost normal. āYeah, baby, we can find the yellow dress.ā
She scrambles off the couch and heads to her room, completely unbothered, Mr. Bunny trailing from one hand. You sit there. In the kitchen, the coffee maker finishes its cycle.
Jake appears in the doorway with two mugs, takes one look at your face, and stops. āWhat happened? Are you okay? Whatāā
āShe called me mama,ā you say.
The mugs go onto the coffee table. Jake sits beside you and looks at you with an expression that is doing the same enormous unsteady thing yours probably is. āJust now?ā
āJust now.ā Your voice is not quite steady. āShe asked if she could wear the yellow dress and she called me mama and then she justā walked off. Like it was nothing.ā
āY/Nāā
āIām not upset.ā You turn to him, urgent, needing him to understand. āIām notā Iām not upset, Jake, I justāā You press a hand to your chest. āI donāt know what to do with this.ā
He looks at you for a long moment. Then he takes your face in both hands, careful and deliberate, and presses his forehead to yours. āI do,ā he says quietly.
āYeah?ā
āYeah.ā He pulls back just enough to look at you. āYou say yes. Thatās what you do. You justā say yes.ā
From down the hall: āFound it!ā A pause. āMama, can you do the buttons?ā
You close your eyes. āOkay,ā you breathe. Yeah.ā You open your eyes. Look at him. āYeah. Okay.ā
He kisses you, quick and soft, and then you get up and go down the hall to do the buttons on a yellow dress, and Jake stands in the living room doorway watching and the expression on his face is the most complete thing youāve ever seen on a human being.
That night, after Mia is asleep, Jake asks you to move in. Not impulsively. Not as a reaction to the morning. You can tell heās been thinking about it for a while ā thereās a particular quality to his stillness when heās been working up to something, and youāve learned it the way youāve learned all of him, gradually and permanently.
Youāre on the couch. Late. The lamp on, the city quiet outside. His hand in yours. āMove in,ā he says. You look at him. āProperly,ā he says. āNot the drawer and the toothbrush. All of it. Gerald and everything.ā
āGeraldās already here.ā
āI know.ā The corner of his mouth moves. āConsider it a trial run.ā
You look at your joined hands. At the apartment that has been yours in every meaningful sense for months. At the hallway where Mia is sleeping with Mr. Bunny and her color-organized stuffed animals and absolute certainty that you will be here in the morning. āYeah,ā you say.
āYeah?ā
āObviously yeah, Jake.ā You lean over and kiss him. āObviously.ā
He pulls you in and holds you there, and you feel him exhale slowly against your hair. āSheās going to lose her mind,ā he says.
āSheās going to tell Gerald first.ā
āSheās going to tell Gerald, then Mrs. Kim, then Sandy, then everyone at daycare.ā
āIn that order.ā
āIn that exact order.ā
Youāre both laughing, quiet so you donāt wake her, and it settles into something warm and certain. āHey,ā Jake says. āI love you.ā
āI love you too.ā You press your face into his shoulder. āBoth of you. The whole thing.ā
āThe whole thing loves you back,ā he says simply.
You tell Mia in the morning. Jake does it, at breakfast, with the careful measured approach of a man who has learned that toddlers receive important news better when theyāre eating something. āHey Mia. You know how Y/N stays here a lot?ā
Mia looks up from her toast. Looks at you. Looks back at Jake. āYes.ā
āHow would you feel if she stayed here all the time? Like, lived here. With us.ā
Mia blinks. Puts down her toast. Looks at you with enormous serious eyes. āLike forever?ā she asks.
āLike forever,ā Jake confirms.
She stares at you for a long moment with the focused intensity of someone making a very important assessment.
Then she gets down from her chair, crosses to you, climbs into your lap uninvited and completely certain of her welcome, and wraps both arms around your neck. āOkay,ā she says into your shoulder. āYou can live here.ā
āThank you,ā you manage, arms tight around her.
āGerald will be happy,ā she adds.
āHe really will.ā
She pulls back. Looks at your face. Puts her small hand on your cheek exactly the way she did on the very first morning, in the hallway, four months ago when she was looking for her rabbit. āDonāt cry,ā she says kindly. āItās good news.ā
āI know.ā You laugh, wet at the edges. āHappy tears.ā
āOh.ā She considers this. āOkay.ā Then, satisfied, she climbs back down, retrieves her toast, and resumes breakfast.
Jake is looking at you over her head with an expression that could power something. āTold you,ā he mouths. You shake your head, still smiling, still blinking hard.
The whole thing loves you back. Yeah. Yeah it really does.
The move takes a weekend. Itās not a big move ā your apartment was small and youāve been migrating things gradually for months without meaning to ā but thereās something significant about doing it officially. Carrying boxes across the hall. Hanging your clothes properly in the wardrobe. Arranging your books on the shelves beside Jakeās.
Mia supervises. She is a very involved supervisor, offering opinions on where everything should go and occasionally redirecting items she feels would be better placed in her room. You negotiate firmly on the throw blanket. You surrender the small lamp without a fight because sheās put it next to Mr. Bunny and it does look good there, objectively.
By Sunday evening the apartment is a comfortable chaos of rearrangement and youāre all sitting on the living room floor eating pizza from the box because no one has the energy to locate the table under the moving debris.
Mia is in your lap. Jake is beside you, shoulder to shoulder, pizza slice in hand, looking around the apartment that has shifted and expanded and settled into something new. āLooks different,ā he says.
āGood different?ā
He looks at you. āYeah. Really good different.ā
Mia tilts her head back to look up at you from your lap. āCan we build the fort now?ā
āWe live in a fort,ā you tell her, gesturing at the surrounding box landscape.
Her eyes go wide. She looks around. Looks back at you. āWe live in a fort,ā she breathes.
āWe live in a fort,ā Jake confirms solemnly. She is overcome.
You and Jake look at each other over her head, laughing, and it is ā this moment exactly, pizza and boxes and a delighted three year old and the lamp in the wrong place and Gerald on the windowsill ā it is everything. Absolutely everything.
āā āā ā āā āā ā
A year later
The morning of the wedding, Mia wakes up at five forty-three AM. You know this because she comes and stands beside the bed and breathes on your face until you open your eyes. āItās today,ā she whispers.
āIt is,ā you confirm.
āIām the flower girl.ā
āYou are.ā
She absorbs this with great seriousness. Then: āI need to practice.ā
āMia, itās not even sixāā
āI need to practice.ā
Jake makes a sound beside you that is him absolutely not laughing. You elbow him. āOkay,ā you say. āBut quietly. So we donāt wake the neighbors.ā
She nods, solemn and focused, and turns and walks very slowly back down the hallway, scattering invisible petals with great ceremony, narrating under her breath ā and then I walk here, and then here, and then I find mamaā
You lie there in the early morning grey and stare at the ceiling and think about the word mama the way you have thought about it every day for the past year and a half. The way it still does something enormous to your chest. The way you donāt think it will ever stop.
Jake rolls toward you. Presses his face into your neck. āMorning,ā he murmurs.
āYour daughter is practicing flower girl technique in the hallway.ā
āSheās been planning this since we told her.ā His arm comes around you. āShe asked Sandy if she could practice at her house. She practiced at daycare. She made Theo be the groom so she could practice walking toward someone.ā
āSheās extremely prepared.ā
āSheās extremely her.ā He presses a kiss to your jaw. āHow are you feeling?ā
āGood.ā You turn to face him. His face in the early light, sleep-soft and certain and completely, permanently yours. āReally good. You?ā
āBest day of my life,ā he says simply. āAfter the day she was born. And the day you moved in. And the day you said yes when I asked.ā He pauses. āTop five, at minimum.ā
āThatās very good company.ā
āYouāre very good company.ā He kisses you properly, slow and warm, and from the hallway comes the sound of small feet completing another practice lap.
āā¦and then I find mama, and sheās the prettiestāā You pull back from Jake, blinking hard. He looks at you. Reaches up and brushes his thumb under your eye, gentle.
āSheās not wrong,ā he says.
āItās five forty-five in the morning, I look terribleāā
āYou look like the person Iām marrying today.ā He holds your gaze. āWhich means you look perfect.ā You press your face into his shoulder and hold on for a moment.
From the hallway: āOkay Iām ready. Can we have breakfast now?ā
Sandy comes at nine to take Mia for hair and getting dressed ā a situation Mia has been anticipating with the focused excitement of someone who has been told she gets curls and a flower in her hair and has not stopped thinking about it since.
She submits to the process with remarkable patience, sitting very still while Sandy works, only turning her head twice to update you on developments. āItās getting curlier,ā she reports.
āI can see that.ā
āDo I look like a princess?ā
āYou look exactly like a princess.ā She nods, satisfied, and returns to stillness.
When itās done she stands in front of the mirror in her small white dress ā simple, with a yellow sash, because she requested yellow and you would move mountains before youād say no to that ā and looks at herself for a long, serious moment.āI look nice,ā she concludes.
āYou look incredible,ā Sandy says.
āYeah.ā She turns to look at you. Her eyes go wide. āMama. You look so pretty.ā
Youāre in your dress ā simple, exactly what you wanted, nothing complicated ā and your hair is done and youāre holding your bouquet and youāre trying very hard not to cry and failing slightly.āSo do you,ā you tell her.
She crosses to you. Reaches up and takes your hand, the way she did in a hallway a long time ago, completely certain of her welcome.āDonāt be nervous,ā she tells you.
āIām not nervous.ā
āGood.ā She squeezes your fingers. āDaddy loves you the most.ā
āHe loves you the most.ā
She considers this with genuine fairness. āHe loves us the same,ā she decides. āEqual. Like a tie.ā
āThatās exactly right.ā
She nods. Pats your hand once, settling the matter. āOkay,ā she says. āLetās go get married.ā
The venue is small and warm and full of people who love you.
Mrs. Kim is in the third row in her best jacket, already dabbing her eyes. Sandy is beside her. Jakeās parents flew in from Brisbane ā his mother cried when she met you and his father shook your hand for a very long time and said thank you for making them happy and youād had to excuse yourself to the bathroom for five minutes after that.
Your own family. Your friends. The people who have been the walls of your life. And at the end of the aisle, Jake.
In a dark suit, hands clasped in front of him, hair the way you like it. Heās talking quietly to the celebrant and then someone touches his arm and he looks up and sees Mia in the doorway.
His face does what it always does when he sees her. That open, completely unguarded thing. She waves at him. He waves back.
Then he sees you behind her and his face does something else entirely.
The music starts. Mia goes first. She has been told, approximately as many times as you can tell a four and a half year old anything, that flower girls walk slowly. Measured. Elegant. She lasts four steps.
Then she spots Jake at the end of the aisle and she goes ā there is no other word for it ā feral with excitement, sunflowers clutched in both fists, petals going in every direction except down, grinning so hard her whole face is the grin, half walking half skipping half something entirely her own.
āDADDY I FOUND HERā she announces at full volume to the entire assembled gathering. āI FOUND HER SHEāS HEREā
The room erupts. Not polite wedding laughter. Real laughter, the kind that comes from somewhere genuine, rippling through every row. Mrs. Kim is crying laughing. Sandy has her hand over her mouth. Jakeās mother is gripping his fatherās arm.
Jake is crouching down to catch Mia as she reaches him, scooping her up, pressing a kiss to her chaotic curls, the flower in her hair somehow surviving the sprint. āGood job,ā you hear him tell her.
āI practiced,ā she says, very serious.
āI know you did, baby.ā He sets her down. She takes her position with great dignity, as though the sprint did not happen, as though she has been standing here elegantly the entire time.
And then Jake looks up at you. You walk toward him. The room goes soft around the edges ā not blurred, just quiet, the way things go when youāre paying attention to the only thing that matters. The faces on either side are warm and familiar and you see them without seeing them because youāre looking at Jake.
Jake, who opened his door on a panicked Tuesday morning and showed you his worst fear and his whole heart in the same thirty seconds.
Jake, who makes coffee before you ask and remembers every small thing and says what he means with a simplicity that still sometimes catches you off guard.
Jake, who watched you fall in love with his daughter before you fell in love with him and let it happen without trying to manage or protect or preempt it, because he trusted you, because he looked at you and knew.
You reach him. He takes your hand and holds it like heās been holding it his whole life. āHi,ā he says quietly.
āHi,ā you say back.
Beside him, Mia has taken your other hand. She holds it with both of hers, feet planted, present and accounted for, witnessing this with the gravity it deserves.
The celebrant begins. The vows are Jakeās own words. You knew this. You wrote yours too, separately, privately, the way youād agreed. But hearing them ā in his voice, in this room, looking at his face ā is different from knowing.
He talks about the morning Mia escaped into the hallway and how he stood in your doorway afterward watching you crouch down to his daughterās level and felt something shift that he couldnāt name yet and didnāt try to.
He talks about Wednesday mornings with the hairbrush. About leftover pasta and late night texting and the drawing on the fridge.
He talks about the way you love Mia ā not as a condition of loving him, not as an extension of it, but first, entirely and separately first, because thatās who you are.
She picked you, he says, before I had a chance to. And she has never once been wrong about anything important. Beside you, Mia straightens slightly at this. You feel her grip on your hand tighten.
Iām not a man who believed in easy, Jake says. I thought love was supposed to be something you work and worry at. And then you moved in across the hall and you were just ā easy. Everything with you has just been easy. Not without difficulty. Not without fear. But easy the way breathing is easy. The way I canāt imagine not doing it. His voice has gone rough at the edges.
I love you. I loved you in October and I loved you in February and I love you today and Iām going to love you when Mia is grown and gone and itās just us and Iām going to love you in every ordinary Tuesday that comes after this one because thatās where you live. In the ordinary Tuesdays. And I want every single one of them.
The room is very quiet. You are absolutely crying. You decided before today that you werenāt going to cry until after the vows at the earliest and you have failed completely. āDonāt cry,ā Mia whispers, helpful. āItās good news.ā
Laughter moves through the room like a wave. Jake laughs too, wiping his eyes, and you laugh through yours, and it breaks the solemnity just enough, the way the best moments always do ā serious and true and then suddenly full of light.
Your vows. You talk about duck pajamas and a stuffed rabbit and a small hand in yours in a hallway. You talk about a crayon drawing on a fridge and a child who put you in her family portrait before you knew you belonged there.
You talk about a man who carried his daughter on his shoulders through a farmers market and came home to make dinner and knocked on your door with leftover pasta and showed you what it looked like when someone decided that loving people well was the most important thing they could do.
You taught me that, you say. Both of you. You showed me what it looks like when love is a decision someone makes every single day without drama and without conditions. Mia does it for everyone she meets. You do it quietly and completely and I want to spend the rest of my life doing it back. You look at Jake.
I love you. I love our ordinary Tuesdays. I love Wednesday mornings and Saturday markets and bedtime stories and all the Gerald updates and every single version of this life weāve built in an apartment across the hall from where I used to live alone. I love your daughter.
You look down at Mia. She is watching you with her whole face. Completely still, completely focused, taking this in with the seriousness it deserves.
She is the best thing, you say. She is the absolute best thing, and I promise her, today, in front of everyone who loves us, that I am here. I am not going anywhere. She is mine and I am hers and that is permanent and unconditional and nothing will ever change it.
Miaās lip wobbles. Just slightly. You watch her decide, with great effort, not to cry, because she is a flower girl and flower girls are professionals and she has a reputation to maintain. She squeezes your hand instead. Very hard. You squeeze back.
I now pronounce you married.
Jake kisses you, and the room rises, and somewhere in the noise you hear Mia announce to no one in particular and everyone simultaneously:
āTHATāS MY MAMA NOW. THATāS OFFICIALLY MY MAMA.ā
And then, apparently satisfied that this has been adequately communicated, she inserts herself between the two of you and takes both your hands and holds on.
Jake looks at you over her head. He doesnāt say anything. He doesnāt need to.
The reception is everything. Mrs. Kim dances with Mia for forty-five minutes straight and neither of them stops. Sandy cries every time someone gives a speech. Jakeās father gives a toast that makes the whole room laugh and then immediately cry. Your own people hold you and tell you they knew, they always knew, from the moment you started talking about the little girl next door like sheād hung the moon.
Jake dances with Mia first ā tradition, heād decided, she gets the first dance ā and you stand at the edge of the floor and watch her stand on his feet, both of them swaying to something slow, her head against his chest, his hand spanning her whole back.
You take a photo. You will look at that photo for the rest of your life.
Then he passes her off to his mother and comes to find you, hand extended, and you take it and let him pull you out onto the floor. āHi wife,ā he says, like heās trying the word out.
āHi husband.ā
He smiles. Pulls you closer. āHowās it feel?ā
āSame,ā you say honestly. āExactly the same. Justā more settled.ā
āYeah.ā His hand moves on your back. āLike itās been true for a while and now the paperwork caught up.ā
āExactly like that.ā
You dance. The room moves around you, warm and full of people you love, and Mia is somewhere in it, probably telling someone about Dave the worm or Gerald or the structural integrity of forts, and it is ā all of it, every piece ā everything. All of it everything.
She falls asleep at nine fifteen. Mid-sentence, apparently ā Jakeās mother told you later she was explaining the color organization system for the stuffed animals and then she simply stopped explaining and was asleep, curled in the chair with her flower crown half off and her shoes long since abandoned and the last of her sunflowers still in her hand.
Jake carries her out to the car at the end of the night, limp and certain and completely trusting the way only sleeping children are, and you tuck the seatbelt around her and push the flower crown gently back from her face. She doesnāt wake up.
She wonāt remember being carried, wonāt remember the drive home, wonāt remember being tucked in. But in the morning sheāll wake up and come and stand at the side of your bed and breathe on your face until you open your eyes, and youāll ask her how she slept and sheāll say good and youāll ask if she had fun at the wedding and sheāll say yes I was the flower girl with the proprietary satisfaction of someone who performed their role excellently and knows it. And sheāll be right. She was, without any competition, the best part.
Later. Much later. His penthouse ā your penthouse, it still catches you sometimes ā quiet and dark except for the city light through the windows. Mia asleep down the hall. The flower crown on the kitchen counter. Your bouquet in a glass of water because you couldnāt throw it, it was too pretty.
Jakeās jacket over the chair. Your heels by the door. You and Jake on the couch the way youāve been a hundred times before, his arm around you, your head on his shoulder, the easy comfortable weight of each other. āHey,ā he says quietly.
āHey.ā
āMia told Theoās mum today that she picked you.ā
You lift your head. āWhat?ā
āAt the reception. Apparently she walked up to Theoās mum completely unprompted and saidāā Heās smiling. āShe said I picked her first. Before Daddy even knew.ā
You stare at him. āSheās four and a half,ā you say.
āI know. Sheās extremely perceptive,ā Jake says. āAlways has been.ā
You think about a Tuesday morning and duck pajamas and the end of a hallway. The hand on your cheek. Youāre nice. The absolute certainty of it. The way she gave you her fingers without hesitating like she already knew. āShe did pick me first,ā you say softly.
āYeah.ā Jake presses a kiss to your hair. āShe really did.ā
The city does its quiet nighttime thing outside the windows. Down the hall, Mia sleeps. You and Jake stay where you are, warm and settled, in the ordinary extraordinary life you built one Tuesday at a time.
āā āā ā āā āā ā
Three weeks later, on an ordinary Wednesday morning, Mia sits between your knees on the couch.
Youāre doing her braids. Jake is in the kitchen. Coffee is happening. Gerald is on the windowsill. Mr. Bunny is in the orange section of the stuffed animal shelf. Everything exactly where it should be. āMama,ā Mia says.
āHmm?ā
āWhen Iām big can I be a flower girl again?ā
āWhen youāre big you can be whatever you want.ā
She considers this carefully. āI want to be a flower girl and a paleontologist and a cat.ā
āAll three?ā
āOn different days.ā
āThat seems manageable.ā She nods, satisfied. Swings her feet.
From the kitchen, Jake: āBraids today?ā
āBraids,ā Mia confirms, with the authority of someone whose hair decisions are final. You finish the first one. Start the second. The morning does its ordinary thing around you.
Mia tilts her head back to look up at you, upside down, grinning. āI love you, mama.ā
You smooth a hand over her hair. āI love you too, baby,ā you say. āSo much.ā She rights herself. Goes back to swinging her feet.
Outside the window the morning is doing what mornings do, indifferent and ongoing and full of ordinary things.
In here it is warm. In here everyone is exactly where they are supposed to be. This is just the beginning. And it is everything.
āā āā ā āā āā ā
Hi lovelies! If you made it all the way to the end I hope you enjoyed. Iāve had a few people ask for a drabble or two based off this. if you want to see this click this and comment below your suggestions and what you want to see.
anyway thanks for reading!!š

















