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(Used a prompt by @me-writes-prompts from this list)
Suguru loves his long hair. He is quite attached to it actually. Whenever he brushes through the long, inky strands he is reminded of how his mother used to do it for him when he was younger. A long time ago, before he had come to Jujutsu High as a freshman.
It's not a photo or a dish or a piece of clothing, but his own long tresses which stir feelings of nostalgia in him. He likes leaving them down, though he has taken to regularly trimming them since he entered the world of jujutsu sorcery. They get a bit unmanageable especially when he hardly has time to sleep and eat once he is done with his missions, let alone take care of his hair.
During the sweltering summer months, Suguru has started wearing his hair in a bun. It keeps his neck exposed to cool air that sometimes blows and gives some much needed relief. But he had not anticipated a particular downside to this hair do.
Having long hair meant his neck, especially the nape was never exposed. And he is not a very physically affectionate person to begin with so none of his friends had ever been too handsy. Well except for one 6 feet tall, white haired annoyance.
But even Satoru had never touched his neck, there was never a reason for him to do something like this, given they were friends. Suguru had not expected how sensitive he would be, specifically his nape would be and he finds out in a very embarrassing manner.
The first time he went to class with his hair tied in a bun, they had a combat lesson. As usual, Suguru was the first to arrive. He was idly playing the snake game on his phone when a warm hand was placed on his waist. He knows who it is, but before he can turn and scold Satoru for being late, goosebumps erupt all over his skin starting from his nape where he feels hot breaths against his sensitive neck.
"You tied your hair in a bun?"
Suguru tries to tamp down on the strange reaction he is having. He should step away, create some distance but his feet are stubbornly fixed to the ground.
After a really long pause which Satoru sure as hell noted and must have thought was weird, he manages to give a response. "It's too hot to leave my hair down so... "
That incorrigible man leans forward, getting right into Suguru's space, his face close to his left cheek.
"Hmm... T'is a pity though, it looked nice when you wore it down."
What? What did Satoru say just now? Did Suguru somehow mishear him giving someone else a compliment. Giving Suguru a compliment. This can't be, the white haired guy was a stuck-up, pompous f-
That deep voice caresses his undoubtedly flaming cheek, derailing his train of thought where he was busy listing down all of Satoru's many character flaws.
"Are you blushing, Suguru?"
He can hear the amusing lilt in the question yet he ends up spluttering a response, unable to maintain a cool demeanour.
"Wh-what? I'm not... You are standing too close." Saying that he takes a step forward, getting out of the dizzying sphere of Satoru's scent and warmth. "Back off!" He says while facing away, not wanting him to see Suguru's red face.
He knows Satoru was getting ready to say some ridiculous things, maybe make astute observations which will leave Suguru tongue tied. But he is saved as Shoko ambles in and Satoru's attention shifts, but for a moment, to their classmate.
Soon after Yaga sensei walks in as well and the lesson begins. Suguru hopes Satoru has forgotten about this silly incident. But it's wishful thinking. Throughout the day he feels that cerulean gaze pinned on him and his heart beats at an irregular pace, cheeks not losing their red tint.
And deep inside his guarded heart, a small seed germinates. Suguru would realize much later that his innocuous decision to tie his hair up in a bun was the catalyst. For the slow realisation of his deep seated feelings for his tall, white haired, blue eyed classmate.
PS-
Ahhhhhh! I don't know how this was. I've been out of practice, writing goge. Long back I had read a tweet about someone saying that Suguru having a sensitive neck was a head canon they had and that image was so striking that it stuck in my head. So here's a little drabble. I hope you guys liked it.
My name is Mohammed Shurrab , a qualified medical doctor , palestinian living in Gaza , facing significant challenges with my family due to continuous attacks and shortages of food , water , and medicine . We need your help to escape this dire situation and find safety in Egypt .
Please help us to preserve the lives of my child and my family .
My family consists of my child and my wife in addition to my parents, grandfather and 4 sisters with her families and 3 brothers , since the start of war our house has been damaged and we have been displaced to a safer place , but there is still danger to our lives .
The cost of crossing into Egypt is high reaching 5000$ for adults and 2500$ for children , and there is no job and no income in the war , we have been lost every things in this war , our house and our jobs and now don’t have anything .
We kindly ask for your help by donating to cover the travel costs to Egypt and provide basic necessities for my family there . Every contribution means alot to us and will help us start a new and rebuild our lives and our house .
We are grateful for all your support and solidarity in these difficult times.
2) sex in front of a big window where anyone could glance up and spot them
3) fully clothed x stark naked
4) slow sex while one or both are injured (bonus points if it’s after a battle or after they’ve patched up each other’s wounds)
5) body worshipping
6) marathon session (they just fucking keep going, babyyyy)
7) finding a somewhat private area at a fancy party to fuck (coat closet, empty office, secluded corner on the big balcony, hedge maze if we wanna get dramatic, etc)
8) oops, we were just hiding in this closet, but then the close proximity get us too turned on not to fuck
9) revenge sex
10) finding their partner’s sex toy/toys and making them play with it in front of them
11) quickie where you don’t take any clothes off, just tug and pull and expose the essentials
12) fucking, but one is still trying to keep all of their attention on the game they are playing
13) getting a little too handsy on the dancefloor
14) library sex for those dark academia vibes
15) jealous sex in the alleyway behind the bar
16) accidental i love you’s during sex
17) seeing the love marks they left on their partner later and getting turned on all over again remember how it got there in the first place
18) a/b/o
19) getting turned on by their partner’s new uniform for work and then roleplaying a bit
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The Mini Guide to Crafting Compelling Royal Characters for Fiction Writers
Creating royal characters can be both exciting and challenging. These regal figures often play pivotal roles in stories, capturing readers' imaginations with their power, privilege, and the weight of responsibility they carry. Whether you're writing historical fiction, fantasy, or contemporary novels featuring monarchs, this comprehensive (mini) guide will help you develop authentic, multi-dimensional royal characters that will resonate with your readers.
Understanding the Basics of Royalty
Before diving into character creation, it's essential to have a solid grasp of what royalty entails. Royalty typically refers to members of a ruling family, including kings, queens, princes, princesses, and other nobles within a monarchical system. These individuals are often born into their roles, though some may ascend to power through marriage or other means.
Key aspects to consider:
Hierarchy and succession
Royal duties and responsibilities
Protocol and etiquette
The concept of divine right (in some cultures)
The relationship between royalty and their subjects
Remember, while these elements are common in many royal systems, you have the creative freedom to adapt or reimagine them for your fictional world.
Developing Your Royal Character's Background
Every character, royal or not, needs a rich backstory. For royal characters, this background is particularly crucial as it shapes their worldview, values, and decision-making processes.
Consider the following:
a) Lineage: What is your character's family history? Are they from a long-standing dynasty or a newly established royal house?
b) Upbringing: How were they raised? Were they groomed for leadership from birth, or did they have a more sheltered upbringing?
c) Education: What kind of education did they receive? Was it formal, focusing on statecraft and diplomacy, or more well-rounded?
d) Relationships: How do they relate to their family members, courtiers, and subjects?
e) Personal experiences: What significant events have shaped their character and outlook on life?
Crafting a Unique Personality
Avoid the trap of creating one-dimensional royal stereotypes. Your character should be as complex and nuanced as any other well-developed protagonist or antagonist.
Consider these aspects:
a) Strengths and weaknesses: What are your character's admirable qualities? What flaws do they struggle with?
b) Motivations: What drives them? Is it a sense of duty, personal ambition, or something else entirely?
c) Internal conflicts: What personal struggles do they face? How do these conflicts affect their rule and relationships?
d) Hobbies and interests: What passions do they pursue outside of their royal duties?
e) Sense of humor: How do they express humor, if at all? Is it dry wit, sarcasm, or something else?
Balancing Power and Vulnerability
One of the most intriguing aspects of royal characters is the juxtaposition between their immense power and their human vulnerabilities. This balance can create compelling internal and external conflicts for your character.
Consider:
The weight of responsibility and its impact on their personal life
The isolation that often comes with a royal position
The constant scrutiny they face from the public and court
The struggle between personal desires and duty to the crown
Creating a Believable Royal World
Your royal character doesn't exist in a vacuum (I hope not). They're part of a larger royal ecosystem that includes family members, advisors, courtiers, and subjects. Developing this world adds depth and authenticity to your story.
Key elements to consider:
Court dynamics and politics
Relationships with other noble houses or kingdoms
The role of advisors and how they influence decisions
Traditions and customs specific to your royal setting
The economic and social structure of the kingdom
Addressing the Challenges of Royal Life
Royal characters face unique challenges that can drive your plot and character development. Some common themes include:
a) Succession disputes
b) Balancing personal happiness with duty
c) Navigating political alliances and conflicts
d) Managing public opinion and maintaining legitimacy
e) Dealing with threats to their rule or life
Use these challenges to create tension and drive your story forward while revealing more about your character's personality and values.
The Impact of Historical Context
If you're writing historical fiction or a fantasy inspired by real-world monarchies, it's crucial to consider the historical context. Research the time period and culture you're drawing from to ensure authenticity in your character's behavior, beliefs, and challenges.
Key areas to research:
Social norms and expectations of the time
Political systems and power structures
Technology and its impact on governance
Religious beliefs and their influence on royalty
Gender roles and how they affect royal duties and succession
Avoiding Common Pitfalls
When creating royal characters, be mindful of these common mistakes:
a) Making them too perfect or too villainous
b) Ignoring the realities of royal life (e.g., lack of privacy, constant duties)
c) Overlooking the impact of their decisions on their subjects
d) Failing to show growth or change over the course of the story
e) Relying too heavily on stereotypes or clichés
Incorporating Royal Etiquette and Protocol
Royal characters often adhere to strict codes of conduct and protocol. While you don't need to become an expert in royal etiquette, incorporating some of these elements can add authenticity to your story:
Forms of address (Your Majesty, Your Highness, etc.)
Court ceremonies and rituals
Dress codes and regalia
Rules of precedence in social situations
Diplomatic protocols when interacting with other royals or dignitaries
Exploring Different Types of Royal Characters
Remember that not all royal characters need to be ruling monarchs. Consider exploring other royal roles, such as:
The rebel prince or princess who rejects their royal duties
The reluctant heir thrust into power unexpectedly
The exiled royal fighting to reclaim their throne
The royal spouse adapting to life in the palace
The illegitimate child discovering their royal heritage
Each of these archetypes offers unique storytelling opportunities and challenges for character development.
Balancing Historical Accuracy and Creative License
If you're writing historical fiction featuring real royalty, you'll need to strike a balance between historical accuracy and creative interpretation. While it's important to respect known facts and timelines, you also have the freedom to explore the inner lives and motivations of these historical figures.
Tips for balancing accuracy and creativity:
Thoroughly research the historical figure and their time period
Clearly differentiate between historical fact and fictional interpretation
Use author's notes to explain any significant departures from known history
Focus on filling in the gaps in the historical record rather than contradicting established facts
Developing Royal Character Arcs
Like any well-rounded character, your royal protagonist should undergo growth and change throughout your story. Consider how their experiences might challenge their beliefs, alter their perspective, or force them to confront their flaws.
Possible character arcs for royal characters:
From naive idealist to pragmatic ruler
From reluctant heir to confident leader
From isolated monarch to connected leader who understands their subjects
From power-hungry tyrant to benevolent ruler (or vice versa)
Remember, character growth doesn't always have to be positive. Sometimes, the most compelling stories involve characters who face moral decline or tragic falls from grace.
Remember, while the trappings of royalty may be grand, at their core, your royal characters are still human. They love, fear, hope, and struggle like anyone else. It's this humanity, set against the backdrop of power and responsibility, that makes royal characters so fascinating to read and write about.
Happy writing, - Rin T
Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!
Welcome to Write Right Society!
At Write Right Society, we are dedicated to nurturing the creative spirit and honing the skills of writers a
Calling all aspiring storytellers with hearts full of whimsy! Get ready to sprinkle a touch of enchantment into your scenes with my Scene Wo
Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.
Part 1
Part 2
1. Eliminating to-be verbs (passive voice)
Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.
There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.
My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.
She was standing /// She stood
He was running /// He ran
Also applicable in present tense, of which I’ve been stuck writing lately.
There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.
For once, it’s a cloudless night. /// For once, the stars shine clear.
Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).
Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.
He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.
2. Putting character descriptors in the wrong place
I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.
She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)
Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.
He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.
To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.
3. Lacking flow between sentences
Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.
Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.
From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.
Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.
This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.
4. Getting too specific with movement.
I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.
A ridiculous example:
Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.
Unless tying his shoes is a monumental achievement for this character, all readers would need is:
Jack shoves on his running shoes.
*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.
This also happens with multiple movements in succession.
Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.
Or
Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.
Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.
Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.
If you’re not writing something where the extra details service the character or the story at large, consider trimming it.
—
These are *suggestions* and writing is highly subjective. Hope this helps!
Satoru has been walking around the church courtyard. He knows the elders would frown at such behaviour, he should be attending the ceremony.
But he has a small warm body nestled against his sturdy shoulders, his tiny head resting on Satoru's shirt clad shoulder. The young one is asleep, held close by his father. A tiny hand grasps at the linen stretched taut over Satoru's ripped body, as he slumbers peacefully.
Satoru had decided to walk around, at least this way his baby would feel relief from the stifling heat of the day. He has discarded his own suit & rolled up the sleeves of his shirt, which sticks to him because of the sweat. It seems his idea worked because the little one fell asleep as soon as he stepped out of the hall.
He'd have preferred if him & his family were in their temperature controlled apartment, instead of sweating it out here. But Satoru knows that he would never have missed this wedding, even if the heat & humidity are playing spoilsport.
He makes his way back to where Suguru is sitting. He is wearing a suit matching Satoru's, though he knows his beloved would've preferred a dress. But practicality demanded he wear something which would make it easier for him to breastfeed their babies.
Satoru sees him sitting there, holding the other twin against his chest as he feeds him, a serene smile on his face.
Satoru approaches & Suguru looks up. His beautiful purple eyes take in the slumbering figure of his baby & he sighs in relief.
"Give her to me when she's done ok?"
Suguru can't bring himself to protest. He is still recovering from the delivery which was more taxing on him than he had expected. Again if not for the significance of the day, he would have preferred staying at home and resting.
He just hums and turns his head to look at the ceremony unfolding. Though since he's seated he can't see which part they've reached.
"Satoru, what is going on? Have they said their vows?"
His husband turns to look to the front. Even though they are situated to one side of the hall, Satoru's height means he has a clear view.
"Maybe they are over because I can see Shoko holding out a kerchief for Yuuji. Didn't I tell you the kid will start bawling even before the wedding's done."
"Stop teasing poor Yuuji, Satoru. Weren't you a mess as well?"
"At least I didn't cry." At an unimpressed look from his wife, Satoru changes the subject.
"Oh! I can see some drama brewing. "
"What? What are you talking about?"
Satoru's face has a grin which he gets when he knows there's going to be some shit that's gonna blow up.
"Yuuji's uncle has been making eyes at Megumi's dad. "
"Making eyes you say..."
"Yeah, it seems like there will be a brawl as soon as they step out."
"Do you think someone will record it for me? I am sad that I can't see any of it."
Satoru is amused.
"Are you talking about the fight or the wedding Suguru?"
"Mostly the wedding, but the fight, /if/ it happens would be a bonus. I did ask Kento to record but I'm not sure if he'd do it."
"Ha! Nanami would surely do it. Especially now, he's even more amenable to his wife's requests. And you know Haibara likes to capture such moments."
"Yeah, it's cute seeing how careful and attentive Kento is. He always was, but ever since Haibara got pregnant he's become extra diligent, just like you were Satoru."
His husband doesn't give a reply but just keeps his eyes glued to the front.
It was on Suguru's insistence that they decided to have kids. But even though Satoru was never interested & could even be said to be averse to babies, he was with Suguru the entire time. He did nything & everything to relieve Suguru of any pain or discomfort he felt during the pregnancy. Suguru had this irrational worry, of whether Satoru would be able to bond with the babies. But once again he was proven wrong. Even though he wasn't effusive with his love and affection, their babies were his priority and the centre of his attention, always.
He took to them, quietly, without pomp and show. And Suguru feels that the twins are really lucky, to have such a father who loves them so dearly.
He feels his daughter unlatch her tiny mouth and he carefully brings her up to wipe her face and pat her back to burp her.
Satoru leans down then, to pick her up and place her on the free shoulder. But as soon as she is picked up & away from her mother's warmth, her brow furrows & a loud, lusty cry sits on her wobbly lips.
But the danger is averted because as soon the young one's nose gets buried in Satoru's neck, she calms down. Her father's strong, clean scent is enough to allay any fears. The babe nuzzles against the sturdy shoulder & slowly drifts off to sleep, just like her twin.
Witnessing this scene, it's hard for Suguru to not feel overwhelmed. With love and affection for his mate and husband. And Satoru must sense it as well, because he takes hold of Suguru's hand & brings it up to place a tender kiss. His cerulean eyes lock with those violet ones, and his heart feels full. When he feels the babes on his shoulders stir he decides it's time to walk around the courtyard once again. Suguru gives his hand a squeeze before letting go and relaxing into his chair. He doesn't mind missing most of the ceremony, he can watch the videos. And it seems soon they'll have another wedding, if he has to go by the covert glances Yuuta is throwing at a blonde guy standing next to Megumi's older sister.
A smile on his face, Satoru steps out, his hands holding onto the two most precious people in his life.
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Tips for writing those gala scenes, from someone who goes to them occasionally:
Generally you unbutton and re-button a suit coat when you sit down and stand up.
You’re supposed to hold wine or champagne glasses by the stem to avoid warming up the liquid inside. A character out of their depth might hold the glass around the sides instead.
When rich/important people forget your name and they’re drunk, they usually just tell you that they don’t remember or completely skip over any opportunity to use your name so they don’t look silly.
A good way to indicate you don’t want to shake someone’s hand at an event is to hold a drink in your right hand (and if you’re a woman, a purse in the other so you definitely can’t shift the glass to another hand and then shake)
Americans who still kiss cheeks as a welcome generally don’t press lips to cheeks, it’s more of a touch of cheek to cheek or even a hover (these days, mostly to avoid smudging a woman’s makeup)
The distinctions between dress codes (black tie, cocktail, etc) are very intricate but obvious to those who know how to look. If you wear a short skirt to a black tie event for example, people would clock that instantly even if the dress itself was very formal. Same thing goes for certain articles of men’s clothing.
Open bars / cash bars at events usually carry limited options. They’re meant to serve lots of people very quickly, so nobody is getting a cosmo or a Manhattan etc.
Members of the press generally aren’t allowed to freely circulate at nicer galas/events without a very good reason. When they do, they need to identify themselves before talking with someone.
As someone who spent over a decade catering luxury events, let me add some back of house info:
These events are almost always open bar. They're not trying to make their money back on alcohol. They want you to drink and eat and donate generously.
If there are cocktails, there will be at most two on offer, pre-made in large tubs. You cannot order a different version, it is what it is.
There are two types of events: cocktail style or seated. The first includes roaming hors d'oeuvres or a fancy buffet with tiny plates called a grazing station. For a long night, the roaming food will get a little bigger throughout the evening and have a 'main' at some point based around a protein.
A seated event will usually be more structured and may include multiple courses. Silver service is not in vogue anymore. You are likely to get either alternating meals brought to you like at a wedding, or served banquet style. A good caterer can get a plate to everyone in a 300 person event in about three minutes.
Drunk people are the same no matter how expensive their suits. They still laugh too loud, spill their drinks and slip on the dance floor. They are usually less embarrassed about doing coke in the bathrooms.
A full scale event that starts at 6pm will have staff arriving at noon to begin setup. Earlier if there's a light show or pyrotechnics. Typically venues don't just have 30 tables and three hundred chairs lying around, let alone table cloths, chair covers, etc. It's all rented and brought in on the day. Bands and DJs will be running audio tests in the background throughout.
Most heritage buildings that host these things, like museums and manor houses, aren't really designed for them. They might put down mats so you're not walking in stilettos over two hundred year old wooden floors, the kitchens are weirdly far away, and there are not enough taps. There is never anywhere for staff to sit, so if you open the wrong door you might find half a dozen waiters sitting on upturned milk crates in a room full of million dollar paintings, eating the left over bread.
Really old buildings don't have enough bathrooms, which means the staff will be sharing with the guests.
Clean up starts the second the event ends, if not sooner. Unattended glasses will start to disappear first, then table decorations. When the timer ticks over, the lights come back on and exhausted staff strip the tables, pack up dirty glasses and unopened wine bottles and have to Tetris it all into the back of a van. The venue is booked for that day only, so everything has to be gone before anyone can go home. A large event that finishes at midnight might take until 3am to be cleared away.
These are very long and physically demanding nights for anyone working them. The staff all get to know each other, and will absolutely notice someone trying to sneak in wearing a borrowed uniform. They are not being paid enough to care.
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So thinking of an a/b/o Goge AU where Satoru accompanies his ward, Yuuji to a knitting cafe. It's a very popular spot among couples & Satoru has the unenviable task of chaperoning the young boy who is going on a date with his school mate, a tall boy named Megumi.
Now how did Satoru of all people end up here, watching over these two kids as they try to start a knitting project, talking softly amongst themselves?
Well the story is a bit long winded & not that happy. Yuuji's mother and father were killed. And Satoru was a distant relative, the only one who wasn't dead or otherwise indisposed to care for the boy. Though the boy did have an estranged uncle. When Satoru looked into him, he found out that Sukuna, was serving a jail term for aggravated assault.
Hence the best bet for Yuuji, was to be under Satoru's protection.
The Gojo heir doesn't really mind, Yuuji is a good kid. Even though he hasn't presented yet, there's no doubt in anyone's mind about which subgender he's gonna be. He'll be a very caring and generous alpha. Satoru thinks that the boy must get it from his father, because of what little he knew of his mother, he didn't have a good opinion of her.
When a soft, sweet scent wafts over to him, Satoru's train of thought gets derailed. He looks around to spot the source of this lovely fragrance, akin to freshly baked goods with a hint of sandalwood & jasmine.
When his eyes land on the man, it feels like the world & time comes to a pause for the alpha.
Seconds tick by achingly slow, as his cerulean eyes take in the tall figure of an omega presumably. Dressed in loose pullovers, hair- thick, black & straight, long enough so that they are touching a sinfully thin waist, which Satoru can make out even under the baggy clothes.
The omega has a hand placed over his belly, which only now Satoru notices is distended. He is a bit surprised that the feeling coursing through him is disappointment. But why? Why does he feel this way for a strange omega who is most likely mated, considering he is round with pups.
Knowing that the guy is taken, Satoru still continues to stare unashamedly. He thinks, at least he can look even though he wants to do so much more.
While observing the omega he realises that the guy is a staff at this cafe. He moves around, going from table to table given instructions & helping people if they get stuck. His face is always adorned in a gentle smile, patiently repeating the steps to each group.
Satoru has no clue how much time has passed. Ever since his eyes fell on this omega he hasn't looked away. The thought of watching over Yuuji & Megumi seems very distant & unimportant in comparison to admiring this beautiful being.
Unbeknownst to him he let's out a sigh, ruing his luck when those purple eyes look up & get locked into his blue ones.
Even with the few feet separating them, Satoru can see the way pink spreads in those soft cheeks & how the omega averts his eyes, most likely intimidated by Satoru's incessant staring.
But much to his surprise, the omega makes his way to Satoru's table, which the alpha purportedly chose to be in a secluded corner so he could do his chaperoning without disturbances.
But now all thoughts of his ward or why he was here in the first place were gone. They were replaced by the lovely thing which was slowly approaching him. As the omega stepped closer Satoru could see how far along he was. But the thing which caught his eye was the collar peaking out of the turtleneck pullover the omega wore. It's not that mated omega's don't wear collars, they do, but it's very rare. Their mates prefer to have their omega wear the claiming bite out in the open, showing how they were already taken.
So why was this omega wearing a collar, even though he was pregnant?
Is he...
A soft, melodious voice interrupts his thoughts & only now does he realise how that sweet scent has become much stronger, now that its source is standing within Satoru's arm's length. A deviant thought of pulling the sweet thing into his arms & seeing him turn red enters his head & he has to grip the table hard to prevent his body from getting ahead of his brain.
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