-No explicit sexual NSFW. If you ask for sexual NSFW, you will be trolled. Clint + Nat may be in a sexual relationship, but I am a lesbian and have only seen the internet’s impression of sex, which… well. So I’m certainly not about to write sex.
-If my askbox is closed, I’m not taking requests.
-Clintasha (romantic/sexual/platonic) as a main ship only. Clintasha (purely platonic), Clintasha x reader (platonic), character x reader (platonic) and side ship (platonic) requests are allowed. No character x reader (romantic/sexual) requests allowed. If you ask for side ships (romantic/sexual), I may or may not put them in, depending on how much I like them.
-Heavy whump requests are allowed, however I will break into little pieces if you ask for a major character death.
-I can do headcanons and crossovers, but due to my uncultured goblin brain I may not be able to write some fandoms as well (i.e. DC, most animes, movies, and TV shows). Though I’m happy to try!
-After a request is sent in through the askbox, I will reply to it with a confirmation that I have seen it (and possibly some questions), then once it has been written, I’ll make a separate post and mention either the requester or tag anon. To keep from being confused about which story is for you, I’d ask that you don’t send in a request as anon, unless it makes you very uncomfortable.
-Your request may need a while to simmer, so please be patient. If I post other things after answering your request, I have not forgotten. If the request has burnt, so to speak, I will reblog the ask post with an apology and keep the request to return to at some point.
-Some requests may have to be sectioned into chapters. You will also need to be patient with these. I will mention the requester for each chapter.
Masterlists below cut
Oneshots
In His Silence
dreams
Reaching Out For Your Hand
friends
stuff I did for whump months
Fever
Bloodloss
Hidden Injury
Impaled
Nightmare
Series
Child (on hold because of my failing to do plot, it destroys me every time but I just want to get to writing the story 😭)
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(900words, warnings for talk of childhood neglect. Clint centric - but Clintasha. A/N - this was supposed to be a two parter with a story of both Clint and Natasha’s childhood with a kind adult, but alas, I ran out of time. So we only get Clint’s side. Maybe one day I’ll write Nats)
-
It’s a hard knock life.
“There was a woman,” Clint starts.
Natasha looks up from her phone, and notices his eyes dark.
“In my old neighborhood. I got home from school at 3 and she was always watering her plants.”
She feels it’s not the time to say anything but stares at him with rapt attention.
“It’s just occurred to me, that she was watching me come home everyday.”
He pauses on the thought.
“I’d be alone. I’d get home alone, and she’d… always be there, watering her plants, watching me get off the bus, wave and then, she’d go inside when I was.”
He stares at nothing and thinks.
“She was watching for me.”
Natasha turns to face him.
The television breaks the quiet but he’s thoughtful still.
She’s not sure what to say.
“Her name was Vera,” he offers.
She waits.
He turns to face her after a moment.
A sad smile is returned and she grabs his hand to give it a squeeze.
“Sometimes it’s the little things that people do for us that we don’t even recognise them at the time,” she thinks out loud.
He turns his attention back to the television, the show flashing brightly, casting light on their faces.
“Yeah, I think you’re right,” he replies.
She lets his hand go, and picks her phone up again.
“Would you ever go looking for her?”
Clint doesn’t answer.
She takes it as a no.
Moments pass and the tv drolls on.
He can’t stop thinking of her.
Always watering her plants, and then going back inside when he got home. Never interfering but always a kind face. A hello in the morning and when he arrived, sometimes a worried face.
He wonders if she ever did anything for his mum.
He never saw them together, but perhaps there was danger in that, given his father.
Would he look for her?
He grabs his phone, opens a game, trying to put it out of his mind.
He doesn’t need this.
It only takes a second before he has a browser open, searching her name. Her first name anyway, last known location.
It takes him down a rabbit hole.
He opens a database.
Then another.
It takes him five minutes.
“She’s dead,” he announces to Natasha.
He hears her sigh.
“I’m sorry,” she replies.
“Yeah.”
Fatigue hits him and he puts his phone on charge, kisses Natasha and rolls over, ready for sleep.
“Are you okay?” she asks quietly, to his turned back.
He’s not sure.
“Yeah,” he answers.
“Night, Nat,”
He feels her hand on the small of his back.
Reassuring, consistent.
“Night Clint.”
.
“She had a daughter,” Clint tells her the next night.
He was going to hold onto the information, thought about burying it, and leaving it alone.
It had only been a thought; a small part of his childhood.
He’s not sure why he was perseverating on it so much.
She made she he got home, nothing more.
But it meant something, even if he only realised it twenty years later.
He wanted to repay the favour, the kindness, whatever it was.
Natasha looks over, waiting for him to continue.
It takes a moment.
But for him she could wait all night.
“They live in Alaska now.”
She smiles.
“So not the most inaccessible place.”
“No,” he muses.
“What do you want to do?”
He shrugs.
“I don’t know.”
She leaves him in his silence. This time, it’s her that rests her head on his chest.
“We can visit, or send something like money? We can do nothing, or visit her grave?”
She closes her eyes.
“Think about it,” she yawns.
He sighs heavily.
“Yeah.”
“Night Clint,” she whispers.
“Night Nat,” he replies.
.
“I’ve sent them money,” he announces at dinner.
She pauses on her fried rice and nods.
“Under what guise?”
He shrugs.
“I just sent cash, and said that it was from a friend. Actually I sent a note to say that her mother was a good woman.”
Natasha continues to eat, and nods at the gesture.
“It sounds like she was.”
“It took me so long to figure that out,” he tells her quietly.
She snorts at him.
“How much of your childhood do you actually remember?”
Clint looks up, and gets her point straight away.
“Yeah, okay, hardly any of the small things. Other kids had good memories and fun and I had…”
He shrugs, letting the memories peter out.
“Sometimes, probably it will just be like this. Something happens and something will come back to you, and we cope with it then, good or bad. Just like we do with mine.”
He looks at her then.
The worry and reassurance.
“Yeah. Yes. It’s what we do.”
She eats and motions for him to do the same.
“It’s what we do.”
He sighs heavily, remembering her watering can.
Thanks Vera, he thinks and looks down at his own dinner.
“Thanks Nat,” he offers.
She waves it off.
“Hopefully you’ll get some sleep tonight,” she smiles.
Been a while, so let’s share my latest finished cross stitch project. From KHallion on Etsy, though it seems to have been taken down. I’m so happy with how she came out. 😊
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Not to be a MCU fan on main, but I need the meta practice anyway.
The boat scene of Black Widow 2021 charms me. We open with Natasha staring at herself in a mirror, and if that's not a narrative tool to tell us this movie is going to be about her facing herself and who she is, I don't know what is.
It also signals that this is a private moment. She's alone in a bathroom where she has the time and space to stare at herself in the mirror for a moment. She's vulnerable, not protected. She's not looking over her shoulder.
She braces herself above the sink for a moment, probably processing everything that had happened recently (see Captain America: Civil War). I imagine she might be replaying moments, wondering what's happened since she went into hiding. She had to cut a lot of lines to get away safely, but that means she can't use those lines anymore. She's working with less information than she's had access to for a long time. No KBG, no SHIELD, no Avengers, nothing. It's not that she can't work without those resources, but she hasn't had to make do without them recently. She's back to her roots; she's back to herself. She's actually alone again.
A note to the vulnerability thing: the next shot we get is her washing her face. I'm not convinced that the actress, Scarlett Johansson, isn't wearing ANY makeup, but I don't think the character is. If she's alone, and if she's disappeared properly, nobody's going to be looking at her face. Who is there to look put together for? Might as well wash off the mask.
Unbeknownst to the audience, the whole time, Natasha had a live feed of a building showing on a phone. The figures aren't totally clear, so we can't completely make out what's being shown through the live feed, but we don't have to. The movie cuts to the action: soldiers in tactical suits bearing weapons, the familiar face of Everett Ross (which in the context of CA:CW, isn't exactly a friendly face), and an officer assuring him that all exits are covered.
If Natasha has this playing on her phone, this location must be important. She's monitoring the building, she's expecting something to happen. It could be her watching the perimeter, it could be her keeping tabs on someone else from the Sokovia fallout.
Ross isn't tense, but he isn't relaxed. He tells those around him to stay alert, so he's expecting resistance. He's one of the few people in frame not wearing any armor or protection, and judging from his tone, he doesn't have high expectations for how this is going to go. While he narrates that he's sending in a squadron, we're shown a sniper on the roof.
It would seem that Ross is learning from previous experience. He's not giving whoever he's here for (at this point, it feels strongly like it's Natasha) ANY way out, because any weak point will be exploited and taken advantage of. They've been around this track before. The squadron moves into what is clearly a public space that's been cleared out. Somewhere Natasha could easily hide in as a spy, except the people she's supposed to be blending into aren't there. Perhaps that was a hint.
Ross goes on to set the scene for us. "Natasha Romanoff is in violation of the Sokovia Accords. She assaulted the King of Wakanda. Make an example out of her." If we had any doubt about who Ross is here for, it's gone now.
So we expect a clash. We expect an epic escape, maybe with a chase scene or a shootout or a good old-fashioned head-bashing. Natasha is going to gather herself, get out there, and show them how it's done. Right?
Natasha calls a phone number. It's not saved as a contact, but it's already pulled up and punched in before she opens the keypad. She was expecting this. She still has control over the situation. One woman against an army, and she might be outnumbered but she's not down for the count.
She dials and Ross picks up the call. Almost definitely an unknown number, and given the circumstances, who else could it possibly be?
Oddly enough, she starts by telling him not to do this. A plea for mercy? That doesn't sound right. Ross plays dumb, but Natasha calls him on his bullshit and then follows it up with an insult. She's not asking for mercy, she's chastising him. Ross admits he fell for the hook, and tries to intimidate her back by explaining how it makes sense. From his vantage point, she needs a deal to get out of this one. Yeah, maybe she can escape the building, but it's gonna cost her energy, possibly unwanted injury, and she's going to give the United Nations more material to use against her in court.
Ross is buying time. Seconds are precious here. He'll talk to her all day if it keeps her in one spot long enough for his soldiers to corner her and cut off all her escape routes.
Natasha jabs at him while filling in the audience about what's happened since the last time she saw her. Ross is tired, and that puts his earlier caution into context. He's been trying to track her down, to capture her, to bring her in.
He hasn't succeeded yet, though not for lack of trying. "What is this, your second triple bypass?" Triple bypass (from my one Google search about it, don't come at me) might refer to a combined effort between local and federal police to track someone, launch surveillance against them, and coordinate an operation to close the fugitive in with no way out. Not a small setup, and this is Ross's second attempt. He's using a lot of resources to nail Natasha down. We aren't given the details of how the first one went except that it didn't work and now Ross is trying again.
Ross changes the subject quickly but still wants her talking (and not moving), so he tells her what has happened to Cap's team since she last saw them. They have (Clint) Barton, (Sam) Wilson, the other guy/the incredible shrinking convict (Scott Lang), (they don't even mention Wanda Maximoff, rude), and they don't have (Steve) Rogers (and Bucky Barnes with him). Keeps trying to intimidate her, says she has no friends.
Meanwhile, Natasha just learned where all her allies are. She knows where Steve and Bucky went, and that's enough information for her to start tracking them down later if/when she decides to pick up the trail. If Ross has all the others, then they're in the Raft. She's harvesting information off of him even now because Ross is stalling for time. He thinks anything that keeps this conversation going will pay off in the end.
He asks here where she's going to go, but Natasha has everything she needs out of Ross and she's done with this conversation. It's time to go. She wraps it up, insinuating that she's not out of places to hide and that this was a waste of his time. Natasha Romanoff is going to disappear, she's done.
Before Ross can ask what that means, she ends the call and leaves him with absolutely no more useful information than he had when the call started. He can only assume she's on the move.
The soldiers are closing in. Natasha hears a noise outside the bathroom and knows somebody is close. She exhales, and the audience leans forward, ready for this dramatic exit. Here we go.
As the soldiers kick the door in, Natasha leaves the bathroom. A different bathroom. There are no soldiers outside her door. Someone picks up her suit in the building Ross has redundantly surrounded, and Natasha slowly and calmly lets herself out onto the deck of a ferry boat.
Ross is nowhere remotely close to his target. He's somewhere in a city, pulling all the stops to surround a public building in broad daylight, and Natasha is somewhere away from the city, surrounded by water and foggy mountains.
An officer confirms that no one was in the building, revealing that the Black Widow's tracker is no longer tracking the Black Widow, just her suit. It's a damn good suit, but it's nothing without the woman who was supposed to be wearing it.
She slips the phone she used to call Ross into the water. He probably didn't have any means of tracking their call from his cell phone, but even if he finds a way to do that, he's going to be led to the bottom of a body of water seemingly thousands of miles away.
The audience is set up to anticipate a display of kickass combat, but that's not how you set up a clean, traceless exit. The closer people are to you, the easier it is for them to follow you. Natasha has to move faster than the people chasing her, and before the camera even started rolling, Natasha moved so fast and so lightly that Ross was only just catching up to her suit. She even had enough time to set up one last monitor and extract another nugget of information out of Ross before disappearing completely. No rush, no tension, no weakness that Ross or the United Nations could see.
We expected a fight. Ross expected a fight. Natasha is smart enough that she won the fight before Ross ever showed up. It's not epic. It doesn't make for a cinematic stunt sequence, but she's not trying to be a superhero. She's not trying to be cool. She's trying to disappear. The audience is just as slow to the point as Ross is.
Ross pulled out all the stops and wound up dragging several armed units to clear a public building only to fall flat on his ass anyway. Natasha pulled out, like... what? Three stops? Maybe? and walked away invisible, without a scratch on her. She even got a cherry on top: a lead to follow if she ever finds a chance to go after Steve and the others to clean up this mess.
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Okay so remember my sleep deprived delirious rant about Ballet Dancer Natasha? I am now not sleep deprived and I'm coherent, so here are some of my actual ballet hcs for nat <3
--Her favorite ballets are Don Quixote and Coppelia (she likes the drama and the music and the costumes) though she also loves Giselle because of the tragedy.
-- Heavy supporter of ballet companies because she wants to keep the art alive :) She always drags the Bartons to go see The Nutcracker every holiday season, it's one of the few traditions that she started herself. Whenever she's on shore leave for a longish period of time (more than two weeks) she looks for upcoming productions to treat herself to.
-- During YAGP and Prix de Lausanne season she'll watch the senior variations religiously and try to guess/ make bets on who will place in the finals. (this is her superbowl guys, trust)
-- Started to reclaim ballet for herself during her rookie/defection year at SHIELD. It was important to her that they couldn't dictate her future or the way she lived her life after she left, so it started out of spite and continued because of passion.
-- Loves both Balanchine and Vaganova methods, the first because she likes the way they liven up the performance quality and how it offers a more dynamic and exciting show, and the latter because she likes the grace and flow of the movement, plus its the method she grew up with, so its familiar.
-- Pointe shoes: in the RR they only offered Grishkos (aka Nikolays if you're american) and those are so so so soft to dance in so they break down really quickly. Natasha herself really likes hard shoes because of this, though she also loves a good Freed/Suffolk moment (soft shoes). For the hard shoes I think she's a die-hard R-Class girl which are super super hard but also really pretty. (By the way, I am going off of the R-classes I've tried vs the Grishkos/Nikolays I've tried so don't come at me this is just what I think.)
okay that's all for now, maybe i'll do another one if I think of any others :) let me know what you think byeeee xx
scarlet johannson did not spend an entire decade fighting tooth and nail to make natasha into an actual character instead of the sex object writers wanted her to be while also having to endure the most vile, misogynistic questions during press tours for people to now disrespect her legacy because yelena is 'better'. the only reason why that is, is because of everything scarlet went through. natasha singlehandedly paved the way for every other female superhero in the mcu and don't you forget that
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