Re: FIC: Ophelia Drowns (PG)workerbee73August 11 2012, 23:57:08 UTC
OMG yes, I adore it. Like it couldn't have been more perfect. You even distracted me from my super-important extremely shallow Bourne Legacy Hair Report. THAT's how serious a situation this fic is.
Re: FIC: Ophelia Drowns (PG)sugar_feyAugust 11 2012, 23:57:24 UTC
*sniffs*
I cannot handle the feelings this fic evokes.
Natasha is free and she breaks out of her glass coffin, shoes lost and dress ruined, the strike of midnight a faded echo in the night.
This line is fucking gorgeous. LOVE the fairytale imagery.
Clint is standing in front of her, his eyes on her face as he reaches for the torn fabric of her strap. He takes it between his fingers and she can feel his rough and worn skin against her shoulder as he ties it back in place. He is close enough that she could reach out and kill him. He is close enough for her to kiss.
Re: FIC: Ophelia Drowns (PG)inkvoicesAugust 14 2012, 01:33:06 UTC
There's more small acts from you? WHAT?! WHEN DID THIS HAPPEN AND HOW DID I MISS IT?!
Again with the so much packed into your writing and I am never going to get tired of being in awe of that. And, as ever, gorgeous writing :D
Things of yay: cries hollow screams of nothing harking back to the uselessness of words and that it's the acts that matter in this verse? She holds still. Maybe me reading too much into a little sentence, but. A moment when Natasha choses to stop, to still, for herself. She does it because it's the thing to do to save her life...so all those times when she wants to stop for Clint but needs to be made to stop? And then at the end of the verse when she voluntarily stops without the prop of the rope? I read this as Natasha stopping, being still, is of life-saving significance, of necessity. That she draws the remaining breath from his lungs is so pragmatic and yet somehow feels more of a violation than her sleeping with people to kill them, than seducing them to kill them, and the comparison you draw
( ... )
Re: FIC: Ophelia Drowns (PG)inkvoicesAugust 20 2012, 19:45:59 UTC
I'm falling behind on promptathon and online life myself, meh. But reply-age is never redundnant! I love comment conversations :D
Your writing demands thinky thoughts. On the second read through. The first I'm too busy devouring the words *grins*.
That's interesting, that timeline placement. Because I can see where the tension lies, but they still work so seamlessly together and there's trust between them - he trusts her to do the mission, even when it means her beig a car crash, and she trusts him, hopping on the back of his motorcycle, and I can almost see where the lines are starting to blur, where they're starting to maybe trust each other outside of work...Clint fixing her dress... Interesting!
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SRS. BSNS.
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I cannot handle the feelings this fic evokes.
Natasha is free and she breaks out of her glass coffin, shoes lost and dress ruined, the strike of midnight a faded echo in the night.
This line is fucking gorgeous. LOVE the fairytale imagery.
Clint is standing in front of her, his eyes on her face as he reaches for the torn fabric of her strap. He takes it between his fingers and she can feel his rough and worn skin against her shoulder as he ties it back in place. He is close enough that she could reach out and kill him. He is close enough for her to kiss.
The UST, it buuuuuuurns. This was hot.
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Again with the so much packed into your writing and I am never going to get tired of being in awe of that. And, as ever, gorgeous writing :D
Things of yay: cries hollow screams of nothing harking back to the uselessness of words and that it's the acts that matter in this verse? She holds still. Maybe me reading too much into a little sentence, but. A moment when Natasha choses to stop, to still, for herself. She does it because it's the thing to do to save her life...so all those times when she wants to stop for Clint but needs to be made to stop? And then at the end of the verse when she voluntarily stops without the prop of the rope? I read this as Natasha stopping, being still, is of life-saving significance, of necessity. That she draws the remaining breath from his lungs is so pragmatic and yet somehow feels more of a violation than her sleeping with people to kill them, than seducing them to kill them, and the comparison you draw ( ... )
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Your writing demands thinky thoughts. On the second read through. The first I'm too busy devouring the words *grins*.
That's interesting, that timeline placement. Because I can see where the tension lies, but they still work so seamlessly together and there's trust between them - he trusts her to do the mission, even when it means her beig a car crash, and she trusts him, hopping on the back of his motorcycle, and I can almost see where the lines are starting to blur, where they're starting to maybe trust each other outside of work...Clint fixing her dress... Interesting!
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He is close enough that she could reach out and kill him. He is close enough for her to kiss.
That's just... there's no more needs be said. That's all, we're done here, everyone else go home.
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Is this where I get to say "I told you so?" Huh, huh, is it?
;)
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