would anyone *mind* if I put a section that's insanely out of context up?

I never mind when you post *anything.*

I'm cool with out of context, Plei. Since I do read some of the stuff in here that's spoilery and therefore out of context for me, it's not a big problem.

Okay. It's in the same story I've been starting to post, but much later on. Like, last chapter much later on. And, of course, POV switch.

As a child, he'd often thought about the Blitz, about what it must have been like, being caught up in it, London burning as you took cover in total blackness--on bad days, he'd pretend the closet was an Anderson shelter just to keep himself from panicking in its cold stuffiness. Then, he'd fancied he had some idea what the people had been going through. Now, however, he found himself identifying with what it must have been like for the buildings as bomb after bomb shook loose their mortar and splintered their framing.

The sheets were still rumpled, and the scent of sweat and sex still hung heavy in his room. He wasn't up to facing any of it, so he arranged himself awkwardly on the sofa and used his coat for a blanket. When he awoke, she was sitting on the chair across from him.

"You could have knocked," he muttered.

"I did. You didn't answer."

The silence between them stretched and grew until the room was filled with it. He closed his eyes and tried to picture the shelter layout: two beds, table center, cupboard by the door, small shelves for books and the like. When she finally spoke again, he was so deep in his own mind, her voice almost failed to register.

"Look on the bright side. At least my mother wasn't there."

Like the imagery, which I'm sure context will help. Wes and Lilah, I assume?

I don't let myself write out of order, otherwise I'll write all the cool scenes and not do the connectors, and I promise myself carnage and lust as a reward for "So and so needs to get to the other side of town by sunset" stuff.

What Steph said.

Am, the evocative part is in the minutiae, surely? What kind of taxi (model, for instance) deposits Hawkeye on their lawn? Or what model of car is parked in their driveway? How is her hair done - were perms the big thing? No major stuff, but the details set the time, I find.

Like the imagery, which I'm sure context will help. Wes and Lilah, I assume?

Nope. This is the sequel to Imposters, Grasshopper. So I'm back on my OTP.

Ple, that scene rocks. Majorly.

I can't write out of order either, but that's because (the curse of organic writer), I don't know what the order is until I'm well into the story itself. So I just write and let point A-point B stuff do what it's gonna do.

So I'm back on my OTP.

Oh. Them.

edit: One's true Wesley het pairing may vary. But the mother remark makes more sense now.

I can't write out of order either, but that's because (the curse of organic writer), I don't know what the order is until I'm well into the story itself. So I just write and let point A-point B stuff do what it's gonna do.

I'm all about just writing what springs to mind. I'm lucky with this series, because I knew where I was going, and what plot points I wanted to hit. I have an outline, which is weird for me.

Absolution was the same way. I was dashing back and forth between 2002 and 2018 with hardly a thought. Twas fun.

Deborah, I think you're right. And I think Peg would be kind of hip, in a 50s sort of way(not beat, but cooler than June Cleaver, for sure).