scioscribe

Thank you so much for writing for me! Horror is the genre of my heart, and I can never get enough of it, so I'm already really looking forward to whatever you create. I've added some prompts, but definitely feel free to go your own way. Please think of the requested horror tags as more directions than anything else—it's more than okay if something blends subgenres or doesn't fit in neatly.

I have more prompts for some fandoms than others, but that's just because of what I could think up or because of how many different characters or relationships I was requesting; I'd be equally happy to receive gifts for any of these requests.

I have gifts enabled, and treats are very welcome!

I'm scioscribe on AO3 and scioscribe on Tumblr. All requests are for fic.

Likes

hurt/comfort, emotional hurt/comfort, ensembles, enemies-to-lovers (or friends), friendships, friends-to-lovers, opposites attract, conflicting worldviews and priorities, emotional vulnerability, fix-its, casefic, canon-style adventures, moral complexity, nuanced bad guys/terrible people with moments of goodness or vulnerability, redemption, pining, obvious feelings that don’t quite get admitted to, unconventional gestures of affection, complicated relationships, partnerships, power dynamics, shippy gen and ambiguously intense relationships, intimacy, found family, first-time stories, established relationships, character death, amnesia, characters forced to cooperate, forced proximity, bedsharing, huddling/cuddling for warmth, 5 + 1 fics, slow-burns, fake/pretend relationships, arranged marriage/marriage of convenience, sex pollen, made them do it, noncon-related hurt/comfort, rape recovery, power couples, age gaps, worldbuilding, undercover work, loyalty, tenderness, acts of kindness, trying to do the right thing, identity porn, canon-divergence AUs, added supernatural/fantasy/sci-fi elements

Historical- and canon-typical language, violence, attitudes, and darkness-levels all okay to include unless otherwise noted.



General Sex Likes/Kinks

clothed sex, wall-sex, rough sex, teasing, anal play/sex, oral sex, rimming, frottage, fingering, gags, dirty talk, hand and finger kink, hair-touching, nipple play, characters giving orders/instructions, roleplay, casual D/s, spanking (including breasts, thighs, and pussy), talking during sex, emotional sex, sleepy/lazy sex, humorous sex scenes, enthusiastic sex, tenderness, loss of virginity, bad/awkward sex (either charmingly funny or downbeat), coming untouched, coming in pants, voyeurism, exhibitionism, collaring, people getting mussed, orgasm delay/denial, overstimulation, edging, begging, historical period- or location-specific sex, sex toys, praise kink, possessiveness, marking/bruising/biting



Bonus Horror Likes

horror-related hurt/comfort, haunted houses/hotels/etc., unsettlingly perfect small towns with dark secrets, "everything here seems superficially fine except someone's eyes are screaming," lingering trauma, bonding through trauma, courage, mutual protectiveness and self-sacrifice, comfort sex in the midst of horror, trying to survive an apocalypse together, mutating landscapes, "it's a bad idea to go into the woods," hunted for sport, finding evidence of cult-like religious practices and old beliefs with terrifying implications, ghosts, haunted spaceships, haunted regular ships, mass disappearances and abandoned locations, coming into possession of a cursed object that has unsettling or dangerous effects, supernatural or paranormal casefic, technology has turned on you, many people really are out to get you, dark carnivals, "it's a challenge to reach the end of this Halloween haunted house but—surprise!--it's actually really haunted and/or the hosts are trying to kill you," spending all night in a haunted house, quietly unsettling horror with little elements that are just slightly wrong, reality is slippery, trapped in a cave, snowbound in a haunted location, investigating supernatural phenomena, the ghosts are personally connected to you and it's tragic, the ghosts are only pretending to be personally connected to you and actually they're not ghosts at all, creepy mirrors, creepy doppelgangers, lured into a dangerous situation … and many more things



DNW

ageplay, mommy/daddy kink, explicit sex for characters under sixteen, scat, bestiality, necrophilia



Carrie - Stephen King

Susan Snell & Carrie White
Carrie White & Margaret White
Solo: Susan Snell
Solo: Carrie White

Dark Fantasy, Folk Horror, Gothic Horror, Institutional Horror, Paranormal Horror, Psychological Horror, Supernatural Horror

Optional ships: Carrie/Sue (both dark/horrifying/nonconny/dubconny and hopeful/romantic), and Carrie/Sue/Tommy. I'm also good with all the canon ships.

Any kind of ending is fine!

* Carrie doesn't go home after the prom; instead, she leaves town with a terrified Sue as a hostage. Does she cause more havoc on their cross-country journey?

* Carrie discovers her powers under different circumstances. What if they'd stayed active after the rain of stones incident, and she'd just kept gradually getting stronger and more practiced over the years? I'm totally here for Carrie just becoming an "It's a Good Life"-style horror where she gets phenomenal power at a too-young age and uses it to completely control everyone around her until everyone is dancing to her whims and the whole town might be cut off from the world. I'd love to see her relationship with her mother in this context. But I'm also here for her using her powers in less noticeable but still creepy ways. Meanwhile, Sue's gradually discovering that everyone who says something mean to Carrie soon has something awful happen to them in return ….

* Carrie lives on as a ghost in Sue's mind. If you take this in a shippy direction, I'm open to everything from nightmare noncon/dubcon to dark romance to something more wistful. Or maybe Carrie lives and blows town, but she's haunted by the prom ghosts and/or the ghost of her mother? Can she overcome them, banish them, or lay them to rest, or will they get the upper hand? Does she have genuine regrets?

* I also love the idea of Sue being haunted by prom ghosts, especially while she's trying to deal with being ostracized by the town and having so much survivor's guilt. Or Sue starting to investigate paranormal/psychic phenomena, going headfirst into what scares her. Or Carrie/Sue with them partnered up in looking into these cases. Carrie/Sue vs. haunted houses and other people with wild talents.

* Tragic horror! Feeling like a monster, dealing with enormous power and the temptation to use it to do terrible things to people, PTSD and nightmares, physical deterioration and the knowledge that you're going to die young (or, if Carrie/Sue, the knowledge that the person you love is going to die young).

* Carrie somehow manages to bring her mother back, but she Comes Back Wrong(er).

* Um. Carrie rules a cowed Chamberlain, and Sue is her concubine/right hand woman who initially planned on killing her out of mingled guilt, horror, and pity, but who is now developing feelings for her—ones she's not entirely sure she can trust, since Carrie can read her mind.

* Carrie's intrusion into Sue's head gave her unwanted telekinetic powers that she's horrified by, and it's making people suspicious of her.

* In the aftermath of prom night, Chamberlain develops some peculiar rituals for detecting people with telekinetic powers, and everything slowly becomes oppressive and/or retrograde-creepy with beliefs about witchcraft. Or a folk horror AU where everything is superficially modern, but this is still a world where people are alert to signs of "witchcraft" and ready to turn on Carrie as soon as her powers start manifesting and they want to stone her in the public square.

* Carrie gets captured by the government/the Shop/some nefarious lab, either before or after prom, and they start experimenting on her and trying to control her, with a possible rescue attempt by Sue. Or a possible scenario where Sue is also brought into keep her company/help control her. Can they escape? How do the researchers control Carrie? If they offer her praise and support, does she even want to get out? If they try to use her new relationship with Sue against her, how does she react?



Dare Me - Megan Abbott

Beth Cassidy & Addy Hanlon
Solo: Beth Cassidy
Solo: Addy Hanlon

Body Horror, Dark Fantasy, Folk Horror, Killer Horror, Psychological Horror, Supernatural Horror

Optional ships: Addy/Beth, Addy/Colette, Beth/Colette, Addy/Casey Jaye, and Addy/RiRi.

Any kind of ending is fine!

* Cheerleading asks more and more out of them every day—i.e., body horror that doubles-down on all the physical strains in canon and gets worse and worse, with surgeries and mutilations and the supernatural all potentially stepping in to make sure the girls can look and perform the way Colette expects them to. Permanent smiles? The Flyer is made extra-light by having her bones hollowed out? Jewels set in your skin for extra glitter?

* Cheer camp, slasher movie edition, with a masked killer prowling the woods even as Beth seethes over Addy making friends with Casey Jaye. Eerie campfire tales told in a miasma of lust and love and jealousy. If the bodies start dropping one night, does Addy wonder if Beth might be the killer? (Is Beth the killer? Is Addy?) Does Beth try to convince her it's Casey Jaye? How can they use their skills to fight back and survive—or can they even get out of this alive without sacrificing each other, or without one of them sacrificing herself?

* Beth dies during her final stunt, but that doesn't mean her ghost is going to leave Addy alone. Is there ghost sex? If Addy eventually tries to get rid of her, does that feel like it's as much of a betrayal as Addy gravitating towards Colette? If Beth sticks around even as Addy gets older, does her presence start to become poignant and even nostalgic after a while?

* Obsession and fixation, from all possible angles. Beth starts stalking Addy? Addy starts stalking Colette, and her obsession turns violent and leads to a murder that only Beth can help her cover up? Does Beth find out some horrible secret about Colette, like she's a vampire out to seduce Addy and drain her dry, and she has to try even harder to win back all Addy's attention?

* Colette is actually a cult leader priming all the girls to die in some kind of sacrifice at the end of the season, and Addy is lured in—both wanting to die for Coach and wanting to believe that Coach would let her live, or thinking she knows the whole story when she doesn't—and Beth is slowly trying to unravel it all and use this information to her own advantage. If there's magic involved, or some force generated by the sacrifice, does Beth try to take control of it? Does she try to beat Colette to the punch by killing most of the team herself in an effort to win Addy's love?

* Addy's selective memory is actually a kind of half-conscious superpower letting her edit reality to fit her needs, and Beth—due to their closeness—is one of the few people who can pick up on this. But that doesn't mean that Addy never uses it on her.

* Cheerleading, but make it Fight Club. Cathartic darkness of them hurting each other, all kinds of ferocity, spinning off your fight club into a secret anarchist cult, Beth actually being Addy's alter ego the whole time ….



The Long Walk - Richard Bachman

Ray Garraty & Peter McVries

Dark Fantasy, Institutional Horror, Psychological Horror, Supernatural Horror, Survival Horror

Optional ship: Garraty/McVries. This is also a ship I love where I have a real love for denial, ambiguity, and intensity that they can't process, so blurry-lines "how do I tag this" relationships are also extremely welcome.

Any kind of ending is fine as long as Garraty and McVries don't turn on each other or start hating each other.

* AU where their world takes a different approach to its distracting-the-populace death competitions. Maybe the boys all get stranded in an isolated location with few-to-no resources and the last man standing wins? Maybe it's gladiatorial combat, with awkward amounts of time to tragically get to know each other between fights or melees? Or a Hunger Games-style contest? Maybe they're all hunted down by the Squad, with the hunt televised?

* Similarly, I'd love to see a Walk in a different kind of setting or in different weather—subject them to blizzards or heat waves or force them to walk through a bunch of fire ants, if you like. Just do bad things to them and let them care about each other throughout.

* Garraty wins and gets the Prize—and he asks to have McVries brought back to life. There is some institutional-but-eldritch process that leads to an eerily revived McVries, but being brought back by a dystopian police state is non-ideal, and McVries Comes Back Wrong. Sleepwalking, memory gaps, trouble feeling any physical sensation? Does he need fresh blood to live (either Garraty's or someone else's)? Maybe he's still decaying and only back for a short time. Maybe he has destructive murder blackouts. Maybe the Major uses him as a weapon. (Don't worry about this touching on the necrophilia DNW, if you want to do Garraty/McVries; as long as McVries is not just a corpse without consciousness, we're good.)

* Post-canon encounters where McVries is a ghost, and his feet are still bleeding and he can't stop walking. (Other dead Walkers are also welcome to appear as ghosts!) Or a more wistful ghost story where Garraty eventually lives to see the Major overthrown and the Long Walk banned, but he still sees ghosts walking across his lawn or alongside the road as he drives? Does he manage to give ghost McVries a ride one day?

* The longer the Walkers walk, the more the landscape around them seems to mutate and the weirder it seems to get, like reality itself is eroding along with their health and sanity.

* Sometimes a monster is a (mixed) blessing—one night on the Walk, something out in the darkness starts stalking alongside them, killing the Squads even as it also kills or savages some of the Walkers? Is it a physical monster? A living shadow? An embodiment of the Walkers' collective fury and exhaustion? Along with the horror, does it also offer Garraty and McVries a chance to escape?

* Horribly, the Walk just doesn't seem to end. It's like it goes on forever and ever, until they have no idea how long they've been there and it feels like they might be in some kind of awful purgatorial state.



The Descent

Sarah Carter & Juno Kaplan
Solo: Sarah Carter
Solo: Juno Kaplan

Body Horror, Cosmic Horror, Monster Horror, Psychological Horror, Survival Horror, Violent Horror

Optional ship: Juno/Sarah! I'm also good with either of them/Sarah's husband as a background element.

Any kind of ending is fine!

* I absolutely would have watched a version of this movie without the monsters: the trapped-in-a-cave suspense is so terrifying and grueling. I'd love to see more of that, so if you want to do a canon-divergence AU where they wind up trapped but don't run into any cave-dwelling monsters, I'm so here for it. Stick them in the dark, give them rope-burned hands and broken bones, make me feel excruciating secondhand claustrophobia, show me them scrounging for mushrooms or fungus or slugs or eyeless fish to stay alive, and just generally make it agonizing. They can all get out—I love clever problem-solving—or one/some of them can, but they don't have to.

* Either Sarah or Juno (or both) survives inside the cave and is slowly (and unwillingly?) dragged into crawler society, such as it is. What's it like to be surrounded by people you can only perceive as grotesque horrors? Do they have to struggle to be seen as crawlers rather than prey? How do they earn respect? Do they eventually wind up getting worshiped by the crawlers? Do they acclimate to life underground so well that they eventually don't want to escape, or so well that they become the monsters to future cavers?

* Instead of caving, the group of friends agrees to a different kind of risky, thrill-seeking trip that comes with its own dangers (and maybe even with its own monsters). Do they wind up stranded in a snowy wasteland? In the desert? Halfway up a mountain that's nearly sheer rock? Do they—for a different direction—decide in a tongue-in-cheek way to take on a challenge to spend the night in a haunted house, just on the way to their real destination, only to find that they picked the wrong house and landed themselves in a nightmare? Or do they wind up stuck in their once-cozy rental cabin, besieged by mysterious creatures?

* Instead of having an affair with Sarah's husband, Juno was having an affair with Sarah. The two of them eventually go off on a trip by themselves, but Sarah's grief and guilt flare up when she and Juno start being haunted by the ghosts of her husband and daughter.

* The unmapped cave keeps leading down deeper and deeper, until the group gets to a terrifying underground world, a buried cosmic horror, some crack in reality, etc., and Go Mad From the Revelation. Can they deal with it at all, even if they escape, or are they forever haunted by the knowledge of how thin and flimsy reality really is? Are they driven to go back to the cave?

* The monsters down in the cave are different monsters: creepy plants/fungi, tentacles/worms, living shadows activated by their lamps and torches, the sense of something breathing in the darkness, living rock where the cave tries to tighten up around them to swallow them whole ….



Found

Gabi Mosely & Sir | Hugh Evans

Dark Fantasy, Gothic Horror, Psychological Horror, Supernatural Horror

Optional ship: Gabi/Sir, as long as it's not while Gabi's being held captive (creepy vibes during that time are fine!).

I don't want Gabi to go to prison or end up completely subservient to Sir, but other than that, any kind of ending is fine, from happy to dark to weird combinations of both.

* Gabi does kill Sir when Dhan finds him for her, but she still has to contend with his ghost. Did she mean for this to happen, and does it give her complete control/leverage over his spirit so she can extract some kind of revenge? Did he mean for it to happen, so he can haunt her and be with her forever, while she's horrified by his lingering presence? What is it like to have your house haunted by your obsessed former captor who is both possessive and weirdly devoted? How does he manifest? What power do they have over each other? Is there ghost sex? Does he stay in the house (can she do some kind of ritual to confine him to the basement, even?), or is he constantly at her side, poisoning everything but also binding them together more closely? What's it like for her to start to technically feel closer to him than to anyone else?

* Alternately, Sir deliberately kills himself in such a way that he can haunt Gabi forever, but he's wrong about exactly what that ends up looking like.

* Even more Ghost Sir—he actually dies during or after Gabi and Lacey's initial escape, and he hasn't left Gabi alone since. What is she like when she's been shaped by his constant presence for years, and she can't even tell anyone he's there? What effect does it have on him? If he can't have any impact on the physical world anymore, for example, he has no real leverage over her or anyone she loves, so his previous power over her is gone—but he's not. Does she always know he's there, or does she just get fleeting impressions of him and eventually make the horrifying decision to break out a Ouija board and confirm things? Is she eventually holding regular séances to channel him, telling herself that she needs his help for cases, even when that might not be true?

* Gabi starts giving into her occasional sadistic impulses with Sir, in ways both trivial—making him read books she knows he'll hate and scripting his reactions to them—and severe—painplay/torture and mindfucks. Unfortunately, Sir's kind of into it, just as long as it means he has her attention. I'd love to see her dark psychological journey into slowly becoming a worse and worse person, especially with her justifying herself all the way. Dark Gabi is just hot.

* Younger Gabi Gothic AU where Sir is a handsome gentleman with an enormous dark house full of even darker secrets, and she's slowly drawn into it—as his ward, maybe while her father is in a coma from some suspicious poisoning? As a governess teacher or tutor for little Lacey, who gets kidnapped first in this AU to serve as bait? Weird creepy Beauty and the Beast AU where Gabi's dad plucks a rose from Sir's garden, and Gabi has to come be Sir's captive so he can be set free?

* Post-S1 fic where Sir is stalking Gabi and her team, and she keeps coming across evidence of him being close to her. Creepily, gloriously close. Does she ever have the chance to catch him and, to her own revulsion, impulsively pass on it? Does she set conditions by talking to an empty house, believing (rightly) that he's hiding somewhere inside it listening to her?

* Post-S1—Sir's freedom comes to an end when he actually gets grabbed by someone else, and he's being held under awful circumstances. Gabi finds herself having to, say, venture into a serial killer's lair to rescue him. No, she's not going to think about why she's doing this.



Our Flag Means Death

Archie & Fang & Frenchie & Israel Hands & Jim Jimenez
Solo: Frenchie

Monster Horror, Psychological Horror, Supernatural Horror

Optional ships: Everyone on this ship should be fucking. To narrow it down to just the characters I'm requesting: Archie/Fang/Frenchie/Izzy/Jim, Jim/Archie, Jim/Frenchie, Jim/Izzy, Frenchie/Fang/Izzy, Izzy/Frenchie, Izzy/Fang, Ed/Frenchie. But I also like all the canon ships and am good with any non-canon ones you want to include too; I'm a total multishipper here.

(Note: I didn't request Comedic Horror because I wasn't thinking of the laughs as the main point, but I'm completely fine with humor/jokes/etc., and any kind of canon-typical blend of comedy going on even when things are dark.)

I would like Archie & Fang & Frenchie & Izzy & Jim to not end up on bad terms with each other. They can die, it can be tragic and/or horrifying, but I just don't want them to hate/fear/turn on each other, at least not without making up before the end.

* The breakup boat actually goes down during the storm (or suffers incredible damages during it, leading to the rest of the surviving crew perishing soon afterwards of hunger/thirst/injuries). Now they're a ghost ship and a ghost crew. I'd like them to find some solace with each other, but that doesn't mean everything has to be okay. What is it like for them to slowly realize that they're actually gone? What do they "need" as ghosts, and what are their interactions like with other ships? If one person lingers on for a while after the others are gone, is it almost bittersweet to die and find they're reunited with everyone else? What happens if Stede and the others finally come across what's left of the Revenge, only to find this ghostly wreck full of spirits they may or may not perceive? (Is Ed also haunting the ship, or does he somehow get swept overboard and survive? Or wind up haunting a different space/moving on into the afterlife?)

* Frenchie is right about certain people having crystals in their body that attract demons. He's just wrong about it being women. He has some crystals in him, though, and that might explain the shadowy terrors that are following him around ….

* Sorry, Ed, but your early S2 phase of unpredictable dark whimsy, deliberately provocative mutilation, and attempted murder-suicide is very inspirational for fucked-up horror premises—I really like it when him being an antagonist during this period is less about him wanting to hurt someone and more about him just seeking sensation and/or numbness at any cost or about him just self-destructively over-committing to obviously horrible, dead-end choices. So I'm very here for the general psychological horror of this time, with everyone being exhausted and forced from violent scenario to violent scenario, all while dealing with someone powerful and unpredictable. Forced games of Russian roulette or William Tell-style shooting things off people's heads or out of their hands? Raiding Archie's snake cult ship and finding everything absolutely crawling with snakes, including venomous ones or giant anacondas? Ed ordering them to bring the snakes aboard because he's secretly hoping one of the snakes will bite him?

* Ed decides to use a séance or other ritual to see if Stede didn't make their rendezvous because he died. This has Very Bad supernatural effects that everyone has to deal with. Ghost Badmintons? Amorphous evil spirits? The ghosts of their former selves?

* Post-S2, Frenchie is the new captain of the Revenge (I will totally take Randomly Alive Izzy for this, if you'd like!), and he and the crew have a supernatural or monstrous terror to deal with. A sea monster? A ghost ship? An eldritch horror? Do they sail into the Bermuda Triangle and find reality itself getting slippery on them?

* During a particularly intense set of raids on the breakup boat, everyone is snorting a ton of rhino horn to stay awake, and this has disastrous psychological effects: troubling hallucinations (leading to panicky self-harm or harm of others?), trippiness in general, weird time distortion, etc. Just get everyone high in a way that's dark and weird and terrifying. Dubcon high sex is also totally welcome here too, as long as the characters involved want it and would be fine with it having happened.



The Excavation of Hob's Barrow

Thomasina Bateman & Arthur Tillett
Thomasina Bateman & Stanley Kemp
Solo: Thomasina Bateman

Folk Horror

Any kind of ending is fine!

* I'd love to see any small, unnerving events in Bewlay in the time leading up to the excavation. I really like how the game draws so much atmosphere and strangeness out of even isolated events (like the bloodletting of Father Roche), and it would be great to see more unsettling moments like that where things just don't feel quite right. Thomasina gets lost in the woods, and compasses and paths don't seem to work the way they're supposed to? She goes outside at night and runs into someone skulking in the shadows? She finds something else buried in the fairy ring? She has another encounter with the inn's cat?

* Stanley Kemp seems so natural and friendly with Thomasina that it feels especially cruel when he turns up at the end to worship Abraxas. I'd really like to see his POV of Thomasina's few days in Bewlay: does he like her at all, and think it's a misfortune that she has to have her will and sanity sacrificed to raise Abraxas? How much does he intentionally mislead her? Does he justify it all to himself as just going with the flow, or is more of a true believer? Does he secretly have contempt for her and her involvement, or, conversely, does he hold her in awe because of the important role she's going to play? How much of his relationship with her is "acting," essentially? Does he do any folk horror rituals around the inn to help make sure things go according to plan? Is there some purpose to leading her to give him the silver necklace as collateral, for example?

* AU where Bewlay is a folk horror village, just not in the same way it is in canon. Maybe they want to ritualistically sacrifice Thomasina to keep the railway away or bring a good harvest. Maybe they need to brainwash her into staying with them forever, and the fetch-quests and conversations and storytelling are all part of some gradual hypnosis plan, and before she knows it, she's been there for years and still hasn't gotten into the barrow. Maybe she needs to be lured into the barrow as a sacrifice to Abraxas, or as his prisoner, and she has to come of her own free will. Or she needs to go through a ritual—willingly but under false pretenses—to become Abraxas. Maybe Bewlay is just a shabby, slightly cantankerous village on the surface, but once you've eaten their bread and slept in their beds, you can't leave?

* I'm really into seeing glimpses of Thomasina and Arthur's tragic and oddly tender post-canon friendship, with letters and visits. What if Arthur hadn't been able to get a transfer, and he'd had to live the rest of his life in Bewlay, or if he'd at least still gotten occasional news from the village and had been able to pass it on to Thomasina? I love the idea of the creeping horror of some Abraxas-caused apocalypse that the two of them are just slowly piecing together from scattershot village gossip (that they're mostly getting from people who are thrilled about it). Or … AU where they have to go into the barrow together?

* Thomasina excavates the barrow and raises Abraxas, but he doesn't lead her back to her father. Instead—feeling trapped in a way she can't explain—she stays in Bewlay, where she's actually something of an honored citizen in their new world even as she's horrified by it.