A master post of my writings. This will be updated regularly.
Requests of what I am willing to write and for - request list
Fluff 🧡 - Angst 💔 - Smut ❤
The Originals-
Elijah Mikaelson
Headcanons
NSFW headcanon - 2 ❤
Headcanons for Elijah dating a badass 🧡❤
Shaved legs🧡
Phone sex ❤
Doing skin care 🧡
Stories
I could have lost her 💔🧡
She hiding something 💔🧡
Moving on - part two 🧡
Centuries of waiting - part one - part two - part three 💔🧡❤
Mother hen Elijah 🧡
Starting a family 🧡
A silly bet🧡
Finally saying 'I love you'🧡
Learning to love 🧡
Rain n cuddles 🧡
'Let me take care of you'❤
Another love💔
Badass🧡
Bad girls get punished ❤
Relaxing shower ❤
His dancer💔🧡❤
Morning surprises ❤
Thigh riding ❤
The Salvatore and the Mikaelson 🧡
Face riding ❤🧡
Then beg 🧡❤
His baby likes his hands ❤
Call me Sir ❤🧡
Learning he likes spanking 🧡❤
First times ❤🧡
Another baby ❤🧡
A desperate baby ❤🧡
He has a wife - part 2 - part 3 🧡❤💔
A praise kink 🧡❤
His wolf - part 2 🧡❤
Kol Mikaelson
Headcanons
Shaved legs🧡❤
Stories
You have a praise kink❤🧡
I want crazy 🧡
Niklaus Mikaelson
Headcanons
Headcanon of losing a child with Klaus 💔
Shaved legs🧡❤
Stories
His figure skater🧡
Game night🧡
I hear a symphony🧡
His little wolf🧡
Electric love 🧡
Fashion model n Hybrid 🧡
His paradise 🧡
She is his Queen 🧡
Soft wolf🧡
Turn me ❤
Can't say no to the baby 🧡
The Salvatore sister 🧡
Dark red 🧡
Little manipulator 🧡
Werewitch and her king 💔
A happy birthday 💔🧡
A visit 🧡
Past the test 🧡
Visiting my sister 🧡
Passing the Hope test 🧡
Don't want sloppy seconds 💔
Rebekah Mikaelson
Headcanons
Rebekah having a crush headcannon 🧡
Stories
Girl nights n proposals 🧡
Poly!Mikaelson
Headcanons dating the Mikaelsons 🧡❤
Headcanons Mikaelsons and a banshee 🧡
Headcanons touch starved Mikaelsons 🧡
Headcanons of the Mikaelsons cheating 💔
Ain't your fault 💔🧡
Why she mother's them🧡
Mikaelsons and a baby - part two - part three - part four - Epilogue 🧡
He is my brother🧡
To win her back - part two - part three - part four:pre dates - Elijah's date - Klaus's date - Kol's date - Rebekah's date - Halloween special - Christmas special 💔🧡❤
Notable Events: Mikael tracks his children to Cádiz, Spain and the Mikaelsons flee the city as it burns, eventually settling in New Orleans. Nadia continues her search for her mother.
let's talk about klaus mikaelson's love life (or: why klaroline was always a beautiful, shiny lie)
I’ve been sitting on this draft for literally months, but after rewatching The Vampire Diaries and The Originals back-to-back, I need to scream into the void about this. The absolute chokehold that Klaroline still has on this fandom is wild to me, but when you strip away the gorgeous lighting, the beautiful actors, and the pure fan service, the narrative reality is stark: Klaus and Caroline do not make sense as a believable, long-term romantic pairing.
If we look at Klaus’s actual characterization, his deep-seated psychological trauma, and his demonstrated romantic behavior across both shows, Klaroline falls apart. To me, their dynamic represents a localized, highly curated fantasy of escapism and projection rather than any form of genuine emotional intimacy. Let’s actually look at the text.
Deconstructing the "Caroline Stands Up to Klaus" Myth
One of the most persistent talking points in this fandom is that Caroline "stands up" to Klaus, and that this structural equality is what makes them so compelling. But I honestly believe this is a complete misreading of their actual interactions. Caroline’s pushback is almost always a mix of localized small-town moralizing and defensive snark. And the thing about Klaus is that he doesn't feel challenged by this he’s just amused.
To a thousand-year-old hybrid who has slaughtered entire villages, a newborn vampire telling him he's a "disgusting" monster is just cute. He treats her defiance as a novelty, a little spark of entertainment in his otherwise paranoid, boring existence.
What gets me is how we, as a fandom, gloss over the fact that Caroline is consistently, deeply terrified of him and for very good reason. Their dynamic is not built on mutual respect; it is a predator-and-prey game where Caroline’s snark is actually a desperate shield.
Think about Into the Wild (4x13). When Caroline gets too close to the boundary spell trapping Klaus, he doesn't hesitate he literally spears her with a rusted curtain rod and chomps on her neck. He then forces her boyfriend, Tyler, to beg repeatedly for her life, ultimately refusing to heal her. Caroline is left sweating, hallucinating, and convulsing on his floor.
When Caroline finally looks at him and whispers, "I know that you’re in love with me, and anybody capable of love is capable of being saved," that is not a romantic breakthrough. Personally, I’ve always interpreted this as a highly calculated, terrifying survival strategy. Caroline is literally at death's door, and she knows the only way to survive is to feed Klaus's desperate, narcissistic self-delusion that he is a redeemable man. It’s not emotional vulnerability; it’s hostage negotiation.
The dynamic we see between them is almost entirely dependent on flirtation, shiny grand gestures, and aesthetic distractions. Klaus draws her ponies, leaves expensive gowns on her bed, and buys her diamond bracelets. But what does he actually know about Caroline Forbes?
The truth is, Klaus doesn't want to know the real Caroline the neurotic, over-organizing, small-town girl who is deeply insecure about being anyone's second choice. He projects an idealized, untainted fantasy of "innocence" and "light" onto her. When he tells her in Our Town (3x11) that the rest of the world is waiting for her, filled with "art, music, and genuine beauty," he isn't engaging with her specific psychological interiority. He is inviting her to escape into his aesthetic fantasy.
Caroline is his safe, consequence-free vacuum. Because they share no history, no mutual trauma, and no real darkness, Klaus can play-act the role of a refined, misunderstood romantic benefactor around her. She represents a beautiful distraction from the blood-soaked reality of his existence. But that’s all it is: escapism.
The Reality of Love: Comparative Dynamics in The Originals
To understand how Klaus behaves when he is actually, deeply involved in a character’s emotional reality, we have to look at the mature, raw, and often devastating dynamics in The Originals.
Hayley Marshall: The Unspoken Partnership of Two Wolves
I honestly believe the tragedy of Klaus and Hayley is one of the most beautifully written, slow-burn emotional arcs in the entire franchise, even if they never became a traditional couple. They are two deeply broken, abandoned foster kids who became apex predators just to avoid being prey. As Klaus famously tells her, "We both learned to fight when we were pushed into a corner".
Their connection is forged in the fire of co-parenting their daughter, Hope, which forces them to drop their defensive masks and deal with each other’s worst traits. Unlike Caroline, Hayley has seen Klaus at his most paranoid, ruthless, and monstrous and she doesn't just judge him from a safe distance; she demands better of him as his equal partner in their daughter’s survival.
What kills me is their famous confrontation in the compound courtyard in Season 3, Episode 2. Hayley is absolutely furious after Klaus cursed her pack, and she attacks him physically, screaming:
"My parents left me! Yours turned their backs on you! Look at us now, Klaus! She deserves something better than what we had, all I have ever wanted for her is something better! Fight back! Fight back!"
Klaus, who has the raw physical strength to tear her apart, does nothing. He stands there, completely still, letting her hit him as his face cracks open in a look of absolute, stricken horror.
He recognizes the profound truth of her words and the shared trauma that binds them. That quiet surrender is infinitely more intimate than any dance at a Mystic Falls ball. It’s a moment of deep, devastating mutual understanding.
To me, Klaus and Hayley were emotionally in love, even if timing, circumstance, and their own massive psychological defense mechanisms prevented them from fully acknowledging it before she died. His grief in Season 5 is quiet, heavy, and completely hollows him out. He reads her old letters alone, crying in the dark compound, entirely devastated by the loss of the one person who truly understood what it meant to fight for their family.
His breakdown at her grave, wishing she was there to help him guide their daughter, shows a level of raw devotion he never reached with Caroline:
"Loving her brings her closer to death. And I want her to live. I want her to grow up. I want her to love... and be as strong and beautiful, a woman... as her mother. I don't know what to do. And I really wish that you were here to tell me... little wolf."
Aurora de Martel: The Tragic Mirror of the Beast
If Caroline represents the sanitized fantasy Klaus runs to, Aurora de Martel is the raw, obsessive subconscious he can never fully escape. As his first requited love from 1002 AD, Aurora is deeply woven into the fabric of his psychological development. She is a dark mirror sharing his manic intensity, his paranoia, and his capacity for chaotic cruelty.
With Aurora, Klaus didn't have to pretend to be a "good man" to win her affection. In fact, she is the first person in his thousand-year life to whom he confessed his deepest, most shameful trauma: that he murdered his mother, Esther, and framed his father for it. He was too terrified to tell Elijah or Rebekah, but he told her. In his letters to her, his emotional vulnerability is poetic and raw:
"I never meant for you to know me. I never meant to let you in... There is a light in you so bright it makes feel like the man I wish I was... and forget the thing I am."
Even a thousand years later, after her mind has fractured and they have tried to kill each other, the tragic weight of that first love lingers. Klaus admits to her:
"Two hundred years ago, it was my art studio. It became a tomb for my memory of you. I thought if I painted what haunted me, I could free myself of you forever. In all my years, I have never been more wrong about anything."
Aurora accessed the absolute darkest, most obsessive, and most unvarnished parts of Klaus. It was toxic, yes, but it was a deeply felt, historic love that possessed a psychological weight Klaroline could never dream of matching
Camille O’Connell: The Mature Devotion of the Soul Sanctuary
To me, Camille O’Connell is the absolute blueprint of Klaus Mikaelson’s emotional capacity for mature, romantic love. Cami is the complete antithesis of Caroline Forbes. She doesn't judge his complexity from a distance or play-act a high school romance; she sits down with him, looks him in the eye, and psychoanalyzes his pain. She sees his violence not as a series of simple, evil acts, but as a deeply ingrained survival response to a harsh, unfair world.
Around Cami, the theatrical "mad king" persona slips away. He is quiet, protective, and completely honest. His devotion to her is entirely selfless, which is a massive contrast to how he treated Caroline’s life as currency to punish Tyler. With Cami, he says:
"Because you wished it. Because what's important to you is important to me. What makes you happy makes me want to keep you so. What scares you, I want to tear apart. I do not wish to watch you from behind glass."
This is a quiet, profound devotion built on trust and mutual healing. When Cami is dying in Season 3, Episode 20, Klaus doesn't use her death to teach a lesson or play a game. He holds her, baring his soul, and delivers what I honestly believe is the most romantic line in the entire television franchise:
"Don't you think for a moment that you've failed me. You stayed my hand. Quelled my rage. You inspired goodness in me, and unlike all of the souls I've encountered and forgotten in the long march of time... I will carry you with me."
Cami was his greatest canon romance because she met him on a psychological level, offering him a sanctuary of emotional honesty and transforming his capacity to love.
we need to talk about the absolute goldmine of unrealized narrative potential that was Bonnie Bennett and Klaus Mikaelson. Personally, I believe that if the writers had committed to a slow-burn enemies-to-lovers arc between Bonnie and Klaus starting in Season 3, it would have been the most iconic, psychologically complex pairing in the entire television universe.
Shared Loneliness, Sacrifice, and Parent-Child Trauma
The psychological symmetry between Bonnie and Klaus is honestly staggering. Both are defined by a profound, agonizing loneliness that comes from being the strongest people in any room.
Klaus's entire existence is shaped by maternal betrayal his mother, Esther, cursed his hybrid nature, locked away his power, and tried to murder him.
Bonnie’s life is similarly fractured by maternal abandonment. Her mother, Abby Bennett, abandoned her twice first as a child, and then again after being turned into a vampire leaving Bonnie to shoulder the terrifying weight of her magical legacy entirely alone.
What gets me is that both characters are consistently treated as highly functional tools or weapons by their respective social circles rather than as human beings worthy of unconditional love.
Klaus’s siblings and enemies only reach out to him when they need his hybrid blood, his physical protection, or when they are terrified of his rage.
Bonnie’s friends systematically exploit her magical powers, expecting her to bleed, die, and sacrifice her grandmother, her romantic happiness, and her own life to solve their supernatural crises.
If Klaus had noticed this and he canonically notices everything about people’s unspoken resentments he could have called out her friends’ hypocrisy. Imagine Klaus Mikaelson, the king of paranoia, looking at Bonnie Bennett and saying, "They only love you when you're bleeding for them, little witch".
That recognition would have shattered Bonnie’s defensive moral posture far more effectively than any diamond bracelet or drawing of a pony ever could.
Existential Friction: Power, Magic, and Earned Respect
Unlike Caroline, whose pushback is just cute to Klaus, Bonnie represents an actual physical and moral threat to him. In the Season 2 finale, Bonnie Bennett a teenage witch who had barely tapped into her power comes within seconds of completely obliterating the most powerful creature in existence.
Klaus is a character who is deeply attracted to power, ancient lineages, and magical legacy. He surrounds himself with powerful witches like Greta Martin because he respects what they can do. The fact that he never tried to win Bonnie to his side, negotiate with her, or court her is a massive plot hole that only exists because the writers were terrified of their chemistry.
A slow-burn romantic arc between them would have evolved naturally through a exchange of power and history. Instead of buying her dresses, Klaus would have had to court Bonnie with his mother’s ancient grimoires, ancestral Bennett artifacts, and the forgotten magical histories he’s collected over a thousand years. He would offer her knowledge and agency.
This intellectual and magical partnership would have been incredibly compelling during Season 4, when Bonnie is exploring Expression and sliding into darkness. Klaus, a creature of pure instinct and darkness, would have been the perfect guide for her, encouraging her to embrace her sovereign power instead of constantly suppressing it for the sake of her ungrateful friends.
Bonnie’s rigid moral code would create massive narrative tension. She would never let him get away with his atrocities, and she would demand real change not the performative, sanitized version of goodness he played at for Caroline, but actual, structural choices to protect the innocent and show mercy.
To win the love of a hero like Bonnie Bennett, Klaus would have to earn it. The symmetry of the "witch of the oldest bloodline" and the "ultimate supernatural abomination" finding solace in each other’s shared isolation and power would have been a masterpiece of character writing. It’s the epic, dark, and deeply respectful romance we actually deserved.
