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Greetings! If you’re looking for something that doesn’t remind you of anything, I’m your Frau, because so am I. Subversions make me happy. I live to take stories in sensible but unexpected directions.
Since I keep running into plots I’d love to write if they weren’t MxM only, I’m open to a lot of dynamics that maybe aren’t so typical for the lady half of an MxF. If you find yourself wishing you could find more female characters who break some conventions, fantastic. That’s how I feel about male characters as well.
If you'd like, you can skip ahead to the spoiler section for the plot I'm most into trying right now (TITLE CARD! Anybody seen that YT channel? Can't be just me.) Otherwise, read on to learn more. Note that any redundancies or strong wordings are simply me trying to get the right kind of responses this time, since other strategies have not been successful previously.
Below, you'll find the plot I'm currently most into. More may follow.
Inspirations: Halloween, of course; the Fear Street movies, Kaneki (of Tokyo Ghoul/Dead by Daylight) and others
The Halloween game and the first movie (originally intended to never have a sequel, thus only the first one) are the inspiration here, so Michael Myers could be the male lead, or an OC with similar vibes and capabilities. (Namely, if it’s dark and he’s masked close to Samhain, he can basically teleport to any shadow, and stalk victims to make them easier to kill. It dampens his emotions to almost nothing as well.)
I always saw the child version of him as having a very vulnerable and confused expression on his face after the murder. He really didn’t seem to have understood what happened, and he certainly looks terribly lost and sad about it, which very much belies Loomis’s later dramatic statements about him. It’s also telling that when he escapes, his first stalking victims are a blond-haired boy like he was, whom he first sees in the company of a caring older sister figure--whom he does not attempt any harm towards until she exits the house with the boy in it, perhaps abandoning Tommy in his mind like Judith abandoned him.
Labeling someone “the evil” in your mind simply because you personally can’t help them and are disturbed by their crimes can become a self-fulfilling prophecy, after all. It’s telling that he doesn’t even mention anything like conversion disorder as a possibility for Michael. I love Loomis and his actor, but fundamentally disagree with the doctor’s conclusions.
The asylum scene in the game also got to me because it’s a similar level of vulnerability. A mental patient, lethargic and sluggish, lashing out at their abusers in a hospital gown out in the cold, pouring rain, then enacting an escape plan with vicious determination. That was the strongest inspiration here because the version of him there looks so normal. Just like a regular person, not some unstoppable evil.
Sure, you see the blurry features and static which I think are a wonderful artistic choice, but that to me really emphasizes the idea that this is someone supernaturally cursed rather than in full control of his faculties.
He’s not your garden variety killer, either. He doesn’t choose to kill. He doesn’t want to kill or enjoy killing. He simply does it. Dr. Loomis has convinced him he’s the embodiment of evil, and yet being without the mask terrifies him--you can see that on his face when it’s ripped off. It’s like he can’t bear the return to consciousness and he must have it back on.
So yeah, the patient version of Myers from the game is the model for this character--the one who’s viewed as a terror but isn’t actually an invulnerable soulless monster like in the sequels. And we also have a nurse going to every length she can imagine not only to get him to open up to her, but also to convince him the way the doctor looks at him--with that certainty, buried underneath the pretty psych talk, that he’s pure evil--is not the only way he can be viewed.
Please note that I'm open to a lot, I just want it all to be character-driven; IC, not OOC. A patient struggling physically with a caregiver in a rough moment makes sense, even choking, but if something feels too much like a bedroom activity rather than character- and situation-driven, that could give me pause. In case of doubt, we'll talk it out.
Points of Interest:
The protagonists grew up in the same small town.
Incident One: His neglectful parents left him alone one Halloween, to be watched by his older sister. Previously, she’d been the only one he’d connected with, but as she aged more and more she found him a nuisance and rejected his company for those his own age. That night, she had a boyfriend over and told him to get lost, so he decided to go out Trick-or-Treating alone.
Once the mask was on, he went to his sister’s room instead. She was (and possibly others were) found dead the next day.
Incident Two: Occurred when he was still a juvenile, of 16 or 17. A visitor, his uncle, had brought in a mask on Halloween as a very poor joke. No one knew how the boy had escaped, only that his uncle swore up and down that the boy had taken the mask, put it on, and simply vanished into a shadow.
He made his way to a nearby camp and promptly began hacking into the counselors, all people he’d known from elementary school before his familicide, which had rocked the town years ago. He seemed immune to all assaults.
The massacre only stopped because of her. For whatever reason, when she stepped in front of his next victim, he hesitated. Witnesses later spoke of her demeanor as strangely calm, despite some hard breathing, and compassionate despite the brutal circumstances of the scene around her. Still, she likely would’ve died if not for her quick thinking--rather than trying and failing to attack him as others had, she simply tore the mask from his head and threw it into the fireplace.
He looked… dazed, then vague, as she later described to the press in articles. As if he’d been under some sort of spell. He blinked like someone coming awake, stood still as she held her breath, gazing into her eyes like he was seeing her for the first time… then finally sank down against the wall, staring into nowhere as if in shock. There he stayed until the authorities came for him. She sank down next to him, her knees giving way, and stayed with him until they did despite how frightened she was that he would go back into that state.
Incident Three: He was found after the camp massacre to have again not been responsible for his actions, but still far too dangerous to be released. His security was tightened.
He was moved to a maximum security sanitarium when he turned 18. Just as his caregivers in the juvenile facility had described, here he was borderline catatonic most of the time. He said very little and refused to speak of any matter not mundane. He wouldn’t look anyone in the eye. More than anything else, he would read.
Unfortunately, this facility he’d been moved to had a strict reputation. It seemed to draw exactly the wrong kind of person and after years of mistreatment of patients, one Halloween there was a sudden and inexplicable massacre of orderlies and doctors and nurses--much of the facility was wiped clean. His doctor was simply not present that night, and therefore survived.
No one could prove anything, and the theories sounded mad, of course. The hospital director would surely have been fired for mismanagement, had he not died. As it was, the security cameras mysteriously malfunctioned that night.
The new hospital director, hired after the slaughter no one could explain, began the difficult work of replacing the old staff. Security was tightened, and special measures were taken to ensure the suspected culprit could not repeat his apparent crimes. Strait jackets, cuffs, careful monitoring, bright lights everywhere... restriction of materials he could use to mask his face. Isolation from other inmates. But wisely, the new director realized these measures were putting a lot of psychological strain on the patient in question... and there was no guarantee that the measures were enough.
As fall began and Halloween approached again, one of the new hires bore a familiar name. She was a psychiatric nurse, inspired to pursue her career by an encounter with one of their current inmates. After being treated for her PTSD, she'd decided she wanted to step into the other role and care for the minds of others in turn.
Considering her history with the patient he suspected to be responsible for the massacre, the director hoped she could help ensure the previous bloodbath had been the last.
If you've read this far, thank you for your interest! In lieu of a code word, please tell me roughly what year you think you'd want to set this plot in. (The original was 1978.)
Since I keep running into plots I’d love to write if they weren’t MxM only, I’m open to a lot of dynamics that maybe aren’t so typical for the lady half of an MxF. If you find yourself wishing you could find more female characters who break some conventions, fantastic. That’s how I feel about male characters as well.
If you'd like, you can skip ahead to the spoiler section for the plot I'm most into trying right now (TITLE CARD! Anybody seen that YT channel? Can't be just me.) Otherwise, read on to learn more. Note that any redundancies or strong wordings are simply me trying to get the right kind of responses this time, since other strategies have not been successful previously.
Themes I Love
- Dark Psychological Romance (Not the “abuse=dark romance” nonsense notoriously popular on BookTok; I mean actually romantic in any way.)
- Enemies to Lovers (Vampire Hunter x Vampire, Cursed Killer x Psych Nurse, Oppressed Elf/Elves x Human Noblewoman, Drow or Tiefling x Other Species–ask me about any of these; I have plots of various levels of detail)
- Deceptive strength in masculine characters (i.e. stronger than their gaunt/lean appearance might imply, but with more emotional range than they might first seem to have; if submissive, then passionate and active; if dominant, then with some strong emotions and vulnerabilities, because the caveman dom archetype with no feelings aside from smugness or rage bores me absolutely to death)
- Eerie, moody, cinematic, atmospheric scenes
- Spooky vibes, as Halloween is my Christmas!
- Either intense, intimate, deeply compatible one-on-one pairings, or a gradually built MFM, or very specific group stories
- I'm largely into OCs for original plots, but do have a few AU exceptions, like a pseudo-canon Scarlet Witch with MCU Loki (like, the Miles Morales of Wandas, or the Rivals version of Wanda) or the Halloween plot detailed below which could either be OC or canon depending on writer preference.
Style
- Prefer 3rd Person and either past or present tense. More used to past, but I enjoy present for the sense of immediacy.
- My writing is dynamic, and my typing speed is ridiculous. I can give you a thousand words or a single sentence depending on how sensitive the interaction. In my world, long posts are for individual character moments; shorter ones are for more delicate scenes where interaction can change the outcomes drastically.
- I like for my character to at least look the same age as the male lead, or older than him. (So, male elf/vampire of a few hundred years works.) Due to life experiences, it's what I'm comfortable with.
- I write heterosexual female main characters in the range of short to average height by US standards, and body types ranging from Christina Ricci, to sort of sturdy/muscular, to fairly fluffy. So, all curvy to varying degrees, if you care. If you're looking for leggy, skinny blondes, your bliss is elsewhere, friend.
- My female leads may range from very soft to fairly hardened, but not included in my range are “sex slave with no spine” or “nutcracker domme who'll cage you for all eternity.” I greatly dislike predictable extremes and cliches.
- I seek deep male characters of any orientation which includes heterosexual (het, bi, pan, demi) who regardless of flaws are capable of romantic love.
- I have strong preferences for male romantic leads which can be boiled down to disliking hypermasculine size extremes. The male lead should be in the lean-muscled to stick figure with noodle arms range, or at least average (Inmate Myers in the Halloween game is fine, for example.) So, pre-serum Cap to Loki, not the Thor to Hulk range. K-pop, not jacked gym bro. If you really need your guy to be large in some way, well, I can think of a place I wouldn't mind it. (But still in the reasonable range, please. Feel free to inquire.) To put it another way, I prefer classic elves, not jacked humans with pointy ears. Dwarves and big barbarians are not sexy to me; the men in my family are already like that.
- This extends to other qualities as well. I won't object to an Alucard, i.e. man who's beautiful enough to be mistaken for a woman in the right light. I don't even need my character to be as pretty as yours. Glad to base her level of attractiveness on whatever the story requires. Examples: my Countess has to be beautiful to justify her role as Draculetta playing damsel and seducing people. My modern vampire has to be a fairly ordinary level of pleasant to look at, because her backstory has her seducing mortals for blood, but blending in with crowds and not attracting attention from hunters. My psych nurse could be anything from lovely to outright disfigured by an attack from a patient; anything could work for her.
- I'm less into face claims or art, more into just describing, but I can be persuaded on occasion.
- Well-built erotica. Some people write like they're in an adult film and that's mega-unsexy to me. I prefer the roleplay equivalent of tantric sex, where you take lots of time to gradually coax the embers into a mind-blowing bonfire rather than just cheap, shallow thrills. I mean that in terms of story and worldbuilding in many cases, but especially in terms of erotic scenes between characters. Taking the time to build the chemistry matters greatly to me. I cannot stress this enough.
Writing Partner Qualities
- Any legal age in theory, though I'm more comfortable with at least 25-30, but a high emotional maturity level is of the utmost value to me. It's fine to be goofy (or dead serious) OOC, but IC I both offer and seek character depth. Psychological knowledge is a major plus; we'll get along famously. If you don't have it but you're interested, I'm down to educate the right partner.
- Firmly literate. I want quality, not perfection, but I need good reading comprehension and someone who can match me reasonably well. I'm happy to exchange writing samples or try a starter so we can both evaluate how it feels. Really basic errors like wrong "your/you're" usage may lead to me correcting you, so if you can't accept that, I may not be a good choice.
- Not a power-gamer. This is collaborative writing. If one character is a lot more powerful than the other–and I tend to play on both sides of that equation–then that should be respected from both sides rather than evaded. I don’t want to feel at odds with you. If one of us doesn’t know how to make the story work without compromising character concept/writer integrity somehow, then we work together to solve that. I’ve had some questionable and toxic experiences, so I want to spell this out in advance: character conflict can be awesome, but I can't deal with feeling in opposition to someone. I will only write with a partner, not a rival.
Freaky Stuff Info:
- Up front, I do not fade to black. In addition to my appreciation for the smoky tension of a good erotically charged situation, it requires too many assumptions which violate the standard of each person having dominion over their own character. I also don’t know if it would even happen unless I play it out, and not knowing outcomes is part of what I enjoy about RP. FtB leaves no room for either party to either revoke or give further consent; it makes assumptions about consent on both sides which I do not like. The sex that doesn’t happen is as important as the sex that does and can in fact be scorchingly hot. It can be tantalizing, provocative, romantic, tender, emotionally rewarding… every erotic scene has meaning for the characters. And if it doesn’t, then I don’t care about it happening anyway. Make me care! I am glad to do my level best to return the favor.
- And just to be absolutely clear, if your male character happens to be a virgin or just low experience or heavily repressed or even outright traumatized, it is absolutely fine for him to need time. I'm very willing to write that kind of story, and most of the characters I've ever made would be supportive in a situation like that. It's also fine if he's had plenty of time to think about what he wants to try in great detail; I will not consider sexual voraciousness or forwardness to be unrealistic. Not every person who hasn't had sex is shy or retiring. It depends a lot on circumstances and I know that.
- Erotica is not fun for me if it is rushed, at ALL. Pardon if I sound over the top, but I have wasted so many hours on people I thought understood this, and all they had understood was, “oh, so you want me to wait HOURS after my character murders your character’s husband to shove his head up her skirt, not just minutes.” NO. Not rushing means the characters’ psychology governs what happens and we slow down the action to make room for consent on both sides, not “it’s been x amount of time and there’s attraction; I’m impatient/bored, time to push the boning.” I want it cooked and hot, not one and done. Smoldering; slow-burning into an inferno, not a flamethrower flash of brief glory and then a fizzle.
- I am switchy and can get into a lot of dynamics, even those I do not at all prefer IRL. However, there are exceptions. I don’t like anything extreme or grossly unsanitary or exceedingly violent. Things that belong in the sewer are confined to the actual sewage system. I don't have a lot of hard preferences; it's really more about the interplay between characters. For me, a hand in just the right place--like a knee or cheek or upper arm--which might or might not turn into an advance is a thousand times sexier than any cheap "Oh, you like praise? Good girl, get on your knees" stuff. Ugh. Even for a character with that kink, anything less than a creative, detailed, genuine compliment will bore me to tears.
- Since recently I had someone throw a love/sex interest into their third post, I feel the need to state this in advance. Being cuckqueaned is a limit for me. No thank you. I don't mind if both our characters, or just my character, should be trying to make one another jealous in the right plot, but I have no interest in writing a deprived or humiliated party.
- While I enjoy the domme role, subs must be passionate and active--straining at the bonds, not starfishing. While I can enjoy the sub role in some cases, “alphas” throwing their weight around are such a drag; I cannot stress this enough–the standard gender cliches are tedious beyond words. No shade if you love that stuff, I personally just don't. I’ve been sick of those dynamics since childhood, let alone now. I greatly prefer more balanced or fluctuating dynamics; something switchy or primal, or at least more interesting in some way. Feel free to discuss this with me, I'm glad to elaborate on those nuances.
- I am a straight woman. I do not do FFM or FMF or anything with more F’s in it than the F I am playing. There will be no F-ing with other Fs unless it is brief and lacking detail, like walking through a sex club where some Fs are having a lovely time F-ing each other, and rather than disturb them we F off to go F. That turned sillier than I intended, but you get the idea.
- Just to reiterate, while I only write heterosexual female leads, I don't only write with heterosexual male leads. Past male partners are welcome in backstories. Additionally, your RL traits do not concern me as long as your writing is believable.
Below, you'll find the plot I'm currently most into. More may follow.
Curse of the Halloween Mask
Inspirations: Halloween, of course; the Fear Street movies, Kaneki (of Tokyo Ghoul/Dead by Daylight) and others
The Halloween game and the first movie (originally intended to never have a sequel, thus only the first one) are the inspiration here, so Michael Myers could be the male lead, or an OC with similar vibes and capabilities. (Namely, if it’s dark and he’s masked close to Samhain, he can basically teleport to any shadow, and stalk victims to make them easier to kill. It dampens his emotions to almost nothing as well.)
I always saw the child version of him as having a very vulnerable and confused expression on his face after the murder. He really didn’t seem to have understood what happened, and he certainly looks terribly lost and sad about it, which very much belies Loomis’s later dramatic statements about him. It’s also telling that when he escapes, his first stalking victims are a blond-haired boy like he was, whom he first sees in the company of a caring older sister figure--whom he does not attempt any harm towards until she exits the house with the boy in it, perhaps abandoning Tommy in his mind like Judith abandoned him.
Labeling someone “the evil” in your mind simply because you personally can’t help them and are disturbed by their crimes can become a self-fulfilling prophecy, after all. It’s telling that he doesn’t even mention anything like conversion disorder as a possibility for Michael. I love Loomis and his actor, but fundamentally disagree with the doctor’s conclusions.
The asylum scene in the game also got to me because it’s a similar level of vulnerability. A mental patient, lethargic and sluggish, lashing out at their abusers in a hospital gown out in the cold, pouring rain, then enacting an escape plan with vicious determination. That was the strongest inspiration here because the version of him there looks so normal. Just like a regular person, not some unstoppable evil.
Sure, you see the blurry features and static which I think are a wonderful artistic choice, but that to me really emphasizes the idea that this is someone supernaturally cursed rather than in full control of his faculties.
He’s not your garden variety killer, either. He doesn’t choose to kill. He doesn’t want to kill or enjoy killing. He simply does it. Dr. Loomis has convinced him he’s the embodiment of evil, and yet being without the mask terrifies him--you can see that on his face when it’s ripped off. It’s like he can’t bear the return to consciousness and he must have it back on.
So yeah, the patient version of Myers from the game is the model for this character--the one who’s viewed as a terror but isn’t actually an invulnerable soulless monster like in the sequels. And we also have a nurse going to every length she can imagine not only to get him to open up to her, but also to convince him the way the doctor looks at him--with that certainty, buried underneath the pretty psych talk, that he’s pure evil--is not the only way he can be viewed.
Please note that I'm open to a lot, I just want it all to be character-driven; IC, not OOC. A patient struggling physically with a caregiver in a rough moment makes sense, even choking, but if something feels too much like a bedroom activity rather than character- and situation-driven, that could give me pause. In case of doubt, we'll talk it out.
Points of Interest:
- This is a tale best serving a fellow psych nerd and horror/true crime buff. It delves a bit into the criminally insane mind and the way mental health patients are sometimes mistreated, as well as the ways society warps everyone.
- Via supernatural metaphor, this examines the relationship between chemical imbalances in the brain which a person cannot control, and the experiences they have in life. In other words, not nature versus nurture, nature AND nurture.
- It’s also intended to be a romance, and a slightly taboo one as the intention is nurse/patient. The typical power imbalance inherent in that is mitigated by him being terrifying and her having seen that up close, as well as her general softness.
- To help keep that balance, I’d say either he pursues her, or the feelings just happen along the way with neither of them intending it until one of them breaks. I love a good slow burn with plenty of smoldering tensions along the way.
- The male lead is neither an irredeemable born killer nor an innocent victim, but some part of him likely believes he just is a monster and there’s no changing it. This is tragic, and I’d like to examine it.
- He doesn’t share his opinions or thoughts easily, nor with just anyone. He’s more comfortable playing the role of the horror that he’s been cast in than actually facing the ways fate has twisted him and warped his life.
- He shouldn’t be too easy to convince of this, however. Even if he wants to believe it when someone tells him he’s not inherently evil, that doesn’t mean he can get over a lifetime of everyone viewing him with fear, suspicion, mistrust, etc. that easily. Kind eyes, a gentle voice telling him he’s not truly bad--he’s probably had a few of those in rare moments. When someone like that shows fear or gives up on you, it's devastating.
- He's been conditioned to a certain way of life and never had the normal experiences of most people his age. He believes he never will, which is quite the bitter pill to swallow. What will a glimpse of what he could've had, maybe still have, do to his psyche? Often it gets worse before it gets better. He might resent the person trying to convince him he can improve his fate.
- Part of the reason is that he has his own Dr. Loomis (whether literally him or an equivalent), who keeps trying all the textbook methods on him, which simply don’t work because his condition is fairly unique. And he knows the doctor is covering up his fear and revulsion with smiles and politeness and reasonable talk. He internalizes what he senses from the doctor.
- The female lead is a flawed but ultimately well-meaning caregiver. She saw something in him that everyone in town thought her crazy and/or overly kind for. She is, in fact, genuinely too soft in ways. She could be made to doubt herself. Their interactions are far from set in stone. She could lose faith in him, or in herself to help him.
- There's a reason that people can't treat their families or friends--it's a conflict of interest. She knows that. She will resist it, but at the same time her excessive compassion, shared history, and attraction will be tugging at her. Even more so if he starts to realize and display how starved for human contact and affection he is. I love those kinds of internal struggles. It's important to me for her to be trying to do the right thing even if/when she falls to temptation.
- Maybe she'll get through to him in time to help de-escalate any conflicts, or maybe he'll enact another massacre. Will he then get caught? Will things get worse? Will he escape? Will he call her from another state? Will he abduct her and take her with him after murdering her partner, if she has one? There are many possibilities and I'm open to them all. I like my stories largely character-driven and dynamic. The interplay is everything to me. I'm willing to let the story span years. I'm willing to let NPCs die, especially if they're nasty, Silence of the Lambs-style.
- In the end, the things that are most important to me are just the nuances. I like Dexter. I like dark stories that still have a sense of justice and decency. I'm the kind of person who thinks the superhero who lets tons of civilians die, time and time again, to spare his conscience from having to kill a single criminal who can't be kept in prison is actually the worst douche in his city and not much of a hero at all. Hopefully someone's into that.
The protagonists grew up in the same small town.
Incident One: His neglectful parents left him alone one Halloween, to be watched by his older sister. Previously, she’d been the only one he’d connected with, but as she aged more and more she found him a nuisance and rejected his company for those his own age. That night, she had a boyfriend over and told him to get lost, so he decided to go out Trick-or-Treating alone.
Once the mask was on, he went to his sister’s room instead. She was (and possibly others were) found dead the next day.
Incident Two: Occurred when he was still a juvenile, of 16 or 17. A visitor, his uncle, had brought in a mask on Halloween as a very poor joke. No one knew how the boy had escaped, only that his uncle swore up and down that the boy had taken the mask, put it on, and simply vanished into a shadow.
He made his way to a nearby camp and promptly began hacking into the counselors, all people he’d known from elementary school before his familicide, which had rocked the town years ago. He seemed immune to all assaults.
The massacre only stopped because of her. For whatever reason, when she stepped in front of his next victim, he hesitated. Witnesses later spoke of her demeanor as strangely calm, despite some hard breathing, and compassionate despite the brutal circumstances of the scene around her. Still, she likely would’ve died if not for her quick thinking--rather than trying and failing to attack him as others had, she simply tore the mask from his head and threw it into the fireplace.
He looked… dazed, then vague, as she later described to the press in articles. As if he’d been under some sort of spell. He blinked like someone coming awake, stood still as she held her breath, gazing into her eyes like he was seeing her for the first time… then finally sank down against the wall, staring into nowhere as if in shock. There he stayed until the authorities came for him. She sank down next to him, her knees giving way, and stayed with him until they did despite how frightened she was that he would go back into that state.
Incident Three: He was found after the camp massacre to have again not been responsible for his actions, but still far too dangerous to be released. His security was tightened.
He was moved to a maximum security sanitarium when he turned 18. Just as his caregivers in the juvenile facility had described, here he was borderline catatonic most of the time. He said very little and refused to speak of any matter not mundane. He wouldn’t look anyone in the eye. More than anything else, he would read.
Unfortunately, this facility he’d been moved to had a strict reputation. It seemed to draw exactly the wrong kind of person and after years of mistreatment of patients, one Halloween there was a sudden and inexplicable massacre of orderlies and doctors and nurses--much of the facility was wiped clean. His doctor was simply not present that night, and therefore survived.
No one could prove anything, and the theories sounded mad, of course. The hospital director would surely have been fired for mismanagement, had he not died. As it was, the security cameras mysteriously malfunctioned that night.
The new hospital director, hired after the slaughter no one could explain, began the difficult work of replacing the old staff. Security was tightened, and special measures were taken to ensure the suspected culprit could not repeat his apparent crimes. Strait jackets, cuffs, careful monitoring, bright lights everywhere... restriction of materials he could use to mask his face. Isolation from other inmates. But wisely, the new director realized these measures were putting a lot of psychological strain on the patient in question... and there was no guarantee that the measures were enough.
As fall began and Halloween approached again, one of the new hires bore a familiar name. She was a psychiatric nurse, inspired to pursue her career by an encounter with one of their current inmates. After being treated for her PTSD, she'd decided she wanted to step into the other role and care for the minds of others in turn.
Considering her history with the patient he suspected to be responsible for the massacre, the director hoped she could help ensure the previous bloodbath had been the last.
If you've read this far, thank you for your interest! In lieu of a code word, please tell me roughly what year you think you'd want to set this plot in. (The original was 1978.)
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