MoodsPower and Control
Mood · 18+

Power and Control

Making the rules isn't winning. It's only the first move.

This mood belongs to stories where one person has more say: the CEO on the other side of the merger, the investor who doubles your salary and puts you on trial, the supervisor with the red pen. The imbalance is the appeal, never the trap. You're at the table, and you play.
The Final ClauseSample fromThe Final ClauseYou play Caroline, 36 · Office Romance · Drama
What it is about

Power and Control

There are rooms where attraction isn't allowed, which is exactly why it works so well there. A boardroom where a merger is being forced through. The kitchen of a starred restaurant three weeks before the critic arrives. An evening classroom, a faculty party with one glass of wine too many. In these stories one person always holds something over the other: a contract, a career, a grade, a salary. The question is never whether that power gets used. It's how, and what it costs.

The people at the top of these stories aren't cardboard. Adrian in “The Final Clause” is the CEO across the table and the man who left you at the altar three years ago, and now the past is leverage. Vivienne in “Sous Chef” promotes you to head chef out of nowhere, prints your name on the menu and demands you prove you're worth it. Professor Thorne in “Red Ink” has shredded your thesis, and still you drift towards him at the party. Dr. Voss in “Nine Months to Graduation” writes in the margins of your essays what he'd never say in class. And in the Vienna night archive a superior waits who hasn't asked anyone a question in two centuries. Each of them has something to lose, and you know what it is.

On Everglow the imbalance isn't a one-way street. Every chapter ends on your move: contradict the CEO, set the investor a condition of your own, write a margin note back to the lecturer. The characters remember who gave ground and when, and build on it. Power here is a two-player game, and each round you decide whether to hold or raise. The intensity, suggestive through explicit, is a separate dial, and it's yours.

How it begins

Reading sample: The Final Clause

Chapter 1 of “The Final Clause”, the way a reader opens it for the first time. Then it’s her move.

The Final ClauseChapter 1

The data room opens at eight. I have the term sheet, two associates, and a reputation for closing mergers other people call impossible. I am Caroline, thirty-six, and I have never walked into a negotiation unprepared. Until the door opens on the other side of the table and the buyer's CEO walks in, and it is Adrian.

Three years. A church in Lyon, a hundred and forty guests, a bouquet I eventually threw in the Rhône. He never sent a word. I had to read his resignation from our old firm in a trade paper.

He sits. He opens his folder. He says, “Good morning, Ms. Aubert,” as if the name is new to him.

My associate begins the walkthrough. I don't hear a word of it. I watch Adrian's hands, which are steady, and his mouth, which is not. He has a new watch. He still taps his pen twice before he speaks. When he finally does, it is to question a clause on page forty, the one I drafted at two in the morning, and his objection is precise and correct and I hate him for it.

We break at eleven. The associates leave for coffee. The room empties until it is the two of us and a bowl of mints no one has touched.

“Six weeks,” he says. “That's the timeline for signing. I suggest we keep this professional for six weeks.”

“You're suggesting silence. You're good at that.” I close my folder. My hand does not shake, and I am proud of it. He looks at me then, properly, for the first time in three years, and there is something in his face that could be regret or could be strategy, and I have built a career on telling those two apart. Today I can't. He slides a sealed envelope across the table. “Read it after signing,” he says. “Or now. Your call.”

And now it's your turn.
Stories for this

Power and Control

Every story begins with a role that is already set and a world that waits for you. Everything else is your call.

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Related tropes

If you like this

Common questions

In short

What's the difference between boss romance and dark romance?

In boss romance the power is professional: a contract, a promotion, a grade. Either of you could walk away; it would just cost something. In dark romance the power is existential and walking away often isn't on the menu. If you want danger rather than leverage, Something Forbidden is the better fit.

Am I always the one with less power?

No. In “Sous Chef” you play Karim, newly promoted to head chef, and the investor holds the cards. In “The Final Clause” you negotiate as an M&A consultant on equal footing. Which side of the gap you're on depends on the story.

Can I shift the balance myself?

That's the point. What you say, do or wish for at the end of a chapter changes how the character meets you next time. A condition you set stays set.

Your first meeting

He's already seated. Take your chair.

In “The Final Clause” the first round of negotiations opens with the man who walked out on you. Six weeks of silence are written into the contract; what you say to his face is not.

Begin “The Final Clause”All stories

Adults 18+ only · private and discreet · 100 Sparks to start