If you want one for yourself, supply a title of your choosing and a fandom (assuming I know it), and I'll write you a blurb on this non-existent story. Which sometimes becomes a real story down the road, you never know!
Supernatural: A little S3 obsession here...
Supernatural- Lot's Wife:
Whether the being that made the deal was of darkness or light Sam could not say, but the terms were simple: your brother's contract will be released if you can lead him back through the gates without ever once looking at him. But with the panic driving Sam's every breath, how could he not?
"You were born to do this, son— you'll get used to it," John would say every time Sam hesitated with his hand on the trigger and John had to finish the job for him—too often, they both knew. Sam was sixteen when it started, little better at seventeen. He still thought killing was the kind of thing that should always be hard, no matter how often or why you did it.
Supernatural— "Cough Syrup And The Caspian Sea":
Finals aren't for a month, and Sam can afford to be sick just this once. In front of the television, Kleenex by his side, he watches the promise of foreign fantasies unfold before him. There, he thinks, there— a tropical paradise in the Pacific South Seas. Or Grecian ruins, Japanese temples, the land of the Volga as it flows from one country to the next, unchecked. He'd been forced all his life to keep moving on his Dad's say-so, but not by his choice, not where he wanted. He could leave the continent one day if he chose. New people and civilizations flash by now in a colorful parade. There is a beauty in travel, he realizes, not always in doing but in all the ways you could just be.
Supernatural— "Troll Princess":
No amount of makeup can change the facts: she's short and dumpy, with a face like a half-dried apple. The Winchesters would just ignore her and keep on going, but she's got an army to back her up and her sights are set on making Dean her husband at the next full moon.
Supernatural— "Three Times The Impala Saved The World":
The first time was dumb luck, the act of closing a Hell-dimension just by driving through the portal; a tractor could have done it. The second was harder, a tin-metal crush of victory against the forces that wanted to jump-start the Apocalypse by killing Sam. But the last was the Chevy's biggest moment by far: the Devil may hope to drive to the altar of the End Of Days, but if he keeps dumping the clutch his ride will just stall him out at the side of the road.
Supernatural (Wincest)— "A Little Less Conversation, A Little More Action":
It starts with "Of course I've done this before" and "No complaints from anyone, I'll tell you that," but by the time they've reached, "Got a V-8 between my legs," Sam has had it: "Shut up and get busy already, Dean, before I gag you or completely change my mind!"
Superatural (Wincest) — "The Better Part Of Valor":
There are things a man chooses not to see— on the battlefield, in the shadows. The way his sons look at each other when they think no-one's watching is the kind of thing John tries not to notice. If he's wrong, he'll poison what's between them, and if he's not… God help the three of them if he's not.
Supernatural— "There's This Song On Repeat":
Every night when Dean sleeps the dream is the same: Sam slumped against him, unmoving and impossibly heavy, while the cruel black sky nearly drowns Dean in an echo of his own agony.
Supernatural— "Every Snowflake":
It's after a fight with Dean— another fight, is that all they do anymore?— that Sam stews over how smug and stubborn and bossy and predictable his brother is. But at night, watching Dean sleep in the moonlight, Sam remembers that Dean is sweet when Sam needs him to be, and was always proud of him though their father stayed silent. He remembers that Dean traded his soul for Sam's life, and time's running out on that deal— any week now, any day. Sam's not ready for it to happen and never will be, he knows it'll destroy him if it does. Losing Dean will create a void that can never be filled, a void inside Sam and in the world, because in an eternity there will never be anyone like Dean again.
Supernatural— "Horizon Road":
The year has ended, and Dean's crossroads-deal payment is due. He slips out a day early, bidding Sam a secret two a.m. farewell, and goes to meet his fate. Now he waits on a lonely road two states over, hoping for reprieve but expecting the opposite— a future that will last an eternity instead.
Supernatural (Wincest)— "Shattered Sleep":
The bed is empty beside him, the sheets stone-cold and Sam remembers the date. He runs outside but there's no Impala, nothing he can do, because this is it— Dean is gone. A roar of frustration builds up inside him, forcing its way out of his throat where it jolts him from sleep. There, curled up next to him, Dean's right there, only half-awake as Sam leans over and squeezes him breathless in relief.
Prison Break— "Jasmine Bushes and Fragrant Flowers":
The magnolia sweetness in the air rides the humidity like sin coursing on a conscience. But both are forgotten—weightless— compared to the vivid red blood flowing forth from Theodore's latest kill.
Prison Break— "Clouds Of Expectation":
It's too much, balancing daily death-threats with an impossible mission. If it weren't for losing LJ and what the fallout would do to Lincoln, Michael would just give up and let SONA decide his fate.
Prison Break— "Draco The Lizard":
He had tattoos to rival Michael Scofield, and an unseemly past that put John Wayne Gacy to shame. The question that whispered around the corners of Fox River was how long this 'Draco' would survive on Death Row, and how many guards he'd finally take down with him.
Prison Break— "Anywhere Else":
Prisons are for criminals, and this one's worse than most— so rundown, filthy and lethal even the guards don't come inside. Mahone has always prided himself on his job, on his talent for forcing justice against impossible odds. He was one of the good guys for so long that he can't accept being here, can't believe it. But when the ghosts of his own crimes finally turn up to haunt him, he's caught by the obvious question: what if this is the justice that's been waiting to happen to him?
Prison Break— "Chiromancy" (Palm-reading):
The 'life' line in Michael's palm is long and healthy, but he doesn't want to know whether Lincoln's is the same—call it superstition. He's sure that if the truth were actually written on his hands, there would be a line called 'family' running into 'life' and 'love' for all to see. These three things have always somehow been the same to Michael, and when pieces of them are lost the bonds just grow tighter, tighter still.
Prison Break (M/L Slash)— "Beware Of Greeks Bearing Gifts":
I've come to get you out, Michael said, and Lincoln let him try because he was sure it'd never happen. How could he know it was even possible, or all that Michael would demand in return—every slick-hard heated-flesh moment Lincoln would have to endure to show his gratitude?
Update: Completed story for this one is now here
Prison Break (M/L Slash)— "Once In A Blue Moon":
It's a weakness Michael waits for, those times when Lincoln stops resisting himself and gives into that darker desire for what Michael so willingly, wantonly gives him.
Prison Break— "Denial":
This impossible dream of a rescue mission is not about getting Lincoln to notice him, Michael swears it. It's not about all those times Lincoln left him alone to be with Veronica or Lisa or whoever the girl-of-the-moment was. It's not about finding a way to be as center-of-the-universe important to Lincoln as his brother has always been to him. Michael digs and schemes, the weeks ticking into days into hours as time runs out. What it is about, he's not certain and can't spare the time to decide. He'll have a lifetime of Ever After to figure it out, once he makes sure Lincoln's safe.
Random Fandom (not kidding):
Millenium— "Nights Drenched In Memories":
They aren't his kills, aren't even his crimes, but Frank Black cannot escape them. Sleep is an endless nightmare world of inhuman wrongs and shattered victims, an anguish of experience he never asked for that screams inside his head and will not stop.
24— "A Storm, A River, But No Shore":
Terrorists target the Staten Island Bridge, and Jack Bauer is on the job. He diverts the bomb from the bridge to a tanker, but it's not enough: surrounded by jagged metal in downpour and darkness, he drifts with the current out to the hopeless expanse of the sea. And in Washington, the House Majority Leader schemes…
Pushing Daisies— "Flowers Of The Same Branch":
The fatherless woman and the motherless man travel in the most fragile of orbits, hearts touching where bodies cannot. Will their future find an answer for the deadly bargain that separates them, or will it spill out the secrets of their similarities and show mistakes that can never be forgiven?
Arrested Development— "Slaying The Dreamer":
Is it so much to ask for, that his family grow up and take care of themselves? Running the business is already enough to make him crazy, but between G.O.B.'s venture fantasies and Lindsay's overspending, Michael is ready to take the staircar and drive himself over a cliff.
Law & Order, Classic— "Maximum City":
The action never stops in the brittle-bright corridors of the business district. Deals and enemies are made, and when it doesn't go down cleanly it's up to law enforcement to close the loop. Arthur Haynes is the head of Mergers and Acquisitions at Burton and Talbridge until the morning he's found dead underneath his desk.
My Name Is Earl— "Phosphate Lightning":
Now one of the hard parts about the whole karma list is that some people are too dumb to be helped, at least for long. Once he forces a good turn their way Earl can cross them off and be done, but Bobby Trellers is the kind of person he always regrets later: make reparations, and he'll use the proceeds to make moonshine out of any old thing, blowing the roof off the bathroom every time.
House, M.D.— "Coffee Mug":
It was used to being loved—even when left in the sink too long, it was always greeted so nicely, with red-pink color or a bristly mustache or just appreciative lips. But no matter how it gleamed—how it tempted by keeping the coffee hot—it could not win. The man with the cane loved the little white pills just that much more.
Law & Order, SVU— "Rose Undone":
She's just a girl, barely out of pigtails and Barbie Doll games. Now her child has unfolded forever, thanks to the predator Benson vows she will find.
Dead Like Me— "Save Yourself A Penny For The Ferryman":
Rube is ancient by anyone's standards, dead much longer than he actually lived. When will his own time come— or will it ever? All these people he's reaped and freed to go on, and still he's here. When will his punishment end?
Reaper— "De Profundis":
Why everyone that escapes from Hell has to be a troublemaker is a mystery, but maybe that's why they were there to begin with— stands to reason. Doesn't matter, the job still sucks. Today Sam's supposed to chase down another serial killer, and the vessel is pink feather boa. He's not sure what's worse: reaping things that want to kill him, or that the Devil's such an incredible jerk.
Pirates Of The Caribbean— "Sail Before A Thousand Moons":
The rum helps him forget, rum and the promise of newfound gold. But in those moments where his heart is not silenced, Jack Sparrow wonders how long he'll chase the dream of having Will Turner, or whether it's Elizabeth's kisses he wants instead.
Thanks to all the participants! That's a lot of ficlets--