lafayette

Maybe some people think that Hank is replacing Cole as a son but I view it as he can care for another person again to be up for parenting once more to heal the wounds that his first borns death created. Something Bruce Wayne and Tim Drake esque after Jason Todd's death. Hank begrudgingly softens for Connor and quickly learns that he'd do almost anything for his surrogate son. While Connor learns about the grey of the world and has the freedom to not like it or be part of it, and he has Hank to help him figure out this big world that he knows so much yet so little about that he now gets to experience.

1. borrowing misery from future

2. carrying grief of the past

person : hey i used to be a bigot/abuser but i made active efforts to be a better person and i'm now not that person anymore

comments : ok do you want a pat on the back for the bare fucking minimum. fuck you. evil irredeemable person

like you realize that people can be raised into harmful ideologies and not question them until later in life and that it takes introspection and active efforts to understand your harmful actions and make change to your behavior right

it may be the bare minimum for civil behaviour, but actually getting yourself out of harmful mindsets is fucking hard. stop pretending it isn't. you are not immune to propaganda. you're not infallible.

edit : heads up, i turned notifs for this off because there's just too many to deal with- maybe i'll turn them back on when things calm down

man people like you are so unironically stupid that it’s entertaining. you can keep crying though I ain’t reading all that.

I’ll keep writing my dark fics and enjoying my favorite horror movies because 1. there’s nothing you can do to stop me 2. I’m mature enough to separate fiction from reality 3. I don’t harass others over fictional characters just to feel morally superior.

You know that thing where a story is written in tight third person limited — we’re meant to be inside someone’s head, seeing the world through their thoughts — and then suddenly the narration says “the blond frowned” or “the shorter woman sighed” about a person the POV character knows really well?

That’s called antonomasia — using a descriptive label instead of a name. And it’s fine when we’re talking about strangers: “the cashier handed her the receipt,” “the tall guy blocked the door.” The POV character doesn’t know their names, and we just need a quick way to tell people apart.

But the moment it’s used for someone the POV character already knows, it breaks immersion. Because that’s not how our minds work. We don’t think “the older man smiled at me.” We think “Mark smiled.” Or maybe “my boss” if that relationship matters in the moment.

Third person limited means the narration sits inside someone’s perception. Their inner monologue is the story’s voice. So when you switch from “Mark smiled” to “the blond smiled,” you’ve pulled the camera away from their mind and turned it into an outside shot.

If you want to create distance or irritation, you can do it on purpose —

“The idiot from accounting emailed again.”

That’s character voice. That’s judgment. That works.

But otherwise?

As soon as your POV character knows someone’s name, use it. While we do tend to worry about repetitions, names rarely register as such to the readers.

If you need variety for rhythm, use relational or emotional identifiers that make sense in their head: her friend, his partner, their teacher, the person they loved.

Because inside someone’s thoughts, there are no “blonds” or “brunettes.”

Then they’re just crimes.