imo the pov character should be lying to themselves and concealing shit from themselves constantly
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imo the pov character should be lying to themselves and concealing shit from themselves constantly

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Local Writer Shocked As She Realises Planned 'Short Fanfic' Is Turning Into Multi Chapters Plot Oriented Slow Burn Fanfic
・ďžďžď˝Ľď˝Ąď˝Ľďžďžď˝Ą ďžă BUILD A FIC ăďž ď˝Ąď˝Ľ
( pick a quote + a feeling + a trope ! letâs see what fic you end up with. )
author's addition: this lil build-a-fic is inspired by @scealaiscoite â s adorable idea ! her prompt lists are literal perfection. go stalk her blog pls sheâs the best ever 𧸠youâre welcome to tweak phrasing as needed, but please donât add to or rewrite the original post. give credits to @fawndrip / @suprclark if using.
â QUOTE
â stop smiling like that. itâs distracting. â â you make it really hard to stay just friends. â â why does it feel like a goodbye? â â youâre blushing. â â â no iâm not. â â just friends donât look at each other like that. â â i missed you. thatâs all. â â you remember the little things. thatâs what gets me. â â tell me to stay. and i will. â â my hand fits so perfectly in yours. it's like i'm made for you. â â do you want me to leave? â â â no. i want you to stay forever. â â i think i knew it was you. even back then. â â â then stay. â â â but that's the thing. i don't know if i know you anymore. â â i donât know how to stop wanting you. â â this means something. donât pretend it doesnât. â â youâre not just anyone. youâre you. â â if we kiss now, everything changes. â â â i know but that's a risk i'm willing to take. â â iâve been in love with you since the night we met. â â tell me it meant nothing. lie if you have to. â â i was easy to leave, wasnât i? â â you donât get to miss me now. you lost that right when we broke up. â â say something. anything. please. â â i loved you. that shouldâve been enough. â â i wish i didnât remember everything. â â donât look at me like you still care. â â iâm tired of pretending this doesnât hurt. â â you said forever. i believed you. â â if you didnât mean it, why did you say it? â â you chose them. you always do. â â i donât hate you. i just wish iâd never met you. â â you let me go like i was nothing. â â please donât make this harder than it already is. â â are you sure? cause whatever this is it doesnât feel like love. â â itâs always been you. i just didnât know how to say it. â â say that again. i dare you. â â you really donât see it, do you? â â i think i like you. like, like like you. â â do you always look at people like that? â â you make it really hard to think straight. â â oh my god. youâre blushing. â â this means something. donât pretend it doesnât. â â i shouldâve kissed you when i had the chance. â â youâre not helping. youâre being pretty. it's distracting. â â you make me nervous in the best way. â â every time you look at me, i forget what i was saying. â â just admit it. you like me. â â if you donât kiss me right now, i might explode. â â youâre dangerously good at that smile. â
the look of love ŕł
how to describe a loving gaze
⸠eyes darting all over your face, trying to figure out which part of you they want to set their eyes on the most (it's impossible)
⸠gazing at you like you're miles away only when you're a few feet away, standing with another person. their stare is hard, intense, but also melting and blank.
⸠a featherlight touch to your arm with their eyes softly peering up at you. they can't believe that you're allowing them to touch you like thisâso innocent, so softly.
⸠late nights where its just the two of you in a car. they turn over to look at you but immediately turn. for the safety of the both of you, they can't stare at you any longer
⸠when you're teasing them, they have to bite down extra hard to not release that smile from their lips. their eyes are squinted more tightly than usual. still, they're glued onto you.
⸠meeting their eyes from across the room, and the two of you have the exact same thought. you turn away first to hold back your laughter, but their eyes are pinned onto you.
⸠a softened gaze in a random moment. there's no reason for them to be looking at you like thatâwith slightly hooded eyes and parted lipsâexcept for the fact that they just love seeing you
⸠you're twirling around in your new outfit, showing the 360 angle. their pupils look like they're completely taking over the iris of their eye. suddenly, breathing becomes a lot more faster than they remember.
Rolin and co are trying very hard to convince you that Armand is the antagonist of TVL but heâs not. Heâs getting the villain edit right now but villainy is the not the same as the structural role of an antagonist, the person creating obstacles to the protagonistâs actualization.
Lestat was Louisâs antagonist in the first season, and now heâs our protagonist. Armand was the antagonist in season 2, so people are primed to just view him in the same way.
But Gabriella is actually Lestatâs antagonist. Thatâs why Rolin talked about her as the second most important character this season. Sheâs the one pushing Lestat into a role he doesnât want and preventing him from making peace with his muses. Sheâs the one bringing on the end of the world and using sex to manipulate and abuse him.
Louis is the B plot protagonist this season; his plot with Bruce, Regina, and Claudia is its own separate little track. But the fact that he and Lestat are finally not each otherâs antagonists is what is allowing them to slowly but surely come back together this season.
Armand is actually the protagonist of the C plot of the series. Theyâve chosen to completely mask the whereâs and the whys of that c plot from view of the audience. Theyâre using it to generate suspense, and to show that weâre still firmly rooted in a limited point of view even in this new season. When Lestat doesnât know what Armand is doing, neither do we.
Theyâre going to reveal at least part of what Armand has been up to in his own little side plot in the finale, at least enough for his actions to make sense and to understand how they impact Lestat. Theyâre trying to convince us heâs the villain now because it will make the reveal of his real motives, which I guarantee are more complicated than âbeing evilâ more of a subversion and a surprise. Armand has been that last minute twist (Volta, if you will) in every season so far, and I donât think this one is going to be any different.
The only thing Iâm sure about what theyâre setting up is that whatever Armand is doing is going to be the opposite of what is âexpectedâ (by general audiences I have to say, not real Armand understanders). Instead of standing by helplessly, he is trying very hard to prevent something. Instead of destruction, heâs protecting something (while still being willing to break a few Larry shaped eggs to make an omelette đ). I think he is doing it with a real sense of brokenness and bitterness that Louis and Lestat have rejected him so thoroughly, but heâs still showing up. What were effectively going to see in ep 7 is the end point (or maybe the midpoint really) of Armandâs arc. Heâs been changing behind the scenes, but we donât know how. That character shift is part of the reveal.
If I had to guess, I would say that I donât think weâre going to get a full window into whatâs going on with Armand until season 4. When Lestat is grabbed by Akasha and is no longer around to limit our perspective, thereâs going to be a chance to relive the whole thing from Armandâs POV. At that point he will finally be the protagonist of his own story, and weâll be able to see a full arc from him. And I actually suspect theyâll start that timeline much further in the past, with flashbacks to the 70s and 80s with Daniel and maybe even glimpses of Venice, and take it through the time of the tour. That would be fitting with the way the book Queen of the Damned is structured, with a focus on Devilâs minion and a structure that repeats the timeline of The Vampire Lestat, just viewed through different perspectives. That was also the book where Armand transformed from an antagonist into a character in his own right in Anneâs mind So I donât think we should expect a full Armand arc until 2028 (đ). (I also hope season 4 will give us multiple other POVs as well to match the structure of qotd, but thatâs just more future speculating at this point).

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When world-building starts to feel like this.
Honestly. Best feeling ever.
Thoughts on flipping from "TV brain" to "prose brain" when writing fiction
Lincoln Michel Dec 12, 2024
Iâm using âTVâ as a shorthand for any visual narrative art from feature length films to video games. A lot of fiction these days reads as ifâas I saw Peter Raleigh put it the other day, and as Iâve discussed it beforeâthe author is trying to describe a video playing in their mind. Often there is little or no interiority. Scenes play out in âreal timeâ without summary. First-person POV stories describe things the character canât see, but a distant camera could. Thereâs an overemphasis on charactersâ outfits and facial expressions, including my personal pet peeve: the âreaction shot round-upâ in which we get a description of every characterâs reaction to something as if a camera was cutting between sitcom actors.
[...]
My theory is that we live in the age of visual narratives and that increasingly warps how we write. Film, TV, TikToks, and video games are culturally dominant. Most of us learn how stories work through visual mediums. This is how our brains have been taught to think about story. And so, this is how we write. Iâm not suggesting there is any problem in being influenced by these artforms. I certainly am. The problem is that if youâre âthinking in TVâ while writing prose, you abandon the advantages of prose without getting the advantages of TV.
[...]
When I talk with other creative writing professors, we all seem to agree that interiority is disappearing. Even in first-person POV stories, younger writers often skip describing their characterâs hopes, dreams, fears, thoughts, memories, or reactions. This trend is hardly limited to young writers though. I was speaking to an editor yesterday who agreed interiority has largely vanished from commercial fiction, and I think you increasingly notice its absence even in works shelved as âliterary fiction.â When interiority does appear on the page, it is often brief and redundant with the dialogue and action. All of this is a great shame. Interiority is perhaps the prime example of an advantage prose as a medium holds over other artforms.