three person poly relationship made up of two people who are already dating trying to coax someone with horrific self worth issues into a loving relationship. stray cat style

they’re all laying together in bed and the couple are both thinking to themselves like good, he stayed the night to cuddle and talk when we offered, he should know that we genuinely care for him and want this to be more then a handful of one night stands. and the stray cat guy is like wow this sure is nice i think i’m falling in love with them. it’s really too bad that they don’t actually give a fuck and hate me and probably want to kill me with hammers for no reason

it has been like. two days

oh i never know how to explain this properly but i looooooooooooooooove when a story just absolutely TELLS you something and it’s so obvious it goes right by you. like the equivalent of hiding in plain sight. i’m thinking in the original cut(?) of alien where they showed the full xenomorph, crouched and ready to pounce, but because we’ve never seen it before, we can’t tell what it is and interpret it as part of the spaceship. or it’s a detail that seems so out of place or wildly insane that you automatically ignore it and assume you misinterpreted until that exact detail comes back in a big way? (like when noah the raven boy flat out tells everyone he’s a ghost and they take it as a joke, so the reader does too) is there a tvtropes name for this i’m obsessed with it

I think that this is known as “delayed decoding” in literary analysis. The term was coined by Ian Watt in the ‘70s, don’t remember the exact year, to describe a technique used by Joseph Conrad in Lord Jim and Heart of Darkness, but a lot of writers picked it up. It’s basically what you described: you present a detailed image but don’t make its moral and psychological relevance obvious. You give facts but not their meaning, not until later, and the revelation can come directly from the characters who suddenly realize what they have observed or it can also be left in the text, to be understood by the reader. You can see why Modernists loved it!

[so horny my eyes are defocusing] maybe i ccould be your sword

been reading a lot of haunted/sentient house books in the past couple years, and i've encountered 3 main types of narrative: 1) the house loves you and that's a good thing 2) the house loves you and that's a bad thing and 3) the house hates you and that's a bad thing. this leaves a gap for a potential fourth type of story-- the house hates you and that's a good thing. excited to see if hauntologists delve into this quadrant and what it looks like if they do

im a fucking sucker for the “character gets so badly injured that they can’t think clearly and start calling for help in a distressingly vulnerable way.” characters who start using nicknames for their friends they haven’t used since they were kids. characters who start begging for their brother they haven’t seen in years to be there. characters who would usually use their parents’ names or call them mother/father/etc crying out mama when they go down. u understand.

“Living weapon” covers a lot and all of it is hot

friends to almost-lovers to enemies to a friendship resurrected with lingering love and lingering wounds that can either be carefully bandaged or left to fester

I am obsessed with fictional guys being really weird about each other. Hard at work in the plausible deniability mines. You know those pairings who would jerk each other off before they'd kiss

touch-starvation needs to be written with emphasis on the starving part. you are hungry to be touched. so hungry that even the very taste of it makes you nauseous. it has been long since anything has ever touched you, ever fed you - that your body has grown more used to that gnawing emptiness more than anything else. it's better for you to be held, to eat but it makes you sick to try. you know

wound tending is everything. unparalleled intimacy. let me care for you. let me touch the skin around your open flesh. let me stain my hands with your blood. let me get close and breathe in the same air as you and stare into your eyes for a few seconds too long. let me make you think of me every time you see the bandage, or scar

REVERSE TROPE WRITING PROMPTS

Top-Tier Villain Motivations

Very important, cannot believe I forgot:

romance is lame and overrated i love mentor/mentee relationships in fiction and especially when theyre sort of fucked up

greatest hits:

- You started out as a bet/challenge to see if I could successfully wrangle the infamous Problem Child but oh whoops I got attached!

- You are my kind, bright-eyed protegé who would never do so much as rip a tag off a mattress. anyway I am going to acquaint you with Criminal Activity

- I showed you genuine kindness and it was maybe the first time you’d ever experienced it and accidentally ended up becoming more of a parent to you than your “real” blood family ever was. Uh. Do you want to play catch in the park or

- I will gladly take any punishment meant for you. I would go to the ends of the earth to protect you, even if it meant I had to die in the process. I would do it a thousand times over, and I wouldn’t regret any of it.

- I taught you how to fight, and now through some circumstance or another, I’m forced to engage you in life-or-death combat without holding back.

- I put you through training from hell to make you the person you are today, for “your own good”, and now you’ve realized that you can hit back. And you can hit hard.

- I have made you into something greater than yourself - but you are changing from how I have designed you, and this is something I cannot allow.

- I taught you everything you know, and it was the greatest mistake I’ve ever made.

- I will make you just like me - by force, if necessary.

INTERESTING

I love "i would kill for you" ship dynamics but what about "i would stop killing" ship dynamic??

I would lay down my sword for you. I would change my nature and go against everything i've known. I would resist the easy way out of solving my problems. I would give up the adrenaline of battle to stay by your side and make tea instead. I'm not sure I know who I am without a weapon in my hand because I've had to fight for so long but for you I'm willing to try and figure this out.

It must be hard. To put down your weapon that's protected you for so long. It's allowed you to stay alive it's kept you from getting hurt--physically and mentally. Because you've never had to worry about a real relationship if you think you'll be dead at the next battle. And you feel naked without it and it feels like you're ripping off an extension of yourself. Are you even whole without it? Are you worthy of being loved if you can't prove it by risking your life? And yet they've found someone who's asking them for something much harder than dying in battle on their behalf. They've found someone who wants them to live. And that's much more terrifying.

final girl x girl who died offscreen but continues to haunt the narrative

gothic sacrificial bride girl x fridged wife

girl transformed by monstrous adolescence x girl killed off by the narrative for having too much sex

cute girl born to suffer as a symbol of the death of childhood innocence x girl who died and came back wrong

and most importantly!

girl who must kill to survive x girl who kills for fun

@starfleetrambo no need to keep this genius in the tags, come now