#narrator voice: she was lying

[joelscruff]

the next update couldn't come sooner with this teaser i'm dying here oh my goddddddddddd

here's another one 👀

[soldier--poet--queen]

Hey Everyone I Just Finished Trimax and Oh Boy Would You Believe That I'm So Completely Normal About It.

[ballpitwitch]

KEANU REEVES in 1999

[moth-tea-merchant]

Pov: you stole his glasses and he's about to beat your ass @wyldblunt 's man Glyndwr

[grapecaseschoices]

look what i can do now! should i ever learn to gif it's over for you hoes.

[quirinah]

SLAY THE PRINCESS (chewing on drywall)

[dismaltouch]

closed starter ♡ @housefircs muse : jocelyn gordon

"i mean it this time... this is the last time."

[urtrickster]

haha im gonna be so normal about this bot btw.

[burntheupholstery]

i like honkai star rail a normal amount

[petermorwood]

A day or so ago, @dduane reblogged a long post - a Canadian magazine article from 1966 - about the Americanisation of Winnie the Pooh.

It's an Impressive Tirade in which the writer (Sheila H. Kieran) says what she thinks about letting Walt Disney have a free hand with a foreign Children's Classic.

There's mention of the previous Adaptation Endeavour, "Mary Poppins" (1964) but it's very brief, perhaps with an eye to limited column space - or maybe because All Was Said Already in a previous review.

There is, however, rather a lot about the English characters being given American accents, and about the inclusion of a new character, an American gopher (which, the article suggests, looked vague enough to the Kieran children - its target audience - that it might as well have been a mole or a beaver).

*****

And that reminded me of another bit of American Animalisation done by Disney, in the 1949 short "The Wind and the Willows" - though in this instance it's visual since the voices are, for the most part, suitably British.

They include Basil Rathbone as narrator, and a horse who sounds like George Formby. In some scenes the horse actually looks like Formby, so this voice may not be entirely accidental.

Badger, however, sounds like a Scotsman - the worst kind of stage Scotsman at that - rather than how I used to "hear" him as a C. Aubrey Smith-voiced crusty retired colonel.

That, however, is just personal preference.

However, Disney's Badger is not a proper British (more correctly, European) badger, Meles meles. Here's one, which though not the most amiable of beasts in reality, still manages to look fairly affable ("I say, old chap, whatever are you looking at?")

Instead he's a North American badger, Taxidea taxus, which not only has a less affable expression ("Hey, bud, you. Yeah, you. You lookin' at me? You lookin' at ME?") but, more important, different stripes.

Here's Disney's version alongside mine. The correction took about five minutes of pixel-tweaking.

Disney's animators could have got it right from the outset just as easily, because I'm pretty sure the reference library which provided costume info for Rat's tweed Norfolk jacket and britches included picture-books of natural history.

Come to that, any "The Wind in the Willows" after the unillustrated first edition would have been enough, and there must have been at least one copy lying around for story adaptation and scene-description purposes.

The first illustrated edition came out in the UK in 1931, and its artist was, at author Kenneth Graham's request, the very same E.H. Shepard who had illustrated the Pooh books just a few years previously...

...while this Arthur Rackham colour plate is from an edition published in 1940 in New York.

So those books wouldn't have been impossible for Disney to get.

The problem, however, is that if a word ("badger", for instance) is well known to mean one thing here, it may be Too Much Trouble to find out if the same word means something else there, with the result that finding out can sometimes come as rather a surprise.

Check the UK / US meaning of "suspenders" to see what I mean... ;->

[unabashegirl]

Love Island (one shot) – sneak peek

Harry’s arrival on Love Island stirs Y/N’s feelings, sparking tension with her partner, Tom, and the rest of the ladies, as she’s drawn to Harry’s charm and intrigue.

Author's note: Hello everyone! Here is the concept of the new one shot that has been posted on my Patreon. I hope you enjoy the sneak peek. Let me know what you think!

The italics is the narrator just like in LOVE ISLAND!

check out my patreon (starting at $2) and get full access to the rest of the chapters, various one shots and much more :)

Tom’s lips tightened, and he gave a small nod. “Fair enough. I can’t stop you from seeing where things go. I mean, you’re right—it is early days. Just… give me a heads-up if you start to feel like it’s going somewhere else, yeah?”

“Of course,” she assured him, offering him a warm smile. “I’ll always be honest with you, Tom. That’s a promise.”

He smiled, though it looked a bit forced, then let out a sigh, looking back towards the villa. “Right then. Just have to up my game a bit, won’t I?”

Y/N chuckled, nudging him. “You’ve got nothing to worry about. Just keep being you.”

But will that be enough, Tom? With Harry’s arrival in the villa, we might just see if Tom can hold his own—or if his steady confidence starts to crack.

After Tom walked off, Y/N settled back into her lounger, taking a slow sip of her coffee. The warmth of the morning sun was comforting, and she let herself enjoy the peace, though her mind kept drifting to Harry.

Across the patio, Harry was surrounded by a small group of girls, each one caught up in his easy charm. There was Georgia, always the first to get a word in; her dark hair bounced as she laughed at one of his jokes, flashing him a look that said she was more than intrigued. Beside her was Chloe, who toyed with her braid as she angled closer, her gaze fixed on him, and Lila, who had barely left his side since his arrival. They all hung on his every word, their laughter blending with his deep chuckles.

Y/N watched him, noticing the way he seemed effortlessly at ease, making each of the girls feel like they were the only ones there. He was charming, no doubt, and that little smirk of his told her he knew exactly what he was doing. There was something magnetic about him; he was the kind of person you couldn’t help but notice.

Then, as if sensing her gaze, Harry’s eyes lifted, meeting hers across the patio. The moment their eyes connected, a playful glint flickered in his. His smile softened, turning into that cheeky grin she was beginning to recognize. He said something to the girls that made them all laugh again, and then, with a quick apology, excused himself from the group.

Y/N’s heart gave a little jump as she saw him walking towards her, the confidence in his stride obvious as he crossed the patio. When he reached her, he didn’t sit right away. Instead, he leaned forward, his arms resting on the back of her lounger, his face close enough that she could catch the faint scent of the sea on his skin.

“Morning,” he said, his voice smooth, that smirk never leaving his lips. “Didn’t expect to catch you staring.”

Y/N let out a soft laugh, raising an eyebrow. “Staring? I was just observing… thought I’d get a better sense of what all the fuss is about.”

He chuckled, settling himself on the edge of her lounger without breaking eye contact. “Ah, so you were curious, then. Good to know I’ve got your attention, even if just a little.”

“Don’t flatter yourself,” she replied, though the smile tugging at her lips betrayed her. “I was just checking to see if you were actually as charming as you think you are.”

He tilted his head, feigning contemplation. “And? What’s the verdict, then?”

She shrugged, pretending to consider it. “I think it’s too early to tell. But I’ll let you know if you manage to impress me.”

Harry leaned back, grinning. “Challenge accepted. And I’d be lying if I said I didn’t come over here to see if I could learn a bit more about you too.”

“Oh, really?” she teased, crossing her arms as she watched him. “So, the big mystery man’s got questions?”

“Maybe one or two.” His gaze softened, the playful edge giving way to a hint of sincerity. “Like, what exactly is a girl like you looking for in here?”

She held his gaze, considering her answer for a moment. “Honestly, someone genuine,” she said, her tone earnest. “It’s easy to get caught up in all the surface stuff, but I’m hoping to find something real. Something that lasts.”

He nodded slowly, his eyes never leaving hers. “Right. Thought I’d take a risk, try something new.” His voice softened, a touch of vulnerability creeping in. “Been a while since I let anyone in.”

Their eyes locked, and for a moment, the world around them seemed to fade. She felt a spark, a warmth that hadn’t been there before, and she knew he felt it too.

“Alright then, Harry the risk-taker,” she said, breaking the silence with a playful smile. “Let’s see if you’re as good as you say.”

Harry’s cheeky grin returned, the playfulness back in his eyes. “Oh, you’ve got no idea what I’m capable of, Y/N.”

Looks like Y/N’s little morning coffee break has turned into something a bit more steamy than she bargained for. With Tom on edge and Harry moving in, she may have her hands full. So, who’s in it for the long haul? Stay tuned.

[certaimromance]

𝜗𝜚 A Heart Matter.

Spencer Reid x Prentiss!reader

Series masterlist | ONE | TWO | THREE |

Summary: A few months after you left, Spencer thinks he sees you walking down the street, and his whole world is turned upside down.

Words: 3,2k.

TW: mentions of crime, trauma, death, pain and violence (normal warnings in the series). so much spoilers for s6 and s7. the events narrated occur after emily's "death". so much angst. read the dates carefully, especially the years, because there are some backward time frames that can confuse you if you don't pay attention!. english isn't my first language (sorry for my mistakes, be kind please).

Note: I'm so sorry, that's all I can say now.

Also, I thought about making this a series, but I'm not sure because I've never done one before and I've really only been writing here for about a month??? I'm trying hard.

♡ Enjoy! ♡

July 18th, 2011

The steady ticking of the wall clock echoed in Spencer's head as a reminder that his time in the session was ticking away, robbing him of the chance to express himself without sounding like a complete lunatic.

“I saw her.” He had to repeat it aloud after receiving a puzzled look from his therapist.

The woman pursed her lips. “In a dream? Are you having nightmares again?”

The lump in the agent's throat felt tighter and more suffocating, causing him to shift in his seat to hide it. He wanted to appear sane and focused, however much his next words were anything but.

“No.”

The therapist's intrigued look and the fact that she stopped writing in her notebook to give him her full attention made his hands tremble and his heart pound as he spoke again.

“I mean, I still have the same nightmares...but this, this is different.” Reid tried to explain hesitantly.

Since the day he found you lying in a pool of blood outside your sister's apartment, his mind had been tormented by the image and the guilt it caused him. The nightmares of seeing you again and losing you were a constant every night. Every time he managed to fall asleep, he woke up agitated, feeling again the emptiness of not having you by his side. And that was something his therapist knew better than anyone, because she forced him to write down every nightmare and tell her all of them.

Those bad dreams were supposed to be over, or so he had claimed for the past three weeks.

“How?”

“I wasn't asleep when I saw her.” Spencer finally blurted out in a slightly shaky voice. He had rehearsed the same conversation several times and always ended up feeling like a deranged man seeing ghosts. “I was on the street.”

That sentence instantly changed the tone of the conversation.

“It was after work, I went to buy some food because the case ended earlier than I thought. Her favorite Chinese restaurant is a few blocks from my apartment, we really liked to eat there...I bought some and when I came out, I saw her.” He paused for a minute, trying to mentally return to the moment that was relentlessly replaying in his mind. “She was across the street, buying flowers.”

He had to be quiet for a second, pausing to calm his own breathing. It was ridiculous, but the thought of you buying flowers again made him smile slightly.

You had always loved flowers and now he was supposed to bring them to your grave.

“I ran across the street as soon as I saw her, but I lost sight of her when a bus came across.” He said, struggling to finish his story.

“Spencer, listen to me.” The woman's tone alone let him know that she didn't agree with him at all. “It's normal to think we see someone we lost, it happens to several people. Maybe it was just someone who looked like her, and being near a place the two of you frequented contributed to the confusion.”

That was impossible because he would recognize you anywhere and there was no one else like you.

“You know the truth.”

Of course he knew.

He had been trying to live for six months knowing that you were already dead.

Six months of him trying to deal with your ghost. Six months of him on his knees begging for this to be just another nightmare. Six months of reliving the last time he held you in his arms. Six months of being dead in life.

“Yes, but she looked different.” He explained, receiving a puzzled look that prompted him to provide further clarification. “Her hair was shorter, much shorter. And if I were hallucinating her ghost, I'd see her the same way I saw her the last time, or maybe the time before that. It wouldn't be so different from the way I remember her.”

“You lost two important people on the same day, it's not about logic.”

From her reaction when he concluded his session, it was evident that she considered his perspective to be irrational and clouded by the effects of grief.

And maybe it was.

July 30th, 2011

A few days of missing therapies and locking himself up at work already had consequences.

It was the second time a case had ended earlier than expected and Spencer had to go back to his lonely apartment and find excuses to leave without feeling sorry for himself. It was hard for him to be in his own home without you, surrounded by the photos you always insisted on taking and framing to preserve moments that were now torture. So the best solution was to make unnecessary purchases or lock himself in the nearest library.

Anything was better than being locked in a room with himself, so he decided to read in a room full of strangers who provided the company he so desperately needed.

The bad news was that the library's closing time had come earlier than expected for unknown reasons, and life seemed to force him to face his reality on the busy streets of Virginia, taking every possible alternate route to delay his arrival home. He didn't want to have to open the door knowing that no one would be waiting for him, that you wouldn't be there asleep on the couch after watching a marathon of your favorite movies, or just trying to read one of his books so you could discuss it with him.

His mind was still hazy and his eyes were wandering through the shops of the city when a familiar and unmistakable figure appeared before his eyes, just a few meters away, coming out of one of the shops on the next street.

It was you again. Unmistakably you.

He started running without a second thought, but the streets were so crowded that it was hard for him to move through the mass of people. His heartbeat was out of control and probably everyone could hear him, but he didn't care about looking crazy, he just needed to get a little closer to talk and make sure it was you.

The city's public transportation seemed to be against him, because just as he was about to cross the street, not caring that the light was red, another bus crossed the street and almost ran him over. Just a few inches and the story would have been very different for him. Everyone on the street was whispering, car horns were honking and every now and then someone would ask him if he was okay or look at him like he was a psychiatric patient. But nothing mattered to him, there was only your image in his mind and the possibility of finding out if he was really going crazy or if your ghost was haunting him.

When he managed to cross the street, there was no sign of you, and his therapist's words echoed in his mind as a symbol of temporary insanity brought on by pain. Try as he might to ignore his conscience, there was no way to find you in the sea of people, and he had no choice but to enter the store where he thought he saw you coming out.

“A woman bought something here a few minutes ago, she had a bag slung over her shoulder.” Spencer spoke quickly as soon as he walked in and approached the local salesman. He paused only when the man nodded in confusion at his attitude. “Do you know her name? Where she's from? Does she come here often?”

The man's lips were sealed, he just waved his hand to let him know he would only talk for money. He didn't even flinch when Reid pulled out his badge and repeated that he was FBI. Anyway, the thirty dollars was the master key to get the information and the security camera footage, which was barely visible because of the poor quality.

“I don't know who she is, it's the first time I've seen her. There aren't many customers on my shift, and not everyone buys that many books.” He began to speak under Spencer's curious gaze. “She paid cash and bought a bunch of classics. And she had a limp.”

“Are you sure? Which leg was it?”

There was a short silence, which the salesman used to remind himself, and Spencer's nerves got even more out of control.

“I don't remember which leg it was but I was definitely limping. I noticed that when she climbed the ladder, I had to help her.”

January 11th, 2010

“Can we eat here?” You asked after reading the sign that said the restaurant's elevator was under repair. “There are a few tables.”

Spencer couldn't help but frown and let go of your hand to stand in front of you. His eyes searched for yours. “I thought you wanted to come up, the view is your favorite thing here.”

You two were at your favorite restaurant, a Chinese food paradise with the best view in city, according to your expert opinion. It wasn't the first time the two of you had been there, so you had already more than booked a table, and this one was on the third floor. Your favorite part of going there was seeing the moon.

And of course, Dr. Reid was the kind of guy who always paid attention to the little details. He remembered everything, and could probably tell what you were thinking just by looking into your eyes for a few seconds.

“Let me take you upstairs, please.”

His puppy-dog eyes and a single phrase were enough to get you to let him take you by the arm and lead you up the stairs at a slow pace. By the time you got to the second floor, he offered to carry you like a princess. You had no choice but to accept, especially since it had already taken you more than ten minutes to climb a single floor. The pitying looks from the other diners were starting to make you uncomfortable.

“Thank you, Spencer.” You mumbled as you reached the table and he pulled up a chair for you.

He smiled. He loved how you said his name and wanted to hear it for hours.

After you both sat down and made your requests, you spoke again. “Aren't you going to ask why I can't climb a ladder?”

“I won't ask you anything you don't want to answer.” He said simply.

You felt like you could tell him anything, even your darkest thoughts. Your sister had already talked about it. Either it was the Reid effect, or you were just madly in love with him. Both were quite similar in your view.

“I hurt myself while I was practicing ballet. I made a really bad move.” You spoke up after a few minutes of silence. He frowned when he heard you. He had no idea you played the sport. “I was supposed to have quit, so I didn't tell anyone. Only Emily knew. I didn't treat it until the injury got worse when I went out in the field on a case. That's how I retired from the FBI. My mom freaked out, and my left ankle was screwed up for my whole life.”

Before you turned your attention back to Spencer, you prepared yourself mentally for the sympathy he would undoubtedly show. The curious thing was that in his eyes, there was nothing but interest and gratitude for having allowed him to know more about you. That was what kept you talking.

“There's an operation to try to fix it, but recovery takes quite some time. I'd rather always take the elevator and avoid the stairs as much as possible than have to rely on Emily to take care of me for three whole months. She has work to do and would go crazy having to be my maid.”

“I would.” He said without hesitation. When you looked curious, he elaborated. “I'd take care of you.”

“For three whole months?” You asked, sounding rather incredulous and as if you thought maybe he was just being extra nice.

“For the rest of my life, if you let me.”

September 5th, 2011

“There's no way you could have seen her, Spence.”

JJ's eyes fell on his friend's not-so-shaky ones, and a part of her churned inside, not knowing what else to say to him. It was eleven o'clock at night, the first time in several days that Spencer had shown up at her house to try to find comfort and perhaps understanding.

“I know, I know it shouldn't be possible.” He replied and went back to pacing the room, trying not to make a sound. The last thing he wanted was to wake up his godson or his friend's husband. “But it was so real...maybe I'm crazy.”

“You're not.” She said firmly, getting up from her seat to give him a reassuring pat on the shoulder.

At the time, even he didn't know for sure, and that made him fear that he had lost his mind. He was hungry for a love that he would never have again.

“You just miss her.”

No, missing was nothing compared to his feelings.

“It's more than that, much more. I haven't been able to catch my breath since she left.” He admitted, running his hands through his hair as tears formed. “I miss Emily, too, and I don't see her walking down the street.”

Silence fell over the room because no one had anything to say. There weren't enough words to describe the situation. The only sound that could be heard was the man's sobbing on Jennifer's shoulder, trying to be encouraged with words.

“It's going to be all right, Spence.”

He didn't say it out loud, but he thought he'd never get anything right in his life if all he wanted was you.

March 14th, 2010

The coffee he was carrying kept him warm as he made his way through the chilly FBI offices. Spencer wondered if the air conditioning had broken down when he reached the technical analyst's office and a conversation stopped him in his tracks.

“My take? She looks like she'll be Mrs. Reid one day.” Penelope's voice was heard after several loose sentences that the boy couldn't understand from the other side of the door. He figured they were talking about him and his relationship with you.

“I hadn't thought about Reid being legally part of my family until now.” Emily spoke next, letting out a few chuckles. “I'm going to have mini geniuses for nephews.”

“Stop it, we're just dating.” You spoke with some nervousness, still reeling from the implications. “It's not like we're getting married tomorrow.”

As he leaned against the wall by the door to hear better, Spencer couldn't help but feel a bit guilty about what he was doing. He knew it wasn't right to overhear other people's conversations, especially if they were about him. But he had a feeling he needed to know what you were saying about him when he wasn't around. It wouldn't hurt to just hear a little bit.

“Don't pretend you don't talk about future names for your babies, I heard you two.” Garcia spoke again.

“It was a random conversation.”

“About baby names?” She gave a little smile and raised an eyebrow.

“What I mean is that bringing things forward is not good.” You began to speak, completely ignoring the previous point. You were trying to be the voice of reason in the midst of their ridicule. “But I'd like him to be the one.”

“I think I'll shed a tear or two because you've grown up so fast.” Your sister commented in a teasing tone that hid quite a bit of truth. She gave your hand a quick squeeze and looked at you for a few seconds before speaking again. “What's up with that look on your face?”

You frowned. Spencer's heart seemed to stop beating for a moment. “What look?”

“You know which one I mean—the one you put on when the coffee runs out.”

Reid's hands began to sweat. He felt like a teenager trying to figure out what the girl he liked really thought of him. Did you ever have doubts about your relationship? Did you ever picture yourself with him in the future? Was he really the one for you?

“The scariest thing about love is getting hurt.” You said, trying to initiate the idea. Unfortunately, Penelope beat you to it and spoke up.

“I'm sure he wouldn't hurt you.”

“I know, I don't care about that.” You spoke up again after a few seconds, looking around the room as if lost in thought. “What if I do it? What if I break his heart?”

Oh, that was certainly not something Spencer was expecting to hear.

“How would you break his heart? Not answering his calls for five minutes and seven seconds?” Interjected Emily with a teasing tone to try to lighten the mood and get a smile out of you. “I don't think either of you would consciously hurt the other.”

And right after that, the protagonist of the discussion entered the room, causing the three of you to remain silent and pretend that nothing was going on. You could only smile when your boyfriend came in with a hot coffee for you and you saw the tender looks the two women gave you.

“Thank you.” You said.

“It's nothing.” He replied, pulling you close to surprise you with a hug that brought him close enough to your ear to whisper. “You could never break my heart.”

September 21st, 2011

Ian Doyle was only a couple of meters away.

Spencer's fist throbbed and burned, still stained with the blood of the man who had taken everything from him seven months ago. He knew he had done wrong, that he had promised everyone that he would only talk to the terrorist, and that he had done much more than that. The team had barely been able to get him out of the interrogation room because he was out of control with rage.

He wanted to make him feel a lot of pain and a minimum of what you and Emily probably felt that night.

“You need to calm down.” JJ came out of the meeting room to stop him before he could go in.

“I'm calm.” He replied, still trying to regulate his breathing. He could see his friend raise an eyebrow, and he decided to speak up again to avoid upsetting her. “This is about as calm as I can get right now.”

As soon as he was done speaking, Reid tried to keep going to the room, but the woman was in his way again and stopped him from opening the door.

“You have to be calm for what Hotch has to tell you. I mean it.” Jennifer said, after receiving a confused look. “What you're going to see now...”

“I'll be fine.”

Without giving her a chance to say anything else, he opened the door to the room. Spencer thought he'd find photos of the crime scene that ruined his life, maybe some testimony he didn't know about, or even the killer there. But none of that was true, and it made his heart stop.

“Hi.”

You certainly broke his heart this time.

[madbard]

I just realized another reason I love Hozier’s music. It’s not just that the lyrics are complex, or the music itself is beautiful - it’s that Hozier is a musical liar.

Take Cherry Wine. This is a song about an abusive relationship, told from the perspective of someone very much in love with their abuser. Throughout the song, the narrator describes their lover’s cruelty. Lyrics like “I walk my days on a wire” and “open hand or closed fist would be fine” make the darker aspects of their relationship all too evident. At points, the song suggests that they are defending this relationship to someone else who cares about them (“it looks ugly but it’s clean. Oh mama, don’t fuss over me”) and even the more beautiful and seemingly romantic lines later in the song (“oh but she loves like sleep to the freezing”) have dark undertones (what else is sleep to the freezing but death?) Still, I often come across the song being used in a wholesome, romantic context. A lot of factors contribute to this, but I would argue that this song mainly gets mistaken for a romantic song because of how soft and gentle the music is - it presents as a sweet love song in every way except the lyrics. Even those lyrics are told through the lens of someone defending their broken and abusive relationship, deepening the lie. Our narrator wants to portray this relationship as something dark, yet also immensely beautiful and encompassing. The result is a song about the agony and pleasure of a broken relationship, disguised so well as a love song in every possible way that it gets mistaken for something romantic. (Even if you are aware of the meaning, there is still that deep urge to experience the song as something romantic. Just like the narrator, the listener is drawn in by beauty and the powerful idea of love, so much so that it can blind them to reality.)

Variations of this can be seen in Talk. In this song, the narrator makes their intentions very clear - they are sweet-talking someone in order to hide their own thoughts and desires (“I try to talk refined, for fear that you find out how I’m imagining you”). Despite knowing this, the sheer power of the lyrics (“I'd be the voice that urged Orpheus / when her body was found. / I'd be the choiceless hope in grief / that drove him underground. / I'd be the dreadful need in the devotee / that made him turn around, / and I'd be the immediate forgiveness in Eurydice”) overwhelms the listener. We know the speaker is putting on a show. We know they have ulterior motives, and likely don’t even believe what they are saying. But their words are so beautiful that we don’t care. The intense, almost mythic music in the background is so lovely and deep, it makes the lyrics seem genuine, because what lie could sound so astounding and true? In this case, the song about smoke and mirrors and empty talk becomes a love song because the narrator is just that skilled at lying.

Even songs like Too Sweet, sung by a narrator who refuses to be with someone unless they allow their standards to slide, become ‘romantic’ and ‘sweet’ to certain listeners - not because the lyrics are impenetrable, but because so many of Hozier’s narrators are unreliable. His songs spin sweet stories, lies so stunning that listeners are willing to deny what they know in order to experience the beauty of that untruth, the complexity of that space between what is real and what we want to believe.

And isn’t that more true to the experience of being a person, and loving other people, than the simple truths we often see in these types of songs?

[homunculus-argument]

"Maybe magic, maybe mundane" is one of my favourite tropes, especially when it's featured in something where magic could plausibly exist.

One book idea that I had that is currently only a pile of haphazard notes features a character only known as The Queen's Mute - or simply "the mute" for short - who is exactly what it says on the tin: the queen's personal jester, who does not speak. He is also ambiguously human. An eerie, elfin creature who seems to find it funny when people are puzzled by him.

Besides being completely silent, he has an uncanny skill in copying how people hold themselves and move. Gait, posture, the expressions they make, he could just be standing completely still doing nothing, and it's still obvious whether he's standing like the king or the head cook. If you've seen the subject once, you'll know who he's impersonating. He's quick to spot every opportunity to insult someone by doing so - like spotting a nobleman who isn't faithful to his wife and following after him across the room in the exact same gait that his mistress walks in. The king once remarks that he can't understand how the hell someone who can't speak can have so many rude things to say.

The protagonist was sent to spy on the queen, and the mute is almost always with her - making no sound, not even footsteps, but making himself seen, and seeing and hearing everything. One never hears him come or go, he is just suddenly there, sitting on the floor, waiting to see who's the first person to glance down and get startled out of their mind because people don't just pop out of nowhere like that. Being fond of climbing furniture as well, he might also be sitting on top of a shelf.

Though the protagonist first assumes that he is somewhere close to her own age - somewhere in his late teens - and the narration refers to him as "boy" more often than "man", the queen corrects her. He is just as grown now as he was when she first brought him with her, and though she doesn't know his exact age, she knows he is older than she is herself.

The king - despite of being the mute's favourite subject of vicious mockery - tolerates him for some reason. Despite of being aware that the relationship between the queen and the jester is romantic as well as sexual in nature. Their marriage is as loveless as political arranged marriages get, so he finds it preferable to let the queen keep her mute if his taunting antics and his unsettling way of just appearing into places at least keep other men away.

The queen occasionally mentions things that she wasn't supposed to know - and couldn't have known - just to let the protagonist know that she knows more about what's going on than what she lets on. When the protagonist fails to hide her shock and asks the queen how she knew, the queen explains that the mute told it to her. The protagonist assumes this to be a joke, her way of saying "none of your business", since obviously the mute doesn't talk.

But he does talk. Only to the queen, only when absolutely no other soul is there to hear it. And as a plot twist on the last third of the book, it turns out that besides knowing how to move like other people, the mute is a frighteningly good vocal mimic. He can copy the queen's voice perfectly, which they have often used for her advantage. Looking back to every scene where the queen was heard but not seen - behind a curtain or a dressing screen, talking through a door, or just overheard singing to herself in the garden - there is no telling whether the protagonist was actually talking with the queen, or if she had that whole conversation with the mute. This would explain at least one incident where the queen was supposed to be in one place but somehow shows up somewhere else.

The protagonist never figures out what the mute's whole deal is. She never finds a satisfying answer despite of the queen clearly telling her that he is just as much a human of flesh and blood as either of them. The queen often sounds like she's lying when she's telling the truth, as she is now. The mute is completely, entirely human, just somewhat autistic and trans.

[fallstaticexit]

Prev / Next / Beginning

DJ plays- Color Me Badd - I Adore Mi Amor

Transcript under the cut

Geoffrey: Hey! Check out this little guy.

Bob: Probably one of the cats they let in the church to keep the mice out. Wonder what’s he doing all the way out here.

Geoffrey: We can’t leave him out in the cold. It’s starting to get cold soon.

Bob: There’s no way you think we can sneak a cat in the dorms.

Geoffrey: I’m pretty sure people have snuck in worse. Besides, we’re doing an act of kindness, right, little guy?

Bob: Does Nancy like cats?

Geoffrey: [nervously] W-why?

Bob: I saw you two being all cozy at the game the other day. Care to share?

Geoffrey: She was just being nice, that’s all...

Bob: Popular girls aren’t just nice for no reason. Actually...popular girls aren’t nice at all.

Geoffrey: She’s different. She’s still the same Nancy Landgraab I knew when we were kids. Kind. Smart. Um, really pretty...

Bob: Oh, boy. Do you hear yourself! You my friend are in l-o-v-e and you should talk to her! Ask her out!

Geoffrey: Ask you Nancy Landgraab? How do I do that?

Bob: Glad you ask. I am a certified ladies man. You just gotta- you know, talk to her! Listen to her when she talks. Ask about her day. Compliment her brain, not just her looks, trust me.

Don: [snorts] You listen to this dickhead and you’ll never get laid, Osteer. If you want to hook up with Blondie, I can help you out. It’ll cost you, though.

Geoffrey: Like what?

Don: Room swap. It’ll be easier for my girl to come over without getting caught if I have your room. Dina is friends with the hot blonde chick and she’ll put in a good word. Don’t worry, you can tap that before we swap. Deal?

Geoffrey: I don’t know... shouldn’t I get to know her better?

Don: We’re saying the same thing, dumbass! I’ll let you in on a secret; Tonight, a couple of us cool kids are sneaking out to a college party. Blondie will be there, and you two can get your freak on. How’s that?

Geoffrey: I-

Don: Atta boy, Osteer! Don’t dress like a dork virgin either.

Bob: [in a baby voice] I think this is a bad idea, Geoffrey! Yeah, couldn’t have said it better myself, little guy.

-

Geoffrey: Hey, Nancy. Um. Thanks again for helping me the other day. The only thing that’s bruised is my ego, honestly.

Nancy: Yes, of course. I’m glad you’re okay. Sorry about your ego.

Geoffrey: [chuckles] It’s ok, it should be used to this by now. What are you reading? Can I sit with you before class?

Nancy: Yeah, sure.

Vanessa: She has a crush on Geoffrey? Why didn’t she tell me?

Nina: Apparently, they’re childhood sweethearts. We need you to play matchmaker. If anyone can hook them up, it’s you, VV.

Nancy Narrates: [Ever since that night in my room, Vanessa has been noticeable distant from me. The only thing reaching me was that lost, faraway look in her eyes]

Cassie: Guys...I don’t know. What if Sister Agnes decides to do another room check? What am I supposed to say?

Cassie: I’m just gonna say it- I don’t think you should do this. Feels wrong. Lying? I wouldn’t even know what to say if someone asks. Nancy, say something-

Vanessa: Jesus fucking Christ, figure it the fuck out! Come on, Nancy.

-

Geoffrey: Do you want to da-

Nancy: Getting a drink.

Vanessa: Hi.

Nancy: Are you mad at me about something?

Vanessa: Why would I be mad at you?

Nancy: I don’t know..

Vanessa: Put that down and come dance.

DJ plays- Color Me Badd - I Adore Mi Amor

Dream on, dream away I think I'm gonna have to stay Stay forever I adore mi amor

You want to take her place You say you'd treat me better Better I know for sure

You see she loves me And I could never leave her

Nancy Narrates: [There it was, that feeling again. Only this time, I did fall completely apart]

Nancy: [panting]

You're the one that I adore (I adore) I'll be forever your love (mi amor)

[literaryvein-reblogs]

Writing Notes: Point of View

Point of view (POV) - the position from which the events of a story are observed.

The author establishes point of view through the use of characters, dialogue, actions, setting, and events.

Authors rarely speak in their own voices. Instead, they assume a particular persona and adopt a "voice" that enables them to narrate their stories and novels. This voice is called point of view.

4 Common Points of View

1. Omniscient 2. Limited Omniscient:

Major character

Minor character

3. Objective 4. First Person:

Major character

Minor character

OMNISCIENT

The story is told in the third person ("he," "she," "it") by a narrator who knows everything about the characters, actions, and events.

The narrator is able to move in time and place, to shift from character to character, and to reveal or conceal as little or as much as he or she pleases.

This type of narrator is "all knowing."

Example from "Godfather Death:"

"He ought to have remembered his godfather's warning."

The narrator has unlimited knowledge, even knowing the mind of Death, and he comments on and evaluates the doctor as he is dying.

LIMITED OMNISCIENT

The story is also told in the third person, but only from the viewpoint of a single character, whether a major or minor one.

The author selects which character to see through, and the narrator is confined to knowing only the thoughts and actions of that character.

Such a character is the "lens" through which events pass in the story.

Example from Gustave Flaubert's Madame Bovary:

"Charles went upstairs to see the patient. He found him in bed, seating under blankets, his nightcap lying where he had flung it....The fracture was a simple one, without complications of any kind. Charles couldn't have wished for anything easier. Then he recalled his teachers' bedside manner in accident cases, and proceeded to cheer up his patient...."

It is only through Charlie's eyes that readers "see" and learn about the patient.

OBJECTIVE

The story is told in third person, but the narrator does not enter the mind of any character.

The narrator objectively describes events from the outside.

The reader is left to infer the character's inner thoughts and feelings.

The narrator knows which details to use to communicate deep meaning.

Example from Dashiell Hammett's the Maltese Falcon:

"Spade's thick fingers made a cigarette with deliberate care, sifting a measured quantity of tan flakes down into curved paper, spreading the flakes so that they lay equal at the ends with a slight depression in the middle...."

Readers must infer that Spade is deliberate, cool, efficient, and painstaking during a crisis; the author never uses those adjectives to describe Spade.

FIRST PERSON

The story is told in first person ("I"), through the thoughts and feelings of the narrator, not anyone else's.

What reaches the reader is subjective.

So, more important than whether the narrator is a major or minor character is the narrator's reliability.

An unreliable narrator can present a distorted picture of events; a reliable one can render events with accuracy.

Example from Aesop's Ant and the Grasshopper:

"Cold and hungry, I watched the ant tugging over the snow a piece of corn he had stored up last summer. My feelers twitched, and I was conscious of a tic in my left hind leg. Finally I could bear it no longer. 'Please, friend ant,' I asked, 'may I have a bit of your corn?"

Readers only know the thoughts and feelings of the grasshopper. They know nothing about what the ant thinks or how the ant feels.

Determining Point of View

The attitudes and opinions of a narrator aren't necessarily those of the author.

Don't confuse a character with the author.

To determine point of view, ask who the narrator is and what pronoun the author attaches to the narrator.

Also ask yourself what role, if any, the narrator plays.

By using a particular point of view, an author determines how much the narrator reveals about the characters.

If these writing notes help with your poem/story, do tag me. Or send me a link. I'd love to read them!

More: Writing Notes & References ⚜ POV