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LJCC

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About LJCC

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    Action/Adventure
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    Fantasy
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    Happily married to my couch, my gym, and my cat. I'm gonna die alone.
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    Underground sunk in River Thames.
  • Interests
    I'm glad you asked cause I have many. My first one is eating. Then my next one's lifting weights. My third one is showering. And my last one is, putting on a shirt. My other one is brushing my hair.

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  1. When you're writing with 1st person POV, you're writing with blinders on. You only have one path of sight, which is the 180' degree at which your character's line of sight can see. If your narrator looks straight ahead, those are the things you can describe. If N slightly angles their view to their left and right, it's the extent of how you can describe things. In no way can the narrator elaborate on the things he cannot see. If he does describe them, it would be things that had already happened in the past based on the extent of how he'd acquired such knowledge. For example, behind the narrator is a church. He could say: Martha, my gossipy neighbor, told me about a robbery at the Cathedral Square last week. He wouldn't have an idea that the same robbers that attempted to rob the church would be robbing the place again as he's walking through the town because it's literally behind him. So, putting words in the mouth of your narrator's son literally pertains to that emotion from the narrator's perspective because, as a rule with first-person POV, unless the narrator can read minds, the narrator wouldn't know other people's truths apart from their version of how he/she would explain things. UNLESS those around him have some one-on-one time and tell him whatever they're feeling. This leads to the question of: Are these characters telling him what they're really feeling, or are they just saying what the narrator wants to hear? Are they lying or being truthful? And yes, you can surmise, BASED on WHATEVER your character sees (eye roll, smirk, side eye). Because whatever explanation your narrator creates for the people around him is an opinion formed on his own. He can interpret the eye roll as an attempt to question authority, a typical teenage way of dismissing things, a disparaging remark on whatever he did, or he can describe it and not think about it while still putting it in the story because you want the readers to think he doesn't think about the eye roll, but in fact, it's an intricate emotion leading to his son not having respect, and it bothers him (SUBTEXT). It can be as simple and complex as that, with him interpreting one single gesture.
  2. It's 1st person POV. Anything the narrator says is formed from the narrator's opinions. That's why 1st person POV is inherently unreliable because you're assuming that the narrator doesn't know everything. Unless the narrator explicitly states like, "[Son] said he didn't like his weekends with me," or indirectly, "His [Mother] pointed out how I kept buying the wrong cereal brand. Was I such a shitty father that my own son kept tattling on me?" As for this: I know he’s waiting for me to say something, to open up, How did the narrator know what the son was thinking? I don't know the son's age, but children tend to not be reliable conversationalists with their emotions since they are, after all, children. Unless the son spoke to the father outright, the reader would assume whatever the father was saying was directly coming from his own insights. If it went like this: I know he told his mother that I'm barely saying anything to open up, but… what’s the point? If it's a third-person POV, it could go like this: "[Son] hinted, through a series of eye gestures, eye rolls, and dismissive nods, when his mother had asked how his father was, that the entire weekend was inexplicably fraught with silence, a shrug, and his father excusing himself to lollygag at his beloved shed. [Son's] weekend was met with abject displeasure that his father still remembers the shit he did, one shitty thing at a time—as expected. And that got the teen frowning at his mother. Stealing your father's credit card to purchase concert tickets will surely elicit any parent's greatest arsenal, the silent treatment."
  3. This is the start of the story, basically. After I finish book 3, what I wrote here may or may not change (just the details.) But yeah, this is literally the start of the story. I might continue that or restart another Cop story about Angels and Demons once I finish this. But yeah, that is after I finish this. lol.
  4. LJCC

    BOOK 1 - SCENE 1

    Thanks for the support mate. Give me six months more to finish everything. I'm currently writing the last sequel to this trilogy. Fingers crossed it'd be up before July.
  5. Those are very kind words.
  6. I'm a hundred percent sure you'll fall in love with them. 😂 Also, the goal is to get the audience horned up and emotionally invested. So imagine yourself wanking off while crying. This is basically what this story is. I'm kidding. Haha. Anyway, I just need to write around 80k+ words to finally finish the last installment before I publish the rest of the series. It's still an uphill climb but it's getting there.
  7. PRESENT DAY, NEW YORK (THE PROLOGUE) Spring arrived like an unexpected letter, its contents tinted with the promise of change. The first warm day in New York carried a weight Californians couldn’t fathom. Their sun, endless and thoughtless, was no match for the earned light of the East—a light that knew scarcity, that thawed not just the skin but the moods of winter. Greenwich Village swarmed with rollerbladers, their wheels whispering over the pavement like dragonfly wings. In W
  8. LJCC

    BOOK 1 - SCENE 1

    Wait for the finished product months from now. 🤣 I assure you, you shall be surprised. Cause I changed a lot. Lol. And as for you, MISTER... Please finish your story now, because I want to read it.
  9. Like with your question: Other than their actions and their words, how would YOU show what another character is thinking while being limited to the main character's overall point of view? By describing things, really. Context and subcontext are the keys to every situation. Subcontext is probably the most important part of storytelling you'd have to insert in everything you write. Without it, its like eating a sugarless cereal. The story would taste very bland. In-your-face writing is literally the opposite of fiction writing. It's like reading a news report. So to successfully hide whatever intention you have with your characters, you have to hide them in a subcontext that the readers will subtly understand. Some writers will directly hint at what the subcontext is (like in this sample), and some will hide it in their graves. This is a very short prompt I made to, hopefully (if it makes sense), give my answer to your question: SETTING: Context: William is showing his apparent 'fiance' to the guy he slept with last night. A fellow spy. Subcontext: Roger is doubting himself if William truly feels nothing about what they've shared together the night before. The CIA agent feels there's something more. He's also doubting if the fiance is his real fiance. “Well, this is my fiancé,” Damien said, smug as a cat dragging in a half-dead mouse. He turned to face Roger, his expression all polish and ice, heartless, soulless. Roger felt the contrarian demons stir inside him, their claws in his guts, pulling him toward what he shouldn’t feel, shouldn’t want—but did, and did deeply. He knew his feelings for Damien, and he knew Damien's duty. Knew, too, what he himself could give, which was less than nothing when the CIA had its iron hand on his leash. And yet, last night—goddamn it—last night had happened. He had let passion, real passion, take the wheel, knowing full well that today Damien would be boarding a plane back to London, back to MI6. Back to the interrogators, with their sharp questions and sharper eyes. If he wasn’t pitch-perfect, it would be his fault because he hadn’t said no to William last night Romantic, cold-effacing, heartless Brits. That’s what Damien was—wasn’t he? Or was he just a full-frontal asshole of an American to expect something? He wanted some version of romance, sure, but they were both intelligence officers. No room for distractions. No room for...this. And yet. Damien looked at him now, the look of someone who had already filed everything away in a locked box. Roger saw it. He saw the purple shadows pooling around his shoulders like bruises. Whatever connection they’d shared last night was gone, replaced by duty and steel. And now, as if the whole moment weren’t absurd enough, Damien was introducing him to this spineless twig of a man—this toothpick masquerading as a person—who was, apparently, William’s fiancé. The words floated, as pompous and self-satisfied as Damien’s tone. Roger swallowed down everything he couldn’t say and told himself, not for the first time, that what happened last night was for nothing. Or was it really for nothing? Because for certain, he'll be thinking of William till the end of his days. Fuck it, he thought. I have to stop his flight, was his convincing tirade in his mind. I'll blow up the plane if I have to.
  10. LJCC

    Chapter 1

    I rarely, or never comment on unfinished stories, but good God, the descriptive texts are delightful. You know your shit, I might say. You just need an editor. Some sentences are wonkily placed. With some tweaks here and there, this piece of story would be up there.
  11. YouTube knows you gay boy. It's time to come out. Also, if I'm filming something like a naked touchy-feely scene with a woman and I'm getting a boner, I may be straight. *glares at Taylor Zahkar-Perez* Just saying...
  12. Now I want to read this. I'm a masochist.
  13. William Shatner wrote a book? HAHAHAHAHA. Wiki says: TekWar is a series of science fiction novels created by Canadian actor William Shatner, ghost-written by American writer Ron Goulart... Uhuh. Makes sense now. 😂
  14. My story's also been featured: (Commercial incoming) Nearly a year later, I still haven't finished my story, The Third Longest Date. Haha.
  15. Dress like a computer. After dinner, say, "Encode me." I'm sure he'll start programming you. A 100%.
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