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[Claire]

I agree with @Lucius, it's a great first story so far. Thank you that you shared it with us. I'm curious to see where you will take the story next.

So unless I missed it, but I think none of the characters in the story have a name. Not our protagonist, no her mother, not her crush nor Daddy of course. It's an interesting choice for a story like this. Why did you make it? Do you want to give the reader the chance to project themselves onto the characters?

[VeraSmithy]

I agree with @Lucius, it's a great first story so far. Thank you that you shared it with us. I'm curious to see where you will take the story next.

So unless I missed it, but I think none of the characters in the story have a name. Not our protagonist, no her mother, not her crush nor Daddy of course. It's an interesting choice for a story like this. Why did you make it? Do you want to give the reader the chance to project themselves onto the characters?

Hi Claire! Thank you for the comment!

So it's definitely a conscious decision I made. There's a couple reasons I have for doing this.

I felt it could give the reader the option to project in the moment. I want the lack of a definitive physical description of both protagonist and predator filled in by the reader's imagination. I dance around anything that can push the reader out of the driver's seat of the experience. I try to supplement the lack of those details with graphic sensory descriptions and insight.

The protagonist does have their own personality and dreams and inner world for now. I do hope that she feels like a person so far despite the lack of a physical description. Because she's more than her body, her mind is what is the most important and potent aspect here and how it responds to the situation.

I tried to take a page from Stephen King in how he writes, especially for his horror stories. He doesn't write about the scary things themselves as much as how the characters feel about them. That's what makes the scary things actually scary. Except I've tried to apply that to smut. So I hope that it's affective for the reader's experience or at least interesting enough to keep the narrative engaging and aroused.

My other intention was to subtly reinforce the worldview of the predator without giving him his own POV. I'm making it a point to not to write from his POV over the saga.

To him, what matters now that she's here is what he is doing and what values he's trying to instill into the protagonist. He doesn't care about who the protagonist is. Her real name is irrelevant to him. Who she was before this moment, her wants, her needs, her dreams, are no longer relevant to him, probably never were.

Her life, her friends, meaningless background noise to him. Her mother was only relevant for her role as a guardian to the protagonist until the predator was ready to abduct her. He is not a character who will change. He is a static character with iron clad resolve and delusionally justified in what he's done and what he will do.

He's not the character meant to change, the protagonist is. Hearing from him would just feel a bit repetitive after a while. That's why I'm not particularly interested in giving him the POV treatment unless there's a lot of demand for it.

I want the readers to experience the protagonist's journey and be able to feel what the protagonist feels and thinks as their mind is broken, their sense of self transformed, their individuality eroded, their own feelings and values inverted and turned inside out.

This isn't a story where who she is or was before her abduction is going to be preserved. She is here to be molded and taught. There is no escape until she becomes the predator's ideal daughter. This is a love story, but the concept of love in this story is absolutely fucked up. And I still feel that doesn't come close to the depravity of what is going to happen in the mind of the protagonist over the series.

Whatever happiness to be found for her is absolutely twisted and warped. I think exploring that journey through her eyes is a more interesting and, to me at least, a more titillating experience.

I do have a whole background for the predator and his psychology. If there's enough interest I will make a post for that, but I will be sprinkling hints of that here and there throughout the series through his dialogue, actions and the protagonist's observations.

[RapeU]

Ordinarily it annoys the absolute shit out of me when a girl calls their lover Daddy. It's asinine.

But in this situation, where the rapist is mentally disturbed to where he insists the protagonist is his daughter, it absolutely works. And it's written in a way that's hot.

[Claire]

Hi Claire! Thank you for the comment!

You're welcome!

I felt it could give the reader the option to project in the moment. I want the lack of a definitive physical description of both protagonist and predator filled in by the reader's imagination. I dance around anything that can push the reader out of the driver's seat of the experience. I try to supplement the lack of those details with graphic sensory descriptions and insight.

Is that a general approach for you or is that specific to this story? I wrote one short story myself where I don't give characters names or descriptions of their appearance, not even their rough age. But for me that is an exception for a specific story, not a general approach.

The protagonist does have their own personality and dreams and inner world for now. I do hope that she feels like a person so far despite the lack of a physical description. Because she's more than her body, her mind is what is the most important and potent aspect here and how it responds to the situation.

For me that works just fine. I'm much more interested in the character and their inner world. I don't need detailed descriptions of what they look like at all.

My other intention was to subtly reinforce the worldview of the predator without giving him his own POV. I'm making it a point to not to write from his POV over the saga.

To him, what matters now that she's here is what he is doing and what values he's trying to instill into the protagonist. He doesn't care about who the protagonist is. Her real name is irrelevant to him. Who she was before this moment, her wants, her needs, her dreams, are no longer relevant to him, probably never were.

Her life, her friends, meaningless background noise to him. Her mother was only relevant for her role as a guardian to the protagonist until the predator was ready to abduct her. He is not a character who will change. He is a static character with iron clad resolve and delusionally justified in what he's done and what he will do.

He's not the character meant to change, the protagonist is. Hearing from him would just feel a bit repetitive after a while. That's why I'm not particularly interested in giving him the POV treatment unless there's a lot of demand for it.

My recommendation would be: Stick to your approach no matter how big reader demand for something becomes. I'm not saying to ignore reader suggestions, but I would include them because they convince me not because a particular request is very vocal.

I like the choice to stick to her POV. I don't know how long you envision the story to be, but the fear of feeling repetitive is there for her POV too if what comes after this is just more and more obedience from her. I think that is the biggest trap to look out for with this kind of story.

Whatever happiness to be found for her is absolutely twisted and warped. I think exploring that journey through her eyes is a more interesting and, to me at least, a more titillating experience.

I'm curious to see how you will go about that. Linking the situation she's in to anything you might call happiness, twisted as it may be, is a daunting task.


Thank you for the detailed response! I love to get some insight into an author's mind like that.