The Erotic Mind-Control Story Archive

WeaverTech: Fiction to Fact

SYNOPSIS:

The Weaver branches out from the written word and explores other aspects of storytelling. Unbeknownst to the people using it, this magical camera makes what’s acted out in front of it a reality.

AUTHOR’S NOTE:

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DISCLAIMERS:

  • This story is a work of fiction; any apparent resemblance between the characters in this story and any actual persons living or dead is purely coincidental and unintentional.
  • Do not read this story if you are under the age of 18 or if explicit sexual fiction is illegal in your jurisdiction.
  • This story contains mind control and explicit descriptions of a sexual nature. If any of these concepts disturb you, please find something else to read.

This story is a work of erotic fantasy. It is not meant to reflect real life, nor should it be read as an endorsement of the actions and attitudes contained within.

In the beginning, all power came from words.

Entire realities were created and shaped by words.

Stories were the ultimate power and the Weaver, as keeper of stories, was powerful indeed. Not a god, though that confusion would be understandable, but the first people still told stories as acts of fealty unto him.

Of course, the Weaver’s power waned with the advent of mass media — film, then television, then ultimately the internet. He felt particularly vengeful towards “reality television” knowing more than a thing or two about what constitutes “reality.” In order to maintain his power, like all good deities on the decline, he knew had to diversify.

“What if?” Had always been the Weaver’s most powerful tool.

Using this, he explored and exploited the possibilities of the internet, then television.

It was time, finally, for the Weaver to get into the film business.

What if the Weaver crafted a particularly special camera?

A camera that creates reality out of fiction…

* * *

On the chair across from the sofa in their living room, Anthony Hughes watches Kinsley flip through the last few pages of his script. She nods thoughtfully when she finishes and he looks at her expectantly.

“Well?” He asks.

“First off,” she replies, “it’s weird to feel your eyes on me as I read.”

“Okay, in the future, I will not watch. I will go into an altogether different room and watch Netflix instead. Now, what about the script?”

“I don’t know exactly how to say this but… You wrote a role specifically for me, your girlfriend, and she’s a hooker. Your role is a filmmaker, which is what you are in real life. And I play… a hooker? What’s up with that? What are you trying to tell me?”

“You wanted a challenge,” Anthony offers.

“I don’t consider showing my breasts an acting challenge,” she says, dryly.

“That’s not the challenge. Your character, Serenity, is completely different from you. She’s had a difficult life. Really rough. Think Elisabeth Shue in Leaving Las Vegas… and didn’t she win an Oscar? Not sure, but think she did. Anyway, Serenity’s turning tricks because it’s the only thing she thinks she has left for her in her life. Hello, Gravitas. If I made her some manic pixie dream girl, the inspiration she provides the male lead in their moment together seems forced, fake… unearned.”

“Yes. All men are dramatically inspired by breasts.”

Kinsley makes a point of lifting her two B-cup breasts up, one in each hand, for a little showy jostle. Anthony tries to ignore the gesture and move on with the conversation/argument.

“Let’s not focus on the breasts, alright?”

“You’re telling me? I’m not the boy here.”

Slightly annoyed, he continues, “The fact that she doesn’t want to charge him after signals a shift in her existence. For the first time in the longest time, instead of having sex, she makes love. It’s powerful for the both of them.”

Kinsley shrugs. “I’m just saying that I’m less than sold by her journey.”

“As a feminist—“ Anthony starts, but is quickly interrupted by Kinsley.

“No. Men need to stop explaining things away by blanket statements claiming to be feminists. It’s not an argument trump card.”

Anthony is a bit taken back. “Don’t you think I’m a feminist? I’ve been to all of the rallies…”

“If you’re going to keep talking about how you’ve been to rallies, I’m not going to let you come to any more. They’re not confession and they don’t absolve you from past and/or future sin.”

Anthony gets comically serious. “You can’t stop me. You can’t stop the movement.” The feigned serious look on his face makes Kinsley laugh. He continues talking, “Look. If you don’t want the role of Serenity, I can open it up to other actresses. As my girlfriend, and the most talented actress I know, I wanted you to have first dibs. Especially since we’re going to shoot soon because Matty has a line on a cheap camera setup.”

Kinsley gets actually serious. “You are not hardcore making out with and feeling up someone else, buddy. If that was your plan all along, to get to hook up with some rando because you wrote that role for yourself, no dice.”

He laughs. “Okay…”

When she doesn’t waver, he repeats, “…okay…”

“I’ll play your Serenity and I’m going to play the shit out of Serenity. I’m just thinking we should cut away from the sex scene to avoid falling into the trope of the male gaze.”

“I knew I shouldn’t have let you read any of my film theory books…”

Kinsley gets comically serious. “You can’t stop me. You can’t stop the movement.”

“And I wouldn’t want to.” Anthony leans in and kisses her. “Other than that, Mrs. Lincoln, what did you think of the script?”

“Well…”

“What..?”

Kinsley smiles at him.

“Oh god, what..?”

Despite a week’s worth of ongoing notes from his girlfriend challenging the reality of her character, Anthony still manages to push the production forward.

He casts another actor friend, Colton, to play Dirk, Serenity’s unkind pimp.

The entire team — Anthony, his two main costars and Matty, the DP — decide that it’s best to shoot the most awkward scene first to get it out of the way. The scene where Anthony’s character of John makes love to Serenity. They have a moment of true connection, but it’s interrupted by the arrival of her pimp.

In the bedroom of Anthony and Kinsley’s apartment, Anthony talks to Matty about shot selection and lighting while Kinsley and Colton finish up in makeup.

“Tell me about this camera again…”

“It was honestly a miracle we got something this good. It shoots 4K natively,” Matty says.

“So it’ll look good?”

“Dude. It will look great because A. Great camera and B. Me, your awesome DP. It even has state of the art wholistic microphones built in so that you don’t need a sound team, just this baby right here.”

“How’d we get us such a great camera?”

Matty puts a hand on Anthony’s shoulder. “Listen. I work wonders for you, because I believe in this project…”

“Thank you man.”

“…for my reel,” Matty adds.

Anthony laughs. “Right.”

“And since you’re going to be acting, I also dip my toe in the director pool, so I called a friend, who called a friend, who found us this camera. Ta and dah.”

“You know how to work it?”

Matty laughs, then, slightly offended, says, “Do I know how to work it?”

“I asked first.”

“Go learn your lines, filmmaker.” Matty gently caresses the WeaverTech camera. “I got this.”

Anthony goes into the bathroom which has become their cramped makeup staging area. “How’s it going in here?” He asks.

Julie, their makeup girl with the slender frame and rainbow hair, says, “Five more minutes.”

“That’s what you said five minutes ago…” Anthony whines.

“And you keep interrupting my work to ask me questions,” Julie says back with a shark’s smile. “And I need to powder you before you shoot. You’re shiny.”

From somewhere he can’t see, Kinsley asks, “Oh, you nervous babe?”

“Me? No… You?”

“Nah, I got real comfortable once Julie finished powdering my breasts.”

Julie adds, “I’ll tell you what. Height of my career moment, right there, believe me.”

“Thanks,” Kinsley says. “They are nice, right?”

Before the girl talk continues, Anthony pops out and decides to go over his lines in the script one last time before filming. For John, his character, this scene is all about letting go of his past. That’s why the character is making a documentary of his time with the prostitute Serenity… to permanently overcome his fear of intimacy. His unseen, mute brother works the camera because only he understands John’s deep emotional scarring. That was the real reason it was so important to Anthony that Kinsley signed on to play Serenity—they’d had sex with each other for years. Someone new, someone strange—that would have been a distraction. They’re mutual comfort, clothed and naked, assures a good performance on both of their parts.

When Kinsley appears from makeup, she’s looks like a whorish Halloween version of herself. Her makeup is dark and much less natural than the stuff she normally wears. She wears a bright, vibrant tube top, a short skirt, and fishnet stockings—all of which look new and fresh from their packaging. If he had time, if they all had time, he’d have Julie distress them to give them a sense of being lived in, instead of a Halloween costume feel, but he hopes that the lighting and the camera will add to their realism instead.

“Promise you’re not going to leave me out in the hallway too long?”

“I promise,” both Anthony and Matty say simultaneously.

Anthony asks Matty, “You ready?”

“When you are.”

“Okay, Kinsley, go out into the hall. Matty will call action, letting you know the camera is rolling and cueing you to knock. I’ll enter frame when I hear you knock and open the door and let you in. And then the scene continues on from there. Colton, you go out there, too, because we’ll need you to barge in through the door when you hear the line ‘I’ve never not charged someone in my entire life as a prostitute.’ Matty, only call cut if it’s absolutely, one hundred percent necessary. Got it?”

Anthony points at Kinsley and Colton. She says, “Got it,” then they pop out into the hallway, closing the door behind them.

Anthony points at Matty, who looks ready behind the camera. “Got it,” he says with a thumbs up gesture.

Anthony calls out to the rest of the apartment, which is really just Julie the makeup girl. “Let’s make magic, everybody.”

When Matty first turns the camera on, a weird, low-pitched hum emanates from it. As it dwindles away, Matty focusses in on Anthony and, as he does so, Anthony is no longer Anthony. He’s now John. He’s always been John. As his character in the script is very much a Gary Stu proxy for himself, the only real change to him is his name and that, instead of creating a work of fiction, this is now a documentary. As such, Matty no longer has the camera on a tripod and is walking around handheld. That’s not the only change for him, though, as he’s now John’s mute brother.

“Can you believe we’re doing this, Bro?” John asks. He’s so tuned in to his mute brother Matty that he can read the slightest facial movements as if they were a full-on sentence response. “She’s going to be here any minute…”

Out in the hallway, Kinsley starts to grow impatient, waiting for an “action” yell that Matty is no longer capable of giving her. When her frustrations boil over, she decides — to hell with potentially ruining their shot, I’m not going to just stay out here in the hallway dressed like this.

Kinsley doesn’t bother knocking—it’s her apartment, too. There’s a brief moment when the camera isn’t on her when she’s a bit confused. She was sure her boyfriend’s name was Anthony when she was out in the hallway, but now that she’s looking at him, she’s certain his name is John. Definitely John. She doesn’t know how she could be confused over such a simple detail, but none of that matters the moment the camera finds her in its view.

Serenity hopes she’s got the right address. There are two guys in here and one of them has a camera. It’s not the weirdest thing she’s walked into in her line of work, but it’s not the best either.

“Serenity?” John asks the woman who’s entered his apartment. He doesn’t want to jump to conclusions, but the tube top barely keeping her fake tits covered, the short skirt that has an equally hard task at keeping her crotch and ass from display, the torn fishnets, and the heavy smoky makeup all read “hooker” to him.

She cocks a hand on her right hip, shifting to one side, leaving the bottom of her left ass cheek on display through the stockings. “You the John?” She asks.

John snickers. “I’m a John and the John.”

Not as amused as he is, she just says, “Whatever.”

She crosses the room toward the bed, all business. “So… the both of you?”

“No, he’s just here to record.”

“Okay,” she says like that doesn’t phase her, because it doesn’t, and immediately lowers the tube top off her breasts, bringing them fully into view. Her pierced nipples erect and on display.

“Whoa,” John says, “Don’t you want to know why you’re here and why we’re recording it?”

“Not really. You got a kink? So what? You want a blowy or you wanna go straight to the fucking?”

“I feel like we should talk first.”

“Oh,” she says knowingly. “You’re one of those.”

She extends her hand and pulls him down to sit beside her.

She asks, “You been with a hooker before?”

John blushes at the question and immediately blurts out, “No.”

“You been with a woman before?”

John shakes his head no.

“Aren’t you a little old to be a virgin?” She asks with a chuckle and when he immediately recoils, she adds. “Just teasin’ ya to lighten up the mood.”

She takes one of his hands and guides it to her tit. It sits there lifeless until she commands, “Squeeze it.”

John does and smiles, loving having a boob in his hand.

Matty gets in closer to get a good shot of her naked chest.

“Kiss it,” she commands next.

John leans in and starts to kiss her breast. She grips his head to move his mouth to her pierced nipple and whispers, “Suck.”

He goes to town sucking that nipple, licking over and around the barbell piercing, and eliciting a moan from her lips. “Oh, aren’t you a good nipple sucker, Johnny? But you’re wearing too much clothes.”

Serenity unbuttons John’s dress shirt and, once that’s off, she also removes the plain white tee underneath. He immediately looks uncomfortable, so she pulls him closer and starts kissing his neck. Then, she starts to rub his crotch through his jeans. The effect is swift and she can feel his erection grow harder and longer with each stroke as he continues to play with her bosom.

“What do we got here?” She asks, getting a grip on his growing manhood. “Tell you what, Johnny. You show me yours…” She runs a hand down her breasts to her skirt and reaches some fingers up under it. “…and I’ll show you mine.”

Excited, John unbuckles his belt and drops both pants and boxers to the floor, releasing his impressive cock out into the air.

Serenity coos at the sight of it. She thought that, seeing his tentative nature and learning of his inexperience, that he’d be packing some small bit of tackle, but her touch betrayed that idea and her eyes now feast on what would rank in the top ten of her all-time biggest cocks. She pulls a condom from her tiny purse and rolls it down his shaft. He savors the feeling of her hand as she does so. Excited to impale herself on his meat, now that it’s safe and covered, she hoists her tiny skirt up to reveal that her fishnets have a cutout to leave her pussy uncovered and ready to play. She pushes John back onto the bed and then slowly, achingly, lowers herself onto him, feeling him fill her completely. She starts to pick up her rhythm, bucking like a wild mare atop her stallion. In her experience, virgins are quick to blow, but she’s approaching her second orgasm and he shows no signs of stopping.

Luckily for John, Anthony had the foresight (or the sheer amount of ego) to write that despite being a virgin, John is a dynamic lover, with an incredible and impressive dick that no woman could deny, able to hold on to his erection long into a series of mind-blowing orgasms for his prostitute partner. This would actually be the best fucking Anthony and Kinsley ever shared, if they were still Anthony and Kinsley, that is.

“Okay,” Julie says, gathering up her makeup kit. “I didn’t come here to actually make porn and it looks like that’s what you guys are doing, so… I’ll just get a check for my time some other time when you’re not fucking on camera…”

Julie crosses in front of the camera and stops mid-frame. As a crew member, she was not accounted for in the script. The only reference to a woman in this scene was the description of John’s dick which “no woman could deny.” Julie drops her bags on sight of it and climbs into bed with the fucking pair, shedding clothes as she tries to join in. “Let me feel it,” she whimpers hungrily. “I have to have it.”

The girl formerly known as “Julie” is unchanged physically. She already had the rainbow hair and tongue piercing making up her unique look. Her small, perky chest is unaffected by the power of the camera and she forces an erect nipple into John’s mouth even as she tugs off her khakis and boy shorts to reveal a completely shaved pussy. John, lost in the ecstatic moment as well as in Serenity’s tight velvet box, sucks away on it. Formerly Julie groans and grinds her crotch against the fucking pair, desperate for that undeniable cock currently pistoning in and out of the hooker next to her.

“Give it to me,” formerly Julie says, demanding that Serenity share.

Serenity starts to to deny the rainbow-haired girl trying to edge into her territory with her John, but it shifts into her mind-blowing rapture. “No. No. NO. NO! Yes! Yes!! YES!!!”

Colton, wondering why he hasn’t been cued, walks through the door. He sees Anthony //no John… fucking Kinsley // no Serenity… and some other girl who looks briefly familiar // but then not. He tries to sneak over towards Matty to try and see what’s going on, but Matty swings the camera towards the movement he catches out of the corner of his eye. The minute the camera finds him, he becomes Dirk. Tatted and full of toxic masculinity, he knows it’s his job to own every situation.

“Where’s my money? What? You think you don’t gotta pay because you got some fancy pants camera? I don’t work like that. She ain’t a porn star, she’s a whore. You fuck her. You pay me. That’s how it works. End of story. Or… you don’t pay cash and I take it out of you in blood. Either way, I walk away with something for my troubles.”

John struggles to find his beside wallet with two women holding him down and trying to fuck him. “I’ve got money. I’ve got money. No need to do anything physical.”

When he can’t escape the women, he elicits Matty’s help. “Matty. Please… Find my wallet.”

Matty puts his camera down and starts throwing things around the room. He finds John’s pants and fishes a wallet out of it. He pulls all of the cash from inside and hands it to Dirk.

Dirk counts. “Yeah… this is enough for what you’ve already had. If you want more, I’m going to need more.”

John looks at Matty who shrugs.

“That’s all we’ve got,” John says.

“Then that’s all you get,” Dirk says, dragging the still impaled and naked Serenity off the bed by her arm, despite her protests. Formerly Julie immediately and joyfully takes her place.

Serenity gathers her clothes.

John looks after her wistfully. “You have no idea how you’ve opened up my entire world.”

“Call me anytime you want a fuck,” Serenity says, pulling her tube top down.

“If you’ve got the money,” Dirk adds.

Serenity leaves his life and John feels a pang of some great and powerful loss. This feeling is interrupted by the energetic and acrobatic bouncing of the rainbow-haired girl up and down on his dick.

“What’s your name?” He asks her.

“I don’t know,” she says, panting and titillated. “All I know is I want to fuck you forever.”

“Forever? That’s a start…”

John signals to Matty to pick up the camera and keep recording.

His documentary took an unexpected turn with the departure of the prostitute and the arrival of this nameless girl, but, he thinks, that’s just the joy of life. That’s what turned him on about documentaries, after all—documenting real life.