Indeed, this chapter presents Faye as natural in a variety of ways. As in Chapter 11, Faye has a natural childlike quality, begging Tod to help her with her father, making up "little stories" for herself, lying on her bed listening to the radio, buying an ice cream soda. She also seems natural in her genuine, uncritical, and unironic view of her self-presentation. She has no critical distance from the triteness of her stories and is thus unconcerned about the plausibility of her affectations. Her animalistic qualities also seem somewhat natural: she does not respond to or understand complicated verbal cues, such as Tod's roundabout compliment, but she does respond to gestures and body language, such as Tod's move to kiss her.
If Faye were not genuine or natural in her artificiality, she would concern herself with the perceptions her audience had of her. However, the naturalness and simplicity of her artificiality ensures that she remains unconcerned with the way her acting is received. She thus stands as wholly self-sufficient and self-contained. Faye is perfectly happy to remain alone in her room, playing out her stories for herself. She is vaguely interested in making the stories into movies but, unlike Claude Estee, she does not seem concerned with how audiences might respond. Faye is unable to see the backstage workings of her own production, unlike Tod, who correctly guesses that the Tarzan picture on her wall is what inspired her South Sea story. It is this lack of self-reflection that gives Faye the self-contained quality that both attracts and engenders violent feelings in Tod. Faye's naïve enjoyment of her clichéd plotlines lends her an "extraordinary color and mystery" but also gives her the appearance of "trying to run in a swamp." Tod feels an attraction to her "egg- like self-sufficiency" only in the sense that he wants to break it, to break her.
Tod's portrayal of Faye in "The Burning of Los Angeles" suggests an ironic, sinister version of Faye's dreams for herself. She would like to become a famous movie star, pursued attentively by groups of fans, but in Tod's painting she is chased by an angry mob with violent intentions. This portrayal of Faye is again naturally animalistic, as she runs from the crowd just as instinctively as a bird would flee predators. However, the near-smiling, "dreamy" expression Faye wears contrasts with her panicked, straining body—yet another example of an image of the grotesque in The Day of the Locust. This particular image of the grotesque stand as the emblem of Faye's self-contained state, and further invites Tod's violent feelings toward her.