Fifteen minutes later a waiter just comes out like “Uh, who ordered the middle-aged man shrieking ecstatically in German while being pounded in the ass by an enormous Russian?”
And you just have to put your hand up like, “I guess that was me. I, apparently, ordered that.”
(Meanwhile, the cook’s in the back throwing another plate on the counter like “A Red Oni trashcan and a Blue Oni trashcan in a hopeless Foe-Yay spiral, pick it up!”)
This post got recommended on my dash, and I was going to reblog it anyway because the title is such a well-made point about joining a fandom, but then I read the rest and realised that I KNOW THIS MENU. I HAD THE DAMN BUFFET EVERY DAY FOR FIVE YEARS.
They make the best shrieking German I’ve ever had.
My long-standing analogy for why I don’t do fic exchange fests is because my writing brain is like a restaurant called Eats. You know the kind – the sign is half broken, and there’s no real menu. You get whatever I serve that day.
Today’s dish is unrequited love with a side of unreliable narrator. Dessert is store-bought trash of the thing.
Reblogging my own damn post because two people added amazing stuff to it. 😀
Writing and reading fanfic is a masterclass in characterisation.
Consider: in order to successfully write two different “versions” of the same character – let alone ten, or fifty, or a hundred – you have to make an informed judgement about their core personality traits, distinguishing between the results of nature and nurture, and decide how best to replicate those conditions in a new narrative context. The character you produce has to be recognisably congruent with the canonical version, yet distinct enough to fit within a different – perhaps wildly so – story. And you physically can’t accomplish this if the character in question is poorly understood, or viewed as a stereotype, or one-dimensional. Yes, you can still produce the fic, but chances are, if your interest in or knowledge of the character(s) is that shallow, you’re not going to bother in the first place.
Because ficwriters care about nuance, and they especially care about continuity – not just literal continuity, in the sense of corroborating established facts, but the far more important (and yet more frequently neglected) emotional continuity. Too often in film and TV canons in particular, emotional continuity is mistakenly viewed as a synonym for static characterisation, and therefore held anathema: if the character(s) don’t change, then where’s the story? But emotional continuity isn’t anti-change; it’s pro-context. It means showing how the character gets from Point A to Point B as an actual journey, not just dumping them in a new location and yelling Because Reasons! while moving on to the next development. Emotional continuity requires a close reading, not just of the letter of the canon, but its spirit – the beats between the dialogue; the implications never overtly stated, but which must logically occur off-screen. As such, emotional continuity is often the first casualty of canonical forward momentum: when each new TV season demands the creation of a new challenge for the protagonists, regardless of where and how we left them last, then dealing with the consequences of what’s already happened is automatically put on the backburner.
Fanfic does not do this.
Fanfic embraces the gaps in the narrative, the gracenotes in characterisation that the original story glosses, forgets or simply doesn’t find time for. That’s not all it does, of course, but in the context of learning how to write characters, it’s vital, because it teaches ficwriters – and fic readers – the difference between rich and cardboard characters. A rich character is one whose original incarnation is detailed enough that, in order to put them in fanfic, the writer has to consider which elements of their personality are integral to their existence, which clash irreparably with the new setting, and which can be modified to fit, to say nothing of how this adapted version works with other similarly adapted characters. A cardboard character, by contrast, boasts so few original or distinct attributes that the ficwriter has to invent them almost out of whole cloth. Note, please, that attributes are not necessarily synonymous with details in this context: we might know a character’s favourite song and their number of siblings, but if this information gives us no actual insight into them as a person, then it’s only window-dressing. By the same token, we might know very few concrete facts about a character, but still have an incredibly well-developed sense of their personhood on the basis of their actions.
The fact that ficwriters en masse – or even the same ficwriter in different AUs – can produce multiple contradictory yet still fundamentally believable incarnations of the same person is a testament to their understanding of characterisation, emotional continuity and narrative.
So I was reading this rumination on fanfic and I was thinking about something @involuntaryorange once talked to me about, about fanfic being its own genre, and something about this way of thinking really rocked my world? Because for a long time I have thought like a lawyer, and I have defined fanfiction as “fiction using characters that originated elsewhere,” or something like that. And now I feel like…fanfiction has nothing to do with using other people’s characters, it’s just a character-driven *genre* that is so character-driven that it can be more effective to use other people’s characters because then we can really get the impact of the storyteller’s message but I feel like it could also be not using other people’s characters, just a more character-driven story. Like, I feel like my original stuff–the novellas I have up on AO3, the draft I just finished–are probably really fanfiction, even though they’re original, because they’re hitting fanfic beats. And my frustration with getting original stuff published has been, all along, that I’m calling it a genre it really isn’t.
And this is why many people who discover fic stop reading other stuff. Once you find the genre you prefer, you tend to read a lot in that genre. Some people love mysteries, some people love high-fantasy. Saying you love “fic” really means you love this character-driven genre.
So when I hear people be dismissive of fic I used to think, Are they just not reading the good fic? Maybe I need to put the good fic in front of them? But I think it turns out that fanfiction is a genre that is so entirely character-focused that it actually feels weird and different, because most of our fiction is not that character-focused.
It turns out, when I think about it, I am simply a character-based consumer of pop culture. I will read and watch almost anything but the stuff that’s going to stick with me is because I fall for a particular character. This is why once a show falters and disagrees with my view of the character, I can’t just, like, push past it, because the show *was* the character for me.
Right now my big thing is the Juno Steel stories, and I know that they’re doing all this genre stuff and they have mysteries and there’s sci-fi and meanwhile I’m just like, “Okay, whatever, I don’t care about that, JUNO STEEL IS THE BEST AND I WANT TO JUST ROLL AROUND IN HIS SARCASTIC, HILARIOUS, EMOTIONALLY PINING HEAD.” That is the fanfiction-genre fan in me coming out. Someone looking for sci-fi might not care about that, but I’m the type of consumer (and I think most fic-people are) who will spend a week focusing on what one throwaway line might reveal about a character’s state of mind. That’s why so many fics *focus* on those one throwaway lines. That’s what we’re thinking about.
And this is what makes coffee shop AUs so amazing. Like, you take some characters and you stick them in a coffee shop. That’s it. And yet I love every single one of them. Because the focus is entirely on the characters. There is no plot. The plot is they get coffee every day and fall in love. That’s the entire plot. And that’s the perfect fanfic plot. Fanfic plots are almost always like that. Almost always references to other things that clue you in to where the story is going. Think of “friends to lovers” or “enemies to lovers” or “fake relationship,” and you’re like, “Yes. I love those. Give me those,” and you know it’s going to be the same plot, but that’s okay, you’re not reading for the plot. It’s like that Tumblr post that goes around that’s like, “Me starting a fake relationship fic: Ooooh, do you think they’ll fall in love for real????” But you’re not reading for the suspense. Fic frees you up from having to spend effort thinking about the plot. Fic gives your brain space to focus entirely on the characters. And, especially in an age of plot-twist-heavy pop culture, that almost feels like a luxury. “Come in. Spend a little time in this character’s head. SPEND HOURS OF YOUR LIFE READING SO MANY STORIES ABOUT THIS CHARACTER’S HEAD. Until you know them like a friend. Until you know them so well that you miss them when you’re not hanging out with them.”
When that is your story, when the characters become like your friends, it makes sense that you’re freed from plot. It’s like how many people don’t really have a “plot” to hanging out with their friends. There’s this huge obsession with plot, but lives don’t have plots. Lives just happen. We try to shape them into plots later, but that’s just this organizational fiction we’re imposing. Plot doesn’t have to be the raison d’etre of all story-telling, and fic reminds us of that.
Idk, this was a lot of random rambling but I’ve been thinking about it a lot lately.
“fanfiction has nothing to do with using other people’s characters, it’s just a character-driven *genre* that is so character-driven that it can be more effective to use other people’s characters”
yes!!!! I feel like I knew this on some level but I’ve never explicitly thought about it that way. this feels right, yep. Mainstream fiction often seems very dry to me and I think this is why – it tends to skip right over stuff that would be a huge plot arc in a fanfic, if not an entire fanfic in itself. And I’m like, “hey, wait, go back to that. Why are you skipping that? Where’s the story?” But now I think maybe people who don’t like fanfiction are going like, “why is there an entire fanfic about something that could have happened offscreen? Is anything interesting ever going to happen here? Where’s the story?”
Yes! Exactly! This!!!
This crystallized for me when I taught my first class of fanfiction to non-fic-readers and they just kept being like, “But nothing happens. What’s the plot?” and I was so confused, like, “What are you talking about? They fall in love. That’s the plot.” But we were, I think, talking past each other. They kept waiting for some big moment to happen, but for me the point was that the little moments were the big moments.
How is this an amazing cast? There are literally only two actors out of this entire cast that are actually great actors, I have never even heard of the rest of these people.
I feel like you are only saying “Its an amazing cast” Because there are so few white people.
Angela Basset: Academy Award nominee and Golden Globe winner, with enough award nominations/wins to necessitate her own wikipedia page for awards alone. Lupita Nyong’o: Academy Award winner. Chadwick Boseman: Joseph Jefferson Award nominee; already showed his stripes as Black Panther in Captain America: Civil War. Sterling K. Brown: Emmy Award Winner for The People Vs. OJ Simpson and actor in the Golden Globe nominated television show This Is Us Florence Kasumba: Already had a bit part in Captain America: Civil War; was praised by many critics for her one scene being a scene-stealer Forest Whitaker:
^ that’s all from a single movie. Danai Gurira: Tony-award winning writer, plays Michonne on The Walking Dead, one of the most popular series out there today Michael J. Jordan: Featured actor in popular shows like Friday Night Lights, The Wire, and Parenthood in addition to frequent appearances on film. Daniel Kaluuya: The star of Get Out, which currently boasts a 99% rating on Rotten Tomatoes, and has been in the press pretty much constantly upon release. He was also featured in an episode of the acclaimed series Black Mirror. John Kani: An actor, playwright and director; while he hasn’t had as much work in America, he’s prolific enough to have a theatre in Newtown Johannesberg named after him.
Winston Duke and Letitia Wright have fewer credits to their names (the former has a consistent role in the well-received Person of Interest; the latter has been cast in Black Panther and Ready Player One in what is hopefully the beginnings of a bright career), but I don’t mean to belittle their successes by leaving them out, and those who aren’t as well known SHOULD be given a chance by big franchises. Lesser known names tend to get big after starring in Marvel movies. I sure as hell didn’t know who Chris Evans or Chris Hemsworth were prior to their flagship titles.
But even putting aside how important it is that this film is led by black creators, just because you don’t know these people doesn’t mean that they’re not critically acclaimed in their field, who haven’t put in the work. They have, and they’ve been recognized for it. Consider checking out some of their work before you decide whether or not only two of them are great actors.
turning into a swarm of rats mid sentence while talking to someone
debating with your friends what bloodtype a human is based on arbitrary things (ie: “see, he just picked his nose when he thought no one was looking DEFINTELY a type-O” “oh fuck off we both know thats an AB move”)
citing “conservation of mass” as the reason you can turn into one (1) wolf but several rats or bats
Counting The Ceiling Tiles Game, Extreme Version (or, for that matter, ANY counting game, Extreme Version)
holding entire conversations with someone while standing on the ceiling and vehemently avoiding acknowledging or explaining why you are on the ceiling
almost getting yourself killed because you just couldnt stand not knowing what garlic bread tasted like even a second longer
“i need an entire extra closet, just for my eccentric cloaks” “what about your eccentric coats?” “two extra closets-” “what about your eccentric shawls?” “three extra closets-” “what about-” (repeat for as long as your friend can keep coming up with swishy articles of clothing)
feel free to add more
telling knock knock jokes while actually knocking at the door until the owner of the house you are trying to enter gets tired enough to give up and invite you in
looking in the mirror and loudly announcing “oh my god i look AMAZING”
I realised that I was spending all this time trying to think about how to engage women with technology, and I was ignoring the fact they already were. They were essentially already video editors, graphic designers, community managers. They were teaching each other CSS to make their tumblr themes look more gorgeous, and they were using Chrome extensions in anger to make tumblr do what they wanted. These were basically front end developers, social media managers, they were absolutely immersed in technology, every day, and we weren’t paying attention, because they were doing it in service of something we don’t care about.
A really interesting look at fannish engagement with technology. Covers many topics, from the AO3 to fanworks and activism by Larry fans to Pinboard. We know many fans are good at technology, but it’s fascinating to read about it from the perspective of someone whose goals are a) to convince tech companies that (female) fans make great employees, and b) offer those companies concrete pointers on how to attract fans to their job postings.
Jane Austen: The slowburn writer to end all slowburn writers. Has a mild case of purple prose syndrome. Sets you up to think she’s using a really lame trope or cliche, but then pulls the old BITCH U THOUGHT. Gets in fights with commenters who completely miss the point of her work.
William Shakespeare: Where dick jokes meet feels. Recycles old plots that have been in the fandom for years, but always manages to put a new spin on it. That said, he’s better known for good character writing than good plots. Kind of problematic, but people love him anyway. Laughs at and encourages commenters who completely miss the point of his work.
The Brontë Sisters: Their fics get lots of comments but they never reply. They never leave author notes, either. They share an account, and there are talks of a collab fic coming soon. Write fics for OTPs of questionable healthiness and consent. Only ever write darkfic. Like, REALLY dark. …People are getting kind of worried about them.
Edgar Allan Poe: Also only ever writes darkfic, but at this point, people have moved past being worried about him and have just accepted that he’s weird, he’s morbid, and we love him. Channels his feelings about his ex into his writing. It results in really good stories but everyone’s sort of like, “…Dude.”
Charles Dickens: Trying to set the record for highest wordcount on ao3, and it shows.
Victor Hugo: Currently holds the record for highest wordcount on ao3.
Oscar Wilde: Only ever writes M/M. Has a BAD case of purple prose, but it’s worth it if you manage to get through. His stories are either hilarious or soul-crushing. Or somehow both. People love him but know better than to disagree with him publicly, lest he destroy you with one of his infamous subtweets.
L. Frank Baum: Wrote one really well-loved story that’s among the most famous in the fandom, and it’s literally all he’s known for, and it pisses him off. His popular story became a multichap against his will because it’s the only one of his stories anyone actually reads. He keeps trying to end it so he can work on other things, but always ends up coming back.
Arthur Conan Doyle: Feels L. Frank Baum’s pain. SO much.
James Joyce: Has fascinating ideas, but takes forEVER to get to the point in his stories. Also a stoner, and it shows.
Lousia May Alcott: Writes stories for her unpopular OTP (that’s a NOTP for most of the fandom) and breaks up everyone’s favorite ships, mainly out of spite. Also kills everyone’s favorite characters, less so out of spite.
Mary Shelley: Writes incredible stories, but publishes under her boyfriend’s account because she’s banned from ao3. …Again.
A GUIDE FOR YOUNG LADIES ENTERING THE SERVICE OF THE FAIRIES, by Rosamund Hodge
I.
This is the lie they will use to break you: no one else has ever loved this way before.
II.
Choose wisely which court you serve. Light or Dark, Summer or Winter, Seelie or Unseelie: they have many names, but the pith of the choice is this: a poisoned flower or a knife in the dark?
(The difference is less and more than you might think.)
Of course, this is only if you go to them for the granting of a wish: to save your father, sister, lover, dearest friend. If you go to get someone back from them, or—most foolish of all—because you fell in love with one of them, you will have no choice at all. You must go to the ones that chose you.
III.
Be kind to the creature that guards your door. Do not mock its broken, bleeding face.
It will never help you in return. But I assure you, someday you will be glad to know that you were kind to something once.
IV.
Do not be surprised how many other mortal girls are there within the halls. The world is full of wishing and of wanting, and the fairies love to play with human hearts.
You will meet all kinds: the terrified ones, who used all their courage just getting there. The hopeful ones, who think that love or cleverness is enough to get them home. The angry ones, who see only one way out. The cold ones, who are already half-fairy.
I would tell you, Do not try to make friends with any of them, but you will anyway.
V.
Sooner or later (if you serve well, if you do not open the forbidden door and let the monster eat you), they will tell you about the game.
Summer battles Winter, Light battles Dark. This is the law of the world. And on the chessboard of the fairies, White battles Black.
In the glory of this battle, the pieces that are brave and strong may win their heart’s desire.
VI.
You already have forgotten how the mortal sun felt upon your face. You already know the bargain that brought you here was a lie.
If you came to save your sick mother, you fear she is dead already. If you came to free your captive sister, your fear she will be sent to Hell for the next tithe. If you came for love of an elf-knight, you are broken with wanting him, and yet he does not seem to know you.
kototyph 