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.
This is such an awesome conversation, but I think there’s
even another layer here that makes ‘fic’ its own genre. And it is the plot.
Everyone who’s experienced in reading fic has their little ‘trope
plots’ we are willing to read or even prefer in order to spend time with our
favorite characters. We know how it’s gonna end and we genuinely don’t care,
because the character is the whole point of why we’re reading. And that is
unique. That’s just not how mainstream media publication does things.
But there are also hundreds of thousands of fics people
might call ‘plot driven’ and they have wonderful, intricate plots that thrill
their readers.
But they’re not at all ‘plot driven’ in the same way as
other mainstream genres.
The thing about ‘plot’ in fic is that it tends to ebb and
flow naturally. There’s not the same high speed, race to the finish you’d get
from a good action movie. There’s no stop and start of side plots you get in TV
genre shows. The best fic plot slides from big event to restful evening to
frantic activity to shared meals and squabbles and back, and it gives equal time and attention and detail to each of these
things.
Like @earlgreytea68 said, “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.”
Fic plot moves at a pace similar to the life of whatever
character it’s about. Not the other way around. There’s a fundamental difference in prioritization in fic.
I think this only adds to the case of ‘fic’ as its own,
distinctive genre. Stylistic choices of writing that would never work in
traditional, mainstream fiction novels work for novel-length fic. Fic
adventures spend as much time fleshing out the little moments between romances
and friendships as they do on that plot twist. The sleepy campground
conversations are as important to the plot as the kidnapped princess, because that’s
how the characters are going to grow together by the end of the story. It’s not
a grace note, it’s not a side episode or an addition or a mention – it’s
integral and equal.
That’s just accepted as fact by fic writers and readers. It’s
expected without any particular mention. And it gives a very unique flavor and
pace to fic that makes a lot of mainstream stories feel like stale, off-brand
wonderbread. They are missing something regular fic readers take for granted
(and it isn’t just the representational differences, because we all know that’s
a whole different conversation). There’s a fundamental difference in how ‘fic’
is written, detailed, and paced that is built on its foundations as a ‘character
driven’ genre.
And it isn’t only action/adventure/mystery plots that have
this difference in fic. Those ‘everybody’s human in today’s world’ AUs, those ‘friends
to lovers’ slow burn stories have it too. They have a plot, but it’s the life –
the grocery shopping, the dumb fights and sudden inescapable emotional blows, those
moments of joy with that person you click with, managing work and family and
seasons – that’s the whole plot on its own.
And that’s almost impossible to explain to someone who hasn’t
really experienced fic as a genre, who’s used to traditional person A and person
B work together/overcome differences/bond to accomplish X. In fic accomplishing
X might be the beginning or the middle, not the end result of the story, and A
& B continue to exist separate from X entirely. X is only relevant because
of how it relates to A & B, not the other way around.
Fic is absolutely its own genre and it has a lot to do with plot. I’ve been calling this ‘organic
plot’ in my head for months, because I knew something felt different about
writing this way, how long fic plot ebbs and grows seemingly on its own
sometimes. ‘Dual plot’ could be another option, maybe, though the character plot and
life experience plots aren’t really separate. Inverted plot? Hm. I’m sure a good term will develop
over time.
OH MY GOODNESS I LOVE THIS.
I was always fond of saying, about my own fics, that my plots show up about two-thirds of the way through, because it takes me that long to figure out where I’m going, and then I would lol about it, because, ha, wouldn’t it be great if I organized it better.
And now I read this and I’m like, WAIT. YES. THAT’S WHAT’S HAPPENING. IT’S BEEN HAPPENING ALL ALONG. I NEVER REALIZED IT. The idea that the primary importance is the throughline of the characters, and that’s what we’re following, and the plot is what’s dangling off the side of their story, that is SO IMPORTANT. You’re right, that usually we’re told as writers to construct stories from the plot outward. “Here are the beats your plot needs to hit, here’s the rising action to the climax to the falling action, now make sure your Character A makes this realization by Point X in order to get your plot into shape for Point Y to click in.” It’s *such* a plot-centric way to write and I am *terrible* at it. And I’ve always said, whenever I sit down to “outline” a story, like, How do you this? How do you know where the characters are going until they tell you where they’re going???
But it’s not that I’m “bad” at this, which is what I’ve always thought, it’s just that I’m coming at it from the opposite angle. I can’t plan the plot before the characters because I’m sticking close to the characters, and the traditional “plot” is secondary to whatever’s going to happen to them. And that’s not a wrong way of writing, it’s just a different way of writing. And it’s wrong of me to be thinking that my stories don’t get a “point” until they’re almost over. THEY’VE HAD THE POINT ALL ALONG. What happens when they’re almost over is that the characters come to where they’ve been going, and then the traditional “plot” is what helps shape the ending. The traditional “plot” becomes, to me, like that epilogue scene after the biggest explosion in an action movie, where you’re told the characters are going to be okay. I spend the entire movie telling you the characters are going to be okay, and then my epilogue scene is tacked on “oh, p.s., also they saved the day.”
There is so much here that I want to say I don’t even know where to begin. @earlgreytea68 you’re not alone. Hit me up. I’ve studied plot and structure forever. Fics are pure, uncut, internal-motivation-drives-everything storytelling and they are so very different from the monomyth that drives most commercial fiction these days that they almost have to exist in a liminal space like fan fiction. I could go on…
LET’S BE FRIENDS.
Hahaha, this is my week to just want to be Tumblr friends with everyone, all the FOB people, all the fluff people, all the fandom anthropology people, LET’S ALL BE FRIENDS.
❤ ❤ ❤
@earlgreytea68 and @glitterandrocketfuel and OP and everyone else who contributed – this is beautiful, and I’m saving it to read and consider again later. probably with a glass of wine or something. ❤
Smart idea. 😉
… oh my God, this is why Frequency (the 2000 movie, not the tv series) is my favourite movie of all time.
It’s focused, absolutely focused, on the characters. On who they are as people. On their emotional journey. The time-portal radio is important only because it allows John to build a relationship with the father who died when he was a small child. The murder case is literally only important to the plot because it affects John’s mother. They don’t save the world. All they want to do is save their family, and to them that IS saving the world. Saving their relationships. John being a less broken person. Frank and Julia living to see their son grow up. THEIR CONVERSATIONS ABOUT BASEBALL ARE REPEATEDLY PIVOTAL TO THE PLOT.
Being an active participant in fandom requires a certain level of self-regulating in order to be a healthy activity. It requires the ability to say “Not for me,” or “Not today,” and walk away.
We can have conversations about patterns we see in fanworks. We can discuss how we portray characters and relationships, how to effectively convey what we want to in writing, how to sensitively approach representations of marginalized characters. But having those conversations productively requires that we approach each other in good faith, and it requires the ability to self-regulate–including recognizing that often there is no hard line, no black and white answer, and we won’t always come to the same conclusions.
It requires an understanding up front that eliminating all fanworks we don’t care for is not the end goal of these conversations.
I’ll give a personal example. There is a ship that deeply, viscerally upsets me in like 95% of its iterations. I can explain why I don’t like it if asked. I’ve written about why I don’t think it’s handled well in canon.
And if I wanted to–if I wanted to–I could make a very convincing-sounding argument for why that ship is objectively bad and wrong and no one should ship it. Not because that’s objectively right, mind you, but because I’m good at arguing. I could slap that together in like… ten minutes, probably.
I don’t do that. If I vent about it on my own blog, it’s as infrequently as I can manage, because I do my best to avoid the content that upsets me. I don’t seek it out to get riled up about it. I don’t seek out content that upsets me, read it in its entirety, and then leave angry comments and send my friends to harass the author. I don’t choose a high-profile writer for the content I don’t like and engage in a targeted campaign of harassment against them all while claiming to be addressing a general problem.
If you are deliberately seeking out content that you know will upset you and reading it anyway and then feeling that you need to take those bad feelings out on the creator, you are not taking care of yourself. You are not engaging in healthy behavior or productive coping mechanisms. You are not keeping yourself safe, and you are not helping to make fandom safer for others. You are not engaging in good faith.
If you find that you do this and you can’t seem to stop, you may need to take some kind of further steps up to and including taking a break from fandom. I’m serious. I’ve taken breaks myself for that exact reason. There’s no shame in it.
Please monitor your own ability to self-regulate. Please actively evaluate whether or not you are engaging in healthy and productive behavior, for yourself and for others.
If you are deliberately seeking out content that you know will upset you and reading it anyway and then feeling that you need to take those bad feelings out on the creator, you are not taking care of yourself.
So apparently round umpty-zillion of “people are killing fandom by not commenting” is going around, and I’ve seen a few posts trashing people for lurking/viewing/reading instead of actively participating.
My journal and my fic has always been a lurker-friendly zone. I think lurkers are great and people can fight me on this. Here’s why:
We all started out as lurkers. Or at least most of us did. Come on. I’m sure some people out there must’ve jumped into fandom with both feet and started writing and commenting right away, and good for you if you did! But I sure didn’t. I lurked for YEARS. And even now, though I’ve been in fandom since before Y2K, whenever I get into a new fandom or a new social media platform, I still lurk. I hang out around the fringes for awhile to get a feeling for the place before starting to participate. Back in the mailing list/bulletin board days, it was usually recommended that people do that on purpose, watch and listen and learn the local lingo and social rules before diving in. So you know what? You are not doing anything wrong and you are not doing anything that most of the people you see out there commenting and creating and reccing things haven’t done themselves.
We all have lurker days, weeks, months …. Nobody is 100% “on” all the time. Participating in fandom (commenting, reccing, creating content, and so forth) is WORK. It may be fun work, but it still takes effort! Even if you’re sometimes very active in fandom, then you’ll have life fall on your head or the brain weasels flare up, and you won’t have the time and energy to give. Don’t feel guilty about not being able to give fandom your extra spoons. No one in fandom has a right to demand a single spoon from you that you don’t want to give.
Some of today’s lurkers may be your friends tomorrow. How do I know this? Because I’ve made friends with some of them myself! I’ve had people delurk in my comments to say hi after YEARS of reading my fanfic without saying a word. Which I am totally okay with, by the way. And some of these people are good friends today.
So, in conclusion:
It is okay to feel too shy to come out of lurkerhood in fandom until you feel more comfortable there. It is fine, in fact, if you never do.
It is okay to be too busy and have too few spoons to comment or create stuff. You still have a perfect right to be in fandom and read and reblog whatever you want.
It is okay if you meant to comment on that fic or go back and press the kudos button but never got around to it.
It is okay if you have too many accounts already and don’t want to create a new one just to comment/participate on a social media platform.
It is okay if your personal situation (a stalker ex, controlling parents) makes it unsafe for you to create an account or comment on things.
It is okay if you can’t or don’t want to comment or do any of the other things that constitute non-lurkerhood, and you don’t owe anyone an explanation for why.
IT IS OKAY TO BE A LURKER.
This post is a good way to balance a lot of the “COMMENT ON FIC COMMENT COMMENT COMMENT” stuff that I post here. Content creators will always be happy to receive comments, and comments do in fact breed more content but… sometimes you can’t, and you aren’t obligated to. It’s fine to passively enjoy content for whatever reason.
I spent the entirety of my hp fandom days lurking while in a major depression. Lurk away, friendos. You owe nothing here. 💟
I don’t think there’s an applause gif big enough to properly convey my reaction to this.
Also, I love that if anyone tries to say that you’re just “another hack fic writer with no ideas of her own who is jealous of the “real” writers out there”, they could quite literally be crushed under your catalog of award-winning original writing as a response. They can’t dismiss your stance on this topic the way they do to so many unpublished / fanfic writers because you’ve already met all of the standards that they insist someone has before they’ll accept their opinion as worth listening to.
Right?
“Well, fanfic authors never win awards, so–” “WOULD YOU LIKE TO HOLD MY HUGO.” “That’s basically, it’s, you know, the People’s Choice, so–” “LOOK AT MY NEBULA.” “That’s a science fiction award, it doesn’t really–” “LOOK I’VE WON THE ALEX.” “…” “IT’S GIVEN BY THE SAME PEOPLE WHO GIVE THE NEWBURY.” “…” “I’M THE FIRST PERSON TO WIN IT TWICE IN A ROW.” “…well you wrote porn.” “GOSH I SURE DID.”
More attention to this, please. 🙂 From yet another of the I Wrote Fanfic First And I Decline To Feel Shame About It brigade.
(And I also wrote for My Little Pony, which means I may have inadvertently contributed something to Seanan’s state of being. [Which I will file under the “Quiet Unholy Glee” heading.])
Freaking love this scene. Really begs the question of just how strong Peter was before the fire/alpha/death/resurrection fiasco, and how much stronger he is now….
For one, he survived the fire. Out of Laura, Derek, and Cora, he was the only one who actually got caught in the blaze, and had to be hospitalized. Meanwhile all the other beta wolves stuck in the house didn’t make it. Granted, it put him out of commission for 6 years, but Peter was strong enough or fortunate enough to survive something like that.
Also, as an Alpha he was able to turn at least partially into a real wolf, an ability only Talia and Laura possessed (and Derek got it waaaaay later, off some b.s. S04 Kate mumbo jumbo). Even though he was more than half out of his mind, he still managed to pull that off. (And personally Peter’s alpha form is my favorite; it’s the only authentic/classic werewolf form on this whole stupid show.)
After that, he is the only character on this show to have died and deliberately orchestrated a way to make himself come back from the dead. Everyone else either wasn’t really dead or “evolved” or had weird longevity powers or whatever.
He fought off Berserkers and tore The Mute Man to freaking shreds, even though the guy was some bio-engineered special ops assassin. Then Peter commenced to nearly dishragging Scott’s True Alpha fuzzy butt, even though he was supposedly a still-recovering Omega werewolf with no pack.
Despite being burned alive for the third time in a freaking row and being erased twice, Peter came back just fine, kicking the tar out of the Ghost Riders.
What doesn’t kill you makes you stronger…..
Something tells me that in 6B there will be a final reckoning with Peter and Scott, as well as possibly one with Peter and Kate – unless Derek’s got that covered. (Biting my nails hoping Peter and Chris don’t fight again, over that whole sewer scene.) I just need this show to make up its mind already on whether or not Peter is a reluctant ally/ally-adjacent, antihero, heel/turn, main foil, or full-blown villain.
Honestly, I want him to become an Alpha again and take care of the remaining Hales and be a good uncle.
Queer Fiction Writer 