ffwriteradvisor

[ffwriteradvisor]

if you're worried about the new ToS for AO3, please remember that you are primed to distrust because of the way politics are intertwining with the internet right now. remember to look into definitions yourself, fact check, and look through the logic lense before jumping to conclusions.

AFAIK right now, the update clarifies terms that have already existed. it's not changing as much as it is clarity-rewriting. i'm still looking through the legalese (law student, i'm learning as I go) and I will be checking in again later, but don't despair.

however, don't get lax. download fics, connect with the authors, build out your communities. comment and bookmark and save, and please don't stop writing.

[ffwriteradvisor]

some of the best writing advice I’ve ever received: always put the punch line at the end of the sentence.

it doesn’t have to be a “punch line” as in the end of a joke. It could be the part that punches you in the gut. The most exciting, juicy, shocking info goes at the end of the sentence. Two different examples that show the difference it makes:

doing it wrong:

She saw her brother’s dead body when she caught the smell of something rotting, thought it was coming from the fridge, and followed it into the kitchen.

doing it right:

Catching the smell of something rotten wafting from the kitchen—probably from the fridge, she thought—she followed the smell into the kitchen, and saw her brother’s dead body.

Periods are where you stop to process the sentence. Put the dead body at the start of the sentence and by the time you reach the end of the sentence, you’ve piled a whole kitchen and a weird fridge smell on top of it, and THEN you have to process the body, and it’s buried so much it barely has an impact. Put the dead body at the end, and it’s like an emotional exclamation point. Everything’s normal and then BAM, her brother’s dead.

This rule doesn’t just apply to sentences: structuring lists or paragraphs like this, by putting the important info at the end, increases their punch too. It’s why in tropes like Arson, Murder, and Jaywalking or Bread, Eggs, Milk, Squick, the odd item out comes at the end of the list.

Subverting this rule can also be used to manipulate reader’s emotional reactions or tell them how shocking they SHOULD find a piece of information in the context of a story. For example, a more conventional sentence that follows this rule:

She opened the pantry door, looking for a jar of grape jelly, but the view of the shelves was blocked by a ghost.

Oh! There’s a ghost! That’s shocking! Probably the character in our sentence doesn’t even care about the jelly anymore because the spirit of a dead person has suddenly appeared inside her pantry, and that’s obviously a much higher priority. But, subvert the rule:

She opened the pantry door, found a ghost blocking her view of the shelves, and couldn’t see past it to where the grape jelly was supposed to be.

Because the ghost is in the middle of the sentence, it’s presented like it’s a mere shelf-blocking pest, and thus less important than the REAL goal of this sentence: the grape jelly. The ghost is diminished, and now you get the impression that the character is probably not too surprised by ghosts in her pantry. Maybe it lives there. Maybe she sees a dozen ghosts a day. In any case, it’s not a big deal. Even though both sentences convey the exact same information, they set up the reader to regard the presence of ghosts very differently in this story.

[ffwriteradvisor]

Hot take: Actual literary analysis requires at least as much skill as writing itself, with less obvious measures of whether or not you’re shit at it, and nobody is allowed to do any more god damn litcrit until they learn what the terms “show, don’t tell” and “pacing” mean.

[ffwriteradvisor]

Okay, you know what? After reading this post, I jokingly said we should all just make a pact to reblog it five times a day forever. So I'm gonna do this louder for the people in the back:

AO3 WAS CREATED BY FANS, FOR FANS

AO3 IS RUN BY FANS (VOLUNTEERS, NO LESS)

AO3 IS PART OF THE NON-PROFIT, ORGANIZATION FOR TRANSFORMATIVE WORKS

AO3 IS NOT OWNED BY ANY COMPANIES AND DOES NOT EARN REVENUE

AO3 OPERATES ON DONATIONS FROM FANS

again:

AO3 WAS CREATED BY FANS, FOR FANS

[ffwriteradvisor]

u can call ur skull-head deer oc literally anything else u don't even have to change the design

[ffwriteradvisor]

Wouldn’t my writing be worse off if I forced in elements like diversity?

If you are asking this question, you have yet to challenge the “default” of your culture’s media. Consider that the majority of modern Western media fill their casts with white men, and when there are women or POC, they stick out conspicuously. Many people view adding diversity as tweaking some white man characters by toggling race or gender. But this assumes that “white man” is some default, standard character template.

If you feel pressured to include diversity in your writing, distance yourself from this pressure and ask yourself why you feel it. If you feel attacked when seeing campaigns for more diversity or criticism of all-white, uninclusive media, sit with the discomfort and ask yourself why those who are different from you say they need diverse media.

These are people whose voices and faces are rarely visible in entertainment. Despite this, they enjoy an adventure as much as anyone, and have become accustomed to projecting onto white characters. Yet, when the reverse is asked of white audiences to acknowledge protagonists of color, it becomes a difficult ask. These character choices are immediately questioned, discredited, fought against, and accused of being “woke” or “unrelatable.”

This resistance reflects a larger issue: the imbalance between audiences’ empathy towards the majority/“default” and empathy towards those perceived as Other.

By mostly reading about white people, they become easier to relate to. By the same token, if we are not reading media and histories from the perspective of POC, we end up with more people who literally fail to relate to POC. When we talk about hope-deficits, increased alienation and lower self-worth among marginalized populations, underrepresentation in media is a big factor. Imagine for a moment: never the beautiful princess in the tower, never the badass hero riding dragons; always the two-second sidekick.

People of color are people and want to be seen and treated as such. Not as a burden to devote your time to, but people who have a place in the world, fictional or no. Really, writing a world in your story that is all or mostly white is more unrealistic, more forced—after all, there are far more non-white people on Earth. Becoming comfortable with diversity requires unlearning White as the Default and POC as the Other. It takes setting aside feelings of pressure to emphasize, open your heart and listen.

Further Reading:

“Diversity has gone too far!”

Diversity is for everyone.

Children and the Myth of Colorblind Youth

Those who read about aliens learn to emphasize with aliens. Those who read about wizards empathize with wizards.

---

This Q&A is an excerpt from our General FAQ for Newcomers, which can be found in our new Masterpost of rules and FAQs. If you liked this post, we have more recommended reading there!

-Writing With Color

[ffwriteradvisor]

Writing Notes: Exploring your Setting

(Excerpted from the Young Novelist Workbook)

PART 1: Settings That Create Moods

Mood - the feeling of your novel; its emotional quality.

You can also think of the mood as how you want someone to feel while reading your novel. 

Examples: playful, serious, mysterious, tense, warm, dangerous, joyous

The setting of a novel - where and when the story takes place. As you know, most novels have more than one setting.

Usually, the author decides to have one large setting.

Example: Los Angeles in 1995

and then many smaller settings

Examples: The laundromat where the characters hang out on the weekends, or the classroom where they get in a fight

Settings do more than serve as a backdrop to the action in your novel. They can also create or enhance the mood of your novel. 

Example

If you wanted to create a creepy mood for a scene in your novel, you could start with something like: 

"A dead tree stood alone in a dark field. Its branches creaked in a cold wind, and in the distance, something howled.”

These images remind us of dark, disturbing things, and show the reader that the scene of the novel is “creepy” without having to tell them directly.

Describing the Setting: A Sample Exercise

Describe the settings that would help create each of the moods listed below.

Try to write 2 or 3 sentences for each mood.

Include specific details about the sights, sounds, sensations (and maybe even smells) of the settings you choose:

Creepy, Joyous, Suspenseful/tense

Now make up 2-3 of your own moods and describe a setting that would go along with each one. 

The last step is to apply your new skills to your upcoming novel.

Think of a scene from each section of your novel.

Then, write or list details to describe a setting that will help create the right mood for each scene.

Example: You might set your climax on the edge of a crumbling cliff at sunset in the middle of a thunderstorm. 

A setting from your set-up:

A setting from your inciting incident:

A setting from your rising action:

A setting from your climax:

A setting from your falling action:

A setting from your resolution:

Now you have settings to enhance the different moods that will be in your novel.

PART 2: Settings That Reinforce Characters

Another advanced writing trick is to show things about your characters just by putting them in specific settings.

Examples: If you were writing about a mysterious person, you might place them in a dark mansion on a hill outside of town; if you were writing about a musician, you might place them in a messy room filled with instruments, speakers, and microphones.

Sample Exercise

For each of the following characters, try to come up with a setting that will reflect or reinforce what you imagine about them.

As you write, try to be as detailed as possible.

Don’t forget colors, sounds, and even smells.

Focus on where the character is.

The shy new kid in town:

A secret scientist superhero:

A character from your novel:

Another character from your novel:

Source

[ffwriteradvisor]

I just got an ask about a Native spirit that many Natives have asked monsterfuckers to not use.

It starts with a W.

People from the culture it’s from do not say its name because in their culture, saying the name summons the spirit. Out of respect for my friends from that culture, I do not say/type the name either.

I would kindly ask you not put that creature in my ask box in the future. I know the person that submitted it likely didn’t know so there’s no hard feelings. It’s alright. I’m not upset.

I’m not really the best person to educate folks on this topic and I wish I had some resources on why that’s not a good thing for non-Native people to use for their fiction.

I’m sure even my wording here isn’t great. I know the spirit is from a specific Native culture (there’s a lot of them, for those that didn’t know lol) and I can’t remember which one(s) and my brain is still fuzzy from being sick.

So if any of my followers are familiar with this issue, please feel free to share the info of why this isn’t good.

Again, I understand the person that sent the ask likely didn’t know all this. I’m not upset. I just think it’s worth mentioning.

[ffwriteradvisor]

DONT BE AFRAID TO COMMENT ON OLD FICS DONT BE AFRAID TO COMMENT ON FICS IN A FANDOM THE AUTHOR MAY NO LONGER BE ACTIVE IN. IF THE STORY IS STILL UP LET THEM KNOW YOUR THOUGHTS IT MIGHT JUST BE THE REMINDER THAT MAKES THEIR DAY.

SINCERELY SOMEONE WHO JUST GOT A REPLY THAT MADE ME WANNA MAKE THIS POST

[ffwriteradvisor]

On Writing Characters with Hyper-Specific Triggers (and a PSA)

*Trigger warning for this whole post

Once upon a time, I had a roommate. Nothing looked wrong from the outside and this narcissist probably thought nothing was wrong on the inside, but there was. I knew moving in with them was a mistake, but financial circumstances demanded I shut up and try to make the most of it. Enter the longest thirteen months of aPTSD-inducing psychological stalemate I hope to never repeat again. Seven of which were on overdrive.

The why doesn’t matter. The how doesn’t matter. What matters is that this roommate was so toxic, there was no point in attempting to talk things out because any little thing could be a land mine for starting an argument and it didn’t matter what casualties got caught in the crossfire, so long as this person “won”. Casualties including our friendship. So if any little thing, anything at all, could be a land mind, what do you do if not try to completely avoid them? For seven months.

This person’s work schedule was incredibly erratic, but they were gone more hours than not, and when they were home, they were usually asleep. In those few overlapping hours where we were both awake, I could not leave my room for fear of said verbal land mines. If I wanted to cook, leave the apartment, get anything from the living room or my desk that I had to abandon, get more water from the fridge, I had to do it before they got home, or after they went to bed, and I could never predict when they’d be home.

Luckily (or unluckily), my room faced the parking lot, and this roommate drove a car that made a very specific sound. From the moment I heard that car from my room, I had about 20 seconds to shut down whatever I was doing in the apartment, retreat to my room, and lock the door. Overreacting? Potentially, I wasn’t in any physical danger, but this was seven months of near complete isolation from any other friends, and the fear of making it worse kept me silent.

So, 20 seconds from the moment I hear the telltale whine of that engine. If I couldn’t hear the car, our front door had a lock that chimes and I had about 7 seconds from the first chime to the door opening to get the fuck out of the way. I lost weight that I couldn’t afford to lose from being unable to cook past a certain time in the evening and staying locked in my room on their days off.

Seven months of only having a door chime and an engine to tell me when it was safe and when I had to run.

—

These chime locks are the new normal and one year removed from that apartment, every time I hear it and I’m already stressed, it’s a trigger.

Every time I’m on the highway and I see a dark grey sedan of that make, that is the most important car on the road until I make sure it’s not their car.

Every time I see a dark grey sedan parked in reverse, as they habitually did, that is the most important car in the parking lot until I make sure it’s not theirs.

Every time I have to drive near a certain location where they work, I am watching for that car.

I could pick it out from 200 others. I know the license plate, I know the license plate frame, I know what sticks to the windshield, I know what hangs from the rearview mirror. I would know that car rusted and crushed in an impound lot.

So. Today I drive home and I pass a rear-parked car one turn before my unit, and I think to myself, “that’s not X’s car, but I noticed it, I’m never not going to notice it.” It wasn’t the same make, model, or color, it was just a sedan with its nose sticking out and that was enough.

Then I turn the corner. And there it is. My ex-roommate’s car.

I shit you not it was like I had a warning from the Universe before it hit.

I don’t need to check the windshield, I know it’s theirs. I’ve seen it in my complex once before. The last time I did, I’d parked my own car and waited, got out, and hid between two others in the dark, waiting for this person to leave.

Today, in broad daylight, that car is empty. They happened to arrive while I was gone for 30 minutes. So I park, and I wait. I watch that car from my side mirror. I scan the sidewalk for them and I don’t see anything. I have frozens that can’t wait.

I’m thinking to myself, of all the parking spots in all the parking lots, of all the apartments in this godforsaken town, you parked right behind my spot.

Nothing happened, and even if we crossed paths, nothing probably would have happened (that’s how they worked, pretending nothing was ever wrong and that I was the crazy one). But I still waited, and when I decided to leave, I moved as fast as possible without drawing attention. One whole year removed from that person.

—

It doesn’t take physical abuse, or yelling and screaming and death threats. It doesn’t need to be a parent or a sibling, a relative, or a romantic partner. This person never touched me, never screamed (though they did yell on occasion), never actually threatened anything. They never called me names, were never direct with any of their insults, were never explicitly petty. I had no proof. Ever.

I just had example after example of every time they cut me down to feel smart, picked on me to feel better about themselves and project their own insecurities and jealousy, or used me as their emotional punching bag because of choices they made.

So a year after completely cutting them out, there’s that fucking car parked outside my apartment.

Media portrays “triggers” usually only in characters who are veterans. Noises that sound like gunshots, or thunder, fireworks, because that’s what we think of when we see PTSD—people who fought in wars.

It’s not like I sit around fixating on that car or that door chime (and actually with exposure to that chime every day with no consequences it’s gotten better), but that’s the point. They come out of nowhere when you least expect it. They don’t prepare you for their arrival, they just happen.

I didn’t have anything close to a panic attack, but nothing in the universe was more important in that moment than making sure I didn’t run into this person, until I calmed down.

Trigger attacks don’t have to be this big flashy thing, born of big flashy movements. It can be something as subdued as going quiet, staring at the thing, and your brain dumping everything else except all the potential outcomes of not escaping this situation immediately. It’s just a car. It’s not like an evil Big Dick truck with smokestacks and truck nuts and a MAGA flag on the back. It’s just a nerdy sedan that could belong to anyone.

—

So. PSA.

What you think might be an overreaction by someone you care about, they probably think is an overreaction, too. Did I want to have fate shit on my day and spend extra minutes under the hot sun when I have chores to do? No. But it happened.

What you think a trigger is supposed to look like or what the symptoms are supposed to be are not just what’s dramatic and flashy for the TV. Here I am writing a whole blog post about it instead of just moving on and I can't go back and check for typos because I don't want to have to reread it.

Do you want to die on a hill of “get over it” when someone you care about would love nothing more? Just. Be there for them.

And to writers, artists, anyone—it doesn’t have to be dramatic to be the most upsetting part of someone’s day. Including such simple things as a door chime, or the sound of an engine, really helps with visibility so people like me don’t think “I’m not allowed to feel this way, I didn’t actually suffer like a shell-shocked veteran”.

Most of us never will. That doesn’t make any of our hardships any less valid. Please be kind.

[ffwriteradvisor]

narrator who's terrible at social cues & describes every facial expression as "unreadable"

[ffwriteradvisor]

The midjourney stuff just reminds of when we were trying to find a new platform to host the ao3 donation form, and companies kept trying to tell me about all their "ai" features that would track donor engagement, and figure out the optimal pattern to email individual donors asking for follow up donations, and all the ways they suggest we manipulate people into staying on our websites. It was a great way to filter out who either wasn't listening to us when we described our ethics and donor base, or just didn't believe us.

Now granted ao3 is a unique case based on a) the amount of page views we get in any given time period and b) the fact that most donors absolutely do Not want to be identified as such anywhere, (the default "list of recent donors" module got nuked Immediately) but it surprised me some that the concept of "donors who value their privacy and would be furious at even the whiff of AI" is unique. Some of us really are just existing in different worlds.

[ffwriteradvisor]

Your characterization will never be 100% accurate or considered as such by everyone. Characters are up for interpretation. Everyone perceives them differently. If you try to please everyone with your characterization, you’re going to end up dissatisfied and miserable. Plus people often hold contradictory interpretations of the same character. At the end of the day, it’s more fun to write your own unique interpretation that’s accurate *to you* rather than stress over being 100% accurate to a general audience. It’s an impossible standard. Put your own spin and flavor on your faves:)

[ffwriteradvisor]

You know what?

I love you, fics that take months to update. I click on the newest chapter and have no memory of this place and get to go back some chapters and rediscover how much i love everything about this story.

I love you, fics that take years to update. I think of you fondly, and know your names, go search for you and see an update from this year and scream, diving in uncaring of any missed details (i will finish the update and read you in reverse because this is a treat you have bestowed)

I love you, fics that probably will never update again. Thank you for being a roman empire for my mind, thank you for teaching me about the ephemeral fandom experience, for inspiring a thousand million what if-s, for being a comfort read and a nostalgia read and a reread.

I love you fic writers, who jump into projects and stories with enthusiasm. I love you when you succeed in pumping out those chapters and that love doesn't go away when you stop.

I love you fic writers who post and then get in your own head and never feel confident enough to update, whether it's at all or whether it's just that one story.

I love you fic writers, who have a fandom or media hurt you to the point of abandoning or having a hard time with their WIPs.

I love you fic writers, who lose interest or have life changes or illness or bad memory. Thank you for being part of the fandom, a core part of the fandom. Thank you for the time spent in the fandom.

I love you, fic writers who try out something new and then stop. You're so valid.

I love you, WIP fics that may or may not ever get finished. Thank you for brightening my day in the way only you could have.

[ffwriteradvisor]

I've been reading Iron Flame by Rebecca Yarros, and it's gotten me thinking about how worldbuilding is multilayered, and about how a failure of one layer of the worldbuilding can negatively impact the book, even if the other layers of the worldbuilding work.

I don't want to spoil the book for anyone, so I'm going to talk about it more broadly instead. In my day job, one of the things I do is planning/plan development, and we talk about plans broadly as strategic, operational, and tactical. I think, in many ways, worldbuilding functions the same way.

Strategic worldbuilding, as I think of it, is how the world as a whole works. It's that vampires exist and broadly how vampires exist and interact with the world, unrelated to the characters or (sometimes) to the organizations that the characters are part of. It's the ongoing war between Earth and Mars; it's the fact that every left-handed person woke up with magic 35 years ago; it's Victorian-era London except every twelfth day it rains frogs. It's the world, in the broadest sense.

Operational worldbuilding is the organizations--the stuff that people as a whole are doing/have made within the context of that strategic-level world. For The Hunger Games, I'd probably put the post-apocalyptic nature of the world and even the existence/structure of the districts as the strategic level and the construct of the Hunger Games as the operational level: the post-apocalyptic nature of the world and the districts are the overall world that they live in, and the Hunger Games are the construct that were created as a response.

Tactical worldbuilding is, in my mind, character building--and, specifically, how the characters (especially but not exclusively the main characters) exist within the context of the world. In The Hunger Games, Katniss has experience in hunting, foraging, wilderness survival, etc. because of the context of the world that she grew up in (post-apocalyptic, district structure, Hunger Games, etc.). This sort of worldbuilding, to me, isn't about the personality part of the characterization but about the context of the character.

Each one of these layers can fail independently, even if the other ones succeed. When I think of an operational worldbuilding failure, I think of Divergent, where they took a post-apocalyptic world and set up an orgnaizational structure that didn't make any sense, where people are prescribed to like 6 jobs that don't in any way cover what's required to run a modern civilization--or even to run the society that they're shown as running. The society that they present can't exist as written in the world that they're presented as existing in--or if they can, I never could figure out how when reading the book (or watching the film).

So operational worldbuilding failures can happen when the organizations or societies that are presented don't seem like they could function in the context that they are presented in or when they just don't make any sense for what they are trying to accomplish. If the story can't reasonably answer why is this organization built this way or why do they do what they do then I see it as an organizational worldbuilding failure.

For tactical worldbuilding failures, I think of stories where characters have skillsets that conveniently match up with what they need to solve the problems of the plot but don't actually match their background or experience. If Katniss had been from an urban area and never set foot in a forest, it wouldn't have worked to have her as she was.

In this way (as in planning), the tactical level should align with the operational level which should align with the strategic level--you should be able to trace from one to the next and understand how things exist in the context of each other.

For that reason, strategic worldbuilding failures are the vaguest to explain, but I think of them like this: if it either 1) is so internally inconsistent that it starts to fall apart or 2) leaves the reader going this doesn't make any sense at all then it's probably failed.

[ffwriteradvisor]

fascinating that when you tell people "you have to learn the rules to break them" when talking about drawing/painting etc everyone nods and agrees but the second you say "you have to read books if you want to write better" there's a horde of contrarians begging to be the wrongest people ever all of a sudden

[ffwriteradvisor]

i've always read "canon-divergence" it as it follows canon at a certain point but then proceeds to an alternate path and "alternate universe" as what is says - a completely different universe but i've seen some say they're interchangeable

do you guys find them interchangeable??