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saintsenara · 7 months ago

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Hi! I just wanted to ask: what advice would you give someone who wants to start writing fanfiction for the 1st time, without any real writing experience? Have a nice day!

thank you very much for the ask, anon!

i'm always honoured to be identified as someone who might have something meaningful to say about writing - and so i always worry about doing justice to questions like this without coming across as being flippant.

because i don't think its ever worth giving advice on writing style or techniques, because these are so inherently subjective. i am an unabashed plantser - i have a vague idea of how i expect a story to go [and i always skip to the ending first, harry burns style], but i let the muses take me where they will otherwise - and this obviously affects everything else about my writing process: whether i like to stick to a specific posting schedule [no]; where i begin in a scene [dialogue]; whether i prefer short or long pieces [yes]; what sort of themes i want to look at; my attitude towards the source material [i believe in the value of canon coherence, but i'm not drawn towards trying to make my work unclockably canon-compliant]; what i find useful to receive from others during the writing process; and the fact that i like to play with genres, themes, and pairings.

if these things don't apply to you - and there's no reason why they should, even after you've been writing fic for a century - then i don't think i'm qualified to give you any advice on how you should go about putting words on a page.

but i do think i can give you something.

because if you want to start writing fanfiction - as is the case for everything else you will want to start doing in your life - there is only one key principle to bear in mind:

fortune favours the bold

by which i mean, at the most basic level, that the only way to start writing fanfiction is to... start writing fanfiction. the only way that you'll ever know if it's something you enjoy doing - and what it is about it that you like, what you find instinctive, what you don't, what your "voice" is, which characters you find harder than others to bring to life, what techniques you'll use to plan, how your work will be received, how that will make you feel, how your style will change the longer you write, and so on - is to grit your teeth and just take the leap.

but i also think that remembering that fortune favours the bold is a fandom principle which serves us all very well in a context broader than just tapping out fics while hunched over our keyboards.

because boldness is synonymous with courage - and writing something and putting it out into the world does take courage! - but it's a courage which has quite a distinctive style.

boldness is not solemn, quietly-enduring, captain-going-down-with-his-ship bravery. to be bold is to be audacious, daring, cheeky, innovative, and a little bit irreverent. it's not someone saying mournfully over your coffin "she fought bravely to the bitter end" - it's someone looking at you in awe and saying "how the fuck did you pull that off?"

and this matters in fandom. because participating in fandom - whether you end up writing fic or not - takes a hell of a lot of brass neck.

after all, each of us has ended up here because we looked at canon and said "sorry - did you think you were done?"

and then - when canon got flustered and started stammering - each of us has rolled our eyes, rolled up our sleeves, and said "don't worry, hen. you can leave it to me."

to be in fandom is to have the audacity to treat the text as a springboard - rather than something which remains behind glass in a museum. it's deciding to fling the characters we love into genres they don't originally come from and revelling in the chaos which ensues. it's finding missing moments and daring them to be just as important as a canon scene. it's the fun of wildly improbable alternate universes - from dystopian horror to coffee shops. it's cheerfully ignoring that there's a point canon thinks its story ends - whether that's finishing narratives which end unsatisfactorily or just playing with happy-ever-after. it's taking two characters who never interact in canon, winking at the camera, and making them kiss. it's taking two characters who never interact in canon, winking at the camera, and making them fuck. it's having the time of your life becoming a malevolent deity and making a character suffer.

while it might not always feel this way, at its core fandom is fun. and it's fun in a way which is quite unusual in this day-and-age - in that it's something we get to shape for ourselves, rather than having to engage with a product according to the whims of the corporation marketing it. it lets us be indulgent without calling us greedy. it lets us chatter away at each other without calling us unproductive. it lets us be sincere without requiring performative earnestness from us. it lets us engage with the uncomfortable and the lurid without the bland sanitisation of respectability.

and it allows us to be hopeful.

and i have always been struck by just how much about fandom rests on hope.

to believe that the dead can live happily in another universe, to believe that time-travel can fix things, to believe that bad people can get their comeuppance, to believe that good people can be imperfect and it doesn't matter one bit, to believe that those who are hurt can be comforted, to believe that justice can be done, to believe that villains can be redeemed, to believe that an insignificant background character matters just as much as the hero, to believe that things can be better - whether your story is overthrowing a corrupt government or letting two people enjoy themselves uncovering a kink, to believe that the most improbable people can love each other - romantically or not... all of this takes hope.

and hope takes boldness.

so be bold and start writing.

be cheeky. take risks. be your own biggest fan. be irreverent. be cunning. recognise that not taking fandom too seriously is self-protective. be self-indulgent. have some self-awareness. be collegiate. gas up your friends whenever you can. be nice to your commenters and try and give them the benefit of the doubt if they express themselves poorly. be curious. regard disagreement as interesting. be compassionate. be tenacious. be prepared to write stuff that flops. be prepared to write stuff that gets left on the drawing-board. be prepared to write stuff people hate. be prepared to write stuff you hate. be audacious. believe you can do it. be hopeful. be daring. be brave. and be bold.

because i promise you that, even if you've never written a word of fic before, you can write your way into and out of anything - any fic, any trope, any pairing, any characterisation choice, any plot hole, any setting, any premise - and have fun and look good doing it.

if you simply have enough nerve.

#asks answered #asenora on writing #fortune favours the bold #shy bairns get nowt #alexa play naughty from matilda the musical #one for the theatre girlies there...

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greatmuldini · 2 years ago

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The events of 6 December 1890 were neither preordained nor were they premeditated. Nothing that transpired on the day was inevitable or irreversible: participants chose to stay in character, and to act out their roles in what would eventually be described by biographers and historians as the Parnell Tragedy (Jules Abels, 1966).

Everyone at the time would have been aware of the historical significance of their actions, if not the long-term consequences - excluding of course, the one female member of the cast who could not possibly have known what she was doing. By dint of this congenital deficiency she would also quite naturally be blamed for causing "Ireland's misfortune." Simple and satisfying in terms of its mass market appeal, feminine impulsivity does little to explain the supposedly rational decisions taken by the men around her in the name of patriotism and political expediency - which far from producing an amenable solution served only to exacerbate the crisis. Whereas the exact circumstances and full cast of characters have faded over time the larger-than-life figure of Charles Stewart Parnell still towers over the events of 6 December 1890 as the one man who could have had it all - and lost it all.

Sixty-four years later, the Fall of Parnell inspired an episode of the BBC's "experimental" television series You Are There which set out to present the known historical facts, faithfully, but with an added dimension unique to the new medium: actors would impersonate the key personnel as in a conventional re-enactment. While going about their "business," however, they would be interviewed by modern television reporters. The curious anachronism underlined the artificiality of the concept; it meant the programme was deliberately drawing attention to itself which would have been an unwanted distraction, for You Are There it was the defining feature. Neither the programme nor its - fictitious - journalists were interested in the exploration of alternative histories or in-depth character studies: the point was to demonstrate the possibilities of "live" television, ironically, in a simulated setting. Fact and fiction are trading places as the reality of 1890 becomes the subject of a 1950s fantasy, and the medium of the future interrogates the evidence of the past. For the actors it would have been a challenge to navigate between imaginative portrayal of a fully formed human being and the faithful rendition of the intrinsically incomplete historical record.

The historical record states that Charles Stewart Parnell was born in 1846. The son of a Protestant Irish landowner and an American mother was not naturally predestined to champion the cause of destitute Catholic tenant farmers; indeed, nothing in his early life pointed to any such leanings. As an aristocratic country gentleman he had nothing to fear and everything to gain from the firm imperial rule exerted by the British Crown over the Island of Ireland.

And yet it was Parnell, the English-educated man of pedigree, who emerged as the voice of the starving rural population. Having decided to enter politics for reasons that are still unclear, he found his calling as the Westminster MP for County Meath not in the defence of privilege but in the vocal support - initially for land reform and then increasingly for Irish nationalism ("Home Rule"). Over the next five years Parnell gained a reputation and a following as a fiery orator back in Ireland and a force to be reckoned with in the House of Commons, where is name became synonymous with the new parliamentary tactic of "obstructionism." If the English politicians could not be moved to act in Ireland's interest Parnell vowed to meddle in English affairs. And meddle - or obstruct - he did. After a century of inaction and neglect, the Irish Question seemed relevant again, if only because its proponents made it impossible for English laws to be passed. Parnell seemed to thrive on his tactical manoeuvring which he was prepared to carry to painful extremes, on multiple occasions – including arrest and imprisonment, at the risk of damaging his already fragile state of health.

By 1880 Parnell controlled both the radical grassroots movement in Ireland and the parliamentary representation of Irish interests in London. The position made him a frequent dinner guest in the homes of friends and allies, where on several occasions he also enjoyed the hospitality of Mrs Katharine O'Shea, the English wife of a fellow Irish MP, who was sympathetic not only to the cause but to the man who personified the struggle. Mrs O’Shea had a discreet arrangement with her husband, Captain William “Willie” O’Shea, the Member for County Clare and Galway: their marriage would exist on paper only for the benefit of Willie’s career; while he conducted his business in London she would reside at their official family residence and entertain important visitors. Parnell would often stay as a guest of the family - to recuperate after gruelling campaigns in Ireland, was the official explanation given.

For the next ten years the couple conducted an illicit affair that produced four children and saw the singled-minded saboteur of the political system lead a double life away from Parliament and in the company of Katharine O’Shea. The relationship was not as one might assume a tempestuous whirlwind romance but a curiously claustrophobic still-life of Victorian domesticity - an alternate, self-contained reality where Parnell and his "Queenie" could act out their fantasy of living simply as husband and wife. Their apparent longing for simplicity may also help to explain the ease with which they expected to lead two entirely separate and parallel lives, apparently unaware of or unwilling to acknowledge the inherent paradox and inevitable complication.

In the political arena Parnell was for most of the 1880s an extremely effective manipulator of moods and opinions, always weighing and adjusting the demands of Irish nationalists against the calls for the use of force from the British press, the public, and its politicians. Anyone looking for a core belief or deeply held conviction would have been disappointed by the vagueness of Parnell's own stated aims - which he used to great advantage because it allowed him to gain the confidence of the British side and the respect of his own following. As a small but significant minority, the Irish (or Home Rule) Party under Parnell's skilful machinations was able to make demands in return for the votes it lent to either one of the two dominant forces in 19th century British politics: the Tory (Conservative) Party or the slightly more reform-oriented Liberal Party.

Parnell’s elusiveness became his trademark: the less he said in public, the fewer appearances he made in Parliament, the taller he grew in stature. In 1887 he was accused of having endorsed the murders of two British politicians in Dublin. When the alleged endorsement turned out to be a forgery two years later, the popular reaction was one of relief and renewed admiration for the noble freedom fighter who had been so horribly maligned. By 1889, it seemed as if nothing could go wrong for Charles Stewart Parnell.

Home Rule seemed within reach when, in May of 1889, Katharine O'Shea learned of the death of a wealthy aunt whose fortune she was to inherit. The additional funds would have been a welcome boost to Katharine's finances had it not been for her husband's unexpected interference. Captain William “Willie” O’Shea chose this moment to strike, possibly to exact revenge, more likely to improve his own pecuniary situation. And thus, Captain O'Shea went ahead and contested the will, citing his wife’s infidelity, and his intention to divorce her. Surprised but hardly alarmed, the lovers welcomed what they thought would be an opportunity for them to make their relationship official, the sooner the better.

From the very beginning their affair had been an open secret in political circles, but the Captain’s announcement put the fact of their adultery in the public domain. With their case not due in court for at least another twelve months (i.e. late 1890), Katharine and Parnell were powerless to stop the scandal from spreading, and their silence on the matter allowed grievances to fester. No public statement was ever published, nor did the couple make any public gesture of remorse. They did launch a half-hearted and unsuccessful counterclaim not to deny the adultery but to accuse Captain O’Shea of adultery as well, presumably to shame the Captain into withdrawing his allegation.

For an entire year the unresolved state of their private affairs overshadowed Parnell’s political battle; it affected his health and continued to corrode confidence among his allies in parliament and at home but most significantly among the ranks of the Liberal Party led by Prime Minister William Gladstone. Ironically, and with tragic consequences for Katharine and Parnell, the earliest and most vociferous condemnations came not from the Catholic Church (both Parnell and Katharine were Protestants) but from the other “Nonconformist” denominations outside the established Church of England, which was traditionally a preserve of the Tory (Conservative) Party. An influential group among the Nonconformists were Methodists, whose large working and middle-class following had found in Gladstone’s Liberal Party their political home.

When the divorce eventually came through in November 1890 (decree nisi), Parnell was branded a “convicted adulterer” but also won the legal right to marry Katharine after completion of the obligatory six-month waiting period (decree absolute). The salacious - and uncontested – testimony offered in the course of the trial was, however, fresh on the minds of his party colleagues who were meeting to decide on his future as party leader a mere fortnight after the court’s decision. Gladstone had already warned Irish MPs of the danger to their alliance, the implication being that the Liberal Party would lose the support of its Nonconformist base if it continued to cooperate with a “convicted adulterer.” The message was clear: Irish MPs had no hope of winning Home Rule with Parnell as their leader. They needed the good will and legislative might of a strong Liberal government - and Liberal voters had strong ideas about marriage and adultery. Gladstone did, in effect, issue an ultimatum to Irish parliamentarians: lose your leader or lose Ireland.

Party activists in Ireland meanwhile re-elected Parnell as leader of the Home Rule Party before news of the ultimatum reached their shores, creating an awkward situation which allowed Parnell to claim he had the backing of the party rank and file, while Gladstone faced the beginnings of a split in his own party over the very issue of Irish Home Rule.

Parnell promptly refused to stand down, declaring instead that he considered the matter of Mrs O’Shea’s divorce closed and that, far from being a friend of Ireland, Gladstone had betrayed their cause. Whether or not the accusation was based in fact [substance] hardly mattered in the greater scheme of things. It was Parnell's word against that of the Prime Minister, and a decision had to be made: should the Irish Home Rule Party defy Gladstone and keep Parnell as their charismatic leader, or should the convicted adulterer be deposed in return for English concessions?

On 6 December 1890, after seemingly endless negotiations, Irish parliamentarians convened another marathon session to break the deadlock without destroying the party, its leader, or their country. Obstacles proved insurmountable as Parnell himself chaired the meeting and overruled any motion calling for a vote. Members present at the meeting noted his increasingly autocratic behaviour with concern and were alarmed by the apparent disintegration of his mental and physical identity. What they were witnessing may have been, on one level, the self-evisceration of a disgraced politician, but the concrete struggle of the individual to control his own destiny, and the narrative about it, had gained additional layers of meaning that transcend literal explanations for Parnell's fate.

The extent to which he did control the mythology of his downfall as well as his subsequent (and posthumous) apotheosis is a fascinating subject for debate: was he drawing attention to the opposing forces behind his identity or trying to deflect attention away from his failure to reconcile the two when he claimed that Gladstone and the Liberals were the true enemies of the rightful Irish claim to self-determination? No longer was the crisis a moral dilemma but a question of national pride. The private transgression becomes an affair of state - no longer is it a moral dilemma but a question of national pride: if it was up to the English to dictate who is to be their leader, then Gladstone truly was the master of the Irish Party.

Parnell's rhetorical masterstroke elevated his imminent ouster as party leader to an affront of international proportions by blurring the very boundaries he had otherwise hoped to maintain between the private man and his public persona. It also drew an instant reaction from the assembled party colleagues. "Who is to be the mistress of the party?” put paid to Parnell's noble-minded aspirations and reminded those present once again of the sordid scandal and the root cause of their troubles. Unable to vote the party leader out of office, 44 of his fellow members stood up and left the room, 26 remained with Parnell. It is this moment You Are There chose to dramatize, for the sheer symbolism of the scene: the leader without majority, his party crippled for decades to come. The Liberal Prime Minister ruling unencumbered.

Parnell's story, the story of Ireland's struggle, could have ended here. Or it could have ended differently. If each of the protagonists had chosen a different course of action. Parnell, for his part, chose to fulfil what he must have thought of as his destiny: within hours of the party meeting that left him - it must be remembered - still nominally undefeated, he embarked on a tour of Ireland to speak at rallies and unite the crowds behind the candidates he chose to stand in by-elections. Any hopes of regaining the momentum lost in London were slim at best; the winter weather and Parnell's failing health reduced the schedule and, compounded by his ever more radical oratory, crowds became more difficult to control, and enthusiasm for the struggle was waning. But just as the chances of a concrete, real-life settlement were growing increasingly remote, the idea of the struggle captured the imagination of contemporary and subsequent generations, and Parnell became its idealized figurehead - not without considerable work from Parnell himself, who cultivated an air of steely nerves, superhuman strength, and emotional detachment in public while being fiercely protective of his privacy. The polar opposites that defined his existence, through their very incompatibility, presented an impossible conundrum: unable to reconcile the two, incapable of compromise, the Parnell machine was at a crisis point.

Campaigning in Ireland continued throughout the summer but none of the chosen candidates were victorious. Parnell and Katharine finally became a married couple on 25 June 1891, but their life together as husband and wife only lasted a little over three months and ended with Parnell’s death on 6 October 1891. They were both 45 years old at the time.

In poetic terms, Parnell had committed the ultimate sin of the tragic hero: to think of himself as indispensable. In the eyes of his supporters, and presumably his own, Parnell had become the personification of an idea, an idea that without him was thought to be non-viable. Parnell and Irish Home Rule were interchangeable; the means and the end had merged into one. Much like the fatal flaw carried by every tragic hero in the history of human endeavour, Parnell's hubris made him both unique and universal, gave him superhuman powers and made him vulnerable - not in a simple case of crime and punishment but in the pursuit of a noble mission that is ultimately larger than the man who has internalized it as his own.

To paraphrase Hilary Mantel, we tend to fictionalize those who can no longer speak for themselves; in Parnell's case there is perhaps a greater need than with many of his peers to interpret where we cannot explain, and to speculate were we cannot know.

Indeed, so strong was the sense even among contemporaries of a catastrophic derailment of their hopes and dreams, and so great the loss of confidence in the political process, it gave rise to an entire subgenre of historical fantasies indulging in mostly wishful thinking: what if Parnell's campaign had been successful and he had lived to see an independent Ireland? What if there had never been a scandal? What if we could turn the clock back far enough to prevent all bad things from happening? This being a male-centric scenario we easily move on to imagining the hero going about his business without "distractions," and what might have been if Parnell and Katharine O'Shea had never met. The further the fantasy travels back in time, however, the more it will be about erasure of the past rather than an extension of existing timelines. As a work of fiction, it may well be a legitimate subject for philosophical or even psychological enquiry that can provide a temporary reprieve from the struggle. It can never be the solution. [Part 2 of 2]

#Patrick McGoohan #Helen Shingler #were 26 and 35 years old respectively #when they portrayed Charles Stewart Parnell and Katharine O'Shea live on BBC TV #impossible casting by today's standards but in 1954 #leading men were expected to cover a much wider age range #fortunately the BBC secured for the part #of the enigmatic giant of Irish nationalism #an actor whose heritage and disposition were an uncanny match #having played much older men on stage before as was indeed the practice in #repertory theatre and the tradition carried over into early television #interestingly the young talent that the new medium attracted in its experimental phase #later launched a televisual experiment of his very own in the pursuit of something #as elusive maybe as the source of Parnell's political ambition #whether it is life imitating art or patterns emerging in hindsight #we will interpret and fictionalize #compare and analyse to satisfy our own obsessions #because that is what this is really #who in their right mind would see shades of Parnell in Col Rumford #or the myth behind the man #for fleetstreetpauline always

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