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storytellersumayyah · 5 months ago

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THE GUIDE AND THE LIGHT: SEASON ONE, EPISODE FOUR

The Guide and The Light are a series of comedic, romantic and soft short stories detailing the representation Muslims want but are never allowed to have. We all deserve to see ourselves fall in love and keep that love. We all deserve to have our beliefs respected and celebrated, instead of treated like a joke or insulted.

It’s about giving my community what they want and turning conversations that shouldn’t have happened in public into something we can all smile at. I hope you enjoy. (Also yes, this is a lot more than a month later since the previous episode, is anyone surprised? Updates are now sporadic e.g. they will come when the episode after is finished)

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EPISODE FOUR: THE TROUBLE WITH NICKNAMES

SYNOPSIS: IT'S BEEN SAID THAT SOMETIMES, THE MEDIA ENCOURAGES PEOPLE TO DO SILLY THINGS. TRYING TO GIVE YOUR NEW SPOUSE A NICKNAME WHEN YOU CANNOT KEEP A STRAIGHT FACE WHILST CALLING THEM WIFEY OR LOVERBOY MAY FALL INTO THIS CATEGORY, BUT YAHYA AND NOOR ARE DETERMINED TO DO IT!

It starts, as most things tend to, with Yahya and Noor watching a show together. Noor has her feet resting on Yahya’s lap. She keeps adjusting the way her head is positioned. Yahya knows it would be more comfortable if it was resting on his shoulder. That’s how she falls asleep the easiest.

“You can sit in my lap if you want,” he blurts out.

She blinks a few times. “Huh?”

“You don’t need to. But you don’t look that comfortable. And if you’re in my lap, you can rest your head on my shoulder.”

Noor thinks about it for a second, and then Yahya can feel her hair brushing his neck.

He picks up the remote and rewinds twenty seconds.

“Little star,” the person on screen says.

“Nicknames are cute,” Noor comments.

Yahya stops the drama and switches it to an English cartoon to give them some background noise.

“Would you like a nickname?” Yahya asks.

She shrugs. “It could be nice. But I only want one if you have one,” she says.

“I’d expect nothing less,” he replies. “So, what do you want to be called? Buttercup? Sugar muffin? Love?”

Noor starts laughing. “No, no. None of those. They’re all awful. It’s like if I suddenly started calling you macho man.”

Yahya choked on air. “That is the worst thing I’ve ever heard.”

“Right!”

“I don’t even want to know how you ended up hearing that name,” he says.

She shrugs. “Things happen when you and your uni friends stay up too late.” Before she can expand more, she’s yawning into his shoulder.

Yahya laughs. “I think it’s time for bed.”

She shakes her head. “But I’m comfortable here. Don’t want to move.”

An idea comes into his mind. He knows he can do it. If he can’t, they’ll let it go. It won’t be shameful. Nothing is shameful with Noor, it’s just things they tried that didn’t work out the way they were supposed to. So as she shifts closer, her eyes closed and her breathing starting to slow, Yahya moves the hand that was originally playing with hers. Noor makes a sound of protest. Yahya shushes her gently and slides it under her legs, standing.

Noor’s hands immediately loop themselves around the back of his neck as she screams. Yahya lowers his arms so he can hold her more comfortably, but she shakes her head and turns to hide her face. For a moment, he’s worried she’s actually scared, but then he sees the faint colour in her cheeks and he knows she’s just flustered by the fact that she likes it.

“What are you doing?” She asks, head buried in his neck.

“You didn’t want to move,” Yahya says, as though it’s all the explanation in the world that’s needed.

Noor giggles, a soft and light sound. Yahya is still learning how she laughs. Sometimes, it is a loud and obvious thing. That’s when something is funny. Other times, it is a short thing- only half there. That’s when it’s not funny, but she refuses to rock the boat too hard. And recently, it has been a soft and light thing. That’s when Yahya has done something to disarm her. When he’s flirted back and she hasn’t quite known how to cope.

“Well, then carry me to bed,” she tells him.

“Whatever my princess wants,” he teases, both because it’s the natural nickname and because he has a sneaking suspicion that-

“Do not ever call me that again,” Noor says, but she doesn’t ask to be put down so Yahya just laughs and does as she asks.

They fall asleep the way they always do. With Yahya’s arm slung around Noor’s shoulder, her head nestled into the crook of his neck. Her hair smells like cherry blossoms. It’s the last thing Yahya smells before sleep takes him.

His alarm goes off for Fajr. Noor stirs, but he runs a hand over her head and gently pulls the duvet back over her. It’s getting colder, which means the prayer times are getting later. He knows he won’t sleep, but he wants to be cosy, so he gets back into bed and reads until Noor’s alarm goes off for work. He turns his own- set for ten minutes later- off.

She mumbles a Salam. He responds in kind.

An idea pops into his mind. “How did you sleep baby?” He asks.

She shakes her head. “Absolutely detested that one.”

“I had a feeling you would. Answer the question!”

“Good, I guess. Weird dream though. Remember that book I used to love as a teen? I was asked to be in the adaptation, but then I had to pick five celebrities I wanted to make appearances but it took me too long so they kicked me out,” she says.

“That is weird. I don’t actually remember my dream,” he tells her.

She shrugs, still a little too tired for real conversation. She kisses his cheek before she gets out of bed.

He gets started on breakfast whilst she showers. When she comes into the dining room, dressed for work, her hair is still loose.

“I’m probably going to need to change the bedding tonight,” she says. “So dinner may be delayed.”

“If you go to the bathroom, let me know if it does. I think I’ll be back before you today, I can do it. And I can make dinner. You just wash your hair.”

“Are you sure? You would’ve changed it on Saturday. And you cooked last time- we’re supposed to take it in turns.”

“We do take it in turns. But I don’t want you washing your hair and then cooking, and I also don’t want you to delay it,” Yahya explains.

She smiles. “You’re the bestest ever.”

He shrugs, and ducks his head, knowing it’s futile when Noor coos at his cuteness.

Whilst she double-checks that everything is where it should be in her bag, he goes to change. He comes down as she’s putting her shoes on.

“Be safe,” he says, as he always does.

She kisses his cheek. “I will. You too. See you tonight, sweetheart!”

He’s left stunned by the nickname. He regains his bearings as the door slams shut. After closing the porch door to keep the warmth in, he grabs his phone.

Let’s not stick with sweetheart.

She replies a few minutes later.

It sounded awful. I realised. As soon as I said it.

Have you made it to the station?

She responds with a selfie. She’s standing on the platform, smiling and with a thumbs-up.

You look beautiful.

Thank you. I’m glad you appreciate. Someone saw me and gave me the most unimpressed look. Now pay up.

He rolls his eyes affectionately and responds with his own selfie.

Thank you. Looking very cute!

You’re the sweetest.

And then he leaves himself.

As expected, the kids are obsessed with hearing about the honeymoon and everything that has happened since. Although Yahya is a private person who doesn’t enjoy the spotlight and would prefer to keep the details of his outside life contained to outside school, he indulges them because it is Noor. After they have done their work.

He ends up getting home before Noor. She had messaged earlier saying their bedding needed changing. He gets out her fresh towels, then puts everything in the washing machine, ready for her to switch on after she’d washed her hair and put the clothes she’d worn to work in. He starts to make dinner when he hears her key in the lock.

It has become one of his favourite sounds.

“Honey I’m home!” She says.

When he opens the kitchen door, she doesn’t look impressed with herself.

“I was going to say. Abhorrent. How was work?” He asks.

“You can’t just go around saying abhorrent. The same. How are the kids?”

Yahya smiles softly. “They’re good. Wanted to know all about you. Also, yes I can.”

“That’s cute. Like you- I said it first!”

He sighs. “I suppose I have to let you beat me every once in a while.”

She grins. “Right, I’m going to wash my hair.”

Whilst Yahya checks his phone to double-check how long the chicken needs, he’s struck by a moment of inspiration.

Noor comes racing down the stairs, her hair still slightly damp. Yahya had heard the hairdryer going for several minutes, so he doesn’t say anything. She won’t get ill, and the curls will keep for a few days.

“Beautiful flower,” he tells her.

She starts laughing. The proper laugh. The real one. He knows it’s not meant to be mean, but he feels his cheeks go warm.

“Did you google nicknames for your wife?” She asks.

He wants to ask her why she would know that, but he’s not quite sure it’s a story he wants to hear in that very moment so he just shrugs.

She wraps her arms around his waist. “You’re so sweet for that.”

Noor goes to set the table. It’s just the placemats and the glasses, so Yahya is a little confused by what’s taking her so long.

He gets his answer a few minutes later when the kitchen door opens. She leans against the fridge.

“Hi loverboy,” she says, and the words have barely left her mouth before they’re both laughing.

He comes over, a hand to her waist enough to shift her ever so slightly, just so he can get the salad out of the fridge. Whilst he doesn’t want it warm, he also doesn’t want it straight from the fridge levels of cold.

“Did you also google nicknames for your husband?” He asks.

She nods.

“I’m not sure I like that it’s boy,” Yahya says.

“Loverman,” Noor teases.

“Oh no. That’s worse.”

“So much worse!”

It’s a comfortable meal. She tells him about the strange things that happened at the law firm, as well as the details of some of the cases she’s involved in researching. A lot of it goes over Yahya’s head, but he’s learnt that she doesn’t necessarily need him to understand. She needs him to take an interest. And he finds it fascinating. Not because he cares about the law- he does, but not in that way. Because she’s invested. He tells her about the things the kids said and the mistakes they made with their titrations. He also confesses that he also hates how precise one needs to be. And then he makes her swear that she will never tell them that if she happens to ever meet them.

“Do you want me to dry or wipe down?” Yahya asks. He cooked, so Noor wouldn’t dream of making him wash up.

“Wipe please. The stuff can dry and get put away tomorrow I think,” she said.

He smiles. “Okay, wifey.”

Noor’s face twists into something Yahya never wants to see again. “Oh god no. As much as I like being your wife, I think I hate wifey.”

“Yeah. As soon as I said it, it felt wrong. Why is this so hard?”

“Let’s just take a break. We’ve got the rest of our lives to work it out.”

It’s a lovely thought.

“I like that,” Yahya says, ducking his head so Noor can’t see how that single statement had his cheeks rising with colour.

“I know you do.” There’s a pause, as though she’s contemplating what to say next. “Cutiepie.”

Yahya pretends he’s going to fling the cloth at her.

He realises a few days later that they haven’t actually been on a date. They’ve been spending time together and existing in the same space, and they’re doing perfectly, but he’s been busy with marking the first set of tests and she’s been helping the new trainee solicitors, so anything more has just simply not been feasible.

So he makes the plans. He tells Noor the day before, having double-checked throughout the week that she had nothing else going on- that he was taking her out. She’s kind enough to pretend to be surprised.

When she comes back from work, a lot earlier than he was expecting, his surprise shows on his face.

“I left early. My actual work was done, so the only thing I would have been doing was supervising the newbies. Someone else can do it,” she says.

It’s something he’s always reminded her about. “Yes, they can.”

“What time did you want to leave?” She asks.

“Seven?”

“Perfect. I’m going to go make myself pretty for you.”

He knows it’s meant as a joke. And if not a joke, then it’s a learned habit from her youth. But she’s helping him unlearn certain things society taught him. He can do the same. “You know I always think you’re beautiful. With or without make-up. It’s in your eyes and your smile and the way you treat me.”

He’s never been good at choosing the right words, and all he can do is hope he’s not said something that’s going to make her think he’s acting like she’s wrong for the way she chooses to present herself.

But she smiles. “I know you do. I- with work it’s different. But when I wear make-up outside of it, it’s because it’s fun. And I think it’ll look nice. I know that if you took me on a date to a fancy restaurant and I didn’t wear any make-up, you wouldn’t be ashamed. Neither would I. But it’s been so long since I got to wear make-up for fun and I want to. You don’t need to worry.”

The thing about Noor is that she always knows what Yahya needs to hear. He pulls her in for a hug, his lips pressing a gentle kiss to the top of her head before he lets her go and get ready.

He’s going through one of the boxes of stuff that is in the spare room to find a particular pair of shoes when she comes in.

“Ta-da!” She says.

He turns, and his face breaks into a wide smile. He’s wearing a formal shirt and trousers because he doesn’t know how to wear anything else, but Noor has pulled one of the shalwar kameez she was given for the wedding out. It’s simple, and it may not have been a big deal for anyone else, but it is for them.

She notices him smiling and twirls until she stumbles slightly. And just as he always will, he steadies her.

“You look more than beautiful, my light.” The words come out without him meaning to let them slip. “I don’t- it’s never meant as a form of ownership. Because I don’t own you. Nobody does. I said it because you’re so bright it’s blinding sometimes. And because you let yourself be mine. In a way that is wonderful because it’s your choice.”

“Yahya. I know. I want you to call me that for the rest of our lives.”

“I will. I promise. So, shall we, my light?” He holds his arm out, and the date goes perfectly. Or, as perfect as life can be.

Her sadness comes from the fact that she doesn’t have something to call him. But like they both know, they have the rest of their times together to find something that fits.

It comes.

Noor’s sat in his lap. She feels comfortable there. Safe and warm and cherished.

Her head rests on his chest. Through the thin fabric of his shirt, she can hear his heartbeat. It’s steady and certain. Something feels different though. Not strange and not wrong. But different. When she brings her hand to her own chest, she realises what it is.

“Your heartbeat is synced with mine,” she tells him, looking away from the screen and into his eyes.

“Huh?” Yahya sounds confused.

Noor smiles. “Your heartbeat. It’s synced with mine.”

“That’s cool,” he says.

“It’s because you need to know mine really well. Since you’re the keeper of my heart,” she jokes. And it really was meant to just be a teasing remark. But Yahya bites his lip in an attempt to stop a full smile from breaking out across his face, and his cheeks go slightly warm.

And Noor knows.

“My heart,” she whispers. “That’s it.”

Yahya nods. He tilts her chin up to kiss her. “My light.”

Their heartrates stop syncing as Noor’s starts racing.

#sumayyah writes #the guide and the light #original story #original characters #muslim #islam #muslim romance #romance #rom com #short story #love

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astriiformes · 2 years ago

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Earlier you said you preferred “convention circles with slightly different vibes,” so I just wanted to ask (if you’re comfortable sharing) what types of convention do you usually go for? I’m a total convention newbie and I’d love to know how conventions can differ from one another vibes-wise :)

Yeah, sure -- full disclaimer that I haven't actually been to that many different cons compared to some people, but the ones I have been to cover a pretty broad spectrum of vibes. And it's absolutely a spectrum, some cons have shifted in energy over time under different ownership but retain elements of their older selves, others have a lot in common with each other but the size makes them feel different, etc, etc.

When I first started going to conventions I mostly went to what I tend to call San Diego clones -- basically, cons that intentionally have a lot in common with SDCC's modern incarnation, since it's one of the most famous fan conventions. That included Denver Comic Con (which is now called Denver Fan Expo) and New York Comic Con. Even then there was some variety -- when I started going to DCC in particular it was only its second year in existence, so it had some fun awkward "teenage" con quirks -- but these cons tend to prioritize things like having big-name guests, announcements of new media, promotional tie-ins, and other things that have sometimes earned them the nickname "corporate" cons (though they aren't always even run by companies). They also tend to be pretty similar to each other, which is why I call them clones, with SDCC as the archetype, and are the kind I'm less into these days. That's not to say they're all bad, or that people who like them are shallower or anything like that -- if you want to go see your favorite actor in a big name show or have the experience of going to a really huge convention with all the advantages that offers, they're the ones to go to. For me personally, I don't really care much about guests, and do really care about the con feeling unique or like it has some individuality, so they really aren't my thing. But I still had wonderful experiences at some of them when I was younger.

On the other end of the spectrum are what I refer to as fan-run cons. In some instances these are run by companies, in others they're run by non-profits, but even in the former case there is usually a noticeable difference in how they're marketed. There are tradeoffs to that -- they don't have the same kind of guest line-ups or industry connections, because those things cost more money to make happen than they usually have. But for most people who enjoy going to these kinds of cons, there are advantages that make up for that. One is they tend to be a lot quirkier, with weird traditions, unique programming, and sometimes unconventional guests. (For example, my local con, CONvergence, could never afford big movie or tv stars, but one year they did have Chuck Tingle). Another is they show their roots in old school fandom a bit more, retaining traditions like filk circles (places for people to share fan music essentially), Consuites (rooms set aside with free food for convention attendees throughout the weekend), and other things that used to be more common in fandom but have since faded a bit. Fan-run cons are held together by volunteers and often a handful of prayers, but many of them are still very well-run. The energy of this kind of convention can also super vary from con to con, especially based on size. Like, DragonCon, one of the biggest conventions I'd call fan-run, draws tens of thousands of people, tends to have at least a few pretty big guest names each year (in part because it's run by an actual company, which helps with that kind of thing), and takes over downtown Atlanta with a giant parade every year. The reason it still falls in this category for me is the general nature of its programming and because it still has a lot of older fandom traditions, like handing out badge ribbons and a filk track, has a particularly tightly-knit fan community, much of the programming (other panels, the themed parties in the evenings, etc) is still put together by attendees, and in general it feels a lot more like a scaled-up version of my beloved local CONvergence than it does a scaled-down SDCC. I personally like this kind of con because I feel like it showcases how fun, funny, and incredibly weird fandom can be, which is my favorite thing about it, and because as a filk musician and cosplayer, my con-going experience revolves a lot more around sharing and talking about my own transformative and creative works with other people than it does around getting autographs from actors or going to big panels.

A true taxonomy of cons is a lot more complicated though. One thing I can't speak to as much is the world of smaller corporate cons -- I know they tend to hover somewhere in the middle in terms of number of major guests vs amount of fan-run programming, and I would assume also vary in vibes. There are also cons that revolve entirely around a single work of fiction, which can really change the energy they have. Like, Star Wars Celebration feels like it ought to be the most corporate of cons, especially since Disney took over, but it has actually managed to retain a lot of its more old school weirdness in the process -- people hand out little gifts to each other, the cosplay is particularly silly, and there are goofy recurring jokes like trying to get as many people as possible to dress up as the same ESB extra with an ice cream maker and go running through the convention center together. I've also been to the Ohio Valley Filk Fest (the tiniest convention I've been to, with only a couple hundred attendees every year and where a lot of the people who go year after year all know each other), which is one of the few remaining filk-specific cons, which was a totally unique experience in most respects.

At the end of the day, I think a lot of fans could manage to have fun at a lot of different conventions, especially if you go with friends. It's definitely worth finding your niche as time goes on though and really leaning into it. I don't have the money to go to more than a couple cons every year, so I'm glad I know where I'm likely to have the most fun and can plan accordingly. I'm really lucky one of my favorite conventions in the country also happens to take place here in the Twin Cities, because I've been able to invest a more time and energy into it than I might have otherwise, volunteering as a panelist and panel moderator and performing concerts as a musician. (Of course, I also went and volunteered to be a photoshoot organizer my first year at DragonCon, so it might just be that I'm full of hubris). You might decide you like whatever's local to you for that reason, or you might fall in love with a con halfway across the country should you ever get the chance to travel for one; you might choose a con for its guests or decide guests are the last thing that matters to you, and so on. What matters is figuring out what you personally have fun with. So I do encourage checking out different ones if you have the resources to, and researching what out there sounds the most up your alley -- especially by talking with other fans you've gelled with at the conventions you have attended, or paying attention to if there are any that cater to your favorite pieces of media.

Have fun with it and welcome to the world of conventions!

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book-of-baba-fett · 1 year ago

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for any oc or ocs of yoru choice : 🍩🍾🍷🥃and 🍟

Thanks so much for asking Crystal! I'm going to answer these for Talia for the first two and Storm for the rest!

🍩 What's a crime your OC is most likely to commit? What's a crime they're most likely to get arrested for?

Honestly there’s something comedic to think about the potential of Talia being arrested for destruction of public property: I can see something going wrong in some Jedi business and she actually gets arrested for some move done wrong lol.

🍾: Does your OC believe in luck? If so, do they have any charm or ritual they do before a stressful event?

Being a Jedi, Talia tends to fall into the “no such thing as luck” category a lot, but sometimes when a lot of shitty things have happened to her in a row she can’t help but think she has shit luck.

🍷: What's one of your OC's pet peeves concerning food?

I think Storm doesn’t get over the top stunt food. like those places that put cake slices on top of milkshakes, or over fried things. he just doesn’t like things that seem wasteful.

🥃: If your OC was in this universe, what would be their favourite show/book/band/social media platform?

I feel like Storm would be into very classic or Dad rock. For TV shows he would like Succession or any of the top HBO dramas. And he doesn’t do social media lol.

For Talia, she would no doubt be a Swiftie. She probably loves Jane Austen novels and any of the movie or tv show adaptations. And she likes instagram the most.

🍟: What does your OC admit to be their guilty pleasure? What actually is their guilty pleasure?

Hmm for Storm it’s tough to say. Previously I said he isn’t wasteful with food, but if you get him a good quality desert? He loves it. I’m talking like a decadent dark chocolate.

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practically-an-x-man · 1 year ago

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Ask game!

🌻🌈✨️💎💖💌

(Those might be a little out of order, I just remembered the emojis, not what order they were listed in lol)

thank you!! And don't worry about it being out of order, it's not a problem

(also apologies in advance because this turned into some MAJOR rambling)

🌻what makes you want to give up on writing? what makes you keep going?

I thrive off of feedback, and so I tend to get discouraged when I write something I'm proud of and it gets little/no response. It starts to feel like I'm putting a lot of effort into something that's just going to float aimlessly through the void, and I have other hobbies that I could spend my time on.

And admittedly, this happens sometimes when I swap read with a friend too - I put a lot of effort into commenting, marking lines and making note of all the little things I liked, since I always love getting those sorts of comments on my own writing, and then my writer friend either won't read my writing in exchange, or won't comment on it so I don't even know what they thought. That's not meant to be a callout and I'm not upset with anyone in particular, it's just a fairly consistent thing I've noticed and it makes sustaining motivation difficult.

Generally this is resolved by either receiving a surprise comment or two (I literally got a two-line comment on A Love Once New and it pulled me out of 2 months of uninspired dormancy), or simply pressing myself through the hard parts because I know there's a scene I've been dying to write coming up.

🌈is there a fic that you worked *really fucking hard on* that no one would ever know? maybe a scene/theme you struggled with?

Okay, so I have a bad habit of starting fics in the most underused fandoms or with the most underappreciated characters, so it's kind of a tossup. But I'm actually gonna go with A Love Once New for this one, for one particular reason.

That fic is LONG. Over 200k words at this point. And given I started it over two years ago at this point, my writing's a lot better now than it was when I began. I worry that people will click onto it, but the old writing style will chase them away (it's not bad, but certainly not great) and they won't bother sifting through 60-something chapters to get to the new, well-written stuff.

I've put so much love and thought into that fic, but I feel like it just doesn't get appreciated the way I want it to.

(but also I work really fucking hard on everything I write so they all kinda fall into that category)

✨What's a fic you've posted you wish you could breathe life into again and have people talking about it? (or simply a fic you wish got more credit)

I used to have a longtime consistent reader on Smoke and Mirrors, who left these really great, multi-paragraph comments on every chapter, and it gave me so much joy to write that one. And then I had a second reader who came in after a while, and left slightly shorter but still really wonderful comments. But they disappeared, and the only comment I got on the most recent chapter was along the lines of "I don't really like being left in suspense, I hope Madison's okay. Nice update though." I'm grateful for the comment, but... not the most inspiring, y'know? It reads to me almost like a warning, like "you're losing my attention, please resolve this plot before I leave too"

I really wish I could get a few of those readers back, honestly. Smoke and Mirrors has some of my most dynamic characterization, a great slowburn, and I feel like I've struck a really good blend of angst and softness. I'm genuinely very proud of what I've built with that one and my writing keeps improving each chapter, but it feels like my readers have just been trickling away despite that.

💎why is writing important to you?

In a general sense, I feel like writing is an incredibly good way to showcase different perspectives and generate compassion and understanding in a way that other forms of media can't. Writing helps showcase not only a character's actions but their thoughts and worldview, which is an excellent tool for representation.

In a personal sense, writing is important to me because I feel more understood myself. I can incorporate my thoughts and perspectives or even rant about some of my personal pains through the lens of the story, and usually turn it into something compelling and interesting to the reader. I can channel my emotions into the words, and actually make something positive and creative out of them. It helps me keep the rampant ideas from piling up on me, helps me focus my thoughts, and makes me more articulate when I need to express something in the real world.

💝what is a fic that got a different response than you were expecting?

I wasn't expecting Who Waits Forever Anyway? to get so much attention! I knew there was a standing Night at the Museum fandom since everyone loves Jed and Octavius, but I was surprised that so many people actually engaged with my Ahkmenrah-centered fic too! I've had three or four consistent readers (non-writer friends, people who genuinely just stumbled into the story and decided to stick with it) since the beginning, and that fic probably gets as many comments as the others combined. Catch and Release has more hits and bookmarks, but doesn't seem to have as many consistently engaged readers.

And on the opposite side of things, I'm surprised Secret Worlds and (Farewell) Wanderlust got so little attention. The Sandman is popular, the fandom appears to be pretty active, and the Corinthian is a well-liked character as a whole. Plus, I feel like those two pieces are some of my better bits of writing. Logically, I'd have thought it would get more attention.

💌share something with us about an up-and-coming work (WIP) that has you excited!

Okay, so recently my motivation has been almost entirely devoted to this new fic called Taking Flight (thank you ADHD, I literally can't focus on any of my other WIPs right now), but I've been trying to work on the next chapter of Desert Song! I don't want to spoil too much, but I'll give you two things: it starts and ends with flashbacks, and the focus song for this chapter is The History of Wrong Guys from Kinky Boots.

The history of wrong guys:

Chapter one, he’s a bum.

Two, he’s not into you.

Three, he’s a sleaze.

Four, loves the girl next door.

#my friends!!!#answered asks #ask game #my writing #writing asks

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itsblosseybitch · 1 year ago

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Okay, here we go!

Disclaimer: This is a (mostly) heteronormative theory I have about (mostly) straight women and men. It doesn't take into account what gay men and lesbians find attractive, and I imagine the LGBT equivalent of this would be much different.

This theory I have is based on three core ideas.

Straight women are primarily attracted to aesthetic appeal, or people/places/things that are pretty

Straight men are attracted to sexual appeal, or people/places/things that are hot

While the primary attractions for straight women and men are different, they can and sometimes do overlap

These core ideas are behind what I call:

Pretty-Hot Theory

Pretty-Hot Theory is broken down on a scale of 1-5 that, despite the numeration, is a more qualitative than quantitative scale, as I will demonstrate. The scale is as follows:

Pretty But Not Hot

More Pretty Than Hot

Pretty AND Hot

More Hot Than Pretty

Hot But Not Pretty

Note: The colors don't really mean anything. They're just a way to organize, and those were the only colors available. If it were up to ME, I would use a gradient system from pink to red to demonstrate, but I digress.

To illustrate my theory, I will be using pictures of Old Hollywood or OH adjacent public figures for each point on the scale. OH is something I know a lot about, and I think it's an effective demonstration tool. Pretty-Hot Theory absolutely plays a role in celebrity and mass media, to the point that I may have to elaborate on a separate post. We'll see.

Unlike the traditional 1-10 scale associated with Bo Derek, the "perfect" score is not 5. As you will see below, the "perfect" score is actually 3.

1. Pretty But Not Hot

Tommy Kirk and Audrey Hepburn

People in the Pretty But Not Hot category are those with extreme aesthetic appeal, but often extremely lacking in sex appeal. This is the world of pixie girls with pixie cuts, and pretty boy teen idols who lack a "this guy fucks" energy. Men and women in this category tend to be waif-looking, and lack curves and/or muscle. The pretty features they have are exaggerated. More often than not, the Pretty But Not Hot male or female has androgynous qualities. To paraphrase The Virgin Suicides, these are the type of people that women obsess over, but men rarely (if ever) think about.

2. More Pretty Than Hot

James Dean and Natalie Wood

This is what happens when Pretty But Not Hot hits puberty. Men and women who are More Pretty Than Hot still have a greater aesthetic appeal, but with a little more sex appeal sprinkled in. People in this category are more slender than skinny, with some muscle and curves. Men who are "boyishly handsome" and women best described as the "girl next door" will most likely belong in this category. They may have androgynous qualities (and often do), but they're subtle compared to their Pretty But Not Hot counterparts. These are the kind of people you can take home to your parents. Women tend to love people in this category, while men like (but not necessarily) love them.

Note: People that are described as "cute" would most likely fall under Pretty But Not Hot or More Hot Than Pretty, depending on other factors.

3. Pretty AND Hot

Paul Newman and Elizabeth Taylor

This is the Goldilocks zone. The sweet spot. Best of both worlds, Hannah Montana. These are The Beautiful People™. An overwhelming majority of A-list celebrities, past and present, fall under this category. For the Pretty AND Hot, aesthetic appeal and sexual appeal balance out very nicely. Golden ratio faces with bodies that are in near-perfect shape. Bodies tend to be slender, but well-balances with muscles and curves. Men love them, women love them! These are the people that make straight men and women go "I'm not gay/lesbian buuuuttttt....."

Note: Notice how two of the pairs so far were on-screen couples? You're seeing how Pretty-Hot Theory works in Hollywood and with casting directors!

4. More Hot Than Pretty

Marlon Brando and Angie Dickinson

People in this category, while having some aesthetic appeal, are more noted for their sex appeal. While they have nice faces, they slightly lack the symmetry and elegance of their Pretty counterparts. Their faces are a little more uneven. Perhaps their nose is crooked (like Ellen Barkin, the '80s equivalent of Angie Dickinson), or their skin is slightly rough, or their lips are a little too pouty (Brigitte Bardot). The More Hot Than Pretty body type is what happens when you add more muscle and curves to Pretty AND Hot. The muscles and curves are slightly exaggerated. Men and women who are More Hot Than Pretty tend to exude a slightly rugged energy, like they've Seen Some Shit. The land of the Baddies™. Celebrities who are More Hot Than Pretty are often cast in action movies that are widely geared towards men, or become famous pinups. The most famous Playboy centerfolds, such as Pamela Anderson and Anna Nicole Smith, tend to fall in this category. Men love them, while women like (but not necessarily love) these people.

Note: Celebrities that are More Pretty Than Hot are often pitted against people that are More Hot Than Pretty by casting directors and the media. Usually it's characters on a TV show in a love triangle, or a celebrity feud (that may or may not involve a love triangle). Examples include:

Lindsay Lohan (More Hot Than Pretty) famously feuded with Hilary Duff (More Pretty Than Hot) in the '00s when it came out that they were both dating Aaron Carter (Pretty But Not Hot) at the same time. In a hilarious plot twist, Carter was reportedly seeing a guy and later came out as bisexual before his untimely passing.

Earlier this year (2023), a twitter poll ended in a rare 50-50 asking who was more attractive: a young Al Pacino (More Pretty Than Hot) or a young Robert De Niro (More Hot Than Pretty).

For the record, I voted Pacino.

Ok, that was one last detour before our final stop, which is:

5. Hot But Not Pretty

Charles Bronson and Tura Satana

I would argue that this is the rarest category out of the five, but it does happen. The male example I used, Charles Bronson, was described as having "granite features and brawny physique", which is probably one of the best descriptions of Hot But Not Pretty. This is the land of the Butterface/Buthisface who have killer, killer bodies. Charles Bronson in the shower in The Great Escape. You'll thank me later. Their sex appeal is off the charts. Perhaps they're even Too Hot To Handle™. This is what happens when you draw a caricature of More Hot Than Pretty. Muscles and curves are greatly exaggerated, and they may even be heavyset or voluptuous. Their faces, however, tend to greatly lack symmetry or otherwise aesthetic appeal. Perhaps they have bad skin, their eyes are weirdly placed (Vincent Cassel), or their lips are much too big for their face (Steven Tyler). Celebrities who are Hot But Not Pretty don't often make the A-list, and are more often relegated to movies and TV heavily geared towards men that become cult classics. There's not a lot of female examples for the Old Hollywood era, so women in this category will most likely appear in stag films, trashier pin-ups, or low-budget fare. The female example, Tura Satana, is most famous for her role in the Russ Meyer film Faster Pussycat, Kill! Kill! Director Russ Meyer was notorious for casting women with cartoonishly large breasts, who often almost always fall in the Hot But Not Pretty or More Pretty Than Hot categories. Men love these people, while women either don't think about them or just think they're straight up ugly!

That's all I got for this post. Any questions or comments?

Anyway I have a really elaborate theory as to how what men and women are attracted to differ but overlap with each other that I will get to when I have enough time.

#pretty hot theory #sociology #mass media #old hollywood #pretty people #hot people #hollywood

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eiirisworkshop · 4 years ago

Text

The Fanfic Author's Guide to Metatext

(As Used on Ao3) by Eiiri

Also available as a PDF here. This thing is 13,000 words. The PDF is recommended.

Intro: What is Metatext?

Metatext is everything we fanfic authors post along with our story that is not the story itself: title, tags, summary, author's notes, even the rating.

It is how we communicate to potential readers what they're signing themselves up for if they choose to read our story, how we let them make informed decisions regarding which fics they want to read, how we get their interest and, frequently, how they find our story in the first place. A lot of metatext acts as a consent mechanism for readers, it's the informed part of informed consent.

Since most of us who write fanfic also read it, we understand how important this is! But, for the most part, no one ever teaches us how to use metatext; we have to pick it up by osmosis. That makes it hard to learn how to use it well, we all suck at it when we first start out, and some of us may go years without learning particular conventions that seem obvious to others in our community. This creates frustration for everybody.

Enter this guide!

This is meant to be a sort of handbook for fic writers, particularly those of us who post on Archive of Our Own, laying out and explaining the established metatext conventions already in use in our community so we (and our readers!) are all on the same page. It will also provide some best-practices tips.

The point is to give all of us the tools to communicate with our audience as clearly and effectively as possible, so the people who want to read a story like ours can find it and recognize it as what they're looking for, those who don't want to read a story like ours can easily tell it's not their cup of tea and avoid it, nobody gets hurt, and everybody has fun—including us!

Now that we know what we're talking about, let's get on with the guide! The following content sections appear in the order one is expected to provide each kind of metatext when posting a fic on Ao3, but first….

Warning!

This is a guide for all authors on Ao3. As such, it mentions subject matter and kinds of fic that you personally might hate or find disgusting, but which are allowed under the Archive's terms of use. There are no graphic descriptions or harsh language in the guide itself, but it does acknowledge the existence of fic you may find distasteful and explains how to approach metatext for such fics.

Some sexual terminology is used in an academic context.

A note from the author:

This guide reflects the conventions of the English-language fanfiction community circa 2021. Conventions may differ in other language communities, and although many of our conventions have been in place for decades (praise be to our Star Trek loving foremothers) fanfiction now exists primarily in the realm of internet fandom where things tend to change rather quickly, so some conventions in this guide may die out while other new conventions, not covered in this guide, arise.

This is not official or in any way produced by the Archive of Our Own (Ao3), and though some actual site rules are mentioned, it is not a rulebook. Primarily, it is a descriptivist take on how the userbase uses metatext to communicate amongst ourselves, provided in the interest of making that communication easier and more transparent for everyone, especially newer users.

Contents

How To Use This Guide Ratings Archive Warnings Fandom Tags Category Relationship Tags Character Tags Additional Tags Titles Summaries Author's Notes Series and Chapters Parting Thoughts

How To Use This Guide

Well, read it. Or have it read to you.

This isn't a glossary, it's a handbook, and it's structured more like an academic paper or report, but there's lots and lots of examples in it!

Many of these examples are titles of real media and the names of characters from published media, or tags quoted directly from Ao3 complete with punctuation and formatting.

Some examples are more generic and use the names Alex, Max, Sam, Chris, Jamie, and Tori for demonstration purposes. In other generic examples, part of an example tag or phrase may be sectioned off with square brackets to show where in that tag or phrase you would put the appropriate information to complete it. This will look something like “Top [Character A]” where you would fill in a character's name.

This guide presumes that you know the basics of how to use Ao3, at least from the perspective of reading fic. If you don't, much of this guide may be difficult to understand and will be much less helpful to you, though not entirely useless.

Ratings

Most fanfic hosting sites provide ratings systems that work a lot like the ratings on movies and videogames.

Ao3's system has four ratings:

General

Teen

Mature

Explicit

These seem like they should be pretty self-explanatory, and the site's own official info pop-up (accessible by clicking the question mark next to the section prompt) gives brief, straightforward descriptions for each of them.

Even so, many writers have found ourselves staring at that dropdown list, thinking about what we've written, and wondering what's the right freaking rating for this? How do I know if it's appropriate for “general audiences�� or if it needs to be teen and up? What's the difference between Mature and Explicit?

The best way to figure it out is often to think about your fic in comparison to mainstream media.

General is your average Disney or Dreamworks movie, Cartoon Network or Nickelodeon shows, video games like Mario, Kirby, and Pokemon.

There may be romance, but no sexual content or discussion. Scary things might happen and people might get hurt, but violence is non-graphic and usually mild. Adults may be shown drinking alcohol or smoking tobacco, and some degree of intoxication may be shown (usually played for laughs and not focused on), but hard drug use is generally not shown or discussed. There is little to no foul language written out and what language there may be is mild, though harsher swears may be implied by narration. There are no explicit F-bombs or slurs.

Teen is more like a Marvel movie, most network television shows (things like The Office, Supernatural, or Grey's Anatomy), video games like Final Fantasy, Five Nights at Freddie's, and The Sims.

There might be some sex and sexual discussion, but nothing explicit is shown—things usually fade to black or are leftimplied. More intense danger, more severe injuries described in greater detail, and a higher level of violence may be present. Substance use may be discussed and intoxication shown, but main characters are unlikely to be shown doing hard drugs. Some swearing and other harsh language may be present, possibly including an F-bomb or two. In longer works, that might mean an F-bomb every few chapters.

Mature is, in American terms, an R-rated movie* like Deadpool, Fifty Shades of Grey, The Exorcist, and Schindler's List; certain shows from premium cable networks or streaming services like Game of Thrones, Shameless, Breaking Bad, and Black Sails; videogames like Bioshock, Assassin's Creed, Grand Theft Auto, and The Witcher.

Sex may be shown and it might be fairly explicit, but it's not as detailed or graphic or as much the focus of the work as it would be if it were porn. Violence, danger, and bodily harm may be significant and fairly graphic. Most drug use is fair game. Swearing and harsh language may be extensive.

Explicit is, well, extremely explicit. This is full on porn, the hardcore horror movies, and snuff films.

Sex is highly detailed and graphic. Violence and injury is highly detailed and graphic. Drug use and its effects may be highly detailed and graphic. Swearing and harsh language may be extreme, including extensive use of violent slurs.

Please note that both Mature and Explicit fics are intended for adult audiences only, but that does not mean a teenaged writer isn't going to produce fics that should be rated M or E. Ratings should reflect the content of the fic, not the age of the author.

Strictly speaking, you don't have to choose any of these ratings; Ao3 has a “Not Rated” option, but for purposes of search results and some other functions, Not Rated fics are treated by the site as Explicit, just in case, which means they end up hidden from a significant portion of potential readers. It really is in your best interest as a writer who presumably wants people to see their stories, to select a rating. It helps readers judge if yours is the kind of story they want right now, too.

Rating a fic is a subjective decision, there is some grey area in between each level. If you're not quite sure where your fic falls, best practice is to go with the more restrictive rating.

*(Equivalent to an Australian M15+ or R18+, Canadian 14A, 18A or 18+, UK 15 or 18, German FSK 16 or FSK 18.)

Warnings

Ao3 uses a set of standard site-wide Archive Warnings to indicate that a work contains subject matter that falls into one or more of a few categories that some readers are likely to want to avoid. Even when posting elsewhere, it's courteous to include warnings of this sort.

These warnings are:

Graphic Depictions Of Violence

Major Character Death

Rape/Non-Con

Underage

Just like with the ratings, the site provides an info-pop up that explains what each warning is for. They're really exactly what it says on the tin: detailed descriptions of violence, injury, and gore; the death of a character central to canon or tothe story being told; non-consensual sex i.e. rape; and depictions of underage sex, which the site defines as under the age of 18 for humans—Ao3 doesn't care if your local age of consent or majority is lower than that.

In addition to the four standard warnings above, the warnings section has two other choices:

No Archive Warnings Apply

Choose Not To Use Archive Warnings

These do not mean the same thing and cannot be used interchangeably. “No Archive Warnings Apply” means that absolutely nothing in your fic falls into any of the four standard warning categories. “Choose Not To Use Archive Warnings” means that you the author are opting out of the warning system; your fic could potentially contain things that fall into any and all of the four standard warning categories.

There's nothing wrong with selecting Choose Not To Use Archive Warnings! It may mean that some readers will avoid your fic because they're not sure it's safe for them, and you might need to use more courtesy tags than you otherwise would (we'll talk about courtesy tags later), but that's okay! Opting out of the warning system can be a way to avoid spoilers,* and is also good for when you're just not sure if what you've written deserves one of the Archive warnings. In that case, the best practice is to select either the warning it might deserve or Choose Not To Use Archive Warnings, then provide additional information in other tags, the summary, or an initial author's note.

Unless you're opting out of using the warning system, select all the warnings that apply to your fic, if any of them do. So if a sixteen year old main character has consensual sex then gets killed in an accident that you've written out in excruciating detail, that fic gets three out of the four standard warnings: Underage, Major Character Death, and Graphic Depictions Of Violence.

*(Fandom etiquette generally favors thorough tagging and warning over avoiding spoilers. It doesn't ruin the experience of a story to have a general sense of what's going to happen. If it did, we wouldn't all keep reading so many “there was only one bed” fics.)

Fandom Tags

What fandom or fandoms is your fic for? You definitely know what you wrote it for, but that doesn't mean it's obvious what to tag it as.

Sometimes, it is obvious! You watched a movie that isn't based on anything, isn't part of a series, and doesn't have any spinoffs, tie-ins or anything else based on it. You wrote a fic set entirely within the world of this movie. You put this movie as the fandom for your fic. Or maybe you read a book and wrote a fic for it, and there is a movie based on the book, but the movie is really different and you definitely didn't use anything that's only in the movie. You put the book as the fandom for your fic.

All too often, though, it's not that clear.

What if you wrote a fic for something where there's a movie based on a book, but the movie's really different, and you've used both things that are only in the movie and things that are only in the book? In that case you either tag your fic as both the movie and the book, or see if the fandom has an “all media types” tag and use that instead of the separate tags. If the fandom doesn't have an “all media types” tag yet, you can make one! Just type it in.

“All media types” fandom tags are also useful for cases where there are lots of inter-related series, like Star Wars; there are several tellings of the story in different media but they're interchangeable or overlap significantly, like The Witcher; or the fandom has about a zillion different versions so it's very hard, even impossible, to say which ones your fic does and doesn't fit, like Batman. Use your best judgement as to whether you need to include a more specific fandom tag such as “Batman (Movies 1989-1997)” alongside the “all media types” fandom tag, but try to avoid including very many. The point of the “all media types” tag is to let you leave off the specific tags for every version.

In a situation where one piece of media has a spinoff, maybe several spinoffs, and you wrote a fic that includes things from more than one of them, you might want use the central work's “& related fandoms” tag. For example, the “Doctor Who & Related Fandoms” tag gets used for fics that include things from a combination of any era of Doctor Who, Torchwood, and The Sarah Jane Adventures.

And don't worry, from the reader-side of the site the broadest fandom tags are prioritized. The results page for an “all media types” or “& related fandoms” search includes works tagged with the more specific sub-tags for that fandom, the browse-by-fandom pages show the broadest tag for each fandom included, and putting a fandom into the search bar presumes the broadest tag for that fandom. A search for “Star Wars - All Media Types” will pull up work that only has a subtag for that fandom, like “The Mandalorian (TV).” You don't have to put every specific fandom subtag for people to find your fic.

If you wrote a fic for something that's an adaptation of an older work—especially an older work that's been adapted a lot, like Sherlock Holmes or The Three Musketeers—it can be hard to know how you should tag it. The best choice is to put the adaptation as the fandom, for instance “Sherlock (TV),” then, if you're also using aspects of the older source work that aren't in the adaptation, also put a broad fandom tag such as “Sherlock Holmes & Related Fandoms.” Do not tag it as being fic for the source work—in our Sherlock example that would be tagging it “Sherlock Holmes - Arthur Conan Doyle”—unless you are crossing over the source work and the adaptation. Otherwise, the specific fandom subtag for the source work ends up clogged with fic for the adaptation, which really is a different thing.

By the same token, fic for the source work shouldn't be tagged as being for the adaptation, or the adaptation's subtag will get clogged.

The same principle applies to fandoms that have been rebooted. Don't tag fic for the reboot as being for the original, or fic for the original as being for the reboot. Don't tag a fic as being for both unless the reboot and original are actually interacting. Use an “& related fandoms” tag for the original if your fic for the reboot includes some aspects of the original that weren't carried over but you haven't quite written a crossover between the two. Good examples of these situations can be seen with “Star Trek: Alternate Original Series (Movies)” vs. “Star Trek: The Original Series,” and “She-Ra and the Princesses of Power (2018)” vs. “She-Ra: Princess Of Power (1985).”

Usually, this kind of mistagging as a related fandom happens when someone writes a fic for something that is or has a reboot, spinoff, or adaptation, but they're only familiar with one of the related pieces of media, and they mistakenly presume the fandoms are the same or interchangeable because they just don't know the difference. It's an honest mistake and it doesn't make you a bad or fake fan to not know, but it can be frustrating for readers who want fic for one thing and find the fandom tag full of fic for something else.

In order to avoid those kinds of issues, best practice is to assume fandoms are not interchangeable no matter how closely related they are, and to default to using a tag pair of the most-specific-possible sub-fandom tag + the broadest possible fandom tag when posting a fic you're not entirely sure about, for instance “Star Trek” and “Star Trek: Enterprise.”

The Marvel megafandom has its own particular tagging hell going on. Really digging into and trying to make sense of that entire situation would require its own guide, but we can go through some general tips.

There is a general “Marvel” fandom tag and tags for both “The Avengers - Ambiguous Fandom” and “The Avengers (Marvel) - All Media Types.” Most of us who write Marvel fic are working with a cherry picked combination of canons from the MCU, various comics runs, both timelines of X-Men movies, and possibly several decades worth of cartoons. That's what these tags are for.

If your cherry picked Marvel fic is more X-Men than Avengers, go for the “X-Men - All Media Types” tag.

If you are primarily working with MCU canon, use the MCU specific tags rather than “all media types” and add specific tags for individual comics runs—like Earth 616 or the Fraction Hawkeye comics—if you know you're lifting particular details from the comics. If you're just filling in gaps in MCU canon with things that are nebulously “from the comics” don't worry about tagging for that, it's accepted standard practice in the fandom at this point, use a broader tag along with your MCU-specific tag if you want to.

Same general idea for primarily movie-verse X-Men fics. Use the movie-specific tags.

If your fic mostly draws from the comics, use the comics tags. If you're focusing on an individual run, show, or movie series rather than an ensemble or large swath of the megafranchise, tag for that and leave off the broader fandom tags.

Try your best to minimize the number of fandom tags on your Marvel work. Ideally, you can get it down to two or three. Even paring it down as much as you can you might still end up with about five. If you're in the double digits, take another look to see if all the fandom tags you've included are really necessary, or if some of them are redundant or only there to represent characters who are in the fic but that the fic doesn't focus on. Many readers tend to search Marvel fics by character or pairing tags, it's more important that you're thorough there. For the fandom tags it's more important that you're clear.

If you write real person fiction, you need to tag it as an RPF fandom. Fic about actors who are in a show together does not belong on the fandom tag for that show. There are separate RPF fandom tags for most shows and film franchises. Much like the adaptation/source and reboot/original situations discussed earlier, a fic should really only be tagged with both a franchise's RPF tag and its main tag if something happens like the actors—or director or writer!—falling into the fictional world or meeting their characters.

Of course, not all RPF is about actors. Most sports have RPF tags, there are RPF tags for politics from around the world and for various historical settings, the fandom tags for bands are generally presumed to be RPF tags, and there is a general Real Person Fiction tag.

In order to simplify things for readers, it's best practice to use the general Real Person Fiction tag in addition to your fandom-specific tag. You may even want to put “RPF” as a courtesy tag in the Additional Tags section, too. This is because Ao3 isn't currently set up to recognize RPF as the special flavor of fic that it is in the same way that the site recognizes crossovers as special, so it can be very difficult to either seek out or avoid RPF since it's scattered across hundreds of different fandom tags.

On the subject of crossovers—they can make fandom tagging even more daunting. Even for a crossover with lots of fandoms involved, though, you just have to follow the same guidelines as to tag a single-fandom work for each fandom in the crossover. The tricky part is figuring out if what you wrote is really a crossover, or just an AU informed by another fandom—we'll talk about that later.

There are some cases where it's really hard to figure out what fandom something belongs to, like if you wrote a fanfic of someone else's fanfic, theirs is an AU and yours is about their OC, not any of the characters from canon. What do you do?! Well, you do not tag it as being a fanfic for the same thing theirs was. Put the title of their fic (or name of their series) as the fandom for your fic, attributed to their Ao3 handle just like any other fandom is attributed to its author. Explain the situation in either the summary or the initial author's note. Also, ask the author's permission before posting something like this.

What if you wrote a story about your totally original D&D character? The fandom is still D&D, you want the “Dungeons & Dragons (Roleplaying Game)” tag.

What if there's not a fandom tag on the Archive yet for what you wrote? Not a problem! You can type in a new one if you're the first person to post something for a particular fandom. Do make sure, though, that the fandom isn't just listed by a different name than you expect. Many works that aren't originally in English—including anime—are listed by their original language title or a direct translation first, and sometimes a franchise or series's official name might not be what you personally call it, for instance many people think of Phillip Pullman's His Dark Materials series as The Golden Compass series, so it's best to double check.

What if you wrote an entirely new original story that's not based on anything? Excellent job, that takes a lot of work, but that probably doesn't belong on Ao3! The Archive is primarily meant as a repository for fannish content, but in a few particular circumstances things we'd consider Original Work may be appropriate content for the Archive as well. Double check the Archive's Terms of Service FAQ and gauge if what you wrote falls under the scope of what is allowed. If what you wrote really doesn't fit here, post it somewhere else or try to get it published if you feel like giving it a shot.

Category

What Ao3 means by category is “does this fic focus on sex or romance, and if so what combination of genders are involved in that sex or romance?”

The category options are:

F/F

F/M

Gen

M/M

Multi

Other

The F/F, F/M, and M/M categories are for stories focused on pairings of two women, a woman and a man, and two men, respectively. These refer to sexual and/or romantic pairings.

The Other category is for stories focused on (sexual and/or romantic) pairings where one or both partners are not strictly male or female, such as nonbinary individuals, people from cultures with gender systems that don't match to the Western man-woman system, and nonhuman characters for whom biological sex works differently or is nonexistent, including aliens, robots, and inanimate objects or abstract concepts. There are some problems with treating nonbinary humans, eldritch tentacle monsters, sexless androids, and wayward container ships as all the same category, but it's the system we currently have to work with. Use Additional Tags to clarify the situation.

Multi is for stories in which several (sexual and/or romantic) relationships are focused on or which focus on relationships with multiple partners, including cases of polyamory, serial monogamy, strings of hookups with different people, and orgies. A fic will also show as “Multi” if you, the author, have selected more than one category for the fic, even if none of those are the Multi category. Realistically, the Archive needs separate “Multiple Categories” and “Poly” options, but for now we have to work with this system in which the two are combined. Use Additional Tags to clarify the situation.

Gen is for stories that do not contain or are not focused on sex or romance. Romance may be present in a gen fic but it's going to be in the background. While rare, there is such a thing as a sexually explicit gen fic—solo masturbation which does not feature fantasizing about another character is explicit gen fic; a doctor character seeing a series of patients with sex-related medical needs following an orgy may qualify if the orgy is not shown and the doctor is being strictly professional—but such fic needs to be rated, otherwise tagged, and explained carefully in the summary and/or author's note.

Much like the warnings section, category is a “select all that apply” situation. Use your best judgement. For a fic about a polyamorous relationship among a group of women, it's entirely appropriate to tag it as both F/F and Multi. A poly fic with a combination of men and women in the relationship could be shown as both M/M and F/M, Multi, or all three. A fic that focuses equally on one brother and his husband and the other brother and his wife should be tagged both M/M and F/M, and could be tagged as Multi but you might decided not to just to be clear that there's no polyamory going on. If you wrote a fic about two characters who are both men in canon, but you wrote one of them as nonbinary, you could tag it M/M, Other, or both depending on what you feel is representative and respectful.

When dealing with trans characters, whether they're trans in canon or you're writing them as such, the category selection should match the character's gender. If there's a character who is a cis woman in canon, but who you're writing as a trans man, you categorize the fic based on his being a man. If there's a character who is a cis man in canon, but whom you're writing as a trans man, he is still a man and the fic should be categorized accordingly. When dealing with nonbinary characters the fic should really be classed as Other though, by convention, fics about characters who are not nonbinary in canon may be classed based on the character's canon gender as well or instead. When dealing with gender swapped characters—i.e. a canonically cis male superhero who you're writing as a cis woman—class the fic using the gender you wrote her with, not the gender he is in canon.

Most of the time, gen fics should not be categorized jointly with anything else because a fic should only be categorized based on the ships it focuses on, and a gen fic should not be focusing on a ship in the first place.*

*(One of the few circumstances in which it might make sense to class a fic as both gen and something else is when writing about Queerplatonic Relationships, but that is a judgement call and depends on the fic.)

Relationship Tags

The thing about relationship tagging that people most frequently misunderstand or just don't know is the difference between “Character A/Character B” and “Character A & Character B.”

Use a “/” for romantic or sexual relationships, such as spouses, people who are dating, hookups, and friends with benefits. Use “&” for platonic or familial relationships, such as friends, siblings, parents with their kids, coworkers, and deeply connected mortal enemies who are not tragically in love.

This is where we get the phrase “slash fic.” Originally, that meant any fic focused on a romantic paring, but since so much of the romantic fic being produced was about pairs of men, “slash fic” came to mean same-sex pairings, especially male same-sex pairings. Back in earlier days of fandom, pre-Ao3 and even pre-internet, there was a convention that when writing out a different-sex pairing, you did so in man/woman order, while same-sex pairings were done top/bottom. Some authors, especially those who have been in the fic community a long time, may still do this, but the convention has not been in consistent, active use for many years, so you don't have to worry about putting the names in the “correct” order. Part of why that died out is we, as a community, have gotten less strict and more nuanced in our understandings of sex and relationships, we're writing non-penetrative sex more than we used to, and we're writing multi-partner relationships and sex more than we used to, so strictly delineating “tops” and “bottoms” has gotten less important and less useful.

The convention currently in use on Ao3 is that the names go in alphabetical order for both “/” and “&” relationships. In most cases, the Archive uses the character's full name instead of a nickname or just a given name, like James "Bucky" Barnes instead of just Bucky or James. We'll talk more about conventions for how to input character names in the Characters section. The Archive will give you suggestions as you type—if one of them fits what you mean but is slightly different from how you were typing it, for instance it's in a different order, please use the tag suggested! Consistency in tags across users helps the site work more smoothly for everybody.

This is really not the place for ship nicknames like Puckleberry, Wolfstar, or Ineffable Wives. Use the characters' names.

Now that you know how to format the relationship tag to say what you mean, you have to figure out what relationships in your fic to tag for.

The answer is you tag the relationships that are important to the story you're telling, the ones you spend time and attention following, building up, and maybe even breaking down. Tagging for a ship is not a promise of a happy ending for that pair; you don't have to limit yourself to tagging only the end-game ships if you're telling a story that's more complicated than “they get together and live happily ever after.” That said, you should generally list the main ship—the one you focus on the most—first on the list, and that will usually be the end-game ship. You should also use Additional Tags, the summary, and author's notes to make it clear to readers if your fic does not end happily for a ship you've tagged. Otherwise readers will assume that a fic tagged as being about a ship will end well for that ship, because that's what usually happens, and they'll end up disappointed and hurt, possibly feeling tricked or lied to, when your fic doesn't end well for that ship

You don't have to, and honestly shouldn't, tag for every single relationship that shows up in your fic at all. A character's brief side fling mentioned in passing, or a relationship between two background characters should not be listed under the Relationship tag section. You can list them in the format “minor Character A/Character C” or “Character C/Character D – mentions of” in the Additional Tags section if you want to, or just tag “Minor or Background Relationship(s)” under either the Relationship tag section or in the Additional Tags section.

There are two main reasons to not tag all those minor relationships. The first is to streamline your tags, which makes them clearer and more readable, and therefore more useful. The second reason is because certain ships are far more common as minor or background relationships than as the focus of a work, so tagging all your non-focus focus ships leads to the tags for these less popular ships getting clogged with stories they appear in, but that are not about them. That is, of course, very frustrating for readers who really want to read stories that focus on these ships.

If your fic contains a major relationship between a canon character and an OC, reader-insert, or self-insert, tag it as such. The archive already has /Original Character, /Reader, /You, and /Me tags for most characters in most fandoms. If such a relationship tag isn't already in use, type it in yourself. There are OC/OC tags, too, some of which specify gender, some of which do not. All the relationship tags that include OCs stack the gender-specific versions of the tags under the nongendered ones. Use these tags as appropriate.

For group relationships, both polycules and multi-person friendships, you “/” or “&” all the names involved in alphabetical order, so Alex/Max/Sam are dating while Chris & Jamie & Tori are best friends. For a poly situation where not everyone is dating each other you should tag it something like “Alex/Max, Alex/Sam” because Alex is dating both Max and Sam, but Max and Sam are not romantically or sexually involved with each other. Use your judgement as to whether you still want to include the Alex/Max/Sam trio tag, and whether you should also use a “Sam & Max” friendship tag.

Generally, romantic “/” type relationships are emphasized over “&” type relationships in fic. It is more important that you tag your “/”s thoroughly and accurately than that you tag your “&”s at all. This is because readers are far more likely to either be looking for or be squicked by particular “/” relationships than they are “&” relationships. You can tag the same pair of characters as both / and & if both their romance and their friendship is important to the story, but a lot of people see this as redundant. If you're writing incest fic, use the / tag for the pair not the & tag and put a courtesy tag for “incest” in the Additional Tags section; this is how readers who do not want to see incestuous relationships avoid that material.

Queerplatonic Relationships, Ambiguous Relationships, Pre-Slash, and “Slash If You Squint” are all frequently listed with both the “/” and “&” forms of the pairing; use your best judgement as to whether one or the other or both is most appropriate for what you've written and clarify the nature of the relationship in your Additional Tags.

Overall, list your “/” tags first, then your “&” tags.

Character Tags

Tagging your characters is a lot like tagging your relationships. Who is your fic about? That's who you put in your character tags.

You don't have to and really should not tag every single background character who shows up for just a moment in the story, for pretty much the same reasons you shouldn't tag background relationships. We don't want to clog less commonly focused on characters' tags with stories they don't feature prominently in.

You do need to tag the characters included in your Relationship tags.

A character study type of fic might only have one character you need to tag for. Romantic one shots frequently only have two. Longfics and fics with big ensemble casts can easily end up with a dozen characters or more who really do deserve to be tagged for.

Put them in order of importance. This doesn't have to be strict hierarchal ranking, you can just arrange them into groups of “main characters,” “major supporting characters,” and “minor supporting characters.” Nobody less than a minor supporting character should be tagged. Even minor supporting characters show up for more than one line.

If everyone in the fic is genuinely at the same level of importance (which does happen, especially with small cast fics), then order doesn't really matter. You can arrange them by order of appearance or alphabetically by name if you want to be particularly neat about it.

Do tag your OCs! Some people love reading about OCs and want to be able to find them; some people can't stand OCs and want to avoid them at all costs; most people are fine with OCs sometimes, but might have to be in the mood for an OC-centric story or only be comfortable with OCs in certain contexts. Regardless, though, Character tags are here to tell readers who the story is about, and that includes new faces. Original Characters are characters and if they're important to the story, they deserve to be tagged for just like canon characters do.

There are tags for “Original Character(s),” “Original Male Character(s),” and “Original Female Character(s).” Use these tags! If you have OCs you're going to be using frequently in different stories, type up a character tag in the form “[OC's Name] – Original Character” and use that in addition to the generic OC tags.

Also tag “Reader,” “You,” or “Me” as a character if you've written a reader- or self-insert.

You can use the “Minor Characters” tag to wrap up everybody, both OC and canon, who doesn't warrant their own character tag. Remember, though, that this tag is also used to refer to minor canon characters who may not have their own official names.

Just like when tagging for relationships, the convention when tagging for characters is to use their full name. The suggestions the Archive gives you as you type will help you use the established way of referring to a given character.

Characters who go by more than one name usually have their two most used names listed together as one tag with the two names separated by a vertical bar like “Andy | Andromache of Scythia.” This also gets used sometimes for characters who have different names in an adaptation than in the source text, or a different name in the English-language localization of a work than in the original language. For character names from both real-world and fictional languages and cultures that put family or surname before the given name—like the real Japanese name Takeuchi Naoko or the made up Bajoran name Kira Nerys—that order is used when tagging, even if you wrote your fic putting the given name first.

Some characters' tags include the fandom they're from in parentheses after their name like “Connor (Detroit: Become Human).” This is mostly characters with ordinary given names like Connor and no canon surname, characters who have the same full name as a character in another fandom, such as Billy Flynn the lawyer from the musical Chicago and Billy Flynn the serial killer played by Tim Curry in Criminal Minds, and characters based on mythological, religious, or historical figures or named for common concepts such as Lucifer, Loki, Amethyst, Death, and Zero that make appearances in multiple fandoms.

Additional Tags

Additional Tags is one of the most complicated, and often the longest, section of metatext we find ourselves providing when we post fic. It's also the one that gives our readers the greatest volume of information.

That, of course, is what makes it so hard for us to do well.

It can help to break down Additional Tags into three main functions of tag: courtesy tags, descriptive tags, and personal tags.

Courtesy tags serve as extensions of the rating and warning systems. They can help clarify the rating, provide more information about the Archive Warnings you've used or chosen not to use, and give additional warnings to tell readers there are things in this fic that may be distasteful, upsetting, or triggering but that the Archive doesn't have a standard warning for.

Descriptive tags give the reader information about who's in this fic, what kind of things happen, what tropes are in play, and what the vibe is, as well as practical information about things like format and tense.

Personal tags tell the readers things about us, the author, our process, our relationship to our fic, and our thoughts at the time of posting.

It doesn't really matter what order you put these tags in, but it is best practice to try to clump them: courtesy tags all together so it's harder for a reader to miss an important one, ship-related info tags together, character-related info tags together, etc.

There are tons and tons of established tags on Ao3, and while it's totally fine, fun, and often necessary to make up your own tags, it's also important to use established tags that fit your fic. For one thing, using established tags makes life easier for the tag wranglers behind the scenes. Using a new tag you just made up that means the same thing as an established tag makes more work for the tag wranglers. We like the tag wranglers, they're all volunteers, and they're largely responsible for the search and sorting features being functional. Be kind to the tag wranglers.

For basically the same reasons, using established tags makes it easier for readers to find your fic. If a reader either searches by a tag or uses filters on another search to “Include” that tag, and you didn't use that tag, your fic will not show up for them even if what you wrote is exactly what they're looking for. Established tags can be searched by exactly the same way as you search by fandom or pairing, your off the cuff tags cannot.

Let's talk about some well-known established tags and common tag types, divvied up by main function.

Courtesy

A lot of courtesy tags are specific warnings like “Dubious Consent,” “Incest,” “Drug Use,” “Extremely Underage,” “Toxic Relationship,” and “Abuse.” Many of these have even more specific versions such as “Recreational Drug Use” and “Nonconsensual Drug Use,” or “Mildly Dubious Consent” and “Extremely Dubious Consent.”

Giving details about what, if any, drugs are used or mentioned, specifying what kinds of violence or bodily harm are discussed or depicted, details about age differences or power-imbalanced relationships between characters who date or have sex, discussion or depictions of suicide, severe or terminal illness, or mental health struggles is useful. It helps give readers a clear sense of what they'll encounter in your fic and decide if they're up for it.

One the most useful courtesy warning tags is “Dead Dove: Do Not Eat” which basically means “there are things in this fic which are really screwed up and may be disturbing, read at your own risk, steer clear if you're not sure.” This tag—like all courtesy warnings, really—is a show of good faith, by using it you are being a responsible, and thoughtful member of the fanfic community by giving readers the power and necessary information to make their own informed decisions about what they are and are not comfortable reading.

Saying to “Heed the tags” is quite self-explanatory and, if used, should be the last or second to last tag so it's easy to spot. Remember, though, that “Heed the tags” isn't useful if your tags aren't thorough and clear.

“Additional Warnings In Author's Note” is one of only things that should ever go after “Heed the tags.” If you use this, your additional warnings need to go in the author's note at the very beginning of the fic, not the one at the end of the first chapter. If your additional warnings write up is going to be very long because it's highly detailed, then it can go at the bottom of the chapter with a note at the beginning indicating that the warnings are at the bottom. Some authors give an abbreviated or vague set of warnings in the initial note, then longer, highly detailed, spoilery warnings in the end note. It's best to make it as simple and straightforward as possible for readers to access warnings.

Tagging with “Dead Dove: Do Not Eat,” “Heed the tags,” or “Additional Warnings In Author's Note” is not a substitute for thorough and appropriate courtesy tagging. These are extra reminders to readers to look closely at the other warnings you've given.

While most courtesy tags are warnings, some are assurances like “No Lesbians Die” or “It's Not As Bad As It Sounds.” A fic tagged for rape or dub-con may get a tag assuring that the consent issues are not between the characters in the main ship; or a fic with a premise that sounds likely to involve lack of consent but actually doesn't may get a tag that it's “NOT rape/non-con.” A tag like “Animal Death” may be immediately followed by a freeform tag assuring that the animal that dies is not the protagonist's beloved horse.

Descriptive

There are a few general kinds of descriptive tags including character-related, ship-related, temporal, relation-to-canon, trope-related, smut details, and technical specifications.

Many character- and ship-related tags simply expand on the Character and Relationship tags we've already talked about. This is usually the place to specify details about OCs and inserts, such as how a reader-insert is gendered.

When it comes to character-related tags, one of the most common types in use on Ao3 and in fandom at large is the bang-path. This is things like werewolf!Alex, trans!Max, top!Sam, kid!Jamie, and captain!Tori. Basically, a bang-path is a way of specifying a version of a character. We've been using this format for decades; it comes from the very first email systems used by universities in the earliest days of internet before the World Wide Web existed. It's especially useful for quickly and concisely explaining the roles of characters in an AU. Nowadays this is also one of the primary conventions for indicating who's top and who's bottom in a ship if that's information you feel the need to establish. The other current convention for indicating top/bottom is as non-bang-path character-related tags in the form “Top [Character A], Bottom [Character B].”

Other common sorts of character tags are things like “[Character A] Needs a Hug,” “Emotionally Constipated [Character B],” and “[Character C] is a Good Dad.”

Some character-related tags don't refer to a particular character by name, but tell readers something about what kinds of characters are in the fic. Usually, this indicates the minority status of characters and may indicate whether or not that minority status is canon, as in “Nonbinary Character,” “Canon Muslim Character,” “Deaf Character,” and “Canon Disabled Character.”

Down here in the tags is the place to put ship nicknames! This is also where to say things like “They're idiots your honor” or indicate that they're “Idiots in Love,” maybe both since “Idiots in Love” is an established searchable tag but “They're idiots your honor” isn't yet. If your fandom has catchphrases related to your ship, put that here if you want to.

If relevant, specify some things about the nature of relationships in your fic such as “Ambiguous Relationship,” “Queerplatonic Relationships,” “Polyamory,” “Friends With Benefits,” “Teacher-Student Relationship,” and so on. Not all fics need tags like these. Use your best judgement whether your current fic does.

Temporal tags indicate when your fic takes place. That can be things like “Pre-Canon” and “Post-Canon,” “Pre-War,” “Post-Captain America: The Winter Soldier,” “1996-1997 NHL season,” “Future Fic,” and so on. These tags may be in reference to temporal landmarks in canon, in the real world, or both depending on what's appropriate.

Some temporal tags do double duty by also being tags about the fic's relationship to canon. The Pre- and Post-Canon tags are like that.

Other relation-to-canon type tags are “Canon Compliant” for fics that fit completely inside the framework of canon without changing or contradicting anything, “Alternate Universe - Canon Divergence” for fics that are compliant up to a certain point in canon, then veer off (maybe because you started writing the fic when the show was on season two but now it's at season four and you're not incorporating everything from the newer seasons, maybe a character died and you refuse to acknowledge that, maybe you just want to explore what might have happened if a particular scene had gone differently), and the various other Alternate Universe tags for everything from coffee shop AUs and updates to modern settings, to realities where everyone is a dragon or no one has their canon superpowers.

The established format for these tags is “Alternate Universe – [type],” but a few have irregular names as well, such as “Wingfic” for AUs in which characters who don't ordinarily have wings are written as having wings.

If you have written an AU, please tag clearly what it is! Make things easy on both the readers who are in the mood to read twenty royalty AUs in a row, the readers who are in the middle of finals week and the thought of their favorite characters suffering through exams in a college AU would destroy the last shred of their sanity but would enjoy watching those characters teach high school, and the readers who really just want to stick to the world of canon right now.

Admittedly, it can get a little confusing what AU tag or tags you need to describe what you've written since most of us have never had a fandom elder sit us down and explain what the AU tags mean. One common mix up is tagging things “Alternate Universe - Modern Setting” when what's meant is “Alternate Universe - Canon Divergence.” The misunderstanding here is usually reading “Alternate Universe - Modern Setting” and thinking it means an alternate version of the canon universe that is set at the same time as the canon universe, but is different in some way. That's not how the tag is meant to be used, though.

The Modern Setting AU tag is specifically for fic set now (at approximately the same time period it was written), for media that's canonically set somewhere that is very much not the present of the real world. This can mean things set in the past (like Jane Austen), the future (like Star Trek), or a fantasy world entirely different from our own (like Lord of the Rings or Avatar: the Last Airbender). Fic for a canon that's set more or less “now” doesn't need the Modern Setting AU tag, even if the world of canon is different from our own. If you're removing those differences by putting fantasy or superhero characters in a world without magic or supersoldier serum, you might want the “Alternate Universe - No Powers” tag instead.

Some of the most fun descriptive tags are trope tags. This includes things like “Mutual Pining,” “Bed Sharing” for when your OTP gets to their hotel room to find There Was Only One Bed, “Fake Dating,” “Angst,” Fluff,” “Hurt/Comfort” and all its variants. Readers love tropes at least as much as we love writing them and want to be able to find their favorites. Everyone also has tropes they don't like and would rather avoid. Tagging them allows your fic to be filtered in and out by what major tropes you've used.

Explicit fics, and sometimes fics with less restrictive ratings, that contain sex usually have tags indicating details about the nature of the sexual encounter(s) portrayed and what sex acts are depicted. These are descriptive tags, but they also do double duty as courtesy tags. This is very much a situation in which tags are a consent mechanism; by thoroughly and clearly tagging your smut you are giving readers the chance to knowingly opt in or out of the experience you've written.

Most of the time, it's pretty easy to do basic tagging for sex acts—you know whether what you wrote shows Vaginal Sex, Anal Sex, or Non-penetrative Sex. You probably know the names for different kinds of Oral Sex you may have included. You might not know what to call Frottage or Intercrural Sex, though, even if you understand the concept and included the act in your fic. Sometimes there are tags with rectangle-square type relationships (all Blow Jobs are Oral Sex, but not all Oral Sex is a Blow Job) and you're not sure if you should tag for both—you probably should. Sometimes there are tags for overlapping, closely related, or very similar acts or kinks and you're not sure which to tag—that one's more of judgement call; do your best to use the tags that most closely describe what you wrote.

Tag for the kinks at play, if any, so readers can find what they're into and avoid what they're not. Tag for what genitalia characters have if it's nonobvious, including if there's Non-Human Genitalia involved. Tag your A/B/O, your Pon Farr, and your Tentacles, including whether it's Consentacles or Tentacle Rape.

Technical specification tags give information about aspects of the fic other than its narrative content. Most things on Ao3 are prose fiction so that's assumed to be the default, so anything else needs to be specified in tags. That includes Poetry, Podfics, things in Script Format, and Art. If it is a podfic, you should tag with the approximate length in minutes (or hours). If a fic is Illustrated (it has both words and visual art) tag for that.

Tag if your fic is a crossover or fusion. The difference, if you're not sure, is that in a crossover, two (or more) entire worlds from different media meet, whereas in a fusion, some aspects of one world, like the cast of characters, are combined with aspects of another, like the setting or magic system.

If the team of paranormal investigators from one show get in contact with the cast of aliens from another show, that's a crossover and you need to have all the media you're drawing from up in the Fandom tags. If you've given the cast of Hamlet physical manifestations of their souls in the form of animal companions like the daemons from His Dark Materials but nothing else from His Dark Materials shows up, that's a fusion, the Fandom tag should be “Hamlet - Shakespeare,” and you need the “Alternate Universe - Daemons” tag. If you've given the members of a boy band elemental magic powers like in Avatar: the Last Airbender, that can be more of a judgement call depending how much from Avatar you've incorporated into your story. If absolutely no characters or specific settings from Avatar show up, it's probably a fusion. Either way, if the boyband exists in real life, it needs to be tagged as RPF.

Tag if your fic is a Reader-Insert or Self-Insert.

You might want to tag for whether your fic is written with POV First, Second, or Third Person, and if it's Past Tense or Present Tense (or Future Tense, though that's extremely uncommon). For POV First Person fics that are not self-inserts, or POV Third Person fics that are written in third person limited, you may want to tag which character's POV is being shown. Almost all POV Second Person fics are reader-insert, so if you've written one that isn't, you should tag for who the “you” is.

A fic is “POV Outsider” if the character through whom the story is being conveyed is outside the situation or not familiar with the characters and context a reader would generally know from canon. The waitress who doesn't know the guy who just sat down in her diner is a monster hunter, and the guy stuck in spaceport because some hotshot captain accidentally locked down the entire space station, are both potential narrators for POV Outsider stories.

Other technical specifications can be tags for things like OCtober and Kinktober or fic bingo games. Tagging something as a Ficlet, One Shot, or Drabble is a technical specification (we're not going to argue right now over what counts as a drabble). Tagging for genre, like Horror or Fantasy, is too.

It's also good to tag accessibility considerations like “Sreenreader Friendly,” but make sure your fic definitely meets the needs of a given kind of accessibility before tagging it.

Personal

Even among personal tags there are established tags! Things like “I'm Sorry,” “The Author Regrets Nothing,” “The Author Regrets Everything,” and “I Wrote This Instead of Sleeping” are common ones. Tags about us and our relationship to the fic, such as “My First Work In This Fandom,” “Author is Not Religious,” and “Trans Porn By A Trans Author,” can help readers gauge what to expect from our fic. Of course, you are not at all obligated to disclose any personal information for any reason when posting your fic.

The “I'm Bad At Tagging” tag is common, but probably overused. Tagging is hard; very few of us have a natural feel for it even with lots of practice. It's not a completely useless tag because it can indicate to readers that you've probably missed some things you should have tagged for, so they should be extra careful; but it can also turn into a crutch, an excuse to not try, and therefore a sign to readers they can't trust your tagging job. Just do your best, and leave off the self depreciation. If you're really concerned about the quality of your tagging, consider putting in an author's note asking readers to let you know if there are any tags you should add.

You might want to let readers know your fic is “Not Beta Read” or, if you're feeling a little cheekier than that, say “No Beta We Die Like Men” or its many fandom-specific variants like the “No Beta We Die Like Robins” frequently found among Batman fics and “No beta we die like Sunset Curve” among Julie and The Phantoms fic. Don't worry, the Archive recognizes all of these as meaning “Not Beta Read.”

The Archive can be inconsistent about whether it stacks specific variants of Additional Tags under the broadest version of the tag like it does with Fandom tags, so best practice is usually to use both. You can double check by trying to search by a variant tag (or clicking on someone else's use of the variant); if the results page says the broader or more common form of the tag, those stack.

There's no such thing as the right number of tags. Some people prefer more tags and more detail, while other people prefer fewer more streamlined tags, and different fics have different things that need to be tagged for. There is, however, such a thing as too many tags. A tagblock that takes up the entire screen, or more, can be unreadable, at which point they are no longer useful. Focus on the main points and don't try to tag for absolutely everything. Use the “Additional Warnings In Author's Note” strategy if your courtesy tags are what's getting out of hand.

Tag for as much as you feel is necessary for readers to find your fic and understand what they're getting into if they decide to open it up.

A little bit of redundancy in tags is not a sin. In fact, slight redundancy is usually preferable to vagueness. Clear communication in tags is a cardinal virtue. Remember that tags serve a purpose, they're primarily a tool for sorting and filtering, and (unlike on some other sites like tumblr) they work, so it's best to keep them informative and try to limit rambling in the tags. Ramble at length in your author's notes instead!

Titles

Picking a title can be one of the most daunting and frustrating parts of posting a fic. Sometimes we just know what to call our fics and it's a beautiful moment. Other times we stare at that little input box for what feels like an eternity.

The good news is there's really no wrong way to select a title. Titles can be long or short, poetic or straight to the point. Song lyrics, idioms, quotes from literature or from the fic itself can be good ways to go.

Single words or phrases with meanings that are representative of the fic can be great. A lot of times these are well known terms or are easy enough to figure out like Midnight or Morning Glow, but if you find yourself using something that not a lot of people know what it means, like Chiaroscuro (an art style that uses heavy shadow and strong contrast between light and dark), Kintsukuroi (the Japanese art of repairing broken pottery with gold), or Clusivity (the grammatical term for differences in who is or isn't included in a group pronoun), you should define the term in either a subtitle, i.e. “Chiaroscuro: A Study In Contrast,” or at the beginning of the summary.

As a courtesy to other writers, especially in small fandoms, you may want to check to make sure there's not already another fic with the same title in the same fandom, but this is not required. In large fandoms, there's no point in even trying. After all, there are only so many puns to be made about the full moon and only so many verses to Hallelujah.

It may be common practice on other platforms to include information such as fandom or ship in the title of a fic, but on Ao3 nothing that is specified by tags belongs in the title unless your title happens to be the same as a tag because, for instance, you've straightforwardly titled your character study of Dean Winchester “Dean Winchester Character Study” and also responsibly tagged it as such.

Summaries

Yes, you really do need to put something down for the summary. It might only need to be a single sentence, but give the readers something to go off of.

The summary is there to serve two purposes: one, to catch the interest of potential readers, give them a taste of what's inside, and make them want to know more; and two, to give you a space to provide information or make comments that don't really fit in the tags but that you want readers to see before they open the fic.

We've already talked some about that second function. When you put an explanation of the title or clarification about tags in the summary, that's the purpose it's serving. You can also put notes to “Heed the tags” or instruct readers that there are additional warnings in the author's note here in the summary, rather than doing so in the tags.

The first function, the actual summarizing, can be very hard for some of us. It's basically the movie trailer for your fic, butwhat are you even supposed to say?

There are two main strategies as to how to approach this: the blurb, and the excerpt. Blurbs are like the synopses you at least used to see on the backs of published books, or the “Storyline” section on an IMDb page. Writing one is a matter of telling your readers who does what, under what circumstances.

Depending on the fic, one sentence can capture the whole thing: “Sam and Alex have sex on a train.” “Tori tries to rob a bank.” “If anybody had mentioned Max's new house was haunted, Jamie wouldn't have agreed to help with the move.”

Sometimes a blurb can be a question! “What happens when you lock a nuclear engineer in a closet with a sewing kit, a tennis ball, and half a bottle of Sprite?”

Of course, plenty of blurbs are more than one sentence. Their length can vary pretty significantly depending on the type and length of fic you're working with and how much detail you're trying to convey, but it shouldn't get to be more than a few short paragraphs. You're not retelling the entire fic here.

An excerpt is a portion of the fic copied out to serve as the summary. This, too, can vary in length from a line or two to several paragraphs, but shouldn't get too long. It should not be an entire scene unless that scene happens to be uncommonly short. It's important to select a portion of the fic that both indicates the who, what, and under what circumstances of the fic and is representative of the overall tone. Excerpts that are nothing but dialogue with no indication of who's talking are almost never a good choice. Portions that are sexually explicit or extremely violent are never ever a good choice—if it deserves content warnings, it belongs inside the fic, not on the results page.

Counterintuitively, some of the best excerpts won't even look like an excerpt to the reader if they don't contain dialogue. They seem like particularly literary blurbs until the reader reaches that part in the fic and realizes they recognize a section of narration.

Some of us have very strong preferences as to whether we write blurbs or use excerpts for our summaries. Some readers have very strong preferences as to which they find useful. Ultimately, there's no accounting for taste, but there are things we can do to limit the frustration for readers who prefer summaries of the opposite kind than we prefer to write, without increasing our own frustration or work load very much. Part of that is understanding what readers dislike about each type so we know what to mitigate.

Blurbs can seem dry, academic, and overly simplified. They don't automatically give the reader a sense of your writing style the way an excerpt does. They can also seem redundant, like they're just rehashing information already given in the tags, so the reader feels like they're being denied any more information without opening the fic.

Excerpts can seem lazy, like you, the author, don't care enough to bother writing a blurb, or pushy like you're telling the reader “just read the fic; I'm not going to give you the information you need to decide if you want to read or not, I'm shoving it in front of you and you just have to read it.” That effect gets worse if your tags aren't very informative or clear about what the plot is, if the excerpt is obviously just the first few lines or paragraphs of the fic, if the except is particularly long, or, worst of all, if all three are true at once.

A lot of the potential problems with blurbs can be minimized by having fun writing them! Make it punchy, give it some character, treat it like part of the story, not just a book report. A fic for a serialized show or podcast, for instance, could have a blurb written in the style of the show's “previously on” or the podcast's intro. Make sure the blurb gives the reader something they can't just get from the tags—like the personality of your writing, important context or characterization, or a sense of the shape of the story—but don't try to skimp on the tags to do it!

Really, the only way to minimize the potential problems with excerpts is to be very mindful in selecting them. Make sure the portion you've chosen conveys the who, what, and under what circumstances and isn't too long. You know the story; what seems clear and obvious from the excerpt to you might not be apparent to someone who doesn't already know what happens, so you might need to ask a friend to double check you.

The absolute best way to provide a summary that works for everybody is to combine both methods. It really isn't that hard to stick a brief excerpt before your blurb, or tack a couple lines of blurb after your excerpt, but it can make a world of difference for how useful and inviting your summary is to a particular reader. The convention for summaries that use both is excerpt first, then blurb.

If you're struggling to figure out a summary, or have been in the habit of not providing one, try not to stress over it. Anything is better than nothing. As long as you've written something for a summary, you've given the reader a little more to help them make their decision. What really isn't helpful, though, is saying “I'm bad at summaries” in your summary. It's a lot like the “I'm Bad At Tagging” tag in that it's unnecessarily self depreciating, frequently comes across as an excuse not to try, and sometimes really is just an excuse. Unlike the “I'm Bad At Tagging” tag, which has the tiny saving grace of warning readers you've probably missed something, saying you're bad at summaries has no utility at all, and may drive away a reader who thought your summary was quite good, but is uncomfortable with the negative attitude reflected by that statement. Summaries are hard. It's okay if you don't like your summary, but it's important for it to be there, and it's important to be kind to yourself about it. You're trying, that's what matters.

Author's Notes

Author's notes are the one place where we, the writers, directly address and initiate contact with our readers. We may also talk to them in the comments section, but that's different because they initiate that interaction while we reply, and comments are mostly one-on-one while in author's notes we're addressing everyone who ever reads our fic.

The very first note on a fic should contain any information, such as warnings or explanations, that a reader needs to see before they get to the body of the story, as well as anything like thanks to your beta, birthday wishes to a character, or general hellos and announcements you want readers to see before they get to the body of the story. On multi-chapter fics, notes at the beginning of chapters serve the same function for that chapter as the initial note on the fic does for the whole story, so you can do things like warn for Self-Harm on the two chapters out of thirty where it comes up, let everyone know your update schedule will be changing, or wish your readers a merry Christmas, if they celebrate it, on the chapter you posted on December 23rd but is set in mid-March.

Notes at the end of a fic or chapter are for things that don't need to be said or are not useful to a reader until after they've read the preceding content, such as translations for that handful of dialogue that's in Vulcan or Portuguese, or any parting greetings or announcements you want to give, like a thanks for reading or a reminder school is starting back so you won't be able to write as much. End notes are the best place to plug your social media to readers if you're inclined to do so, but remember that cannot include payment platforms like Patreon or Ko-fi.

As previously mentioned, warnings can go in end notes but that really should only be done when the warnings are particularly long, such that the length might cause a problem for readers who are already confident in their comfort level and would just want to scroll past the warning description. In that case, the additional warnings need to go in the note at the end of the first chapter, rather than at the end of the fic, if it's a multi-chapter fic; and you need to include an initial note telling readers that warnings/explanations of tags are at the bottom so they know to follow where the Archive tells them to see the end of the chapter/work for “more notes.”

When posting a new work, where the Preface section gives you the option to add notes “at the beginning” or “at the end” or both, if you check both boxes, it means notes at the beginning and end of the entire fic, not the beginning and end of the first chapter. For single-chapter fics this difference doesn't really matter, but for multi-chapter fics it matters a lot. In order to add notes to the beginning or end of the first chapter of a multi-chapter fic you have to first go through the entire process to post the new fic, then go in to Edit, Edit Chapter, and add the notes there.

Series and Chapters

Dealing with Series and Chapters is actually two different issues, but they're closely related and cause some of us mixups, especially when we're new to the site and its systems, so we're going to cover them together.

Series on Ao3 are for collecting up different stories that you've written that are associated with each other in some way. Chapters are for dividing up one story into parts, usually for pacing and to give yourself and your readers a chance to take breaks and breathe, rather than trying to get through the entire thing in a single marathon sitting (not that we won't still do that voluntarily, but it's nice to have rest points built in if we need them).

If your story would be one book if it was officially published, then it should be posted as a single fic—with multiple chapters if it's long or has more than one distinct part, like separate vignettes that all go together. If you later write a sequel to that fic, post it as a new fic and put them together in a series. It's exactly like chapters in a book and books in a series. Another way to think of this structure is like a TV show: different fics in the series are like different seasons of the show, with individual chapters being like episodes.

If you have several fics that all take place in the same AU but really aren't the same story those should go together as a series. If you wrote a story about a superhero team re-cast as school teachers, then wrote another story about different characters in the same school, that's this situation.

Series are also the best way to handle things like prompt games, bingos, or Kinktober, or collect up one shots and drabbles especially if your various fills, entries, and drabbles are for more than one fandom. If you put everything for a prompt game or bingo, or all your drabbles, together as one fic with a different chapter for each story, what ends up happening is that fic gets recognized by the Archive as a crossover when it isn't, so it gets excluded from the results pages for everyone who told the filters to Exclude Crossovers even though one of the stories you wrote is exactly what they're looking for; and that fic ends up with tons and tons of wildly varying and self-contradictory tags because it's actually carrying the tags for several entirely different, possibly unrelated stories, which also means it ends up getting excluded from results pages because, for instance, one out of your thirty-one Kinktober entries is about someone's NoTP.

Dividing these kinds of things up into multiple fic in a series makes it so much easier for readers to find what of your work they actually want to read.

If you've previously posted such things as a single fic, don't worry, it's a really common misunderstanding and there is absolutely nothing stopping you from reposting them separately. You may see traffic on them go up if you do!

Parting Thoughts

Metatext is ultimately all about communication, and in this context effective communication is a matter of responsibility and balance.

Ao3 is our archive. It's designed for us, the writers, to have the freedom to write and share whatever stories we want without having to worry that we'll wake up one day and find our writing has been deleted overnight without warning. That has happened too many times to so many in our community as other fanfic sites have died, been shut down, or caved to threats of legal action. Ao3 is dedicated to defending our legal right to create and share our stories. Part of the deal is that, in exchange for that freedom and protection, we take up the responsibility to communicate to readers what we're writing and who it's appropriate for.

We are each other's readers, and readers who don't write are still part of our community. We have a responsibility as members of this community to be respectful of others in our shared spaces. Ao3 is a shared space. The best way we have to show each other respect is to give one another the information needed to decide if a given fic is something we want to engage with or not, and then, in turn, to not engage with fic that isn't our cup of tea. As long as our fellow writer has been clear about what their fic is, they've done their part of the job. If we decided to look at the fic despite the information given and didn't like what we found, then that's on us.

Because metatext is how we put that vital information about our fics out in the community, it's important that our metatext is clear and easy to parse. The key to that is balance. Striking the balance between putting enough tags to give a complete picture and not putting too many tags that become an unreadable wall; the balance between the urge to be thorough and tag every character and the need to be restrained so those looking for fics actually about a certain character can find them; the balance between using established tags for clarity and ease and making up our own tags for specificity and fun.

Do your best, act in good faith, remember you're communicating with other people behind those usernames and kudos, and, most importantly, have fun with your writing!

#THE GUIDE #metatext #fandom meta #fandom etiquette #Eiiri made this

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violetosprey · 2 years ago

Note

What kind of mental disorders do yanderes have?

Hello there. Interesting question, but an honest one I think. We’re talking about a character type after all that is strictly defined by abnormal or excessive behavior.

To give you a short and sweet answer: I personally believe it’s not a good idea to associate specific mental disorders with yanderes. The only definite one that would be okay to say a yandere COULD have (but not always) is “Erotomania.” If you don’t mind a wall of text, you can read below a little bit about what Erotomania is and why I don’t think fictional media does (or should) make it very clear at times what mental disorders may be associated with yanderes.

Before I start: I am not a psychologist. It’s a subject that’s always interested me, but I certainly don’t have a vast knowledge of even the most common types of mental disorders. Not to mention, many of them have different variations of the same type. If I’m not careful, I could very easily confuse one for another.

So getting a question like this is intriguing but hard for me because I simply don’t have the knowledge to even consider constructing a possible list.

The only disorder that immediately popped into my head is one I happened to have found out about a few years ago. Erotomania, according to Wikipedia, is a “delusional disorder where an individual believes that another person is infatuated with them (when they’re not).” So they think they’re S/O is in love with them, when the reality is that that said S/O may not even know the afflicted person even exists.

It’s not as simple as the afflicted person receiving “mixed signals” that could be confused as flirting in a conversation either. No, this is the type of delusional disorder where even the most basic or mundane things the S/O does will be interrupted as a “secret message” to the afflicted person. For example, the S/O opening or closing their house windows at a certain time of day might be viewed as a declaration of love to the afflicted person. I feel people could read the Wikipedia article themselves to get the full gist, but in real life this seems to be a disorder people tend to develop more often towards celebrities or just people that are more likely unobtainable for them. It even mentions the attempted assassination on Ronald Reagan was committed by someone suffering from Erotomania. It was a weird and very terrifying attempt to impress another celebrity.

This is the only disorder I’m okay saying a yandere COULD be suffering from because it’s specifically about infatuation. Not all mental disorders are focused around that. There’s also technically an “Obsessive love disorder” by the way. That’s…pretty self-explanatory I think. It just seems to be a bit more of a subset disorder than even Erotomania from what I can tell.

My main focus here is on fictional yanderes though. So could you have a yandere character written who is afflicted with Erotomania? Absolutely! It would definitely fall into the “delusional yandere” category, but please keep in mind that depending on how the character is written, not all delusional yanderes would necessarily have Erotomania.

Speaking of fictional yanderes, did anyone notice when it comes to webcomics, manga, anime and light novel media, it’s INCREDIBLY rare for any specific mental disorder to be outright stated regarding the character? I think this is done on purpose for a couple of reasons.

The creator may simply lack the knowledge of various mental disorders.

The selected mental disorder may limit the yandere character’s actions (if going for realism).

There’s the risk of falsely portraying a selected mental disorder.

The portrayal could cause the viewer to develop a very negative association with the disorder in real life.

First one is pretty self-explanatory: If you don’t know enough about mental disorders, it’s smarter to just be vague about the subject altogether in one’s works. If you do know enough about the disorder and go for realism, then you could run into the problem where the character might be restricted as to what actions they’ll perform. I don’t have good examples for this, but perhaps if the disorder is highly linked to paranoia or anxiety, it could be more difficult for example to have the yandere appear more cool and calculated at times.

Attempting to stretch the truth a little though and allow the yandere to think or act in ways that don’t line up with a mental disorder could get criticized. Attempting to remove certain handicaps of a mental disorder from a yandere could make the audience wonder why the creator even bothered to focus on the selected disorder. On the other hand, turning some factors of the disorder up to eleven so to speak, may also paint real life people with said disorder in a much more negative light than needed.

Think of how the movie “Jaws” caused a widespread fear of sharks after its release. Yes, sharks can very dangerous and you shouldn’t mess with them, but attacks on humans really don’t happen a lot either. It damaged the reputation of sharks, and the same could happen to mental disorders in fictional media. Mental disorders in fictional media can be tricky to portray accurately. There are definitely some that have a very ugly reality to them. I say this as someone with loved ones who have unfortunately been afflicted by some of the worst aspects of certain disorders. It can be terrifying and heartbreaking. But having a mental disorder also doesn’t necessarily make someone a bad guy (like a yandere will often be portrayed). It really depends on a lot of factors (like the type of disorder and level of severity in a person). Some mental disorders may also be more manageable or harmless to other people than others.

Non-yandere related, you have films for example like “Split.” I really liked the film and multiple personality disorder is definitely something that’s very interesting (and sounds like a nightmare to live with), but I couldn’t tell you if the film portrayed the disorder well. I’ve heard some people say yes and others say no. Hopefully the film also didn’t convince people that anyone with said disorder is a danger. I’m sure there are some cases where it could turn out bad in real life, but not always. I think in the webcomic “My Deepest Secret,” the author specifically states in one chapter that one of the main characters is not suffering from any specific REAL mental disorder. I think this was very smart of them to avoid the complications I listed above. If you’ve read the comic, I think you’d definitely agree that if a specific mental disorder was assigned to said character, there could have ended up being a lot more criticism and confusion on how the character acted in the end. Said character had a LOT going on with their head.

Really, I think the fictional media most likely to try to assign a specific mental disorder to a yandere would be anything live action. In the film “Fatal Attraction,” the character of Alex Forrest I believe is hinted to suffer from a form of Borderline Personality Disorder. This would help to explain how the successful and rather cool headed woman you see at the beginning of the film deteriorates slowly over the course of the story. I couldn’t tell you why live action might try to do this more often than other fictional media. I’ve enjoyed shows like Criminal Minds though, so maybe it’s just that with live action, people get more sucked in if they get a better look into the psychology of the characters.

Does that mean I want that kind of same psychological analysis for yanderes in the majority of fictional media? Honestly…not really. I kind of like the separation where it’s never explicitly stated what mental disorder a yandere has…or if they even have one at all. Don’t get me wrong. I LOVE seeing how the gears turn in a yandere’s head, but I don’t think I necessarily need or want the restrictions of a mental disorder placed on a lot of the yanderes I look at. I like it if a yandere can surprise me. I can definitely see other characters simply calling the yandere “insane,” and that’s a good enough for me. Some stories aren’t long enough either to go into the specifics of a disorder anyway.

Despite me saying that, could you still give a yandere a mental disorder if you wanted to? Sure. The mental disorder could either be the cause of their obsessive love, or if it’s not the cause, it could exacerbate some of the symptoms of obsessive love. A disorder based around paranoia or anxiety might do the trick. Or the mental disorder could be a completely separate factor altogether. If I think of yandere who also has OCD, ironically the first thing that pops into my head is just a yandere who happens to be a germaphobe, haha. Despite it being called “obsessive compulsive disorder,” I could see it being something entirely separate rather than a cause of obsessive love. I’m not a creative writer, so sadly I have no good advice to give on how to tackle trying to combine the character archetype with a known psychological disorder. Just be mindful of #1-4 that I listed above. Sorry if this seemed a little confusing. I just wrote everything down as I thought of it. My apologies if anything came off as offensive. Again, I try to stick to think of mostly fictional yanderes, but this subject could bleed into people’s views on a real life yanderes. So it’s best to be careful.

#yandere #male yandere #tw mental disorders #analysis #good question but had to answer carefully

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wisteria-lodge · 3 years ago

Text

Archetypes: Sorting Hat Chats

I’ve been asked about my rationale for naming different primary/ secondary combinations. I did this originally as a tool to help me sort characters - I wanted to see how these types tend to be used, so I could more easily see what subversions looked like. I'll run through my thoughts, but know there’s a lot of variation within each category. But even WITH that variation, I do think that each one has its own specific energy that makes it interesting to talk about. An explanation of the terms I'm using.

DOUBLE LION “THE REVOLUTIONARY”

Pretty straightforward. The Lion primary knows something is wrong, they know it in their bones even if they can’t articulate it, and they’ve got to go out and do something about it. Probably charging at whatever power structure is directly in front of them. It’s unlikely you find a character leading a revolution who isn’t a Double Lion. These guys are intense, inspirational, single minded.

The villain version of the Lion primary tends to be the person who “went too far" or "became the monster they were trying to fight.'' But I think that the much more interesting Lion primary villain trope is the Traitor. Since Lions work from their feelings, and their philosophies can’t necessarily be articulated or linked to individuals outside of them - they can definitely have their head turned while still feeling moral about it.

One of my favorite examples of this Revolutionary archtype is actually Christian Bale‘s character from Newsies. He’s the spark that starts the unionizing revolution, but 100% needs his Badger and Bird lieutenants to keep him focused and keep him from defecting

LION SNAKE “THE ROBIN HOOD”

These guys are similar to the Double Lion - they will recognize a cause or injustice revolutionary style - but Robin Hood doesn’t go up and bang on wicked Prince John’s door. His move is the snake secondary one: confront the problem indirectly. Undermine the regime by stealing tax money and re-distributing it to the poor. Be simultaneously Robin Hood the outlaw and Robin of Locksley the noble, infiltrating and getting information. The Lion Snake is more likely to work within society (or deliberately separate from society) versus just breaking everything down.

LION BIRD “THE LAWMAN / THE VIGILANTE”

The fact that the Lion Bird can either be the Lawman or the Vigilante shows off the very clear hero/villain split you get with Bird secondaries. We also see this with the Snake Bird (simultaneously the Mastermind and the traditional Villain) and the Double Bird (either the Scientist or the Mad Scientist.) This is why I think I had such trouble naming the Badger Bird. I wasn’t leaning into the duality of the Bird secondary enough. The Badger Bird can be the King Arthur, or he can be the Mob Boss, and he’ll look kind of similar either way.

The Lion Bird also has that Lion primary conviction and drive, but they want to follow up on it with investigation, evidence, and plans. I actually think there need to be more stories about Lawmen turning into Vigilantes and vice versa. Because Lion Birds are their Cause no matter what external alignment gets attached to it.

LION BADGER “THE LINCHPIN”

This is my own sorting - although when I came up with this name I still thought I was a Double Bird. The linchpin is the pin-axle thing at the center of a wheel that prevents the whole thing from falling apart, and I think it's a good way of talking about the energy of this combination. The Badger secondary means they’re a lot less single minded than the other Lion primaries: their power comes from being part of a group. They become the emotional “heart” a lot, and have a way of quietly keeping things together just by existing. They can be leaders, but a Double Lion will lead from up front while a Lion Badger will lead from in the middle (if that makes sense.)

I do think it’s really funny that this is a common sleeper villain trope. Peter Pettigrew, Prince Hans, and Randall Boggs of Monsters Inc. all became integral to a group, and then exploit their position within it. They’re kind of the evil bureaucrat. Maybe that's a good trope for children’s media

DOUBLE SNAKE “THE TRICKSTER”

This is another straightforward one. Double Snakes are in it for themselves (and maybe like three other people.) They're going to be clever and tricksy about how they get what they want, and will not mind doing things backward and unofficially. And they won't mind if you know that's what they're doing. There’s something very unapologetic about the Double Snake which makes for very attractive characters. They are consistently voted the sexiest... and when they’re villains they’re fun villains. You know what they want, and what they want is not that complicated. I think that’s a big reason for the appeal of Snake primaries in general. They’re the easiest primary to understand and explain.

SNAKE LION “THE LANCELOT”

I used to call these guys “The Rebel,” which... is too generic, doesn’t really mean anything. So I started thinking about the Lion secondary as the Knight secondary, and I liked that. Double Lions are the Crusader Knight, riding for their Cause. Bird Lions are Grail Knights, riding for their own personal truth. Badger Lions are Champion Knights, here to help the helpless and defend the innocent.

And if that's that case… Snake Lions have to be the Knight Errant, the knight who rides for his lady. It is that simple. Lancelot might be a Knight of the Round Table, but he’s riding for Arthur the person, not Arthur the King. And for his lady, Queen Guinevere. I feel like his dilemma is one that’s common to a lot of Snake Lions: what happens when they’re forced to split their loyalty? It’s tragic, but Lancelot can’t have Arthur and Guinevere simultaneously.

(At least not until my awesome Arthur/Guinevere/Lancelot OT3 which I will totally write at some point :)

SNAKE BIRD “THE MASTERMIND / THE VILLAIN”

The classic. We see a little more of the Bird Secondary split, and well… this is your stereotypical villain. They want power. They’re going to use an elaborate plan to get it. There’s a lot you can do with this sorting, but I actually do think it’s fun that whatever you do, this slight undercurrent of villain and/or mastermind… never quite goes away.

SNAKE BADGER “THE LOVER”

The Love Interest sorting. Chances are very good that if there is a love interest (who does not serve some other role in the story...) they're going to be a Snake Badger. Devoted to one person, solving problems by caretaking. This is the Badger secondary who is likely to have the smallest group, which is just going to make them look excessively devoted to their friends. This type is pretty gender neutral, which is fun. A lot of female love interests, but also your Mr. Darcys and Peeta Mellarks.

One of my favorite things about this trope (mostly just because I think it’s funny...) is that if you write a character who is not supposed to be a love interest, but who is a Snake Badger... subconsciously I think people are going to read them as a love interest anyway. Looking at you Jaskier, Horatio, and even Captain Barbossa.

DOUBLE BIRD “THE [MAD] SCIENTIST”

I think that (especially if you aren’t a Bird Primary yourself) your response to hearing a fictional Bird Primary’s motivation is kind of …huh. That seems random. Or oddly specific. You get your Hannibal Lecters, whose entire motivation is... wanting to eat people while drinking nice wine.

Double birds seem especially unusual, just in terms of society. They are Bird secondaries and they interact with the world through gathering data, but their Bird primaries mean that data can literally lead them to any conclusion, no matter how potentially wacky. These guys consciously build themselves from the ground up, and that can make them kind of detached - either in a logical way, or an unmoored way. They're written as either really stable, the rational mentor figure. Or really... not. And that’s how you spot a Bird villain. They’re not after money/power/safety, they’re after something weird.

BIRD LION “THE GRAIL KNIGHT”

This is the trope of Perceval or Galahad, questing after the Holy Grail chalice... which is really just meaning, and truth. It’s a personal quest. Grail Knights tend to ride alone, and a lot of the things that concern them are metaphysical, to do with identity, purpose, things like that. You can have extremely different Bird Lions, but I do think there is a sort of spiritual core there. Doctor Harleen Quinzel sees freedom and truth in whatever the Joker is doing, and then once she recognizes his hypocrisy, has to go build her own meaning.

I actually think these guys are pretty easy to spot because of that Lion secondary. When they change direction, they change direction, and there’s probably a period of despair between the direction changes. I’ve talked about how Bird Lions having a habit of falling apart pretty dramatically, and that’s where this idea comes from.

BIRD BADGER “THE SURVIVOR”

A rare sorting, but an interesting one. I call this one “the Survivor” or “the Last Man Standing” because, well, they seem to be. They seem remarkably stable. This is the Bird primary least likely to be a villain, and maybe the sorting least likely to be a villain. I think what’s going on is that they are grounded and integrated in whatever community they happen to be in (because of that Badger secondary), but they can define themselves and rebuild themselves in the Bird primary way. This makes them uniquely suited to building a new version of themselves for whatever situation they happen to find themselves in.

Maybe a better name for these guys would be “The Adapter.”

BIRD SNAKE “THE ARTIST”

Like all Bird primaries, these guys are inspired by their own projects and their own worldview, but because of that Snake secondary, Bird Snakes have a more easy-going ‘take the world as it comes' kind of energy. They are “the Artist” because everything they do is art: they want to use themselves and the world around them, put all of that towards whatever their Bird primary happens to be interested in.

You can have villains like the Nolan Joker, or the Talented Mr. Ripley, who kind of turn the world into their own personal philosophical social experiment. Or Scotty from Star Trek whose meaning is solely the well-being of the Enterprise. Maybe they just like traveling, and that's all they need. (It's a way for the Bird primary and the Snake secondary exist very happily together, so I wouldn't be surprised if that was pretty common.)

DOUBLE BADGER “THE PEACEMAKER”

Badgers are interesting, because while I think they’re generally regarded as “correct,” they’re also seen as kind of boring. That’s the case with both Badger primaries and Badger secondaries, which means it is doubly reflected in the Double Badger. They often get written as simplistic, the sweet Jane Bennet type who loves everybody and caretakes everybody and just wants everybody to get along.

They are often the targets of what TV Tropes used to call “Break the Cutie.” What could be more interesting than making this character, who wants to be happily part of a community, be forced to build protective models, be all tortured and angsty? I actually think we’re seeing a return of the Double Badger as an interesting character in their own right, with people like Aziaphale, and I'm here for it.

BADGER LION “THE PROTAGONIST”

What can I say? There are a lot of protagonists that are Badger Lions. They want to help the group - so we know they're the good guys - and then they charge and make stuff happen. Lion secondaries are very useful in fiction - you drop them into a situation and stuff just happens. I also think of this as the Starfleet officer sorting - because if you’re a Starfleet officer, either you are the sorting, or can model it really well.

I will say that this is kind of the stock Protagonist sorting, the way that the Snake Badger is the stock love interest and the Snake Bird is the stock villain. There’s just something sort of generic good guy about this one, which is why I want to see it used as a villain sorting more. Badger villains - mostly people who define ‘human’ very narrowly - are insanely terrifying.

BADGER SNAKE “THE ADVISOR”

Possibly “the Power Behind the Throne.” This is another one I had difficulty pinning down. I called it “the Politician” for a while, which unfortunately came off as a little bit more negative than I meant it to, since I think this sorting has a lot in common with Lion Badger, the linchpin of a heroic team. The difference is that Lion Badger takes on that role kind of unconsciously, while the Badger Snake does it very consciously.

Their loyalty is to the group, but their skill set is all about subversion and different ways of going around the group, which is why there’s an interesting contradiction at the heart of Badger Snake. A lot of real life Badger Snakes struggle with feeling like “bad people" and it's too bad. These guys are ridiculously powerful and competent when they are sure of themselves, and I love seeing them in action

BADGER BIRD “THE KING / THE MOB BOSS”

Another difficult one, despite (or because) I really like them. I was calling them “the Architect” because “The City Planner” sounded too boring… but that’s what they do. They’re all about the community but they problem-solve the way all Bird secondaries do, by prepping, and gathering knowledge. I talked more about this in the Lion Bird entry, but Bird secondary seems to have this villain split going on, and that’s what I see here too. This is a controversial love-them-or-hate-them sorting, and I think that’s why. There’s a lot of room in whether or not you see this sorting as villainous.

#sortinghatchats #masterpost #wisteria sorts #archetypes #writing #long post

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heyclickadee · 1 year ago

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Yep. I can see arguing that it’s different for background characters. I’ll admit that I tend to lean towards “the empire killed them” in the debate on what actually happened to the younger clone cadets and the tubies even though we don’t see their deaths on screen, but that’s because they’re; one, background characters, and two; kids and babies, and showing them getting killed on screen is a whole different animal than showing the same thing with adults (but I’m also very open to the idea that the cadets and tubies just got taken somewhere else). You can say that stormtrooper #603 probably died from falling off a thing. For main or even secondary characters, though, the rules are different.

Nobody’s sitting here debating whether or not Wilco, Governor Ames, Slip, Cade, Nolan, or Mayday died. Nobody goes back and forth over whether or not Hemlock tortured Crosshair. That all happened on screen, right in front of our eyebulbs and/or ears. And, conversely, I went back and checked—nobody really thought the Ninth Sister in Fallen Order was dead when she fell off of a high thing, and they only justification I saw anyone give was that she was cool. (And, turns out, they were right. She survived.) The idea that it’s suddenly different for Tech and that he MUST be dead despite *waves vaguely at the combination of storytelling conventions, foreshadowing, Tech’s demonstrated ability to hit long odds every time, vague cast and crew statements, and social media fuckery again* is one I just can’t get behind. I think there are a few reasons for it, though:

1. The moment Tech falls in “Plan 99” is expertly done and gut-wrenching because of it. It aims to rip out hearts and set them on fire, and it succeeds. If you’re attached to any of the characters on screen, it can be a little hard to pull yourself out of being punched by your feelings enough to pay attention to what’s happening. (Though I think this comes back around and rejects the idea that people are only arguing that Tech’s alive because they’re emotionally attached to the character. For my part, the only reason I did briefly start to buy that Tech was really dead (for a day or so about a week after the finale aired) was because of how much I love the character and how much he means to me on a personal level, not the other way around. So I’m sympathetic to this first one, and really don’t mind it or the next three categories, even if I disagree.)

2. Some fans find it easier to assume he’s dead and rip the band-aid off, just in case. (I’m also sympathetic to this, even if I’m not doing it).

3. Some fans want him to be dead for story reasons. For example, they don’t want Tech’s sacrifice to lose its weight in the event of the show bringing him back. And…I’m…sympathetic to this, but only to a point. I understand where people are coming from with this, but I can’t agree. I don’t see self-sacrifice as inherently toxic if done well, but the idea that self-sacrifice must equal self-annihilation in order to count absolutely is. If you accidentally walk out in front of a bus and a friend pushes you out of the way to save you but, tragically, gets hit by the bus themselves, it doesn’t suddenly not count as an act of love and sacrifice if they survive. Tech dying is not what gives that moment in “Plan 99” weight. Tech’s love for his family does. Their love and grief for him does. All of that exists in that moment and will continue to exist when he comes back. Besides, Tech isn’t choosing to die; he’s choosing to get the people he loves out of there alive by taking a massive risk that could get him killed, and that difference matters. So. Anyway. I get why people make this argument, even if I really don’t like it.

4. Some fans are exhausted by fake-out deaths in Star Wars. Which. Okay, I get that, I actually don’t think “no body, no death” should universally apply, and there have been some badly done fake-outs in the last forty odd years. That said, fake-out death isn’t a bad trope on its own—it can be a very good trope—and should be considered on a case by case basis. And the fact that they’re putting all their energy into this specific one is. Hmm. But still. I get it.

5. Maybe getting into some unkind speculation here, but: Some fans (getting into the Reddit dudebro territory here (dudebro is being used here as a gender neutral term)) are still upset that The Bad Batch isn’t Republic Commando and they hate the fact that Tech’s “death” is very cleanly set up to be a fake-out in a “if it’s a fakeout, it’s immaculate; if it’s a real death, the writing here is abysmal” kind of way, so they’re lashing out by trying to will Tech’s death into existence in the hopes that it will turn the show into what they want it to be. The first four categories don’t really throw the word delusional around, from what I’ve seen. They think Tech is dead, but they don’t mind that other people don’t. This fifth category, though? This are where most of the “delusional” comments come from, as far as I can tell. I’m not sympathetic to this. At all.

6. Definitely getting into unkind bit of speculation, but I think it’s warranted: A tiny minority of assholes are still angry that autistic Bad Batch fans got to be happy about Tech being like us, and they’re using the idea of Tech dying as a way to bully fans who would be very happy to see Tech back because they’re miserable people who can’t stomach the idea of anyone who might be a little different from them enjoying anything. Or they’re just generally angry that anyone not them likes the character. These people can go suck it.

Again, this is all just based off of anecdotal evidence, so it’s probably not very accurate. But this is how it looks from my point of view.

Anyway, Tech and Phee would (will) be that hyper-competent adventure couple who would also absolutely awaken the ancient horrors on purpose on a bi-monthly basis.

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kodyboye · 3 years ago

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Reading book reviews isn't good for your mental health: An Author's Perspective

Hi,

My name's Kody, and, you guessed it: I'm an author. Generally speaking, I write young and new-adult fiction where young(er) people have to face tremendous odds (be they aliens, vampires, zombies, world-rending scenarios or even personal trials they face from within. It's a fun hobby I've been able to make into a somewhat-career (wherein I get paid for my work.) However, with all products, there comes the...

Customer reviews.

Now... I've heard it stated that reading book reviews is actually good for your development as an author. The thinking in some circles is that, if you can pick out common threads of complaints from readers, you might be able to improve upon your work.

But... here's the thing:

While there are well-intentioned reviews that point out various faults in books, there are also reviews that either:

Don't get your book

Are just straight-out mean.

For this post, I want to speak generally, and want to reduce including my own experiences on the matter. If they happen to bleed into the post, I'm intending for them to be used as examples of could bes rather than confirmations of what happens on a general basis.

From my experience of reading book reviews, I've come to find that there are a few types of readers. They usually fall into three categories:

Those that are easily pleased.

Those that are hard to please.

Those who are impossible to please.

Reviewers who are easily pleased tend to forgive certain things in works (spelling mistakes, grammar issues, etc.) Reviewers that are hard (or hard[er]) to please expect certain standards that they've come to anticipate (proper editing, storytelling, formatting.) Then there are reviewers that are impossible to please because they are just that: impossible to please.

Now, you might be wondering, Why include the last one? Isn't that a personal judgment?

Yes and no.

There is a common occurrence I've seen with some reviewers that leads me to believe that they just simply cannot be pleased. When I come across a review I feel falls into this bracket, I tend to look at their list of written reviews and see what they are reading, or if they like anything at all. And let me tell you: I have found readers who simply do. not. like. anything. they. read. Be it a perceived problem with a character, a scenario, or even a plot point, they will go out of their way to make their intent known. Most reviews like this will have maybe one 3-star out of the deluge of 2 and 1-star reviews (and even then, the 3-star review is not shining or middle-of-the-road.)

And here is where reviews can be damaging.

As writers, we grow close to our works. We start stories, nurture characters, see plots to fruition, and create worlds we hope others will enjoy. Releasing them into the wild is akin to walking over landmines that could or could not go off.

Which is where the danger of reading your own reviews comes in.

Looking at the top reviews of certain Big 5 (or is it 4 or 3 now?) publishers, you can generally sense that there will be a divide between readers and their opinions over a piece of work. Some will love it, others will like it, a few will hate it. But let me tell you: when you get a certain type of reader who really, truly not just hates, but abhors a book (for whatever reason,) they will spare no mercy in telling the reader what they think of it.

Even if that means attacking the author.

Now... personal attacks can come as a result of a variety of things—from an author/reader interaction, to a social issue that a reader conflicts with, or even a political one. However, when a reader wants to attack an author, they usually come with knives out.

Which is where the point of this post comes in:

I strongly caution writers not to read reviews of their work.

Why?

Beyond the aforementioned reasons, there are a few things that lead me to follow this practice:

1. The fact that reviews can affect your works-in-progress.

Reading reviews for a series that is in progress can be detrimental to the development of the plot of that series. One misconception on the author's part can lead to second thoughts, doubts, overthinking. I've even seen some authors go back and revise books already self-published in order to cater to the reader who was put off and/or offended by their work.

2. The fact that your work will not be for everyone.

Just like in real life: not everyone is going to like you. Likewise, not everyone is going to like your work (no matter how hard you work at it.) As a result of this, it should be noted that you could write the simplest story that is literally about a rabbit chasing another rabbit and someone will still get offended by it. Some readers, I've said, are impossible to please. Sometimes they don't understand where you were going with the plot, or don't realize their perception of the work doesn't align with your own. Sometimes, people just like to be nasty.

And finally, I should point out the most dangerous part of reading reviews:

3. The fact that reviews can damage your self-esteem.

There are writers who are so sensitive to the feelings of others that they simply cannot take criticism. I've come across this several times throughout my time as a writer, as a developmental editor, and as a reader. Some people are simply not able to handle the idea that not everyone will like their book, and as a result, reduce themselves to tears when it comes to reviews. I've even seen some writers close shop and stop writing forever.

With that being said, and with those points made, I will say that there is a shining kernel of truth throughout all of this:

If someone likes your work enough, they will let you know.

And while it is true that some readers will also go to lengths to point out how much they don't like your work (from nastygram emails to @ tags on social media,) I should note that, just recently, I received fan mail from a reader in India, who found one of my free books and took the time to write to me. They didn't have to do that, but they still did.

In the end, I think it's important to take away the fact that your writing is your own. If you feel your work can be improved with criticism, work to find a critique group or partner you feel can bring out the best in you. Don't depend on the internet to give you credit, props, or even accolades for writing a book. While people will like, and even love, your work, there are an equal amount who will dislike, or even hate, it.

The last thing I'd want to see is someone give up their joy of writing because of a bad review.

#writeblr #Book Reviews #advice for writers

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tomatograter · 4 years ago

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i saw on twitter you reread the epilogues! would it be okay to ask how you feel about them now on a reread? have any of your opinions changed, for better or worse? i've really loved the art and analysis that's come out of your tumblr/twitter ever since they dropped, so i'm excited to know what you think. i couldn't get a great read on your feelings based on your tweets so that is why i am asking directly, hope that's okay!

Not much changed. That wasn't the first time I attempted to re-read the HS Epilogues, I've gone through bits and pieces of them a handful of times in the years since the original release and it's an effort I make to remind myself of events that happened because I tend to... forget. I don't mind reading books, I like those! In the hellscape that was 2020, according to my StoryGraph stats (great new site, by the way, stop using the Amazon-clawed Goodreads and transfer your account to a black led effort to diversify the current literary environment) I managed to read about 22 new books. Not too shabby for a total dumbass. The problem isn't that it was text-only, they just sort of mush together as a nondescript mass in my brain given enough time.

The first time I finished the epilogues, I said they felt like a purposefully unfinished text, but one at odds with itself (though in much more undercooked words, as I had just spent the last 2 days busy reading it) and it's an impression that has deepened since.

I do not mean anything like "Meat contradicts Candy" with this, that'd be foolish; the dissonance is the fucking point. I know how dubiously canon alternate universes work and I *enjoy* them, otherwise I wouldn't have wasted years in the circus ring that is accompanying Big 2 Comics in the hopes they'd do anything genuinely cool with that concept. Instead, I find there is a general problem in terms of internal cohesion. The Epilogues want to be a lot of things at once, be it a continuation, an expulsion, a deliberate attempt at public scorn, a somewhat genuine play in heartfelt analysis, a reinvention of what came before, or a loaded gun pointed straight at one's own foot. And in the process, they end up undermining the impact of their own strongest moments.

I don't like the Epilogues. Their lukewarm indecisiveness makes for a poor reading experience that needs far more asides, warnings and 'before you read it-'s than the book is worth. It is a text with a particularly distasteful, juvenile fixation in the show and repeated humiliation of sexual abuse victims, and manages to be more regressive about its female characters and what roles they're allowed to play than Homestuck, the 2009 Comic, ever was. And that was disappointing. It's as if the coming of adulthood must sort them into one of two categories: "wanted, desirable" woman or "unwanted, undesirable" woman. It also interacts with trans women in a really shitty way. It is a text married to traditional white-centric politics that makes an attempt to challenge them from that same perspective but falls flat on its face by pulling big moves like "making the alien-Hitler analogue character fight for a rebellion meant to represent racial liberation" and other unsavory choices. But I don't need to like the Epilogues to acknowledge them as both a text that exists and works within a shared universe.

They're pretty fertile ground for dissection and analysis. I think it's interesting how they accentuate some of the worst facets of the HS "canon"/"lore" by being incredibly blatant about their connection to stuff like the Skaianet archives, how they play with Fanservice and Fan Expectation by dedicating so much time to solving or sinking ‘The Davekat Equation’, and how they elaborate on complex facets of old characters. It's a text that acknowledges the existence of fanfiction and popular fanworks on a direct quotable basis (like "Can't sleep without holding onto a motherfucker" of 4Chords fame) as well as Fan Movements that preceded it (the also Gamzee-based "Free the clown!" Rush from 2016) it's intrinsically interactive, and that's not something you can say about a lot of media. The olive branch beckons.

I don't recommend the Epilogues. To me, the Epilogues portray glimpses of two potential, but not absolute, futures soaked in limiting metadoomer pessimism, best appreciated as "what-if" tales taking on the questions of serialization, post-myth, the self-cannibalistic nature of franchises, the abstractness of Canon, the absurdity of fanon, and why fascists like milk. The Epilogues are also not going to magically disappear or un-exist from our collective recollection anytime soon, or… ever. These statements coexist.

I think complex feelings towards media are best put to use in the making of your own art, which is unsurprising, given the fact I'm an artist and a fag, & I've personally enjoyed creating things that interact and rebuke aspects of that text. I've also been graced with the existence of wonderful art from others doing the same, may that be in the form of illustrations, written epics, analyses, comics, videos, songs, the collective transgendering of the series' main character, and all sorts of harder-to-categorize community creations. You can make the best of it. That's my favorite part of the whole ordeal, and one I don't regret one bit.

I hope this is an appropriately satisfying answer on this subject, and if it isn't, well, here's the thing; you can write a better one.

#homestuck #meta #the homestuck epilogues

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bao3bei4 · 4 years ago

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girlbosses, male wives, and other lesbian genders

a post about jing wei qing shang. but also mostly about another unrelated movie. spoiler-free.

for a lot of people, mulan 1998 is their definitive “ohhh i’m a chinese woman dressing as a man for contrived reasons and i get absolutely nooo erotic pleasure from this” movie.

however, because i am very special and unique, for me it’s the love eterne 1963. it’s the shaw brothers adaptation of butterfly lovers, the classic chinese folktale. here’s how i’d summarize the movie:

zhu yingtai, an aspiring scholar, convinces her parents to let her dress as a man to attend school. on the way there, she meets liang shanbo, another prospective student, and they become sworn brothers. they study together for three years, growing closer, until zhu yingtai returns home. liang shangbo accompanies her for the eighteen-li journey home while she hints she’s a woman, but he remains oblivious. by the time he learns her gender, her parents have engaged her to another man. he dies of grief, and while she mourns at his grave, it splits open, and she buries herself inside with him. two scraps of her torn outfit turn into butterflies and fly away.

it’s worth noting here that like. this movie is made in the huangmei opera style. so both zhu yingtai and liang shanbo are played by women (betty loh ti and ivy ling po respectively). because of this, basically every level of the film is preoccupied with gender: if we take zhu yingtai’s male performance as credible (as the characters in the movie do) the leads bond through male homoeroticism; the text is ultimately about a heterosexual romance; it is acted out by two women, in a performance that is difficult to mistake as heterosexual or even feminine; and the dialogue of the movie can’t help but remark on this.

basically it asks: what if lesbians could be gay both ways? wouldn’t that be based?

like opera was traditionally made by single gender casts, so roles tended to be genderless, in that the gender of the actor doesn’t determine the gender of the role they play. roles are instead typed into four categories: dan (fem), sheng (masc), chou (clown), and jing (painted face). it’s a sick gender quadinary. each of these roles has further subtypes that are represented through stylized patterns of singing, makeup, costuming, movement etc.

so in butterfly lovers, betty loh ti plays a dan, and ivy ling po plays a sheng. but because of the textual cross-gender play, you end up with a woman playing a woman playing a man who falls in love with a woman playing a man.

i’m going to make a brief digression here into talking about like.. acting theory. in the european tradition, you see it evolving out of early concerns (from stanislavski, brecht) about the fourth wall, and its permeability or lack thereof. in chinese opera tradition, the fourth wall didn’t ever really exist. and mei lanfang, the legendary fanchuan performer, claimed that his success wasn’t just due to his appearance, but rather, his mastery of some nonliteral feminine subjectivity.

If I kept my male feelings, even just a trace, it will betray my true self; then how can I compete for the audience’s affection for feminine beauty and guile?

i’m not going to argue that there’s like, an essence to being a woman because i’m not a fucking idiot. but there’s something to be said for the idea that the gendered interplay between the audience’s perception of the actor, the actor’s perception of themself, and the character they play is a massive part of the appeal of fanchuan performance.

this is echoed by david hwang’s m. butterfly, in which gallimard memorably says, “i’m a man who loved a woman created by a man. everything else—simply falls short.” btw sorry for having the type of brain disease where i constantly reference chinese crossdressing related media. you already know why i have it.

anyway. parallel to that (but far less morally detestably), jin jiang argues “young male impersonators in yue opera embody women’s ideal men—elegant, graceful, capable, caring, gentle, and loyal.” so, trivially, 1) the eroticism embodied by fanchuan performers is distinctly different from their “straight” counterparts, and perhaps less trivially 2) it’s way better.

back to the love eterne for a bit. one of the many reasons it’s lodged itself into my psyche is because there’s something more interesting at play than just all that. normally in opera, to compensate for any perceived residual femininity in the sheng, the dan camps it up even further. so this is how zhu yingtai first appears, this bratty femme pastiche of womanhood. yet within a couple minutes she’s dressed as a man, which she’ll stay as for the bulk of the movie. they do however make compromises with the makeup--more gently lifted eyebrows than the steep angles of the sheng opera beat, and an improbably masculine smoky eye.

that’s right. they performed girlbossification on her.

i don’t want to suggest that she’s straightforwardly feminine. i could write an entire other thing on her relationship to masculinity. instead i want to highlight the erotic interplay not just between the “girl” and the “boss” but also between her and her counterpart: the male wife.

liang shanbo is ostensibly straightforwardly male, but his relationship with zhu yingtai isn’t gay in the ahaha what if i was into my bro way-- it’s a what if i was into my bro and i was his wife way.

that’s right. they performed force fem on a cis woman-man. like when zhu yingtai tells him he can’t watch over her as she recovers from an illness because “boys and girls can’t sleep together,” liang shanbo asks “are you implying that I’m a girl?”

there’s a lot of shit like this that builds up over the course of the movie. it all culminates in that final 18 mile journey. along the way, zhu yingtai compares them to a pair of mandarin ducks, one male & one female. liang shanbo sputters “i am a man inside out-- you shouldn’t--” before graciously conceding, “you may compare me to a woman.”

this is like. a simple punchline. but it’s incredible. it’s true! liang shanbo isn’t a man inside out in that he’s a man and only a man, but rather that he’s a man seen inside first, built for desiring, by a woman & for a woman. as a perpetual object, he becomes a more believable woman than zhu yingtai. and at least in his view, it seems more likely that he could be a woman than her. but beyond that, his permissive tone reads as a kind of wanting in itself--recast, if she wants, “for you, i’ll be a woman.”

obviously this is a classic lesbian mood. who among us has not seen “no gender only lesbian” posts. and speaking of classic lesbians, you might ask. did you just tiresomely reinvent butches and femmes but with a more annoying name? yes. no. okay. well.

first, like butch/femme dynamics have both historical specificity and a classed character such that it’s not rlly that appropriate to impose them on the love eterne. and i guess more importantly, i wanna talk about stuff that isn’t real.

we fight all day about people who confuse performance with performativity, (i use we lightly here. for instance, i go outside every day so i don’t care about discourse) but what if we actually wanted to talk about the former for once? something specifically, whether we choose or are forced into it, that we pretend to be?

anyway. what the hell does all that have to do with jing wei qing shang. i’m going to start by first making the argument that there’s no such thing as a naturally occurring girlboss. i think, honestly, she’s a product of capitalism (“boss” should be the tipoff here) but because both of these stories are set in ambiguously historical china, i’m going to say, instead that she’s a product of uhhh primitive accumulation.

semantics so that i can be canon compliant with marxism aside, if girlbosses are made not born, can you choose to be a girlboss? sheryl sandberg says yes. i don’t disagree, i guess, but i will say: stop glamorizing it! humans only become girlbosses when they’re greatly distressed.

you become a girlboss when you have no other choice not to be one. when your wants are too great to be a woman, when the things you want are not things that women should want-- whether that’s something that really no one should want, like being a ceo, or whether that’s just something like loving a woman (or, as it is quite often, both) -- you have to become something else.

another important part of being a girlboss is that other people are not. your excesses mean that not only do you lose something in the process, but your bosshood comes at the expense of others. the girlboss necessitates a girlworker, or so to speak.

now we’re getting to jwqs. i’m assuming that you haven’t read jwqs, because most people haven’t. that was me until like four days ago. in broad strokes, the novel is about a woman, qiyan agula, who was raised as a prince, and her quest for revenge against the kingdom who slaughtered her people. of course, this involves marrying one of the princesses of that kingdom. it’s all very exciting (lesbian).

what’s striking about jwqs is that both of them seem to fit the girlboss paradigm, in vaguely similar ways. qi yan (agula’s assumed name) seems to follow the lineage of zhu yingtai, who pretends to be a man to achieve her goals. she’s forced to give up much in the process, and also sacrifices a, uh, lot of innocent people. similarly, nangong jingnu, the princess, is inherently a girlboss because royalty sucks. but also, qi yan girlbossifies her over the course of their relationship.

but i wouldn’t say jwqs is girlboss4girlboss. there’s something a little more complicated happening. qi yan isn’t zhu yingtai in that she’s a dan pretending to be a sheng. it seems more like that she was a sheng all along. it’s something that the women of the novel return to often: qi yan seems to be better than a man.

for instance, nangong sunu, jingnu’s older sister, reflects on this.

Nangong Sunu had seen many foolishly loving women who sacrificed everything for the sake of their husbands, but there were rarely any men who would do the same for them.

(...)

Thinking it through, Nangong Sunu felt that Qi Yan was truly becoming more interesting. She intended to observe discreetly for a while, to verify if such a man truly existed in this world. (ch 221)

and i forgot to write down the citation for this, but nangong jingnu also seems to argue that not only is qi yan prettier than a man, but she also seems to be prettier than a woman. (it’s the bit where she’s watching qi yan sleep. help me out here.)

moreover, the way qi yan relates to nangong jingnu is suggestive. jingnu brings out the elements of wanting to be a woman in her. it’s jingnu’s body that makes her wonder what she would look like if she was more feminine. it’s jingnu’s happiness that she resents, wishing that her people could have that as well. it’s her desire for jingnu that makes her a woman.

(another important distinction i suppose--while one person can’t be both a butch and a femme, because the girlboss and the male wife are things we pretend to be until we embody them / them us -- there’s greater slippage between the two.)

anyway, the girlboss/male wife dynamic is reversed wrt who’s actually dressing as a different gender. that suggests an inversion in the implications we see from the love eterne, if we are to take the love eterne as the paradigmatic girlboss text. which i do, for no reason in particular.

so then, is qi yan pretending to be a man? under the opera framework, we’re forced to say no. she’s not pretending to be a man any more so than liang shanbo (as acted by ivy ling po) was. but that, of course, feels incorrect, just looking at the text. is she, then, pretending to be a sheng? i’d strongly say no. the things that others see in her, they authentically see; and she does authentically feel the same things as liang shanbo wrt femininity.

so it has to be the opera framework that jwqs is subverting then. if qi yan kept some trace of her once-womanhood, if qi yan reveals her true self, and yet she still can compete for the audience’s affection-- jwqs’s inversion of the opera framework seems to argue instead that it’s that true self that allows you to compete. it’s being masc that lets you be a desirable woman; it’s being feminine that lets you be a desirable man.

there’s an increased gender ambivalence to jwqs, which make sense, i guess, seeing as it’s not meant to be a het story the way that the love eterne was. for instance, nangong jingnu crossdresses to go out in public, and qi yan remarks that jingnu’s disguise fooled her on their first meeting. when qi yan and jingnu go out in public, both disguised as men, they’re repeatedly perceived as a gay male couple. there’s freedom in that: they could be gay women only privately, they could be straight officially, but they could be anonymously gay publicly.

so it’s through the gay male pretense that they can be gay women; it’s through the qi yan pretense that agula can love women; it’s the qi yan caring husband persona that coaxes jingnu in caring for qi yan in return-- jwqs, more precisely, argues that you can’t be a woman if you’re going to love them, and even less so if you’re going to be loved by one.

this is perhaps well-trodden ground for anyone who has read wittig & certainly many people who haven’t. but it’s the layer of pretense that for me complicates these two narratives.

i think it’s a relatable feeling: wanting something anticipating getting something, or wanting something for yourself anticipating knowing that you already had it. that is, desire in itself being constitutive of that reality.

or less abstractly, knowing that you’d want to be a lesbian if you could, knowing that you’d want not to be a woman if you could-- anticipating any realization of either.

the dramatic excesses & wants of the girlboss, i think, are a decent literary stand in for being a lesbian.

i wanna note here that this is rlly just based on my experience being a transmisogyny exempt nonbinary diaspora lesbian lol. it’s fun & cathartic to overread this history & place myself in the accidental implications.

i don’t think most of the things i say are literally true. and i don’t want to overstep & say any of this can be generalized. please lmk if something here doesn’t read right! ok kisses bye

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imaginationofacrazyfangirl · 4 years ago

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Imagine You are All Might’s Personal Assistant

All Might truly is the fastest man on Earth.

“What do you mean he just left? Where could he have gone?” you shout.

The police officer shrugs giving you a pitying look. It makes you want to smack it off his young baby looking face. Unfortunately, that would be assault and you are pretty sure you’d get arrested…All Might’s personal assistant or not. Besides you don’t want to deal with the added stress of bad publicity, even if you get some joy out of it.

“Well, we just got a call about a robbery not too far from here. Maybe he went –“baby officer barely got the words out, before you sped off shouting a loud, “Thank you!”

Ask any personal assistant of a major superhero, what the most important ability needed for their job was, and they all answer: being able to always find your superhero. It may seem like a simple ability seeing how superheroes almost always made themselves known to the public (minus a few underground heroes like Eraserhead, who hated the spotlight), but, it isn’t so simple. Sure, you know how to easily find All Might, for that you just check online. After all, the All Might Watch Forum tends to keep a better update on the hero than the police did. No, the real trouble comes in figuring out how to get to where your hero is.

For almost all personal assistants this is the first pain of their job. Superhero’s often have their own means of transportation and vice versa for their sidekicks; personal assistants though generally consisted of people with average quirk abilities. Meaning while their bosses took to the skies, teleported, or ran at breakneck pace, they themselves took taxis-or in your case ran. Luckily for you, All Might’s next heroic save happened to be only a few blocks away. An annoyance still but manageable. You only pray now that he stays there. The hero has a horrible habit of leaving without a word.

Thankfully luck is on your side for the first time today. All Might is still there when you arrive. His loud boisterous laughter reminding those around him that everything is alright. Besides him, a bloody villain slumps over, tied in what looks like clothed nappies? Apparently, the robbery took places at a daycare of all places, or at least it did, if any of the cooing babies and swooning mothers had anything to say

Pushing your way through the crowds of excited reporters and citizens, you hear All Might’s too familiar boom of , “Fear not. Because I am here!”

You can’t help the bitter irritation rising in you. Fear not? Oh, someone is going to have something to fear. Boss or not, he’s totally going to hear it from you. However, the lecture gets put on pause as you finally make it to the front. All Might’s still there standing proudly in front of a disturbingly bland daycare front. Its simplistic lettering of ‘KIDZ LEARN ABC’S” contrasts against his glowing persona. Around him, toddlers and mothers alike drool trying for his attention, to which he spares a grin and handshake to each one.

The sight screams All Might. It is so pure, so kind, so friendly-you must take a picture for social medial! Sliding the portable camera out of your bag, you quickly snap a couple of pics. Job number three of being a hero’s personal assistant: run their social media accounts. Most heroes with personal assistants fall into one of two categories: they are either high in ranking or up and coming. Either way, they all need someone to manage their publicity stuff.

Despite the flash of the camera, All Might takes no notice of you. Probably due to all the ongoing flashes of media cameras around him. The attention comes with every save so he’s more than used to someone somewhere taking his picture. No, it’s not until some brown-haired reporter asks, “All Might, a word please?”

That you intervene letting your presence be known. “All Might is unfortunately needed elsewhere. So, any questions or requests for an interview about today’s current rescues can be forward to his agency.”

The blond-haired hero stiffens besides the reporter. Sweat begins to form on his face at the sight of you. As horrible as it sounds you take great pleasure in the panic on his face. Not many people scare the great Symbol of Peace. In fact, you can only really say two other people not including yourself, have the power to make the hero squirm.

“(Y/N)- I didn’t see you there.” The hero stutters uncharacteristically.

You shoot him your best glare, causing him to shrink back. No one will ever understand just why someone so comparably tiny and non-life threatening could have so much control over the hero. Villains came and went without him so much as breaking a sweat. Yet you with neither the power nor quirk to stop him, scare All Might.

“I saved a pre-school!” he babbled, picking up a random toddler. “See? Aren’t they the most precious thing you ever seen? Wouldn’t it be horrible if something happened to them?”

He is milking it, and he knows it. Not only does he sound like a bumbling idiot on camera, but the toddler he chose, smells something awful. Still All Might refuses to give up. Children are your weakness. Their gummy gooey smiles make you coo every time. In fact, if you weren’t his assistant, the hero is sure you’d be a teacher.

“All Might, we agreed on letting other heroes do the rescuing sometimes? Remember? Keeping the market open for others?” you press voice low.

‘ Keeping the market open for others,’ a code for ‘you’re going to run out of time.’ A hard to swallow truth, but the truth nonetheless. Not many people knew about his injury, his time limit, but you knew everything-almost everything. For your safety, he kept the truth behind his quirk a secret. His return to Japan/ his decision to take on teaching all hidden under the guise of searching for a successor.

“Yes, well-look at these chubby cheeks!” he replied, pushing the kid towards you. Again shameless, but did he really care? No. Last time All Might angered you, he sported a pink suit for two months. And while the hero didn’t discriminate against any color, the hearts and frills were too much. “Could I really risk the chance of another hero arriving on time?”

“All Might-“ you started only for the kid to cry, “All Might!” as well.

You glanced over at the toddler, eyes softening. Said hero couldn’t help but feel like the cat who ate the canary. Silently he cheered for the kid to continue. If they did a really good job, All Might would send them some signed memorabilia.

Shaking your head, you fought the doubt creeping within you. As preferable as it would be to just let the man off, you knew you couldn’t do it. Rescuing kids may take priority to most things, however not when there are other heroes perfectly capable of doing the job for him. “Don’t try and get out of this one. I’ve chased you to not two or three, but five different incidents.” You pressed. “Without flight, teleportation, or transportation! Do you know how hard it is for someone without a quirk or car to follow you?!”

All Might slumped slightly under the pressure of your lecture. Each escaping your mouth seemed to hit him worse than any supervillain could. “Not to mention you’re overdoing it again.” You lectured, ignoring the exasperated looks on his and everyone else’s face.

You knew how people viewed. Most PA’s tended to be shy docile beings pushed around by their heroes or ignored. In fact, the average years for a PA to work under a hero ranged from two to three years, before they either quit or got fired. Those who lasted longer tended to be outliers such as yourself; people not easily cowed by the awe of their employers. As for All Might’s view of you…he knew how much you truly cared about him. It was why he kept you around despite your lecturing and harsh tactics.

Having someone worry for him felt nice, especially given how he cared more about others than himself. A natural feeling obviously for heroes, but All Might ignored his health beyond that of usual heroes in your opinion. “You worry too much, (Y/N). I’m built to last.” He grinned, thumping his chest. “See?”

His words did nothing to quell your fear. From day one-even before the tragic accident you worried over him; almost as if he wasn’t the world’s greatest hero just another human being. It was strange considering how used to being worshipped by even his own friends, All Might was. Everyone saw only the smile and hero versus the man behind it. Yet you never did. To you, All Might was just a man with an extraordinary job and that…that felt nice.

“Come on (Y/N), let’s go home. I promise to leave the rest of the saving to the other heroes for today.” All Might grinned, patting your head.

You blinked cut off mid-rant. A warmth spread through your cheeks at the gesture, but you pushed it back. Falling in love with your hero was a big no-no in the world of PA’s. However could anyone really blame you when it came to such a selfless man like All Might?

#all might x reader #all might imagine #toshinori yagi x you #toshinori x reader #my hero academia #my hero academia imagines #bhna x reader #boku no hero academia #boku no hero acadamia oc #bnha imagine #mha imagine

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winterhawk-olympic-bang · 4 years ago

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Writer’s Workshop: How To End Your Story

How To End Your Story

Guest Poster: Flawedamythyst

We’re in the final furlong before the deadline for the first draft now, so it feels like a good time to talk about endings, and how to bring your story together to create a satisfactory one.

Have a read and then head over to the Discord Server where we have a channel for you to take part in a discussion based on the post, with chances to share your own ideas too.

How To End Your Story

There are traditionally six types of endings for a story:

Resolved ending - one with no lingering questions or loose ends. (Most murder mysteries and romances fall into this category.)

Unresolved ending - the kind of ending that leaves the reader with more questions than answers. (Usually for books that are part of a series. A lot of the HP books have endings like this.)

Expanded ending - expands the world of the story beyond the events of the narrative itself, with a time jump forward or a change in PoV.

Unexpected ending - a twist ending that the reader doesn’t see coming, but that should seem inevitable in hindsight.

Ambiguous ending - one that’s open to interpretation. Unlike an unresolved one, it leaves things to be interpreted by the reader so they have to decide themselves how it goes.

Tied ending - that brings the story full circle, and ends exactly where it began. Often the case for ‘Hero’s Journey’ type stories, where the hero ends up back home at the end.

You can read more about them here: https://boords.com/storytelling/how-to-end-a-story or here: https://www.masterclass.com/articles/ways-to-end-your-story but also in multiple other articles online just by Googling ‘Six Ways To End A Story’.

But, of course, they don’t really tell you how to work out which one your story needs, or how to write one of them without falling into any of the traps that ends with an unsatisfying ending.

Motivation

Of course, often the hardest bit with an ending is actually getting there. Losing motivation is so easy, especially when you’re writing something super-long. I know lots of people get motivation by posting as they go and using comments/kudos as a spur, or even just by talking about it on Tumblr or other places and letting other people’s excitement buoy them up, but a Bang event like WHOB doesn’t allow for that.

I’m going to talk a bit about ways to motivate yourself when you’re having to keep things secret from all but a handful of people, but bear in mind that this is something that really is very individual. Everyone writes for different reasons, and so everyone’s path to staying motivated is different.

For me, I think it comes down to focusing on why am I writing this story to start with? Any time I feel myself flagging, I think back to that reason and re-capture the original feeling I had about it. Often there’s a couple of different reasons.

For example, when I was writing Look What The Cat Dragged In, my motivations when I wrote the first line were:

I want all of fandom to share with me the image of the Winter Soldier waking Clint up to threaten him while gently cradling a kitten in his hands, and��

I was writing it as a present for @kangofu-cb.

So, if I flagged at all, I was able to either reread that moment with Bucky holding the kitten and think ‘wow, I really do thing people will enjoy this mental image’, or I was able to think ‘I want my friend to have a nice thing’, and that helped me drive on and push through.

A lot of my personal motivations come down to ‘I want to share this scene/witty one-liner/visual of Clint pole dancing while dressed as Captain America with people’, so often just rereading what I’ve already done is really motivating for me, plus it also gives me the chance to see just how much I’ve already done, and what I would be dooming to be unfinished if I just walked away without pushing through.

You might well have different motivations though, which are equally valid. Maybe you started a fic for this event because you wanted to get a shiny badge, or to do something that your friends were doing, or you wanted to prove to yourself that you could write something longer than usual or outside of your usual wheelhouse. It may feel harder now than it did when you had that first idea, but that doesn’t change why you wanted to do it, and it’s actually easier now than it was when you started, because you’ve already done some of it.

And, if none of those motivations work for you, there’s always spite. ‘Oh, my brain gremlins think I can’t finish this? Fuck those guys, I’m going to prove those assholes so very, very wrong’ is completely how I powered through to finish my first ever novel-length fic, a million years and several fandoms ago.

Resolution vs Ending

So, let’s move on to the ending itself.

There are two parts to writing an ending: there’s the plot resolution and how that all gets tied up, and there’s the actual ending of the fic - the last scene, and the last place the reader sees the characters.

Sometimes the resolution happens only at the very end of a story and so those are the same thing, but I tend to think that makes things feel a bit abrupt. Especially for fics, which tend to be more character-driven than mainstream media and so need a wind down on how the characters react to the end of the plot for the reader. (This isn’t always true, of course, some plots do tie up neatly in the final scene. Every story is different and you’re the person best placed to judge what’s needed in your fic.)

So when you’re thinking about the ending, think about both parts. ‘How does this plot resolve itself?’ and ‘where do I want to leave these characters in the readers’ mind’s eye?’

Plotting a Story Resolution

You may well have already got a resolution worked out as part of your planning, but what if that ending doesn’t seem to fit any more, or you realise just as you get to it that you forgot to think about an ending at all and have no idea where to go?

First of all, don’t panic! If the rest of the story is there, you’ll be able to pull together the strands to create the best ending. Trust the bones of your story.

When I’m facing a blank page and no real idea of how I’m getting from the Depths of Despair moment to the happy ending, the first thing I do is reread the whole story in case that sparks a fantastic, fully-formed idea to appear on how to tie it all up. Mostly that doesn’t work, which is always disappointing, but it’s still a good place to start, because you have the whole run of the fic fresh in your head to plan from.

The next thing I do is make a list of all the things that I know definitely need to happen for the plot to be done. These don’t need to be in any particular order at this point and they don’t need to link up, you just need a list of what needs to go into the framework, however minor. ‘Clint wears Bucky’s hoodie and Bucky is smitten’ is a totally valid plot point to include, or even ‘include mention of recurring joke about muffins’. If you know something needs to be resolved but you don’t know how yet, just putting ‘resolve plot point with badgers’ is fine. Hopefully once you’ve started thinking through all the different bits, you’ll work out what’s going to happen to the badgers, and it’ll make sure you know it needs to be included somewhere.

If you have a beta/cheer reader who can help, it’s also super helpful to ask them what they would expect from the ending based on what they’ve read so far, or what elements from earlier in the story they think will be coming back/will turn out to be foreshadowing. Sometimes you’ll find you’ve written the clues to your ending into the earlier bits without really noticing, and you can throw them down on the list to be included as well.

Once you have everything you know needs to be included, you can shift them around into a rough order you think they need to go in, and start filling in the gaps. For example, if ‘Clint gets injured’ is there, you can add in ‘Bucky tends to his wounds’ as the obvious next step and maybe that would be a good time to throw in a muffin joke, and then Clint might need to borrow a hoodie if his shirt has blood on it, so you can tick those bits off as well.

It gets easier to see where the gaps are once you have it written out, even if it’s only things that you already knew would need to happen. Having it down in black and white helps your brain to move pieces around like a jigsaw puzzle, and start extrapolating on what comes in the gaps between.

Make The Ending Fit The Story

Think about what kind of story it’s been so far, and make sure that the ending you come up with fits in with it.

You’ll know the general feeling that you wanted for the fic when you started writing, so that will give you a solid idea on how the ending needs to go. (Often for me this feeling is ‘schmoopy and loved up’, because I’m a softie. A lot of what I’m doing when I’m writing a fic is just clearing out of the way any obstacles that are going to get in the way of my characters being schmoopy and loved up. When there’s nothing left in the way, that’s when I know it’s the end of the story.)

You also need to keep the tone and pacing of your fic the same, and make sure that your ending matches up so it all feels like it fits together. This includes keeping the pace the same as it had been, no matter how tempting it is to rush through so you can get the thing finished already, or slow right down so you can add in a few thousand more words.

Along with sticking to the tone you’ve set for the fic, try not to genre-shift - if you’ve written an action-packed zombie apocalypse fic, resolving the plot with domestic schmoop isn’t a great idea. The reader is invested in the style of story that you’ve written so far, so pulling the rug out on them will only give them whiplash, a vague sense of dissatisfaction or a persistent nagging feeling that zombies are about to attack.

Unless you’ve written a domestic schmoop zombie AU of course, in which case I would read the hell out of it. ‘Curtain!fic but sometimes the undead interrupt’ sounds like a lot of fun.

And finally, make sure you maintain your characterisation. If the ending you want involves your character doing something wildly out-of-character, then that’s not the right ending. (I like to call this an Endgame!Steve ending. No, I’m not over that.) Even if your audience is invested in your story enough to overlook the incongruence, they will be having to overlook it rather than feeling fully invested in the journey you’ve created.

Chekov’s Gun

The most satisfying endings are the ones that tie up most, if not all, of the loose ends, and provide an emotional pay-off equivalent to the build-up. If you’ve been talking about something big that might or might not happen, and then it doesn’t, it’s narratively frustrating. In the same way, if you drop something big in that doesn’t really fit with what went before, it’s going to make the story feel unbalanced.

Obviously that doesn’t mean you can’t have a surprise or twist ending but even if the reader is surprised by something happening, they still want to feel like they’re reading the same story. They need to look back with hindsight of knowing the twist and see how it fits in, and not how it stands out.

A good rule to follow is the Chekov’s Gun rule: If there’s a gun on the table in the first act, someone needs to shoot it in the second act. If you’ve been teasing something, make sure the pay-off is there.

And, of course, if someone’s going to be firing a gun at the end, go back and make sure it gets mentioned earlier in the story. It doesn’t need to be a heavy-handed anvil, but if you can drop in casual hints about guns earlier in the story, the whole thing feels more cohesive and thought out. No one needs to know that you only put those hints in after you’d finished the whole thing.

Loose Ends

Something I always like to do when I’m plotting exactly how the ending is going to go, is to go back through the whole fic and make a list of anything that feels like it could be a loose end if it didn’t get resolved. (If I’m having a problem working out my ending, often this happens at the same time as writing down all my ending plot points, as I described above.)

Some of those are obvious, like ‘Bucky and Clint need to kiss’, but some are less so. Did Clint think about how much he just wants to be done with all the drama so he can snuggle with his dog? Maybe throw in some Lucky cuddles somewhere in the finale so he gets the emotional pay-off. Has Bucky mentioned really want to punch a bad guy in particular in the face? Give him a chance to smack that asshole around a bit. Has there been a minor relationship drama along the way, like someone leaving their socks lying around? Have them either make a point of putting them away, or the other person just rolling their eyes and accepting it as a part of being with them.

It’s also important to think about where your secondary characters are going to end up, and if it feels like they’ve had an arc that needs resolving. Has there been another pairing with a bit of screen time or some background drama? Give them a chance to make out/make up. Has the bad guy done something that affected one of the other Avengers? Let them have a slice of revenge along the way.

For example, in my plan for Be All You Can Be, one of the original characters I introduced as other soldiers doing Basic Training, Havelka, didn’t turn up again after he’d been kicked back a level to another training unit. When I reread that, it became clear that he needed to prove himself somehow or his arc would be a depressing downward slope partially instigated by Clint and Bucky, so I brought him back at the end to do some First Aid and gave him a line or two to point to how his future was going to go, so the reader knew he was going to be okay.

You don’t have to completely resolve everything of course, and sometimes it is nice to leave a couple of things up to the reader’s imagination, but it’s nice for the reader if there’s a sense of things being tied up in a little bow.

Ending

So, you’ve resolved your plot, how are you going to handle the actual final ending?

Depending on how your story has gone, you might not need much after the resolution, or you may need several epilogue-y type scenes just to make sure everything is wrapped up.

Take a moment to think about what feeling you want the reader to take away from the fic. If it’s a romance, do you want to end with a warm fuzz of ‘aw cute’? If it’s been an angsty dig down into Clint or Bucky’s mental health issues, do you want a sense of optimism or catharsis? If there’s been a lot of action and drama, do you want a bit of peace and quiet for your characters to signal it’s all over with?

The best way to end any story is with a sense of hope, even if you’ve not gone for a completely happy ending, or have left yourself open for a sequel with some unresolved plot points. You want the reader to feel at least in some way uplifted. After all, regardless of whatever else has gone before, that’s the emotion they’ll have when they get faced with the Kudos button and the Comment box, so you need them in a good mood, right?

When you know what kind of feeling you want your ending to have, that will give you a major clue as to what the characters should be doing in the final scene.

One thing that can work well is bringing back something from the first scene or two and twisting it to be part of the ending. For example, at the beginning of Be All You Can Be Clint uses the song Make A Man Out Of You from Mulan as a way to torture Bucky, and then at the end, they watch the movie together while snuggling.

You do have to be careful not to be too heavy handed with that, and it doesn’t work in every fic, but I do like the feeling of ‘things coming full circle’ that you can get from doing it.

Afterglow vs. Too Much Ending

I always think that good stories come with a certain amount of ‘afterglow’: Just a scene or two to round things out and give a pointer towards the future.

For example, in general, I don’t like stories that end with a first kiss, which is one of several reasons I usually find Hollywood romcoms unsatisfying. It feels like too much of a beginning, and leaves too many questions open about how things are actually going to go for the couple in question. As part of a complete ending, it feels more satisfying to have an ‘epilogue’-y type scene afterwards that will give you a sense of how things went from there, even if it’s just a couple of paragraphs about them planning their first date.

I’m sure we can all think of other times we’ve read or watched something and had a moment of ‘oh, was that it?’ after the last sentence/when the credits rolled. Abrupt endings without a bit of afterglow can leave the reader blinking a little and wondering where their damn cuddles are.

That said, you also don’t want to go too far in the opposite direction. If the plot is over, there’s no need to keep going with multiple scenes of fluff or porn that doesn’t really add anything. We don’t need to see their whole lives mapped out, and it can get fairly dull once the tension of the plot is over. Ask yourself if the three chapters of them having sex on every flat surface in their apartment is actually necessary, or if some of them can be cut and used as one-shot sequel/missing scene fics.

In general if it’s not adding to either the narrative or emotional arcs, try to cap it at a scene or two. Just enough to feel like you’ve had a bit of post-climactic afterglow, but not so much that it’s starting to drag.

In Conclusion…

Ending a fic is, in so many ways, the most satisfying part of writing. You got right the way through your plot to the end! You did all the writing! Your characters made it through to their happy/sad/ambiguous endings! You deserve all the gold stars!

You just want your reader to feel the same way, by making sure the ending fits with what came before, ties up all the ends that need tying up, and leaves them with a deep glow of whatever feeling you want the overall story to convey.

And then you just need to do the editing, but that’s a workshop for another day...

#winterhawk olympic bang #WHOB #winterhawk #writer workshops #writer workshop: endings #guest post #flawedamythyst

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