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rocket-bear · 4 years

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shinsena ghost fic outline

SO. on my last list of shinsena fic ideas I had written "shinsena ghost AU (yes, like the patrick swayze movie) but with an actually happy ending". I have decided that I'm not actually going to write this fic because 1) it would take forever and I have other ones that are bigger priorities for me and 2) the inspiration for it was really the MOUNTAIN of IT fix-it fics I was reading in early 2020 because I was Going Through It where I then shunted that inspiration over into a fandom I was actually comfortable writing for, and at this point I have moved past that stage and no longer need the catharsis,

BUT! I do really like the bits that I did already write for it, and I still love the idea, so I'm just going to go ahead and post the WIP bits that I did get finished, and then flesh out what the rest of my plan was after!

The fic takes place in Sena's second year of college! It's a ghostfic so, y'know, warning for major character death and copious discussion of grief, haha, but it gets better!!! Also, in addition to ShinSena there's BG mentions of HiruMamo in both the fic excerpts and bulletpoints for the rest of the planned plot. Text below the cut is about 6k words!

---------

"Aw, beans," is the first thing Sena hears after he dies.

He doesn't really process it in the moment, too busy blinking up at the bright, unclouded sun and distantly noticing that it doesn't hurt his eyes. He sits up, running through the last few moments in his mind-- a bouncy ball dotted with pink flowers, skipping merrily over the sidewalk into the street, a girl in her school smock tottering on chubby legs after it, a car unavoidably close, his view of everything blurring as he throws himself forward without even thinking about it--

Oh.

"EHHHH," he shrieks, and scrambles away from his body, and it doesn't come with him.

"I'm going to be in ;so much trouble," that voice says again, and Sena whips around because it's the only thing he can actually hear clearly, even though he's pretty sure he should be able to hear-- the other people around him, looking at his body without looking at him, everyone unharmed but most of them in tears, and he doesn't want to think about that.

So he looks, and sees-- something. It almost looks like an afterimage, at first, the kind of light-dark luminescent spots your eyes put up when you look away from a light you've been staring at too long, but it stays put as Sena stares at it, a kind of void of shifting light just stamped in the way of his view of the bushes lining the sidewalk.

"Um," he says, and the Thing kind of goes more dark-light than light-dark for a moment as it… sighs?

"Yeah, sorry, you're not getting me at my best, this wasn't supposed to happen," it says, and Sena feels like he would be hyperventilating if he had lungs, but he doesn't anymore.

"No, listen," the Thing says, and it starts to get bigger, which Sena belatedly realizes is because it's moved closer to him. With the way it doesn't actually seem to take up space, it's hard to tell. "Let's move away from here, okay? It's going to be hard for you to listen with all this going on."

And, well-- Sena casts a glance back behind him, to the people with their hands over their mouths and tears in their eyes and the pointless things they're doing to his body to try to bring him back to it, and he scrambles up to his feet and follows the thing.

"Okay, here goes," the Thing says as they move further away from the-- the scene, and then its voice changes. "Fear not, mortal, for your time on this plane has elapsed, and you have accomplished all that you were intended for. Your current form--"

"Wait," Sena says, fighting against the mesmerizing effect of the Thing's shifting lights in combination with its new, multilayered voice, high and low at once but somehow soothing. "I thought you said this wasn't supposed to happen??"

"Well, okay, yeah," the Thing says, its voice reedy and thin once more. "Your time actually isn't supposed to be up, but-- okay, did you know you're like, really fast? Like crazy fast. I was just supposed to nudge the driver once they stopped the car in time, you know, typical near-death experience stuff, but you jumped right through me before I was in place."

"You kill people by touching them?!" Sena skitters away from the Thing, and gets the distinct impression that the silvery flush it pulses in response is decidedly unimpressed.

"I can't kill you again," it says. "And we don't kill things, anyway. We just… mark them as finished. I got you out of the oven too soon, that's all."

That sounds a lot like it was only different from killing things in terms of word choice to Sena, but he doesn't say so.

"C-can-- can we fix it?" He asks instead, the first shards of ice-cold realization sinking in at last. He's dead. He's dead?

The Thing flares sigh-dark, and says, "You know this kind of thing has only happened like, four times before? Ever! Since the dawn of humanity! It's been like 20,000 years since the last time! I don't know off the top of my head, kid, I'm gonna have to look it up."

"Then-- there's a chance? How long will that take? What if-- I mean-- they're gonna take me to the hospital--"

The ice shards sink further into his body, but the Thing's voice is dismissive.

"If there's a way, that's not the body you're going to be coming back to; there's no way we're gonna be able to do this without rolling back the clock. So don't worry about the morgue, okay?"

Which-- was a relief, but Sena feels an empty sensation at the word "morgue" that he's pretty sure would have been nausea if he had a working stomach left to experience it.

Some of that must show on his face because the Thing comes to an abrupt stop, and its voice is more gentle as it says, "Okay, gameplan. If there's a way to get you back, it's gonna have something to do with the energy left over from your presence among the living. So go see your friends and family and see what you can figure out. Right now, you're a ghost, so there's got to be some way to tap into that energy."

Sena nods a little numbly at first, working on auto-pilot, and then nods more firmly as he actually processes the Thing's words. A plan! That means-- there's something he can actually do, while the Thing goes to-- "look it up." That's good! A plan!

And then, the Thing goes yellowish, and its tone turns apologetic.

"And… Speaking of ghost stuff, I didn't get to finish this part before. Your current form will let you move around this plane to visit your loved ones and grant yourself any closure you desire, but you won't be able to interact with the living world, and if we're not able to fix this in time-- when the time comes, you'll have to make a choice. Move on completely to the next plane, or stay here with your loved ones until there are none left who remember you."

Sena blinks, going still, and the Thing glows even more yellow.

"So we've got about [a month] to figure this thing out. I'll do what I can, kid. You hang tight."

And then it's gone, and Sena is left alone on the sidewalk.

He does all that he can do, and goes to find Mamori.

------

He doesn't think through the consequences of that until he gets to her apartment and finds her in tears and Hiruma on the phone, calling them an escort to the hospital. Every awful minute of that first day feels like nothing more than a smear in Sena's memory by the time his funeral comes around. He spends the time in-between trying his best to do something, anything, that will let his friends and parents know that he's still there. He does his absolute best to go full Hollywood Haunting on everyone he knows, trying to knock over pictures or rattle windows or flick lights on and off, but nothing works. Every once in a while, when he's flopped beside Mamori on the floor as she goes through photo albums, he almost thinks she hears him as he talks about the photos she's flipping through-- but it always just ends up being a fresh round of quiet tears that brings Hiruma over to her side.

The funeral seems to be no different. He'd hoped, somehow, that maybe having so many loved ones gathered in one place to think about him would somehow give him the energy to make himself solid-- and there are so many people there, not just Sena's family and closest friends, but people from nearly every team in the Tokyo American football community, some of them who he only ever remembered seeing across the field.

All of the original Devil Bats are there, of course. Kurita sobs his way through the service. The Ha-Ha Brothers stand stony-faced, and Juumonji scrubs a rough hand across his eyes, but Sena never sees any tears. Suzuna clings to Monta's arm as they both cry openly with Riku in the row behind Sena's parents, Mamori, and Hiruma.

His parents cry. Mamori seems too exhausted to, just sitting quietly and taking in the service with bruised red eyes. Hiruma puts his arm around her shoulder at one point, and Sena finds himself surprised by how much tenderness he's seen between them in the last few days. Hiruma had handled almost all of the arrangements, actually-- Mamori and Sena's parents making the decisions, and Hiruma diligently rising from each discussion to make the appropriate phone calls.

In the middle rows, Sena finds himself looking at Shin and Sakuraba. He shouldn't have been surprised to see them-- and he really wasn't, not really, he knew he would be devastated and would definitely show up if the situation was reversed-- but something on Shin's face startles him into looking again.

He looks tired. Sena doesn't think he's ever seen Shin tired, before, not even after playing full-out through an entire game, not even after the most intensive of training. But Shin's face is undeniably drawn, and the skin underneath his eyes is bruise-dark.

Sakuraba tears up, and Shin doesn't, but it's Sakuraba who lays a comforting hand on Shin's shoulder. [UNFINISHED SCENE-- also I had intended to go back and make this scene more accurately reflect Japanese (vs Western) funeral traditions but have not done that since, I'm not finishing the fic]

----------

He finds himself seeking out one of his and Shin's old training routes from high school, when they lived close enough that it made sense to share. It's been years since he ran this route, but it makes sense, he figures, that he would be revisiting old memories like this. It was a good route, anyway-- at one point it ran alongside the river, and Sena remembers reaching it on hot summer days, and noticing that even Shin tipped his face into the breeze when the sun was really beating down.

He walks along the path at first, but before long finds himself jogging, the force of memory and habit alike drawing him into those quick strides. It doesn't feel the same without the sensation of the wind on his face, or the heat of the sun on his body, or even the sweat beading up stickily between his skin and his clothes, but it's something.

Without fatigue or fear of obstacles to keep him vigilant, Sena finds himself startled before too long by the sound of steady footfalls coming up behind him. He automatically shifts his path to make way-- though it doesn't matter much now, he thinks with a frown-- and looks up as the lone jogger makes to pass him.

It's Shin.

Sena's not-heart squeezes painfully at seeing him unexpectedly, and Sena gapes.

"Shin-san--" He gasps, and of course Shin doesn't respond or look his way. Sena swallows the painful reminder and adjusts his pace to match Shin's.

They run together, and of course it's quiet, because Shin doesn't know that he has company. Not that companionable silence was atypical for their runs together before-- running was for focusing on technique, including breathing, so they would save the chatting for before and after.

Sena wonders if Shin had kept to running this path all along-- he was so sure that they'd both abandoned it when they'd made their way to university. Or at least, Shin had apologetically told him so, when he'd moved on to Oujou University and Sena was still in his third year at Deimon.

Maybe Shin's feeling nostalgic too, Sena thinks, and then shakes his head. He doesn't want to be sad, and it's nice to have Shin at his side, even if Shin doesn't know he's there.

He tries to sink into the feeling of running. It's still hard-- he can't feel much of anything, after all-- but with Shin there, it's a little easier to fall into old memories and let those guide him. He can pretend-- to feel the gentle breeze off the river cooling the sweat on his face, to feel the push of the sidewalk under his feet launching him into his next step, to feel how the sun is hotter on his back and shoulders than anywhere else as it crawls its way up the sky.

It almost feels like normal, finding that rhythm alongside Shin that has their steps striking the pavement in tandem, Sena's extra stride to make up for their heights a little accented half-note; that peaceful, focused haze that has them inhaling and exhaling in synch. It's so perfectly familiar that Sena can almost imagine a lump rising in his throat and the sting of tears in his eyes, nearly overcome with the twin sensations of having and loss--

--when Shin startles hard beside him and skids to a stop, with a gasp that has Sena's blood running cold before he even looks back for him, the image of the oncoming truck flashing through his mind.

But there's no truck here, of course. They're on a running trail, on a totally separate level than the road, but it's obvious enough what drew that terrifying, uncharacteristic noise from Shin's lungs when Sena looks back, and his eyes meet Shin's.

Shin sees him.

[UNFINISHED SCENE, this is the last of the actual fic that I wrote!]

---------

FROM THERE here was the plan:

- Shin being able to see him only lasts a split second. Shin's super shaken and keeps looking around and rubbing his eyes for a couple moments, and then he turns around and walks back to the train, and Sena-- thinking, like, "holy shit, Shin never skips training"-- follows him back, because even though it's super heart-breaking seeing Shin so shaken up it's also the closest he's gotten to making any progress the whole time

- Shin gets back to his dorm and just like. sits down at his table with his head in his hands. Sena's motivation to keep trying to get his attention kind of dries up so he pokes around Shin's dorm room instead and notices, like. a bunch of half-eaten meals/snacks in the trash, "Practice" scratched out on his calendar for the next few weeks, unmade bed, evidence that Shin's only really gotten dressed to go out jogging over the last few days and is only wearing his pajamas otherwise-- he's just not doing good.

- Just as Sena's like, really starting to grasp this, Sakuraba shows up at the door-- Shin gets up to answer the door with his back to Sena and like, whatever Sakuraba sees on Shin's face just stops him in his tracks and he immediately pulls Shin into a hug, which Sena is kind of shocked to see that Shin totally sinks into

- Sakuraba sits down with Shin at the table and they talk. Shin admits that he thought he saw Sena while he was jogging, and both of them are just brushing it off as like, a grief-induced sensory memory, stuff like that happens, etc. Sakuraba comforts him and encourages Shin to take it easy, it's okay to take time off of even his own personal training, it's okay if he needs more time, and also like fusses about Shin not getting enough to eat especially if he IS going to keep training

- Sena meanwhile is like, feeling awful with guilt but also just kind of overwhelmed with the realization of how important he was to Shin, and this is where I would've like, laid the groundwork for how they'd gotten closer during the rest of high school/early college but Sena still never rrreally understood how much Shin cared about him because 1) he's got self-esteem issues baybee, and 2) Shin is not exactly, like, super forthright about his feelings,

- but, while Sena DOES feel awful about how much Shin was shaken up about seeing him, it's the only thread he can think of to pull on to try and bring himself back, and he ALSO feels guilty about having to watch everyone grieve for him, so, well,

- he starts haunting Shin!! Shin does not listen to his good and helpful friend Sakuraba and goes jogging again the next day, but it's obvious that he's still feeling Off and he's having a hard time getting into a rhythm, and Sena isn't able to tap into ~whatever it was~ that made him visible the previous time and is feeling super defeated about it, UNTIL,

- Shin takes a break at the midpoint of his normal route, which is a thing Sena knows he does not generally do from their own training together, and is basically just slumped over on a bench with his head in his hands again and Sena's also feeling awful and helpless and does the same thing,

- and then Shin tenses up beside him, his breath getting shallow, and Sena notices and tentatively calls out to him. Shin slowly, slowly looks up, and they make eye contact for just a second again, before Sena can tell he's not visible anymore because Shin's eyes kind of unfocus and he looks away, and just gets up and goes home.

- This kind of refreshes Sena's determination, and over the next few days (IT WAS GONNA DEPEND ON HOW LONG I WANTED TO TORTURE SHIN) they repeat the same pattern, with Sena going on Shin's jogs with him and occasionally achieving small flashes of visibility(/audibility, though Sena isn't ever able to get out anything helpful before the universe mutes him again) which Shin seems to be determined to just brush off as grief illusions even as he gets more and more tense each time

- Until finally as they're jogging, Shin sort of tersely asks "Are you there?" and instead of saying anything Sena just tries to barrel into him for a hug because clearly auditory-visual haunting only isn't WORKING and we've gotta get some TACTILE FEEDBACK in here,

- and it works. He knocks Shin off of his stride, and Shin grabs for him in turn, and there's a moment where they both stare at each other in total shock and relief before Sena starts trying to frantically tell Shin the whole story and disappears out of his arms like, three words in.

- Shin has a little tiny mental breakdown in the middle of the sidewalk where he cycles from devastation at Sena disappearing again to trying to pull himself together like, "okay if this is real then this isn't my last chance because it's happened a lot over the past few days" to a kind of giddy catharsis because it's real Sena's really here to kind of shutting down over the idea that maybe it's STILL not real and he's just going REALLY crazy to actually pulling himself back together and going to find a bench to sit down on, and just like,

- talking things out, out loud, in hopes that Sena can hear him. He can only see Sena when they're running, which is something they used to do together, so maybe recreating old memories is what triggers it. He's noticed that even when running, he usually sees Sena in moments when he's feeling least conflicted/emotionally complex-- either pure grief or pure nostalgia or pure just-zoning-out-running, not as much when he's really struggling to process and has a lot going on internally at once. Maybe the stability of the emotion is part of it.

- Sena meanwhile is having his own meltdown from sheer overwhelming relief over FINALLY FINALLY making contact and Shin FINALLY FINALLY believing he's there and also just like making hearteyes at Shin for immediately going into full methodical Ghost Scientist mode after getting his own meltdown over and done with

- speaking of going full Ghost Scientist, Shin announces his intention to do exactly that by saying he's heading back to his and Sena's old running trail to test out the "recreating memories" theory right that second, and they head over.

- They jog, and Shin talks out some of his memories with Sena from his own perspective, which is a surprise for Sena because he doesn't even remember some of the things that Shin does and also it lets him actually understand what Shin was thinking in those moments.

- And most importantly: it works. It's not constant, but the longer they practice, the longer they're able to keep Sena in view for longer stretches of time, more of an unsteady flicker than the total off-or-on that it was before. They stay out for a long time (and in the process discover that other people still can't see Sena when Shin can as he continually gets weird looks for talking to thin air) and Shin actually eats a real meal when he finally goes home.

- Sena and Shin keep practicing over the next few days, which makes Sakuraba SUPER concerned because Shin spending hours and hours jogging every day looks like Shin further depression-spiralling from his perspective, but he's somewhat mollified by the fact that Shin's actually getting back to eating and getting dressed etc. normally, even though he's still not going to practice.

- During this time, Sena and Shin bond when they're actually able to communicate. Sena notices that Shin's parents haven't checked in on him even once despite the fact that he just lost a friend, and Shin confirms in one conversation that he basically doesn't have a relationship or emotional connection with his parents at all. (But watch, hang in there, I'm gonna fix it,)

- In the meantime, Shinigami-san tracks Sena back down and they both share what they've learned. Shinigami-san says that Sena has to gather energy from as many of the people he's formed bonds with as possible to chain himself more strongly to life, and gives him a pendant to wear around his neck that will store the energy. When Sena talks about his and Shin's experiments, It says that it makes sense that being emotionally and physically in-sync would help bolster the connection between them to the point where other people would be able to see him, and that if they practice enough they might even be able to just use one or the other (emotional sync or physical sync) without needing both.

- After Sena laboriously relays this to him through flickers, Shin gets a metronome and they both practice tapping their fingers to the rhythm, and they're finally able to see each other at Shin's dorm room vs having to be on a run and actively reminiscing together. They develop a system where when Shin wants/needs to see him, he'll tap his finger against the side of his leg and Sena will do the same thing so they can actually talk.

(- There is at least one moment in the development of this that, when Sena successfully appears in front of him, Shin smiles fondly and very softly says, "There you are," and Sena immediately disappears again because he's so shaken to his disaster bisexual core that he can't even handle it.)

- During this process they find out that Sena's pendant glows when Shin is reminiscing or otherwise talking about his feelings (but not the capital-L feeling) about Sena, which lets them know how to go about "gathering energy" from Sena's friends.

- With the clock counting down on Sena's deadline, Shin starts approaching Sena's friends to "check on them," or, to sit down with them and talk about Sena. It's a little awkwardly sweet on both sides, because no one expects Shin of all people to be making sympathy housecalls and Shin's not very good at talking about feelings, but the conversations are surprisingly genuine and cathartic for all parties (including Shin, who is still processing some weird sideways grief even with his new connection to ghostSena, and Sena, whose self-esteem issues have a hard time standing up under a deluge of people talking about how much they cared about and miss him), PARTICULARLY:

- Monta and Suzuna, where the reminiscing works a little too well and they actually see a flicker of Sena sitting at Shin's side during the conversation and freak out. Shin immediately changes tacks and tells them that Sena is there and that he's trying to bring Sena back and he needs their help, and at first this makes them freak out more because what the fuck but by virtue of Shin being… Seijuurou "Overly-Serious-Stoic-Never-Overreacted-In-His-Life" Shin, he convinces them to try the tapping technique to bring Sena back into view.

- Sena has Shin describe a memory involving the three of them while they tap along to Shin's rhythm, and the combination of reminiscing and tapping works well enough that they're able to get frequent enough flickers of Sena to believe Shin. Yes, they do get a least one good long group hug out of the flickers, I'm not a monster.

- Shin still has to do most of the communication for Sena because it would take a lot of practice for the Sena-Monta-Suzuna combo to get enough in-sync to be able to communicate effectively, but he explains the whole situation and all the information they've gotten from Shinigami-san. They decide that it still makes the most sense for Shin to field the energy-gathering housecalls for the same communication-based reasons-- Sena can guide Shin through the conversations by suggesting memories to bring up with his friends-- but all the same, Shin suddenly finds himself with two tiny new best friends who want to hang out with him all the time. (And not even just to talk to Sena! Suzuna and Monta become pretty attached to and curious about Shin after he shows them more of his vulnerable side in the conversation leading up to the point where they actually see Sena themselves.)

- I was going to go through little flashes of Shin's conversations with a lot of Sena's friends across the football world, but the other Big One was going to be Mamori, of course. (And a little bit of Hiruma, who refuses to sit down for an Emotional Conversation with fucking Shin, but will gladly peanut-gallery Mamori's out of his own repressed desire for catharsis and also to make sure with guns loaded that Shin doesn't fuck up the fragile acceptance Mamori's been building since Sena's death.)

- Having learned from the experience with Suzuna and Monta, Sena wisely sits out of view during the conversation because he actually doesn't want to put Mamori through the rollercoaster of seeing him again, especially if his and Shin's efforts fail.

- Shin does not fuck up his conversation with Mamori and so Hiruma doesn't have to murder him! It's actually the most honest-- and healing-- conversation he has with anyone. Mamori finds herself feeling very fond of Shin, who she didn't know was so close with Sena and could be so supportive and empathetic under all that stoic strength, and Shin finds himself immediately adopted by another one of Sena's loved ones.

(- In their conversation, Mamori also mentions that just after Sena passed she kept finding herself thinking she heard Sena's voice, because that seed in the actually-written bit above was in fact foreshadowing ohoho.)

- I was not going to Go Into It because not even I have the strength, but to continue the theme of Shin finding a new family via his bond with Sena, there was going to be a brief scene referencing that Shin's visit with Sena's parents went much the same, with the addition that Shin was surprised Sena's parents already knew so much about him (because as it turns out Sena talked about him FREQUENTLY.)

(- Also within the housecalls there's a comedy scene where Shin makes Sena solid just long enough for Sena to log Shin in on Skype so he can talk to Panther without sacrificing a computer, and they discover that international friendship energy gathering does in fact work.)

- AND THEN: SAKURABA. The fic would switch to Shin's POV from here! In Shin's energy-gathering conversation with Sakuraba, things are going well at first, with Sakuraba reminiscing about Sena and then turning the conversation toward Shin himself to talk about how he's noticed Shin's seeming a lot more steady and like he's been doing some real healing lately. Shin obviously does not explain the ghostSena situation, but does honestly say that his conversations with Sena's other friends have helped him process his feelings a lot. And Sakuraba, being a supportive friend, very gently says that he's proud of Shin for reaching out, and for doing so well when he's going through something so hard, because he can't imagine losing the person he was in love with.

- Shin freezes up, and Sakuraba tries to reassure him that it's okay, he's known for a long time, he's so sorry that Shin never got to actually process those feelings with Sena, and Shin doesn't have to talk about it but if he ever wants to Sakuraba's there for him-- and Shin very stiltedly deflects the whole conversation because he doesn't want to totally shut Sakuraba down when he's just trying to be supportive but also Sena is right there

- After finally, awkwardly shooing Sakuraba out the door, Shin sits back down and tries to Talk About It with Sena, but he's so emotionally frazzled that he's not able to get a stable connection. Since they can't have a two-way conversation, he just launches into apologizing-- he's sorry, he understands if it makes Sena uncomfortable, Sena doesn't need to feel obligated to respond to it and of course Shin is going to help him finish getting what he needs regardless--

- Sena's just RAPIDLY flickering in and out of view, with the time he's not visible getting longer and longer as Shin keeps talking because they are incredibly emotionally out-of-sync, and with Shin only able to tell that Sena looks upset whenever he's able to see him, he makes some Assumptions about Sena's feelings about his accidental confession.

- Things don't get better over the next day or two. They try to do their synchronizing exercises, but even reciting memories doesn't help because Shin is too anxious and ashamed (and sleep-deprived from stress) to connect to them emotionally, which is only compounded because he realizes that Sena's deadline is fast approaching and they won't be able to finish in time if he can't get his shit together but that anxiety Does Not Help with relaxing enough to synchronize when he's spiralling over the thought of losing Sena again because of something that he "did".

- Finally, Sena apparently gets desperate and snatches up the metronome during one of the moments when he's solid for just long enough to do it.

- Shin doesn't see him for a while after that, and assumes (correctly) that Sena has taken the metronome with him to try and sync with Monta and/or Suzuna instead, and also assumes (incorrectly) that this is because Sena is extremely disappointed with him at best and totally hates him at worst, and that either way Sena probably doesn't want much to do with him anymore even if he is able to be brought back.

- He spirals for like, A Day, after which he does in fact break and go to tear up very stoically on Sakuraba about how yes he was (is) in love with Sena and it hurts him that he'll never get to express that properly (now that Sena wants nothing to do with him) and how he feels like he let himself (and Sena) down by not being able to act on that earlier (when it wasn't a literal life-or-death situation) and how maybe he's just not cut out for emotions and connections with other people actually, just look at even his relationship with his parents???

- Sakuraba comforts him and very gently tells him he's being a catastrophizing dingus and shows him, like, a mountain of texts on his phone not ONLY from concerned fellow Oujous, but also from a bunch of the people that Shin's talked to about Sena over the last few weeks, all of them expressing the general sentiment of "wow I was super surprised when Shin came around to talk to me about Sena but I'm so glad he did, it looks like he's doing well, keep an eye on him for me" in varying levels of transparency because after all they are Manly Footballers, but regardless: look at that, Shin is actually perfectly capable of forming relationships with other people, and they like and care about him.

- This results in some decidedly less stoic tears, and Sakuraba and Shin successfully patch things up after their previous awkward discussion about Shin's feelings for Sena. When Shin leaves he immediately heads for Enma to try and find Monta, because even if Sena and his friends don't want to see him he absolutely can't just shrug and sit back and just wait to see if they manage to save him.

- When he's like halfway there, he comes across Monta and Suzuna heading in his direction, and they cut off his questions by just being like NOPE SHUT UP COME WITH US and dragging him over to like, a park gazebo for some semi-privacy.

- Suzuna gets the metronome out of her bag and sets it on the park table and turns it on. Monta pulls a piece of paper out of his pocket and starts reading.

- It turns out that after he left Shin's, Sena ghosted up into Monta's room and just plopped the suddenly-appearing metronome down on Monta's desk, scaring the shit out of him but also giving a very clear signal of WE NEED TO TALK. Monta called up Suzuna and the three of them had spent the last day and a half working on synchronizing non-stop, and while they still aren't nearly as good as Shin and Sena had gotten with weeks' worth of practice, they got far enough along that Sena was able to have them slowly write out some of his memories with Shin, this time from his perspective, through the unsteady connection.

- Suzuna and Monta take turns yanking the paper back and forth between them to read out the description of Sena and Shin's memories, and with Shin tapping along to the metronome, he's able to see Sena more and more clearly over time until he's solid more often than not.

- As it becomes increasingly clear, even to Shin, that these specific memories Sena has chosen to share are a record of him coming to realize his feelings for Shin, Sena is eventually able to take Shin's hands and hold them without disappearing, tapping not needed. He interrupts Suzuna and Monta to try to finish off the confession himself: Shin didn't need to be scared when Sena found out about his feelings, because--

- Absolutely overwhelmed by everything about the last 36 hours and having no ability to process any of it in words ANYMORE but moved by the SPIRIT OF COMMUNICATION regardless, Shin gambles on the pretty sure bet that he and Sena are in-sync about this, and kisses him.

- It connects. (And connects, and connects...) Sena's pendant starts to glow brighter and brighter until he's totally enveloped, and--

- Switch back to Sena's POV! He wakes up on the street in front of the truck again, scraped up but otherwise totally unharmed. So are the little girl, who he successfully pushed out of the way, and the driver of the car, who stopped in time regardless. Shinigami-san is also there, and Sena tells It to leave the driver alone because It owes him one, and Shinigami-san congratulates him and tells him that hey hey that was the plan along!! (The onlookers assume that he's confused from the near-accident when he starts talking to thin air.)

- Sena waves off all the concerned onlookers and runs off to find somewhere to sit where he's not going to be gawked at so he can text literally everyone he knows. By the time he finds a bench, he's already gotten HOLY SHIT WE JUST TIME-TRAVELED ARE YOU OKAY??? texts from Monta and Suzuna, which he responds to and incites a flood of emoji-based cheering. Everyone else he texts is politely puzzled by his "are you okay???" message, including Mamori and his parents to his intense relief, except--

- He gets a call from Sakuraba, who sounds very confused as he tells him that Shin wants to talk to him. Sena reassures Shin that he's okay, and tells him to meet him at the park that they left off at, and also that he loves him because he can't restrain himself after not getting to say it before. Shin says it back, and Sakuraba therefore sounds both confused AND delighted when he gets the phone back from Shin to say goodbye.

- Sena texts Suzuna and Monta to meet him at the same place, since it's about halfway between Enma and Oujou, and starts running.

- Shin and Sena, being… Shin and Sena, get there before the other two, and there's so many tears and so much hugging and so many I Love Yous and also some apologies. Monta and Suzuna eventually arrive and there's another round of tears and hugging and I Love Yous, and when everyone is less punchdrunk off of trauma and catharsis, they sit down and figure out that it's only the people that actually saw Sena as a ghost that remember the other timeline.

- With the group understandably not ready to be separated under the circumstances, but also with Sena desperately wanting to see his parents, Mamori and Riku, he comes up with a thin excuse for an impromptu dinner party at his parents' place later in the day (celebrating passing a tough test? beat the Cupids in a football game? national pancake day?? doesn't matter!!!), clears it with them, and invites Mamori+Hiruma and Riku over as well. (Shin lets Sena arrange takeout for everyone on his dime so that Sena's parents won't have to cook for an unplanned dinner party.)

- Fic ends with the group heading toward Sena's parents' house, Shin and Sena holding hands, with Sena feeling content and confident in his relationships as his phone continuously blows up with people responding to his check-in text, and Shin admitting that he's feeling pretty hopeful about the idea of getting to form connections with Sena's family all over again.

END. Thanks for indulging my "I'm too lazy to write this but NOT too lazy to bulletpoint each plot detail beat-by-beat" post, haha!

#shinsena #eyeshield 21 #my fic #kind of!!!

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philcoulsonismyhero · 3 years

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Fic Writer Interview

I got tagged by the excellent @astriiformes Ages ago to do this fic writer interview thing, and I’m finally getting around it! So here goes...

Name:

Mairi (sounds like 'marry'), Kamemor over on AO3 (after a particularly cool Romulan politician in a Star Trek novel, if you were wondering)

Fandoms:

Currently, I'm writing a lot of RWBY fic and that's unlikely to change because I'm deep in Special Interest Hell with no signs of coming up for air. In the past, I've also written a bunch of stuff for Criminal Minds and The Flash/DCTV. I've got a lot of other fandoms, but those are the main ones I've written for.

Two-shot:

Assuming this is asking if I've ever written one, technically no. But I do have a series (Just Hold On, a RWBY fix-it) that currently consists of two fics which could stand alone as they are, although I have plans to continue that one for quite a few more fics if I can find the motivation and time. And I guess I also have a couple of fics that I could have split into two chapters because they switch from one POV to another about halfway through. I like to stick to third person limited POV, and that means I often have section breaks when I want to switch from one character's perspective to another's, and for a two-person scene that usually means two sections. But I like the oneshot structure, and usually I don't feel like what I'm writing is long enough to split into chapters.

Most popular multi-chapter:

I only have one true multi-chapter fic, and it's Moving Forward, a Flash fic based on the idea of Reverse Flash being taken prisoner at the end of s1 rather than being wiped from existence. It's technically still unfinished, but I got a lot of lovely comments on that one a few years back when I was posting it, including a few folks that went through and commented on each chapter and really made my day. Maybe one day I'll actually finish it...

The only other thing I have that’s multi-chapter is a collection of missing scene ficlets, also Flash fic, but that doesn’t really count.

Actual worst part of writing:

My brain tends to be very visual when I'm writing fanfic for a TV show, and few things are as annoying as knowing exactly the facial expression someone is pulling and having No Idea how to describe it in words. Same with tones of voice. Also, I tend to jump straight into writing the bits of scenes that are most interesting to me, and going back and adding in the context that you need to make something actually readable for someone that isn't you can be a bit tiresome.

How you choose your titles:

It depends, tbh. A lot of my older fics are titled with short verb phrases that are pretty straightforward (like 'Moving Forward' or 'Breaking the Cycle'), but recently I've rather enjoyed using song lyrics. Most of my RWBY fics have lyric titles either from songs from the show itself or songs that I've got on my extensive Ironwood character playlist or otherwise just quite like and feel like they fit. I don't tend to find titles all that difficult, and I've got a fair few WIPs that have them already.

Do you outline:

Again, depends on the fic. With longer ones, yes, usually as a list of bullet points describing what happens. But shorter missing scene fics or things that I bashed out in only one or two sessions and only follow a single conversation tend not to be outlined because they just flow as I write them. I've got some more extensive outlines for a few of the fix-it AUs I've been playing with, but even then they're just bullet point lists or mostly held in my own head.

Ideas I probably won't get around to but wouldn't it be nice:

I have. So many. Most of them are RWBY fix-it fic, which is fun to write at the moment of divergence but then A Huge Endeavour to follow any further than that. I’ve planned out a bunch of different shapes for where the three different versions I’ve already written and posted would go, but there’s only one of them that I’m really continuing (aforementioned two fic series). Although I have a dilemma there, because the climax of the story arc that I figured out for that ‘verse would work even better in the other one that focuses more on Penny & Ironwood. But it’s not as simple as just throwing the idea into continuity with that one, because there’s a Major difference between the two in that in one of them, Qrow was the one who got through to Ironwood, and in the other they kinda hate each other over the whole ‘I blame you (and also me but mostly you) for Clover’s death’ thing, so I’d have to plot out a completely different relationship arc there which would have a knock-on impact on how well Ironwood is dealing with everything else. Canon divergence fic! it’s a good time.

I’ve also got So Much other RWBY fic in bits and pieces in various Google docs, it’s ridiculous. (Including a superhero AU that I’m rather fond of conceptually, but don’t really have a solid arc plot for.) A lot of it would be nice to get into a publishable state, but I probably won’t ever be bothered to.

On the not-RWBY front, I've also got a big Criminal Minds/Silent Witness crossover that I've planned out all the beats of, but actually writing it means coming up with the specific details of the murders and the autopsy scenes and a whole lot of technical stuff that I'm not comfortable just winging based on what I've seen on TV. But I also don't like researching real life crime stuff even though I love a good crime drama, so you see my dilemma. I like casefic in theory, but in practice I'm probably not going to write much of it.

Callouts @ me:

Just because you’re an insomniac who mostly writes fic at night rather than sleeping doesn’t mean that every conversation fic has to happen as a result of one or both characters being unable to sleep, my dude. There are Other circumstances in which people talk to each other.

Best writing traits:

I’m good at character voice, although that’s a pretty standard thing to be good at. I also really like unconventional crossovers, I’ve gotten pretty good at playing around with conversations between characters who never met or aren’t even from the same universe and coming up with a believable dynamic for them. I also like to think that I’m good at getting into the heads of awkward characters and figuring out which bits to poke at in order to get them to do things they didn’t do in canon. (And figuring out how they rationalised the things they did actually do.) That’s a big reason why I liked writing Reverse Flash, the complicated bastard, and it’s why I’m having so much fun with Ironwood now. You’ve really got to work at him to get him to change direction, great big stubborn disaster that he is, and I think I’ve rather gotten the hang of that.

Spicy tangential opinion:

People should write more longfic focused on gen relationships. Some of the most fascinating relationships in stories, at least to me, are the ones between people you’d never expect to be friends, or between adults and the kids they feel responsible for who also feel kinda responsible for them, and that makes for a (imho) much more interesting story than most ships. I Live for a good complicated mentor/mentee relationship, but I hate looking for fic about them because then I have to deal with the fact that a lot of people ship those relationships and it squicks me out. Give me the longfics about types of relationships I actually care about!

(This whole thing is a good 40% of the reason that I’ve ended up get absorbed in planning out a RWBY Vol8 re-write where the parallels and the newly complicated relationship between Ruby and Ironwood is The Main Agenda. (The other 60% of the reason being ‘[x character] deserved better’.) There’s some Really Good Stuff there and I want to play with it in more of a longform situation than my usual oneshots.)

No pressure tagging:

@squireofgeekdom , @catgirlalchemist , and anyone else who wants to give it a go! Feel free to say I tagged you :D

#personal stuff #writing #i got tagged #astriiformes #thanks nate!

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scarletjedi · 4 years

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Sangcheng Time Travel Fixit Outline Part 1: The Cloud Recesses

I finally figured out how this (17 page!) outline ends! Now posting can begin! Every day until I’m finished, I’ll post the next section of the outline. The goal is that it reads as, like, not!fic - and if you’ve ever chatted with me about fic, this format will be *very familiar* to you. There’s nothing explicit, though there is (semi)detailed references to *how* I’d write sex between two characters (Sangcheng, Wangxian)

Both narrative pieces that I’ve written and posted also have their homes on this outline. You can find them linked below. (Links are currently to the original tumblr post. AO3 links will be added once I’ve posted)

Enjoy!

This fic takes place in the Untamed/CQL verse with some minor details cherrypicked from the books - namely the fact that Wangxian are not only deeply in love, but very horny for each other.

We begin immediately post-canon, when Jiang Cheng drags Nie Huaisang back to Lotus Pier from the events of the Guanyin Temple.

This scene establishes where their relationship is, currently: two friends who had crushes on each other during their time in the Cloud Recesses, who drifted into a loose friends-with-benefits situation that petered out around the time Nie Huaisang became sect leader.

There were moments over the years where it might have happened started up again, but Jiang Cheng was grieving and has never met an honest emotion he couldn’t turn into anger and Nie Huaisang had begun to plot and couldn’t risk anyone being that close to him. There was mutual pining, but I’m not sure either of these delightful idiots knew recognized it in themselves

Jiang Cheng has *questions* and Huaisang has *answers* and he will get them…tomorrow. He’s tired and mostly just wants to drink with a friend he thought he lost - actual friends being a bit thin on the ground for both of them.

They are both tired, raw, and a bit bloody. They both need a night to lick fresh wounds (of both kinds). Jiang Cheng is reeling from purging (mostly) the poison from his relationship with Wei Wuxian (which might have left him with no relationship, and he doesn’t know what to DO with that), and Nie Huaisang has just completed a grand plan a decade in the making in a bloody, terrifying way that nearly killed everyone. It could have gone so wrong, but it worked, but people know and he doesn’t know what to DO with that, but he’s coming to realize that for all of his planning, he never figured out what to do *next*

They fall into bed together, for that kinds of “I need to feel something and you’re alive but also here but also hot” sex. Never underestimate the inherent homoeroticism of wound care

I feel like their relationship could be, like, reverse wangxian in that they fuck BEFORE *I would happily die for you but instead I will live for you* love

“Sangcheng Time Travel Fixit Chapter 1” (Tumblr | AO3)

They wake up the next morning…AT THE CLOUD RECESSES (bum bum BUM)

I thought about having them wake up in Lotus Pier/Qinghe but then I decided to limit their emotional upheaval – in other words, Jiang Cheng needs some therapy before he meets his parents again, and I like the drama of Nie Huaisang having to spend the summer in Gusu while his (still living!) brother is back home…with MENG YAO still a trusted aid!

Jiang Cheng is conflicted because his brother is his brother, right there, 16 and carefree and concerned because Jiang Cheng is staring at him and it’s freaking out and he’s beginning to “worry, Jiang Cheng, do you need to visit the infirmary?”

His core is his own, weaker than it was the night before, but stronger than he remembers and *familiar* which makes him wonder if he was as weak as he thought he had been. He then stops thinking that way, because it raises more questions that he’s not ready to face yet.

He knows Jin Ling doesn’t exist yet, and his hand feels *bare* without Zidain, but if he doesn’t have it, it’s because his mother *does* and that means Lotus Pier hasn’t burned, they haven’t fallen to war and *A-Jie is alive!* and he had grieved for all of them, moved on, but none of that matters when she’s sleeping in the girl’s dormitory!

Nie Huaisang wakes and *screams* into his pillow because he had *passed* these courses, damnit, was this his punishment for the lengths he went to avenge his brother? Then, of course, he realizes the that not only is Mingjue alive, but (since this is CQL canon), Meng Yao is *right there.* He didn’t even have a full day to process everything he’d done, and here the universe was, throwing Meng Yao in his face, and one that had not yet done any of the terrible things that eventually lead to his downfall.

It doesn’t take long for him to adapt, thinking “well, I wanted a new project.”

He is nearly late to class because he’s caught up in his initial scheming – there isn’t much he can do while stuck in Gusu, but he can begin building a network, making connections…

I want a moment later when Jiang Cheng is concerned that the scheming isn’t actually good for Nie Huaisang because it’s not giving him a chance to process anything, but the plan will also hopefully keep Jiang Cheng’s family alive, so he’s not going to look too closely at that. He’ll be there to help Nie Huaisang pick up the pieces, after. He was *good* at rebuilding, after all.

Nie Huaisang meets with Jiang Cheng an Wei Wuxian, slipping easily back into the role of his flighty teenage self, but lets the mask slip when he sees Jiang Wanyin watching from behind Jiang Cheng’s eyes. He’s not surprised when Jiang Cheng corners him after Wei Wuxian is dragged off by Lan Wangji for punishment.

Obligatory observation of how oblivious they all were to WangXian’s whole deal, with a side of “man everyone is so damned young. We were children!”

They disappear into the backwoods to talk away from possible prying ears and agree to do what they can to make things better. This will, later on, be something cited to convince people (perhaps even themselves) that they were dating for longer than they realized.

Jiang Cheng has a moment’s doubt about taking a more active role in Nie Huaisang’s plotting because he has a tendency to break delicate things, but then Nie Huaisang points out that he didn’t break Lotus Pier (not delicate) or Jin Ling (debatable, he’s as angry as I am), and Nie Huaisang trusts him, so he can trust himself. (which may be the moment when Nie Huaisang realizes Jiang Cheng’s desperate need for validation. This absolutely gets brought back during sex becuase Jiang Cheng’s praise king is visible from *space*)

Nie Huaisang rolls out the broad strokes of his plan, and Jiang Cheng is appalled that it will take years. “Wanyin, I waited ten years to kill one man that I knew personally. This is a *lot more complicated*”

Jiang Cheng agrees to it, because of course he does, but also because there really isn’t much they can do right now (Because Jiang Cheng doesn’t view “making connections” as a *thing* to be done. It’s something that happens or doesn’t. Nie Huaisang looks very sad when he admits that, but Jiang Cheng doesn’t quite understand why).

This means, of course, that they have an excuse, nay, a *reason* to act like the teenagers they *look* like rather than the grown men they *are.*

“You were an old man when we were teenagers the first time, Wanyin. You know what’s coming. All the more reason to have fun *now*”

“What’s coming is why I – and you – need to train. Don’t make that face at me. I’m not your brother, those puppy eyes won’t save you. I said don’t-- *sigh* fine!”

The plan is, of course, to unite the heirs of the sects as best they can to give Nie Huaisang connections he can manipulate later for information, moves, etc. Which means making real friends. Which means befriending Jin Zixuan. Lan Wangji (with bonus get-WangXian-together-now-because-13-years-of-pining-was-painful-to-witness). And Wen Qing/Wen Ning. I’m also going to include MianMian and Jiang Yanli because there needs to be more girls in this story. Girls who *live*

There could be some drama of the “does Jiang Cheng like Wen Qing??” variety, but I think that’s mostly something the others speculate on. I think by this point in his life, he likes Nie Huaisang more. Wen Qing is okay with this, as I stan lesbian Wen Qing.

During this time, they begin an actualfax friend group.

Wen Ning blossoms with friends his own age. This goes a long way with bringing Wen Qing to their side, and will lead the way to her going to Nie Huaisang for help later rather than Wei Wuxian. He’s smart and wise, just shy

Jiang Cheng looks at Jin Zixuan and realizes that the boy is a lot like Jin Ling in that, being raised in Koi Tower means that he doesn’t actually know how to person – it’s all artifice. He realizes that Jin Zixuan’s disdain about his A-Jie has actually nothing to do with her personally, and he’s mostly terrified/angry about an arranged marriage and doesn’t want to become his father. Behind the front, he’s actually romantic and thoughtlessly kind when he’s allowed to be, just a little dim/sheltered

“Why Is He Here” (Tumblr | AO3)

Jin Zixuan knows about Meng Yao – it caused an argument big enough for him to finally notice, and tells them that he’d like a brother – and it’s so wistful that it has Jiang Cheng and Wei Wuxian looking at each other, and Nie Huaisang contemplating adjusting his plans to *rehabilitate* rather than *kill* Meng Yao. He’d killed him once, after all, and it didn’t feel exactly like he’d expected it to

Jin Zixuan does not know about Mo Xanyu, who had just been born. Nie Huaisang basically tells him (where there’s one, there’s many) and Jin Zixuan is officially looking so he can offer assistance.

Lan Wangji is clearly sublimating his epic boner for Wei Wuxian into anger/self-flagellation, and for the first time since he was a child, he’s questioning the rules and it’s not a comfortable process (hence following it more severely in self-defense). He doesn’t know how to bend the way Lan Xichen doesm and the subject of his gay awakening is *oblivious.* Still, once he’s nudged in the right direction (and Wei Wuxian is hit by a clue-by-four) he does begin to walk that single-plank bridge with Wei Wuxian, he shows a very critical view of blindly following orders (what is black, what is white?), a bitchy/wicked sense of humor, and a softness for fluffy things. In other words, we get a Lan Wangji more willing to buck convention earlier in life.

Nie Huaisang and Jiang Cheng also spend time together – at first it was because of planning/being the only adults in their group, but then it was because they really, actually like each other. They begin “dating” without quite realizing it – studying together, painting and poetry and fashion (look at JC’s clothing, he’s as much of a clothes horse as Nie Huaisang. I want them to go shopping together, wearing jewelry and lacquered nails. Bonus points for Jiang Cheng in makeup, even if it’s just because Nie Huaisang wants to paint him), sparring (Nie Huaisang has to basically relearn how to fight with his fans as he picked it up later in life) – but also kissing.

Like lots of kissing. A lot of it is surprisingly chaste because I’m keeping the whole “savor your childhood” thing, but I think once they cross back over into mutual orgasms, that tends to take lead.

This includes praise kink, service top!Huaisang, power bottom!Jiang Cheng, topping from the bottom (Huaisang). Why? Because Jiang Cheng needs to let go and Nie Huaisang needs to have control.

I also like “weak for a Nie” Huaisang, so there might be some of that surprising!strength.

Wei Wuxian clearly finds out (about the kissing), but it leads to them being an authority he actually listens to when they tell him “you want to bug Lan Wangji so much because you want to kiss his face.” (so, When Lan Wangji listens to Jiang Cheng and flirts back rather than getting angry – WangXian may actually fuck in the library)

This means, of course, that Wei Wuxian doesn’t punch Jin Zixuan and get sent home. This means the engagement stays (and may get pushed forward because of the looming war). This means Lanling Jin is better allied with Yunmeng Jiang and (at the will of the first Madame Jin) the Jins will march if Lotus Pier is attacked.

Of course, Wangxian are hardly discrete. They are found out and *WANGJI ADMITS THAT THEY’RE ALREADY MARRIED* because they still wind up in the Cold Pond Cave. Even Nie Huaisang is taken by surprise as that’s not something that ever went public. (This has the benefit of also putting the Yin Iron into play because action plot!). This leads to the announcement of Wangji’s public wedding to Wei Wuxian at the end of summer, which means Jiang Fengman (and Yanli) arrive not to take Wei Wuxian home but to negotiate the marriage contract.

This brings the Clan Heads together (all but the Wens – Wen Qing is already there, after all, and the Wens are less concerned with keeping up appearances.)

Nie Mingjue brings back Meng Yao, which means Jin Zixuan sees when their father snubs him, so Jin Zixuan steps up and makes an overture of friendship. For the few weeks that they’re there, Meng Yao is brought into the friend group (Jiang Cheng always forgot they were about the same age) which limits his exposure to Lan Xichen.

Lan Xichen is fine with this because it means he gets Nie Mingjue all to himself. That’s right – this is also a Nielan fic. Boom.

Meng Yao has already been snubbed, and is desperate to prove himself (and failing that, make Jin Guangshan eat it), but he’s taken aback by Jin Zixuan’s earnestness. He’s also not yet released Xue Yang – the wedding interrupted those plans.

Nie Huaisang all but throws himself at Nie Mingjue, who is a bit confused because Nie Huaisang *passed* Lan Qiren’s lessons, so there’s no reason for him to act a fool. (He hugs him tightly anyway. He’s his baby brother, after all.)

Nie Huaisang teases Nie Mingjue about Lan Xichen (he’s going to encourage that relationship) and introduces him to Wen Qing (which goes less well, but it is a wedding and Mingjue is in a good mood. It helps that they bond being older siblings).

Before they leave, Mingjue asks Huaisang if he should be sending a formal proposal to Jiang Cheng Lotus Pier on Huaisang’s behalf. Huaisang is shocked that Mingjue would even consider such an outrageous— “besides, Wanyin is to be sect leader, Da-ge. The proposal should come from him!”

(Part 2) (Part 3)

#the untamed #sj writes the untamed #the great sangcheng time travel fix it fic project #sangcheng #fic update #background wangxian #time travel

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alcego-writes · 4 years

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The 3 Act, 9 Block, 27 Chapter Plotting Method

There are countless ways to structure your story. There’s the general plot structure (exposition, rising action, etc.), the hero’s journey, and three-act structures—but do you really know how to put together a plot and put it into action?

The 3 Act, 9 Block, 27 Chapter plotting method is an excellent resource for both plot and pacing, and I use it for almost all of my projects. I’ll review it here and give you an idea of what it is, when to use it, and how to put it into action.

What is the 3 Act, 9 Block, 27 Chapter Method?

The 3 Act, 9 Block, 27 Chapter outline method is exactly what it sounds like: there are three acts, which are divided into nine blocks, which are then divided into twenty-seven chapters. Be Your Own Mentor has an excellent page describing each block and its subdivisions here. I strongly recommend checking out this page, as it explains each aspect of this plotting method in detail.

However, this outlining method does more than just suggest where to put plot-points—it’s also a guide for pacing. Each block should be roughly the same length, which helps prevent your story from getting a sagging middle. This relatively uniform length also allows you to set word-count goals for each section, particularly if you’re aiming for a specific word-count in a project.

For example, in an 18,000-word novella, each act (which I split up evenly—some people prefer to have the second act span from the first plot twist to the second plot twist) should be roughly 6,000 words. With three blocks in each act, this means that each block should be roughly 2,000 words. This allows me to keep an eye on how much I’ve written and adjust my scenes/pacing accordingly.

When to Use the 3 Act, 9 Block, 27 Chapter Method

First of all, this is most useful when you need to fast-draft a clean, tight, and effective story. I use it for all of my ghostwriting work, as it is simple, straightforward, and allows me to both discover and understand my story (and what I’ll need to pull it off) while outlining.

That’s not to say that this method is ill-suited to other projects. It’s actually quite versatile (I’ve gone so far as to merge it with the formulaic structure of mystery novels) and simple to use, once you understand it. Even if you’re a discovery writer, it can be really helpful to keep an eye on this chart and make sure you’re hitting all the beats you need to, and that you’re moving your story forward instead of stalling.

That said, it can be less useful for short fiction. Short stories tend to follow a different structure altogether, with many focusing on a specific scene or mood-related to their premise (although I have, on occasion, seen short stories with full plots), so having a beat-sheet or three-act outline won’t necessarily work for you. Now, you can absolutely take parts of the 3 Act, 9 Block, 27 Chapter outline and focus on, say, only Act II or Block 4 for the duration of the short story—because, as I said before, this is a really versatile tool. Play around with it and see what works for you!

Basically: if you need to know the beginning, middle, and end of your story; need a simple beat-sheet for your project; or even just want to familiarize yourself with the generalized structure of a long-form story, this is a great resource.

Key Terms

While BYOM does an excellent job explaining the gist of the 3 Act, 9 Block, 27 Chapter outline, there are a few things that may still be confusing if you’re not 100% familiar with all the fancy plot-terms involved. So, before I dive into how to use the 3 Act, 9 Block, 27 Chapter plot structure, I’m going to clarify a few terms that may cause confusion.

Plot Point - You’ve probably heard of them, but I promise they don’t have to be as dramatic as popular media would have you believe. There’s no need for a surprise! The character was dead all along! if it won’t suit your story. Still, plot twists make for a good story. They keep things fresh and interesting. And, this is important, they don’t have to come out of left field. For example, in romance stories, a plot twist could be something like a plot point the main character forgot about coming back to influence their story, or a revelation of an important character’s backstory, secrets, or other important traits. What I’m trying to say is that these should be Big Moments of your story, but they don’t need to be world-shattering. They should feel natural and rewarding to your story’s premise. These should occur at roughly the 25% and 75% mark of your story.

Midpoint - Strictly speaking, this is the middle of the story. It marks a change in your protagonist: where they were reactive in the first half, they become proactive here. They’ve learned about the new world/situation they’re in, and it’s time for their character arc to impact their choices going forward.

Reversal - Here, both the readers and the protagonist see something in a whole new light. This may be caused by a change in circumstances (in a thriller, for example, this may be a trusted ally betraying the protagonist) or by the protagonist’s new perspective shifting the way both they and the readers see the events of the story. To put it simply, this is where something known changes form. A friend turned foe, a job gone wrong, and even a sudden realization that demands the protagonist’s attention all work. This should occur after the midpoint, where the protagonist has changed.

Reaction - You’ll notice that this appears twice in the 3 Act, 9 Block, 27 Chapter structure, and the ambiguous nature of the term may be confusing for some folks. The Reaction is not so much your protagonist’s response to everything that’s happened thus far so much as it’s their reaction to the plot point that occurred immediately before it. How does the protagonist react to the inciting incident (and its immediate consequences…)? How does the Reversal affect their behavior? These are the questions you’re answering at this point in the story.

Action - While the first half of the structure is mostly reactionary, there’s no getting around the fact that a reactionary plot can be boring, even annoying. This is where you show how your protagonist acts under pressure; something Big has just happened to them, and now they need to decide how to proceed with their life. Do they run, or do they charge into conflict? This defines your protagonist at the early points of their arc and serves to contrast their eventual development in Trials and Dedication.

How to Use the 3 Act, 9 Block, 27 Chapter Method

If you haven’t already, I recommend taking a look at BYOM’s break-down of each block. It’s a very useful guide and will give you an idea of how each point ties into the next.

Ready? When outlining, I keep a “skeleton outline” on hand that looks like this:

This “skeleton” allows me to keep track of everything while I put together a plot in another document that will get far messier and harder to keep track of than the clean, easy-to-read skeleton. In the functional outline, I usually mark my actual outlines with the block numbers and goals, as seen in the second image, but that’s largely due to how I structure my Scrivener document after I’ve completed the outline.

After I’ve set up my outline and have my “skeleton outline” (combined with any genre formulas, as with mystery) ready to go, I begin writing the plot. This usually takes me 1-2 days, depending on my current work-load and productivity levels.

As you can see, I’ve blended a few points together (such as in Block 4, where there’s a lot of overlap in the block’s structure) and added several notes to myself while filling out what happens at each point. You’ll also notice that I write more the further I get through the outline—this is partially because I’m getting familiar with the story, and thus have more to say, and partly because there’s more to keep track of as I get further through the plot. (Including b-plots, which I also make note of in this outline.)

The goal here isn’t to map out everything that happens so much as it is to give me an idea of what I want to be doing in each part of my project. At the beginning, I need to focus on the romance, but in Act II I’ll pay more attention to the b-plot. I often jump around on the outline as I figure things out (such as plot twists, as knowing what these are in advance makes it easier to build them up) and add notes regarding characters I need to create, places I need to have descriptions for, and other project-relevant details.

From there, I set up my Scrivener document. As you can see, I combine and separate each aspect of the blocks as I see fit; the ‘27 Chapters’ is more of a guideline than anything else. When working on a project with chapters, I’ll label each scene with the chapter it will go into, but I don’t sort them into chapters until I’m done writing.

You’ll also see that I write a schedule for myself based on a) how much I need to write, b) when I need it done by, and c) how much I’m able to take on. This is my job, so my schedule is tighter than it would be for someone doing this in their spare time. And, while having a schedule is by no means required, it helps when it comes to managing your project and working to its end. I use highlights, labels, and status markers to keep track of my work and let myself know where I am and where I need to be.

Outlining is a really personal thing, as you’re not just putting together the structure for your story—you’re putting it together in a way that makes sense to you. With the exception of clients who request outlines, no one except for me will ever see this outline. Ultimately, the outline is yours, and yours alone.

Find my blog useful? Leave a comment or check out my Patreon for early-access and extra content! Thanks for reading, and happy writing!

#Plot #Outlines #Writing Advice #hgwhhsj i forgot i’d scheduled tis to post here from my website #but it’s here!

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ferociousqueak · 4 years

Note

F, H, and P for the fanfic ask game? :D

FanFic Ask Game

F: Share a snippet from one of your favorite dialogue scenes you’ve written and explain why you’re proud of it.

I actually think dialogue is one of my strong points in writing, so at the risk of sounding like I think too much of myself, I have quite a few scenes I like quite a bit. This scene is from Hawks and Doves, and I hurt myself writing it:

Hannah set her jaw and locked her gaze with the major. “If my choice is between never seeing my daughter again and seeing her be ashamed of me for the rest of my life, I know damn well which one is worse, Odessus.”

She looked as if Hannah had struck her, but she nodded. She started to respond twice but stopped each time. She took a deep breath and tried again for a third time, “The reality of the situation is that this conflict won’t end well for humanity. It can’t. Not unless there’s an entire galactic community supporting the Alliance that we’re not aware of?” Another poor attempt at levity. She continued despite Hannah’s icy glare. “The turian military is the strongest, best equipped, and most disciplined in the galaxy. Your cooperation with the Hierarchy would ultimately mitigate humanity’s losses, Lieutenant Commander. As distasteful as it sounds, you’re in the unique position of being able to help both yourself and your people.”

Hannah wanted to slam down her fist to punctuate her fury. Her restraints burned at her wrists, and it only stoked her anger further. Despite the slight waver in her voice, she remained calm as she spoke, “I suppose that’s what you would do? If our roles were reversed? You’d sell out your people? Ensure a quick defeat to minimize losses? Who cares what happens after it’s finished, as long as it’s done and over with quickly?”

The major took a step back. Her mandibles wavered and her shoulders fell. After a moment, she sat heavily into the chair beside Hannah’s bed. She’d stopped twisting her hands, but she didn’t seem to be any more at ease. If a turian could look sick, she was currently the picture of it to Hannah. “No,” she said at last. “No, I don’t supposed I would. I just . . . I don’t want . . .”

She never said what it was she just or what she didn’t want, and the ensuing silence stretched between them, thick and disquieting.

Hannah’s gut twisted, but the grip was no longer one of anger. “Listen,” Hannah said at last, “we kept each other alive on Shanxi. It’s reasonable for people who rely on each other like that to feel a certain amount of fondness for one another. But we’re not down there anymore. We both have our duties, which will always be at odds as long as the Alliance and the Hierarchy are in conflict. I think it would be easier for both of us if we didn’t . . . I mean, we’re not really . . .”

She stopped, not knowing how to continue.

The major, however, seemed to have a knack for bluntness and nodded. “We’re not friends.”

Hannah bit the inside of her lip and shook her head once. “We’re not friends.”

“You’re right, Lieutenant Commander. You wouldn’t make such a bad turian, you know.” Odessus stood and pulled a datapad from her tunic, handing it to Hannah. “Take this. You’ll need to brush up on how the galaxy works. This should be a good introduction. I ran the translation program on it, so you should be able to read it without any trouble.”

Hannah looked at the bright blue lettering scrawled across the interface: An Introduction to the Galactic Community: A Primer for New Client Races of the Turian Hierarchy. She would’ve found the blatant bias of the title amusing if a sudden onset of nausea weren’t making her head spin. She’d have to talk to Sana about that. Maybe the lavalla hadn’t settled as well as she’d thought.

She looked up to thank Odessus, but the major was already walking toward the door.

“Don’t underestimate Vyrnnus,” she said without turning around.

The door closed behind her before Hannah could say anything.

Up until this point, both Hannah and Dess (here referred to as Stripes—long story) have been sort of ignoring a lot what’s going on outside of the med bay where Hannah’s being held while she recovers from her injuries before she’s transferred to the brig. They’ve been friendly toward and genuinely like each other, but it’s kind of hard to be friends with an enemy combatant. And this is when they remember that reality. “We’re not friends” hurt me deeply ☹

H: How would you describe your style?

Already answered!

P: Are you what George R. R. Martin would call an “architect” or a “gardener”? (How much do you plan in advance, versus letting the story unfold as you go?)

I am the type of architect who will never build anything if I don’t dig into the landscaping. I could never just jump onto the page without having a target to aim for, but I can get and have gotten too stuck on planning and outlining and end up not writing anything at all. So what I do now is figure out a loose outline with some detail of scenes I’d like to work toward/earn emotionally. I never go more than two levels deep in that first outline, and when I start to feel the urge to, that’s my cue to start writing. As I write, I put a brief one- to two-sentence description at the top of every chapter to direct the action and emotional goal. When I get stuck, I go back to the original outline, review where I’ve been and where I intend to go, and I make adjustments either to the plot trajectory or to details that no longer make sense. I like to think that the prep work is the skeleton, but what the story actually looks like reveals itself over time as the flesh attaches itself.

Thank you for the ask!

#hows about a meme thingy #Hannah Shepard #Odessus Ravaka #thank you!#ferocious replies #1esk19

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chipotle · 4 years

Text

Panic's Nova text editor (a review)

Review: Panic’s Nova text editor

Panic, the long-established makers of Mac utility software, seems fully aware that introducing a new, commercial code editor in 2020 is a quixotic proposition. Is there enough of an advantage to a native editor over both old school cross-platform editors like Emacs and explosively popular new editors like Visual Studio Code to persuade people to switch?

I’m an unusual case as far as text editor users go: my primary job is technical writing, and the last three jobs that I’ve worked at have a “docs as code” approach, where we write documentation in Markdown and manage it under version control just like source code. The editor that works best for me in tech writing is the venerable BBEdit. When it comes to editing code, though, BBEdit lags behind. My suspicion is that BBEdit’s lack of an integrated package manager has hurt it here. Also, BBEdit’s language modules don’t support extending one another, making it effectively impossible to do full highlighting for a templating language like JSX or Jinja.

When I was a web programmer, I was one of many who moved to TextMate, and used it for everything for a while. When the Godot-like wait for TextMate 2.0 became unbearable, I wandered the text editing wilderness, eventually splitting my loyalties between BBEdit, Sublime Text, and more recently VS Code. At this point, I suspect nothing will pull me away from BBEdit for technical writing, but for programming I’m open to persuasion.

So: meet Nova.

I’ve been using Nova off and on in beta for months. I’ve reported some bugs, although I may mention a couple here that I didn’t catch until after 1.0’s release. And, I’m going to compare it to the GUI editors that I’ve been using recently: BBEdit, Sublime Text, and VS Code.

Nova is a pretty editor, as far as such things go, and with files of relatively reasonable size it’s fast. With stupid huge files its performance drops noticeably, though. This isn’t just the ridiculous 109MB, nearly 450,000-line SQL file I threw at it once, it’s also with a merely 2MB, 50,000-line SQL file, and Nova’s offer to turn off syntax highlighting in both files didn’t help it much. This may sound like a silly test, but in my day job I’m occasionally stuck editing an 80,000-line JSON file by hand (don’t ask). This is something BBEdit and VS Code can do without complaint. Panic wrote their own text editing engine for Nova, which is brave, but it needs more tuning for pathological cases like these. They may not come up often, but almost every programmer has one stupid huge file to deal with.

Nova has an integrated terminal and an integrated SSH client, and even an integrated file transfer system based on Panic’s Transmit. In fact, if you have Transmit and use Panic Sync, it knows all of those servers out of the box. Nova has a task workflow system for automating building and running. You can associated servers, tasks, and more with individual projects; Nova’s project settings are considerably more comprehensive than I’ve seen in other editors. You can even set up remote tasks. Nova has a serviceable Git client built in, too. Like VS Code, Nova uses JavaScript for its extension API, and it has built-in Language Server Protocol support—it’s a superbly solid foundation.

Beyond that, some smaller features have become table stakes for modern GUI editors, and Nova handles them with aplomb. “Open Quickly” can jump to any file in the open project, as well as search by symbols or just symbols in currently open files; it has a command palette; you can comprehensively edit keybindings. It has multiple cursor support for those of us who like that, and a “mini map” view for those of you who like that, although know that you are wrong. Nova’s selection features include “Select all in scope” and “Select all between brackets,” a command I often use in BBEdit and miss dearly in Code. (Both Nova and BBEdit select between brackets and braces, although BBEdit also selects between parentheses.) This effectively becomes “Select between tags” in HTML, a nice touch. There are a few other commands like “Select all in function” and “Select all in scope” that I didn’t have any luck in making work at all; a little more documentation would be nice.

That’s worth an aside. Panic has created a “library” of tech note-style articles about Nova sorted by publication date rather than an actual manual, and it’s not always easy to find the information you want in it. I know this is just what a technical writer would say, but I’d dearly like to see a human-organized table of contents starting with the editor basics and moving to advanced topics like version control, server publishing and extension authoring.

The Zen of Language Servers

A lot of Visual Studio Code’s smarts depend on the implementation of a “language server” behind the scenes: language servers offer almost spookily intelligent completion. For instance, take this PHP snippet:

if ($allowed) { $response = new Response(405); $response->

If you have the Intelephense PHP language server plugin, Code understands that $response is an instance of Response and, after you type the > above, offers completions of method names from the Response class.

Right now, Nova’s mostly limited to the language servers Panic provides, and they’re… not always so smart. In that snippet above, Nova starts by offering completions of, apparently, everything in the open project, starting with the variables. If I type “s,” it narrows things down to methods that begin with “s,” but it’s all methods that start with “s” rather than just the methods from Response. The “Jump to Definition” command shows a similar lack of context; if I highlight a method name that’s defined in multiple places, Nova shows me a popup menu and prompts me to choose which one to jump to, rather than introspecting the code to make that decision itself.

But, this is a solvable problem: there’s (I think) no reason someone couldn’t write an Inteliphense plugin for Nova. If Nova’s ecosystem takes off, it could be pretty formidable pretty quickly.

Walk like a Mac

Even so, LSP support isn’t Panic’s biggest selling point. Unlike Sublime Text or VS Code, Nova isn’t cross-platform: it’s a Mac-only program written to core platform APIs. Is that still a huge draw in 2020? (Is it instead a drawback?)

You can definitely see a difference between Nova and BBEdit on one side and Sublime and Code on the other in terms of resource usage. With the two Ruby files shown in the screenshot above loaded, I get:

VS Code: 355 MB, 6 processes

Sublime Text: 338 MB, 2 processes

Nova: 101 MB, 2 processes

BBEdit: 97 MB, 1 process

Code is an Electron-based program, although Microsoft famously puts a lot of effort into making it not feel like the black hole a lot of Electron-based apps are. Sublime uses its own proprietary cross-platform framework. In fairness, while us nerds like to harp on research usage a lot, if your computer’s got 16G or more of RAM in it, this probably isn’t a big deal.

You notice Nova’s essential Mac-ness in other ways. Its preference pane is, like BBEdit’s, an actual preference pane, instead of opening in another tab like Code or just opening a JSON file in a new tab (!) like Sublime. And while all editors better have first-class keyboard support—and Nova does—a good Mac editor should have first-class mouse support, too, and it does. You notice that in the drag-and-drop support for creating new tabs and splits. Nova’s sidebar is also highly customizable, possibly more so than any editor I’ve regularly used. (Yes, Emacs fans, I know you can write all of Nova in Lisp if you want. When one of you does that, please get back to me.)

Unlike BBEdit, though, Nova doesn’t have a Mac-like title bar, or a Mac-like outline view of the project files, or Mac-like tabs. (Well, BBEdit doesn’t have tabs at all, which turns out to be a great UI decision once you have a dozen or more files open, but never mind.) This isn’t necessarily bad; people often say BBEdit “looks old,” and it’s hard not to suspect that what people mean by that—whether or not they know it—is that it looks like the long-established Mac program it is. Nova is relying less on “we have a Mac UI and the other guys don’t” than on “we have Panic’s designers and the other guys don’t.” Make no mistake, having Panic’s designers counts for a lot.

What may be more disappointing to old school Mac nerds is AppleScript support: none whatsoever. It doesn’t even have a vestigial script dictionary. Again, this may not be something most people care much about; personally, I hate having to write AppleScript. But I love being able to write AppleScript. BBEdit’s extensive scriptability is one of its hidden strengths. Nova’s Node-based JavaScript engine is probably more powerful for its own extensions and certainly more accessible to anyone under the age of 50, but it may be hard to call it from external programs.

So is it worth it?

That probably depends on where you’re coming from.

If you loved—or still use—Panic’s older editor, Coda, this is a no-brainer upgrade. If you used Espresso, a Coda-ish editor that always seemed to be on the verge of greatness without ever reaching it, Nova may also be a no-brainer for you.

If you’re a fan of Sublime Text, BBEdit, TextMate, or another editor that doesn’t have native Language Server Protocol support, you should definitely try Nova. Sublime and TextMate have more plugins (especially Sublime), but many extensions seem to be languishing (especially TextMate). BBEdit never had a great extension ecosystem to start with. All of these editors have strengths Nova doesn’t, but the reverse is also true, and Nova may catch up.

If you’re an Emacs or Vim power user, we both know you’re just reading this out of academic interest and you’re not going to switch. C’mon.

If you use Visual Studio Code, though, it’s way tougher to make the case for Nova. Code has a vastly larger extension library. It has the best support for LSP of any editor out there (LSP was developed for Code). Despite being Electron-based, it’s pretty high-performance. Code doesn’t have an integrated SSH or FTP client, but it does have an integrated terminal and task runner and Git client. If you don’t object to using an editor that isn’t a “perfect fit” with the Mac UI, Code is very, very good… and it’s free.

I don’t object to Nova’s pricing model—$99 up front including a year of updates, $49 for future years of updates—but I can’t help but wonder if Panic should have gone with super aggressive introductory pricing. Also, I saw more than a few suggestions on Hacker News about how there should be a Code-to-Nova extension translator; I’m not sure automatic conversion would be practical, but a guide on manual conversion seems like an excellent idea.

For my day job of technical writing, I’m going to stick to BBEdit. (One day I’ll write up an article about why I think it’s the best “documentation as code” editor on the market.) For programming and web editing, when I was working on both a Ruby and a PHP project—the former a Rails learning exercise, the latter an obstinate “I am going to write a modern PHP app without using a framework” exercise—I kept trying Nova’s betas and then switching back to Code for Inteliphense and, I swear to God, MacVim for Tim Pope’s amazing rails.vim plugin. I suspect Nova could duplicate both of those, but I’m not sure I want to be the one to do it. (Also, while Panic has decent reference documentation for writing extensions, I’d like to see a few simple end-to-end walkthroughs for those of us who look at a huge list of reference topics and don’t know where to start.)

But Nova isn’t just pretty, it’s powerful, and has a lot of promise. The editors I’ve been comparing it to have been around since 2015 for VS Code, 2008 for Sublime Text, and 1992 (!) for BBEdit; it’s not reasonable to expect Nova to blow past them in every respect right out of the starting gate. Even so, they are Nova’s competition. Catching up fast is an essential requirement.

So: yes, I’ve bought Nova, and I’m rooting for Panic here. I’ll come back in a year and report if I’m willing to stay on the update train.

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phantomchick · 4 years

Text

My wip list

Writing out my list of works in progress in the hopes that it becomes more manageable and easier to decide which to work on after I do.

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Call Me Fandom: dc comics / batfandom Summary: Jason calls Bruce for help after being assaulted, they deal with the aftermath both in the revenge way and the hurt/comfort way. Amount of work necessary to complete: ??? It’s a two parter fic so only one chapter left to go, however serious writer’s block to work through on this second part so who actually knows.

I tell myself that I don't need Anyone (But the truth is no one needs Me) Fandom: dc comics / batfandom Summary: The scene in UTRH where Bruce throws a Batarang into Jason’s throat is bullshit especially because there’s never any consequences for it, that’s not just bullshit, it’s batshit! And I refuse to accept it. A What if Jason didn’t disappear into the night after the events of UTRH to arrange for his next villain appearance, fix it fic. Amount of work necessary to complete: Likely going to be one of my longest fics yet, a multi chapter whopper! Which means a lot of work, both in research and in writing. I need to read up on ALL of the modern captain atom comics, a bunch of the crisis event chemo Bludhaven comics and maybe a couple of other ancillary comics of that era too, before I even get to writing the nitty gritty of the fic. We’re doing this canon and we’re doing it right! A fixing-everything motivated fic putting the canon divergence back into fandom.

The Many Curses of The Wayne Name / Of Curses and Covenants Fandom: dc comics/batfandom Summary: So much of a work in progress the official title’s still not completely decided! A fic delving into the relationship between the Wayne Family and the Zatara family, told through a series of curses various generations of the Waynes have been afflicted with over the years, some of these curses the Zataras were able to remove and some they couldn’t. Currently intend to have it end with Zatanna and her nephew Zach coming to dinner with Bruce and his kids. Amount of work necessary to complete: I already have an index of curses and which Waynes in the chronology get cursed where, ready to build with. But the series itself is still more a couple of lines and potential scenarios than any actual fic. Not sure how many stories I’ll end up telling here so unsure of how much work it’ll be to complete, likely a lot to get it off the ground though.

The Monster In The Man Fandom: Merlin, (bbc) Merlin, Summary: A continuation to CaffeinatedFlumadiddle's fic The Monster in the Mirror that ended on a horror-esque cliffhanger - written because my brain couldn’t handle the cliffhanger and had to extrapolate with a part two. Intended as a gift fic to that author. Basically the spell from an enchanted mirror has escaped and possessed Merlin, and is attempting to use Merlin’s worst fears against him until he kills Arthur. Can Arthur who has only just found out about Merlin’s magic save Merlin from what’s inside him? Amount of work necessary to complete: Currently at a little over 5000 words but likely to need at least another 5000 to both get to the main action and resolve things.

Those Winter Sundays Fandom: Marvel, Avengers, Iron Man Summary: Snapshots of Tony working hard for the avengers and no one noticing. Amount of work necessary to complete: Unknown as currently more of a wip idea than a wip itself, likely going to be a oneshot containing a bunch of ficlets.

Truth is Treason in the Empire of Lies Fandom: Marvel, Avengers, Thor Summary: Thor tells the story of his banishment and return to Asgard ending with Loki falling into the Void and the Avengers have some questions, questions Thor had not thought of, remarks on things that Thor doesn't know how to explain. He goes to Loki's cell and asks him some things becoming more and more angry despite having no one he can punch. Gets drunk and criticises Sif and The Warriors Three. Focus on Loki still being underage by Aesir standards during Thor 1. “For while the Treason I detest, the Traitor I love still.” Amount of work necessary to complete: Either a oneshot or a two chapter fic. Need to be careful to ‘show not tell’ considering the plot I’m going with is gonna have a lot of talking about things that have already happened.

A Trinity of Head Wounds Fandom: DC Comics, Justice League Summary: Friendship fic, angst and hurt/comfort Clark yells at a concussed Bruce for being reckless and because Bruce is concussed he ends up accidentally making the slightly addled Bruce cry. When Clark notices he shuts his mouth so fast he could've crunched titanium between his teeth. Diana walks in, sees Bruce in tears and PUNCHES CLARK ACROSS THE ROOM WITHOUT HESITATION. After that there’s a lot hurt/comfort on all sides and Clark opens up about his anxiety over Bruce’s mortality and Diana bleeds on Bruce’s shoulder. Amount of work necessary to complete: It’s a oneshot but it’s one of those difficult ones where you’ve got to get everything just right or the emotional intent gets totally lost so a big ??? for this one too.

Separation Fandom: DC Comics, UTRH Summary: Split personality disorderRed Hood and Jason Todd, alternatively, Red Hood is a demon/parasite latched on to Jay. Amount of work necessary to complete: A lot considering it’s currently just an idea.

A Stark in The Stars Fandom: Marvel, Avengers, Iron Man Summary: Tony’s survived the universe wide disaster known as the snap or the decimation and has even survived carrying out it’s reversal, but he’d much rather help Thor, Carol and the Guardians sort out intergalactic repair efforts than face the damage Steve has accidentally done to time itself back on Earth. He keeps forgetting the differences between what happened in the fake timeline and the original one the longer he’s on Earth and though he knows Stephen Strange is doing all he can to fix it, he also knows that the changes for him are a lot more confusing and disconcerting than they are for the others (Save for poor Sharon Carter). Pepper understands better than anyone and actually packed his bag for him (with Morgan’s help) when he tried to explain what he was feeling. Maybe the little settlement on that mineral loaded planet he keeps visiting on behalf of the dwarves can help him find what he needs to get past this. Amount of work necessary to complete: This is a slower more thoughtful work about learning how to live when you never thought you’d survive and the sense of alienation you can get as a veteran returning to a world that isn’t the way you expected it to be when you got home. As such, it’s very introspective, so I want to take my time with it but realistically it’s likely to be a series of vignettes from both Tony’s perspective and the perspective of the people he encounters out in his travels through the galaxies. Max 5 chapters.

Another Time, Another Place Fandom: dc comics / Batfandom Summary: Martha and Thomas Wayne are sent 20 years into the future only to see a young man they've never met standing in their drawing room. He claims to be their grandson. I just love the idea of Jason being left in the house with Damian and Duke with Bruce, Tim and Dick gone and he's the eldest so he's gotta look after the situation Amount of work necessary to complete: However long it takes me to get past the writer’s block for the ending - I have most of a plot outline ready to write based on, except for how I’m going to resolve things. A oneshot with the possibility of an epilogue chapter to follow.

Vicki Finds A Bat Fandom: dc comics / Batfandom Summary: Vicki Vale sees Jason Todd sitting in a wafflehouse. Chaos ensues. Amount of work necessary to complete: Currently a little over 2000 words, probably gonna need an extra 2000 before it’s done.

You Don't Know Anything Fandom: dc comics / Batfandom Summary: Gift fic for paradise_runaway. One where the other Bat boys find out the circumstances of Jason's death and resurrection and their reaction. Amount of work necessary to complete: Started and restarted multiple times, can’t decide which route to take with it. It’s just a oneshot so once I get some inspiration to hit for it, it’ll probably be done pretty quick.

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#wip list #writing is hard #i have more wips besides these #but these are the ones I'm focusing on #i promise i don't hate steve rogers but the ending of endgame with old man steve was terrifying when you think about it #the implications!!!!#my wips #so many wips #covers gen abo ficlet wip with my whole body #you saw nothing

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youknowmymethods · 5 years

Text

Content Creator Interview #8

Here we are again folks, number 8! This time we’re continuing on from last week’s interview with a bit of role reversal, @ellis-hendricks posing questions to her friend and beta @geekmama, chatting about Brit-picking, bad writing habits, favourite authors, and, most importantly, which of Sherlock’s shirts does it for her.

But starting off with a recap of last week’s intro...

We are, respectively, a Californian and a Geordie, and we got to know each other through reading and reviewing each other’s fics (geekmama’s ‘Time of the Season’ series was one of the first fics I read and loved). Geekmama has been writing in the fandom for around 3 years, and I’ve been doing the same for around 2 years, spurred on by the end of series 4 (and the ILY scene in particular). We started beta-reading each other’s work around a year ago, and are always discovering new and unexpected words and phrases that don’t translate across the pond! Although we’ve used the same set of questions for these interviews, we haven’t seen each other’s answers – so it does mean that if nobody else is interested, at least we will be!

Series

ellis-hendricks: Was there a particular moment in the series that set the ship sailing for you?

geekmama: I think it was A Scandal in Belgravia, and specifically Sherlock’s unprecedented apology to Molly, that got me thinking that the possibility was there, that it wasn’t just Molly’s schoolgirl crush vs. Sherlock’s needs when the game was on. I have to say, even though the Sherlock/Molly ship is easy to board, Mofftiss, etc., were very clever about leaving the way open for other pairings throughout the series. Even the ILY scene and its fallout could be interpreted very differently, if one was so inclined. It is really thanks to all the amazing fanfic authors out there that I jumped on board and took up residence on the good ship Sherlolly.

ellis-hendricks: What's your favourite episode and why?

geekmama: I love bits and pieces of all of them, but the one that I’ve watched more than any other is The Sign of Three. It’s heartwarming, hilarious, and only mildly heartbreaking. Even the villain of the piece, as little as we see him, has a motive one can understand.

ellis-hendricks: If you could ask/tell the series writers one thing, what would it be?

geekmama: Killing off Mary was a mistake, and I don’t care if that event sets up the entire story arc of season four, you should have thought of something else. Come on! You are brilliant writers, you could have done it.

ellis-hendricks: Do you have a controversial opinion about the series? E.g. a character who everyone else hates, but who you love?

geekmama: Or everyone loves but you hate? I’d say Moriarty qualifies. Andrew Scott is very cute, but though he’s in a number of the episodes we’re never given much insight to his character’s motives. Moriarty is pretty much just murderously insane in canon, and I don’t understand how one gets around that to write Molly/Moriarty or any of the slash pairings.

ellis-hendricks: Have you ever, when watching an episode, cracked a case before Sherlock?

geekmama: Well, if the writers want us to, then we’re given the information to crack the case before Sherlock. The series is about him, after all. The cases are secondary.

ellis-hendricks: With whom would you rather be stuck at a wedding table –

Janine or Irene?

geekmama: Janine, she is just fun and rather ordinary, whereas Irene has numerous ulterior motives under her veneer of smug vanity.

ellis-hendricks: Donovan or Anderson?

geekmama: Anderson, since he actually felt remorse for what they did to Sherlock, and came to admire him, too. There might be more to Donovan than what we’re given, and certainly that’s what fanfic is for -- I’ve made her a sympathetic character in a couple of my own fics. And apparently she and Sherlock have some pretty interesting history between them.

ellis-hendricks: Who would you rather bring back in series 5 - Mary or Moriarty?

geekmama: Mary, of course -- she is a far more well-rounded (and loveable) character. One wants to know more about her.

ellis-hendricks: Whose house would you prefer to live in - Sherlock's, John & Mary's, Molly's or Mrs Hudson's?

geekmama: Probably Molly’s, though Sherlock’s would be tempting. Molly’s looks pretty state-of-the-art in the ILY scene, if rather bland -- I couldn’t imagine Molly living in a place that’s all granite gray. It doesn’t reflect her personality at all, and I didn’t even think it could be her home the first time I saw that episode.

ellis-hendricks: In your opinion, who has been the best series villain - Jim Moriarty, Charles Magnussen, Culverton Smith, or Eurus Holmes?

geekmama: Eurus. We’re at least given some idea of her motives, and one can feel some sympathy for her, even though she is as insanely murderous as the other three. The other three are pretty equally revolting.

Your writing

ellis-hendricks: What was your first fic? What prompted it, and how do you feel about it now?

geekmama: My first in the Sherlock fandom was Visiting Hours, written in March 2016. I first watched seasons 1-3 of Sherlock in October 2015 and I’d been reading other authors’ work for several months. There were ideas I wanted to explore, and I wanted to see if I could still write at all, lol! I hadn’t written anything since July of 2013, when I celebrated a decade of being in the Pirates of the Caribbean fandom with a series of ten 50 word drabbles. Visiting Hours is only 100 words, official drabble length, and it’s held up pretty well, I think. I don’t hate it, at least.

ellis-hendricks: Which fic are you most proud of/most attached to, and why?

geekmama: This is a really difficult question since I’ve written quite a few Sherlock fics. If I had to narrow it down, maybe Idiots in Love, which is part of the Aftermath series and from Greg Lestrade’s pov, which is always fun, and The Kensington House, kid!fic from my Time of the Season series. But then there are all the holiday fics… and the historical AU’s…

ellis-hendricks: You write great AUs set in other historical periods - do you prefer this or present day?

geekmama: I’ve read, and written, a lot of historical fiction, and certainly writing it comes much more easily to me than writing something set in the present day -- particularly current culture in the UK. It’s a good thing my dear Ellis_Hendricks is willing to Brit-pick for me. I did my best, but I’m sure my early Sherlock fic has plenty of errors in that regard. That was the most difficult thing for me when I was beginning to write in this fandom. However, I have grown to enjoy writing fic set in the present almost as much as writing historical fic.

ellis-hendricks: What are your worst writing habits?/What are your most overused phrases, plotlines, etc?

geekmama: Wow. There are probably a LOT of bad habits (run-on sentences, excessive use of parentheses and ellipses, etc. etc.etc.), and overused phrases/words. As for plotlines, I find the (comparatively) reality-based canon of Sherlock to be somewhat limiting to begin with (which is why AU’s were invented, I suppose). I try not to repeat plotlines, but of course I’ve used post-ILY scenarios multiple times (and no doubt will again -- the anniversary is coming up on the 15th), and I tend to overdo the h/c as that’s one of my favorite things.

ellis-hendricks: Do you have a writing routine? Where and when? And is everything digital, or are things ever handwritten first?

geekmama: Laptop, ideally in the morning, alone in bed (except for a pile of snoozing dogs), with no distractions like music etc. I can write with the TV or music on, but it takes a lot longer to produce anything. I haven’t produced finished handwritten works since I was in high school, and when I first got back into writing in late 2003 it was on a laptop I borrowed from work -- and it was a revelation! I wouldn’t bother handwriting more than a drabble or the outline of a story, now. Computers FTW!!!

ellis-hendricks: Who do you enjoy writing the most?

geekmama: Sherlock (if I have to choose -- I love Molly, Mycroft, and Lestrade pov, too).

ellis-hendricks: Who do you find easiest/hardest doing first person POV? - Sherlock seems fairly easy a lot of the time (hopefully readers agree -- I may be way off base, who knows?), and maybe Molly for hardest. We see so little of Molly over the course of the series it’s sometimes difficult for me to get a handle on her.

ellis-hendricks: Which fic would you recommend to someone who has never read your stuff before? - Benefit of the Doubt, maybe. I like the way it came out. It was one of those that practically wrote itself.

ellis-hendricks: What do you value most when it comes to feedback?

geekmama: Any feedback is very much appreciated, from Kudos to brief comments, but it’s always nice when someone references a particular phrase or idea they liked. I know how difficult that is to do, sometimes, though.

ellis-hendricks: Would you ever go back and revise old fics - or do you consign them to history once they're published?

geekmama: If I discover (or someone points out) an error I will go back and correct it, but I don’t really revise my stories once they are posted.

ellis-hendricks: What's the nicest/weirdest bit of feedback you've ever had? And does feedback ever influence what you write next, either within a story or in terms of future fics?

geekmama: I have to say I’ve had a lot of great, encouraging comments over the years, and maybe a few negative ones, mostly on FF.net, which I pretty much ignore, though one or two brought up interesting points. I think mostly people leave a comment if they really like something, or just go away if they don’t. Feedback does influence what I write to an extent -- say if someone really wants more of a certain story, or aspect of a story, that gets me thinking how it could be done.

ellis-hendricks: Do you - or would you - write other pairings?

geekmama: Well, yes, I’ve written Mycroft/Lady Smallwood, and John/Mary, and I have a few fics that reference Lestrade/OFC. And of course there are other F/M possibilities. But mostly it’s Sherlock/Molly.

ellis-hendricks: How would you define your style? (E.g. mine was called 'fluffy realism’, which I quite liked!)

geekmama: I agree with that ‘fluffy realism’ definition, the sweetest stuff and easily related to. I would call mine “Romance” if I had to choose a word, the old definition of romance that entails fluff, angst, humor, adventure -- all the stuff that makes a story interesting and fun to read.

ellis-hendricks: What's your method in approaching a story? Do you plan methodically, or wing it?

geekmama: I am somewhere in between. With longer fic I sometimes use an outline, but more often I have a basic plot in mind, complete with ending, and think about it until I’m finally ready (and have the time) to write it.

ellis-hendricks: Who do you write for? Is it you, or are you thinking about trying to please your audience?

geekmama: Mostly me. I started writing fanfic in the Pirates of the Caribbean fandom because I wasn’t seeing fic that went where I wanted to go with that story. With Sherlock it was some of that, and the fact that I wanted to further explore these compelling characters, and writing fic was the best way to do that. But I do write for my audience, to an extent, and it is fun to accept a prompt or theme from someone and write to it. In the PotC fandom we had a weekly drabble challenge for years, and I really miss that sort of thing.

ellis-hendricks: Do you have any WIPs, and do you think new chapters will ever see the light of day?

geekmama: I do have a WIP, Souvenirs, for which I’ve written a couple of additional chapters, and hope to finish some day. But it sort of got waylaid by the whole post-ILY thing. I may finish it. You never know. I also hope to write some more of that Regency AU, Uncertain Terms.

ellis-hendricks: Are you working on anything at the moment?

geekmama: I’m going to try to write something for the ILY Anniversay (January 15th).

ellis-hendricks: What’s harder for you - writing the start of a fic, or coming up with a decent title?

geekmama: Writing the start, I guess. Titles are usually easy. It’s plot and particularly a good ending that take a lot of work.

Reading other people's fics

ellis-hendricks: What are your favourite tropes in the fandom?

geekmama: Post-ILY scenarios, for sure, h/c, kid!fic, Mary is still alive, Christmas stories. Etc.

ellis-hendricks: What things are likely to turn you off a fic?

geekmama: Bad characterizations (we read fanfic because we want more of the characters we love); poor editing / grammar; too many crazy tags; Intro posts that have TMI (I don’t want to know that you’re bad at titles/summaries/etc.), or that solicit reviews too blatantly. Well, those things and just stuff I don’t want to read -- bad porn, excessive violence (torture in particular), stories focusing on characters I dislike. I’m kind of picky, actually. But we write and read in a particular fandom for personal pleasure, and I think authors have to expect that their work won’t please everybody (or maybe anybody - who knows?).

ellis-hendricks: Can you recommend 3 favourite fics that aren't your own?

geekmama: Only 3??? Well, I’ve printed out miabicicletta’s A fearful hope was all the world, and sunken_standard’s Fumbling Toward Ecstasy, so I guess that counts for something. It’s virtually impossible to choose one of Ellis_Hendricks’ fic, they reference so many of my favorite tropes and are all of them deliciously memorable. But then, how can I leave out Quarto’s Competition? Or Emma_Lynch’s Quarantine? Or so many others?

ellis-hendricks: What compels you to leave comments on top of kudos?

geekmama: If some idea or turn of phrase stands out for me, and if the fic is well-done in general.

ellis-hendricks: Quick-fire questions!

John's TEH moustache or his TAB moustache?

geekmama: TAB (I don’t think we are meant to like his TEH moustache, are we?).

Sherlock's purple shirt or white shirt?

geekmama: Gah! Why do I have to choose? Purple, then.

Molly's stripy jumper or cherry cardigan?

geekmama: Stripy jumper, I think, as their relationship is more fully developed at that point.

Mary's christening outfit or black-ops gear?

geekmama: Christening outfit, for sure.

Submitted by OhAine: this is a joint question for Ellis and geekmama: Do you feel that working together as betas has changed the way you both write?

geekmama: Not really, my process is the same and any input from Ellis_Hendricks is given after the fact. I edit the story accordingly, but there are usually only minor changes involved. I am particularly grateful for her “Brit-picking” skill, which obviously makes her far more valuable to me than I am to her -- it’s surprising how many little differences there are between the UK’s culture and California’s. I was woefully ignorant about that when I became involved in this fandom, and I don’t feel I’m much better now, really.

Next week, Friday 12th April 2019, @thisisartbylexie interviews @writingwife-83

#content creator interviews #Sherlock #sherlolly #geekmama #ellis-hendricks

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gumnut-logic · 5 years

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Hi hi, figured I would toss you an ask for this.. how do you plot out a story? Do you write out a basically outline and fill in the blanks or do you know when you start where you want to go and just go with the flow of it?

Oooh, now you’re asking for me to blab in your ear for an hour :D

I actually had to think about how I was going to answer this.

Well, for starters one key factor that I would say affects, but really is my entire writing world is that I’m a visual thinker. I’m that visual that if I can’t visualise it, then I can’t understand it - hence the shocking marks I got in physics class in high school.

For the most part, however, my visual brain has done me good over the years and never more so than in my writing.

So story…how do I find a story?

For me it often starts with a scene. One I can see as clear as day in my head.

Where that scene is in a story varies, but there is always one scene and that is where I start. If it is the beginning scene, I will start writing from there, sketching it out and letting the characters take me where their logic forces them to go.

Nutty fic spoilers ahead…

If it is a middle scene or end scene, then I need to build other scenes to get to that scene. Sometimes in that process the original scene gets wiped and replaced with another more logical event. For example, the scene where Virgil finally collapses in Gentle Rain (Chapter Twelve) had been on the cards since Chapter Two (I actually hadn’t originally planned to do that to the poor boy, but I needed to give Scott a reason to continue speaking to Em in the hospital and sorry Virg, you were it…his whole illness grew from there), but originally I was going to have him collapse alone in TB2’s hangar and be missing for a bit until some poor sod found him. Turned out that he was suffering from a collapsed lung. If he collapsed alone, he would have died, and even I’m not that mean, so the resultant scene happened.

If that sounded convoluted, yeah, well my head is a mess.

If the story is a short one, I will often just go with the single scene and see where it takes me. Often that results in a thousand or so words and a finished piece. Very little planning required.

For Sotto Voce and Gentle Rain length stories, I operate a little differently as my memory is poor and I have lightning strike ideas that sometimes have to be written down or I will forget them. Sometimes writing them down sparks more ideas.

Here are the notes on the first note on a pile of post it notes still on my desk (yes, my desk is a bomb site). Sotto Voce spoilers ahead.

Hood implants something in Virgil’s head to try and coerce him into giving information.

Manifests as John in hallucinations.

Eos hacks it.

Virgil goes a little nuts to protect himself.

Fan approaches during clean up.

Injects Virgil.

Wanted Virgil as experimental.

Gets Brains later?

Secondary plot - new device?

This covers a whole chunk of the story, but if I turn the page over, I have this:

Part 1

Virgil stabbed.

Scott saves him

Returns home

Time passes as he heals

Camera recorded incident

Brothers laugh at Virgil

Virgil has a few weird moments but is not too concerned

Testing a small hydrofoil

Major hallucination

CRASH

If you’ve read the story, you know that that is not exactly what happened, but the skeleton is there. Any plan I write changes as it is written.

Here’s another note for another story:

Mechanic device grabs hold of Virg suit. Attempts to access control of TB2 - Eos intervenes. But still has control of suit - threatens Scott. Virgil manages to tip himself and the suit into a deep crevice.

That became Access Denied, which was followed by The Subject of Virgil.

So I guess I can enter a story either at a scene level or at a concept level. Sometimes it is a scene that I need to build a concept around and sometimes it is the reverse.

But I never write detailed plans because I rely on the flow of the story to tell me where it wants to go. Characters have a logic and they will tell you what they will and won’t do. They run by rules. Sometimes you can coerce them into doing what you want them to, but mostly not. When I say the story wrote itself, it is usually the characters doing what they want due to this logic.

I currently have a Marks and Wings scene in my head that I want to write, but I haven’t found a logic for it yet.

Kayo is standing on a high point of Tracy Island, looking out to sea, waiting. In the distance, a flying figure appears and eventually we realise it is Virgil in flight. Neither of them say anything as he backwings and lands in front of her. They embrace.

That’s all I have at the moment. I think I can fit this into the second part of Gordon, but I’m hung up on logic. The end of Part One has Kay furious and flying Shadow home in the dark with an injured Gordon on board, leaving Virgil to fly the one hundred kilometres home using his tired and aching wings.

Sure she could stand on a high point and wait for him. But no, she’s pissed and worried and her man is out there in the dark alone. No way is she going to wait anywhere. Once she has Gordon safe, she is going to do one of two things - hop back into Shadow and go get the idiot, or if Scott is back, send him to go get him. Either way, there isn’t going to be any romantic reunion. Likely Virgil is going to be raked over the coals by his girlfriend or his big brother or both and then sent to bed. I could possibly shove a massage in there somewhere, but that depends on exactly how the pending argument goes.

So yeah, that is the state of that fic.

Another example would be my current avalanche fic.

I have a single scene in mind. Virgil has to be in a certain state for the scene to happen. How do I get him into that state? I thought about it for a while throwing ideas around until I came up with the avalanche. I latched onto that for a number of reasons - the story involves Bo, an avalanche will create emotional issues for the family, it firms down some backstory for this universe and, well, that scene I posted came up and I couldn’t not write it. Now I just need to populate more scenes and find the flow of the fic - which I have partly set up now, but this one will require a little planning and note taking like the Sotto Voce notes above.

For Give & Take (major fic, long planned, in Warm Rain universe) I will be making a lot of notes. I have lots of scenes for this one in my head, but last time (Love & Sacrifice) I wrote them all higglety-pigglety and the result sucked. It worked much better for Gentle Rain if I wrote it all in order. So I’m holding back and letting the story gel a bit better. I know that the prologue is Goodbye, the epilogue is ‘Hello’ and there are nine chapters in between. I know that there will likely be two timelines running concurrent in the fic. What I need to write down is what roughly happens in each of those chapters - like Part 1 of Sotto Voce above.

All of this stuff is sitting in my head all at once. I write fast because I need to get things down before I forget them or get sick of them. I have the attention span of a gnat at times.

But in answer to your question, it varies from fic to fic. Sometimes I know where I’m going sometimes I don’t. Sometimes a single scene becomes a massive undertaking totally unexpectedly and I find myself looking for back logic to make what I’ve already written believable. It is almost like crossing a creek and looking for viable stones to stand on. Sometimes the stones are shaky, sometimes they take you six miles down stream before you can get to the other side. Sometimes you fall in the river and oh well, that one is never going to get finished :D

I hope the above ramble answers your question. I’m writing this at 4am so my brain isn’t the greatest, but hey, that avalanche fic worked really well at 2.30am, so who knows.:D Don’t hesitate to ask for a little more clarification. I can babble about this for days :D

::hugs:: Thanks for being wonderful.

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sol1056 · 6 years

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I've just read that word of god post you've reblogged and i agree that if it's not in the canon then it's not in the story. but what is the canon exactly? if we take vld as an example, can the extra materials like the guide books or interviews be considered canon when they give us information that is never talked about in the source material, that is in the show itself?

Canon, at its simplest, is “what the community consider the official record.” Its ‘things recognized as authentic,’ and by extension also ‘a standard by which something is judged [as genuine]’. Frex, to say ‘this album is modern jazz’ requires comparing the music to the modern jazz canon.

For fiction, canon applies the idea of an ‘official record’ to the story itself. The purpose is to delineate the ‘actual’ (genuine) story, and the standards by which new stories (sequels, spin-offs, etc) become canon. The common standards tend to be: who created it and/or was involved, form of distribution (ie official channels), and how widespread it was. Frex, a song played once in a small club in Chicago and never recorded would probably not be considered part of the ‘canon’ of modern jazz (that is, would not be used as the ‘standard’ by which newer works could be judged, because the work is too obscure).

That brings us to the next level (and often the most fiercely debated): which texts are deuterocanonical. It’s a fifty-cent word but it’s exactly the word we need, here. It means ‘secondary canon’ and it’s texts that could be canon but fell short by some measure. Different author (or ghostwritten), written years later or years earlier, retcons everything, completely different story but with cameo of canon character, and so on.

Adaptations are often deuterocanonical: a book to a movie, a movie to a TV series, a TV series to graphic novels. Each media has different storytelling conventions, so the story changes, and if you were a fan of the ‘real’ story, you might see the adaptation as just a shade too different. Plenty of fans of the Fullmetal Alchemist manga see the first anime (which diverged wildly) as a secondary canon — interesting, but not crucial; fewer say the same of the second anime, which was much more faithful.

Continuations also tend to be deuterocanonical, especially when the media changes. If your intro to a fandom includes the warning that everyone ignores a certain continuation, sequel, or spin-off, the community may have decided the later works are a secondary canon. This dismissal comes with the usual flamewars, at least until the fandom agrees to disagree.

Best criteria is whether parallel or subsequent stories impact or develop the ‘main’ story. Agents of SHIELD is a spin-off of the Avengers movie series, and it pivots mid-story due to movie events. The TV show may be deuterocanonical for movie fans, but the movies are canonical for TV show fans, because those stories have significant impact on the events in the TV show’s storyline.

And then we get to words about the story: meta. Tolkien’s estate has published his drafts and notes; these books satisfy canon per authenticity (written by Tolkien), and stamped as official by the estate. You don’t have to read every rough draft to get the final version, so Tolkien’s notes aren’t really primary canon, but they probably would be considered deuterocanonical.

The same doesn’t apply when it’s just anyone writing meta, even a published Field Guide or Annotated Glossary — a fancier and footnoted version of the same kind of meta fans have always written on their favorite works. No matter how well-researched, that third-party meta is not canon, no matter who wrote it or where it was published.

And then we get to word-of-god, however it’s relayed (panel quotes, interviews, tweets, blog posts, etc). Word-of-god, like handbooks and marketing material, are not the story; it’s talk about the story. It’s meta, and as such it can never be more than – at best – secondary canon, and even then under limited circumstances.

The next thing to consider in word-of-god is: who’s the god, here? It’s easy enough with Tolkien, Rowling, Kipling, Austin, any one-author work where one voice did the bulk of shaping the ideas and words and story. It’s another matter when we get into multi-creator, collaborative stories like movies, television shows, even stage plays or dance where the work passes through multiple hands on the way to becoming a final product.

If the actor chose to read those lines as though the character were in love, that has an impact on your experience of the story. Is it enough of an impact? Does that make the actor right to say, “this character is in love”? Does the actor have that authority? Or an executive producer who didn’t write the script, direct the episode, voice any of the lines, storyboard any scenes, or animate any frames? How do we measure the contribution of ‘enabling others to create’ to determine whether word-of-god applies? What about a story editor whose outline was informed entirely by exec notes? Can we say the writer of a particular episode even has word-of-god authority, if every line was altered by the actors to a smaller or larger degree?

Beyond that — and this applies from one-author texts up to multi-season series with a production staff in the hundreds — we cannot assume the author (if there is a single identifiable hand in the story) actually knows the story they’ve written. We writers can tell you what we meant to write, and what we wanted to write, but what we ended up with isn’t always where we’d planned to be. Hell, sometimes we don’t see the themes until a long time after the work is written, the same way we don’t always see where the story’s failed on other counts (representation, gender, cliches, plot holes, etc).

I could add a lot of words, but here I’m just going to quote some of TV Tropes at you, since the entry does a good job of covering all the bases.

A number of people reject [word-of-god]… If the creator had wanted a certain fact to be canon, the thinking goes, they should have included it in the work to begin with. [Others] go even further, considering the uncertainty and ambiguity of canon to be a good thing… Wimsatt and Beardsley’s “The Intentional Fallacy” and Barthes’ Death of the Author essay both argue that the interpretation of a work cannot be limited to attempts to discern the “author’s intentions.”

Another thorny issue is … collaborators may not actually agree with interpretations of their story that weren’t made explicit in the work. This is especially likely if they no longer work together, and particularly if they had a real-life falling out. In this case, there are multiple “Gods” given potentially contradictory explanations, so whose word is to be considered correct?

If a story requires the author pop up to explain each scene in some nightmarish reverse-MST3K scenario, then the story has failed. Point blank, full stop, do not pass go, do not collect two hundred dollars. The story has failed.

But let’s pretend the story is fine, and you just can’t take lying awake at night wondering about that damn watermelon. There’s a place and time for creator explanations; easter eggs (like in-jokes and homages) definitely count, and can be a lot of fun. There’s nothing wrong with word-of-god, after all, so long as it’s taken in moderation. In the end, it’s just a slightly more knowledgeable voice, but never let it drown out your voice or your experience.

Ultimately, this incessant emphasis on word-of-god has two sources.

One is the current penchant for throwing wild swerves as a way to combat audience boredom. These get called ‘plot twists’ but in the hands of less-skilled creators, they’re just cheap shocks. Pushed too far, they’ll break the story. Groundwork and foreshadowing are left off the page or screen for fear the audience will ‘figure it out’ too soon, and the result is an audience struggling to make sense of the quagmire. Word-of-god doesn’t fix the story, but it can at least provide closure. You know why the watermelon was there, and you can move on to obsess about something else.

The other source is our immediate and seeming direct access to a lot of creators: writers, directors, storyboard artists, voice actors, producers, all up and down the line. We could sit down and think hard about the story (if the story isn’t so broken that’s moot, at least), or we could just tweet or blog or tag a creator and ask. Or hope someone asks our question at a panel, or a podcast, or some other interview. Why bother with meta, when you can get a slightly more-informed meta from someone who looks like an authority?

Hey, authors have been getting questions from readers since Lady Murasaki sat down to write. No, the real issue are creators who’ve come to crave (and encourage) the audience asking how to interpret the story. It’s a pretty heady thing, getting that kind of attention, and it can get away from you really fast. What began as a simple question about indestructible fruit becomes an ongoing interpretative dance by the author on behalf of the work.

It’s flattering to have the audience clamoring for your words, but… it’s not about you, as the creator. It’s about the story. A creator needs to step back and let the story do the talking. The sooner some creators remember that, the sooner some fandoms will calm the fsck down.

Primary or secondary canon, word-of-god or radio silence; in the end, the story’s got to stand on its own. If it can’t do that, no amount of explanation in the world will prop the story back up again.

#canon vs fanon #writing #sol thinks about stuff #vld #voltron

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toddlazarski · 4 years

Text

Last Suppers Vol. 5

Shepherd Express

“In this past I long for, I don’t remember how even then I longed for the past.”

— Denis Johnson

In the El Tsunami parking lot in mid-January snow turns tumor-black and gets pushed, in some unholy unseen hour, into jagged triangle wedges up against the brick building, clearing space for the subsequent gray slush and glut of cars and those cars’ passengers, all trying to avoid ice-flecked black puddles and questions of why any of us would live in such an environment so threatening to dry socks. My daughter somehow eschews usually prominent stranger danger notions to cheerily, proactively, greet the panhandler just outside the door, leveling the playing field, at once, for all three of us, erasing discomfiture in smiling unexpectedness, seemingly validating good vibes therein. Inside, nursing a sportscar-red michelada, in a frosty mug of the size and depth and seriousness of an extra in that scene from Indiana Jones, the rim coated by a grainy quilt of spicy salt rendering the straw a silly suggestion, there is a pulse, well aside from the bumping telenovelas on all the TVs. It almost feels like there is a no-sitting rule for children, as they bounce around, between tables, blurring the distinctions between families, pirouetting by waitress trays, skipping and skirting and flaunting even pre-pandemic social graces. Parents look appropriately tired, waitresses overwhelmed, the end-of-week Saturday reward day is aglow, salsa-amped and horchata sugar-lit, even before a wandering mariachi duo wanders in, seemingly at random, as if they were traversing South 13th in the 30-degree day in cowboy hats, with classical guitar and accordion. By the time the oompa of alternating bass line balladry and emotively stretched squeezebox reeds mix—table to table they go, for a palmful or two of cash—with the svelty green table sauce, the ceviche dip, the warm chips, fierce, charcoal-kissed carbon tacos, or greasy smoky housemade chorizo, or oily flaky fish, it is easy and instant to forget what life resembled back in the parking lot. We’ve all, communally, arm-in-arm, with collective vision, forged the perfect escape plan.

At Vanguard, when it’s summer, or spring, or any time when the Packers are not on and it’s not a wrestling night or Halloween, when there’s room for small chat and the usual backdrop—Soul Train, maybe an O.J. Simpson workout video—there is no better feel than happy hour with exactly one open swivel black chair near the end of the bar. Even though the bartenders render me not cool enough, probably too old, far from properly bearded, I will stake a claim, rope off my spot with a hoodie on the back of the seat, like delineating property lines, as close to Manifest Destiny as I might get, sticking out elbows just a bit in subtle “don’t tread on me” histrionics. You can hover, sure, go ahead and take my drink menu, yes, food menu too, fine, oogle away at my curds and beer stein aioli all bloodied with house hot sauce, you can even talk close and ask for suggestions and pat me on the back when you lean over the shoulder to catch the barkeep’s eye. Just let me sit in the middle, in the beating heart, like the front row at a boxing match where part of the excitement is getting hit by a little sweat, like the Stubhub offerings we click just to see, front rows price tags to voyeuristically consider, to think what if? While I’m in, while the place fills to capacity—only now a nightmarish notion—-behind me, I slow-sip and savor a hungry evening bustle and a draft Manhattan, I delay gratification with menu pondering, possibility appreciating, before inevitably tackling a chilli cheese dog, a Velveeta-blanketed and appropriately-named “Durty Burger,” the whole thing a silly gesture of why not gluttonous indulgence, barely leaving room for the IPA I’m always about to order—like some kind of metaphor for the stuffed barroom itself.

These will be my first stops, when we’re all back, fully rubbing elbows, finding space in standing room only occasions. When we can be, what I’ve heard more than a few service industry folks refer to, “nuts to butts.” If and when the unidentifiable health metrics in my heart all check green, these are my buzzing Milwaukee mind spots, of food poetry yammering, of context being an ingredient, of flavor deriving as much from the atmosphere, as much from the flutter of a true peak social experience. I think of an Istanbul market, the group teem, the contrasting currents of crowds lending pick-pocket anxiety, general personal space ruffling, some dangerous enticement to the prevalent smell of roasting, rotating meat; a pizzeria in Naples, needing to engage in mosh pit antics for a spot on the list; Steny’s, for an Eastern Conference Finals Bucks game. The times to eschew ease, embrace struggle, deal with an annoyance for this will be worth it. When all is well, again, when I can cruise the city streets, casually pop in for a taco or four, stop for a beer or beers, such spots are where I might set my aims. Once so small-town, so simple-minded, now the idea of someone handing me a menu is a memory seed I treat and water like the notion of the one that got away. Here are the daydreams I’m afraid to risk, but keep tucked away in some kind of hope chest of sights to get back toward, one day, comfortably, normally, the good food times that come as much from the setting, from the moment, the people.

And I don’t even really like people.

Another thing I’m not crazy about—outside. And yet, here I am, often these days, and not just because the weather has turned friendly, ironically, as the country seems to burn, standing in my backyard, staring at the stars or the clouds, or the military-hued helicopters, sometimes, waiting for my gut, or my meat thermometer, to tell me it’s time to turn back to the Weber, flip the sausages, burgers. Always aggressively testing the tongs, grabbing at ghosts as they waft, I wistfully wonder how the maestros at Vanguard always avoid the flare-ups, the drying-out, nearly always get it all so right, the snap, one order after another, without looking like they are trying, cool in backwards hat insouciance, even when confronted by an endless stream of hungry scenesters.

Here I am, too, with makeshift picnics of Foxfire takeout fare, of taco truck tlayudas, cautiously staking a blanket claim or bench at Sheridan Park, its meandering jogging path and sweeping lake vistas leaving space for grass-tabled meals. Or at Humboldt Park, by the grimey pond that might as well be Walden’s, for the existential dread I’ve brought to it these past three months. It seems like a sanctuary of sorts, emblematic of anywhere there is space, really, from headlines, and health metrics, enough of it for nobody to be near enough to be afraid of. But of course there is no one to say gracias to after a salsa refill. There is fresh air, yes. And there is also the fending off of the geese, the dancing around of the geese poop, the chasing of napkins— inherent that any picnic venture provide at least this bit of Charlie Chaplin skit performance—and, inevitably, the throwing out of napkins because they probably touched some geese poop.

Still, with a double patty Foxfire burger, coated and buffed in salt and love and oozing American goo cheese, or with some foiled-taco steam, anywhere I might end up, today, isn’t so bad. And also, before wasn’t always good. The past is only painted in technicolor ideals in our minds, and especially now. Vanguard was many times just far too crowded, and sometimes, too many times, they forgot to toast my bun. And it felt too loud to even mention. Tsunami, despite my perpetual best efforts and bad dietary habits, has never cared I’m there, that I keep coming back, that I talk about it and write about it and bloviate. Every time I hit the door they almost always collectively look at me as if I’m lost or am about to ask to use the bathroom and then leave. In general, how many restaurant tables are too dirty? How much service is too slow? How many menus are so alike? Oh wow, look, a Southwestern Burger! How many bartenders have that attitude that this next shake of the shaker—no, this one, above the head!—could be the one to cure cancer, and how dare I interrupt or not be appropriately captivated?

The now, at least, has options. Such as, when it’s rainy, or too cold, or suddenly, too hot, we can sit in the car. The radio sounds better from in there anyways, the wind can’t steal and confetti-toss all the napkins like a cruel game of keepaway. We can think of ourselves as trying new things, embracing fresh thoughts, getting stains on our pants and shirts in different places, from different sit-and-eat situations. This month brings a new Bob Dylan album. It certainly won’t be Blonde on Blonde. It won’t even be Love and Theft. But there will be something you’ve never heard. Likewise tomorrow will bring something new, another distraction tactic, another approach, another appetite, and, if we’re lucky, another way to satisfy it.

Meanwhile, so much of the future seems to be being written for us, by unseen authors with little writing experience, the lot of them banging away on outlines behind scenes, on drafts where they can’t even fully commit to a genre. Post apocalypse-ism mixes with an economic playbook, fantasy meets self-help meets realism. Throughout, uncertainty seems to blend with malfeasance, announcements are unmade or surprise-made, or made and reversed, or misunderstood or ignored. Restaurants are not open, but tomorrow, at precisely 2pm, they can be and we will all be safe. Go ahead. Our reality, our way forward, seems tenuous, a bit dreadful, a venture out still coming with constant subconscious risk assessment, a survey of an unpredictable and maybe cataclysmic thunderstorm before a bike ride, the checks and balances on fun and need. Skipping headlines for more than a few hours seems to be willful ignorance. But maybe it’s more simple: if I can’t safely see my restaurant servers face, this situation is probably not quite right.

In our bubbles, in our political allegiances, it was easy to know where to stand, especially gauged by the actions and virally-spread photos of a bunch of boneheads at a bar Platteville, when the Supreme Court struck down caution and reason to make Wisconsin, again, a national laughing stock of unawareness. It seemed a slap in the face, the wake-up kind, a dose of belligerent selfishness. Yet, maybe history will see it all differently. Perhaps they, us, are all simply, naturally, hellbent on togetherness. On connection. With the country seemingly schisming more by the day, with fractures leading to offshoot fractures, maybe we actually just need something, somebody, each other. We invented taco trucks, and then, eventually, taco truck parks, as if even our restaurants should socialize with each other. We came up with small plates so that the same table could legitimately hold, say, at La Merenda, goat cheese curds alongside Jamaican goat curry next to seared Sockeye salmon. And they could all become friends. Cheers has always been so popular, held up, not just because it is pretty funny, but it represents an ideal, of comfortable cahoots, of escape from the real world. We can see, hope ourselves, there, all of us being our self-deprecating and whimsical best, with buds and brews and wisdom found. It represents a coming together, in the face of our absurd existence. A mariachi duo, or far too much to eat and drink, can show that our time is still now, that we—me, and you over there, at the same spot, in the same moment!—deserve something, sometimes.

These days I think often of a long-shuttered Bay View corner tap I used to freely and proudly proclaim to anybody listening as my Cheers. It was a strange, dim nook of the world I drank and wedged my way into, forging a musical and lyrical brand of late-night conspiracy. By the time I became a regular, my bartenders, my Sam and my Woody, would occasionally let me stay after hours, would pour me a shot of Bulleit at 2:30, would joke about me having my “shift drink,” would not kick me out until I kicked myself out. We would bitch, complain, jostle, josh, give each other hurried TED Talks in the sporadic crowd lulls. I knew the names of their siblings, the health statuses of their dogs, they were invited to my wedding. All those nights, eventually, I would stumble out the door, solo stagger home, bleary-eyed but content, untouchable to Monday, knowing, simply, far from sober but assuredly, somebody got me. In the hullabaloo existence of parking lots, indifferent masses, I had a spot. I don’t know when, I don’t know who will tell me it’s time, I don’t even know where, but I know I need to get back to that place.

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porcupine-girl · 7 years

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Fic I will write someday

Uh, the first version of this contained weird shit at the bottom, and Tumblr wouldn’t let me edit the post (maybe because of said weird shit?), so sorry for the repost...

I’m not allowed to really write any fic until my dissertation is done (so, September). After that I am going to write ALL THE FIC. However, even if I can’t write any of it down my brain is still churning it out.

Right now I’m taking a break from trying to understand how to interpret the results of multiple logistic regression (if anyone here knows, HELP PLEASE edit: I think I’m figuring it out), so I’m going to tell you guys about some of the fics I have either partially finished or like in outline/brainstorm form. Feel free to tell me which ones you think I should work on first!

Zimbits:

My second FTH fic, the prompt was “social media witch Bitty.” I’ve taken that and combined it with the plot of the musical She Loves Me. The 45K first draft is done, but I’ve got a LOT of editing/rewriting to do. It currently sits around 48K. My top priority once I can focus on fic again.

A couple more stories for Oh., the compilation of alternate Jack/Bitty getting together scenes.

Random compilation of canon missing scenes (right after the kiss, in Madison, etc).

ABO: Jack and Bitty are both omegas and accidentally mate. Oops!

More in the A Lot Like Life ‘verse: some Bitty coming out to his parents stuff, some Bitty in Montreal stuff, plus lots of smut. We’ve got some sensory deprivation, some Bitty making Jack watch him dance with other guys at a club, some role reversal, and one doc titled “underwear” that just contains a text conversation of Bitty having a surprise for Jack and refusing to share details, which I’m guessing was going to involve Jack in panties? IDK, at some point there will be Jack in panties.

Academia AU: Jack is a first year Assistant Prof in the history department, Bitty is a 3rd(?maybe?) year grad student who is his TA for the fall. Bitty winds up dropping out of grad school, because I was working through my issues when I conceived this plot. Not because he had bad grades or anything, just because fuck academia. Anyhow, then they can date.

Woke up married in Vegas AU: What it says on the tin. Jack went to Samwell for two years then joined the Falconers, so didn’t meet Bitty there, but Shitty has been trying to get them together for years. So when Bitty is in Vegas for some kind of youtube awards or something, and Jack is there for a game against the Aces, they meet and hey, Shitty was right, they get along really well. Oops!

Jack hooks up with Camilla once at the start of his senior year. Three months later, he finds out she’s pregnant. She doesn’t want to have an abortion; she plans to give the baby up for adoption. Jack decides he wants to keep the baby, because his rookie year in the NHL needs to be more complicated. But his parents will help and he’ll get a nanny and stuff. Bitty, being Bitty, talks Jack into hiring him as his nanny for the summer. Because covering Jack with baking ingredients wasn’t enough, now he needs to see Jack taking care of a newborn

SPN:

Okay I swear I’m going to finish Museum of Broken Relationships and The Breath Before the Phrase. Breath is… hm. I should have ended it where it is, but I thought I had one more chapter, but I’m not sure I actually do. There might be one more short chapter, or I might rewrite Ch 10 to tie it up. Either way, I actually have later stuff in the series written so I would really like to be able to move forward there.

ABO: Alternate S9, Kevin and Human!Cas are living in the bunker. Dean has to go off his suppressants to have a heat because he hasn’t had one in years and that’s not healthy. Surprise! Truemates! Who’dathunkit.

ABO Dean/Cas/Bela, Bela POV: Dean is an alpha, Cas is a beta, they’re mated. Cas can’t really handle Dean’s ruts, so they go to a sex club to find an omega when they need to. Bela has helped them out several times now. Although, this time she finds out that they aren’t quite who she thought they were.

Cas is a lecturer in religious studies at the University of Nebraska. He has a run-in with a crazy guy who tries to kill him. Two FBI agents show up to investigate; Cas discovers that their suspect, who definitely looks like the guy, is dead and they’re not FBI agents. He forces them to take him along to the grave desecration stuff, finds out it really was a ghost and the supernatural is real. Sam and Dean try to keep him from getting involved, but he’s a little shit and keeps popping up anyhow, at some point hooking up with Dean in the process. But Dean keeps pushing him away, won’t do it again. They finally give in and have their friend Charlie move in with him because at least he’ll have a babysitter if he insists on getting involved in all this shit. Then Rowena shows up, and things get really weird.

And Yet ‘verse (canon divergent D/s stuff): I actually have a story for this written, sitting there for like two years in need of editing. And an outline for a whole big series.

Academia AU: Yeah, another one. hahaha. Anyhow, I conceived of this like three years ago, then got stuck a few chapters in, I think because I just wasn’t a good enough writer to do the things I wanted. Maybe now I could finish it. Dean is a MechE PhD student, Cas is a first year Psychology Assistant Prof who needs a housemate.

Dean and Cas are MIT students who meet at a particular event. I’m not going to say more because I don’t want this post showing up on searches for particular terms (this fic would also be locked to AO3 members for that reason).

I just got my SPN ABO bingo card, so in addition to the two ABOs here you can count on a bunch more coming! I doubt I’ll get a blackout, but there will be at least 4-5 for a bingo.

Other:

I really wanna write Two/Nyx for Dark Matter.

Sherlock/Anthea pre-canon PWP that tried to grow a casefic plot so I gave up.

Sherlock/Sally pre-canon PWP, they meet at a college party and hook up

Started before S3 - John and Sherlock confess their feelings the morning of John and Mary’s wedding, which gets cancelled. They’re such assholes.

#pg writes #fandom life #writing #long post #5 #zimbits #destiel #johnlock #sorry if this shows up in those ship tags and annoys you with its other ships #I kept them out of the top 5 tags I just want them there for my internal tagging #but who knows what tumblr will do with them

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kaleraniel · 8 years

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Whenever we write, it’s something we do together. We may not always actually talk, but we both contribute more or less equally (whether or not Terra actually notices it and doesn’t chalk it up to eir own thoughts ahaha) Anyway, thought we should make a list. Or rather, two lists. Fics in progress, and fics we haven’t started but want to.

In progress, in order of current motivation to finish (kind of)– *“"sequel”“ to fake dating au. Just need to add some stuff (maybe up to 1k? We can’t shut up about these two and their healthy communication I mean talk about goals, right) and tweak the characterization to fit the established au. Motivated by time, mostly. Hope to get it up by Valentine’s Day. *gym au where it’s gay and such a pity Javert’s has prosopagnosia and always distracted by Valjean’s arms, and how Valjean’s never seen Javert out of uniform and doesn’t recognize him in workout clothes and is ever so distracted by his runners calves. Absolutely tragic. *dw doctor/TARDIS fic. I think I’m into that a lot because of that symbiotic relationship. I’m always about symbiotic relationships, probably given my own nature, haha *dæmon au, because that’s always important. Won’t be finished anytime soon. *magic au, because it’s almost done and why not? *leverage ot3 fic, since we don’t expect that to be too long, and also I mean it’s leverage so that’s always good. *phone call perceived unrequited perfectworldshipping fic, since we still think that’s really good and just the right amount of angst that is satisfying as hell. At least for us to read. That bittersweet kind of thing, where they’re just a hair’s breadth too late, they miss each other by just a second, if they had only reached out sooner but it was never the right time. Both of us love that shit so much. Kind of wary of posting two 5+1 fics so close together though. *Vampire!Javert, even though we’re undecided what direction to take that one right now. We have up to the bridge, but we can take it to the potentially nsfw direction or somewhere else that’s sfw. *self indulgent fic, since it’s self indulgent. Also at a standstill since we lost so much of it. Might not ever post because it’s fairly personal with the amount we project our own struggles with depression onto Javert. *sad fic, because that seems short. It’s hard to write. Haven’t been struck with that inspiration where the words come with that yet. Terra wants to write that more than I do, out of some kind of desperation to prove we can do something other than sickening fluff we can hardly bare to edit lol. There’s no rush. We have two modes: sickening fluff that apparently makes people scream and/or laugh out loud (which is? Unexpected? That funny stuff is fun to write but we never expected it to be as much fun to read), or angst fic that will break you. Absolutely no in between. *the other sad fic, which is also really personal, but it’s also half informative so somehow the part of us who loved to educate overtakes the anxious part of us hahaha. That fic requires an actual map so we can get things in order, and more research than we’re willing to put in at the moment. So, standstill. We know exactly where we want to go with it though. Probably the fic we actually use words to talk to each other about the most. Usually it’s just feelings, melding together in that writing zone to where we are really one with each other and not separated at all. That can be fun too, but I like talking. *the one where Javert is a ghost. We have the beginning, but Terra’s more interested in how Javert works and functions as a ghost rather than actual plot and I’m stuck on what to do so it’s at a standstill. *wolves fic, because that’s such a good quote we can’t not use it. Don’t know where we’re quite going with it exactly. Have a vague idea but nothing solid. *Vegas au, requires casefic which means a case and we aren’t quite sure how to handle that yet. Of course, because it revolves around casefic, we can’t do much with it yet but we have the first scene written out that probably will need redoing at a later date but whatever. It’s Vegas. *butter for lube. I hate Terra for this. So much. *touchfic, requires massive reworking. It’s 25k. Like half of that is going to have to be rewritten entirely or cut and that’s going to take so much time and effort. Totally know where we’re going, it’s just how to get there that’s the issue. *3rd person POV fic. Know what we’re doing, just not sure how to make it into a good fic. Also we keep getting distracted by OCs, so large sections of that are going to have to be cut or at least severely minimized. Those are just the things we have actual parts written, not just outlined.

To write, in no particular order– *REVERSE GROUNDHOG. We’ve been wanting to write this for literally years. And we have about 80% of it planned to a T in our brain. We just. Need to write it. And figure out that last 20%. *werewolf Valjean, for obvious reasons. There’s never enough supernatural (not the show, although the influence is most definitely there) AUs nor creature!aus *superhero AU, fight us okay *coffeeshop au #3, where jvj is a crime novel author and lowkey uses the cases Javert mutters about in his books that Javert’s a closet fan of. Idea half stolen from Paper Monsters, a cherik fic. *olive garden au aka coffee shop au #1, which Terra promised Stephanie like four years ago *Coffeeshop au #2, which is so similar to the Australian au that we might scrap it, or just write it for our own enjoyment and never post. *the one we call Mercy, with swensonvert and raminjean, which is decidedly nsfw and will go to the Shame Account. *buddy cop AU inspired by… oh what’s that movie. With the two lady leads. It’s kind of recent and super good. *leverage au with the Les Mis faves, of course. I wish we had more straight up Leverage ideas, because that’s such a good show. We yell at each other about it so much. *ink on skin soulmate au because we love soulmate AUs. *dw dæmon au where humans are the only species who have dæmons and the Doctor is absolutely fascinated by this. Thought of this yesterday, so it’s pretty new. *the one where the main pairing is Javert/Seine with lots of suicidal ideation. *Toulon nsfw fic. We don’t know how to introduce the nsfw aspect, honestly. And our Jean le cric isn’t canon characterized and it bothers me. Terra says run with it, "because fuck it it’s fanfiction,” but it bugs me. Technically, it’s partly written, but it bugs me so much I’m not counting that. *TiMER soulmate au. That one’s interesting because it plays off the idea of people evolving and growing, how the person that’s “perfectly comparable with you” may meet you earlier on (and at that point, you are good with them) but their timer doesn’t stop then. Javert’s timer resets and resets to the point where he thinks it’s faulty and Valjean’s remains constant, only skipping around near the barricades because Javert himself is fluctuating then too. Anyway that’s a lot of fun but requires a lot of looking things up in the brick and referencing the Les Mis timeline often. *music au, because we love those too, and although we collaborated with Star on the one we did for the Big Bang, we’re still not satisfied because it doesn’t /exactly/ match up with the one we constructed in our head. It’s good and we enjoy it immensely, but it doesn’t scratch the itch. If we end up rewriting it with the same plot points and stuff, we won’t post it. Might change it up, making Valjean a solo piano or luthier, but always secret composer Madeleine and always concert master Javert. *coffeeshop au #4, where they keep meeting on accident during rush and leave post its on each other’s coffee and only know each other by their coffee names. Occasionally they talk in line but it’s just a meet-cute honestly. We don’t expect this to be long, just a cute little idea. Javert always freaks out with the reveal and makes things longer and harder though, even when we expect that of him. *possibly doctor/surgeon!Javert and Valjean always coming to the ER because of shit he gets himself into by performing mostly selfish actions. Javert has beef with him for some reason. Maybe mugged him when he was a student of important things that held him back, or otherwise heavily inconvenienced him and he pressed charges, of course. *lowkey artist Valjean, who is really good but doesn’t think he is. Don’t know if this should be modern or canon era. Inspired by a friend who has Valjean hair we met at fiddle camp. He’s very good and does both realistic and caricatures that really capture people and that’s such a Valjean thing. *white collar inspired fic, half planned out. Valjean as an art thief and Javert as his pursuer. When Javert puts him away the first time, Valjean’s just gotten in with bad people. He changes when he gets out. His motives change to be more Leverage-like, and it becomes almost a game of cat and mouse. In his forgeries he starts writing stuff to leave Javert, little post it notes on the wall where a painting used to be, etc. Javert is confused but honestly missed chasing Valjean. Then after one incident where Valjean handcuffs Javert to something and leaves him there after banter/lowkey flirting, he leaves these files proving how corrupt the people he’s robbing are, as well as proof that the paintings get returned to a good place or the money from the sale goes to a good cause with only a little bit missing to pay for Valjean’s own humble life. Javert starts doubting. Valjean sees him on the bridge, paints him, then breaks into Javert’s house to hang it (and also buys him food because Jesus your fridge is barren, must feed you). It’s even signed with his real name and painted in his own style. Javert is kind of touched, even if he’s pissed off that Valjean could break into his apartment so easily (he changes his locks and only gets halfway through the milk before it goes bad. There’s a reason he doesn’t keep much food. It’s because he’s never home to eat it). Then, when Cosette is in danger, Valjean panics and doesn’t know who to go too except Javert. Javert comes home one day to Valjean pacing in his front room (and is annoyed he broke in /again/, why can’t he ring the doorbell like a normal– he doesn’t know why he could even thing of Valjean as normal and then thinks he should be more angry a know criminal is in his home and somehow looks like he belongs there). And then minor casefic- Javert helps him in exchange for his freedom. After, Javert manages to get Valjean as a consultant with an ankle bracelet thing a la white collar because damn it, he’s definitely gone for him. The first time Javert visits Valjean’s house he’s annoyed because Valjean has an original Monet hanging in Cosette’s room, which means the one they think is real is actually a forgery. That’s been developing in our brain for a long time too. We should just write it already. *TWEWY au, where Valjean ends up dying the same week as Javert. It’s a normal Game, of course. Unsure if we should have Reaper!Javert or not. Still working out the logistics of that. Who should be Conductor, Game Master, other reapers. Composer, even. *modern au where Javert’s a cop and keeps pulling over former criminal Valjean who’s now a successful and well know businessman. They end up making out against the side of Javert’s cruiser after many cop-based innuendos. Valjean’s license plate has 24601 in it, obviously. *original!weird friends AU. Featuring Grantaire/Javert friendship that neither will admit is friendship, born of over a year of arresting Grantaire for being drunk in public and various other minor crimes and watching him in the drunktank. They talk about being mentally ill, so bipolar lithro Grantaire and prosopagnosia lowkey depressed Javert. They talk about Grantaire’s unrequited crush that’s both ideal and hell for him, and teases Javert relentlessly about his not so lowkey crush on Valjean. Probably Grantaire POV. Grantaire crashes his car/motorcycle through Valjean’s shopfront window, and Grantaire just has him call Javert, totally unknowing that this is the guy Javert’s crushing hard on and has to deal with that awkward mess while very drunk and very manic. Possibly recognizes Valjean as Cosette’s dad, idk. Arranges for them to meet up very sneakily, because they’re not friends and this is just to make Javert shut up about this guy, yes totally, not to make him happy or anything. Shut up. They’re not friends. (Wow that was almost entirely Terra there. It’s late. We’re tired and not used to separation.) *AU!weird friends au where everything is the same as the above au except Grantaire has a vine account (Vine will be mourned). Obviously set when Vine was still alive and well. Consists mainly of Grantaire filming Javert while mentioning Valjean and watching as Javert attempts to be chill but is totally /not/. May involve him dropping massive amounts of paperwork, or spilling boiling hot coffee on himself. Definitely features him threatening Grantaire with arrest, not like that phases Grantaire anymore. Cosette sees his vines, mostly the one where Javert actually sees Valjean and walks straight into a street sign or trips over a parked car or something, and recognizes “oh my god that’s my dad”. They gleefully try to get them together and Grantaire’s vines consist of them actually meeting and Javert crushing harder than a 12 year old girl and Valjean’s being absolutely smitten with him. Probably told strictly through social media and video descriptions? It would be fun to try that since the texting was so fun in fake dating. Grantaire’s name is drunktank420 and you can’t stop me. *Canon era transman Javert. Can’t stop us. It’s ideal. …there’s more, because there’s always more. We are always thinking of fic. Anything cute or neat that happens in real life you can bet one of us latches onto it and an AU is born right there. It’s 5am we should sleep. Fic is too much fun for the both of us, which is why I completely endorse it. I would love to explore Valjean’s PTSD and anxiety more and having Javert learn how to calm him down or see the signs to remove him from his stressors. Also, obviously, Javert’s depression, suicidal ideation, and recovering from his suicide attempt. And his prosopagnosia, ADHD-ness, and his dyslexia in more detail. I put bits of it in almost everything but we want to examine it more.

#fic talk

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martens-movie-reviews · 7 years

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Released: July 17, 2015 Running Time: 1 hour 58 minutes

“Forced out of his own company by former protégé Darren Cross, Dr. Hank Pym recruits the talents of Scott Lang,, a master thief just released from prison. Lang becomes Ant-Man, trained by Pym and armed with a suit that allows him to shrink in size, possess superhuman strength and control an army of ants. The miniature hero must use his new skills to prevent Cross, also known as Yellowjacket, from perfecting the same technology and using it as a weapon for evil.”

Marvel Cinematic Universe – Source – Marvel Studios

You can find all of the reviews for the Marvel Cinematic Universe at the link here. At that link, you can also find the dates that the other reviews for the Marvel Cinematic Universe will be posted. My plan is to release one every single day, and because I’ve already reviewed Guardians of the Galaxy Vol. 2 here, and Spider – Man: Homecoming here, they will not be included in the two weeks leading up to Thor Ragnarok.

As such, I will now move onto the actual review of the film, and I hope you enjoy!

Ant Man Trailer – Source: Marvel Studios

Cast and Crew

This film was directed by Peyton Reed, after a very controversial parting of the ways between Edgar Wright and Marvel Studios over creative differences. I wish we could have seen Wright’s vision for this film, but I was still happy with what we got from Reed. Reed’s work as a director includes the ‘Back to the Future’ television show, the 2000 film ‘Bring it On’, 2008’s film ‘Yes Man’ as well as other works not mentioned here. He is currently filming the follow up to this film, ‘Ant-Man and the Wasp’ which is coming out in late 2018.

The original story was written by Joe Cornish and Edgar Wright, the adapted screenplay was re-written by Paul Rudd & Adam McKay, who adapted the screenplay that Cornish and Wright had written. As such, I will mention Rudd and McKay’s previous work as writers. Rudd has previously written the 2008 film ‘Role Models’ as well as the television show ‘Party Down’. He has since written the screenplay for ‘Ant-Man and the Wasp’. McKay has worked on many Will Ferrell films such as ‘Anchorman: The Legend of Ron Burgundy’ in 2004, ‘Talladega Nights: The Ballad of Ricky Bobby’ in 2006, ‘Step Brothers’ in 2008 and ‘Get Hard’, and ‘The Big Short’ in 2015.

Paul Rudd as Scott Lang / Ant-Man – Source: Marvel Studios

The cast featured Paul Rudd, Michael Douglas, Evangeline Lilly, Corey Stoll, Bobby Cannavale, Anthony Mackie, Judy Greer, Abby Ryder Fortson, Michael Peña, David Dastmalchian, T.I., Wood Harris, Hayley Atwell, John Slattery, Martin Donovan, Gregg Turkington, Carlos Aviles, Nicholas Barrera, Lyndsi LaRose, Anna Akana, Robert Crayton, Danny Vasquez, Chris Evans, Sebastian Stan and Stan Lee

Review

Paul Rudd’s portrayal of Scott Lang was a lot more charming than I would have thought given the brash nature of his comic book counterpart. He got into the shape that was required to play the slender Ant-Man, and the scenes with his daughter felt real, and was really touching. I’m happy that he did such a good job at playing another sarcastic, funny genius in the MCU.

Michael Douglas played the elder and original Ant-Man, Hank Pym, a now retired superhero after the unfortunate ‘death’ of his wife Janet. As he was distant with his daughter Hope after the passing of her mother, she aided Darren Cross in ousting Pym from his own company. I feel like Douglas did a really good job at playing the mentor / hurt father figure. I thought that it was a good idea to have an actor of his quality join the ranks of the Marvel Cinematic Universe.