#so i thought this list might be interesting and see how the different writers discuss their writing processes

[notanotherinfjblog]

I’m currently collecting interviews with fiction writers of all MBTI types, but I’m obviously restrained by the kind of authors that I’m reading myself, so I’m turning to you now! If there are any writers that you suspect to be ISTJ, ISFJ, ISTP or ISFP (where I cannot name a single one yet) or any NJ, INFP or ESFP (which are rather small in numbers on my list) and that have been interviewed on camera, please let me know! 

[stillness-in-green]

Hi, are you still working on the AFO Retcon Essay? You mentioned a few times you are not sure if Horikoshi retconned AFO's original plan or if he always intended for AFO to take over Tomura, but made AFO act somewhat contradictory from the start regardless. Did this ever make you feel like there are too many possibilities in regards to Horikoshi's original intentions to take into account and could therefore make it harder to write the essay?

Hi there, and thanks for your interest! I did actually talk about this a good while back, towards the beginning of the year; you can find that post here. It says pretty much exactly what you did and goes a bit further--that I'm so distrustful of Horikoshi as a writer that I have no idea anymore what might have been retconned and what was his intention from the start, and further, that even if something was his intention from the start, I don't trust him to have laid the groundwork for those intentions with honesty or good faith.

Instead of the AFO Retcon Essay, what I've been poking at instead is some sort of massive retrospective of all the problems with BNHA's endgame. That's going to require a reread on my part, and some decisions about formatting--namely, do I want to do the reread privately, on my end, and then write the Mega Chonky Essay and post it when I'm finished, or do I do it publically, read-along liveblog style, documenting the problems as I go?

At the moment, I'm leaning towards the second. I have some tentative ideas about keeping a running list of (to use a witticism from the Twitter fen) Themes & Such, ideas and ideology the series sets out and how well it lives up to those ideas--or how it fails to. I'd also like to keep track of things like character arcs and foreshadowing, documenting things with an eye to where those arcs go, what the foreshadowing amounts to, whether the series keeps its implicit promises, and so on. I suspect it would wind up looking something like a cross between the heteromorphobia essay and my chapter thoughts posts.

On the other hand, a format that deals with one group of problems at a time could feel more focused, discussing all the evidence at once of any particular topic rather than having to keep many (many) plates spinning across a retrospective of the entire series. I also already have the broad outline for that, since it was my plan last time I was seriously poking at the idea. It would probably still end up being posted in multiple parts; the parts would just cover different groups of characters or aspects of the series per installment, rather than e.g. each installment covering an arc and everything in it.

I suppose there's nothing stopping me from doing first the former and then the latter? I'm planning to reread the whole series anyway, after all.

In any case, I like that kind of installment-based format not least because I'm also in the early stages of getting a Patreon set up aimed at supporting my meatier chunks of fandom writing and potentially giving people some ability to point me at this or that topic. A multi-part analysis of BNHA--something in a similar style as my documentations of heteromorphobia, the problems with the anime's adaptation of My Villain Academia, or even, to reach back to an older fandom, my episode-by-episode write-ups on Human Debris in Gundam IBO!--strikes me as a good way to get that off the ground.

I've got one or two things to finish getting off my plate before then, and I'd want to wait until the last volume of BNHA officially comes out (12/4) just in case of any thirteenth-hour surprises, but keep an eye out! I'm not inclined to paywall my writing, but maybe an early access sort of model? I'm also going to want to find a blogging site that's more aimed at hosting long-form writing than Tumblr is. We'll see!

In the meantime, to give everyone an example of the kinds of things I'm looking at tracking through the story, one of the things that most vexes me about the ending is how it not only fails to resolve its contradictory ideas of saving and heroism, it feels to even recognize those contradictions. Here's a chunk of my notes on that topic from the outline of The Mega Chonky Essay in its current form.

• Nana says saving isn’t just saving someone’s life, but also making sure they’re smiling in the end. But that means that saving their life is the prerequisite. If Eri died smiling, her smiling would not prevent everyone from recognizing her death as a tragedy.         • “Perfect Victory” is defined as both “winning” and “saving” flawlessly—that is, every fight is won, and no one is left unsaved. This is introduced first as an ideal for Deku and Bakugou to strive for, with both of them needing to work on different parts of the equation, and continues to be an aspect of Bakugou’s characterization, as it comes up again in Joint Training. But it doesn’t stay locked to them, as All Might says directly to the American pilots that they can’t be allowed to die because the kids are aiming for a Perfect Victory.         • A pivotal question for Toga and the larger series is, given that Heroes are supposed to save people, how do Heroes justify killing Villains? Do they not think of Villains as people?         With all three of these ideas in place, the challenge becomes how to navigate the endgame to a place where all three concepts are honored/resolved. The ending must demonstrate that Heroes do see Villains as people while also being able to achieve their desired Perfect Victory—they must win against the Villains while also saving them, where “saving” means that the Villains’ lives are saved and they’re smiling in the end.         Or must they? After the first war, the series introduces another concept of how to save people, albeit one that runs directly counter to Nana's definition of a saved person as someone both alive and smiling: Gran Torino says that killing someone can be a way of saving them. He and Nana can’t both be right, so to confront and resolve that discrepancy, the story will have to acknowledge one of them as wrong. (Spoilers: It does not.)         In the end, Toga dies, and Deku kills Shigaraki, and if both of them die smiling, well, you sure as hell can’t say the same for e.g. Gigantomachia or All For One or Dabi or any of the thousands of unhappy Villains who wound up in prison (many of them likely bound for the gallows!), alive but decidedly not smiling. Heck, All Might, in trying to console Deku, moves the goalposts even more by suggesting that all Deku needed to do to get the credit on “saving” Shigaraki was make sure his inner child wasn’t crying anymore. Not only does he not have to live, he doesn’t even have to be smiling! An absence of obvious grief is enough!         Thus, you wind up in this place where you have an unsolvable problem: somewhere along the line, either someone failed or someone was wrong, and the story, in being unwilling to confront that disharmony, winds up undermining other established themes and goals. Did the kids “lose” because they failed to meet the criteria for the Perfect Victory? Was the definition of “saving” wrong? Was Gran Torino wrong or was Nana? Was the definition of Perfect Victory wrong? Was Toga correct in her fear that Heroes don’t see Villains as people?         No matter what the answer is, it runs afoul of some previously established Theme in the story. Even if the idea is that the ending is downbeat and bittersweet because the kids failed (and the story is using All Might’s goalpost-moving to resolve the dissonant definitions of “saving” in Gran Torino’s favor), that still means yet another theme is violated: that of BNHA being a story of how Deku+his classmates become “the greatest Heroes.” After all, the story also defined “greatest Heroes” for us! The greatest Heroes are those who can achieve Perfect Victory.

Whatever form this essay winds up taking, these are the sorts of concepts I want to discuss in terms of how the series sets them up compared to how it winds up following them through.

Thanks for the ask!

[fantasygerard2000]

Fandom's Rigid Standards

In my previous post about issues I have towards the Starboy craze, I briefly discussed about how most human Star designs tend to just stick with the Jack Frost "inspired" design over creating their own original designs for him.

Most fan designs try to stay loyal to the rather infamous piece of concept art.

While they made changes based on their own preferences, they kept major core elements like the glowing gold hair, floating, cape, and being white. However, what they neglected, or rather leave out is that this early version of Star can also shapeshift like Genie and Maui. Also, another factor is that this version Star was her grandfather's spirit as an early version of the story has him passing away instead of her father.

The reason why most people didn't know about these early ideas was because they only heard about the Starboy and Villain Couple ones from the more vocally outraged fangirls who cried about "being robbed".

This tweet in particular only adding fuel to the dying fire as most people would just express disappointment to the film, but this only give them an excuse to dislike it even more. Majority of people are so anti-Disney that they would even fact check from official sources from the people who made the film and only listened to the ones who have seen it and have totally not biased opinions on it.

Anyway, even with info about the actual early version of the film being out, most of them just stick with the love story idea. An idea that was the result from the lack of context and spite from said lack of context.

Coming back to the topic of human Star just being Jack Frost but yellow, that also brought up about how fandom has this awful habit of only caring about characters if they are attractive and white. We literally see this behavior with Magnifico and that this is also happening towards a character that doesn't exist says a lot. The fact that most human Star designs just colored Jack Frost yellow is proof of this.

Hell, back then, Disney themselves considered making a non conventionally looking love interest back when Tangled was in early production. Bastion was made to be your non standard prince.

Heck, an even early version of Tangled had the "prince" look like this.

There are people who genuinely like non conventionally looking characters for their looks. Beast is literally known for making people prefer his animal form than human form for crying out loud. You literally have zero restrictions to design a human or even monster Star. But instead, y'all ironically did this meme.

Y'all accuse Disney for not going with this early alternative design for Asha for "not being conventionally Disney".

But y'all also thought this ain't too pretty so you "borrowed' from the most conventionally good looking character from a different film.

Now, this is the part where I focus on the issue regarding Asha and her "romance". Well, lack there of.

Someone once said that people only like a work for the tropes they like being present over how they were executed, comparing how ads are recommending you to buy a book that lists off tropes you're into. L To fandom, the presence of tropes only matter.

When you think of Disney romances, you might thought of the princesses. And ONLY the princesses because their films have romance as a major factor. However, romances in Disney is notoriously bad, especially in their older films. It's not until in the later films that we got a more proper romance with Naveen and Flynn/Eugene. Romance requires both characters to be equally treated. In regards to the "potential" romance he has with Asha, there's this underlying feeling that Asha is treated like a vector for the reader/writer to insert themselves as.

Most romances, especially ones made for women, always centered on the main lead with the "protagonist" being in situations to ensure they get together. Majority of romances are made to be like a dating sim. There's nothing bad about going on fictional dates with a fictional partner but the issue here is that how the protagonist is barely a character of their own right. They are made to be relatable so the reader can insert themselves into, with any personality they have being treated as traits and quirks. Even with examples where both the protagonist and the love interest are both main leads, there's likely more emphasis is put onto the love interest.

And Asha is being somewhat unintentionally treated like this, especially in fiction where Starboy is the focal character is really upsetting. I get that Asha wasn't a great character but she shouldn't be treated like this. Or any character at all.

Asha being rewritten to be a completely different character to the point of being given a different name is just so jarring. That isn't Asha anymore. Just like the concept art above, she's small core traces of what was her there, but it's mostly all fan interpretation.

And this, to me at least, are the vibes I'm getting from. Wish being "remade" into something that it isn't. Being made to cater to a niche demographic whose tastes are just plain bad. I'm not one to judge people's preferences but disregarding the concept of a deceased family member who became magical shapeshifting creature from space for a more generic love story where you could self insert yourself into?

This isn't to say to giving Asha a love interest or making Star a human aren't bad ideas. I do in fact find the early concept interesting and I was initially neutral towards Starboy until that's what most of this "fandom" consists of.

This isn't the Wish fandom. This is the Starboy fandom.

[zahri-melitor]

hi hello if it's not too much trouble, what comics would you recommend for someone trying to study the batfamily characters and dynamics for a project? I don't know which writers to avoid or which runs are considered bad characterization. I know this varies with opinion but you seem super familiar with the differences between fanon and canon stuff. don't worry about keeping the list short or anything, I don't have a problem with reading a lot

Honestly, this is a ‘how long is a piece of string’ question, but I can give you some pointers.

Which 'family' characters are you looking at, and which dynamics do you want? Because the thing is, this varies significantly over time. What I can do for you is roughly discuss a bunch of different eras, and what's good content to look at in each of them.

A shortcut - you're often well served by looking at a Gotham-wide Event during the period you're interested in. Sure, people often have some objections to some of the characterisation, but if you're looking at how characters interact, they're the best place to see lots of variations.

In addition 'bad characterisation' is largely in the eye of the beholder. There's actually less agreement on what is and isn't 'bad characterisation' than you might think - it depends on who you're talking to and what stories they like. Characterisation with comics characters is best thought of as a sliding spectrum - there's a range that most people will accept, and when characters go outside it people start getting unhappy. I'll try to note major shifts or universe resets or retcons along the way though.

Pre-Crisis:

Look there is very little in pre-crisis you need to look at for this. Sometimes people will pull stuff forward for Dick and Jason as Robin or Barbara as Batgirl, but largely things stand without this.

Post-Crisis:

I'm happy to walk you through post-crisis up to 2011. I'm still getting a handle on 2011 to present myself.

The Early Days: Bruce as Batman, Dick as Robin, Barbara as Batgirl

In the beginning, there was Batman. One day he went to Haly's Circus where he saw two acrobats falling and their devastated son...you know how this one goes.

Pretty much everything set in this period is flashback stories, so they frequently retread the same ground over and over. Want to see the Graysons fall? You're in luck! Choose one of the more than a dozen versions! (I'm not going to list them all even though I like many)

Quality stories looking at this period include:-

Batman Year One (1986) - Batman #404-407. I am recommending this, yes, even though it's Frank Miller, because it gets referenced a lot. It's a decent retelling and the best work Miller's ever done for the Bat books by a long shot. Bruce's origin story.

Robin: Year One (2000) - Chuck Dixon and Scott Beatty. This is probably my preferred version of early Bruce and Dick stories, and it's conveniently got a sequel in...

Batgirl: Year One (2003) - Chuck Dixon and Scott Beatty. Barbara's origin as Batgirl and the only one worth reading. These two update the Dick and Barbara as Robin and Batgirl dynamics into post-Crisis.

Batman Chronicles: The Gauntlet (1997) - Bruce Canwell. This is a single issue about the 'final exam' test Dick took to become Robin. I really enjoy it.

Robin & Batman (2021) - Jeff Lemire. A very recent update of early Dick as Robin. If you want something recent and quick, this is the pick. The characterisation is good but I have a bunch of quibbles with the details.

World's Finest: Batman/Superman (2022) - Mark Waid & Dan Mora. Here's a current ongoing for you! A rarity in that is set reasonably late Dick's time as Robin, and it also doesn't repeat identical beats to those above. Lots of Bruce and Dick, strong Silver Age vibes in relationships, and a lot of fun. A great intro to the wider DC simultaneously too.

Robin II: Bruce as Batman, Dick as Nightwing, Jason as Robin, Barbara as...around

Honestly this is a period I'm weaker on. Jason's post-crisis run as Robin is pretty compact: Batman #401-428 and 'Tec #568-582. Jim Starlin's the writer who wanted to kill Jason off.

Batman #408-411 (1987) - Max Collins. The original post-Crisis 'Dick Becomes Nightwing' and 'Jason becomes Robin' story.

The Diplomat's Son - Batman #424 (1988) - Jim Starlin. This is the issue everyone talks about, where Felipe Garzonas dies. You should read it just to understand the debate, if nothing else.

A Death in the Family - Batman #426-428 (1988) - Jim Starlin. Jason's death.You should read this if you want to understand the dynamics surrounding these events and what actually happened.

The New Teen Titans - look I can't get my head around the numbering of NTT, but if you want to go into this there are eleventy million guides. NTT is very popular. This is Dick as Nightwing during this period, Marv Wolfman and George Perez working together, and considered by people who like Nightwing during this period as the definitive version. Jason appears in a few issues.

Nightwing Year One (2005) - Nightwing #101-106, Chuck Dixon. Now this is going to be extremely controversial, but I do actually recommend people read Nightwing Year One. It's a retcon, but it's an important retcon because it lays out the dynamics of Jason's time as Robin as comics writers have changed them to be following his death. If you want to see how comics writes Jason as the 'angry' and 'risky' Robin following his death, this is the most compact way to see how the narrative changed.

Batgirl Special #1 (1988) - Barbara Randall. Barbara's last appearance as Batgirl. Randall is Barbara's best contemporary Batgirl writer, and this is a loving sendoff for a character who was about to get shredded.

The Killing Joke (1988) - Alan Moore. You should probably read it. Barbara is shot in the spine. However if you want to skip it that's completely fine as the relevant beats have been retold almost as many times as the Graysons have fallen.

Gotham Knights #43-45 (2003) - Scott Beatty. This is probably the best telling of the fallout of Jason's death on the family, particularly Barbara's reaction. If you want Batfam dynamics this is what you should look at.

New Beginnings: Bruce as Batman, Dick as Nightwing, Tim as Robin, Barbara as Oracle, Helena as Huntress, Steph as Spoiler

This is an interesting period in that it's the first threads of what we now call the Batfamily, but they're only just starting to come together as Tim picks each one up. (No, seriously. This era is 'Tim meets people and works with them')

Also as will be the case for a while from here on, at least 50% of all content is written by Chuck Dixon. Now Dixon has his downsides - he's notoriously a conservative homophobe and his views can be seen in the text quite frequently, but he is really good at writing relationships between characters, and he loves a crossover. If you love the modern Batfam, you do have to acknowledge Dixon for his work.

A Lonely Place of Dying (1989) Batman #440-442, New Titans #60-61 - Marv Wolfman & George Perez. Tim's origin story. Very clear on the outset dynamics between Bruce and Dick.

Identity Crisis (1990) Batman #455-457 - Alan Grant. Tim's first night out as Robin in his own costume, plus early dynamics between Bruce & Tim. A tear jerker.

To the Father I Never Knew (1992) Batman #480 - Alan Grant. If you want to actually understand the foundation of Jack and Tim's relationship and how he contrasts it with his relationship with Bruce - look no further.

Robin III (1992) - Chuck Dixon. A very early Tim team-up with Huntress. This is a good place to start for how her relationship with the other Bats evolves in Gotham.

'Tec #647-649 (1992) - Chuck Dixon. Steph's original time out as Spoiler. Again foundational dynamics.

Oracle Year One (1996) Batman Chronicles #5, John Ostrander and Kim Yale. The story of how Barbara became Oracle. Stunning. Essential.

Knightfall: Bruce as Batman, JPV as Azrael and Batman, Dick as Nightwing and Batman, Tim as Robin, everyone else keeping out the way

Knightfall is huge and messy and all over the place but there is magic in here. You just have to dig. Parts I particularly like for family dynamics:-

Batman: Sword of Azrael (1992) - Dennis O'Neil. This is an excellent intro to John-Paul Valley, and get comfortable, because this is what Denny's going to write for the next 10 years.

Batman #488 (1993) - Doug Moench. JPV starts working at Wayne Corp. Tim is assigned to teach him the ropes as a crimefighter in Gotham.

Batman #500 (1993) - Doug Moench. JPV becomes Batman. Dick turns up to complain to Tim about Bruce being insufferable. It's all here.

Bloodbath #1 (1993) - Dan Raspler. This is a terrible comic BUT it also contains some gold dynamics between JPV, Dick and Tim.

Knightsend (1994) - team written. Bruce, Dick and Tim work together to help Bruce rehab from his injury and take down JPV. Legends of the Dark Knight #63 in particular is stunning.

Prodigal (1994) - team written. Dick as Batman and Tim as his Robin. The final issue, Robin #13, has Bruce and Dick's reconciliation over both the fight when Dick became Nightwing AND their fight after Jason died. Essential.

Welcome to the Family: Bruce as Batman, Dick as Nightwing, Tim as Robin, JPV as Azrael, Barbara as Oracle, Helena as Huntress, Steph as Spoiler

I will fight to convince you that this is the first true 'Batfam'. Everything prior to this is Bruce and his Robin, with occasional associates. This is where it goes from the Dynamic Duo to a network who intersect constantly.

Writers: It's a lot of Doug Moench and Chuck Dixon still.

Nightwing: Alfred's Return and Batman #521 (1995) - Alan Grant & Doug Moench. Alfred quit during Knightfall due to what Bruce was doing to himself. This is how Dick got him to come home, and the reunion.

Contagion (1996) - team written. The Event where Gotham gets the Clench (aka Ebola). Massive teamup storyline featuring Bruce, Dick, Tim, JPV, Helena, Selina, and Barbara.

Legacy (1997) - team written. Oh no, it's the Clench Round Two. Here we go again. Basically the same team, but JPV doesn't get invited after he proved he'd forgotten was a fax machine was last event, and Helena gets a more significant role.

Robin important family issues during this period: #17 (with Helena), #29-30 (with Barbara), #34 (with Helena), #35 (with Steph), #45 (with Jack Drake), #47 (with Dick)

Nightwing important family issues during this period: #6 (with Tim), #7 (with Babs), #13-14 (with Bruce), #16 (with Babs)

Birds of Prey important family issues during this period: Birds of Prey Manhunt, as it sets the tone for Barbara and Helena's relationship for a WHILE.

No Man's Land: Bruce as Batman, Dick as Nightwing, Tim as Robin, JPV as Azrael, Helena as Huntress and the Bat, Barbara as Oracle, Steph as Spoiler, Cass as Batgirl

The earthquake where everything goes wrong. The most notable addition to the writing pool is Greg Rucka. Honestly this is a 'so many parts of this are worthwhile, read it all' sort of period, but to help navigate there's a handful of really important points:-

Nightwing #20 (1998) - Chuck Dixon. The Dick, Babs and Tim reunion issue during Cataclysm. The world's fallen apart but they're back together.

Nightwing #25 (1998) - Chuck Dixon. Dick takes Tim trainsurfing

Brotherhood of the Fist (1998) - Chuck Dixon. This is a teamup with Connor Hawke involving Bruce, Dick and Tim. I love the dynamics here.

Huntress/Spoiler Special - Blunt Trauma (1998) - Chuck Dixon. The one Helena and Steph team up during Cataclysm. Get a dynamic you won't see anywhere else.

'Tec #725 (1998) - Chuck Dixon. Dick tells Bruce that he's going to become a cop.

'Tec #727 (1998) - Chuck Dixon. Another Dick, Babs and Tim teamup to take on Firefly.

Mark of Cain (1999) - Kelley Puckett. Cass's intro story.

Birds of Prey #8 (1999) - Chuck Dixon. Dick and Babs visit Haly's Circus

Robin #67 (1999) - Chuck Dixon. Tim and Dick break into No Man's Land.

Legends of the Dark Knight #120 (1999) - Greg Rucka. Team reunion in NML at the Clocktower.

Nightwing #38-39 (1999) - Chuck Dixon - Babs looks after an injured Dick in the Clocktower.

Legends of the Dark Knight #125 (1999) - Greg Rucka. Bruce and Jim finally discuss their issues. Barbara and Tim wait upstairs.

Endgame (1999) - various. Whole team works to track down Joker and some kidnapped babies on Christmas Eve.

A New City, A New Team: Bruce as Batman, Dick as Nightwing, Tim as Robin, JPV as Azrael, Barbara as Oracle, Helena as Huntress, Cass as Batgirl, Steph as Spoiler

This is the final Chuck Dixon era, the Rucka & Brubaker run on Batman and 'Tec, Devin Grayson on Gotham Knights, and probably my favourite era of comics ever. It's hit after hit after hit. Pick up any comic here. You won't be disappointed.

Major highlights not to miss:

Gotham Knights #1-12 (2000) - Devin Grayson. GK is my favourite Bat anthology book ever, but this run includes Transference. The overarching plot is Bruce analysing his team in a series of case notes. Unmissable.

Hunt for Oracle (2000) - Chuck Dixon. The US government tries to track Oracle down. Babs, Dick and Dinah make sure they fail.

Officer Down (2001) - various. Jim Gordon is shot. This is the consequences as people search for his attacker.

Joker Last Laugh (2001) - various. Joker thinks he is about to die and breaks out of the Slab. Chaos ensues. This is the one where everyone thinks Croc kills Tim, and reacts accordingly.

Bruce Wayne: Murderer/Fugitive (2002) - various. Bruce has been pushing everyone away for a while, so when he's accused of murder, they must ask the question, did he do it? Everyone tries to solve the mystery of who killed Vesper Fairchild, and Bruce goes through one of his 'am I Bruce or am I Batman' periods.

Batgirl #18 & #20 (2001) - Kelley Puckett. Cass' first team ups with Tim and Steph respectively.

Batman/Huntress: Cry for Blood (2000) - Greg Rucka. THE definitive Batfam Huntress book.

Hush It Looks Like War: Bruce as Batman, Dick as Nightwing, Tim as Robin, Barbara as Oracle, Helena as Huntress, Cass as Batgirl, Steph as Spoiler and Robin

Among the drama of Murderer/Fugitive, almost every single book gets a new writer. Jon Lewis takes Robin followed by Bill Willingham, Devin Grayson takes Nightwing, Birds of Prey gets fills until Gail Simone picks it up, Dylan Horrocks takes over Batgirl, Jeph Loeb writes Hush on Batman, Scott Beatty takes Gotham Knights. Personally I endorse basically all these runs but Grayson on Nightwing is controversial.

Hush (2003) Batman #608-619 - Jeph Loeb. Famous for a reason, this is a Bruce story that touches on his relationships with almost EVERY major character in his life (Cass and Steph miss out).

Gotham Knights - Scott Beatty. I don't know what to pick here but #47-49 is a team story of Bruce, Dick, Tim and Cass following Bane to a Kobra stronghold which shows off the developed family-like relationship between the 4 at this point.

Robin - Jon Lewis. Your highlights here are Tim and Steph on a date together (#111), and the 16th Birthday Story (#116-120) because it's essential to understanding where Tim and Bruce are at.

Robin - Bill Willingham. Jack finds out Tim is Robin. Tim quits. Steph becomes Robin. It's an essential arc.

Nightwing - Grayson. This is widely disliked but #81 is a great Dick, Bruce and Cass issue.

Birds of Prey - Simone. Helena joins Barbara on the Birds of Prey. They very, very slowly work through their issues with each other.

Batgirl - Horrocks. #38, Steph and Cass play tag. #45, Cass tries on Barbara's old costume. #50, Bruce drugs himself and Cass with Soul and they fight. #54, Barbara and Cass argue over her reading ability.

And then lurking in the background...War Games hits and tears the Batfam apart, with a doubletap from Identity Crisis.

Leaving Gotham: Bruce as Batman, Dick out of costume, Tim as Robin, Cass as Batgirl, Barbara as Oracle, Helena as Huntress annnnd Jason as Red Hood

Steph is dead. Barbara and Helena leave Gotham for Metropolis. Tim and Cass move to Bludhaven. Dick runs off to join the mob. And in Gotham, Red Hood appears.

Writers: Well we've added Judd Winick on Batman, and now have Andersen Gabrynch on Batgirl. Gotham Knights is now mostly A.J. Lieberman and no longer a good Batfam book (it's now a Hush book). 'Tec honestly isn't worth it during this period. Willingham on Robin has a handful of decent issues to start out then increasingly gets weirdly conservative with some very odd plotlines.

Fresh Blood (2005) Robin #132-133, Batgirl #58-59 - Willingham & Gabrynch. This is a Tim and Cass team up as they move to Bludhaven and mourn together.

Under the Red Hood (2005) - Batman #635-650. You know what this is. It's the Jason returns story.

Nightwing - Grayson. #100 - a strong reflection on Dick's past plus the most heartbreaking part of the Dick/Babs breakup as Dick just runs from all his problems. #110. Tim and Dick meet in Bludhaven and fail to tell each other all the bad things happening in their lives. #112. Dick and Helena run into each other both undercover in the mob. #117. Dick finally talks to Bruce about Blockbuster, and proposes to Babs.

Robin - Willingham. #134 is the pick of the bunch - Bruce offers to adopt Tim and Tim reflects on his time as Robin, though it's a solid little story out to #138 as the truth about Uncle Eddie comes out.

Birds of Prey - Simone. #76, the Babs side of the breakup. #83-84, Helena with the mob and encountering Dick. #90, Helena gives Bruce the new compiled mob data handbook and Bruce compliments her.

Batgirl - Gabrynch. This is a strong well loved run for the build up to Cass' final fight with Shiva, but for Batfam you can't go past #67, when Cass reunites with Babs. Also Cass hallucinates Steph twice in this run (#61 & #72).

Then Infinite Crisis arrives and we all move a year into the future.

One Year Later: Bruce is Batman, Dick is Nightwing, Tim is Robin, Jason is Red Hood, Damian arrives, Cass eventually returns to Batgirl

At this point Barbara and Helena are largely doing their own thing with the Birds of Prey and won't return to the Batfam until Reborn.

New writers all around! Adam Beechen and Fabian Nicieza on Robin, Marv Wolfman and Peter Tomasi on Nightwing, Adam Beechen on Batgirl, Grant Morrison on Batman and Paul Dini on Detective Comics.

Face the Face (2006) Batman #651-654, 'Tec #817-820 - James Robinson. The Bruce and Tim story that set up Tim's adoption.

Batman and Son (2006) Batman #655-658 - Grant Morrison. Damian's introduction to the family.

Resurrection of Ra's Al Ghul (2008) - various. Ra's tries to kidnap Damian to steal his body. Bruce, Dick and Tim go to rescue him. Dick and Tim's subplot involves the highest point of their brotherhood as Dick talks Tim out of trying resurrect his lost dead.

Robin - Beechen. #156, the suicide prevention issue, for Tim and Dick. #163, Tim and Bruce on their first Father's Day. #165, Tim and Bruce working on a car together.

Robin - Nicieza. Steph's return as Spoiler. #177, where Jason thinks he can recruit Tim (and fails miserably).

Nightwing - Wolfman. You know what? #117-122, the 'Jason dresses as Nightwing and harasses Dick and turns into a tentacle monster' saga. Does everyone like to say it's out of character? Yes. Is it Jason being just as annoying as he will proceed to be all the way to 2011? Also yes. That's Jason's post-Crisis character.

Nightwing - Tomasi. Freefall, #140-146. This is just a beautiful encapsulation of Dick's many connections, of his teamwork with Bruce and Tim, and of what makes him tick.

Heart of Hush (2008) 'Tec #846-850 - Paul Dini. The premise is ridiculous, but it's about Bruce and Selina, and about Dick and Tim helping track down Hush.

Batgirl (2008) - Adam Beechen. Beechen after squiffing it with the Evil Cass saga, gets to undo the damage to Cass's character and return her to the family. I think it's a pretty successful job, despite Dick spending the entire book holding the idiot ball so someone can be unsupportive. Cass gets adopted. Tim and Barbara never lose their faith in her.

Battle for the Cowl: EVERYONE IS FREEFORM

Everyone will tell you this is all horribly out of character. They're wrong. Come for Fabian Nicieza doing hard work to actually set up characters in the places they need to be for Reborn.

Battle for the Cowl: the Network (2009) - Fabian Nicieza. Oracle and the Birds of Prey have returned to Gotham but for reasons they're not calling themselves the Birds of Prey, so it's the Network.

Oracle The Cure (2009) - Kevin VanHook. Early set up for Wendy Harris' future plot. Babs gets the mentoring itch again.

Azrael: Death's Dark Knight (2009) - Fabian Nicieza. A new Azrael for a splinter faction of the Order of St Dumas appears. Dick and Babs are immediately suspicious (and Dick has to be talked out of immediately kicking the Azrael's butt just on the SUSPICION it might be JPV).

Also the main event books happen and everyone yells at each other a lot about who should be Batman.

Batman Reborn: Bruce is missing, Dick is Batman, Tim is Red Robin, Damian is Robin, Jason is Red Hood, Barbara is Oracle, Steph is Batgirl, Cass is Black Bat

New titles! New writers! Things all over the place! People who like Jason are going to claim all of Jason's appearances are once again out of character, but Jason fans claim that about every time Jason breathes outside of UTRH, Lost Days and a small handful of very select stories after Flashpoint. I'm just saying, villain Jason is pretty consistently irritating between 2007 and 2011.

Red Robin #1-12 (2009) - Chris Yost. Not only Tim's new costume arc, but a great look at Tim's centrality as a character to the Batfam in the number of contacts he calls in at the end of the run.

Red Robin #17 & #25 (2010) - Fabian Nicieza. Tim and Cass working together as siblings and backing each other up.

Batman & Robin #20-22 (2011) - Peter Tomasi. I would strongly argue this is the best arc in B&R with the best characterisation.

Batman & Robin (2009) - Grant Morrison. Look, a lot of people like the foundation of Dick and Damian's relationship found here. Also Jason shows up to be a pain.

Streets of Gotham (2009) - Paul Dini. There's a bunch of good storylines in this anthology book, but #5-6 with Dick, Helena and Kirk Langstrom is one I particularly like.

Batman #703 (2010) - Fabian Nicieza. The best Dick, Damian and Tim team-up issue of Reborn.

Gates of Gotham (2011) - Scott Snyder. The masterpiece of Batfamily content. Dick, Tick, Damian and Cass all feature in this and all 6 possible relationships are shown in different parts.

Batgirl #3-5, #17 (2009) - Bryan Q. Miller. Damian and Steph team ups, plus a look into the tension in the Dick and Barbara relationship at the time.

Birds of Prey #10 (2011) - Gail Simone. Barbara discusses her new realignment of how she's working as Oracle and focusing on the Bats.

The Black Mirror (2010) 'Tec #871-881 - Scott Snyder. Some of the best writing of Dick as Batman during this period, and a look into his relationships with Jim Gordon, Barbara, and Tim particularly.

The Return Home (2010) - various. Bruce comes back to Gotham after his 'death' and checks in on everyone.

[typewriter83]

Hi! I've been following your work for some time now, and I think you're such a prolifically skilled writer. I prefer the canon dynamic between Joel and Ellie, and the fact that their relationship has father-daughter themes but isnt purely that, yet also isn't romantic. However, I will dabble in some stories about Joellie and I do find that concept interesting. Just out of curiosity, I was wondering what your thoughts are on one of the OG fics, Flying to Wyoming? I noticed you mentioned it in a previous post listing fics. I know that while it's well-written, it's also considered a rather controversial (and at times, extreme) fic, and for good reason. I'm interested in seeing what other people think.

Oh, hello! First of all, sweet new cub, you’re too kind - I’m so touched that you enjoy my stories. Like sincerely touched. Thank you.

I came into the the TLOU fandom from the show, looking for Joel&Ellie stories, and had no interest in the romantic ship - shh, don’t tell the cubs - but it was fics that drew my attention and curiosity and eventually the brain rot sent in. I’m a fan of the canon dynamics too - minus Ellie’s treatment of Joel in Part 2, but that’s a topic for another day.

But yes, let’s talk about Flying to Wyoming because on the surface, it’s the quintessential Joellie story - discussion below the cut - it’s LONG, so buckle up.

FtW is one of those stories that I should have let lie, should have let it be a one and done, enjoyed it and never gone back. I read the entire 600k word behemoth in less than a week, which means I was speed-reading, skimming and not in great depth and detail. But at the end, those last paragraphs of the final installment, I was crying, like tears flowing down my cheeks and I wandered my house like I’d lost real people in my life. (Am dramatic, didn’t y’all know?)

The basic dynamics of the story are there - a sweeping epic, cross-country survival adventure where a teenaged orphan girl falls in love with her older male protector, one of the first people that’s ever protected her, ever put her first. Much like the canon story, Ellie starts off terrified of Joel and what he might be capable of, and Joel treats Ellie like cargo because he doesn’t want to get close to her and fail yet another that comes into his life. And, honestly, this story could have been a platonic story, 100% it would have worked - even with undertones of a teenager crushing on an older man, it would have worked. But, because of the twist the writer takes, we have a whole different angle that’s being built up to - trust me, guilt-ridden Joel is my bread and butter and there’s a lot of guilt in his inner dialogue. Ellie’s a very curious, horny teenager - which is pretty much on target for the character. I’ve written both these angles, myself, and so have others.

So, what’s my problem with it? It’s a lot. The change in dynamics after the FtW2 - it’s been awhile since I’ve read it, so if I mess up the timeline, that’s on me - Ellie is still 14 when they set out for SLC and the explicit sexual activities ramp up pretty quickly especially at the bed and breakfast. I’m judging here - okay, maybe a little, and I have no place to judge - but that’s a lot for a young teenage girl. My problem with it is simply a matter of opinion - Ellie was so young. Am I a prude? Was I sheltered? Maybe - or maybe it just wasn’t my cup of tea for reading material.

The writer is talented, his depictions of a broken world are brilliantly detailed. His depictions of how states would fight states and the scars left in the earth after battles that took place long before Ellie was born are gorgeously detailed. His descriptions of abandoned and desolate towns along the highways are incredible. Some of my favorite scenes come from their stops along the way, but namely the town at the edge of the Mississippi where they stop for bike repairs - it’s a real bonding moment for Joel & Ellie and the town’s description is vividly painted.

Those are my positive takeaways from the story - the writer draws you in with his depictions of the broken world and it’s part of the draw to the TLOU universe for me as well. The whole idea of two humans walking - or on the back of a bike - across a broken country, it’s just so compelling.

Back to the Joellie aspect of the saga.

It’s made very clear in the final story - which by the way is the best title: The Home at the End of the Road is just a perfect title to describe not only their home once they settle in Jackson, but Jackson itself is their home at the end of their long journey. I could weep - anyway, by the final story, it’s made clear that Ellie is considered an adult by end-of-the-world standards when she turns 16, and Joel is finally ready (at peace?) to give himself completely to her. I didn’t particularly care for the scene itself - it’s not how I would have written it, it’s not what I was looking for or expecting, but we’re not yucking on anyone’s yum here, it just wasn’t it for me.

The story jumps ahead by a good decade and immediately takes a sad, different kind of dark turn - we know Joel is mortal (for some of us, he’s not, but here he is) and the writer spends the last chapter showing that they’ve started a family but Joel’s mortality is this dark cloud over the home at the end of the road.

What I’m about to say next is entirely my opinion - I never had a chance to speak to the writer, he was long gone from ao3 by the time I read this story - this is my opinion. The idea of the war between FEDRA and surrounding communities felt like it was taken straight out of The Walking Dead - I don’t mean that in a bad way, just that it felt out of place for the universe. TWD and TLOU take place in different times beyond the start of their respective outbreaks - TWD is about 15ish years after the outbreak when the show ends and FtW is about 30-35 years after - that’s a big difference. I don’t think there are a lot of big communities out there in the TLOU universe - not like what was depicted in FtW, and an all out war against FEDRA. Again this is just my opinion.

When I set out to write Every Night Has Its Dawn, I wanted the epilogue to be an homage and draw inspiration from the final chapter of Home at the End of the Road. I wanted to show that living at the end of the world could be possible for Joel and Ellie and the family they have together. I was so devastated by FtW ending with not only Ellie losing Joel and one of her children, but then she loses her own life. It was too heartbreaking, and I had another vision.

That’s a lot of fucking rambling to get to the point. The story itself is a good story - the details and the way the Joel/Ellie relationship were written were not my cup of tea and I can see why you say that it’s an extreme example of the forbidden ship. It is. It’s a lot - there’s a lot of graphic descriptions of underage sexual activity, and it’s depraved, a lot of it. Does that make it bad? No, it makes it someone else’s enjoyment. It gives us writers inspiration though - there’s a lot he writes that I strive to write, but there’s a lot that I would change, and maybe did a little to fit into my universe.

Anyway, that’s my long winded take. If you stick around this long, y’all deserve a medal. Drop a line if you wanna add something to this. I would love to discuss more.

🫶🏻

[kalinara]

I was skimming through my dashboard and I saw a post that I thought was really interesting.

In the post, the person stated that they missed when fandom was more interactive, when it came to fanfic writers and fan artists, rather than today, where it was like the content creators were machines that didn't need positive feedback, but were just there to create product.

I'm paraphrasing, because I can't find it again. It stuck with me for a bit though.

See, I think this is the natural effect of discouraging constructive criticism.

I can appreciate that very few people enjoy logging into their email or messages and seeing a comment regarding a project that they've spent so much time and effort on and seeing "Well, this is what I think you did wrong."

I can appreciate that for most folk, fanfic is a labor of love, something that they're sharing with the community. They're not craftsmen honing a craft, per se. They're not looking for advice on how to improve.

That's understandable. But I think it misses something really important: that constructive criticism, heck, even a polite yet negative review is still ENGAGEMENT.

It's a conversation in a way that kudos aren't. It's a conversation in a way that gushing praise really isn't.

I'm not saying a writer has to agree with the criticism. People are people and sometimes people are full of crap. But the fact that someone took the time out of their busy day to actually engage with a writer about something they created, and to talk about it, and think about it, and examine what worked for them and what didn't...

That does mean something, in my opinion. I've been a fanfic reader, primarily a lurker, since I first took baby steps onto the web in 1996. Back before AO3. Back before fanfiction.net. I remember webrings, and mailing lists, and geocities. I even, vaguely, remember bulletin boards.

As I said, I was a lurker primarily. I didn't talk much. I followed the discussions. Sometimes I'd agree with it. Sometimes I'd disagree (quite strongly). I very rarely commented or reviewed.

But when I did review, that was because I really wanted to. And when I did review, I put a LOT of effort into it. I'd talk about what I thought the author did really really well (which was a lot! Or I wouldn't have bothered.) I'd mention what didn't work so much for me, and what I thought might have worked better. It'd take hours, sometimes, to figure out exactly what I wanted to say - what I would want to HEAR if I'd written the story. I always tried to leave the kind of reviews that I wanted to receive on my own work.

I'd never write a review like that now. The etiquette's changed. I recognize that the kind of review I wrote back in 1998 would be incredibly rude now. But when I look at the comments I've left nowadays - they're quick. They're meaningless. Even on fics I've truly loved. Sometimes I don't even comment. Just a kudo. Sometimes I forget to do that. It's not personal, but I've got things on my mind.

It occurs to me that even the word is different. "comment" vs. "review". There are very different expectations.

I see people sometimes talking about how what they really want is comments, though. And interaction. And I get that, but when you limit the type of interaction that you're looking for, then I think that you're going to get less of it.

I'm sorry. But sometimes I'll read a fic that's okay, but not great. It's got wonderful ideas, but they could be developed better. It's got good character voice, but some of the word choice is a little off. It doesn't sing.

At least, to me. Maybe it's just a matter of personal taste. Maybe it's a craft issue. The author didn't ask for my opinion, and that's fair enough. But am I going to leave lukewarm praise and nothing else? Maybe. I have before. But more likely, I'm just going to hit the back button and look for something else.

It's easier to give feedback now than it was in 1997 in a lot of ways. Kudos buttons are lovely. Instant review buttons/forms that don't require a perpetually shy anxious person to send an email to a stranger are wonderful things. I probably do leave more comments now than I did back in 1997.

But when it comes to actual substance and engagement...I'm not sure there's even a comparison. Why bother? If I feel really strongly about something in the fic, well, I can write a blog post about it instead.

It is kind of funny that this means that I get the engagement out of it, rather than the author, but that's how it goes sometimes.

[insecateur]

"Search Tags" on AO3

I've noticed that a lot of people don't seem to be aware that this is an option, so I thought I'd write an informative post about the AO3 feature that allows you to look up tags!

What is this and where can I find it?

It's a page on Archive of our Own that can be accessed by selecting "Search" in the upper bar and then clicking on "Tags." Or by clicking this link, if you'd just like to go there right away!

As the name indicates, it's a form you can use to look up a list of AO3 tags corresponding to a keyword (or multiple.)

How can it be useful to me?

I think it can be useful in a number of ways! I'll try to cover most of the ones that come to my mind in this post, but there might be more I haven't thought of.

As a writer

For me, the Search Tags page is most useful as a fic writer (or general creator on AO3, for those of us who also post non-fic works!) I use it mostly to look up freeform tags and check pre-existing tags and canonicals. Technically, you can check canonicals by making a new work and entering a keyword in one of the sections, but for me, this is less of a hassle. Not to mention, this way, you can even see non-canonical tags that people have already used, some of which might be very popular despite not being canonicals!

(Why would a very popular tag not be a canonical, you ask? Well, I'm not an AO3 volunteer, so I can't speak on their behalf. But as someone who writes kinky porn, there are a couple of sex-related tags that lack canonicals but still span a large number of works. The most obvious example, to me, is "Free Use", which is used by over 1200 works, and is not a canonical tag. For those unaware, the difference between a canonical and non-canonical tag is that it cannot be filtered; as such, it does not have a separate Works/Bookmarks page.)

If you're part of a challenge, exchange, or fest that only accepts ships with a certain number of works (i.e. rarepairs) it can also be used to check whether a specific shiptag even exists in the first place or to easily find the Works page of a specific shiptag so you can double-check the number of works there. I will discuss this more in the next section.

As a reader

What inspired me to make this post was actually seeing someone asking on Twitter if it was possible to filter every ship involving one specific character. As far as I'm aware, this is not possible; however, you can use the Search Tags form to find all the existing shiptags (canonical or not) featuring said character, and then check every Works page individually. Not super convenient, but still better than trying to wrestle with the filters, I think!

Okay, this is all very interesting, but how does it work?

Using the Search Tags form

When you access the Search Tags page, you will be greeted by this form:

If you click on the little ? bubble next to "Tag name," it will show you the usual list of common modifiers you can use to look up keywords, just like in the "Search within results" option from AO3 filters:

Here, what you can do depends on what your goal is. I'll cover in the order of the suggestions I gave in the previous section of this post.

Looking up freeforms

So, let's say you're in the process of, or just got done, writing your newest fic. You want to tag it properly, but there's some stuff you're not sure can be covered with the canonical tags AO3 suggests to you when posting a New Work, and when you try searching keywords in the regular search, you get mixed results. This is where the Search Tags form can be very, very useful!

I'll use an example I've used in the past. You want to use a tag that gives your reader an idea of how the fic ends. To do that, you can type up "Ending" in the "Tag name" box. For this example, we'll decide we want only canonical tags, so we'll check "Freeform" and then "Canonical."

This gives use nine whole pages of canonical tags. Canonical tags are shown in bold to separate them from non-canonical tags, but as we're doing a Canonical search right now, you won't be able to tell the difference. Here's what (the top of) page one looks like:

Immediately, you might have noticed something is amiss. Because we haven't specified a fandom, the search is giving us tags that are fandom-specific, like "Abandon Ending (OMORI)," on top of giving us tags that are non-specific, like "Abrupt Ending." This can be a good thing or it can be a bad thing, like in this case where we just want a generic ending tag. Thankfully, there is an easy solution!

Indeed, tags on AO3 are sorted by fandoms... including non-fandom tags! So all we have to do is enter the Fandom as "No Fandom," and then...

Ta-dah!

Note that there are still fandom-specific tags that might fall through the cracks, as tag wranglers are obviously not infallible, being human beings doing volunteer work. For example, although I cut the screenshot short, the next tag on the list is "Memory's Crannies Ending (Ib)" which seems to have the "No Fandom" category incorrectly applied to it alongside its actual fandom, "Ib (Video Game)." There'll also be non-fandom results that are actually pointing toward specific fests, bangs, or similar events, like "No Happy Ending Fest."

However, as I've mentioned earlier in the post, you can technically achieve the same result by typing a word in the Freeform box when posting a new work and seeing what AO3 suggests. So let's talk about what this is most useful for, in my opinion: finding established non-canonical tags.

This time, let's say you're writing something spicy involving a trans male character being the Dominant partner in a D/s relationship. There is a "Trans Male Character" canonical freeform, but if you look up "trans male character" in the tag search, you may also find:

You might be wondering, what's the point of doing this? Well, in some cases, some freeform tags have a lot of uses despite not being canonicals. Even without getting into the extreme I've already cited, for example, the tag "Honor Bondage" has over 100 fics to its name. Since it's not canonical, and as such can't be filtered, it also can't be synned to, which means that the best way for people interested in honor bondage to find works easily is to have as many people using the most commonly used tag as possible. By guaranteeing that you're using a pre-existing tag, even if it's non-canonical, you're helping more people find your work.

(For those unaware of the term, "synning" refers to a non-canonical tag being made synonymous to a canonical tag. When looking at a Tag page (not its Works or Bookmarks page) you can see a list of all the non-canonical tags synned to it, like this:

I'll cover this again a little later.)

Generally, I also think it can be useful when you're not sure how to tag something and are looking for inspiration. Also, getting to see all the silly tags people have used is pretty funny.

Looking up ships

In this section, I'll cover both the "writer" and "reader" situations.

Let's say you're participating in an event that's all about rarepairs. The requirements are that your chosen ships can't have more than, say, 100 works. You've decided you want to write a ship involving your favorite blorbo, but you don't know if the ship you have in mind even exists on AO3.

For the sake of this example, we'll say your blorbo is Cloud Strife, and you want to write... (throws dice) Cloud/Reeve. Let's go back to the Tag Search, and this time we'll use the "Relationship" box.

We're going to look up canonicals first (for reasons I'll explain later) so for this step, you have to make sure you have the right phrasing to look up your character. In the example I'm using, I don't think it'll matter much (it's not like there are that many characters named "Cloud") but if you were looking for, say, Peter Parker rarepairs, you'll have to make sure to use "Peter Parker" and not just "Peter."

This is what our search looks like for now.

I have to go through a few pages, but on page 3, I find the Cloud Strife/Reeve Tuesti tag. It says it has four fics, but in my experience, the count can be a little messy, so we'll double check on the Works page just in case.

There we go! A tried and true rarepair. 🫡

If you can't find the ship anywhere in the list (even when double-checking by entering more keywords) it's probably because it doesn't exist at all. I'll use a less popular character as an example, Professor Birch from Pokémon:

Because there are so few results, you can tell right away that Professor Birch/Professor Sycamore doesn't exist. 😔 (Actually, when looking up "Any status," it does exist as a non-canonical that doesn't have any fic tied to it. BECAUSE OF ME. But I'll talk about this at the end of this section.)

Now, let's say you're a reader and what you're interested in is finding out how many ships Cloud Strife is involved in on AO3. You just want to read about your blorbo getting into all kinds of relationships. Good for you.

You like to live dangerously, so you're going to go as far as looking up "Any status." I'll explain what this implies in a bit.

I also want to make a note of something. I was previously under the mistaken impression that specifying a fandom for your Relationship searches would affect whether or not crossover ships show up. Unfortunately, this doesn't seem to be the case, as a Relationship tag seems to always have every fandom each character is involved in as a parent tag. (So, for example, Ardyn Izunia/Cloud Strife has all of these as parent tags: Ardyn Izunia, Cloud Strife, Compilation of Final Fantasy VII, and Final Fantasy XV.) I don't know if there's a solution to this. If you know of it, I'd appreciate you letting me know!

Immediately, the ~400 results for Cloud Strife Relationship tags jump up to over 1500. Amazing.

Now, the issue (imo) when looking up Relationship tags using "Any status" is that it'll also give you non-canonical tags that are synned to canonical tags, which means you'll just end up with a bunch of repeats. It'll be a lot of things like, One-Sided Zack Fair/Cloud Strife, or Past Aerith Gainsborough/Cloud Strife, or tags written in the wrong order like Cloud Strife/Zack Fair, or tags formatted wrong like Zack Fair x Cloud Strife.

Therefore, especially when looking up very popular character, I wouldn't suggest looking up non-canonical Relationship tags. For unpopular characters, though, the list should be short enough to be combed through without too much of a hassle. Unfortunately, this means you might miss newly created Relationship tags that haven't been made canonical yet.

I'd suggest trying more keywords in this case. For example, in the Cloud Strife/Reeve Tuesti example, I could have just looked up the full tag straight away:

Additional Information about Tags

To conclude this post, I'll talk about something some people might not know regarding AO3 tags.

Tags are actually added to the database as soon as they're either added to a drafted work, added to a bookmark, or approved for an exchange. So, for example, if you created a work, tagged it Peter Parker/Cloud Strife, saved it as a draft, and never ended up actually posting the fic, the tag will still have been created.

Similarly, in the Cloud/Reeve screenshot above, I would wager that the shiptags with "(CoFF7)" and "(FF7 Remake)" at the end were actually created for exchange purposes, so people could ask for specific versions of the ship.

This is also what happened with the Odamaki-hakase | Professor Birch/Platane-hakase | Professor Augustine Sycamore shiptag, which was created when I submitted the ship for an exchange a few months ago. As a result, it's empty because no work was posted for it (YET.)

This applies to all tags, including freeforms. This is why, when looking up tags using this method, you'll sometimes run into tags that have no work tied to them.

...Okay, I think I've covered all that I wanted to cover! If you have questions, please feel free to ask them in the comments of this post. I hope this can be of help to anyone. When I discovered this option a few years back, I was floored. I genuinely think it's really useful, as someone who has a hard time with the regular AO3 search.

If you got to the end of this (very long) post, thank you for reading!

[m34gs]

Tag Game:

Twenty Questions for Fic Writers:

Thanks to @voxofthevoid for tagging me 💜💜💜 I loved all your answers btw. (also sorry I haven't been doing a lot of tag games lately; if I don't get the notification at the exact moment I have both time and motivation, it tends to not get done...😅)

How many works do you have on AO3? Currently I have 87 posted fics!

What's your total AO3 word count? 589 678

What fandoms do you write for? Currently I am actively writing for: Blue exorcist, Twisted Wonderland, Bleach, and Haikyuu!! I also have fics posted for: BNHA, JJK, Fire Force, and Danganronpa: Trigger Happy Havoc I am planning to post more fics in some of those fandoms again, and I have more I would like to eventually write for :)

What are your top five fics by kudos? This was interesting for me; since I don't usually organize my stats by kudos...lol! United - BNHA Hogwarts AU (first fic I started posting on AO3...kinda surprised because I haven't touched this one in almost a year...I just really lost a lot of my motivation to work on anything related to HP, however loosely it may be...though I guess this might have the most simply because it's my oldest) The Ones You Lose are the Ones I See - BNHA au where Izuku has a quirk that allows him to see ghosts (again; surprised...I haven't had much time/energy/motivation to work on this one either) Lost - Haikyuu!! mer au; Shouyou gets lost from his pod and has to find his way back home. I wrote this one in my first 2 years of writing on AO3...I was very into Haikyuu at the time lol. The Sushi Protocol - Fire Force, Part of the Bar AU @kimium and I came up with together. Licht has some very poor dietary habits and once Companies 7 and 8 catch on, they intervene. Unforgiving Winter - BNHA AU where Katsuki and Izuku get stuck outside in the cold as children. (heed tags and warnings)

Do you respond to comments? Why or why not? I do! I love interacting with people who enjoyed my writing, and I like to discuss my ideas, so it's a win-win when I get a lovely comment and then get to discuss the fic in more depth with someone!

What is the fic you wrote with the angstiest ending? Hmmm, probably Unforgiving Winter (as listed above). I think that's the one I've gotten the most comments about breaking people's hearts on. That being said, angst is subjective and I've got more than a few angsty fics (my friends know I was an edgelord child at heart even if I wasn't allowed to show it and I have only gotten worse with my angsty bullshit hahaha)

What's the fic you wrote with the happiest ending? Not 100% sure. Probably Three Orange Hearts (Haikyuu UshiHina Youtuber AU)? I think that was one of my happiest fics and it has a pretty fluffy and happy ending for me. But, to be honest maybe someone has a different opinion. I started writing more fluffy/happy fics because of @kimium. (she challenged me to do so and I love her for constantly helping me grow in my writing)

Do you get hate on fic? I wouldn't classify it as hate, but once in a while I will get a comment that is worded rudely or sounds like they're criticizing how I've written characters. Usually for those I either ask for clarification because I may have misread the tone or explain what thoughts go into why the character is acting that way. I mean, when it comes to critique on how I've written the characters...the bottom line is I write them the way that makes sense to me and makes me happy, so I always will say if someone doesn't like the way I've done it they can always write the idea their way and have fun with it. Most times this clears up any misunderstandings and I feel like it encourages communication and learning. I don't like to feel like I've lashed out at someone, it makes me feel bad.

Do you write smut? Yes :D and unless you're one of my trusted adult friends who ask me where it is, you will never find out where I post it. Mwaahahahahaha

Do you write crossovers? Yup! The Glorious Bar AU is a giant crossover of all the fandoms @kimium and I decide to mash together! And I am currently working on my first AO3 contribution to our Sort of Saw Franchise AU for Twisted Wonderland. I hope to post it soon! (see my pinned post for links to all the asks where Kim and I have discussed this AU!)

Have you ever had a fic stolen? Not to my knowledge...but I've also locked down all my fics because of the AI scraping bullshit

Have you ever had a fic translated? Yes! I was very honoured!

Have you ever co-written a fic before? Currently Kim and I are co-writers for the Bar AU and the Saw AU! It's not necessarily one fic, but multiple fics in the same AU gathered in series!

What's your all-time favourite ship? I'm not sure if I have an overall favourite that I like more than all my other favourite ships...Right now, I'm really into Kalim/Idia from Twisted Wonderland. It makes me happy and I have been writing a lot for them.

What's a wip you want to finish but probably won't? I hate to label anything as "never going to finish" because I honestly always have plans to finish a story. I don't know if I have the heart to say I probably won't finish one. I do have a lot that I have taken a long break from though.

What are your writing strengths? I've had people tell me they really love how I write characters in fics, and that they enjoy my worldbuilding in AUs; I like to think those are my strengths.

What are your writing weaknesses? Scenery and describing it. I almost always have to go back and tweak things a little to make sure I didn't forget to include enough of the setting; but I am getting better at it.

Thoughts on writing dialogue in another language in fic? I would not feel confident enough to do most languages as full conversations (maybe a little German? though the Duolingo Owl probably feels otherwise based on how long it's been since my last lesson...) but I could probably manage a few phrases if a characters says something in another language in canon (like Rook Hunt).

First fandom you wrote for? Ever? Ever ever? I wrote a few chapters of a One Direction fanfic when I was 15 and it will never see the light of day again. I deleted it...lol. It wasn't posted on AO3, since I wasn't on the archive at that time.

Favourite fic you've written? I don't choose favourites among my children... (Right now it's A Different Kind of Magic; a multichapter Kalim/Idia fanfic set in an AU where Idia has to teach Kalim and Jamil to master their magic before it consumes them)

Well that was fun! I don't know if I have 20 writer friends/mutuals who are actively writing/posting fics to tag (who also haven't already been tagged...lol), so I'll tag the ones I can think of! If I miss you or you see this and want to join in, feel free!!

@kimium (sorry for tagging you so many times in this post lmfao), @collisiondiscourse, @sailormew4, @iluvmilkchoco, @vermillionair13, and anyone else who wants to join! No pressure, it's all for fun if you want to do it! 💜💜💜

[thegeminisage]

i just read broken road and i enjoyed it immensely. i just see it differently (not exactly negatively) now knowing you once(?) shipped sam and dean. does that have any influence into it🤔 just simply wondering not interrogating u. i’m interested in that essay even

(prev ask)

ok, my essay is under the cut. it's very, very long. everybody please consider this your warning for inc*st ships if you'd rather not get into it

first point: actually, broken road was not in any way secretly influenced by any previous love of sam/dean, if that helps you any. i wrote it in post november 5th mode and you better believe i was not remotely capable of thinking about anything else. thank you for enjoying it! it's very very special to me and the time i spent working on it and posting it are genuinely some of my fondest memories. cringe <3

second point: to just honestly answer your question, since you're not interrogating me and not being an asshole (thank you and i'm not saying that sarcastically, i have gotten sooo many rude asks about this), my answer is, "eh." my favorite was sam/dean/cas (once he started being on the show) because i'm a cas girl first and foremost. and if i come across a fic where the premise looks good i might check it out, but i basically never actively seek it out bc my preference rn is strongly for destiel.

(that said i do like sam and dean's relationship a lot as brothers or as...whatever else, i'm mostly neutral as long as we don't leave cas out of things, AND i'm perpetually bitter about sam getting left out in the cold, so if i wanna read good sam fic, sometimes people who ship him with the other main characters will do a better job than making him the perpetual longsuffering butt of the slash joke. same goes for early seasons spn fic: sometimes the sam/dean writers just do a better job. i very rarely get the hankering though because i like late seasons, such as season 13, who is my best friend. i think sam got pushed to the side SO STRONGLY that sometimes people sometimes subconsciously associate him being written well or mattering at all to dean beyond functioning as dean's accessory and/or proof/the catalyst of dean's traumatic upbringing with w*ncest. because otherwise they see him as a minor character (?!?!), and why are you bringing this minor character up so much if you're not secretly shipping him with dean, The Main Character? god, does anybody remember when SAM was the main character?? sorry there is truly not enough punctuation in this paragraph.)

now for the actual essay: i do get a little irritated/confused with how much pearl-clutching people do about sam/dean. like, this is EASILY the most harmless of the "problematic" ships. they're consenting adults, barring some tropes and genres i would not like to read nor discuss. and before cas came into the scene (and sometimes even after) we got baited just as hard for the two of them. it was weird and unsettling because the nature of inc*st is that it's often weird and unsettling. their dynamic is unhealthy and codependent and that's part of their appeal in whatever form. people who get the heebie jeebies because it's "problematic" are missing the point. there are also weird and unsettling vibes between dean and john, because that was part of the abuse. that actually played into broken road way more than any sam/dean stuff. he was a bad father and he made dean his backup wife and there was probably some emotional inc*st happening CANONICALLY. we all watched that in the show right?? but for some reason talking about that is fine and talking about whatever sam and dean have going on gets you put on block lists. because sometimes sam/dean fics are just for fun and whenever we talk about john we have people in fics punching him out or killing him. like we have to point our fingers at john and go "THAT'S BAD" loudly enough to ensure everyone else that we're above moral criticism. it's like. weirdly thought police-y. (and tbh, that's part of what inspired broken road - i was looking for nuance re: john and couldn't fucking find any because of this weird black-and-white mentality fandom has developed.)

and it's so hypocritical sometimes! i remember deancas stuff used to have "w*ncest fans dni" banners all over it, in the guise of protecting and standing with survivors, but when actual survivors would say things like "actually those banners just remind me of everything all over again" they would mostly get ignored?? it was so performative, like this kneejerk reaction of promising everybody YOU know what's bad so you won't get ostracized. my tastes don't usually run very dark so most of the sam/dean i wrote or read was way less unhealthy than, say, whatever lestat and louis have going on in iwtv. but nobody's making blocklists of iwtv enjoyers because that would be insane? there's just a little bit of cognitive dissonance happening i think.

like, obviously, yes, in real life inc*st pretty much always speaks to something having gone extremely wrong in someone's life and a dynamic being extremely unhealthy at best, but in fiction it is possible for it to be consensual, even if it is a little fucked up or the people involved are a little damaged.

(warning for discussion of rape fic from here down) i'm not actually totally anti-censorship though. i do firmly believe there are some types of fiction people shouldn't write! i wouldn't read parent/child anything, or any kind of rape fic unless it's tastefully engaging with the aftermath of something like that. sam/dean just seems so, so tame to me in comparison to some of the other stuff fandom has come up with. in 2014-2016 people used to write a thing called hydra trash party, which was just porn of bucky barnes being gang-raped by hydra agents. ie nazis. and half the time he was headcanoned as jewish. like??? can you even GET more tasteless than that??? i hated that shit (and i still do, deeply). i talked about how much i hated it all the time and people would come after me like "well who are YOU to censor other people? what if the authors are survivors working through their own trauma? you can't ask authors to disclose that kinda stuff if they want a license to write graphic nazi rape porn!" i got literal hate mail about it. equal but opposite energy of those dni banners - both people claiming it was "about survivors" to justify doing, uh, whatever they wanted. it's just fucking wild to me that in less than a decade my stance of "i don't care what people write if everybody is a CONSENTING ADULT," while not changing at all whatsoever, moved from being too prudish to being too problematic.

another side tangent (sorry, you did ask) is that i was a slash writer on FFN in the video game and anime fandoms during the late 00s (ironically, quite a lot of straight men there) and holy mother of god...the kind of shit comments i would get for putting two dudes kissing in the same fic, even though it was PLASTERED with disclaimers. i felt like the mob was after me sometimes lol. and that's sort of the way i felt once those w*ncest asks started. i remember back in the peak of post nov 5 stuff if i like, reblogged art or gifs from certain blogs people would write in to tell me that person was a sam/dean shipper so i'd take down my (gen, non sam/dean) post. i felt paranoid (and still feel paranoid) reblogging GEN sam & dean content because i'm worried people will take it the wrong way. i actually deleted one from my drafts earlier today - i'd been thinking about it but then i got your ask and decided against it, lol. what a way to live! especially in fandom, which is (and i hate to politicize it this way but it's true) a queer-adjacent space that's supposed to be free of the kind of judgment you'd get for not being a normie irl.

on FFN, one of the many pairings i wrote for actually involved an underaged teenager and and an adult. but as i was the same age as that teenager at the time, and had a crush on that adult character and toootally wanted to marry him, i couldn't see what was wrong with pairing them together. like i quite literally did not know better. it's a pairing that actually disgusts me now, lol. if people now could send me asks about what i did back then to try and "gotcha" me (they can't because it's all been deleted) i'd be really pissed about it, because you can't continue to punish people after they've learned and grown. everyone's been so terribly kind about broken road, and there's this real fear of losing or tainting something so special and wonderful just because people have a problem with the fics you read or wrote a decade ago. it sucks. i do think there's a line (like, maybe don't write nazi rape porn, also whatever was going on with that j2 haiti fic), but i also think we've got to try at least a little not to reinvent puritanism on fandom websites of all places. that's wack.

and man, i know i said it already, but i just keep coming back to w*ncest being SO TAME? like it doesn't compute that someone would get icked out over CONSENSUAL sam/dean and meanwhile ship for example rowena/ketch like he didn't torture her or sam/lucifer because they like mark pellegrino like lucifer isn't sam's fucking rapist. and not even get "in trouble" for it. it boggles the mind.

and like, idk. i initially got my hackles up at your ask because it's 1 of a million, and i could dodge the questions by taking down the one sam/dean/cas fic on my profile ig, but that fic is how i met a good friend of mine and she'd be sad if i were to take it down, so i don't want to have to, and i shouldn't have to. you know??

my final thought: i've been writing fanfic for 20 years. 20 years ago when i started writing fic sam/dean would have been unacceptable because it's two men. 10 years ago it was fine because they were the ONLY two men, and every woman in supernatural got bullied off of the show, and people writing het got hatemail. now it's unacceptable again because of the inc*st. 10 years from now, who knows what will happen? so i try to base my morals on what i feel i can live with as a person rather than what a bunch of people on the internet (i'm not including you in that) tell me what i can or can't do, or should or shouldn't do.

i really hope this answer doesn't like, ruin broken road for you, or anyone else. i don't think of myself As A W*ncest Shipper at all, but neither do i deny that i used to be, and i certainly don't have any problem with (again) keyword CONSENTING keyword ADULTS in fanfic now, even if they do happen to be siblings ¯\_(ツ)_/¯ i just hope that like someday we find a middle ground where we can live and let live but also have enough sense not to write nazi erotica. if that's problematic of me, so be it 😔✊

[leiathewarrior]

20 Questions for Writers

tagged by @theglasscat. I decided I don't really mind if anyone who knows me in real life sees this, so, here we go. Thanks!

1. How many works do you have on A03?

I have 22!

2. What is your A03 word count?

It's 66,612 but that's not super accurate because it includes a fic that I'm listed as a co-author on but didn't do most of the writing for. So the actual number is something like 25,000 lol

3. What fandoms do you write for?

Lots of various versions of Sherlock Holmes (the Paternoster Gang, Geordi and Data from Star Trek, etc.) I have a few older fics from the Carmilla days, and some newer ones from Psychonauts and Professor Layton.

4. What are your top 5 fics by Kudos?

The Perceivers - Data/Geordi, Star Trek TNG [2014]

and all your streetfighting years won't help you anymore - Jenny/Vastra, Doctor Who [2017]

Adoration - Jenny/Vastra, Doctor Who [2020]

Cold - Jenny/Vastra, Doctor Who [2014]

but got it just don't get it - Jenny/Vastra, Doctor Who [2018]

5. Do you respond to comments?

Yes! It might take me a while, but I'll literally put "respond to A03 comments" on my to-do list if I get the email notification.

6. What is the fic you wrote with the angstiest ending?

what makes love the exception? - Jenny Flint/Madame Vastra, Doctor Who [2018]

I was clearly going through something with this one but I have no idea what it was. There was supposed to be another story that would resolve the angst but I never got around to it. So now they're stuck like that forever! Oh well.

7. What is the fic you wrote with the happiest ending?

i'll drive us into outer space / where we can't hear what people say - Bob Zanotto/Helmut Fullbear, Psychonauts 2 [2021]

I'm a sucker for gay old men with angsty time gaps / fake deaths. I was glad to write something happy for these two beyond what was explored in the game.

8. Do you get hate on fics?

Nah but I'm sure it's just because I've never been big enough.

9. Do you write smut? If so which kind?

Not really sure what "which kind" is getting at here. But yeah absolutely. Write the fic you want to see in the world. I started writing fic because I never could find the specific scenarios I wanted. And if that gives me a reputation in certain circles for being horny, so be it 😅 (also, my top fic by hits is "Jenny's on her period when Vastra eats her out" that I wrote at nineteen years old, so, y'know. it brings the hits.)

10. Do you write crossovers? What's the craziest crossover you've ever written?

Generally no, but 60 for 60, where I put the Paternoster Gang in the Sherlock Holmes canon, is technically a crossover.

11. Have you ever had a fic stolen?

Not to my knowledge. I have had a Steam guide stolen. The instant I posted it, it was immediately farmed by a bunch of AI gamer guide sites, which was annoying and apparently impossible to prevent.

12. Have you ever had a fic translated?

Yes, I had a fic translated into Russian once! Unfortunately I found out while writing this post that it looks like it's been taken down.

13. Have you ever co-written a fic before?

Yes, sort of. I've discussed prompts and ideas with friends and heavily encouraged them to write.

14. What's your all time favorite ship?

Jenny Flint and Madame Vastra from Doctor Who

15. What's a WIP you want to finish but doubt you ever will?

Oof. I usually won't post a fic unless it's complete. When I started 60 for 60 (a Sherlock Holmes fandom tradition) I thought it would be a fun writing exercise to try to say something interesting in only 60 words. But I also wanted to fully reread each story in order to write about it, and that's been a process. I'll get around to it eventually.

16. What are your writing strengths?

My fics are usually on the shorter side because I enjoy concise characterization and dialogue snippets. Also, I love pulling together lots of different metaphors, connections, and references to other media.

17. What are your writing weaknesses?

Any sort of plot whatsoever. I don't know that I've ever come up with an original character, either.

18. Thoughts on writing dialogue in another language in fic?

If I'm reading it, much like with song lyrics, my eyes will just skim right over it. I don't mind. I don't think I've tried it myself though.

19. First fandom you wrote for?

I think this is technically Sherlock Holmes, although I used to write wizard rock (Harry Potter fan music) back in the good old days of like. 2011 and that probably also counts

20. Favorite fic you've written?

I think favorite fic to read and favorite fic to write are two different things; I'm going to interpret this as the one with the best writing process:

Sontar the Brave! A challenge to myself to beat the horny allegations and also write Strax-centric fic, because I completely ignored him everywhere else and felt bad. It's not the fic that I think has my strongest writing, but it was a lot of fun to do and came together very quickly compared to my other works.

I'm not going to tag anyone else here because I don't know anyone that'd be interested who wasn't tagged already, but thanks again @theglasscat! Always nice to revisit my stuff.

[esperata]

It's a long list of writer asks so I asked a bunch: 4, 6, 15, 16, 29, 30, 50, 73, and 77

These were some interesting questions to think about.

4. How do you choose which fics to write?

Sometimes I'm really focused on one particular story, daydreaming scenes which I just have to write. Or occasionally scenes in future fics which mean I have to write all the build up. Mostly I'm not that driven and its harder to choose. An arbitary time limit on a fic will help prompt me to get my butt in gear, for example designating a plot for a gift or event. Nanowrimo has been useful for helping me make progress on the bigger projects. Of course if I get to discuss my ideas with people then I'll often be incentivised and the new poll function has helped me choose sometimes too.

6. What's the last line you wrote?

"There seemed no reason to reveal that access to his carrier pigeons was currently in doubt." This was part of some editing I was doing recently, added in to clarify details which weren't perhaps clear.

15. What's your favourite time to write?

My actual favourite time to write is in the afternoon, but only if I'm going to have an undistrubed stretch to focus. More often I will do writing between about 10pm and 12pm which is when I have time to myself.

16. Do you write by hand, on your phone, or on your laptop?

All three. Normally I will use my laptop to work on fics but if I'm experiencing writers block or otherwise struggling with getting going then I will often switch to pencil and paper. I find words flow easier that way although the downside is that I then have to type it up. The phone is only for taking quick notes of scenes or sentences which I'll forget if I don't get down quick.

29. What's something about your writing that you're proud of?

Oof, difficult. I think I do show-don't-tell quite well. Readers get emotional impact from scenes rather than verbal explanations. Of course, I'm also proud of writing so many variants of riddlebird. Not sure anyone else has the range I do there.

30. How much do you edit your fics? Do you edit as you write or wait until you finish the first draft?

I always do at least one read through of my fics before they get posted but it does depend on the length of fic and the specific nature of what I want to tell how much editing they require. If its a one-shot that's just written in fun then I basically just check for spelling. Multi-chapter fics where I'm going for a particular emotion or concept need checking to see that I've done it justice. Currently I'm editing my longest fic yet and I literally have a notebook to ensure I'm keeping facts straight and the timeline consistent throughout.

50. How would you describe your writing style?

I'd say I'm light on extraneous description and highly focused on character interactions. An online writing comparison site said I wrote like Arthur Clarke which I felt was very complimentary.

73. What do you tend to get complimented on the most about your writing?

I tend to get comments gushing over the feelings I've inspired from the characters being repressed or misunderstandings. Readers want to scream at the characters, I think.

77. Why do you enjoy writing fanfiction?

This is something I've thought about recently, due to depression striking after so much AI discourse going on. Writing is an act of expression and exploring concepts I might not otherwise come to grips with. Its creating stories I want to read. Sharing that fiction is a different thing and the reason I do that is because I want to bond with others over my love of a franchise and its characters. I want others to get the same sort of enjoyment I do. And I'd love to hear back from readers if they do.

[kathleenkatmary]

The Murder of William Desmond Taylor: a selection of movies made by, starring, or otherwise involving people who were a part of the case/investigation (with links to where they're available on youtube)

I've been fascinated by the unsolved murder for a long time. But when I first started reading about it over 20 years ago, I had really no access to any of the movies made by or starring any of the people involved in the case, or any of the titles that might sometimes pop up when the case is discussed. Since then, youtube has become a really great hub for classic movies, particularly those that are in the public domain. And since Taylor was murdered in 1922, so many of those movies are now in the public domain.

I feel like once I finally got to start seeing movies with these actors in them, movies made by these writers and directors (including Taylor himself), it made the case feel a little more tangible to me, and helped me sort of look at it from different perspectives than I had in the past.

So I thought I'd put a little list together on letterboxd of some of these movies and links to them on youtube. To be clear, this is not a list of every single movie every single person involved ever made. For one thing, there are a lot of movies among those filmographies that are lost. For another, the point here isn't to just be a comprehensive collection. It's just a selection. Some people involved in the case have very little too choose from as most of their films are either lost or still not widely available. With others, I had a large selection to choose from. I did try to prioritize making choices where there was some overlap, like where Taylor worked with someone who would later be a witness or a suspect in his death, or where future suspects and/or witnesses worked together, because I feel like that does help to give a real sense of how interconnected a lot of the people surrounding this case really were.

I did try to include as much information as I could regarding each person and their connection to the case in the notes for the entries. But this is by no means comprehensive information. I only provided info that provides further context for the specific person in question. There's so much about the case that I don't go into because it's further removed from the Hollywood stuff. It's also not well cited or anything like that because I pulled most of it up for memory. So while I certainly hope this is helpful to anyone who might be new to the case, I strongly urge you to seek out further information and better, more thoroughly researched sources because what I've got here is just barely scratching the surface. And if anyone who is really well acquainted with the case notices any errors in the information I provided, please let me know! It's been a long time since I really dug into any research on the topic, so my memory might be rusty and it's entirely possible some of my info is out of date.

I hope that this is something that people find interesting and helpful!

[sasheneskywalker]

i was going to reblog this with my commentary added in the tags but it turns out i also have a lot to say. first of all, it was a pleasure to read your thoughts and i entirely agree, you've articulated a lot of what i've been struggling to put into words. if you want to write more fandom meta, i'd always be delighted to read it.

wfa being both the effect and the cause of fanonification of comics is very true. generally, i see this trend of simplifying character dynamics, especially found family dynamics, in a lot of fandoms. i know that sometimes in order to write an alternate universe fic you have to tweak the characterization a bit for it to make sense, but i think most characters have core personality traits and fundamental relationships and if you get rid of them it feels like it's not even the same character anymore. not to mention that the oversimplification isn't limited just to fics, it frequently appears in posts about headcanons that seem to want to be based on canon. and people write fics explicitly based on comics they haven't read which is so baffling to me. how many people writing post-red robin dick & tim & damian fics have actually read red robin and tim's robin solo so they have an accurate picture of these characters' relationships and know the events with full context? how many people writing about tim's childhood actually read comics with janet and jack drake and seen how tim interacts with them and how he feels about them? that's how we end up with "dick wanted to send tim to arkham" and "tim's parents left 3-year-old tim alone for months in the drake mansion next to wayne manor" which are both completely untrue (a lot of it is also people projecting onto tim but that's a topic for another post). i understand why people say "even the comic writers don't keep consistent characterization so why should i bother?" because there are some wildly ooc comics out there, but i disagree with this view. in most cases (at least in post-crisis era) there exist some stable character traits that can be observed across multiple different runs written by multiple different writers.

i'd love to read an in-depth exploration of differences between fanon and canon portrays of batfam members. i know there are some posts like that already but from what i've seen most are short and try to overcompensate for fanon too much (fanon dick is happy, naive, and optimistic? let's emphasize how manipulative, depressed, and powerful he really is, to a point where it also feels exaggerated and not canon, just in a different way). and fanon evolves a lot too, it'd be interesting to see how fanon!jason from 2018 differs from fanon!jason in 2024 (for example i've seen a fanon vs canon post saying fanon!jason is often portrayed as a rapist in angst fics and i was so confused because i've never encountered a fic like that, but apparently that was a thing a few years ago. here's an amusing post about batfam fanon from 2014). and if you want to elaborate more on the "justice league meets the batfam" aus, i'd also love to listen. here's a great post about it, btw. (may i also suggest discussing the titans tower aus because i feel they are in a very similar category as the "justice league meets the batfam" aus?)

and i agree that telling people to just read comics in an annoyed tone is not going to help anyone. but on the other hand the fact that telling people to read comics in a polite way is also considered rude feels a bit weird to me too. that's why i avoid talking about fanon vs canon stuff most of the time, because it's a very emotional topic to a lot of people and requires some nuance (and we all know social media is allergic to nuance). i agree that sometimes comics might be hard to get into, even with reading lists and other people willing to help and guide you, but i also think that a lot of people overestimate the difficulty of it. it just takes a bit of looking around and asking people. and getting comics in a digital format is also easy, it took me 10 minutes of googling to find a site where i could download comics for free and read them on my computer (obviously it's piracy, but this is a "be gay do crime" website so i don't think it'd be a problem for most people).

and from what i've noticed, both fanon and canon fans sometimes have a superiority complex and insist that their way is the best way to interact with fandom which contributes to a hostile fandom environment. if i see another post saying "if you like fanon!jason you should read canon!helena :)" i'm going to scream. it ignores so many things about these characters and why people like them to make superficial comparisons and feels very condescending to jason fans. (but also, i'm on a dc fanfic server where people often ask for fanfic recommendations and i frequently have to hold back from saying "this premise you're looking for in a fic is exactly what happened in 'this comic', maybe read that first???" so i kind of get it.)

i'll quote here a post that i find interesting and whose conclusions i agree with:

"All this leads me to conclude that the majority of fanon fans don’t actually like the characters all that much; they’re convenient excuses for them to participate in fandom. Which I also think is, in no small part, a reason why so many of them react so negatively to being told to pick up a comic; they came to this fandom specifically to consume it as a fandom, because they wanted the fandom experience without having to consume a canon. This is not a phenomena unique to the batfam fandom (again, see the Migratory Slash Fandom), but it does fascinate me. While fandom is often said to be an experience focusing on transformative art, I think it’s also safe to say that, especially as fandom has become more mainstream, an increasing amount of people are looking to it less as a way to engage with their favourite pieces of media, and more as a type of media in and of itself. I think the reasons for this are similar to the reasons mass media entertainment like the MCU are so popular; you gain a lot of enjoyment out of it with very little risk involved. By consuming the same fics of the same characters (or the same archetypes) over and over again, you are rarely at risk of being challenged or even disappointed. It’s often very clear right from the start whether or not a fic will appeal to you, and if it isn’t, it’s easy to just look for another one. It requires less emotional investment than most other types of media, even ‘popcorn media’ like the MCU - or, yes, DC Comics. It’s safe, it’s enjoyable, it’s comforting, like McDonalds, but just like McDonalds, it’s ultimately bland and unsubstantial."

there's of course another issue that i don't see people talking about as much and it's the difficulty of reading comics as a medium. it took me a while to get used to the conventions of the medium, to learn where to look first when i open a new page, which speech bubble to read first, how to interpret fight scenes when at first glance they seem very messy. and i still sometimes have to stare at a panel for a while to understand what exactly is going on (i had the same issues with manga). i'll be honest, i vastly prefer movies and books to comics, no matter how many comics i read. but i'll keep reading them because i want to experience the story and there's no alternative (except maybe novelization, but even they're not exactly the same).

i also want to point out that a lot of people get into canon content after reading many fanon fics. and even when they read the comics, they interpret them through fanon lens because it's difficult to get rid of the preconceived notions when you've been reading fics with these characters for months before picking up your first comic. your fanon history will color how you understand these characters and their canon actions.

the batfam being seen as a nuclear family in fanon is an especially interesting thing. many people have written about that so i'll just link their posts here: "if the nature of two characters’ relationship hinges on technicalities like whether they call each other brother/sister in canon, or the batfam wiki, or their adoption papers by the same dude instead of the actual nature of their relationship, which for some of them, does not fit siblings at all, then you could hardly call them siblings, even by the standards of canon itself", "I’m tired of purity police batfam fans trying to force their personal interpretation of decades old comic book characters on everyone", "“batfam” content to but to what end", "The Batfamily Shouldn’t Work", "The Wayne family", and the entire fanlore page about batfamily. it feels especially relevant when it comes to shipping and the entire fandom discourse around "batcest", which, again, many people have written about. but another thing i've noticed is how often characters from outside the batfam are written in a very ooc way to fit a ship dynamic. wally, roy, kon, and jon are especially victims of that (and their supporting cast, interesting relationships and backstory details are often entirely erased. for example, where is linda park in wally/dick fics? is superboy's backstory from before he joined the young justice ever mentioned in tim/kon fics?). i sincerely sympathize with fans who can't even go into these characters' tags without being flooded with ooc ship posts. i don't know the solution to this problem. even when a character is part of the ship, i think you should tag your post with this character's name. i guess "don't like don't read" and "block and move on" are golden rules, but i totally get the frustration of non-batfam dc fans when they see batfamily inserted into every single dc thing, both in official comics and in fandom spaces.

it's not limited to shipping either. so many people want the "good dad bruce" but also need a bad parental figure for their fics so they vilify jack drake or oliver queen and now some fans seriously think ollie is a worse father than bruce in canon. or i've heard from a mutual that she was on a deathstroke-centric discord server where they basically claimed every atrocity slade has committed was misinterpreted/never actually happened/shouldn't be discussed because it ruins the mood. i know why people get so defensive when you point out their favorite character has flaws and done some terrible things, especially when it's not relevant to the discussion and the only reason someone does it is to announce how much they hate your fave, but pretending it never happened makes talking even more difficult and prevents you from exploring interesting aspects of the character. not to mention if you ignore some events that present your favorite character in negative light, suddenly a lot of other characters' actions stop making sense. (for example if you ignore that jason was a full-on villain (maybe antivillain?) running around gotham and actively killing people in Batman and Robin, it doesn't make sense for dick to put him in arkham. and then you have people crying "why would meanie dick put his traumatized little brother jason in arkham with the joker?" completely ignoring the context and skipping over relevant information.) a good post about a similar problem when it comes to steph is here.

this is just me complaining, but the character tags on tumblr are so full of fanon posts and ooc "incorrect quotes" that it's frustrating to look at for someone who enjoys these characters in a completely different way. i don't want to be a killjoy and spoil people's fun or request that everyone caters to my desires but occasionally i just need to vent somewhere (i mostly do it with friends in dms so as not to create a negative atmosphere but sometimes it's just not enough). it's just a bit annoying to me when fanon starts to completely dominate fandom spaces. and you can't even filter it out because both fanon fans and canon fans use the exact same character tags and a lot of people don't tag their fics with a variation of "i don't read comics", which i understand, you're not required to do so, i just think it might be useful.

i enjoy some fanon tropes and fics based on them and i sometimes read fics from fandoms where i’ve never interacted with any of the source material. reading fandom blind can be fun. i do not, however, think that makes me actually knowledgeable on the subject. i also wouldn’t be writing my own fics where i bash characters and critique plot points of the original media when I’ve never actually gotten a firsthand look at it as a source. that just leads to a wack-ass game of fic of theseus where other people who haven’t interacted with the original fandom read my fic of a fic, write their own fic of a fic, and every deviation gets further and further away from canon so it’s not even the same story remotely anymore. and then those people will get into fights on tumblr with people who do know the source material and it’s like bro, you didn’t even pass the introductory course.

again, you can write whatever you want, interact with fandom however you want, but please don't claim your headcanons and interpretations are based on canon when you avoid reading comics. if you want to support your analysis with panels, at least read the comics where they're from first and make sure they're not taken out of context. (there's this post going around with the panel of bruce hugging cass from her batgirl solo which is supposed to prove he's a good dad. it completely misses the point of that scene and how terrible bruce was to her for the entire run.)

and finally we arrive at more controversial stuff, namely fandom racism and misogyny. i'm just going to once again quote this post because i think it's very well put:

"This focus on fandom trends and tropes over actual creativity or care for the characters is also visible in the way bigotry manifests in this fandom; namely, in literally the exact way you’d expect. The female characters and characters of colour are shuffled to the side, non-existent, vilified, and/or reduced to harmful stereotypes. Barbara is probably the one I saw the most often in fanfic, but usually just as ‘Dick’s girlfriend’, and even then, she was often vilified for Dick angst (especially in fics about examining Dick’s trauma from his canon sexual assault; Kori also often gets the short end of the stick in those). After that, probably Stephanie, who fanon fans don’t really seem to know what to do with, so she’s basically just there as comic relief waffle girl, most of the time, though sometimes she can be used to either further Tim angst or further vilify Tim, whatever the fic calls for. Cass has gotten included more in batfam fics as of late, likely in response to critiques of fandom racism for leaving her out, but again, it’s clear people don’t actually know what to do with her. She’s often reduced to a racist stereotype of a quite, stoic therapist for whatever guy du jour needs it. That, or she’s in Hong Kong and just not there. Duke especially gets left in the dust in fandom, usually just being non-existent, but when he’s there, he’s almost always nothing more than the straight man for the actual fun characters to play off of. Talia probably has it the worst, though, and almost universally gets vilified by fanon stans in order to write sadboy Damian. All of this is extremely predictable behaviour and falls entirely in line with general fandom misogyny and racism; ignoring or vilifying women and characters of colour, or using them as very minor characters at best. The only two characters of colour who aren’t regularly left out of fic are Dick and Damian, who are both also conveniently the two characters most often drawn and written in a whitewashed manner. In addition, there’s a real trend of demonizing Damian in fanon fics where he isn’t written as an abused sadboy, which I’d argue is in no small part due to fandom racism, considering Damian’s behaviour is in no way as bad as Jason’s, who doesn’t get anywhere close to the same demonization and gets woobiefied instead. I also find it convenient that Damian is probably the batboy who receives the most vilification in fic, when he’s the most obviously non-white of the batboys they’re willing to acknowledge. Fandom often cries for more diversity in canon, only to ignore the diversity already there and focus on the same generic white guys. The batfam fandom is a brilliant example of this. Which is not to say that fandom racism and misogyny isn’t present in the canon parts of the fandom (and canon itself); it absolutely 100% is. But I’ve found that canon fans are also more likely to like and care about at least one of the characters I’ve listed as ignored/vilified, and are willing to create and consume content for them, whereas fanon fans… aren’t, really. I’ve never seen a fan of fanon Cass the way I’ve seen fans of fanon Dick, for example. Obviously, this could just be by coincidence, or I’ve just surrounded myself with people like that, but it’s been a trend I noticed. Racism and misogyny is present in every part of this fandom and should be addressed as such, but I feel like it manifests the most blatantly in the fanon parts of this fandom."

disclaimer: i don't think every person who doesn't include cass or duke in their fics is sexist or racist. (for example, if you write fics set only in post-crisis era it's understandable why duke would be absent.) i'm not here to accuse anyone of being a bigot. i simply think it's worth examining why we prefer certain characters to others, why we include certain characters in fics and not others, and why we characterize certain characters in fanon the way they're characterized. finally, i urge everyone to read these two essays: What Fandom Racism Looks Like: Beige Blank Slates and What Fandom Racism Looks Like: Migratory Slash Fandom’s Focus. they really describe a lot of batfam fandom trends and how they manifest in a lot of other fandoms and fandom spaces.

thank you for listening to my ramblings <3

@sasheneskywalker i love when you enable me to ramble about things because oh my god do i have thoughts.

so recently, i made a post discussing the phenomena of DC x DP and DC x MLB crossovers and why they exist and part of that post was discussing how largely speaking, at least half, if not more of the Batfamily fandom doesn't read the comics. if they interact with canon DC material, it's adaptations that are their own sequestered universes and oftentimes not remotely comic accurate or seeking to be. the most obvious example is the Young Justice cartoon. i'm adding a cut to this post because it just got so long i'm so sorry.

a lot of times, when people are discussing the "why" of this oversaturation of fanon-only fandom, they blame Wayne Family Adventures. and i think, to a point, i agree WFA is responsible for a boom in this fandom. but as someone who's been in the fandom long before we had WFA, to me it's the other way around. WFA was DC's way of meeting the demand for this easy-to-get-into, easy-to-consume content about the Batfamily that predicates itself on the comics just enough to be vaguely the same characters, but has a more sitcom, slice-of-life sort of vibe so DC could profit off of this section of the fanbase that otherwise wasn't consuming its primary material. and well, it's definitely worked. not only that, but i have a weird theory that the decline in the MCU also led to the rise in the Batfamily fandom. when you consider the fan content that made the MCU popular within fandom, it's that 2012 "they all live in Avengers Tower and Thor is eating poptarts and Clint is in the vents and there are movie nights every Friday" sort of vibe. those were the fics that were a hallmark of the fandom. and as the MCU has strayed from well... quality content in general, but specifically well-thought-out crossover content where characters can have their own arcs but also exist in a wider story where they clearly care about each other, that fandom was sort of homeless. so where do you go, if you like a superhero found family where you can have villains for angst but also stick them all in one big family-like home for silly crack and have a plethora of options for gay ships? well. you go to the Batfamily. if you write a crack/fluff Batfamily genfic with silly vibes and low stakes instead of say, a fic about a very specific comic issue even if it's a popular comic, you're *going* to get more traction for the former. because the fanbase largely just isn't reading the comics.

and i feel... complicated about this. because on one hand, Don't Like Don't Read has been a tenet of my fandom experience. i'm very pro-fandom and that includes fandom content i don't like. and to an extent, i do think this sort of should apply to Batfamily fanon. i enjoy having my moments with other comic purists, giggling over exceptionally painful OOC headcanons or even facepalming in pain over some content but it is on me to not interact with that content. you don't make fandom a better place by being hostile to fans who engage with canon in ways you don't approve of. and frankly? we as comic readers are not going to get non-comic fans to read the comics by being asshats to them. no one is going to want to pick up any comic if we get a superiority complex about it. and also, i feel like we're all lying to ourselves a little bit insisting comics are so, so easy to get into. they're not. we can just all agree, they're really not. i've been single-handedly helping my sister get into comics, specifically Wonder Woman and no matter how simple i make it, i watch her get frustrated trying to understand what pre-Crisis and post-Crisis and New-52 and Flashpoint and all these things mean and what a retcon vs a reboot is and what a Crisis Event is and what the hell Diana's current backstory even *is*. sure, you can give someone a beginner list of comics to start with and slowly dip their toes in the water but sooner or later, *something* is going to confuse them. comics as a medium straight up aren't going to be everyone's cup of tea. and if someone *just* wants to read silly fluffy fanfiction about the Batfamily, i can't entirely begrudge them for not wanting to take the hours and hours out of their day to understand this medium. it's not an accessible medium to get into. "read this and this, but this run is out of print and this run wasn't collected in trades at all but also make sure you read that event in order and this is a good comic but the backstory in it is retconned and you *have* to read this it's so important but it's also really bad because the author kind of sucks" sounds. ridiculous for someone who like. just wants to read some stuff about Nightwing. sometimes, we all make reading comics sort of sound like a chore, not a hobby.

so my point is, i do extend some grace to Batfamily fanon for existing. i think my biggest gripe is, as i said in my other post, misuse of tags (if you're not creating content about comics, maybe you don't need the comics fandom tag on Ao3, just the all media types umbrella tag) and my far bigger gripe: when panels are taken out of context to support fanon only headcanons. if i could impart *anything* onto the Batfamily fandom as a comic fan it'd be this: if you haven't *read* the comic, don't spread the panel. if you don't even know what comic it's *from*, don't spread the panel. it's fine to use comic panels to discuss your headcanons, but so often i see someone spreading a comic panel from a comic they haven't read, and when asked where it's from, they can't source it. a silly example that comes to mind is a post going around, taking a panel where Dick, in his internal monologue goes "here comes the sun. do do do do." and the post is claiming it's from him getting buried alive. when that panel comes from Nightwing (1996) #140, and he gets buried alive in Nightwing (1996) #127, two completely different moments frankensteined together. if you're going to not read the comics, that's completely fine, but unless you're sure of the source and the context, panels shouldn't be spread around. i'm sick of this specifically happening to Red Robin (2009), with ppl claiming Tim has totally killed people because he blew up some of Ra's' bases, when those panels within context, make it clear he gave everyone time to escape. and in a later arc in that very comic, Tim grapples with the idea of murdering Captain Boomerang, and *specifically chooses not to*, because he doesn't agree with murder, even against the person who has hurt him the most. if you'd like to write fanfiction where Tim is pro-murder and has done some sketch things, i'm totally on board and would probably like to read it. but there's no need to pretend it's canon from a few panels you saw out of context.

beyond that, i think it's not *entirely* correct to say that fanon is harmless. whenever i see very WFA-positive posts, they often default to the argument that WFA is fun and silly, and comic fans are killjoys for not liking it. which. i think is complicated because the issue is, WFA and fanon don't exist in a vacuum. if you like WFA power to you, i don't think it's the worst thing ever, but i do think it's degrading to these characters because honestly? they feel incompetent in the webtoon. it's one thing if WFA was solely a slice-of-life sort of deal, just having silly episodes where Bruce is taking on a PTA mom or they're all fighting for the last cookie. but when WFA attempts to take on more serious plots with these characters, it *fundamentally* falls flat in understanding them. i get it, Bruce comforting Jason having a panic attack because a noise reminded him of the crowbar felt cute in a microcosm, but i'm so serious when i say that storyline destroyed how like. half of this fandom understands Jason Todd's relationship to his trauma. it doesn't understand how he reacts when he's triggered, what coping mechanisms he seeks out, and how he would handle Bruce comforting him. even if i can believe for a brief moment Jason *would* be triggered by something like that, him running and trying to hide and then getting a hug from Bruce to make it okay is just. painful. WFA needs everything to be wrapped up in a nice, neat little bow. so even when it starts to tackle interesting concepts, it makes them fall flat with its need to be soft, low stakes, hurt/comfort. there was a two-parter episode that dealt with the complicated mutual hatred/jealousy between Tim and Damian that *almost* really interested me because for once, it felt like the webtoon wanted to explore canon messy dynamics. but of course, it had to be fixed with one conversation and a hug. you don't mend the *years* of issues these characters have like that. WFA isn't in character because these characters are hyperbole cartoonified versions of themselves to fit within the medium and be a cute happy family.

because that right there, is the crux of it. the Batfamily fanon seeks to simplify the Batfamily and force them into a nuclear family. there are so many fantastic posts on here discussing how the nuclear family-ification of the Batfam is eroding decades worth of complex histories so i won't go too far into that. but what i will say is that there's this need, in the Batfamily fandom, for the Batfamily to exist as a unit. they are a *family*. (honestly i think calling it the Batfamily is a misnomer and has been for years but we're in too deep now.) they exist to each other first, and any teams or friends they have come secondary to this family unit. you can *specifically* see this demonstrated in what headcanons are becoming popular these days. i have an entire lengthy meta in my drafts about how i *loathe* the "the Batfamily meets the Justice League" genre of fanfic because it makes no *sense*. in order to have this genre of fic exist, you must operate under the assumption that no one in the League, or adjacent to the League, knows the Batfamily exists and are thus utterly shocked to discover Batman has kids. and to make *that* work, you have to strip *every single Batfamily member* of such important dynamics and friendships so you can lock them all in Gotham for their whole lives. Dick can't have the Titans, Tim can't have Young Justice, Duke & Cass can't have the Outsiders, Jason can't have the Outlaws, Damian can't have the Supersons, Babs can't have the Birds of Prey, and so on. because if they had these relationships, they would be known to the League. the Batfamily fandom doesn't care about this, it's just "silly fanfiction", it's not trying to be serious. but how can you say you like Dick Grayson as a character if you don't understand the Titans *are* his family? at some points of his life, moreso than the Batfamily even is. it is constantly repeated to us in most comics with Dick how much the Titans mean to him. he *needs* them to be who he is. the same extends to every other Batfamily member, most of which have been full League members at this point. but in fanon, that doesn't matter. the Batfamily are a sequestered unit first, and all of those side relationships are secondary and easy to toss away, if it makes your fanfic work better.

and because they have to be a unit first, you have these forced relationships that dump years of actual canon material for the sake of making them get along. the Batfamily fandom has its favorites and well. it's no secret it's usually the boys. Jason and Tim by *far* stand out as fandom faves so, their dynamic is a heavily explored one. it does matter that in canon they don't tend to get along and especially don't see each other as family. what matters is that you can push dynamics onto them. and so fanon gets all twisted up about which Robin Tim actually idolized as a kid (Dick) and what member of the Batfamily is pro-murder but still an older sibling figure to him and looks out for him (Helena, or if you want the dynamic of once tried to harm Tim but they've reconciled, Jean-Paul) in favor of who's the most popular. Dick, Jason, Tim, and Damian are always going to be the standouts for popularity, but it's specifically Jason and Tim who are getting fanonized the most. and that's because really, we don't have much canon content of Tim that *isn't* the comics. for Dick you've got Young Justice (tv), for Damian you've got the DCAMU, for Jason you've sort of got the Under The Red Hood movie, but Tim sort of lingers in this limbo. (yes, he's in Young Justce (tv) and Titans (live action) but in neither is he the main character nor given much depth) so, he gets a *lot* projected onto him and has become fanonized. and even with Jason's animated movies, you don't see him interact with Tim, so people build it from the ground up how they want to see it, disregarding of canon comics. i think it's what makes him so popular in the first place- he's malleable into whatever you want or need him to be.

and of course, the fanon ignores other characters in the Batfamily it doesn't know about. i feel like you could create a tier list of Batfamily characters by their popularity, going from the fandom main characters: Tim, Jason, Bruce, Alfred, Dick, Damian. to the underrated: Steph, Duke, Babs, Cass. to the forgotten about unless they're convenient for a story: Kate, the Foxes, Helena Wayne, Carrie, Selina, Harper Row, Maps, Minhkhoa Khan. to the absolutely unknown: Helena Bertinelli, Jean-Paul Valley, Onyx Adams, the Clovers, Julia Pennyworth. it's not lost on me that the ignored characters tend to be women and people of color. which is both a canon and fanon problem, DC will continue adding interesting characters to the Batfamily, play with them for a few years, then drop them to default to the "Batboys" again. and it's a vicious cycle of the fandom only caring about the "Batboys", and thus people entering the fandom via fanon osmosis won't have content about the other characters, therefore, they won't be interested in those characters enough to create it, and it's just this ouroboros consuming itself, no matter how much canon content we have of these other characters. and it's ridiculous just how large the Batfamily is becoming because of this, which is why i'm a pre-Flashpoint fan, because then the Batfamily was contained enough to actually feel like a family with every character having nuances relationships with each other, but i digress because those thoughts could be their own post.

and the thing about fanon is it doesn't exist in a vacuum. DC has started turning the comics to accommodate for what fans are asking for, because fans will beg and beg for content they're not going to consume. Tim Drake: Robin had Tim as a coffee drinker because that's the fanon accepted headcanon. and the resolution of the recent Gotham War arc was for Bruce to buy this new manor for everyone to move in and call him. nevermind that most of these characters have their own homes and have zero reason to be moving in with Bruce. Tim had his marina in Tim Drake: Robin, Dick has Bludhaven, Cass and Steph have their little side of town in Batgirls (2022), and so on. these characters are being forced together as a unit, as one big happy family living together, to appease what non-comic fans want and it's damaging comic relationships. Robin: Knight Terrors saw Jason and Tim team up and working together, which i've seen varying opinions on but i personally despised. their interactions made zero sense for any of their canon history, but it appeases them being this close sibling relationship that fanon acts like they are. also the fears they faced in their respective knight terrors didn't make sense for either character and *only* worked as a moment of bringing them together so they could reassure each other and have this weird dreamscape bonding moment. the canon is bending itself to the will of fanon rather than building on the pre-existing complex relationships. Tim barely even gets along with his most important team in Dark Crisis: Young Justice because it seems the only important relationships the Batfamily can have is with each other. and when we do see them outside of the Batfamily, it only seems to be to relive the glory days like with World's Finest: Teen Titans, instead of developing them as they currently exist. this isn't recent in the comics, it feels like you can trace it back to the New-52, but it does feel a *lot* worse over the recent years. WFA is fine when it exists in its own bubble, but the simple truth is, DC content never exists on its own. the adaptations will reflect back onto the comics. (the damage the Young Justice cartoon has done to some characters should honestly be studied) and so it does frustrate me a bit when fanon-only or adaptation-only fans act like we're being nothing but killjoys for being frustrated with this. since they don't read the comics, they don't see how the comics are suffering as a result of this.

people argue about what's out of character for the comics they don't even read. i'm sorry, but "bad dad Bruce" is consistently canon. that man is just kind of shitty. when you take someone who has the drive he has, who has this need for the Mission first, who needs a teenager in spandex next to him to keep him off the ledge, that guy is sort of going to be a shitty father figure. he just is. not on purpose or with malice, but when you compare him to any other dad in a big DC family, he sure takes the cake. it's why characters like Oliver Queen tend to *really* fucking hate Bruce for how he treats his kids. Bruce loves fiercely, but he doesn't do well with putting that love first. and his love is a controlling one, he is very particular about controlling how others in the Batfamily are "allowed" to operate. it's what drives the wedge between him and Dick, it's why Steph is never a true daughter to him. (besides the reason of her needing to be a love interest to Tim first, anyway-) i've never understood the massive outcry of people reacting to Bruce kinda being shitty in comics they're not reading. there are some moments that get ridiculously OOC with how cartoonishly evil he is (the whole Gotham War arc and that... complicated mess with Jason) but largely if you want sitcom loving nuclear father Bruce, you have to accept that is a fanon thing, not a canon one. the Batfamily being a nuclear family in *general* is fanon. most of the "Batkids" don't actually see Bruce in a particularly fatherly light and begging for moments where he calls them his kids or they call him dad outside of incredibly specific circumstances is just OOC.

it's getting harder and harder to exist peacefully in this fandom it feels like, if you don't comply to the standard fanon has set. i'm happy people are having fun with their blorbos, even if in ways i dislike, but that "harmless fandom fun" does ripple it's way back to canon, eventually. so i end up pretty tangled with my feelings because are fans at fault for DC making these poor decisions? probably not, but it certainly feels like an unfortunate cause-and-effect situation whether at the end of the day, nobody is happy. and of course, i know some fanon-only fans are striving to be more canon accurate and care about canon dynamics more than others, but for them it's always going to be an uphill battle with the above-mentioned out-of-context panels thrown around and ever-pervasive fanon overtaking anything that's truly seeking to be canon compliant. so really, it sometimes feels like we're all losing.

[eiirisworkshop]

The Fanfic Author's Guide to Metatext

(As Used on Ao3) by Eiiri

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

Intro: What is Metatext?

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

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

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

Enter this guide!

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

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

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

Warning!

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

Some sexual terminology is used in an academic context.

A note from the author:

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

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

Contents

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

How To Use This Guide

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

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

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

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

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

Ratings

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

Ao3's system has four ratings:

General

Teen

Mature

Explicit

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Warnings

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

These warnings are:

Graphic Depictions Of Violence

Major Character Death

Rape/Non-Con

Underage

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

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

No Archive Warnings Apply

Choose Not To Use Archive Warnings

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

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

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

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

Fandom Tags

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Category

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

The category options are:

F/F

F/M

Gen

M/M

Multi

Other

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

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

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

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

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

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

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

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

Relationship Tags

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Character Tags

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

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

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

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

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

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

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

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

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

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

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

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

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

Additional Tags

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

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

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

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

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

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

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

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

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

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

Courtesy

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

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

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

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

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

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

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

Descriptive

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Personal

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

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

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

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

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

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

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

Titles

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

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

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

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

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

Summaries

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Author's Notes

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

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

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

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

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

Series and Chapters

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

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

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

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

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

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

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

Parting Thoughts

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

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

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

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

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

[jewishjon]

The Magnus Archives and Fear

(A speech I wrote that I’m giving to my English class for a speaking assessment and thought I might share here too)

Picture this. The year is 1850-something. Hoop skirts are all the rage, dishwashers have just been invented, and architect Robert Smirke, most well-known nowadays for designing and building the British Museum, creates a classification system for the fourteen otherworldly, god-like entities of fear that control our world. This system is groundbreaking - although these entities have existed as long as, or perhaps longer than, humanity, it is only Smirke who has managed to classify them into a comprehensive list of fourteen.

This, of course, never happened. Robert Smirke, whilst very much a real man, did not come up with a classification system for fear entities just outside our world, nor was he involved in any way with the supernatural. This is, however, a major plot point in horror fiction podcast The Magnus Archives. The Magnus Archives was released weekly over the course of five years and five seasons, from 2016 to 2021, as 200 twenty five minute long episodes. It is by Jonathan Sims and follows our main character, a man named Jonathan Sims (yes, the writer named the main character after himself), as he becomes Head Archivist of an institution called the Magnus Institute, which is dedicated to taking and researching statements about people’s supernatural experiences. Whilst it initially seems like an anthology podcast, with each episode featuring a different short horror story or ‘statement’ being recorded into audio by Jon, connections slowly begin to form between the statements, and Jon and his Archival Assistants find themselves pulled into the mysteries.

Now, you’re probably wondering why I’m telling you about The Magnus Archives. Well, other than it being one of my favourite pieces of media in general right now, I’m fascinated by how it examines fear - more specifically, the big fears of society. I think horror is an excellent way for people to analyse and deal with their fear, and TMA is a great example of this. See, there was a reason I was talking about a random architect from the 1800s and something he never actually did. In the universe of The Magnus Archives, Smirke’s Fourteen are the root of all fear in the universe. Whether they came before the fear or were created because of it is unknown, but they encourage it and feed on it. They range from the Slaughter, fear of pure, unmotivated violence, to the Web, fear of being manipulated, and the Vast, fear of wide open spaces and our insignificance in the universe. Although I’d love to stand here and explain all of the fourteen fears in detail, I think I might send half of you to sleep, so I’ve picked a few of the most interesting, relevant ones to discuss.

One of my favourite parts of horror is how it can be used to examine major fears and issues in society. The Magnus Archives and its fourteen fear entities are an excellent example of this, as each of the fears reflect a different aspect of our lives that people are scared of, universal but manifesting in many different ways. Something that stuck out to me during my current relisten of TMA is how many statements there are about the entity the Buried in the USA, in comparison to the other entities. For example, the aptly titled ‘We All Ignore The Pit’ tells the story of a man who moves into a new town in Washington and finds there is a pit in the middle of the road that the entire town, shockingly, ignores - except for when they all line up in it some nights and a few of them get pit-eaten. It’s actually mentioned in the podcast that the USA is the Buried’s most powerful location, and when you think about it, this makes a lot of sense. The Buried, like many of the fears, has both literal and more emotional manifestations, often intertwined - whilst on the surface it is the fear of enclosed spaces, being trapped underground, it also represents non-literal pressure and being choked by financial stress. In the USA, where medical debt and student loans pile and pile on top of people, it’s surely no surprise that the entity representing fear of crushing debt is well-fed.

And the Buried is far from the only entity that reflects pressing current issues. The Eye, which is the fear of being watched and having all your secrets exposed, deals heavily with current concerns around cameras and the fear of a surveillance state. The Corruption, fear of both insects and rot and also toxic love (often in the form of an insect hive), draws in many people who are so desperate to be loved, and have a home, that they’re willing to become part of the Corruption. Many of these people’s alienation is through capitalism, a system which makes it so hard to find community and a meaning that they’re forced into a mental place where the Corruption’s ‘love’ is enticing.

Another aspect of the entities that I find extremely interesting is how they show human fears evolving over time. See, when I said there were fourteen fears, I wasn’t entirely telling the truth. The oldest fear is the Dark (pretty self explanatory), something that humans have been scared of since the dawn of time. The newest established fear is the Flesh, the animal fear of being killed for meat, which was only solidified during the Industrial Revolution when enough animals were mass bred to be eaten that it became a significant fear. And then there’s the fifteenth fear, which is revealed in season four to be just now gaining prominence: the Extinction. Because, of course, what are people more scared of right now than being made extinct by a creation of their own invention? Whether it’s climate change or nuclear bombs, radiation or war, there’s nothing people are more aware of than the ticking time bomb on our own existence, and that’s what makes the Extinction so timely. The relevant statements are some of the most unsettling in the entire podcast, from an extremely creepy numbers station predicting the doom of the human race to an alternate, radiation-ravaged world, where malnourished shells of people eat each other to survive. It’s not hard to understand why many listeners were deeply affected by these episodes.

So, what is there to take away from The Magnus Archives and its fifteen entities of fear? Well, to start, horror isn’t all jumpscares and horrifying monsters (although those can also be plenty of fun). It can be an excellent way to examine major issues from a new perspective, and even overcome your fear of them. It may sound absurd, but it’s genuinely reassuring that when I’m overthinking whether someone hates me I can think ‘It’s just the Spiral at it again!’. Horror can be cathartic for many people as a way to confront their fears directly. Also, please listen to The Magnus Archives. I may have spoiled you for one big twist but there are many, many more to come, and I went in having been spoiled for about half of it and still had a great time. In my opinion, it’s brilliant, whether or not you’re already a horror fan - I certainly wasn’t at the start, and now I’m giving a speech about it. Thank you.

[adhd-asd]

Anonymous asked: "i have ADHD and ASD, I don’t know if they really play a role in my difficulty to write scripts or outlines, but it seems like whenever i want to start a story project and visualise it into writing and art, it just…..doesn’t work? Like, i have story ideas, but the way they come out never meet my satisfaction or, at least, the way i write them, feels too restricting and….i don’t know?

writing scripts, the dialogue feels very bland and tedious - writing outlines is fine for me but i put too much thought into them to the point they are restricting. but, also, when i try to make up a story as i go with a basic plot in mind, i lose a massive sense of direction if i don’t have an outline or script. and i just feel very, very stuck."

If you're just looking for a short-form list of tips and tricks that might help make creating easier, I have a post here that offers advice on writing with ADHD that you may find helpful.

However, I found this question really interesting and wanted to do a more in-depth exploration of the topic of creating with ADHD/ASD and the difficulties that can come with that, as well. I have a lot of thoughts on the topic as an ADHD/ASD creator myself, so it got quite long, but I hope you might find some of them interesting or useful.

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Do ADHD/ASD Play a Role?

Firstly, I believe that my ADHD and ASD affect just about every part of my life, including my creative process, and I imagine the same is likely true for you. It's entirely plausible (and I would even say likely) that they're playing a part in the conflict you feel when trying to create.

That being said, I also believe that there are ways we can accommodate or work around our unique challenges rather than putting effort into trying to overcome them or letting them get us down. I also don't think your difficulties are exclusively a result of ADHD/ASD, either, and I'll be discussing both points in more detail below.

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On Meeting Your Own Expectations

I think, at least to some extent, your first paragraph could apply to most creators, regardless of ADHD/ASD.

Very rarely do I find that my works end up matching what I visualise in my mind, and it can often be frustrating and demotivating when what I produce seems inferior to the hypothetical version I had planned or envisioned. And I've seen this same sentiment expressed by a lot of artists and writers.

When those feelings crop up, I try to remind myself that it's okay, nobody else has seen the hypothetical 'perfect version' of what I was trying to create that's in my mind, and they'll be judging the work on its own merits instead. I think an important part of being a creator is consciously working on accepting that things will almost never go exactly as envisioned, and that's okay. It's not a reason to abandon the work, and the more you keep creating, the more practice you'll have getting your ideas down.

It's definitely easier said than done, but as with all creative pursuits, feeling beholden to perfection will ultimately prevent you from getting anything done or growing as a creator, and sometimes you have to just let things go and keep moving forward. A work doesn't have to be perfect to have value and be worthy of praise.

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On Perfectionism

All that being said, I wouldn't be at all surprised if your ADHD and ASD were compounding on this common experience to a degree. It's very common for people with ASD to be inflexible and extremely detail-oriented, and many an ADHDer can struggle with perfectionism (which I've briefly discussed in the second half of this post). Falling into the trap of obsessively tweaking things until they're just right is pretty easy.

The good news is that I think when you're aware that these are pitfalls you're likely to experience, you can better notice them and implement measures to help you work around them. Better understanding your symptoms and being kind to yourself when you experience them can make the situation less hostile, and researching how to cope with/compensate for them could help not only with your creative process, but other areas of life as well.

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On Finding Your Creative Process

A big part of creating is finding a process that works for you.

Some people plan in meticulous detail while others fly by the seat of their pants; some prepare outlines and tough drafts and follow the steps in order and others bounce around and make it up as they go.

From the way you're describing things, it sounds like your current process isn't working for you, and you may benefit from changing your approach to creating entirely. You already seem to be consciously aware of the parts that are causing the most difficulty and frustration for you, so the next step is to brainstorm how to modify them to make your creativity more accessible to you.

I, for example, write scenes out of order and constantly go back and add to them as I get new ideas. I also draw my lineart in random sections, moving on to a new one anytime I get bored (even if the current section isn't finished) until it eventually comes together like a patchwork quilt. These are some ways I've found to keep things interesting and keep me engaged in the work, and they may seem weird, but they sure do work!

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So Let's Do Some Brainstorming

If you overthink your outlines and then feel stifled by them, try deliberately limiting how much detail you allow yourself to include. It's not an 'all or nothing' situation, and you can practise and experiment with varying document layouts and amounts of detail until you've found something that feels more approachable.

If you're currently writing paragraphs, try bullet points, or a flow chart, or sticky notes that you can rearrange. If you plot out every detail, try starting with only the most major events so you always have some direction for where the story is going but still allow for more freedom and creativity. If you spend hours on an outline, try setting a timer so you only have a set amount of time for each point.

And remember that you can change your outline as you go! If you're so caught up in following your outline that it's stifling your creativity, maybe it's an issue of perspective rather than process. Remind yourself that your outline is a tool to help you and that you're free to adjust it whenever it's not serving its purpose.

I don't know what your current process looks like so maybe these specific examples aren't helpful to you, but hopefully they can illustrate how to look at the areas where you're getting stuck and find a way to change them so that they suit your needs. Even if it seems unconventional or doesn't align with the process other people use or have told you to use, it's important to do what works for you.

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In Summary / TL;DR

Creativity in general often comes down to experimenting until you find a method/process/style that works for you, and that's true for anyone. It's also true that art rarely goes exactly as planned, and sometimes you just have to accept that you've done well enough and move on.

But when you're a creator with ADHD/ASD, it can be extra difficult to do so because of our unique challenges related to internal motivation, perfectionism, and staying focused and flexible. Being aware of your symptoms and the challenges that they might present, and specifically tailoring your workspace and process to account for them while being kind to yourself when you find yourself struggling, can allow you to create with a lot less frustration.

None of these changes will happen instantaneously, but hopefully being aware of them and making the effort over time will help you to start seeing a difference in your work. Good luck!