i would kill for the confidence of novelists who write genius-poet characters and then actually write samples of the “genius” poetry in the book. if i were a novelist writing a genius-poet i’d just be like “trust me, the poetry’s real good.”
Can you please explain your dialogue theory of fanfiction?
In short, that dialogue, more than anything, makes or breaks a fanfic. What do posts like “He would not fucking say that” and “They would NOT have communication skills that good” have in common? Talk. Characters expressing themselves to one another. The faithful recreation of identifiable speech patterns is weighted heavily in the evaluation of a fic’s quality. By “speech patterns” I do not just mean the semantic content of a given character’s expression, but idiosyncrasies of style and slang, vocabulary and idiom, even gesture, musicality, and rhythm.
Of course believable dialogue is far from the only thing that makes a good fanfic Good. And there are forms of fic writing, particularly highly abbreviated ones like drabbles and ficlets, that in practice tend to de-emphasize its significance. But if we are talking about the romantic, erotic shippy stuff that is the meat and potatoes of online fandom, dialogue does the heaviest lifting short of the consummation itself. Arguably more so! It’s the real keystone to the catharsis, and often the catalyst for it. Is there a confession occurring? A provocation? An evasion or ultimatum? Zoom out, big picture: What is the most potent and fundamental mechanic for developing complexity, tension, and transformation within a relationship, getting it to go from one thing to another? Making these two idiots talk to each other! Often clumsily and indirectly and maladaptively, at the worst possible time and in the worst possible situation, about anything or everything but what they should be — but talk they usually do.
What makes fanfic specifically so challenging and rewarding in this regard is that the talking is as much a feat of translation as invention, because both reader and writer are working off an existing model. Liberties taken with plot, form, and even narrative voice have wider buffer zones; you can get creative with circumventing the events of canon while still conforming to its emotional and substantive essence.
But the training wheels come off the moment you open your mouth to speak in another character’s voice. And man, nothing will break a reader’s immersion quite like he would not fucking say that.
I probably should have clarified at the outset (though maybe it’s obvious) that this post was made with televisual media in mind. I’m seeing a lot of comments/tags to this effect and if you want a very straightforward exercise that will strengthen your ear for writing in-character fic dialogue, start transcribing the source material. Re-watch relevant scenes of interaction with either a notepad out or an open Word/Scrivener/Google Doc and translate it word for word back down to written form. Pause wherever necessary to make sure you get it all down, and annotate with any useful observations that jump out at you. Go back over and re-read what you’ve transcribed when you’re done. You’ll start to pick up on, at the very least, certain modular fundamentals: shorter vs longer sentences, preferences for certain words or phrases over others, regional slang, how and how often they curse (or don’t), etc. Do this often and you will get better at replicating how your blorbos speak to each other. Promise.
When you’re writing science fiction, THE most important thing to ask yourself isn’t how soft or hard you want the science to be, but to ask yourself “who would Shohreh Aghdashloo play in this story” and if you do not have an answer, re-evaluate
should be able to leave kudos on scientific studies. i liked your paper dude keep at it
sorry, Dr. Dude
Dude et. al.
need y'all to know that most academics have publicly searchable email addresses and this not only makes their day but they can put nice emails in their giant packets for applying for jobs or tenure. “hi i read your paper for a class and it was very helpful, im at xyz college and the class is blah with professor blah” is sufficient and ENORMOUSLY helpful
It seems that, once again, when you can’t kudos, commenting is the way to go
They should invent a being a writer that doesn’t come with being isolated and diminishing returns on what you are given back compared to how much you give
So there’s this story I love about Paul Williams, right? Famous musician who has done a ton of super popular work over a very long career. Well one thing he really poured his heart and soul into was the movie Phantom of the Paradise which fucking BOMBED. Like, mere words cannot describe how bad this reimagining of Phantom of the Opera But At A Disco went. It absolutely crushed Paul Williams. Broke his heart. His biggest failure.
Except during a tour of his he met who described as a young, nerdy Mexican kid who brought him a copy of the Phantom of the Paradise for him to sign. The kid wouldn’t stop talking about how much he loved the soundtrack, and how much it inspired him. This kid was literally one of the few people in the world that loved the movie
It wasn’t until Paul Williams ran into the kid all grown up did he realize it was Guillermo del Toro.
And it happened again, too! He also met a pair of young French men who wouldn’t stop raving about how much they loved Phantom of the Paradise and how much it inspired them and their own band, Daft Punk. The three of them ended up doing an album together. An album that I would listen to on repeat while writing the early drafts of my book.
I guess what I’m trying to say is that sometimes the creative process seems cruel, unforgiving, and thankless. You can pour your heart and soul into something only to make zero waves. But even a so-called-failure can inspire and lift up someone that needs it. So you gotta keep creating, if only to be the next link in the chain of creativity and art.
Also I don’t know about you but I haven’t seriously written in months and I honestly feel like I’m going to explode from too many words so like, you also gotta keep relating or else you might explode.
Any advice for people who have lots of Thoughts™️ about fictional characters but who have not, in the past, enjoyed the act of writing? I was always bad at it in school, which didn't help, and I know ~"you should write it even if it's bad"~ however I am still a recovering perfectionist and this is easier said than done (hence the not enjoying it). Add on top of that that writing fiction is very different from writing a 5 paragraph persuasive essay or whatever else they taught in school, so the little I do know doesn't feel applicable. (I'd just draw fanart instead, but my abilities do not lie there either lol). But I desperately want a way to actually engage in fandoms instead of just lurking in the shadows, and you seem to be quite knowledgeable about writing
Okay so first of all I am SO EXCITED for you because you get to start a new creative pursuit and it’s one that comes with a huge community of like-minded people. One of my absolute favourite things in fandom is getting to see people posting their first fic. Truly a magical experience. I am always so so proud of them.
Second, have a quote from Jodi Picoult which is a favourite amongst my beloved writing group:
You can always edit a bad page. You can’t edit a blank page.
The trick with writing is that in order to do it, you have to do it. In this way it is similar to the majority of human endeavour.
If you genuinely hate the process then my sincere advice is to not do this. You’ve only got, like, 100 years at the outside on this little rock. Better not to spend any of them doing things you do not enjoy in your leisure time, if at all possible. Make playlists or reclists, start conversations, take up podficcing, take up fic binding, write meta about your character thoughts, do something congenial to you (and some part of fandom must be congenial to you or you wouldn’t like. Be here.)
However. If you do want to write, and you think you could learn to love the process, or at least want to try, here are some inroads you could take a crack at:
Outline your idea rather than trying to write it as a polished narrative and post that. I do this a lot. Sometimes I then go back and actually write the fic, sometimes someone else writes the fic for me, which is delightful. (This looks like “So I’m thinking about a fic in which Aloysius inherits a haunted mansion…” etc.)
Use an established format. The only one of these still remotely in fashion is 5 + 1 fics, I think (back in my day we wrote songfics and listfics and Very Secret Diaries riffs but I think if you do that last one now Cassandra Clare steals your lunch maybe idk). This I also do all the time, as a way to break the seal on a new fandom. The format is such that you’re practically just filling in the blanks. You could do something like this in as little as six sentences.
Try epistolary format (letters/texts/emails/post-it notes/notes scribbled in the margins of a notebook/whatever). This cuts all the tricky bits of prose narrative and allows you to focus on the events of a story using a form of writing you are undoubtedly already comfortable with.
Try a retelling. This is what the pros do when they’re stuck & it’s just fanfic layered with fanfic, really. Crack open a copy of your favourite fairy tale and just rewrite it. Sentence for sentence if you like, with nothing more than names and details changed. Pick a single scene from something you like and rewrite it for The Characters.
There are probably a million more ways to approach this, but the overall point is to get you to start. You simply cannot do a thing without doing the thing. Once you’ve started, then you can worry about improvement. Or not. You are not obliged to be ‘good’ at writing in order to do it. Many professional career writers are fucking awful.
A bonus few things I wish I could personally carve into the inside of every new writer’s skull:
You are allowed to write more than one story in your life, the first one does not have to say Everything You’ve Ever Wanted To Say or contain Every Single Idea You’ve Had. It’s probably better if it doesn’t, even!
It is orders of magnitude better to finish a very short story that has a complete arc than to get 10% in to an epic and then stop because you don’t know how to continue it. If all your writing practice involves writing openings and then stopping, you are teaching yourself to write openings and then stop. Better to write 100 words and have it be a complete story than 10,000 words of introduction.
There’s no such thing as 'good’ or 'bad’ art and you should be suspicious of anyone who tells you there is. The measure of success in art is that it’s what you meant it to be.
You cannot possibly please everyone. The person you should focus on pleasing is yourself, because you are the only person obliged to interact with your work. Might as well be fun for you.
Talent isn’t real. Anyone who appears to be 'talented’ has put a lot of hours of work into doing the thing they’re doing.
If you take no other advice from this list, take this piece: read more. Read widely. Read old books, read new books. Read people’s dropped grocery lists. Read amateurs, read professionals, read poetry and lyrics and the backs of shampoo bottles. The more words you absorb, the more you have to draw from when you sit down to write.
All that said: please imagine me rolling out the welcome mat and blowing a party whistle while eagerly beckoning you to come in and join the wider writing community.
Something I don’t think we talk enough about in discussions surrounding AI is the loss of perseverance.
I have a friend who works in education and he told me about how he was working with a small group of HS students to develop a new school sports chant. This was a very daunting task for the group, in large part because many had learning disabilities related to reading and writing, so coming up with a catchy, hard-hitting, probably rhyming, poetry-esque piece of collaborative writing felt like something outside of their skill range. But it wasn’t! I knew that, he knew that, and he worked damn hard to convince the kids of that too. Even if the end result was terrible (by someone else’s standards), we knew they had it in them to complete the piece and feel super proud of their creation.
Fast-forward a few days and he reports back that yes they have a chant now… but it’s 99% AI. It was made by Chat-GPT. Once the kids realized they could just ask the bot to do the hard thing for them - and do it “better” than they (supposedly) ever could - that’s the only route they were willing to take. It was either use Chat-GPT or don’t do it at all. And I was just so devastated to hear this because Jesus Christ, struggling is important. Of course most 14-18 year olds aren’t going to see the merit of that, let alone understand why that process (attempting something new and challenging) is more valuable than the end result (a “good” chant), but as adults we all have a responsibility to coach them through that messy process. Except that’s become damn near impossible with an Instantly Do The Thing app in everyone’s pocket. Yes, AI is fucking awful because of plagiarism and misinformation and the environmental impact, but it’s also keeping people - particularly young people - from developing perseverance. It’s not just important that you learn to write your own stuff because of intellectual agency, but because writing is hard and it’s crucial that you learn how to persevere through doing hard things.
Write a shitty poem. Write an essay where half the textual ‘evidence’ doesn’t track. Write an awkward as fuck email with an equally embarrassing typo. Every time you do you’re not just developing that particular skill, you’re also learning that you did something badly and the world didn’t end. You can get through things! You can get through challenging things! Not everything in life has to be perfect but you know what? You’ll only improve at the challenging stuff if you do a whole lot of it badly first. The ability to say, “I didn’t think I could do that but I did it anyway. It’s not great, but I did it,” is SO IMPORTANT for developing confidence across the board, not just in these specific tasks.
Idk I’m just really worried about kids having to grow up in a world where (for a variety of reasons beyond just AI) they’re not given the chance to struggle through new and challenging things like we used to.
I think this is an incredibly important post for a lot of reasons. You have to write a bad book in order to learn how to do something. You have to suck at playing an instrument before you can improve.
Struggling is part of the process, and I’ve had a lot of people argue with me that it shouldn’t be who fail to see the point. When you replace an composer with an AI music generator, an artist with an AI-generated image, or an author with an AI-generated fanfic, you are missing out on the critical, fundamental experiences humans need to learn and grow. You are robbing yourself of essential skills you need as a person.
AI is not like a calculator, or a synthesizer, or a prompt generator. It’s not a tool to aid in your process of understanding or creating something. It is replacing your ability to learn things, and that is going to do so much damage if you let it.
I think I am among many who feel like they should love cozy fantasy and have found it an incredibly lacking genre.
This newly branded “cozy fantasy” genre that has taken readers by storm since 2020 and while it is new that books are now marketed as cozy, the genre itself isn’t new. Howl’s Moving Castle by Diana Wynne Jones is a great example of the genre before it was labeled and also how to make it work.
Cozy fantasy is defined by many as fantasy with low stakes. Fantasy aesthetic but less sword fights. On paper, it sounds great. But the execution has been less than stellar for readers like me. The lack of physical stakes has also impacted the emotional stakes of these books, creating forgettable characters with boring problems. As a romance reader, I find this frustrating. Romance is known for being a predictable and formulaic genre, the now defunct Romance Writers of America defined romances as needing happy endings, a term romances have continued to follow. Yet these romance texts manage to have low physical stakes (how to date your neighbor, how to confront your toxic friends, etc) while still maintaining high personal stakes that keep readers invested and begging for more. So I was initially confused why cozy fantasy authors struggle to write texts that connect to readers like me.
I think I have found the answer which is the genre is just here for vibes. It is all about aesthetic, not even worldbuilding that fantasy is known for as most cozy fantasy I read have so many problems as soon as you ask one question. It is hard to acknowledge that a genre that is pitched to work for readers like me doesn’t work for many of us. Especially because occasionally there is one that works beautifully to my taste.
I often say my favorite cozy fantasies that are more contemporary are short and visual, which I plays into the idea of the genre being an aesthetic. The Bakery Dragon by Devin Elle Kurtz is a good example because it is a simple story that is given the perfect amount of pages and gorgeous visuals without dragging on when the message is very clear and easy to understand. Books like The Phoenix Keeper and Legends and Lattes have absolutely nothing for me, their very clear message hitting the reader over and over so the readers don’t miss it and focusing on the aesthetic of worldbuilding rather than the reality of the fantastic elements within the world.
I guess my point is… I realize this genre isn’t for me since I have realized it is more of an aesthetic than anything. .. .but I want it to be. Should I let it go and put my efforts elsewhere? Or should I keep exploring this new trend and find the hidden gems?
I think you nailed it on the head but also:
So many cozy fantasies seem to do no work to make you like the characters. They feel like the epilogue to another story, or like fanfic in the sense that you’re expected to already care about these people, but they’re skipping the leg work to get you there.
Legends and lattes worked for me mostly because I had fun with the exploration of how a fantasy setting would reinvent a coffee shop. It also felt a bit like a videogame, delimiting tasks and creating new, small problems each time one goal was reached. Which is to say, it appealed to the part of my brain that likes puzzles, but failed to reach me with its characters. I don’t remember a single thing about the love interest aside what she looks like on the cover lol
Stories with high stakes immediately make you see what your character cares about: justice for murdered parents, saving their home from the armies of evil, and so on. In low stakes fantasies, you’re handed a character whose values are just the bland goodness people pretty much universally strive for. It makes them both forgettable and unremarkable. And a story that has no plot and very little worldbuilding cannot afford to have weak protagonists on top of it.
Which honestly might bring me back to my main theory of what makes a story good: it’s a balancing act of Plot, Worldbuilding, Characters, and usually the stronger a book is in one of these aspects, the more likely I am to overlook flaws in the others. But by definition, cozy fantasy starts off with only two of these, so it makes it all the more important and unforgivable when an aspect is weak. Its like trying to build a stool with two legs.
Hello, professional author here, I have a *slight* tweak of a suggestion to offer, or an alternate take from a slightly different perspective. First, I 100% agree with the meat of what you’re both saying here, and I absolutely share your frustrations with the genre of cozy fantasy as a whole – so many of them have something going wrong with the engine of the story. The car won’t start. You turn the ignition and all you get out of it is a weak grumbling. So what’s happening here from a mechanical perspective?
We’re talking about cozy fantasy being “low stakes”, and that’s certainly how it bills itself. But low stakes are not the source of the problem – there are plenty of stories/movies/tv shows with very low stakes that we still enjoy watching! Great British Bake Off, for example. The stakes are only “Will the cake come out right” and “how will the judges react”. Right? Those are low stakes! The world is not ending, society is not in danger of crumbling to pieces, there is no great battle between Good and Evil for the fate of all humanity. But we watch GBBO and we’re ENRAPTURED. We’re INVESTED. Why?
Not because of the stakes, but because of the tension.
wait hang on i need to say this in the loud font because it’s crucially important
IT’S BECAUSE OF THE TENSION
Both readers and apprentice writers often confuse “stakes” and “tension” because, frankly, increasing the stakes is often a cheap and easy way to increase the tension. Here’s the difference, just to make sure we’re all on the same page: Stakes are an external, objective thing – “will the cake come out right, how will the judges react” – but tension is internal. It is the pull between two things: On one hand, how much this contestant wants to win, how hard they’ve been trying, how emotional they’re getting about a mishap, and our knowledge from an earlier episode about how their mum always believed in them and how they’ve struggled to believe in themself but since making it onto GBBO they’ve been thinking that maybe… maybe they can believe in themself.
And what’s pulling from the other side is: How their nervousness and lack of confidence is causing them to make mistakes; how we as the audience don’t know whether this challenging thing they’re trying is going to turn out well; how they’re ever going to recover from a cataclysm like forgetting to turn the oven on; whether they could do their absolute best and try so so so SO HARD and it might not make any difference because the other contestants also were all trying their hardest.
Man, I don’t know about you, but even just as I was writing that out, my heart was in my throat and I was getting a little choked up.
THAT’S tension. And that’s what a lot of cozy fantasy is lacking, because they say “low stakes” and they think that stakes and tension are the same thing, and so they forget that YOU STILL HAVE TO MAKE YOUR CHARACTERS CARE PASSIONATELY IF YOU WANT THE READER TO HAVE ANYTHING THAT THEY CARE ABOUT. As readers, we care when the character has something that really, really, REALLY matters to them. We literally cannot help it – look up “mirror neurons” if you want the neuroscience explanation for why we literally cannot help it.
High stakes is a cheap cheat code to tension because something like “We have to save the world to keep the Dark Lord from invading the kingdom and slaughtering everyone” is sort of self-explanatory about why it matters. Ah, yes, We Don’t Want To Be Slaughtered. Got it. No explanation necessary. You can get away with not really showing whether it matters to the character, because the audience just naturally ASSUMES that it’s a Good and Important thing to be doing.
You can’t get away with cutting corners like that if you’re doing low stakes. Here, look:
High stakes & high tension = Think Mad Max: Fury Road. It is a LOT and you can’t look away but you might feel sort of exhausted afterwards and need a nap.
High stakes & low tension = Many Marvel films. Sure ok yeah we’re saving the world, that’s fun, whatever. Probably saving the world is a good thing to do so that’s fine
Low stakes & high tension = GBBO as previously mentioned. Also pretty much any sport (sorry, sports fans, but “will they win the big game” is not high stakes, it just SEEMS like high stakes because of ow much you care about it – which is TENSION!!!) You will be on the edge of your seat, you will be crying about how amazingly well that border collie/papillon mix did in the agility course.
Low stakes & low tension: Legends & Lattes. Probably if Plan A doesn’t work out, the character could just wander off and try Plan B and it wouldn’t be that personally upsetting.
So that’s my two cents on where a lot of cozy fantasy is going wrong. And like, I can kind of see where my colleagues are coming from and why books like this keep being produced these days??? Like the pandemic really fucked up everybody, and so many of us are incredibly burned out and running on fumes… And so sometimes it feels impossibly challenging to write any book except one where nothing bad happens and nothing is in danger and nobody is really bothered or worried about anything and everything is mostly fine and there aren’t any major setbacks…..
But that leaves readers cold. And frankly, I don’t feel like it does much of anything to nourish either our souls or theirs. It feels like eating a bag of potato chips for dinner instead of going to the effort of even just heating up a frozen dinner that has a vegetable in it.
idk, man. I’ve taught university classes about this shit, but what do I know. Maybe I’m talking out of my ass. (Also, if you would like an example of cozy fantasy where it really fucking matters to the person going through it, may I humbly suggest Yield Under Great Persuasion? I wrote it partially as an illustration of how there’s a difference between Stakes and Tension. :D)
My friend Teresa Nielsen Hayden is a wellspring of wise sayings, like “you’re not responsible for what you do in other people’s dreams,” and my all time favorite, from the Napster era: “Just because you’re on their side, it doesn’t mean they’re on your side.”
The record labels hated Napster, and so did many musicians, and when those musicians sided with their labels in the legal and public relations campaigns against file-sharing, they lent both legal and public legitimacy to the labels’ cause, which ultimately prevailed.
But the labels weren’t on musicians’ side. The demise of Napster and with it, the idea of a blanket-license system for internet music distribution (similar to the systems for radio, live performance, and canned music at venues and shops) firmly established that new services must obtain permission from the labels in order to operate.
That era is very good for the labels. The three-label cartel – Universal, Warner and Sony – was in a position to dictate terms like Spotify, who handed over billions of dollars worth of stock, and let the Big Three co-design the royalty scheme that Spotify would operate under.
If you know anything about Spotify payments, it’s probably this: they are extremely unfavorable to artists. This is true – but that doesn’t mean it’s unfavorable to the Big Three labels. The Big Three get guaranteed monthly payments (much of which is booked as “unattributable royalties” that the labels can disperse or keep as they see fit), along with free inclusion on key playlists and other valuable services. What’s more, the ultra-low payouts to artists increase the value of the labels’ stock in Spotify, since the less Spotify has to pay for music, the better it looks to investors.
The Big Three – who own 70% of all music ever recorded, thanks to an orgy of mergers – make up the shortfall from these low per-stream rates with guaranteed payments and promo.
But the indy labels and musicians that account for the remaining 30% are out in the cold. They are locked into the same fractional-penny-per-stream royalty scheme as the Big Three, but they don’t get gigantic monthly cash guarantees, and they have to pay the playlist placement the Big Three get for free.
Just because you’re on their side, it doesn’t mean they’re on your side:
In a very important, material sense, creative workers – writers, filmmakers, photographers, illustrators, painters and musicians – are not on the same side as the labels, agencies, studios and publishers that bring our work to market. Those companies are not charities; they are driven to maximize profits and an important way to do that is to reduce costs, including and especially the cost of paying us for our work.
It’s easy to miss this fact because the workers at these giant entertainment companies are our class allies. The same impulse to constrain payments to writers is in play when entertainment companies think about how much they pay editors, assistants, publicists, and the mail-room staff. These are the people that creative workers deal with on a day to day basis, and they are on our side, by and large, and it’s easy to conflate these people with their employers.
This class war need not be the central fact of creative workers’ relationship with our publishers, labels, studios, etc. When there are lots of these entertainment companies, they compete with one another for our work (and for the labor of the workers who bring that work to market), which increases our share of the profit our work produces.
But we live in an era of extreme market concentration in every sector, including entertainment, where we deal with five publishers, four studios, three labels, two ad-tech companies and a single company that controls all the ebooks and audiobooks. That concentration makes it much harder for artists to bargain effectively with entertainments companies, and that means that it’s possible -likely, even – for entertainment companies to gain market advantages that aren’t shared with creative workers. In other words, when your field is dominated by a cartel, you may be on on their side, but they’re almost certainly not on your side.
This week, Penguin Random House, the largest publisher in the history of the human race, made headlines when it changed the copyright notice in its books to ban AI training:
No part of this book may be used or reproduced in any manner for the purpose of training artificial intelligence technologies or systems.
Many writers are celebrating this move as a victory for creative workers’ rights over AI companies, who have raised hundreds of billions of dollars in part by promising our bosses that they can fire us and replace us with algorithms.
But these writers are assuming that just because they’re on Penguin Random House’s side, PRH is on their side. They’re assuming that if PRH fights against AI companies training bots on their work for free, that this means PRH won’t allow bots to be trained on their work at all.
My biggest tip for fanfic writers is this: if you get a character’s mannerisms and speech pattern down, you can make them do pretty much whatever you want and it’ll feel in character.
Logic: Characters, just like real people, are mallable. There is typically very little that’s so truly, heinously out of character that you absolutely cannot make it work under any circumstance. In addition, most fans are also willing to accept characterization stretches if it makes the fic work. Yeah, we all know the villain and the hero wouldn’t cuddle for warmth in canon. But if they did do that, how would they do it?
What counts is often not so much ‘would the character do this?’ and more 'if the character did do this, how would they do it?’ If you get 'how’ part right, your readers will probably be willing to buy the rest, because it will still feel like their favourite character. But if it doesn’t feel like the character anymore, why are they even reading the fic?
Worry less about whether a character would do something, and more about how they’d sound while doing it.
i do this when im writing fiction. Each fic has a cut document full of discarded dialogue, scene settings, metaphors etc that dont quite fit yet I might want to use down the line or other fics.
First time smut writer: Um. Hope this is OK? It’s only a bit of smut at the very end of the epilogue and you can skip it, it’s ok. So sorry, um. Oh dear me. Please don’t judge me. Nobody read this omg what have I done 😳
Seasoned smut writer: *ringing bell* Come get uR PORNOGRAPHY! 10k pwp, it’s KINKY AS HECK so share it with all your friends!!! If you’ve got any suggestions for my Kinktober just drop it in the comments, I will write whatever wet, messy & DOWNRIGHT FILTHY fic about these two idiots 👏
First time smut beta: In the, uh … oral scene … Dan has 3 hands. He’s got one, uh, on the – look, just count them.
Seasoned smut beta: Somebody jizzed and I don’t know where it ended up but canonically he spent a ton of money on that couch.
Don’t you sometimes get an absolutely extrodinary, mind blowing, such an awesome idea for a story, but you just don’t have enough skill level to pull it off?
Write it anyway.
Write it anyway, write it anyway, write it anyway.
There are so, so, so many reasons:
You gain that skill level only through practice. So practice.
No matter what you’re writing, no matter how badly you think you’ve written it, there is ALWAYS some audience that will love it and cherish it.
You can use what you write the first time around as a first draft and just rewrite it again later when you feel like tackling the story again!
Rewriting the same story over and over is a valid writing process. It’s literally just creating new drafts. Each iteration will be better than the last, because each is building on your growing skill and experience.
If you love the story, it will always be worth telling simply for your own enjoyment. If no one else ever sees it, that’s okay! Your art should be for you first, anyway.
Write it anyway.
“One of the things I know about writing is this: spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good for a later place in the book or for another book; give it, give it all, give it now. The impulse to save something good for a better place later is the signal to spend it now. Something more will arise for later, something better. These things fill from behind, from beneath, like well water. Similarly, the impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you. You open your safe and find ashes.”
Anonymous
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