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snarktheater · 3 years

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Ready Player Two — Opening Cutscene & Chapter 0

Hello again.

It’s been a while. I haven’t been active on this blog since, fittingly enough, Ready Player One. I was going to do this sooner—even had an alarm set up and everything—but then, it turns out, I’m feeling so much negativity about the world in general that a book just pales in comparison.

Seriously, I had to scrap this post’s entire intro because it’s not even 2020 anymore as I write this. And you know, maybe that’s for the best. I’m not really in the mood for doom and gloom and bitching anymore. I uninstalled Twitter from my phone a while back, I’ve been doing good at my daily writing sprints, my biggest fanfic project concluded on a positive note from people I didn’t even realize had been following it for years.

So I don’t know what this is going to be like. My commentary, I mean; I’ve heard echoes of what the book is like, so I’m not expecting a surprise there.

The book opens right after the end of Ready Player One, in a “Cutscene” where Wade recounts to us what happened after he won Halliday’s contest. It also assumes you remember exactly who the main characters of the book are, which is a bold move for a sequel that came out almost a decade after the original.

Technically, I could just look up the details I’m fuzzy about. But also, I think it’s more authentic if I don’t. I trust my memory enough that if I’m wrong, it’ll be in subtle enough ways that it’ll almost be a private jokes between all of us. An “if you know, you know” sort of error system. And I don’t think there’s anything more true to the spirit of this book than that.

Shoto had flown back home to Japan to take over operations at GSS’s Hokkaido division.

So Wade starts his tenure with nepotism. Wasn’t Shoto really young? Why is he qualified to run anything?

Aech was enjoying an extended vacation in Senegal, a country she’d dreamed of visiting her whole life, because her ancestors had come from there.

You know what, I’m not touching “send the token black character back to Africa.” This isn’t my lane.

And Samantha had flown back to Vancouver to pack up her belongings and say goodbye to her grandmother, Evelyn.

Why is she saying goodbye? Why, she’s moving to Columbus to be with Wade, of course! It’s not like there was anything else in her life. Was there? And why isn’t she referred to as Art3mis? I’m pretty sure Wade found out all of their offline names in the last book, and the inconsistency mildly bothers me.

These three sentences are back to back, by the way. Someone—I forget who—once described Ready Player One as a book that’s fun to write a wiki about, because it’s got fun concepts to summarize about until you realize that all the emotional connective tissue you need to turn a list of things into a story is missing, and that’s roughly how this first page feels.

Hell, the first line of the book is Wade telling us he remained offline for nine whole days after winning the contest, but by the end of the second paragraph we’re already to him logging back into the OASIS to "distract himself from [his and Samantha’s] reunion.

I’ll give Ernest Cline one thing: it feels like he wrote this opening nine days after the first book and did about as much maturing as a teenage boy would do between the two books.

Way more time is spent describing Wade’s OASIS rig, or the in-game planet where the climax of the last book happened, than anything else in this introduction. He is immediately greeted by a crowd of adoring fans who have been waiting over a week for him to come back in the game, because they’re all grateful that our protagonist and his friends restored their avatars after they were annihilated by the Sixers.

You’d think the adoring fans would serve some kind of purpose, or that something would happen, but no. Wade immediately goes “ew, people” and teleports away, since he essentially has ultimate powers within the game. With a caveat: the powers are actually coming from the Robes of Anorak he’s wearing, and I’m mentioning that in the hopes that it will pay off sometime in the book’s future, assuming Cline at least learned to do that. But still, let’s not skip too fast the fact that we introduced that crowd of adoring fans for no other purpose than to tell us they’re out there, because it fits right in with the last book’s attempts at saying as little as humanly possible in as many words as possible.

Anyway, Wade went back into Anorak’s study, where he arbitrarily checks out the Easter Egg he got at the end of the last book, and finds an inscription on it. I was dreading another riddle, but no, it’s just straight-up instructions to a vault in the GSS archives, so Wade logs off and goes to check it out.

Of course Halliday had put [the archives] [on the 13th floor]. In one of his favorite TV shows, Max Headroom, Network 23’s hidden research-and-development lab was located on the thirteenth floor. And The Thirteenth Floor was also the title of an old sci-fi film about virtual reality, released in 1999, right on the heels of both The Matrix and eXistenZ.

I’m equally shocked that it took two whole pages (on my ereader) to get to the first slew of references, and that one of these references is from 1999. I didn’t know we were allowed to think of anything that isn’t the 80s. Speaking of which, I’ll spare you the whole paragraph, but the book does feel the need to explain why it’s vault 42.

Inside the vault, there’s another egg containing a super-fancy and advanced OASIS headset. The egg also has a video monitor that plays a video message from James Halliday shortly before his death.

But despite his condition, he hadn’t used his OASIS avatar to record this message like he had with Anorak’s Invitation. For some reason, he’d chosen to appear in the flesh this time, under the brutal, unforgiving light of reality.

That oh-so-important message? An infodump about the headset’s working. He called it an OASIS Neural Interface, ONI for short. It basically lets you experience the OASIS through all your senses with sensory input just like the real thing, you know, that thing Wade had to get a fancy suit and massive rig to do in the first book. And yes, Wade does spend a paragraph or two comparing it to other works of science fiction. Of course he does.

More importantly, it also records all the sensory input into a separate file, which can then be replayed over to re-experience said sensations, or live someone else’s experiences. Halliday tries to frame it as a tool to generate communication and empathy, seemingly all without acknowledging the potential creepiness of that. But hey. Who knows. Maybe that’s because this is the setup stage, and it’ll pay off eventually.

I also wondered about the name Halliday had chosen for his invention. I’d seen enough anime to know that oni was also a Japanese word for a giant horned demon from the pits of hell.

Add “reducing Japan to anime” to the list of things the book has failed to improve upon. By the way, the narration insisted on spelling out ONI letter by letter earlier, so it’s weird to make that link now. It’s also just kind of inelegant to just tell us “this is the symbolism behind the name”, but that’s just the sort of thing I’ve come to expect from this book.

Anyway, the reason Halliday kept this for his successor to find is he wants Wade to test out the technology and decide if humanity is ready for it. Why Halliday thinks the most glorified pop culture trivia / video game competition qualifies you for such a decision should be a problem, but sadly, a lot of billionaires have said and done a lot of dumb and eerily similar things in the past few years since I read Ready Player One, so actually, I can’t fault the book for that one. Tragically, our fates really are in the hands of people who should rightfully be cartoon villains.

To his credit, Wade does question Halliday’s motives in keeping this under wraps at all rather than releasing it himself. So hey, maybe it really is setting something up.

Wade goes back to his office with the ONI, and we’re treated with this lovely piece of narration:

I was grateful that Samantha wasn’t there. I didn’t want to give her the opportunity to talk me out of testing the ONI. Because I was worried she might try to, and if she did, she would’ve succeeded. (I’d recently discovered that when you’re madly in love with someone they can persuade you to do pretty much anything.)

There’s a lot to unpack about the implications this has for their relationship, but it’s way too early in the book for me to editorialize when one character hasn’t even been on the page yet. So I’ll just leave it here for the record. Hopefully you see the problem without me needing to point it out anyway. If not, feel free to hit my inbox.

So Wade, confident in the fact that Halliday would have warned him if there were any risks to using the ONI, decides to try it out. Even though he immediately follows up that statement with this:

According to the ONI documentation, forcibly removing the headset while it was in operation could severely damage the wearer’s brain and/or leave them in a permanent coma. So the titanium-reinforced safety bands made certain this couldn’t happen. I found this little detail comforting instead of unsettling. Riding in an automobile was risky, too, if you didn’t wear your seatbelt…

Wade. My dude. What the fuck is this simile. And why don’t you see that maybe a machine where you’re forcibly trapping yourself inside a virtual reality might be dangerous? Hell, when I said this was setting something up, I was expecting something vaguely interesting about the potential breach of privacy, or how you don’t need to literally walk in someone’s shoes to feel empathy for them, or anything substantial, but now I’m worried it’ll just end up as “man, sometimes science fiction machines will scramble your brain, isn’t that weird”?

Like, I don’t know, to me “it will put you in a coma” sounds like a good reason for Halliday not to release the ONI. Maybe we can still make it into a commentary on how corporations will sell stuff they know is directly harmful if it can make them a profit. Who knows.

The book waffles on about more risks, and the mechanics of how the ONI activates, and the warning disclaimer when it does turn on. Specifically, there’s a time limit of twelve consecutive hours, after which you’ll be automatically logged out, because yes, using the thing for too long can also cause brain damage.

Gregarious Simulation Systems will not be held responsible for any injuries caused by improper use of the OASIS Neural Interface.

See, now there’s the sort of thing that could be a source for commentary, but no, instead it’s thrown in there like it’s nothing and Wade glosses over the entire warning, and instead keep wondering why Halliday didn’t just release the ONI if even the safety disclaimers were in place.

By the way: this whole system has apparently gone through several independent human trials already, so I’m finding it hard to imagine that it’s actually a secret Halliday took to the grave as Wade says. Unless he also had everyone involved in those trials killed afterwards. Or maybe they all ended up with brain damage which rendered them incapable of talking about it.

And before you think I’m being unfair and maybe we’re supposed to understand that ourselves even if the protagonist doesn’t, I’ll remind you that the book didn’t trust its reader to know what the number 42 is a reference to, or what an oni is, even though I don’t think anyone in the target audience wouldn’t know about these two things.

There’s also the fact that, since this book came out, a video game did release with a scene intentionally designed to cause seizures, and it had countless fans flocking to defend it over that fact. So you’ll have to excuse me if I’m not assuming this book’s stance on whether your video game console causes brain damage and possibly coma is actually a bad thing, or just an acceptable risk.

Wade certainly seems to think so, since he agrees to the terms of service.

As the timestamp faded away, it was replaced by a short message, just three words long—the last thing I would see before I left the real world and entered the virtual one. But they weren’t the three words I was used to seeing. I—like every other ONI user to come—was greeted by a new message Halliday had created, to welcome those visitors who had adopted his new technology: READY PLAYER TWO

Well now that’s just silly.

And that’s our opening cutscene. And while this post is already long enough, I feel like I have to go on to chapter 0, because it feels like barely anything has happened so far. We didn’t even introduce any new character motivation or conflict, or a mystery to set the plot into motion, unless I’m supposed to think “why didn’t Halliday release this?” counts.

So Wade is back into the OASIS, and tells us about how much more real it all feels thanks to the ONI. I especially have to question how he can smell or taste anything—both of which he tells us he can. Like, who coded that? Did Halliday implement every single smell and taste himself, without anyone noticing? I hope you don’t need me to tell you that’s not typically how features are added to a large-scale video game.

If it feels like I’m nitpicking at the logic of the book, even though I always say I’m not very interested in that and would rather talk themes, it’s because I am, because there isn’t much else to discuss so far. Wade is happy about tasting virtual fruit. That’s the scene.

He tests out if he can feel pain, but no, the ONI reduces pain (a gunshot is translated as “a hard pinch”). On one hand, good, it would be a nightmare otherwise. On the other hand, I sort of hope there’s a setting for that in there, because otherwise, you just lost an entire clientele of kinksters.

This was it—the final, inevitable step in the evolution of videogames and virtual reality. The simulation had now become indistinguishable from real life.

Ah, now we have some juicy themes. Because if you think this is the inevitable final step in the evolution of video games, I invite you to look at literally any other art form, and what happened to them once hyperrealism became easy. Hint: they didn’t stop evolving, because it turns out realism isn’t the only goal one can achieve with art.

The realism discussion is not a new one in video games, mind you. In case you’re out of the loop: most of the big-budget blockbuster games (“AAA” as they’re known) are aiming for hyperrealism nowadays, and it results in development teams being forced to work in horrible conditions (known with the equally horrible euphemism of “crunch”). And, because it turns out that 1) humans working themselves to the bones isn’t healthy and 2) racing for realism with little to no vision besides it makes for poor creativity, a lot of these games come out as disappointments. Oh, there are hordes of Gamers™ who will defend them to the bitter end, but inevitably, in the months following release, the defense cools off while the criticism keeps on going, because the defense was a knee-jerk reaction born of a mix of people hyping themselves up for a game they hadn’t seen that much of yet, then attaching a part of their identity to liking that thing.

Anyway, what I’m trying to say is that this throwaway line feels like it comes from someone who is so out of touch as to accidentally support a world view that has in fact resulted in the biggest part of the industry stagnating artistically while growing more toxic for the people working in it. All the while, more and more independent games come out every year, proving that that realism is nowhere near the most important thing to making a game good, and that you can achieve much better results with a small team.

What I’m trying to say is: watch Jim Sterling’s channel, they’ve been bleeding out subscribers since they came out as nonbinary and make much better commentary on this topic than I could, and play Hades.

Back to the book, which sadly hasn’t become any more interesting since I decided to go on a tangent. Wade tests the ONI functions some more, all the while musing on how he knows Samantha would disapprove but that he doesn’t care, because what loving relationship doesn’t consist of that?

Among the functions, he tries the ONI files, the aforementioned recordings of someone else’s experiences. Specifically, a woman, which Wade tells us by telling us he suddenly has breasts, I suppose because Ernest Cline saw that subreddit about men writing women and went “I want a piece of that”. Oh, and also, those sample files were recorded from real people, in the real world. And yes, this goes exactly where you think it does.

SEX-M-F.oni, SEX-F-F.oni, and SEX-Nonbinary.oni

Look, I actually started writing a complaint about the boobs thing, and I deleted it, but now Cline is doing it on purpose. So, here goes: I saw a quote from this book on Twitter that looked like Cline attempting to make up for Wade’s casual transphobia in the first book. It wasn’t good, but it at least sounded like he was trying. So to immediately get this is…a lot? Let’s go for a lot.

I can almost excuse the use of “M” and “F”. You gotta name your files and you could excuse a non-exhaustive list. But…nonbinary? On one hand, I want to know what Cline means. On the other hand, I don’t think he can come up with an answer I’ll find satisfactory.

We are thankfully spared from finding out because Wade has just lost his virginity to Samantha a few days ago and he’s 1) not ready for this and 2) pretty sure this counts as cheating. You could make a case that this is more like porn, but I can see that this is more of a personal distinction anyway, and I can respect that one. Plus, you know. I don’t want to find out.

Wade logs off, and he can’t tell the difference between the OASIS with the ONI, and decides this will change the world. And then it’s back to the “how did he do it and keep it a secret”, even though Wade now finds out in the documentation that this had been in development for twenty-five years, basically since the OASIS launched. So it’s not really that it’s a secret, so much as there are a lot of people under very strict NDAs out there. Or, again, they’re all dead and/or otherwise incapacitated.

The ONI is the product of the Accessibility Research Lab, and Wade tells us about other stuff that the lab has produced using similar technology, mostly for medical purposes.

GSS patented each of the Accessibility Research Lab’s inventions, but Halliday never made any effort to profit from them. Instead, he set up a program to give these neuroprosthetic implants away, to any OASIS users who could benefit from them. GSS even subsidized the cost of their implant surgery.

Look, it’s nice that you want Halliday to be the good guy through and through, but it’s kind of hard to take any social commentary seriously when you think this is how a billionaire is made. Hell, even when he shut down the lab and fired its entire staff, he gave them a big enough severance package to set them for life. You know. Capitalism!

Hey, remember when Samantha said she was going to end world hunger if she won the contest, a thing billionaires right now could be doing, but aren’t, and she is now the co-owner of GSS? Yeah, I kind of hope the book remembers that too.

Speaking of the co-owners, the book just completely skips over the debate that our four main characters have over whether or not to release the ONI to the world. All we know is that they voted, and the vote goes in favor of releasing it. I mean, why have characters who could have opinions and feelings that could create a discussion? That might make us care about them! And who wants to care about characters in a story?

We put them on sale at the lowest possible price, to make sure as many people as possible could experience the OASIS Neural Interface for themselves.

What exactly is “the lowest possible price” here? Your company literally owns money. Like, OASIS money is real money. There is literally nothing stopping you from giving them away, especially because what you’re giving away is access to the platform you’re already running for a profit.

It’s almost like, even trying to make “good billionaires” out of its protagonists, the book can’t stop and actually make them significantly good.

Oh, I should mention. If you thought my Ready Player One review was angry at capitalism, wait until you see what the past couple years have done to me.

Anyway, once they his 7,777,777 simultaneous ONI users, a new riddle shows up on Halliday’s website. Because yep: our plot is apparently not about the implications of releasing the ONI, or any of the potential ideological discussions associated with that, it’s another riddle. Oh boy, do I wish I’d known that.

Seek the Seven Shards of the Siren’s Soul On the seven worlds where the Siren once played a role For each fragment my heir must pay a toll To once again make the Siren whole

I cannot wait to have the book give me just not enough information to solve the riddle until it’s solved by the book itself. That was so much fun the other…what was it, five times? Six times? Something like that. Wade already tells us the Siren might be Kira Morrow, because her alias was named after one of the sirens of Greek myth, so I can’t wait for that plot point to stick around. It was so fun to hear all about this man pining for another man’s wife the first time!

So this is the “Shard Riddle”. People are apparently convinced it was made by Wade and his crew as a publicity stunt, but of course, they know that that isn’t the case, and they also don’t know what that riddle is supposed to lead to. So, that’s great. We have a puzzle, and we also don’t know what the stakes are. All we know is that Wade wants to solve the puzzle essentially because it’s a challenge.

We skip over a year, and Wade tells us about how IOI collapses and gets absorbed by GSS because of the ONI’s launch. Remember IOI? They were the bad guys, so I guess we have to cheer?

GSS absorbed IOI and all of its assets, transforming us into an unstoppable megacorporation with a global monopoly on the world’s most popular entertainment, education, and communications platform.To celebrate, we released all of IOI’s indentured servants and forgave their outstanding debts.

On one hand: good for the slave. On the other hand: not gonna cheer for a monopoly, you guys.

Another year’s skip, and now 99% of the OASIS users are using the ONI, and yes, that includes trading their experiences with one another too. And I guess we’re still hand-waving any possible problems associated with that technology, because the technology is made so that all recordings must be shared and played through the OASIS.

This allowed us to weed out unsavory or illegal recordings before they could be shared with other users.

How? Do you know any of the problems associated with content moderations on the current platforms? I don’t know if I want to point to Youtube’s extremely faulty algorithm, Twitter’s complete apathy towards its Nazis, or Facebook doing moderation by making underpaid staff watch all potentially problematic content, which resulted in serious psychological damage to said staff.

You can’t just say that as if it solved everything. The chapter later says this is handled by an AI called “CenSoft”, and as an AI engineer myself, let me tell you: this is not going to work. Again: Youtube is the way it is for a reason.

It also let us maintain our monopoly on what was rapidly becoming the most popular form of entertainment in the history of the world.

And again, monopolies are totally a good thing as long as it’s in the right hands!

When I’m implying that the book does not care for any of these potential problems, I mean it. These enormous ethical issues are sidestepped in cold narratin, and we just keep going on introducing new slang that I hate, but have to quote so help you keep up.

“Sims” were recordings made inside the OASIS, and “Recs” were ONI recordings made in reality. Except that most kids no longer referred to it as “reality.” They called it “the Earl.” (A term derived from the initialism IRL.) And “Ito” was slang for “in the OASIS.” So Recs were recorded in the Earl, and Sims were created Ito.

There. You have been infodumped.

In the midst of all this (still extremely dry) exposition about how this changed media, we also get this tidbit:

You could take any drug, eat any kind of food, and have any kind of sex, without worrying about addiction, calories, or consequences.

Now, I was going to rant about this, but then, a page later, this happens and spares me the trouble:

I’d struggled with OASIS addiction before the ONI was released. Now logging on to the simulation was like mainlining some sort of chemically engineered superheroin.

So, you are aware that addiction isn’t just possible, but extremely facilitated by this. But sure, no worries! It’s perfectly safe! Because our protagonists are good.

Also, remember how the last book ended on a weak attempt at having a moral that maybe the real world is good, actually? Yeah, Wade tells us the ONI helps poor people live enjoyable lives in the OASIS. So. Fuck that message, I guess. It only applies if you’re the literal wealthiest man on Earth.

And me? All my dreams had come true. I’d gotten stupidly rich and absurdly famous. I’d fallen in love with my dream girl and she had fallen in love with me. Surely I was happy, right? Not so much, as this account will show.

Aside from the aforementioned returning OASIS affiction, there’s the Shard riddle that Wade is now obsessed with, to the point of offering a billion-dollar reward to anyone with information about the riddle’s answer.

I announced this reward with a stylized short film that I modeled after Anorak’s Invitation. I hoped it would seem like a lighthearted play on Halliday’s contest instead of a desperate cry for help. It seemed to work.

On one hand: good, Wade finally has a character flaw that the book actually acknowledges as a character flaw. I can work with that. On the other hand: this is all told to me in such a dispassionate that I am dreading how the book will handle this character flaw. Which is to say, I’m not expecting it to be very good.

(For a brief time, some of the younger, more idealistic shard hunters referred to themselves as “shunters” to differentiate themselves from their elder counterparts. But when everyone began to call them “sharters” instead, they changed their minds and started to call themselves gunters too. The moniker still fit. The Seven Shards were Easter eggs hidden by Halliday, and we were all hunting for them.)

Especially when this is something the narration feels is more important to tell me about.

Anyway, skip another year, and a gunter finally leads Wade to the First Shard. Solved that riddle, I guess. And wait, wasn’t part of why IOI was ~evil~ in the first book that they were paying people to find the Easter Egg for them? How is this any different, Wade?

And when I picked it up, I set in motion a series of events that would drastically alter the fate of the human race. As one of the only eyewitnesses to these historic events, I feel obligated to give my own written account of what occurred. So that future generations—if there are any—will have all the facts at their disposal when they decide how to judge my actions.

And that is the end of our chapter 0. And can I just say: what a mess already. I don’t think my snark can properly convey how utterly devoid of emotion this book’s writing is, and that alone is honestly more of a turn-off than anything else in the book so far. Even, knowing that I railed about it in the first book, I still feel newly unprepared for it. And it’s not like this double-prologue is making me hopeful that the book will show an ounce more critical thinking—or decent fucking humanity towards marginalized groups—as its predecessor.

So, that’s a lot to look forward to! For the sake of my sanity and schedule, don’t expect me to do such big posts every time. I’ll probably do one chapter a week from now on, if that. We’re in for a long ride, but I hope it’s worth it, at least.

#ready player two #ernest cline #st: ready player two #book reviews

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spnfanficpond · 3 years

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Pond Diving - emilyshurley

Welcome to today’s Pond Diving Spotlight! We hope that you enjoy this little insight to our members and perhaps even find some useful tips for your own writing. Happy reading!

Want to volunteer, send us an ask! We’re looking forward to learning more about all of you! Not sure what PD is, you can learn more here.

Name: Emily

Age: 21

Location: India

URL: @emilyshurley

Why did you choose your URL: Okay this is embarrassing. I was trying to sign up for AO3, so I did a quick Google search for two things, what's the name of Dean's daughter? Emma, and Chuck's last name, Shurley

I accidentally typed Emma as Emily and that's it.

There was a very real chance that my url would have been emmashurley. Thoughts on that one? Maybe I'll change it someday.

What inspired you to become a writer: Being an only child who wasn't allowed to watch tv for more than 2 hours. And not having friends, that also had something to do with it.

How long have you been writing: Fanfiction? 4 years (was on Wattpad before this). In general? 12 years, I guess... I remember showing my first short story to my english teacher in 6th class.

What do you do when you are not writing i.e. Job/Hobbies etc? Cooking, eating what I made. I don't get to cook often so I enjoy it when I can. Other than that, college takes up most of my time. Currently getting my bachelor's degree in science. It's my last year, will probably get master's in zoology next.

How long have you been in the SPN Fandom? 4 years

Are you in any other fandoms and do you write for them? Way too freaking many. But I write for marvel and I'm thinking of re-posting the very first vampire diaries fanfic I wrote. But are people still into vampires?

Do you do any writing outside of fanfiction? If so, tell us about it? Mostly journalling, but I occasionally take part in writing competitions and things.

Favorite published author: Amish Tripathi (He mainly writes Hindu mythological fantasy? If that's anyone's jam here)

Have you ever read a book that made an impact on your life? Which one and why?: Leap of faith by Danielle Steel. Not for any reason other than the fact that it was the first novel I ever read. My grandfather was reading it, and I told him I wanted to read something too so he gave it to me.

Favorite genre of fanfic (smut, angst, fluff, crack, rpf, etc):Platonic fluff!!!! Give me all the fics of best friends being adorable.

Favorite piece of your own writing: Once upon a Winchester. But I gave myself so little canon to work with that I think I'll continue it after the show ends. I have to know the ending to continue it.

Most underrated fic you have written: Letters to no one. For any marvel fans, it's a two part fic in Natasha's POV, just some letters she thought no one will ever read.

Story of yours that you’d most like to see turned into a movie/tv show: Project Latrodectus, again marvel. I kinda feel bad for mentioning my marvel fics so much but I'm pulling influences from the story of Eklavya in Mahabharata, which is a Hindu epic so complex that I won't attempt to explain it here.

Favorite Tumblr Writer(s): Ahh that's a tough one. I love so many people. At this point, mentioning Myin ( @myinconnelly1 ) feels like cheating because another who has ever looked at my posts can tell she's my favourite human. So I'll try not to mention her further.

Otherwise, Beka ( @impala-dreamer), Kate ( @katehuntington ), @katymacsupernatural and other hoomans I can't remember because I have been away from Tumblr for a while.

Favorite Fic from another writer: Blood and Honey by @kittenofdoomage. And the proposal by @katymacsupernatural

Favorite character to write: Marvel: Natasha Romanoff, Supernatural: I have never written Charlie but I'd love to.

Favorite Pairing to write: So they are platonic ships but Dean and Charlie, the boys and Garth and Clint Barton and Natasha Romanoff.

Least favorite character to write (and why): Easily John Winchester. I don't know, my brain just can't process his character. Like no matter how many times I try, John just sounds off.

Do you have anyone you consider a mentor? Irl, my grandfather. On tumblr, Myin. I know, I know I said I won't mention her but Myin is my support system here. No matter what goes on in my brain, no idea is too crazy for her.

Do you have any aspirations involving your writing? To make people feel less alone because I think that feels like shit. My goal moving forward is to write more Indian reader and LGBTQ reader fics because I think not many people in the fandom (that I know of) are writing those fics.

How many work-in-progress stories do you have: Four, all of them are series. Technically 2 are my ongoing ones. And one is an MCU x SPN crossover that's taking a while to plan.

What are you currently working on? Nothing focusing on college these days. But will write random one shots here and there.

“Pond Diving” - All About The Writing

What/who has had the biggest influence on your writing? My inability to write romance. No joke, I don't feel like I write it well. So I tend to write general fics and crack fics.

Best writing advice you've been given: Someone recommended the book, writing down the bones, to me a while ago. In the very first chapter it says, use a cheap notebook (so you don't feel guilty about 'bad writing') and a fast writing pen.

Since most of my non fanfic writings are done by hand I like that advice.

Biggest obstacle you’ve faced in your writing: Procrastination. I'm the creator of my one misery here. I push stuff till the last moment then complain about being too busy to do anything.

What aspects of writing do you find difficult when you write fanfiction?Smut. I can't. I don't know I like to say I don't feel comfortable writing it but the truth is I just think I'd put people off. Which is not the intended outcome.

Is there anything you want to write but are afraid to (and why): More LGBTQ+ characters/reader inserts. Why? Say for example, even though I'm bi, but my version of bisexual Dean might not be something other people would relate to and I'm scared of accidentally offending someone.

What inspires/motivates you to write: What if scenarios. I love speculating and coming up with the context behind what we see on screen. Like an idea that I'll one day use is, what was Sam going when Dean was in hell or purgatory. Sure in one case he hit a dog and met a girl but how?

So I want to write more general fics or like filler between the scenes we see on the screen.

How do you deal with self doubt: By talking to people, knowing I'm not alone in this helps. And sending fics to friends before I post them.

How do you deal with writer's block: Play the sims. What I mean is take a break, do something completely different for a while.

Do you plan/outline your story before you start: I don't, for one shots. For series I have to have an ending or else I'll lose interest very quickly.

Do you have any weird writing habits: Would you consider writing/planning things on paper before writing it on the computer weird?

Have you ever received hateful comments on your fic and how do you deal with it? I did. My very first fic on Tumblr. It was a Tony Stark x Indian!Reader fic and someone messaged me saying most content media is written for an American/Western audience. And that Tony Stark would never actually do for someone who's Indian because well Indian characters aren't primarily present in the MUC. So no one wants to read it.

What I did about it? I deleted the fic and every backup I had of it. Because in my head they were right. All Indian get is Bruce Banner doing charity work for "all the poor Indians".

It wasn't until recently that I started talking to @desisamslut that I realised that people actually want to read about reader inserts that are like them. I mean it's called a reader insert for a reason how could I not see it?

Conversely: what’s been some of your favorite feedback on your fanfic?When someone made a mood board for my Black Widow fanfiction.

If you could give one piece of advice to a new and/or struggling writer, what would it be? Hang in there, no matter how uncommon you think what you want to write about is, you'll find an audience. I mentioned @desisamslut in another answer, the first thing she told me was she has never seen an indian reader fic, so she felt happy when she read the one I wrote recently.

#pond diving #spnfanficpond #pond diving: emilyshurley

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cherrygorilla · 4 years

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Time for me to be nosy as heck for the fanfic author thing! Hope you don't mind if I ask a lot like you did to me! Here you are: 4, 5, 6, 7, 14, 17, 20, 21, 22, 24, 25, 27, 29, 30, 31, 33, 34, 35, 37, 40 A bunch are the same ones you asked me, but I'm really curious as to what your answers would be. If there's anything you'd like to answer that I didn't ask you, then feel free to add it on if you feel up to it! 💖

Okay, I'm known to ramble at the best of times but I really ran away with myself here. You may want to grab a snack or something first; it's hella long. You've been warned!

4. What made you start writing fanfiction?

When I was like 11/12 I was obsessed with the musical Starlight Express and after trying to google just about everything I could about it I think I stumbled across some fanfiction for it. Well, instantly my little english-class-loving brain grabbed this concept and ran with it. I remember writing my own stories in this cheap little notebook I would hide in my bedside table drawer and it was around this time that TBM came out, so naturally I decided to see if that had any fanfiction too. Turns out it did, and significantly more than Starlight Express might I add, so my creativity ran away with itself and next thing I knew I was setting up my own account and getting properly involved this time. And I guess, as they say, the rest is history...

5. Favourite pairing?

This is pretty tricky for me. Most of the pairings that I have set up are littered with little flaws and things that make them more interesting to write about (and hopefully read about lol) and more realistic. And the already established pairings that I use (i.e. Mack & Brady in old stories or Lela & Tanner) just feel too bland for me to really connect with them, which is probably why I always struggle so much to write for them. I suppose Lela & Tanner can be cute, or at least their potential is; I don't feel like the movies did them justice lol. But for my stuff, at the moment I just feel so out of practice with writing and at such an early stage in the story with Wheels and Waves that I'm not really attached to any of the pairings yet. And besides, the only one I've really established so far is Butchy & Giggles, but if you've read my last chapter then you'll know that that's not exactly doing so hot atm. So, since I can pick holes and find flaws in everyone's relationships too much to pick a favourite, I think I'll pick one I'm excited about that has some of the biggest flaws imaginable: Coral & Hyde. And that's all I'm going to say. Unless you're curious, then ask away lmao.

6. Least favourite pairing?

Okay, I may be a bit controversial here- Actually, this is probably really controversial judging by some of the reviews on my old stories that I was just reading. But I don't really like Mack & Brady… Hear me out! Maybe it's just because I haven't watched the movies for ages and I haven't been thinking about them writing-wise since I abandoned my old stuff but they just seem really bland to me. Don't get me wrong, they're super sweet, but I like giving my characters a bit of grit to work with and make them a little more interesting beneath their 'perfect movie character in an idyllic world' surface and I just could never seem to do that with Mack & Brady. I could never manage to give them any depth and because of that I feel like I just grew to resent them haha. Other people can write for them much better than I can, let's just put it that way. Apart from them though, non-canon-wise in my stories it's got to be Butchy & Coral. Hands down. Honestly, what was I thinking? It was cringey. It was basic. And I think because of it Coral became super one-dimensional and kept losing her way as a character because my whole focus was trying to get them to work as a couple. Spoiler alert: they don't. And since I ditched them I think I was really able to get her to come into her own and develop a much more interesting, albeit worse, side of her.

7. Favourite type of au?

This is probably going to be a quick one because I don't do a lot of au stuff but modern day/high school aus are always a lot of fun. I feel like TBM2 could have done so much cool stuff with that premise but then they went and dumbed down all the characters and really ruined their chance but I think the concept in general is so cute. I'm actually working on something in this vein for my sims blog, but that's not what we're talking about so let's move on.

14. Do the people in your life know you write fic? How do they feel about it?

Nope. I haven't ever mentioned it to my family because I just don't think that they'd 'get' it. I think I mentioned it to one of my best friends ages ago because she also read/casually wrote fanfics but I don't think that she still knows that I've kept it up; she probably just assumes that it was something we both just did when we were 13/14. So they don't really think anything of it; they don't know and probably never will lol. So I just struggle over chapters and ideas and things by myself.

17. What's the harshest criticism you've ever gotten on a fic?

To be honest, I don't think that I've ever really had any super harsh criticism. None that I can remember, anyway. I was reading through the reviews on one story recently and someone told me that I should work on my dialogue for Mack & Brady because it wasn't true enough to their characters and tbh they probably weren't wrong. That's barely criticism but it was the closest that I could find to it in my five minutes of looking and nothing else stood out in my memory so I guess that's what I'll go with. I know that probably sounds super cocky like "omg i'm amazing i never get any criticism from anyone because i'm amazingggg!!!1!!" but honestly all the reviews on my old stuff were just people being nice to me because I was friendly to them and I get next to no reviews on my current stuff, so there's no real opportunity for criticism if there's no interaction in the first place lmao.

20. What's your biggest struggle when it comes to writing fic?

Actually finding the time to write it when I have uni work, family life, stuff with friends and a somewhat healthy sleep schedule to balance as well. I just don't have enough hours in a day. Besides that, when it actually comes to writing I guess I find it hard to stick solely to ideas that progress the plot. I've been trying to work on that a lot more lately and be more ruthless with my planning but sometimes I just get inspired by something fun and in sheer creative desperation I just wedge it into the plot somewhere. And I think that for the reader's sake I need to stop doing this.

21. Your biggest strength?

I don't know if this is what anyone else would consider my biggest strength but I personally really like the way that I can develop the characters beyond what little personality we get to see in the movies. I love working on their story arcs and experimenting with how they 'exist' in my head, like finding out who the quiet souls are, who the loud mouths are and why they act like that. From the snippets we actually see of them in the movies and how basic they are, I'm pretty proud of the characters I've rounded them into in my stories; they feel a lot more real now, to me at least.

22. Which do you do more: read fic or write fic?

I know it's hard to believe, but probably write. I only really keep up with a handful of stories now and I always find I'm more actively thinking about kicking my butt into gear and writing something myself instead of setting out to read someone else's stuff.

24. What's your process?

Daydream and plan out future plot lines for most of the waking hours of the day. Find the fleeting shred of time available in said day to sit down and work on something if both inspiration and motivation are working in my favour. Actually sit down and open up a google doc, perhaps with a cup of tea if I'm feeling particularly adventurous and fancy treating myself for doing something productive. Painfully struggle through the first ten minutes of warming up my writing muscles and getting my creative juices flowing again. Settle into a good rhythm and just let my fingers and the words work their magic until something boring from the real world interrupts me and drags me away from my fictional one. Then repeat.

25. Of all the fics you've written, which is your favourite?

I know it's not necessarily a single fic but I really liked when I was writing the one-shots for Surf, Sun, Sand because I knew that I was writing the things people wanted to read, so I knew there was more of a chance that they'd enjoy them. And it was nice not being constrained to one timeline, I could jump around and play with different pairings, ideas and settings as much as I, well, the requests, wanted. I also really liked my Twelve Days of Cruisin' for a Bruisin' Christmas story, but I can't put that at the top spot because I'm so frustrated that I never got that final chapter up. It was really fun to write though and that's one of the few things that I've written that I'm still happy with to this day lmao. I just think it's sweet and I like how I wrote all the characters, so I'd say that's a win for me.

27. What's your most popular fic? Do you think the popularity is warranted, or is there another fic that you think deserves it more?

Statistics-wise it's Paper Flowers, by a long-shot. 77,485 views and 331 reviews. Now, I think that the fact that there are about a million chapters and I wrote it back when the fandom was thriving has quite a lot to do with that, if not all of it, because I'm almost certain that it can't be the writing, character quality or whatever crap I threw into the plot back then. But for nostalgia's sake, I'll allow it. And to be fair, it was probably alright at the time. I do think, however, that I've developed and improved my writing style over the years, so it would be nice if Wheels and Waves could get a little more popularity (since it's something I'm actually semi-proud of lol). But I just don't have the audience, so what can you do?

29. Which of your fics was the hardest to write?

Just Like Me. By a country mile. Like I mentioned earlier, I really struggle when it comes to writing for Mack & Brady and although I liked the concept (and a few other people did too) I just wasn't ever happy with what I ended up with. The chapters felt boring (which probably had something to do with the fact that I wrote them in my phone notes at 11:30pm), their relationship felt bland and the plot felt like it was going nowhere. I sort of had a vague structure of where I wanted to take it, but when I couldn't seem to get the hang of writing for them every chapter felt like such a challenge.

30. Favourite fic writers?

You, girl! I literally don't even bother to keep up with anyone else anymore because I just don't have the time (uni will do that to a bitch, lol) but I never miss a post of yours and will frequently go and re-read your stuff (especially if it's in preparation for a crossover lmao) if I need a pick-me-up. And like you said, we're practically family now and what kind of internet sister would I be if I didn't support my fam?!

31. Do you write just for fun, or would you ever consider pursuing writing?

I don't think I'd ever actually pursue it as a job. I'm in dentistry school atm so I'm pretty set on becoming a dentist, but even if that wasn't the case, I don't think I have the creativity to create my own unique story with original characters and a whole universe under my control. I just think it's fun to expand on other ideas and grow my own ideas from them.

33. Fanfiction pet peeves?

Bad grammar is really frustrating. But I also just think it's really boring when people will basically re-write the whole movie/story pretty much word-for-word with only the slightest of alterations. Like, I've already watched/read this once, why would I want to do it again? I came here for creativity and fun stories with my fave characters, not the flat-out plot all over again with a cookie-cutter, paper doll inserted into the mix to steal a few lines. It just bored me.

34. First person, second person or third person?

I'd probably put second person last because I just find reader-insert things weird and cringey. Like they legit make me feel uncomfortable sometimes. And then I'd go with first person because although I don't really have a problem with it, it's just never a style I'd choose to write in; I just can't really get the hang of it and I prefer to be able to see and show everyone's perspective on a situation from the outside, which is why good old third person has to be my favourite.

35. OCs, reader inserts or canon pairings?

Like I said, reader inserts creep me out a bit so definitely not those. Canon pairings are a pretty safe bet and can be cute most of the time (I just personally seem to struggle with them lol) and if they're done well (i.e. not basic bitches with no personality that just double as weird reader inserts *cough cough* Coral in Paper Flowers smh 12 year old me) then I think OCs can be really fun and can add another layer to fanfics that takes them beyond the bubble of what's canon.

37. Which character is your favourite to write for?

Saying Coral would be too easy because she's literally my own character, so of course I'm going to enjoy writing for her. So, other than that I'm going to have to say Seacat. I feel much more comfortable writing for the surfers than the bikers anyway, so that definitely plays into it. But I really like the version of him I've created. I really leaned into his sort of fiesty, stubborn side that occasionally showed itself in the movies, which created a super interesting dynamic with his inherent relaxed nature that all the surfers have. He's a really fun character to work with and I've got lots of fun things planned for him, so I think he's earned that top spot. But I'll mention Giggles too because it's been fun developing her character more deeply for Wheels and Waves. I just like a bit more drama, which Seacat can deliver more than my sweet bby G.

40. Imagine yourself 10 years in the future, do you still think you'll be writing fic?

Honestly, who knows? Back when I started I never thought I'd still be writing it at 18, so never say never, I guess.

And since you said I could choose another one, I'll go for 38. From where do you draw inspiration?

I wanted to include this one because I'm literally listening to my Wheels and Waves playlist as I write this to try to get me into that #writingmood. A few different things influence me but music has always been my biggest inspiration. I'm constantly adding new songs to my playlist and finding songs I want to use so badly that I'll rearrange and shift around plot points to work them into the story. For example, that Coral & Hyde relationship I mentioned earlier? Grown entirely from songs. But yeah, I'm always getting inspired by songs, which is why I'm really trying to get a general plan of Wheels and Waves set in stone so that I'll stop being tempted to switch things around and ruin the plot with convoluted ideas I get on a whim because I heard a fun song. On another note though, if you have any song suggestions then hit me up lmao; I'm always looking for more haha.

#if you made it to the end then you're a saint lmao

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youknowmymethods · 5 years

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Content Creator Interview #6

Hello again and welcome to our sixth interview. This time, it’s the turn of @ashockinglackofsatin to put @sunken-standard ‘s writing under the microscope. Together they chat about the early days of the Sherlock fandom, how music can influence writing, and why the I Love You scene helped end sunken’s own great hiatus.

For those who don’t know me: I am @ashockinglackofsatin on tumbr, satin_doll on AO3. My test subject...erm, sorry - interviewee - is the notorious sunken_standard, probably most famous for her two epic, novel-length stories Longer Than The Road That Stretches Out Ahead and Fumbling Toward Ecstasy, which can be found on AO3 (along with her other wonderful stories) and should be required reading for anyone aspiring to write fanfiction.

You should know, first off, that I’m crap at doing interviews, which I discovered years ago when I had to interview musicians and various personalities as a job. I didn’t last long at that job.

So here is Kat’s Idiotic Interview with @sunken-standard.

satin_doll: You’re very good at writing Sherlock’s emotional cluelessness without making him seem like an idiot or an ass. Can you talk a little about the way you see Sherlock’s character that allows you to do this?

sunken_standard: Thank you :D So the answer to this is going to carry through to some of the other questions, but basically, I write Sherlock as a version of myself. I feel a kinship with the character, a highly intelligent person surrounded by idiots and so, so frustrated by it, but even more frustrated by his own brain and the inability to control it. Probably autistic, just like I'm probably autistic (and I don't want to get into it but I'm not trying to co-opt an identity here or anything; I've tried to get a diagnosis and found out that's just not possible with my current healthcare options).

Anyway, one of my probably-autistic things is being hyper-aware of other people's emotions, but also having trouble identifying them and the appropriate responses. At times I do lack empathy, like I honestly can't understand why someone is feeling what they're feeling because I wouldn't feel that way in the same situation and it doesn't make sense. Sometimes I can empathize so much that it's overwhelming and I just kind of short-circuit, especially when it comes to grief or loss, and I end up being insensitive or just not saying or doing what a normal person would.

So basically, I approach his responses to other people's emotions the way I would my own, only stripped of female socialization and self-awareness.

satin_doll: How much do you draw on your own life and experiences in your fics?

sunken_standard: For scenarios and specific scenes, not a lot. For emotional and sensory experiences, more. I haven't done very much or lived to my full potential, so it's not a very deep well on either account. Every now and then anecdotes or details creep in (like Mars Cheese Castle and the “call me Daddy” during sex thing [which, for the record, was skeevy as fuck irl]), but most of it just comes from nowhere or stuff I saw on TV.

satin_doll: Both “Longer than the Road…” and “Fumbling Toward Ecstasy” are novel length stories. “Road”, however, is written without breaks/chapters. Did you ever consider breaking it up into parts or chapters? How hard was it to keep it all in one piece and how long did it take you to finish it?

sunken_standard: When I write, I usually just start and then go 'til it's done or I burn out. I got through three or four chapters' worth of FTE (and was on the verge of giving up until maybe_amanda convinced me not to). Since the story wasn't nearly finished and I wanted to start putting it out into the world (mostly because I have no patience, but also because I knew there was a window to stay relevant and a large number of people were looking for a longer, meatier [cough] post-TFP fic), I decided to start posting what I had and just write as I went because I was, in hindsight, probably hypomanic and I was keeping a good pace at that point.

I dunno, I think there was a lot more of that long-format thing happening in fic back then, where you'd have a 40k piece that only had breaks because of the word limit per post on LJ.

As far as how long it took, I don't remember. I know I started it February of that year and had probably a good 75% of it finished (all written at a tear, over the course of probably ten days or so, because when I was still smoking actual cigarettes I could and did do 3-5k words/ day), but then I dropped it and went on to try other ideas. I went back to it when those other stories fizzled, and I finished it in maybe another 2-3 weeks with editing and beta reading. I had some real problems with the ending and it was never good enough for me, but I just got to a point where I was sick of it and it was good enough.

So basically, it's harder for me to work in chapters than it is one long piece. There's more discipline to a chaptered work; each chapter is its own story, in a way, and each one needs to end on a certain kind of beat. I still don't feel like I have a knack for it, and I think if I did anything long like that again I'd have to write most of it without breaks and then shoehorn them in where I could later on.

satin_doll: You took a long hiatus from Sherlock fic after S2, and came back for S4. What was it about S4 that sparked your writing again?

sunken_standard: I don't really know. I mean, the ILY was a big thing, but I think S4 gave me more to work with for the kind of things I write (all the angst and inner monologue) than S3 or TAB. I had mixed feelings about S3. I didn't like Mary much for a long time because she was one of Moffat's women (and anyone who's seen my tumblr knows how I feel about that), but I finally unclenched after a while because I like Amanda Abbington a lot and Mary was preferable to Sarah Sawyer (who I'm more ambiguous about now, but really didn't like for a long time because there was something about her that I read as smarmy, though now I see her reactions as more subtly uncomfortable and kind of like “what's going on/ this is weird/ John's a nice guy but is everything around him always this weird?”). Anyway.

I did try writing a bit after S3, but I never finished any of it; I didn't really feel like there was a place in the fandom or much of a community at that time, either—at least, not like what I had been used to from the early days. The tribe that existed wasn't my tribe (any of them). I think I need a certain degree of shared enthusiasm to motivate me to keep writing. Like, I have a lot of ideas for fic in other fandoms, but they're dead or never existed in the first place. And I know I'll have some audience for the small fandoms and people will read and kudos and everything, but there's no one around to geek out with or bounce ideas off of, so it just isn't as appealing. If I'm going to be miserable and alone while writing something, it's going to be something I can at least make money off of, y'know?

satin_doll: Do you edit as you go or finish the story first and go back over it to edit?

sunken_standard: Edit as I go. When I get stuck, I break that cardinal rule of writing and go back over what I've written and nit-pick it to death. It's a bad habit, but at the same time, small changes have led to big developments in the course of the story later on. I mean, I think sometimes this is why I have so many unfinished things, but I've tried just writing through and that doesn't work for me either. Once I get to the end of something, I've already made most of big cuts and done a lot of the reworking, so the beta polishing isn't as labor-intensive. I'm one of those people that when I feel like something's finished, I don't want to have to go back to it again. And if I didn't edit as I went, it would kind of feel like redoing the whole story and that's extremely unappealing to me. It's kind of like baking—it's always better if you clean as you go, rather than waiting until the cake's out of the oven to do the dishes and put stuff away (which I do when I'm low on spoons, but it ends up seeming like double the work).

satin_doll: Do you proof it yourself or rely on someone else to proofread it for you? I’m talking technical details here, proofing as opposed to simple beta reading.

sunken_standard: Mostly proof myself, since I edit as I go (and proofing is inevitably part of that when the mistakes just jump out). My beta catches everything else (and she's amazing; I misuse words and just legit don't know spelling differences for a lot of things [stationary vs stationery] and I'm not great with grammar and prepositions because I'm an ignorant fucker with no education).

satin_doll: When did you first start writing? When did you first discover that you COULD write?

sunken_standard: I remember writing stories as a kid, but I burned them all when I was a teenager so I don't even know what most were about or anything. I do remember that I wrote one when I was in like 4th or 5th grade that was ST:TNG self-insert fanfic and I think the plot was me working with Data to bring Lal back. I know it was Data, because I had a huge crush on him as a kid. I really thought I could grow up to write ST:TNG novels at that point.

And as for CAN write—jury's still out on that one. Ask my 12th grade English teacher, who laughed in my face when I told him I was thinking of pursuing English so I could be a writer. But before that, I had some other teachers that used to give me A+s on my creative writing assignments (despite all the spelling and grammatical errors). In 11th grade, I had a really great teacher, Mr. Lansing, who turned me on to the good parts of American lit and really encouraged me to read (and write) what I liked, not just what other people told me I had to. He encouraged me when I applied for the Governer's school, too. (The Governer's School is this program in PA for kids who excel; it's like a summer camp for the elite nerds. They have a bunch of them, each for different areas—math, science, medicine, I think one that's like history/ government/ civics, and then one for the arts. For creative writing, they take a total of 20 kids—10 for poetry and 10 for prose. I tried for the poetry category and made the first round of cuts and went for a regional interview (with about 50 other kids, so like maybe 150 kids state-wide); long story short I didn't make it. I was the first alternate, meaning if somebody couldn't attend, I would get their spot. #11 out of 10. I was so crushed, because it basically reinforced what I'd been told by other people—I was a big fish in pond too small to even piss in and there were always going to be people better than me. I was already mostly checked-out when it came to academia and aspirations; after that there was just really no point to keep going.)

Anyway though, I did write bits and pieces here and there even after school, thinking one day I'd get my shit together and write my own Confederacy of Dunces and then off myself (it's still a viable plan). Then, in 2008 I was recently unemployed and everything in life was shitty, so I wrote a big happy-ending fic for The Doctor and Rose. It was kind of the right bit of media at the right time that inspired me. More about that later though.

satin_doll: What/who do you think has had the biggest influence on the development of your style?

sunken_standard: I've been asked this before, and I always feel like I'm a little pretentious and I trot out the same names (both fanfic authors and book authors), but I had a realization a while ago that I'm always missing one person—Vonnegut. I think he's got this kind of no-bullshit way of saying things that still manages to be poetic and delicate and that's what I most aspire to.

I think a lot of my style is influenced by film, too. Some influences are probably Todd Solondz, Richard Linklater, Kevin Smith, and John Waters, as far as the way I approach the reality within the story. I think I tend to focus on a lot of the same things—the weird, the mundane, the mildly uncomfortable—but I don't go nearly as far in any direction. I think even the way I string scenes together and the shifting of focus within my scenes between action, dialogue, and inner monologue are influenced by cinematography. I always say I'm just transcribing the movie in my head, so I mean, there's bound to be some kind of influence.

satin_doll: You’re noted for the banter between your characters, humorous and otherwise. Do you have rules/profiles for characters that establish their voices for you? Are there things, for example, that you think Sherlock or Molly simply would never say/do or would always say/do? How structured are these characters in your head when you start writing?

sunken_standard: It varies slightly from story to story/ universe to universe, but I think I have patterns for the banter (and I have a different set for Sherlock and John, and Sherlock and Mycroft, but there are common threads throughout). As for comedy, it's not quite straight man/ funny man, but I tend to default to Sherlock being more literal and deadpan and Molly being more expressive and emotive. I use the scraps of the dynamic the show's given us and just build on that. It's kind of formulaic, actually: Sherlock does a not-good thing (degree of severity varies), Molly reacts with a blend of annoyance and amusement while going along for the ride.

I have a kind of mental file for things I think would be out of character for each of them, but sometimes I like to try to find a way to get to one of those things and slip it into a fic organically. One of the reason I liked doing the one-line prompt fics so much was that so many of them could easily have been intros to the kind of fluff that makes me gag; I'm no fool, though, and I love me some low-hanging fruit, so I just adjust it to my tastes. I'm a never-say-never kinda gal. Mostly.

That being said, there are a lot of things that I think would take a lot of doing to make them be in-character. I don't think they'd ever use pet names for each other unless it was through gritted teeth or with at least a bit of irony (like how I used “yes, dear,” in FTE, and I think in some of the universes in Ficlet Cemetery). I can't see Sherlock ever doing housework unless it was for a case (though dishes and sanitizing surfaces are an exception, because both those chores are tangent to the kind of cleaning up after oneself one does in a lab setting, and imo that fits with his logic). I can't see him being very affectionate in public, except under rare circumstances when he might do an arm around the shoulders or a guiding palm to the small of the back.

And as for structure, I think they all start with the same scaffolding, but in every new universe they get draped slightly differently according to variations in backstory or tone or genre or whatever. Or like, they're already sculpted, but the lighting changes. I think that as I write, they take on different nuances and acquire more depth, though. Like it wasn't really until a few chapters in to FTE that I got a fuller picture of the Molly I was writing, even though I had the rough idea of her backstory from pretty much the beginning. Same with Longer Than the Road, too. As I come up with details of someone's past, I experience those scenarios and it makes me rethink and fine-tune everything about them in what I've already written, and adds more texture as I keep going.

satin_doll: You’ve listed a playlist for “Longer than the Road…” Do you write to music? How much does music inspire your writing? Does every story have a playlist?

sunken_standard: It's funny, but I don't listen to music nearly as much as I did even 5 years ago. Not sure why, honestly, maybe something to do with my mental health and overstimulation? So I don't write to music much anymore. Not every story has a playlist or songs attached (I don't think any of the FC stuff does, at least not in any significant way), but it seems like my best work is inspired by music in some way.

FTE didn't really have a soundtrack, but I listened to a lot of the music I had in common with the version of Molly that I was writing—very 90s alternative and pop rock. Lots of Pulp (which I picked as Molly's favorite band because I think they're Loo's favorite, or one of her favorites). For the proposal, I had “Dreams” by The Cranberries on a loop as I wrote. There's just something musically about that song that's full of anticipation and the wavy kind of guitar (I don't know the music terms and it's been so many years since I was into anything instrument-related that I'm not even sure how the sound is made, like a whammy bar or wiggling their fingers on the frets or whatever but anyway) just has this kind of wavering emotion that makes it feel like it's on the cusp of something. And also it's the big romance song from every coming-of-age thing ever, and so just hearing it is like an auditory shorthand for breathless, adventurous romance, at least for women of a certain age (namely, my age, and I'm only a year younger than Loo/ Molly). There was another scene—I can't remember what it was without rereading the fic—that I spent like three days listening to nothing but “The Way” by Fastball. It might have been the thing with the drink testing and then the sex on the sofa and the cake baking. (As an aside, I just started listening to the song and immediately got hit with a sense memory of night-wet spring air blowing in my window, because that's what the weather was when I was writing to this and it gives me a weird yearning pull in the back of my throat, like nostalgia almost but something else in it. Like, did you ever hear a pop song that taps into some deeper part of the human experience, both musically and lyrically, and you just feel like there's some universal truth in it that's too much to totally grasp? That's how I feel about both of those songs. Anyway.)

Another story that had a few songs attached was Stainless, Captive Bead. Radiohead's “Creep” was what they were listening to in the tattoo parlor, and a lot of the sex bits were written while listening to Nine Inch Nails' “Closer” (look, if it's set in the 90s and there's fucking in it, I'm going to find a way to relate it to “Closer,” because that song is just dark sex and angst set to synthesizers and a high hat).

Also, sometimes when I write I listen to ambient noise stuff, cityscapes or rain or whatever fits the tone of the piece and my mood. I can't listen to anything for too long, though, because I get listener fatigue and I burn out faster.

satin_doll: Have you ever considered self-publishing your stories as a book or series of books?

sunken_standard: I've tried to file off the serial numbers on the Girlfriend series, but it was harder than I thought it would be so I back-burnered it. I still like to think that one day I will, it's a life goal, but if I put too much pressure on myself I only make it worse and nothing gets done.

satin_doll: You seem to have a detailed backstory for every character in your stories, from Janine to Molly’s mother. Do you work these out beforehand or do they just happen in your head as you write?

sunken_standard: Both? I kind of touched on it earlier, but I usually have an idea of the backstory, the bones at least, and then as I write it gets richer. I have multiple headcanons for every character, so I just start off with one of those. Like I have five different families for Molly, all things I was coming up with when I was writing other stories. Hell, I've got like five different Uncle Rudys (most of them highly unpleasant and most likely triggering).

I have a habit of just sitting and thinking about a character, like “what would make them this way?” armchair psychoanalysis stuff. And if I can establish a plausible-sounding backstory, I have a better foundation for introducing non-canonical traits or details. I think that's the downfall of a lot of fic authors—they just write a canon character as they would an OC and expect us to play along without demonstrating any internal logic. Maybe I'm just picky; there's certainly an element of that, too.

satin_doll: How detailed is the story in your mind before you start writing it? Do you work from plans and outlines with every story?

sunken_standard: It all depends on the story. Sometimes I have a whole series of detailed scenes just waiting in my head to be written out. Sometimes I only have one thing and I just keep going. I say I use an outline, but it's not a proper outline. More like a collection of notes and bullet points of what I want to happen and what kind of beats I want to hit. I usually keep it at the bottom of my working document so I don't have to switch to another doc to look at it if I need to.

satin_doll: Where does a story begin with you? What constitutes the “urge” to write? You once mentioned (in a comment reply I think) that you know the ending of the story first and then write the rest of the story to get there. What do you do when a story goes off track? How do you get it back to the way you planned it, or do you even try to do that?

sunken_standard: (I don't know why my document formatting went tits-up here, so I'll answer 1 & 2 both here)

So stories are a visceral kind of thing. I always have ideas. Seriously, give me a theme or a title or something and I can spit out a summary and details in as long as it takes to type it out. But actually crafting prose (can I sound more pompous?) is best likened to the urge to poop. Classy, right? I said it was visceral. Really though, it's that same kind of state of heightened awareness/ arousal (in the strictest medical sense of the word, not sexual arousal), something is happening and if it doesn't things are going to get weird and I'm going to be very uncomfortable for a very long time. Also, like pooping, if it's not ready, no amount of grunting or straining is going to make it happen, and it might even make it worse in the long run. As you can tell, I've been very, very constipated for the last year.

Anyway.

Stories going off track... a lot of the time I just let it happen because it's taking me to a better place than where I thought it was going to end up.

satin_doll: Quote from you: “I spend way too much time thinking about who Molly is as a person. Writing porn and comedy both have their appeal, but I really like sitting down and thinking about what makes any given character tick and how they might feel about what's happening around them. 30s and single has so much baggage to it, even if all the women's magazine articles and whatever-wave-we're-up-to-now feminist thought pieces say it's a myth or a stereotype or whatever. It's a truth we don't want to be true because it's not fair. I mean, it's not the thing that solely defines any woman, but it's there, just like cellulite and brand new and worrying moles and our favorite brand of whatever suddenly being discontinued (or significantly changed) because some marketing person decided it was too 'old.' But anyway, such is life. And I like putting that in fic.”

Do you write character studies to use as a reference for your stories, or just wing it for each individual piece?

sunken_standard: The character study is dead, isn't it? Like, as standalone fic. Never see them anymore, which is a real pity. I used to write them (or, well, start them, heh) before I took a break from writing/ fandom, mostly to try to get some of my headcanons down in some kind of usable way. But I haven't really written a character study (in prose, at least) since 2012 or so.

So when I write, I keep two documents open—the working copy that's a first-through-final draft and a “notes/ cut bits/ things to work in somehow” document. In the notes document I usually keep any character details (backstory or how I want them to react to something later, whatever). There are themes I go back to over and over, like a cluster of traits I reuse in some fashion because I think they fit the character (Mycroft and disordered eating, Molly as a middle child in some fashion, John as the child of alcoholics, etc.), so a lot of that just lives in my head. Any bits of characterization specific to a story go in the notes doc for that story, while any generic thoughts or something that I think I might want to use later gets stuck in another document full of random ideas, snippets of dialogue, jokes, AUs I'll never write, that kind of thing. I've got a few of those docs from different writing periods. They're mostly just a way to externalize a thought so I don't lose it; I hardly ever go back to them for anything.

satin_doll: What was your first involvement with fanfiction? Where did it all start?

sunken_standard: I started to answer this in another question; basically, fanfic's been in my wheelhouse in one way or another since I was a kid (Star Trek novels are fanfic, period). I discovered fanfiction back in the days of eXcite searches and webrings while looking for translations of Inu Yasha manga scans; I stumbled upon an English-language fancomic/ doujinshi called Hero in the 21st Century and it was so well-written, funny and poignant and well-researched I was just drawn in. I still think about it and the author's other works to this day. I did pick at the idea of writing myself, sometimes even put down scenes or outlines and did hours of research, but never did the thing.

And then, in 2008, the stars aligned and I started a thing. Journey's End spawned a ton of Doctor Who fic, and that was good, because I could just kind of slip mine in there and I probably wouldn't get a lot of criticism or attention. So I wrote like two chapters without any idea of how it was going to end, and I submitted it to Teaspoon and an Open Mind (which was the Doctor Who fic archive at the time; it was curated/ moderated and where you went when you wanted to read something you knew would be good, or at least conform to certain standards, unlike The Pit [which is still garbage today]). And I got rejected. My grammar and spelling were awful (I didn't even have spell-check in whatever program I was using) and they said the whole thing had good bones, but I really needed to work on the English before they'd look at it again. Getcherself a beta, they suggested, and I think they had a forum where writers and betas could connect. So I got myself a beta and she stuck with me for like 30 chapters, answering questions and keeping my characterization on-track and basically re-teaching me the rules of written English. I tried to email her a few years ago to thank her again, but her email bounced back. Her name was Julia and if she sees this, thank you Julia. You're a wonderful person.

Anyway, I wrote lots in that fic universe for like 2 months, then got another job and tapered off. I abandoned it completely after a year. Life got in the way of a lot of things, and the next time I was really inspired to write anything was a couple years later, for Supernatural. I only put it on my LJ, never posted to a community or anything, and no one read it. Literally, I don't think the post got any hits at all and for sure no one commented. I sometimes think about putting it on AO3 just because. And then Sherlock happened and here we are.

satin_doll: Do you think writing fanfic has hurt or hindered your original work? Why or why not? (that looks like a high school test question - sorry!)

sunken_standard: Lol @ test question :D

I'm not really sure, tbh. On one hand, I only have so much creative energy—it's definitely a finite resource, and a scarce one—and devoting it to fanfic diverts it from any original work. On the other hand, all writing is practice. The only way to improve is to keep doing, no matter what it is. So in that sense, fanfic's certainly helped me to find a comfortable voice and a prose style that works for me. There are still problems to solve, figuring out the best approach to a scene or story from a technical standpoint (stuff like tense and perspective and all that), so I'm always learning something as I go. Mixed bag, really.

satin_doll: What was it about the Sherlock/Molly dynamic that got you started on a piece like “Longer Than the Road…” What did you see there that made you want to explore it in such detail?

sunken_standard: So I always talk about how Sustain was my come-to-Jesus moment with Sherlock and Molly. Here's something I've never told anybody, not even maybe_amanda (because I was kind of ashamed, but not for the reasons people might think): before ever reading Sustain, I started a story that was Sherlock/ John and Sherlock/ Molly. I had it roughly outlined and a few pages written, but I just kind of lost the feeling of it and it was starting to get problematic for character motivations, yada yada, so into the scrap heap it went. It had a passing similarity to Sustain because of a platonic-sex-for-pregnancy element (hence why I never talked about it), but the major difference was that it was going to end up as a kind of polyamorous arrangement, Sherlock loving both of them and having a kind of co-parenting triad. In mine, John wanted a baby, and Molly wanted her own baby, and Sherlock thought “best of both worlds!” and why do IVF when you can write awkward angst-fucking instead. But yeah, I never finished it.

Anyway, I always saw something there, but I couldn't make it work in a way that was consistent with my own characterization of Sherlock until after Series 2. Even in Series 1, he looks at her with a kind of fondness and a sort of bewilderment that just lends itself to nerds in love. At the time (and even now, tbh), I kind of attributed that to BC having a crush on Loo (and oh man do I have theories, which are gossipy and gross and not the kind of thing I usually even bother having opinions about, but have you listened to the S1 commentary and some of the interviews around that time? there's something more there) and that kind of just spilling over onscreen and it working for the editor because it makes BC look sexy.

I mean look, I make no secret of the fact I started off shipping Sherlock with John almost exclusively (though I'd read just about anything), and after S1 aired it was just a different time. I get really annoyed when people talk shit about the pairing and the people who still ship them, because most of them weren't even in the fandom at the time and didn't have the same experience as the OGs. When Series 1 aired, hardly anyone knew who BC was, and Martin was just the guy from The Office and some other shows that were kind of unremarkable; most of the fandom was composed of old-school ACD Sherlockians and a few stragglers (like me) that got there from Doctor Who or were just general mystery/ thriller fans that got sucked in. We had a different perception of it because we weren't led into it by Star Trek or Hobbits or MCU; the characters didn't have that baggage attached for us. A lot of us already had a perception of Holmes and Watson as some shade of gay, so it was no great leap to see the very obvious romance (and yes, they all called it that in interviews at the time) onscreen as a romantic one. Martin, when asked, said basically that he'd play the next series (S2) however they wrote it, and if romance was there he'd go down that road. Whatever, I don't need to defend it because people think what they think anyway.

Anyway, getting back to the actual question instead of a million tangents and rants, I think I saw a lot of the things that have since become like backbone tropes of the pairing (even in canon, with the whole “alone, practical about death” thing). Their interactions in S2 were great; everything hinted at more than what was on-screen. And I really liked the idea of exploring the dynamic that was pretty much already there, as far as Molly having both a crush and self-respect and Sherlock suddenly having to rely on this person (that he picked because she was reliable to begin with) who's a friend, but also kind of a stranger in the way that a lot of the people we consider friends are (at least, friends made in adulthood; work-friends, church-friends, club-friends, gym-friends). Past that, I really saw the potential for character growth stemming from their interactions, but not like her humanizing him or whatever; both of them gaining insight about themselves, with the other person (and their relationship) as a vehicle for those realizations. I think I could have done better on that front, but hindsight blah blah.

satin_doll: How familiar were you with the Sherlock Holmes character before the BBC series aired, and what made you want to write about him?

sunken_standard: So I wasn't very familiar at all. Just what was in the general cultural lexicon, maybe a few episodes of the Granada series on PBS as a kid, a few of the stories that I just couldn't get into when I tried to read them because I hate Victorian prose (hate it, everything about it, I won't read anything written before 1920 or so because I just hate it [Wilde being the singular exception, but I even get bogged down by him]). Oh, and the RDJ movie, which wasn't really Sherlock Holmes to me, but just like a Victorian-era action movie. After S1, I just devoured canon (though, full disclosure, I still haven't read all of it, probably only about 80%), then moved on to other adaptations and canon-era fic and pastiches, read a bunch of extra-canon material on the internet. So as far as that goes, I'm very much a poseur and newbie in the greater Sherlock Holmes fandom. At least I did my research?

Anyway, it really took the modern adaptation and BC's performance to make the character resonate with me. The aspects he chose to play up—the frustration and impatience and frantic mental energy—just hit a nerve. He really channeled the “gifted” experience (which I suspect was just a lot of BC himself bleeding through). Finally I could use a fictional character to bemoan how stupid everyone around me was and sound like a complete asshole and be completely in-character! The heavens smiled upon me.

Really though, I was initially attracted to how cerebral it was and how smart the fandom was overall. It was the early fandom (and I mean early, like days after episode 1 aired) that drew me in, at least to a participatory (vs. consumptive) level. Lots of very clever, very educated, very queer people having these deep, insightful discussions about everything (sometimes only tangentially related to the show). When I did start writing, I didn't have to dumb anything down; the challenge was to sound smarter than I actually am. And, I mean, I got to dredge up a lot of my own emotional baggage from being a perpetual outsider, which is always cathartic (and probably not very healthy, long-term, because it's not resolving anything, just exploiting myself, but that's a can of worms).

satin_doll: Are you more drawn to Sherlock or Molly as a character, or both equally? Why?

sunken_standard: Sherlock, I think, for the reasons described in the last question.

I don't generally identify with female characters in fiction, since my own identification as female is tenuous (and in general they're poorly written and poorly realized, but that's another story). I mean, I can draw from my own experiences as a (mostly) female-shaped person with female socialization, but I have a hard time intuiting feminine and it's harder for me to write a “normal” woman.

Paraphrasing something I read in an interview with another fic author I admire, writing a woman is always a self-portrait, and how much of yourself do you really want to reveal? Since I don't know how to woman correctly, I'm always afraid I'm going to slip up and hit the wrong beat for what a normal woman is and end up ruining the characterization. I do manage to channel a lot of my own frustrations with men, relationships, being a single and childless woman over 30, and the patriarchy into Molly's character, though.

I mean, don't get me wrong, I really love Molly (and always have—I was one of the first to use her as a main character and not just a punching bag or a punchline). I love her sense of humor and her job and her fashion sense, all of it. She's not one-dimensional. It's just easier for me to write Sherlock than it is to make decisions about who Molly is.

satin_doll: You are “internet famous” for Longer Than the Road (rightfully so!) What about that story do you think is so affecting for fans? How has “Road” influenced subsequent work you’ve done in the Sherlolly ship?

sunken_standard: You know, I'm really not sure why it seems to resonate with people. Maybe the homesickness or the exhaustion that comes with impermanence (and I mean, we all feel that on an existential level, everything's always changing and it's faster every year, just existing is like trying to walk in an earthquake). Or the healing/ recovery aspect of it (I tried to balance both sides, the affected and the caregiver). Or maybe I just wrote it at the right time (when there wasn't much else out there) and people kept coming back to it because it was familiar.

As for how it's influenced subsequent work... I'm sure it has, but I don't know how, exactly. I still think it's the best thing I've ever written and the closest to something literary I'll ever get, so in a way it's an albatross (no one ever wants to be reminded that they already peaked). I get frustrated when my newer work doesn't live up to the standard I set for myself with it. That frustration doesn't make me a better writer, it just makes me tired, so everything I do now is paler.

One thing it did do was cement my characterizations of Sherlock and Molly and the dynamic between them. I tend to write them a certain way and don't deviate from that, and that all has roots in the push-pull, love-hate thing I established in Longer Than the Road. I can't write Molly without a degree of contempt for Sherlock and I can't write Sherlock without a degree of shame and contrition in his feelings toward Molly.

satin_doll: How does feedback affect what you write? How important is it? Is it more important that a reader “get” the point of the work or just that they like it? What kind of reader do you write for?

sunken_standard: I try not to let feedback affect my writing. I mean, I only get positive feedback, really, so it's a high. I'm not trying to brag or anything; I count myself lucky that I don't get the shit others do (though I honestly think anybody that posts on The Pit is opening themselves up to it because it's a garbage dump, but I've never liked the site, so). I try not to let it go to my head or anything though.

I also try not to let it influence the direction my writing takes; I might do a comment fic or write a silly HC or something, but I like to keep my substantial pieces pure, so to speak. Though sometimes a comment sparks something and a whole other fic grows out of it, so I fail there, I guess. Sometimes it's a lot of pressure when people say they want to see more of something, or want me to write a kind of specific scenario, so I usually just don't, and then I feel bad about not giving nice people what they want and it starts this whole weird spiral of guilt and obligation and then swinging the other way and getting (internally) belligerent over not owing anybody anything. I uh, have a complicated relationship with my work being acknowledged in any capacity.

As for people “getting” it... I don't know if they really do or not. Sometimes I get comments and I can tell they're definitely on my wavelength and they picked up on an allusion or a detail or just saw or felt everything in the scene like I did when I was laying it out. Once in a while I get a comment that has a different interpretation than what I was trying to get across, and that's really cool because it makes me re-examine my own work and see it from a different perspective (which I think makes me stronger for the next thing). It's really validating when someone “gets” it, but at the same time, I write to entertain other people (as well as myself), so as long as they like it, I feel accomplished.

It's cliché, but I write for an audience of one. I've tried to write outside my taste and it doesn't end well. Sometimes I write tropes that aren't my bag (like the Wiggins “the Missus” thing, or kidfic/ pregnancy), but it's kind of like a nod and wink to people who do like it, rather than outright pandering. At least, that's what I tell myself. Sometimes you need to try on every bra in your size, even the ones you know you hate, just to make sure you're getting the right one, y'know?

satin_doll: Do you think fanfic has changed since you began writing it? If so, how?

sunken_standard: Yeah, but I don't think it's a good or bad thing. And it depends on where you look and what you consume.

In the last like five years, Tumblr's purity culture has shamed a lot of kink back into the closet, I think, and people (in my fandoms, at least) aren't really writing on the edge. I see darkfic, but it's about as dark as the night sky over Hong Kong. I think people are afraid to go really dark anymore because they don't want the backlash from a generation fed on a diet of pink princesses and promise rings. And I think everyone's desire for happy-ending escapism has ratcheted up because the real world is shit and TV shows are all playing Russian roulette with surprise deaths to add drama (thanks, The Walking Dead, for making that element so ubiquitous that the rest of the mainstream picked it up and ran).

On the other hand, I'm not seeing near the amount of badfic as I used to. It was never as much of a problem on the old platforms and AO3 (compared to The Pit), but there were always some. I mean, there are still lots of turds out there, but they all seem a bit more polished these days. As far as the English goes, at least. Maybe my fandoms are just maturing.

I think people interact a lot differently now, too. This is going to kind of tie into the next question, but the types of feedback are different now and I think authors have changed what and how they produce to kind of chase the dragon of positive feedback. Like, when I started, most public archives (read: not just one author's own website with all their fic, like you found in webrings a lot)—both completely open and curated—had some way to submit comments and allowed author replies. There was really no other way to let an author know you liked their work. I mean, some sites tracked numbers for bookmarking features or hit counts, but those weren't as... active(? I guess), they weren't really participatory for the reader.

Then AO3 came along and started the kudos thing (which people still bitch about because they think they get fewer comments; like be happy you get anything, ya fuckin' ingrates). Kudos count became a de facto rating system, thanks to the sort feature. Whenever I start reading for a new fandom, I pick a pairing, pick a rating, and sort by kudos. Sure, popularity isn't the best way to find good fic, but in any decent-sized fandom you can assume that the stuff on the first page is going to be written to a minimum standard. Anyway, one of the ways to game the system a bit on kudos is to do a multichapter fic; I've seen works that are like 80+ 200-word chapters (don't get me started on omnibus fic across fandoms). They aren't the best fic by far, but they pick up kudos every chapter, often from guests that are just people not signed in or on a different device. I'm not knocking it, exactly, since it front-paged me for more than one fic. Part of me still feels like it's disingenuous, but I also recognize that I should pull the stick out of my ass. Anyway, the kudos count was kind of the death of the one-shot longfic (which, when I wrote Longer Than the Road, was a pretty common format).

And now, it seems like the Tumblr fic culture is writing ficlets (under 1k words) and posting without a beta (and I do it too). Fic consumption has become a social activity. Reblogs aren't always about one's personal taste, they're a social signal of group affiliation. If you don't reblog certain things, you're suspect and given a wide berth. Woe betide the poor fucker that crosses party lines and posts one of the verboten ships. And I mean, this isn't just one fandom, I've seen complaints about it from all corners—Supernatural, Star Wars, MCU, Steven Universe ffs. I think when you have predominantly female spaces, you're always going to have an element of Mean Girl culture, y'know? I'm probably going to get my fingernails pulled out for being misogynistic or some kind of -phobic for saying that.

Whatever. It's true that a kind of hive-mind develops and all kinds of tropes and HCs get repeated until they become fanon. I mean, that kind of thing's always happened, but the whole culture of Tumblr forces you to identify yourself and your group affiliation by what fanon you subscribe to, probably because it's harder to find your tribe without dedicated community spaces like LJ had. With Tumblr, you basically have to trawl tags until you find your echo chamber.

I'm old and I fear change.

Tumblr ain't all bad, though. It's very collaborative, kind of like the old-school round-robin fic people used to do. Authors and artists riff off each other and a lot of really cool stuff comes out of these casual collaborations. And I do like the prompt lists; I remember kinkmemes and prompting communities back on LJ, but it feels more off-the-cuff and spontaneous to just give someone a numbered list and let them roll the dice for you.

You know what else has changed? We're kind of in a new era of epistolary storytelling with memes and shitposts; stories emerge that aren't prose (though might contain a prose element). I mean, people did mixed-media epistolary in 2008, but it was a lot harder then (create graphic, hand-code into text piece, hand-code all the italics and bolding and font changes to denote various media types, if you're really a wizard add in-line text links to audio clips to add ambiance). It's a lot easier to add a new thing on each reblog now, like someone does a video, followed by a 3-panel comic sketch, followed by a ficlet, and then a gif, you get the idea. I like it; it's just a shame that it's so ephemeral. Maybe that's part of the charm, though.

satin_doll: You’ve talked a bit about your experience with LiveJournal in the “old days”; what other platforms have you used in the past? Which ones did you like best?

sunken_standard: I went into it a little in another question, but I first posted fic to A Teaspoon and an Open Mind (www.whofic.com). Honestly, I don't remember much about it. I'm not sure, but I don't think they had a richtext editor at the time (2008) and I had to hand-code some or all of it. I vaguely remember having to do HTML for italics and paragraphs. I know I had to do that on LJ sometimes because the formatting from whatever word processor I was using at the time did some hinky shit sometimes on a copy/paste.

Next came LiveJournal (and DreamWidth, but I really only used that to back up my old LJ blog). It wasn't better than Teaspoon, just different. Teaspoon is niche, only fanfic and only for one fandom (well, one universe of fandoms, really, with all the spin-offs), where LJ was all kinds of stuff under one roof—personal blogs, communities with various intents and levels of participation, fanfic, fanart, gossip blogs, you name it. I liked the friendslist view thing; it was like proto-Tumblr. And you could talk to people on the threads; even personal blogs were like a forum.

I joined AO3 in 2011, after waiting like six months for more invites to open up, but I didn't post anything there until 2012. I'm really happy with it as a platform for posting fic. I like the editor and I like the tags, ratings, and sort features. I never even considered posting to ff.net because I'm a snobby fucker (and they can blow me with their whole “adult content ban” that still continues to be selectively enforced). Anyway, I preferred having my fic on AO3 before I even left LJ, since I didn't have to split my stories into parts because of character limits.

And then Tumblr took over and I kind of hate it, since you can't have conversations anymore, it's like leaving passive-aggressive post-its and there's no editing something once it gets reblogged, so typos and bad links and all that are always there. And even when the original is deleted, the reblog keeps going, which I really hate from a creator's standpoint (though the archivist/ curator part of me likes it because it doesn't get lost in the ether [the recent purge notwithstanding] like so much of the early days of the web did). Tumblr's really bad for posting anything but ficlets and links to fic on other sites.

satin_doll: What would your ideal fanfic publishing platform be like?

sunken_standard: Honestly, AO3 is just about as close to ideal as I can think of. I just wish you could directly upload images instead of having to do code jiggery-pokery to link to something hosted elsewhere. I've tried a million times and followed all the tutorials in an attempt to add the cover art to Longer Than the Road (gifted to me by @thecollapseinwonderland), but it just never works. It shows on the preview, but not on the live version and it's frustrating because I'm computer literate, goddamnit. Anyway. And I mean, in an ideal world there would be better ways to find quality fic to my taste, but there's no real way to add a rating system (like 5-stars) independent of kudos without discouraging authors (and I mean the potential for abuse and bullying is just too great).

Additional reader questions from @ohaine:

Stylistically, Longer than the road is quite different from the other fics at the top of the AO3 Sherlolly ratings; stream of consciousness at the beginning, and the nested internal thoughts. How much of that was a deliberate departure, and how much was you just channelling the story as it came out of you?

sunken_standard: At the time I was really influenced by a Sherlock/ John fic (I can't remember the title or author, it was 7 years ago, but I feel bad about forgetting). It was originally on LJ and their journal was a lightish blue color and the font was small (if anybody remembers this... there was something with an EKG and I think something with shooting up blood as a romantic gesture?). It was Sherlock POV and the author had a really unique way of presenting internal monologue. Anyway, at that time there was a lot of experimental writing going on on the slash side of things, it was great. To be perfectly honest, I hadn't read a lot of Sherlolly fic at that time because what did exist (as far as happy-ending/ happy-for-now stories vs like darkfic/ angst) was really, really not to my taste (the exception being Sustain). So it was only deliberate in that—even when I wasn't being experimental—I didn't want to write Harlequin books.

I wish a story like that would just come out of me. I mean, to a degree it did, but doing the thoughts and sub-thoughts was work. I mean, I've always been a brackets-and-footnotes kind of person because I like reading it, but the way I did the thoughts was more like writing HTML than a regular rambling narrative.

I think I read recently (maybe on a blog post?) that Riders on the storm was the original inspiration for Longer than the road. Was the scene in the storm your starting point with the story, or where did you begin?

sunken_standard: That was the first scene I wrote; at that time I had a really nebulous idea of the story. The imagery was really clear in my head, though the very earliest concept took place in the desert—the classic American image of the road going on forever and rusty sands and the heatwaves rising up off the asphalt. I'm not sure how it morphed into North Dakota, I might have seen a picture of lightning over the plains or something.

So after S2 aired, I just kind of sat and chewed it over for a month before any really strong ideas emerged for a story. I had to find the internal logic for the kind of plot I wanted to write—namely, them on the lam together. Making Sherlock have a breakdown seemed pretty natural at the time; in ACD canon (and many, many pastiches) he was always having them and going off to the country to recuperate. But he was supposed to be dead and he was all over the tabloids, so it's not like he could just move to some sleepy little village and hope no one recognized him.

I thought about sending him to Europe, using the places ACD Holmes went after Reichenbach (and I did start more than one with them in Florence, a few incarnations of which were Molly/ Irene wanklock PWPs, I actually think one of the Rusty Beds stories came from that, but I digress). The only problem with Europe is the language barrier; I thought it was too convenient to make Molly fluent in another language (she might have some conversational Spanish from a holiday or something, but that's it), so I had to make them go somewhere where English was common enough. I also didn't want them too far from the UK; I wanted Sherlock to be able to get on a plane and be back within half a day (I realize this isn't the reality of flying, but deus ex Mycroft, so). So Asia, Australia/ NZ, and even South Africa were out, leaving Canada, the US, or parts of the Caribbean. I didn't want them to by happy, so they didn't go to the Caribbean. Canada's great, but it's too nice and they also don't have deserts. America it was; it also really added some background tension because I think a lot of non-USians have a love-hate with us. Movies are okay, music too, and of course the tech and consumer innovations, but everything else is garbage and we're all just rude, ignorant, obese Yosemite Sams. For someone like Sherlock, I think the US is the last place he'd want to go (even though canon ACD Holmes was really into America). And I mean, write what you know, so that was that sorted.

Once I got them here I needed them to do something; I wanted to tell a very intimate story, and that would be boring if they were just living in a 2BR cape cod in Jersey. And I mean, what city would really suit Sherlock? Where could he have a life that wasn't London? Anyway, the inside of a car is just about as intimate as two people can get, and the greatest tradition in American literature and film is the road trip, and that was when I knew I had a solid foundation for a story. After that, it just kind of flowed as I planned the route.

Perfect, not perfect-perfect is a beautiful, brave piece that I think has a real air of authenticity to it. It was a very tough read, purely because of the journey the characters are on, and I wondered how difficult it was for you to write? Was it catharsis or an emotional black hole?

sunken_standard: You know, I'm not really sure if it was either catharsis or black hole. A lot of the particulars and even the emotional places in that story aren't mine, but an amalgam of some other friends' experiences with polyamory. My own experience with it was pretty shit and pretty unremarkable, but I learned a lot about the human heart and how some people can lie to themselves because they can't let go of their ideals and their identities (I'm also still a little bitter), but that's got nothing to do with the price of tea in China, so moving on.

Since a lot of those experiences weren't mine, it wasn't raw, so it wasn't very hard on me, personally. I think I wrote it in like three days? I don't think I wanted it to be a slog, so that's why it's in present tense and very sparse and matter-of-fact. Dispassionate, even. There are times when I'm writing really emotional stuff that I'm disconnected from it (which is a fuckin' mercy, because most of the time I'm right there going through it, over and over for days sometimes until I get the scene right and can move on to the next thing), and this was one of those times. I was writing this alongside the Girlfriend series, so there was some overlap there; I'd already done the emotional labor for everything up to Mary's death and I was thinking of different angles of approach for later installments of the series.

The most “me” part of it is near the beginning, writing my way around the bisexual experience from someone else's point of view. I don't have a lot in common with any of the characters; they're a higher social class, urban, products of a more liberal culture, yada yada, but there are some things that are just kind of universal and misunderstood about bisexuals, the stereotypes that we have to contend with and end up internalizing.

Oh, and the perpetual alienation is all me, too. Molly's feelings of being left behind are mine, how I felt every time friendships drifted apart or when female friends got married and then had kids. So a lot of the fatalism and insecurity are me projecting how I would feel or react. I kind of like depressed Molly, more than the perpetual ray of sunshine/ cinnamon roll at least.

*********

Many thanks to sunken_standard for taking the time to answer these questions!

And many thanks and much love to OhAine for all her hard work putting this project together! It’s been fun and enlightening!

Next week, Friday 29th March, it’s the turn of @ellis-hendricks and @geekmama

#content creator interviews #sherlolly #Sherlock #ashockinglackofsatin #sunken_standard

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iamanartichoke · 6 years

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It’s almost 4am, I can’t sleep because of Reasons, and my brain isn’t functioning enough to be productive, so I’m just gonna fill out this writing meme. So, yeah, if you’re interested in some very long, self-indulgent writing babble, keep reading, and if you’re on mobile, I’m sorry the cut doesn’t work.

1. What are your favourite genres and/or styles to write in?

Contemporary lit has always been my thing. I was never really into reading or writing much action/adventure or fantasy, which is weird because I was very into shows like Buffy the Vampire Slayer and LOST - but, I was mostly into those shows for the very rich character dynamics and developments, so. Anyway, Sanctuary is the first thing I’ve written in my life that isn’t in the contemporary, real-world genre and I’m doing okay with it, but I do sometimes get a little paranoid that it’s too character focused with not enough action/comic-genre stuff going on. This is really stepping outside of the box for me, to be honest.

(I just remembered that I did write some Batman fanfic when I was maybe 16 or so, but I’m not sure it counts bc it was terrible and I pretty much just wrote a Buffy-esque character to be Batman’s sappy love interest. God, how embarrassing.)

2. What was the last writing project you finished and felt successful with?

Okay, so, when I was finishing grad school, I had to complete a “publishable” thesis project and mine is/was this collection of linked short stories that I spent probably a good year and a half (including my thesis semester) working on. Technically, I did finish it enough that it passed the graduation requirements, and I have been chipping away at it on and off since then, but after I graduated, I just ... stopped writing, in general. Depression and real life are a shitty combination for writers with very little internal motivation. But, despite that, this collection holds a very dear place in my heart. There are seven stories total, all young adult, coming-of-age themed, and they’re linked by character in that they all take place in a small town and the characters from each story sort of know each other in passing, as happens in a small town. There’s room for ten stories, because it’s a nice, even number. I love all of the characters and I think it could be something really great and could be published successfully - just, it needs a lot more work to get to that point. Eventually it will. Anyway, yes, that’s my last “finished” writing project and I do feel a modicum of success toward it, for what it’s worth.

3. If you have a WiP how do you feel it’s going? What stage are you in?

I am actually 85% pleased with how Sanctuary is going. I started writing the fic without any real idea of what I wanted to do with it or where it would go - I was just having a lot of Loki feels during a difficult time in my life. Prior to this, I would handle my Character Feels by indulging in a lot of watches and re-watches and occasionally making music videos and sometimes fan art (graphics, I can’t draw for shit), but these methods just weren’t cutting it this time ... and hence, fic was born.

It’s not a perfect story, of course - there are some inconsistencies and errors and the writing can always be more polished, but I’m just happy that I’ve stuck with it for this long and allowed it to develop the way that it has. I’m able to flex my writing muscles and get back into the practice of it while having fun at the same time. The story is four chapters away from completion, but I have plans for a sequel and also a couple of one-shots from Thor’s POV that I want to play around with. Overall, I’m pretty pleased with where I am in my little fic-verse right now.

When it comes to original fiction, aside from the aforementioned short story collection, I am in the plotting stages of a novel involving reincarnation, because I am tropey trash, but it has potential. So, there’s that.

4. What are your favourite places to write?

I actually feel like I write more productively when I am away from my apartment, which is a conundrum because I pretty much only leave my apartment to go to work or, like, the grocery store. I have a job that allows me to be at a computer for most of the day, so when I’m not busy, I like to write at work. I weirdly feel more productive and clear-headed at desktop computers, but I don’t have one of my own, so when I’m not at work or at the library, I write on my laptop in places like Barnes and Noble or laying in bed like a lazy bum. I do have a desk at home, but it is woefully neglected, I’m sad to say.

5. Do you prefer to write with long hand or type? Or some other method?

9 times out of 10, I type. However, when I am struggling particularly hard with writer’s block, I’ll write long hand because, for whatever reason, switching methods jolts my brain a little bit and gets the juices flowing again. I wrote the entirety of the Kree battle and Val/Loki in the infirmary (I forget what chapter that was) long hand, among other scenes.

6. Do you remember your first character? If so can we meet them?

My childhood is filled to the brim with embarrassing fiction. I don’t remember my first character, to be honest - I remember being in fourth grade and writing some kind of story for Young Author’s Day at school, and that’s the first thing I remember even writing, but I couldn’t tell you what the story was or who the characters were to save my life. When I was in sixth grade, I discovered S.E. Hinton’s books, and from that point on, I spiraled down into the genre of coming-of-age, tortured, sad protagonists (God, Ponyboy Curtis was my first spirit animal, talk about tragic) and I’ve never quite looked back.

7. Where do you get your inspiration?

Where don’t I get my inspiration, would be a better question. Music is a big inspiration - sometimes I’ll hear a lyric that I want to put to a story, or a song will have a storyline that I like and that’ll get the creative juices flowing. I do get some inspiration from real life, but I shy away from writing anything too closely related to my own life - things that I pull from my life are incredibly fictionalized, but the roots are sometimes there, if that makes sense. Movies and TV shows, of course, especially with character types that I’m drawn to. Other people’s literature is a big inspiration, too. Idk, I think inspiration just comes from everywhere. Everyone and everything has a story that can be told.

8. Do you outline a story before writing it, or does it all live in your head until the first draft gets put down?

I’m kind of 75/25 on this - 75% lives in my head and 25% is outlined, but the outline is always kind of a loose guideline that may end up completely changing by the time the words are actually on the page. I mostly use outlines to put things down tangibly when they get too cluttered in my head and I start confusing myself. I also use outlines to keep track of plot threads, to try to keep things consistent. For Sanctuary, my outline is a mixture of what I want to accomplish in each chapter and an extensive notes section on various canon I’m using, so that I can keep things straight.

9. Where do you go/ What do you do when you’re feeling stuck?

Writing long-hand is a thing I already talked about. Other things I find helpful: going for a long drive to just sort of let myself zone out and think about the story without the pressure of sitting at the computer, listening to music ... sometimes I just put the story away completely and let it sit while I do/focus on other things, and I come back to it refreshed and ready to try again.

10. What got you starting writing/doing Art? (Because I always love origin stories)

I don’t know - writing has just always been a part of who I am. The urge to write was something that came very naturally to me. I’m sure being a voracious reader was part of it, too - I grew up reading books like there was no tomorrow, and I was a very introverted, shy child, so I read more than I talked to people, and that just sort of naturally translated into writing stories of my own. I’ve never been a people-person in that I don’t like interacting with people much (in real life, anyway) but I like to examine and think about how people work, and it’s a strange thing but so it goes. But yeah - there’s no real “origin story” with me, just a long history of being a reclusive nerd.

I guess this is a tagging meme but I wasn’t tagged, so if anyone out there wants to do it, feel free, I’d love to read other people’s responses if you feel like sharing them. :)

#sorry for the babbling #and any mistakes #it's very late/early #i'm just kind of stream-of-consciousness-ing #charlotte writes #the real life of charlotte lennox #writing meme #writing #fiction #fanfic

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andhumanslovedstories · 7 years

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what I’ve read 2017 (books 7-10)

Sex on Six Legs: Lessons on Life, Love, and Language from the Insect World, Marlene Zuk

A Time to Dance, Padma Venkatraman

Big Girls Don’t Cry: The Election that Changed Everything for American Women, Rebecca Traister

Get it Done When You’re Depressed: 50 Strategies for Keeping Your Life on Track, Julie A. Fast and John D. Preston

or, God made bugs kinky; we explain so many things through interpretative dance, maybe it’s time for interpretative dance to be explained; no not that election the other election; and this book about depression made me more depressed

Nonfiction: Sex on Six Legs: Lessons on Life, Love, and Language from the Insect World, by Marlene Zuk (1/15)

Despite the first part of the title, which is the only part I read before I immediately checked this book out, Sex on Six Legs is in fact about much more than just insect sex. The majority of the book focuses on other aspects of insect communities and relationships, as Zuk takes a plethora on nonsex angles to examine the intricate interdependence of these highly sophisticated social structures. You have to read most of the book to get to the sex, which is good because all of the book is interesting and gosh I’d never thought about the complexities of insects this way and boy does it make you question how humans consider ourselves so unique in our complexity when insects are just as complex while also being staggeringly diverse in that complexity, yes, all of this is true, but I’m not here to lie to you. My main takeaway from this book has to be that, yall, bugs fuck so weird.

Yall.

They fuck the weirdest. Bugs fuck like xenophiles aren’t thinking big enough. Bugs read your Mass Effect fanfic and they aren’t impressed by your sex scenes. Gimme them vaginas that store multiple deposits of sperm so that the female can select whichever she wants to fertilize her eggs. Gimme them males who answer the question “what that dick do” with “scoop out my competitor’s sperm, obviously, while ejaculating like someone dropped a mentos in diet coke.” Yall, I find out that ant queens mate once, in a midair orgy as they fly to their new hive, and that’s their store of sperm for the rest of their lives. There’s competitive secret egg fucking. There’s exploding penises. There’s a lot of death. Insect sex (Insex? no. no let’s not go with that) is as diverse and otherworldly as insect social structures are, and a book like this should be mandatory reading for anyone doing science fiction or fantasy world building. The natural world is weirder than your imagination. And Zuk is a good writer to escort you through it, with clear expertise paired with a minimum of jargon, a sense of the best insect anecdotes, and the kind of dry humor you often find in science writing about traditionally esoteric or disgusting subjects—a convivial kind of concession that, yes, this is what I’ve dedicated my life to studying, yes, I can see how that might seem an odd choice, no, I’m not embarrassed in the slightest, now please follow me as we find out what that dick do.

Fiction: A Time to Dance, by Padma Venkatraman (1/16)

I struggle with books written in verse, largely since I spend the book wondering why it isn’t just written in prose. If I’d noticed A Time to Dance was entirely in verse when I’d picked it up at the library, I might not have brought it home. Having said that, small freeverse chapters do allow you different opportunities for writing style and flow, and Venkatraman takes advantage of both the possibility for increased lyricism and increased fragmentation to convey dance and trauma. The novel centers on Veda, a teenage dancer of Bharatanatyam, an Indian classical dance. Her career is derailed after an accident after a competition costs Veda her right leg. The book covers Veda’s relationship with her body, her family, and her dance, as the accident forces her to dig deeper into the spirituality behind physicality. It’s dance as dance and dance as prayer, which works well (I grudgingly admit) as verse.

Nonfiction: Big Girls Don’t Cry: The Election that Changed Everything for American Women, by Rebecca Traister (1/29)

I’m going through the books in the order I started them, rather than the order I finished them. Usually they’re the same thing. Sometimes, as is the case here, the book takes a long time to get through. It turns out that this January I was not really feeling reading a book examining the impact of the 2008 election. Especially when the first half was, “Why did Hillary Clinton lose?” Traister opens the book talking about her own conversion from a John Edwards supporter (hey remember when we thought he wasn’t a piece of shit?) who thought Clinton was too compromised a candidate to a Clinton supporter sobbing in public the night Hillary conceded. She talks about the transition of Hillary Rodham to Hillary Clinton and the decades she spent as the lightening rod of feminism in politics, from taking her husband’s name some years after marriage because it was hurting him in the polls, to why Hillary Clinton has always been her most politically popular when she is suffering personal lows. And post 2016, it’s fascinating studying Clinton’s genderless (or probably more accurately, masculine) 2008 campaign, where after a career of focusing on women’s issues, Clinton moved them to the background, to her detriment.

But it’s not a book about Hillary Clinton. She is the largest figure in it, but Traister analyzes Sarah Palin’s brand of conservative womanhood, the Obama bros and their gender troubles, Michelle Obama (who comes off amazingly in this book, Traister straight up admits that when she was reporting on the campaign she had to call her editor and be like, “I can’t report on this woman any more, I now love her too much”; the analysis of Michelle as reluctant political wife with a complicated relationship to her country is one of the standout sections of the book), media figures like Katie Couric and Rachel Maddow, and one of the parts I found most interesting, Elizabeth Edwards. Elizabeth Edwards, Michelle Obama, and Hillary Clinton form an interesting tryptic of the new political wife—women who are as accomplished as their husband, who are routinely credited as the brains of the partnership, and who struggle publically with traditional femininity (which is especially complicated for Michelle Obama as a black woman) and political ambition.

Nonfiction: Get it Done When You’re Depressed: 50 Strategies for Keeping Your Life on Track, by Julie A. Fast and John D. Preston (1/18)

I picked up this book because I was starting school again, because I was feeling mature and aware of my problems, because I’ll pick up anything even self-help related. (Sidenote: self-help is my number one guilty pleasure. I’ll read self-help books on whatever, problems I have and problems I don’t. I’ve read about raising your child who has ADHD, about dating after divorce, separating your life from narcissist parents, dating multiple men at once, and reentering the workforce after decades of teaching in academia. My ultimate wish fulfilment is anything that promises me a solution in 300 pages or less. )

The book’s chapters, each a different strategy for being productive while depressed, are a few pages long and rigidly formatted: an explanation of a problem caused by depression, a testimony from someone with depression, a testimony from author Julie Fast on her own experiences with depression, an explanation from Dr. John Preston as to why depressed brains do this, and some advice on implementing the advice. Most of the advice made sense—keep a schedule, get sleep, find the place that you work the best—while other made sense but were also a deep affront to my soul—namely if you can’t do something, just ask someone else to do. The visceral horror I felt reading this advice has forced me to confront how I think about my own and other people’s mental illness. (also an affront: maybe drink less caffeine, which I’m gonna pretend I didn’t read because I’ve been trying to drink less caffeine because it makes me jittery and now I can’t stop taking naps which are taking over my days, so I think jitteriness is less of a detriment than the exhaustion, and by the way, this sequence of trial and error body balancing is perfect microcosm for trying to cope with depression.)

I’ve had a check tire light on in my car for weeks now, a light that, oh boy, I should do something about, but every aspect of checking the tires, from finding the pressure gauge and actually using it, to figuring out the steps to take if there actually is a problem, seems like so much effort that it’s easier to ignore the problem. Which translates to, it’s easier to force my hand by making the situation a crisis than it is to motivate myself to do preventative maintenance. It’s occurred to me that I could ask Dad to do this for me. Or ask him to at least come with me to the garage. Why don’t I? Answer: because I am capable of handling this tire if I function at my best and make it a priority, because Dad might ask how long this has been a problem and I’ll have to admit that it’s been weeks, because a serious car problem would drain what’s left of my savings, because Dad will be so ashamed of his lazy adult daughter that he’ll never respect or love me again (I never said these were all reasonable excuses.) So I don’t ask him to help with this. And I think less of the author for admitting that she would.

It’s more acceptable to hate yourself for your mental illness than it is to hate other people, because self-hatred at least allows you to be both victim and victimizer. But I judge people for procrastinating on the things they know they should be doing while I strenuously avoid all my tasks, I judge people for their depression while I keep bursting into tears in parking lots because I don’t want to get out of my car, I judge people for their anxiety while I crank up youtube videos of hand massages so I don’t need to focus on my own thoughts, and I excuse my judgment of others by arguing that I’m no harder on them than I am on myself. And if (when) I am, it’s because clearly I am putting in the work to handle my problems while they aren’t. So I disliked Fast for most of this book. I hated her anecdotes and her honesty. When she talked about how her depression had lost her relationships and profession opportunities, I quickly listed all the ways that way my depression was better than that depression. The book took me longer than I expected to read; it’s hard to speedread when what you’re reading makes you feel ugly.

I had my epiphany around strategy 45: I hated how she talked about depression in the present tense. I hated how she had a book’s worth of strategies for coping with depression, and she was still depressed. I didn’t (and don’t) want to cope with my depression. I want to not be depressed. But she’s still depressed. And I’m still depressed. And maybe I’m going to be depressed forever. In which case, it’s good for me to remember that loving myself and loving other people are one and the same. Empathy for me is not a high-road, moralistic treatise on how we should behave; it’s simply that when I make the strong effort to love people who do and think the same ways I wish I didn’t, I get better at loving myself. Maybe more useful than the entire book’s worth of strategies was the one that I ended with, my strategy number 51: Forgive us our depression, as we forgive those who are depressed.

Someone please come help me check my tire.

#booklr #marlene zuk #padma venkatraman #rebecca traister #depression #julie a fast #150 books #sorry mobile readers i hope the read more works for you

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candidateofloyalty · 4 years

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2019 Fic Retrospective

I saw a number of people doing this, and since I’m always up for talking about my own writing, I decided to imitate them. Admittedly, I’m a bit late, but since I didn’t have computer access for a decent part of this week I think it’s justified.

Apparently I wrote 55k words of fic this year? Given that I spent half the year out of the country, that is higher than I expected. I guess suddenly allowing a podcast to become my entire personality is a powerful motivator.

1/31

The Clock Strikes Midnight, Fire Emblem Echoes, 3.5k words

The prince is throwing a ball to find a spouse, and Faye just knows that this is her chance to make her dreams come true. There's no time for her to worry about the messenger who brought her the news, not when she can finally live out her fairytale.

My birthday gift for star, this time only posted one day after their birthday. Someday I will figure out this timing thing. They wanted a Cinderella AU, and as someone who read approximately 5 million fractured fairytale novels in high school, I had an immediate idea of where I wanted to take the plot. I’m pretty pleased with how this one came out, especially since I never actually played Echoes. It’s also one of my rare fics where the title isn’t a song lyric.

2/14

Sacred Simplicity, Dangan Ronpa, 900 words

Sakura and Aoi meet up for their weekly donut date, but Sakura's mind is elsewhere.

I can’t believe it took a fic exchange to get me to write Sakuraoi. The request was cute and I had a good time, though. I’m always a fan of the concept of Hope’s Peak practical exams. The whole premise of the franchise is that these kids have crazy skills, so let them use them.

3/3

My Fantasies from Long Ago, Persona 4, 5.2k words

While walking home from work, Yosuke is hit on the head by a mysterious cat-dog-thing. This is the least weird thing that happens to him over the course of the next 24 hours.

Apparently I had a lot of outside sources of inspiration this year. I guess that’s what all fanfic is, but even so. This AU is from kawaii-bunny-mel, and is ridiculously fun to write. This one sticks pretty close to the source material, since I intended it as an introduction to the AU. I wrote most of it on trains while cross-referencing the original episode. As it turns out, writing is much faster when you don’t have to worry about pacing or coming up with original events.

5/4

The Present You's Daydreams, Persona 4, 7.2k words

Yosuke's been doing magical girl temp work for about a month, and it's pretty much the best thing that's ever happened to him, even if it does mean having a weird bear roommate. Then Souji invites him to a party, and Yosuke has to face something even scarier than magical enemies: social interaction.

The second part of the BAPC AU, and the one where I went off and did my own thing. As much as I love the source material, I wanted to fit the rest of the IT in somewhere, and there are like 6 characters in the entirety of BAPC. Really, though, a significant amount of this fic was an excuse to have Yosuke use his customer-service voice on a dragon. I’d also meant for this to be the one where they got together, or at least showed mutual interest, and then Yosuke went and made things awkward. I don’t know what I expected. I got to write Hamuko being cryptic at Souji, though, which was even better.

5/19

Dazzling Blue Sky on the Window, Persona 3, 3.9k words

After Erebus, Metis is prepared to vanish, but Igor suggests another option.

This one was my birthday present to myself. You might wonder what that means when all of my fic is incredibly self-indulgent to begin with, and the answer is merging two universes and saving my favorite minor character in the process. It was only after the fact that I realized how much projection was involved. It’s fine.

6/16

Bright-Eyed, Tireless One, The Adventure Zone, 2.2k words

Minerva is here, physically present, and Duck's so glad to see her. The only question is what to do with her. They've got enough people hidden in the Amnesty Lodge basement as it is. (Immediately post Episode 28)

I caught up to Amnesty right after episode 28 was released, which is what we in the writing business call good timing. I immediately wrote this in a haze of love for Minerva and have not thought about it since. I think episode 30 confirms it as canon, though.

7/8

Not So Nec-Romantic, Jibaku Shounen Hanako-kun, 1.7k words

Nene's been studying to join the Healers' Guild for years, and it's finally time for her admissions test. It doesn't quite go as planned.

Star egged me on to write this and then wrote their own, funnier take on an RPG AU, which would have been rude if it weren’t for the fact that I got to read the better fic without having to write it. My favorite part of this fic is Mitsuba and Kou charging in from their epic fantasy quest without noticing that they’ve landing in the middle of a comedy of errors. I kind of want to write what they were actually up to but also it’s funnier this way.

8/25

Open Seas and Ways Of Life I've Forgotten, Friends at the Table, 3.5k words

Cass is adjusting just fine to life on their own, thank you.

They'd be doing even better if their new teammate wasn't so eerily reminiscent of their sibling, but that's all right. They're definitely coping.

And here we hit the fatt tipping point of my year. The Kingdom Game was probably the point where I fully devoted myself to this show, and a large part of that was the ability to conspiracy-board all of Sokrates’ influences on Cass’ personality. I have not stopped thinking about the Pelagios siblings since.

9/29

Not the Only Ones Pretending, Friends at the Table, 1.2k words

It sounds so nice, in theory. Mako's just running into an old friend while going out for fried chicken. But even though the Chime has broken up, two of them in the same place can still throw the simplest of missions into chaos.

I wrote this in an hour after listening to the penultimate episode of Counter/weight because the Orth-Mako scene ended right where things got good, to my mind. I just wanted to know more about how the Chime interacted after the timeskip. This also marks the start of me defaulting to Mako’s POV in every other Counter/weight fic I write.

10/14

A Magic That Won't Go Cold, Friends at the Table, 4.5k words

Jacqui doesn't normally like being sent on bodyguard jobs, but then, she's not normally working for Joypark darling Aria Joie.

I’ll just come up with a fun Jacria AU to think about in my spare time, I thought to myself. There’s a lot to explore with an Aria who never left Joypark. I can come up with some neat bullet points and it will be a good time. Then I started connecting the bullet points and at that point I had an entire outline for a fic. It’s what they deserve.

10/18

Questions Ricochet Like Broken Satellites, Friends at the Table, 2k words

Kobus' entire life had been pointless, but for once, they could see exactly what they needed to do. Then Vicuna pulled them out of Liberty and Grace.

I could not tell you why I latched onto Kobus so hard, but that didn’t stop me from doubling the size of their ao3 tag in a month. This fic ended up pretty depressing, which is ironic since the whole point was to give them a happier ending than they got in canon, but at least they’re alive at the end of it.

11/4

Detect My Sudden Existence on Your Sonar, Friends at the Table, 3.1k words

AuDy didn't intend for the rest of the Chime to move in with them. They didn't object when it happened, though.

I had a lot of trouble trying to write from AuDy’s perspective but I’m pleased with the end result. Maybe next I’ll figure out how to do pacing and/or tonal consistency. I do like the Cass stuff at the end but I think my favorite scene from this fic is everyone helping Aria unpack her stuff and being goofy.

11/11

Telling Dreams from One Another, Friends at the Table, 1.3k words

Mako shows up on Kobus' doorstep holding a Divine, and doesn't even have the decency to bring fried chicken.

This started because I kept thinking about how Kobus’ form of Ambition would have been Faith and how close that comes to Loyalty, and then the more I wrote the more I liked the dynamic between Kobus and the younger Makos. A lot of it can be summed up as Mako being the mid-twenties upperclassman who looks at the freshman and goes “oh look, a baby” much to the freshman’s annoyance, except instead of being in college they’re both secret agents raised as weapons since they can remember. It isn’t addressed in the fic but I imagine this ends with Kobus following Mako back to Kesh and ending up with eight identical older siblings.

11/24

Find Out What Broke Me Soon Enough, Friends at the Table, 1.9k words

Kobus is still reeling from their failed attack on Grace, but when Aria Joie asks for their help, they can't think of a good reason to refuse.

Continuing the theme of “what if Kobus had friends,” I like the idea of Aria being worried about Righteousness consuming her and going to the one person she knows of who’s successfully stepped away from a Divine. Like the last fic in the series, I tried very hard to give Kobus a happy ending and they categorically refused. As it turns out, when you’ve been raised to see yourself as a sacrifice for the greater good, it’s hard to find other ways to make a difference, and Aria doesn’t know them well enough to push it. One day I will find the right combination of characters and circumstances to let Kobus rest.

12/7

Take Our Time 'Cause It Feels Like We're Dying, Friends at the Table, 1.7k words

When Cass coughed up the first flower petal, all they could do was stare at it in disbelief.

Yes, I know, hanahaki. I am surprised at myself too. I was just thinking about what it would take to get me invested in hanahaki and because of who I am as a person my brain immediately applied that to Counter/weight. I know where I’m going with it but I want to finish F&M before continuing, so keep an eye out maybe in February. Also, doing this retrospective made me realize that this is the second time I’ve used a line from this song as a title for a Counter/weight fic. Whoops.

12/17

The Movements of My Mind, Friends at the Table, 1k words

On his way back to Auniq for the negotiations, Throndir stops by the cave where he met Kindrali.

My first non Counter/weight fatt fic, and once again it is introspection about a Dre character, because without realizing it I ended up with a favorite player. I just like coming up with in-universe explanations for things that were probably mistakes on their part, and I’m always interested in how the Kindrali connection works. Even if I am now incapable of thinking of Kindrali without going “I wonder what day he remembers??”

12/25

Fantasy and Microchips, Friends at the Table, 9.2k words

Five times Mako hacks things accidentally because of Cass, and one time it's intentional.

The year ended as it began, with me taking someone else’s AU and writing a fic about it. In this case, it’s a comic done by drowzydruzy on twitter. I looked at it, went “that’s pretty funny, maybe I could write a fic about it,” and then two chapters in I realized how to exploit it for angst and pretty much didn’t stop. The trickiest part so far has been making Rigor references without getting too heavy-handed. I’m halfway through writing the last chapter now, so naturally I’m procrastinating by doing this meme. It’s actually a meta-narrative about defeating Rigor by not being too beholden to your own projects, or something.

#ignore me #fic retrospective #this will only interest me but i had to talk about my thoughts on a kobus-mako relationship somewhere

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