On the Pros and Cons of Fanfiction for Writers

The Pros and Cons of Fanfiction for Writers

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I don't write fanfiction. If I'd had access to the internet at a certain age, I most definitely would have, but the fact remains that I discovered fanfiction at around 20. By that stage I had already muddled through about five first drafts of my first original story, and then four sequels, and then two other original works.

The mere idea of using someone else's character's terrifies me. I don't know them. Not like I know my own. I could probably give it a go, but honestly, I feel like I should leave it up to those who are already good at it.

I do, however, read a lot of fanfiction. Namely because I find the dynamics between characters within interesting. There is some excellent fanfiction out there. I've read fanfiction that I enjoyed more than published and paid for stories. In fact, there was about an 8 month period in which I read nothing but fanfiction.

Why? Because I knew exactly what I was getting into. Twists related to the plot and the worldbuilding, not the characters. I read primarily for the characters. Your plot could be amazingballs and spectacular and be shooting rainbows out of it's third eye and if I did not connect with your characters? I would stop reading. On the opposite side of the coin, I've been known to ignore gaping-size-of-the-pacific-ocean plot holes if I like the characters in something. All is forgivable if I'm in love with your characters. Except the worst of prose. Or racism and sexism. That tends to send me running.

So what are the pros and cons of fanfiction for writers? Obviously, this is only my opinion, but it's something I've thought about a lot, especially as there are writers who make the transition to original fiction, some who don't, and some who just want some good old fashioned respect from the rest of the world. Fanficition does tend to get waved off as teenage girl crap (which is an issue in and of itself - who the hell made "teenage girl" synonymous with "no cultural or story relevance"?)

Pros:

• The Sandbox Argument

Fanfic gives a writer a place to experiment. She/he can focus on one aspect of their writing without having to worry about others. They can fiddle with language, with sexualities, with different narrative POVs. I've seen a bit of second person in short fiction, but more of it in fanfic. And some of it is horrible, but a lot of it isn't.

• Community

 You meet people in fanfic. People beta your work because they love the characters and the worlds you're writing about as much as you do. You get cheerleaders and find other people who finally get you, you meet people who have the same crazy ideas you do, you rework each other's pieces, mix things together, translate works you've loved into your own language, create audio versions of work you've loved... It just goes on and on. It's a nice place to be. Also, instantaneous feedback. There's no 20 drafts before you let someone see it, then only letting certain people see it, then waiting six weeks for a publisher to get back to you to say they didn't like it.

• Fun

This is inherently connected to the topic above. Fanfic is done for the love of it. It's fun. It's something you do to unwind and relax. If people don't like your work, they tend to just not comment or kudos, most of the feedback is positive, because this isn't a space for line by line critiques. It's a space for figuring things out and having fun with characters that you love.

• Narratives outside the male, white and middle aged

This is one of the big reasons it took me so long to get back to reading original fiction again. For all the shortcomings that fanfiction can have, it does tend to be rather inclusive. Here you get queer narratives, the narratives of young teenagers, the narratives of women with kids, the narrative of their kids - it's a welcoming space. You want your two main characters to pair off, despite the fact they are of the same sex? Go ahead! Want to have a minor character rise up and be the hero? Go ahead! The world is your sandbox.

Cons:

• Less set-up required

 This is partially what makes fanfic so useful as a sandbox - you don't have to worry so much about introducing your worldbuilding and characters. Everyone knows your characters already. Exposition is not the issue it is in original fiction.

On the other hand, this also means you don't get much chance to practise weaving exposition into narrative. You also don't get much chance to world-build or create original characters. Like anything, these things take practise to do Fanfic skips this set-up and exposition for the large part.

•  Back-scratching

As mentioned before, fanfic is done out of appreciation for the original material. People write because they enjoy themselves, because they find it a way to wind down, because they wish to contribute to the community.

As such, there's not much in the way of constructive criticism. If a person doesn't like a work, or how it's written, they tend to just click on or not comment. No-one wants to be the wet blanket. (And by constructive critique I mean a line by line - this sentence didn't work for me because of a, b or c reason sort of thing). This is partially made up for behind the scenes with beta readers and the like, but not everyone has a good beta reader.

• Bad reactions to cannon events

Like any community, fanfic can be a bit... disturbing sometimes. Witness the death threats to the actress playing Mary Morstan in Sherlock because she would "get in the way" of the major pairing in fanfic, John/Sherlock. Witness how Uhura is often sidelined and made a horrid person in some Spock/Kirk fanfics. GinnyBashing is a tag on A03. The Internet exploded when they realised that Tauriel was included in the second Hobbit movie. Then there's showing porn that you've written/created from edited together vids to the actors involved (linkage here to the esteemed Rachel Acks tumblr ). Although to be fair, members of the media have been known to do the same, and this hardly accounts for all of fanficerdom. Most fanfic'ers don't do this stuff. But there is a visable presence that does act out in the oddest ways. Like anywhere I suppose.


So yeah. Fanfic can be awesome, it can be difficult, it can be a useful place to learn, it can be overly hand-holding, it can be a way to express yourself when you don't fall into the dominant narrative space. If I ever do decide to write it, I will be joining a cohort of people who write primarily for fun, and that's not necessarily a bad thing


1) Sourced from: http://freerangestock.com/details.php?gid=&sgid=&pid=2913 Attributed to: Bradley Strong 

The Effect of POV on Narrative - Manipulating the Reader and What they Know for Greatest Effect

The Effect of POV on Narrative - Manipulating the Reader and What they Know for Greatest Effect

This is the second topic in my exploration of narrative. The introductory post and the other posts I've written on the topic can be found here: Narration vs Dialogue and Action - Where it Fits in the Tool Box

Now. POV (or 'point of view' for those not familiar with the lingo), impacts on narrative style significantly. What is described is inherently influenced by who describes something. Description and exposition that is done well pulls it's weight.  And that, in my opinion, is the most important thing when talking about narrative description and exposition: that your narrative does more than one thing.

So your reader should be able to learn something about your characters from how they filter the world. If you POV is 1st person (I, me, we), then you're going to be quite heavily filtering all your descriptions through the character. No two first person characters should walk into the room and focus on the same things, or describe them in the same way.


If, for example, you have a character from a desert country (character A), and a character from a country that is temperate, and has no issue with water conservation (character B), and you have them walk into a room with a dripping tap. Maybe they'll both notice. More likely, however, character B will focus on what is important to them in the room - the open windows if they're cold, or the way the room looks like it's going to cost less than 30 dollars a night to sleep in. Character A will focus on the dripping tap. It might not be their primary focus, but if they're from a place where you can't water their lawns, and water sometimes has to be trucked in? It's going to annoy them, dripping away in the back of their mind until they finally crack and turn it off.

So our character's backgrounds influence how they see things. So too do their goals and ambitions. If Character A has just brought the place and intends to let it out, he'll be focusing on the scuffed carpet, checking if the windows close, thinking about re-doing the plumbing because surely the tenant wants taps that actually turn off. Say character B has said he's coming along to look at renting the place, but he's actually trying to get off the streets while the police seek him out. He'll notice the open windows, assess them as both an exit and entry point. He'll notice the table, which might just be solid enough to hide behind. He'll flinch when the Character A's phone goes off, both because he's easily startled, but he also may notice that there's a siren in the background of the song. He'll be looking towards the door, listening to every car as it passes by outside. Waiting, just waiting, for one to slow down and stop.

The realtor (Character A) will also be waiting for one to slow down and stop, but he'll be listening out for new tenants, thinking about how he can rent this place to them. He might be eyeing up those who come in the house, more/or less (it could go either way) inclined to rent to someone from the same low class background as himself. He may be proud of this place, running his hands over the furniture, rapping his knuckles on the wooden kitchen bench because no place he'd ever lived had furniture made off wood - too expensive.

Notice these descriptions, and how they perform double duty. We can also see something else in this scene - the potential for conflict. Character A wants to rent the place out, make a respectable profit. Character B couldn't give a damn about profit, or the possible damage done to the place - he just wants to get away from the police.

They are not going to have the same goals if an off duty policeman walks in the door.

Close third POV (he, she, they, but staying mainly in the thoughts of the characters, a-la most of Harry Potter) operates under the same sort of boundaries, but with the ability to draw back from the effects of character POV on narrative. Close third can contain more than one POV (as can first, but it's less frequently done), and can give different perspectives within that same room.

Close third can also use a narrator. As can third POV (mostly the same as close third, but much less in the head of the character, and much more a narrator saying what's going on in the character's head than the reader hearing it directly.) A narrator is itself, another character. Whether it's an actual character (like Death in "The Book Thief"), or whether it is just the writer telling the story, it too will focus on certain characters, and thoughts, depending upon what the narrator feels is important. In our above scene, it might focus more on the possible tension between the two men, and describe the approaching off-duty policeman. In doing so, the narration is not just describing things, it's ramping up tension. Given what we know of these characters, the introduction of this third element invests us in the story. We, as readers, can guess what might happen when Character B discovers that the other prospective tenant is an off duty cop. It's probably not going to be pretty.

Omniscient works in largely the same way - it's an all-seeing narrator telling and showing us the characters thoughts as they see fit. The same rules apply - description and attention should only be given when the description matters, when it tells us something else about the characters, the story, or prospective conflicts. Every narrative description should do double, sometimes triple duty.

Narrative exposition is the same. It shouldn't be there unless it has to be there. The back-story of Character A, regarding his lower class background, matters only if it influences how he acts when the off duty cop walks into the room. The fact that Character B has a sister that he stole medication for only matters if you want the readers to feel sorry for him.

As writers, we exist not just to tell the story, but to involve the reader. We want to manipulate their sympathies, their direction of thought, what they notice. This allows us to set things up, to surprise, to engage. Narrative can be really good at doing this - don't waste words on just describing things, or giving exposition. Describe things that matter. Give exposition only when it is relevant to what is about to happen. We are situating the reader, drawing them in, and making them connect. Whatever POV you use to do this will influence that.

Happy Writing,

Sian