GUEST – Reneé Le Vine – Research Your Fanfiction
Today, I’m glad to have author Reneé Le Vine to share her thoughts on why it’s important to do research when writing fanfiction! From Reneé: Research Your Fanfiction Research and fanfiction are two words that sound like they shouldn’t go together. Fanfiction is just for fun, right? Research sounds like something that you would save for more serious writing, like school essays or that unfinished original novel that’s staring you in the face. And while fanfiction is definitely more of something you would do for fun, doing research is still a good idea! Unless you’re writing one of those fics where the canon and/or plot doesn’t matter, I think your readers will probably appreciate you taking the time to at least have some idea what you’re doing.
GUEST – Author H.A. Titus – What Fan-fiction Taught Me
Continuing my series on the benefits of writing fan-fiction, today I have my first guest. H.A. Titus is the author of Forged Steel, a short story contributor in such anthologies as Avenir Eclectia, Different Dragons II, and Quickfic Anthology 2. She’s also a contributor to the New Authors Fellowship and an online friend I’ve known for a long time. Today, she shares with us some of the lessons she’s learned while writing fan-fiction.
Dear Anne #3 -Types of Projects
Dear Anne, By now you should already be writing. You’ll never be a writer if you never write! In your case, Anne, I know you’re already busy working on your first real project. I’ve been reading and nudging you in a few areas, and I’ve already begun to see some growth. Keep it up! But because you’re already writing, I wanted to take this letter and go over some of the different projects you may choose to do. Being a writer is a very broad term that covers many different writing disciplines. I happen to be in a somewhat unique position, in that I’ve dabbled in most of them…even the non-fiction ones. If you want to try your hand at non-fiction (things like magazine or newspaper articles, how-to blogs, academic papers, etc.), know that those things are a completely different animal than fiction disciplines. I can teach you some of that too, but it’ll be different rules and approaches to things. Just let me know, and I’ll write a letter on those things, too. For now, I’ll just stick to fiction. The types of creative fiction you might choose to write are, in order of length: epic/series, novel, novella, short story, and flash fiction. There’s also poetry and screen-writing. Poetry I’ve done, though I’m bad at it; screen-writing I haven’t done, though I’d like to try it one day. I have a friends who do both, so if you want more info, I can get it. I want to talk about the novel first. A novel is a lengthy work, typically between 40,000 and 200,000 words. It is a complete story, with a definitive beginning, middle, and end. It fully develops its main characters, settings, and major events, with a climax just before the end. I’ll talk about all of those different things in later letters, but I list them now because some of the other projects don’t always need all of those things. Some authors can write more than one novel in a year. Those that do are very prolific at what they do. Most novelists do good to complete one in a year. A novel is a major commitment that takes a lot more time than you think. Many aspiring writers want to start with the novel, and they quickly get so bogged down in the overwhelming task of finishing it that they quit writing. And speaking of being overwhelmed…those same aspiring writers often have grand ideas of a huge saga or series. These are multiple novels, in some ways self-contained with all the elements I listed for the novel, but they also span over huge story arcs between several books. That’s why I cut the novel off at 200k, because anything larger than that many publishers and editors would recommend splitting into multiple books. Sure, some single novels are that big or bigger. I’ll define those large single volume stories, that probably should be divided as a saga, as an epic. The saga is a multiple volume story, that follows a unified plot. A series is simply stand alone novels (or novellas) that use a recurring set of characters, settings, and/or themes. Got it? My “novel” that I worked on in high school was supposed to be a three book saga. After college I wrote a stand-alone novel that was the prequel to that trilogy. (Your dad has read it.) But I still haven’t gone back to try that trilogy again…because it’s a huge overwhelming story that I still don’t feel ready to tackle yet. It would probably do good for you to choose smaller projects for now. Save your grand novel, series, saga, or epic idea for later in your career. You’ll be glad you did. A novella is simply a short novel. It follows pretty much the same rules as a novel, but on a smaller scale. A novella might range between 8k and 40k words in length. Within that, you could even break it down again, with another category called a novelette, which is even smaller than a novella. To be more specific, some literary awards define a novelette as a work between 7.5k and 18k words, and a novella between 18k and 40k words. Other awards don’t distinguish the two at all. It’s kind of arbitrary, which is why I gave you a general 8k to 40k. So if it’s between 8k and 20k, call it a novelette. If it’s between 20k and 40k, call it a novella. If it’s over 40k, then it’s a novel. This brings us to the short story. If you’re paying attention, you saw that some works as small as 7.5k can be classified as a novelette. That’s a really small novelette. I’ve read short stories longer than that. In fact, some people just refer to novelettes as long short stories. A short story is usually between 1k and 8k (novelette size), though a short story can get longer in some cases. But at some point you just have to give up on it being a “short story” and just call it what it is…a novelette. So what’s the difference? I’m not sure there is one, really, but in my mind I like to think of it like this. A novelette has all of the foundational elements of a novel: character development, setting, story development, tension, climax, resolution, etc; just on a smaller scale than a novel. But a short story doesn’t need all of that. A short story is a specific scene in the life of your character. It’s a snapshot…a moment in time captured on paper. The reader doesn’t need all the exposition details you’d put in a novel…just the important ones to the story. The story doesn’t need as much development, because you’re really only developing one scene and one major character. Short stories tend to focus on emotions or morality rather than fully developing a plot. I’ve written short stories, but I’m bad at them. I like detail too much and I write
The man who forgets…
A few days ago, my friend and author Kat Heckenbach made this observation on Facebook: Realizing, as I watch Doctor Who Season 7, that Clara Oswald is not lacking anything. She is really awesome. BUT. There was no mourning time for the Ponds. That is why the transition didn’t work. For some reason, the move from Rose to Martha to Donna to Amy/Rory…it all felt like it was going in the same direction. But going anywhere away from Amy and Rory…there just needs to be time to mourn, and we weren’t given any. Being a Doctor Who fan who actually remembers and watched Classic Who when it was still new, I am of the opinion that #11 (Matt Smith) actually embodies Classic Who the best of the modern Doctors, that Moffat’s writing for #11 is more true to the Classic Who methodology, and that Amy and Rory were more typical of Classic Who companions. I know not everyone agrees with me in this, but that’s not really the point of this blog. I bring up those opinions because the transition from the Ponds to Clara and saying goodbye to #11 was a big deal to me. So as I was considering what Kat said and the subsequent replies, which covered things like having to say goodbye to the Ponds too many times and Moffat’s split loyalties in writing between Who and Sherlock, and a great joke which I’ll include at the end, I realized that, even though I too felt something odd about the transition from the Ponds to Clara and a weird misstep in Eleven’s goodbye, Moffat really did get it right.