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“Writing begins with forgiveness. Let go of the shame about how long it’s been since you last wrote, the clenching fear that you’re not a good enough writer, the doubts over whether or not you can get it done”

— Daniel José Older

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The Great Blank Spot @oneeyeddestroyer

So much goes into creating fanfiction even before the first words hit the paper. And in-depth spotlight on our writers and the process behind their work.

Tell us about your current project.

I’m working on a piece called Pub Fare in which Eliot and Margo stumble into what will become their favorite pub in London—the one they have a portal to in a closet. It revolves around their attempts to seduce the barkeep into bed with them and the unintentional friendship they form with him along the way.

What is your current word count?

2623 actual words down. 842 words of notes (and counting) which may or not may not include 2 limericks I wrote for the occasion.

Do you try to write daily? Do you have word count or other goals you try to hit for each writing session?

I try to write daily, but I’m not always successful. Shit happens. Goals are steadily increasing the more I write. I try to write no less than 4 times a week, no less than 500 words at a time, but I always leave a day where I just write all day until I reach a major stopping point.

What was the inspiration for this fic?

The second I knew Eliot and Margo had a portal to their favorite pub in London, I knew I wanted to play around with that. The need multiplied exponentially when I learned the name of that pub. I wanted to explore would make something a favorite for Eliot and Margo. Such a particular notion for them. They love to touch and experience a wide array of people and things but grow truly fond of very few.

Did this fic require any research? How much research do you typically do for you fics?

This fic is constant research, like most of my bigger ideas. Not a day goes by where I’m not researching London, pubs, and booze. This fic has the added benefit of getting to pop by the liquor store, buy something new, and call it “work”. The best way to give vivid description is by using first hand experiences.

How do you stay motivated between chapters/stories?

Usually, when I’m in love with the idea, I don’t need to do anything else to be motivated. If I’m truly hung up on getting my ass to sit down and write, I remind myself that writing is my job. (Even if it isn’t paid work right now). I am a writer. That makes writing my job, so I need to put my ass in the chair and show up to work. Some days are gruelling, some days are magic, just like any other job.

Do you typically write ahead or post as you go?

I typically write ahead for long fics. For this one, I don’t have a full chapter ahead just yet. I’ve been super busy with my day job and just really wanted to get the first chapter out there. I’ve been sitting on this idea for months, maybe even a year at this point. We’ll see if having a few days off work changes this into a “write ahead” process for me.

How much planning and outlining did you do before you started putting words on paper?

A ton! This series heavily features an original character so I spent a bunch of time getting him fleshed out first, then I starting all the work on the look and feel of the pub, then the bare bones of the narrative outline—though this one is much less structured than mine typically are.

Has it been pretty smooth sailing or rough waters? When things get rocky, how do you handle needing to rewrite sections or scrap scenes entirely?

The actual writing process has been pretty smooth sailing, finding the time to write is harder. I usually put down a few hundred words during my bus rides to work, but big blocks of time have eluded me. In terms of rewrites and edits, I take it all in stride at this point. I want to be a good writer, and part of the process is seeing and acknowledgement the ways you are a bad writer as soon as possible so you can get to work on improving them.

The Great Blank Spot is an in-depth spotlight focusing on the writing process and previewing in-progress fics for our fandom. It is meant to be an organic, ever-evolving feature. Previously interviewed fic writers can reach out to us here, to have a specific work featured. If you’d like to have a work featured but haven’t done the author spotlight, reach out to us to get started. If you have suggestions for questions you’d like to see answered, shoot us an ask!

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What courses do you think are important to take in school in order to become a writer?

Honestly I think it’s important to take any classes you find interesting. You don’t need any specific degree to be a writer, but of course creative writing/English classes help (and are most likely part of getting whatever degree you choose). I majored in Anthropology and minored in Film. I felt like learning about storytelling through film and discovering more about the world around me through Anthro classes really helped me figure out what I wanted to write about. I also gained a new perspective on how to tell a story and how the importance of storytelling is universal.

For the most part, reading and writing A LOT are the best ways to strengthen your writing. Find a writing group on campus (or create your own) and share your writing with other people. I know it’s easier said than done, but the support system is there if you’re willing to find it! I wish I had reached out to more writers during my time at school. Join discussions, share your work and your opinions on writing, and be willing to learn from other writers. If you haven’t already, I also recommend reading On Writing by Stephen King!

Anyone who follows, feel free to add in your own advice! My experience at school is just one perspective and I’d like you to share yours as well!

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If you are writing, you are a Writer. Call yourself a Writer like that actor down at Starbucks is calling himself an Actor, and then write!

Honoree Corder

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Over on the blog, I outline a comedy pilot for the first time.

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New post on my secret new blog! 😂 Taking a step forward and deciding to start learning to write for TV. Wish me luck.

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New post on my secret new blog! 😂 Taking a step forward and deciding to start learning to write for TV. Wish me luck.

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Screen Writing

Okay, listen up, I love screen writing. Script format is my favorite form of writing. But, I’ve seen too many people go into it without knowing anything about it and thinking it’ll just magically work for them.

1. The formatting is a pain. Use a script writing software to do it. I recommend Celtx. It’s easy to use, shows examples, and it has a free trial that’s basically endless. You don’t get as many features as you do if you pay for it, but most of them are pretty unnecessary unless you’re already developing the writing into an actual production.

2. Easy on the action and description. Only be specific when it is absolutely necessary. Wiggle room is unbelievably important for the actors, director, and photography.

3. Always be open to criticism. You have to be a team player. A good project has many different opinions and the opinions are a good thing because it works out any flaws you may have in the production.

4. One page of script is equivalent to around a minute of actual film. And, you should probably go slightly over the required length. The director will cut what is unnecessary.

5. Monologues are fine… in moderation. People go off on tangents all of the time, but they don’t go off on them constantly. The quicker your dialogue, the better the script. It’s different than regular writing because it should be fast-paced. Since the audience is seeing it, they’ll be a lot more quick to pick up on repetitiveness. It’s a lot easier to bore an audience.

6. Don’t describe every single reaction that a character has. The actors need to be able to interpret it so that way they can actually act in a way that doesn’t feel forced.

7. Practice makes perfect. Do it frequently. Read scripts. I’m being serious. You’ll learn a lot.

8. You’re probably not magically going to magically write a hit movie or TV show at first. Experience, experience, experience. I’m starting my first genuine script experience as a script supervisor for an indie short film. My job is to make sure there’s continuity within the script and production. You’re probably not going to get paid as you first start out and you’re probably not going to have your own script used unless you lucked out with some really good connections or have an excess amount of money. It’s a ladder and you have to work your way up. The more experience you have, the more connections you will have in the industry, and you will be more likely to be successful. That being said, try to make it good experience. Avoid working on projects that you’re sure are going to be terrible just because you want the experience. You don’t want to be remembered for something awful. If it’s a little awful, that’s alright, but just watch out for disasters.

9. Beta readers are so, so important. Take as many opinions as you can get. And, make sure to listen to any advice you can get.

10. Parallels in writing come off so

much more noticeably and beautifully in screen writing when they’re done properly. I don’t recommend reusing the same parallel more than a couple times because of repetition, but a scene that’s similar to another is so much easier to see in script than most other forms of writing and will come across in a very prominent way.

11. Character backstories should exist, but don’t focus too much on every character unless it’s important. Script is snappy and quick. You have to focus on the story more than anything else. There isn’t as much time to mess around as there is in other types of stories.

12. Have fun. These are suggestions, not rules. If you can find a way to break some of my suggestions and keep it interesting, go for it. It’ll make it original and originality is always interesting.

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I shall eat Italian citizens.

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New post on my secret new blog! 😂 Taking a step forward and deciding to start learning to write for TV. Wish me luck.

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self-editing for fiction writers

Showing vs Telling

Do you have any narrative summary, or are you bouncing from scene to scene without pausing for breath?

Characterization & Exposition

What information do your readers need in order to understand your story? At what point in the story do they need to know it?

How are you getting this info across to your readers? Is it all at once through a writer-to-reader lecture?

If exposition comes out through dialogue, is it through dialogue your characters would actually speak even if your readers didn’t have to know the information? In other words, does the dialogue exist only to put the information across?

Point of View

Look at your descriptions. Can you tell how your viewpoint character feels about what you’re describing?

Proportion

Look at descriptions. Are the details you give the ones your viewpoint character would notice?

Reread your first fifty pages, paying attention to what you spend your time on. Are the characters you develop most fully important to the ending? Do you use the locations you develop in detail later in the story? Do any of the characters play a surprising role in the ending? Could readers guess this from the amount of time you spend on them?

Dialogue

Can you get rid of some of your speaker attributions entirely? Try replacing some with beats. 

How often have you paragrapher your dialogue?Try paragraphing a little more often. 

See How it Sounds

Read your dialogue aloud. At some point, read aloud every word you write.

Be on the lookout for places where you are tempted to change the wording. 

How well do your characters understand each other? Do they ever mislead on another? Any outright lies? 

Interior Monologue

First, how much interior monologue do you have? If you seem to have a lot, check to see whether some is actually dialogue description in disguise. Are you using interior monologue to show things that should be told?

Do you have thinker attributions you should get rid of (by  recasting into 3rd person, by setting the interior monologue off in its own paragraph or in italics, or by simply dropping the attribution)

Do your mechanics match your narrative distance?(Thinker attributions, italics, first person when your narrative is in third?)

Easy Beats

How many beats do you have? How often do you interrupt your dialogue?

What are your beats describing? Familiar every day actions, such as dialling a telephone or buying groceries? How often do you repeat a beat? Are your characters always looking out of windows or lighting cigarettes? 

Do your beats help illuminate your characters? Are they individual or general actions anyone might do under just about any circumstances?

Do your beats fit the rhythm of your dialogue? Read it aloud and find out

Breaking up is easy to do

Look for white space. How much is there? Do you have paragraphs that go on as much as a page in length? 

Do you have scenes with NO longer paragraphs? Remember what you’re after is the right balance. 

Have your characters made little speeches to one another? 

If you’re writing a novel, are all your scenes or chapters exactly the same length? -> brief scenes or chapters can give you more control over your story. They can add to your story’s tension. Longer chapters can give it a more leisurely feels. If scene or chapter length remains steady while the tension of the story varies considerably, your are passing up the chance to reinforce the tension. 

Once is usually enough

Reread your manuscript, keeping in mind what you are trying to do with each paragraph–what character point you’re trying to establish, what sort of mood you’re trying to create, what background you’re trying to suggest. In how many different ways are you accomplishing each of these ends?

If more than one way, try reading the passage without the weakest approach and see if it itsn’t more effective. 

How about on a chapter level? Do you have more than one chapter that accomplishes the same thing?

Is there a plot device or stylistic effect you are particularly pleased with? How often do you use it?

Keep on the lookout for unintentional word repeats. The more striking a word or phrase is, the more jarring it will be if repeated 

Sophistication 

How many -ing and as phrases do you write? The only ones that count are the ones that place a bit of action in a subordinate clause

How about -ly adverbs?

Do you have a lot of short sentences, both within your dialogue and within your description and narration? Try stringing some of them together with commas

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Chapters: 1/1 Fandom: The Magicians (TV) Rating: Explicit Warnings: No Archive Warnings Apply Relationships: Quentin Coldwater/Margo Hanson/Eliot Waugh, Quentin Coldwater/Eliot Waugh, Quentin Coldwater/Margo Hanson, Margo Hanson/Eliot Waugh Characters: Quentin Coldwater, Eliot Waugh, Margo Hanson Additional Tags: Outdoor Sex, Semi-Public Sex, Oral Sex, Cunnilingus, Blow Jobs, Rimming, Threesome - F/M/M, Threesome, Anal Fingering, Rope Bondage, Light Bondage, Sex Magic, scene negotiation, Consent, Safewords, Multiplayer Sex Series: Part 7 of Beautiful, Languid, and Filthy-Gorgeous Summary:

After a night of champagne and theatrics, Eliot and Margo offer Quentin a chance to get to know them better.

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The 2019 Trials Masterlist and Voting Link

You’ve had some time to digest these wonderful fics, so now it’s time to rock the vote! (Just think of it as practice for 2020′s election shall we?)

Cast your vote here - you may only vote once, and voting is open until 1/30! Our winners will be announced on 1/31.

For easy reference, here is our master list for 2019

1. NotTheXMen - @procoffeinating & @trekkiepirate

2. TwinkleTwinkleLittleLamprey - @oneeyeddestroyer & @alipeeps

3. FungiFetus - @minister-for-femslash

4. TomatoesAreTheSuperiorFood - @physicalkideliot

5. EmojiMaddness - @rahnesinclair & @highkingfen

6. ShadowBatChic - @highestkingbambi & @ruinlas

7. UnderPressureOVerFogg - @machtaholic & @jecariart

8. ABearIsMyBae - @adjovi & @highestkingbambi

Don’t forget to send your love and appreciation to all these wonderful creators, and make sure to drop them a comment!

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My advice when folks are struggling with writing in the third-person omniscient is to Lemony Snicket it up. Give your omniscient narrator strong opinions about what’s going on. Don’t fall into the trap of assuming that the third-person omniscient perspective must also use the objective voice; those are two separate things, and many of the most popular and successful writers who’ve written in the third-person omniscient do not, in fact, use the objective voice.