keysmashchronicles - Tumblr blog

keysmashchronicles · 5 years ago

Text

when stories go wrong

Seeing all the discourse around how dnp communicate with us, I couldn’t help but relate it to the ideas about storytelling that I’ve been exploring on this blog.

It seems to me that there’s a link between some people’s frustration with dnp and the disappointment we all can feel when a story that we’ve become emotionally invested in doesn’t turn out the way we want it to.

My take on it comes down to this:

We as humans are born with an innate drive to tell and be told stories, and we constantly construct stories out of the real life events happening around us. We instinctively know what a story needs in order to have a satisfying conclusion and we experience a strong negative reaction when a story we are emotionally attached to fails to deliver this.

So much of what has happened in Dan and Phil’s real lives follows the structure of a well-told story (more specifically the rags to riches plot with Dan as protagonist) that it sets us up to feel the same sense of emotional investment that we feel when watching/reading fictional stories. In my view, it was this very thing that fuelled their popularity - our connection with them wasn’t just based on their content, but also on our emotional investment in the unfolding story of their lives. And once the story instinct has been triggered, it creates expectations in us about about what should happen next - we can’t help it, we’re programmed that way.

When a story that has become meaningful to us suddenly veers off course or ends abruptly, we can feel a keen sense of loss and abandonment. We are left in limbo with a whole heap of unresolved feelings. We have the sense that we’ve have been denied something that is ‘owed’ to us, that we’ve been unfairly treated, and then we get angry at those we feel are responsible (think of fan reactions to the end of GoT, or series 4 of Sherlock, or the unexpected cancellation of many a beloved show that never got to have a proper ending).

dnp had unwittingly became the protagonists in a story that we all became hugely invested in but that couldn’t deliver the kind of emotional resolution that our story instinct tells us we deserve, because real people’s real lives just don’t work that way. With the ending of the ii era, the loss of joint content, and Dan taking a big step back, the story that they’d been telling for the last near decade suddenly....stopped. We were reassured that this was only temporary, but over months and then years came the realisation that this wasn’t the case. It was clear that we were no longer able to be a part of the world of Dan and Phil that they’d created then and invited us all to share. Without any proper closure, we were left in a kind of limbo, intellectually knowing that things were different and why, but emotionally finding it hard to accept.

People have responded to this in different ways. Some have found it fairly easy to accept that dnp being dnp has run it’s course and appreciate their solo projects. Some miss seeing them together but revisit old videos, or turn to fanfic, or enjoy looking out for the small glimpses of joint content we get from time to time. Others find their attention moving on to new fandoms that replace their emotional investment in dnp. But some people are still finding themselves stuck in the feeling of loss, the sense of having been abandoned or let down that comes when our story instinct is triggered but is left unresolved, and they express this through criticism of dnp and especially Dan that can seem harsh or undeserved to others.

I personally think it’s really positive and healthy that dnp have been able to redraw the boundaries of how they interact with their audience to something that feels more comfortable for them. At the same time I try not to judge too harshly those who struggle with letting go of how things were before because the strength of their feelings makes so much more sense to me when looked at in this context. I might not agree with their criticisms, but I don’t feel so confused about where the strength of their feeling comes from.

fics that don’t fit the mould //

#dnp #dan and phil #daniel howell #phil lester

52 notes · View notes

keysmashchronicles · 5 years ago

Text

fics that don’t fit the mould - part 1

Having considered some phanfics that broadly follow the universal plot as outlined in The Seven Basic Plots, what about the fics that don’t? What about drabbles, or slice of life domestic fluff, or pwp for example? These types of fics don’t meet the criteria that the Seven Basic Plots sets out for a ‘successful’ story, but are the concepts explored in the book still useful in helping to explain why they capture our attention?

The two elements of the universal plot are defined as follows:

The growth and development of the main characters as they face a series of challenges or struggles, develop into better versions of themselves and essentially ‘earn’ a happy ending at the end of the story

A series of alternating states of tension and release, building in intensity until they reach a final climax

How do shorter fics which don’t follow this pattern directly still make use of these concepts to entertain and engage the reader?

Fanfic often doesn’t need to make use of traditional story structures because it is able to rely on context. In other media, showing character development takes time. You have to first establish your characters, showing the reader/audience what they are like at the start of the story, then you need describe the events that start to shape their lives before you can finally start to show their impact and how the characters have changed as a result.

However with fanfic, a lot of this work has already been done and the fic writer shares this common body of knowledge with the reader. The characters have been established; the arc of their narrative is well known. The writer doesn’t need to go into detail setting up the back story and can simply dive straight into telling their story.

Now, of course, a fic writer can choose how faithful they will stay to the original work, which elements they will keep and where they will take their writing in a new direction. These known quantities can be played around with in so many different ways, but even if the writer chooses to subvert them, they are still writing based on the understanding that readers will have them in mind as they react to their fics.

So if we’re reading a fic which is a short character study, or a slice of domestic life, we can see where these would stories fit into the overall structure of the source material (which will itself almost certainly have made use of the those basic elements, if we’ve reacted to it strongly enough that we’ve gone out to seek fanfic related to it).

As a result, the fact that these fics don’t themselves use the universal elements does not detract from our enjoyment of them. We know the characters well, and are aware that they have already faced or will come to face difficulties and struggles, and we know that they grow and change and develop as a result. So we bring this knowledge into our reading of the fic, we fill in the blanks around what’s actually on the page.

When it comes to phanfic and other RPF, this idea of source material is a little different from fiction-based fandoms, and I’ll write more about that in later posts. But there is the same sense of a shared body of knowledge about Dan and Phil’s real lives which serve as a backdrop for the fictional versions of them that are created by phanfic writers (and I consider all versions of them in phanfic to be fictional versions, no matter how closely a fic might follow real life events - that’s what differentiates fic from speculation).

Consider a fic where Dan and Phil are just hanging out in their apartment being cute and silly and in love, one that’s set after they’ve both come out. You can simply take fics like this on face value, say that the universal plot doesn’t really matter here, that they don’t need to follow rules or structures and we can enjoy them because it’s uplifting to read about a couple who are being happy, supportive and affectionate. But on consideration, there is actually more to these fics than meets the eye because we’re not reading them in isolation, but within a broader context.

If two characters meet, get together and live happily ever after without ever having any obstacles to overcome, there’s a limit to how engaging that might be to us as readers. A story like these might suffer from a lack of those requirements of the universal plot. But it’s a very different experience to read a fic about two characters enjoying their lives together while considering that in order to get to that point, these fictionalised versions of Dan and Phil will probably have faced similar challenges to their real life counterparts, such as bullying, homophobia, internalised oppression, financial insecurity, anxiety about being outed, and difficulties with mental health, overwork and bereavement.

This context adds weight and depth to that domestic scene - it may not be referenced in the fic, but nevertheless it informs how we read it and makes it more meaningful. Before getting to this point problems will have been faced, risks will have been taken, difficulties will have been overcome and now finally the characters are getting to have their happy ending.

Considering these kinds of fics as part of a bigger story provides both the sense of growth and development referred to in the first element of the universal plot and also echoes of the alternating states of tension and release, success and struggle referred to in the second element, even when they aren’t present in the fics themselves.

getting specific with some fic examples - part 1 // when fics go bad

#phanfic #phanfiction #fanfic #fanfiction #dnp #dan and phil

8 notes · View notes

keysmashchronicles · 5 years ago

Text

getting specific with some fic examples - part 1

The Seven Basic Plots argues that there are certain elements that occur time and again in stories because they hardwired into our way of telling them, and are crucial to creating a sense of enjoyment and satisfaction. So is this the case with phanfic? Is the reason that readers respond so strongly to their favourite fics because the authors have an innate understanding of what these essential features are and intentionally or unintentionally incorporate them into their stories?

Let’s look at a specific example: fifty kisses to Christmas by nokomisfics is a short, heartwarming friends to lovers fic centred around Phil’s attempts to help Dan manage his existential struggles by doing something that he read online should help raise his serotonin levels – kissing him.

If you haven’t read the fic, be warned there are spoilers ahead so go and do that before reading further!

How closely does this fic adhere to what Booker says makes a satisfying story, and how does this contribute to the readers’ enjoyment of it?

The first universal aspect as described in the Seven Basic Plots is that the main characters need to go through some kind of inner transformation provoked by a series of problems or difficulties that stand in the way of them achieving happiness. They evolve into more mature, complete versions of themselves as the story progresses and by the end have the necessary mental and emotional resources and strength to overcome the final challenge that stands between them and their happy ending.

In some plots the malevolent forces working against the protagonist are personified in the form of an evil villain that needs to be defeated, or perhaps a rival that needs to be beaten, but this isn’t the case with the comedy plot. Instead, these kinds of stories are more about the kind of darkness that comes from a sense of separation; separation from self, separation from others, separation from love, truth, light and all good things in life. They focus on the characters emerging from a place of confusion, misunderstanding, and secrecy towards a state of clarity, harmony and trust, and show the ways that they need to develop and mature as people in order for this to happen.

Do we see this pattern In fifty kisses to christmas? It’s pretty clear from early on in the plot that there is the potential for Dan and Phil’s relationship to be more than just friendly, and we see a progression throughout the story from a state of ignorance and denial towards a much greater honesty and acceptance.

Even at the start of the story, we can see how committed they are to each other. We’re shown just how focused Phil is on trying to help Dan feel better and how much his problems are affecting him when he’s researching online to try and find some kind of solution. He ‘reads and tries and reads and tries and none of it works. He doesn’t know how to fix his friend’, which shows the impact is has on him when Dan is in distress. And even before they share their first kiss, we see that Phil thinks of him as a ‘beautiful boy’ and ‘pokes at Dan’s cheek, because he likes how soft it always is’. As for Dan, we don’t get his POV so we can’t be sure what he’s thinking and feeling but he doesn’t seem to mind at all when his best friend suddenly decides they ought to start kissing.

Despite this, it seems that neither of them are either ready or able at this stage to admit the extent of their feelings for each other, which are obscured both from themselves and each other, although pretty clear to the reader.

As the story progresses, they increasingly come to recognise them, but are still not ready to openly acknowledge them. But by the end of the fic when the agreed fifty kisses have been exchanged which, according to their agreement means they ought to go back to a merely platonic relationship, Dan is brave enough to come out and state clearly what he wants and how he feels, so that they are able to achieve their happy ending.

So as the comedy plot requires, we see how as the fic progresses, our main characters tentatively open up and allow themselves to risk revealing their truth. They aren’t able to be truly happy without moving beyond ignorance and denial to a place of openness and trust.

Is this change in their behaviour brought about by a developing and maturing of their personalities as the universal plot suggests? We do see some ways in which they change and learn over the course of the story.

For example, early on Phil reflects on how he’d first realised a few months previously that Dan was struggling with his emotions, but he wasn’t sure quite how to address it so he just didn’t bring it up. He’d noticed that Dan had probably been crying, but ‘they hadn’t talked about it’ As time goes on, we see him becoming more comfortable with and willing to acknowledge and tackle difficult feelings and uncomfortable situations, even though it might be easier just to let things slide. For example, when they’re making toasties in the kitchen and Phil reminds Dan that they have a meeting at the BBC, even though he knows Dan’s deliberately trying to ignore it. He doesn’t avoid the subject, even though Dan’s reaction makes him feel ‘a rising dread in the pit of his stomach’.

Throughout the fic, we’re shown how Dan is reluctant to ask for Phil’s help when he’s having a hard time, tending instead to avoid him or act out in anger when he’s feeling low. We don’t really see a change in that behaviour until the end of the fic, when Phil comes down with the flu. Phil tries to tell Dan that he should go off and have a nice Christmas and not let it be ruined because of him, but Dan says that it’s the least he can do to be there for him.

He’s happy to look after Phil even if it might seem inconvenient because he cares about him and wants him to feel better, and this helps him to see that Phil feels exactly the same way about him when he’s struggling with his mental health. It’s not Dan’s fault that he has these struggles in the same way that it’s not Phll’s fault for falling physically ill, and it’s OK for each of them to ask for and offer help and support when the other needs it. So we see a letting go of his feelings of self-recrimination and moving towards a greater sense of self-acceptance.

So it seems that it’s more than just the passage of time that works to bring them together at the end of the fic, there is a sense by which their characters need to change and develop to allow that happy ending, even if it isn’t a particularly dramatic shift. Being a 10k one shot, there isn’t scope for complex or dramatic character development, but a simpler and more gentle progression can be just as effective in adding impact.

What does this revealing of hidden truths, this sense of growth and character progression bring to the story? I agree with Booker that watching characters mature and develop, make progress on the issues that are holding them back or become willing to accept parts of themselves that they’ve previously denied really adds to my enjoyment. Seeing the characters face up to difficult emotions and really come into their own tends to be a feature of the fics that have the most emotional impact on me. Those are usually the ones that will stick in my mind, or that I’ll come back to and read over and again.

This is one of the reasons I like the friends to lovers trope so much. The slow realisation that there’s more to their relationship than they previously thought; the blocks or barriers that are in the way, the decisions that get made about what to acknowledge, and how, and when; the courage it takes to finally get honest about what’s going on; the risk that’s involved when they’re not sure how the truth might be received and then the joy of realising that they both feel the same way is something I find very satisfying when reading fic.

The second key component of the universal plot is the use of a pattern of alternating states of tension and release, darkness and light, confusion and clarity which build in intensity towards a final climax.

This alternation is the crucial thing – it’s not about tension growing steadily and continuously, but about an ebb and flow, a sort of two steps forward, one step back scenario that slowly builds as the fic goes on. If the tension just built and built and built with no relief, we’d be exhausted before we were half way through! So this process allows it to develop in a way which is much more enjoyable and engaging to the reader.

How does this fic make use of this pattern? This can be seen in how the kisses between Dan and Phil change as the story goes on. Rather than a straight forward progression, there is a sense of moving into new territory, then pulling back to safer ground for a bit before having the courage to push things forward again. So the very first kiss is a quick peck, quickly followed by something a little more meaningful, with Phil ‘slipping his fingers into Dan’s hair’, Dan relaxing into Phil leaving him ‘pliant, soft and so, so kissable’ and Phil musing on ‘if it’s supposed to feel this great to kiss your best friend’

But rather than progress things further, both Dan and Phil and we as readers are then given a release in that tension, a bit of respite to catch our breaths and reflect on what’s just happened. The next few kisses are dropped to the top of Dan’s head or his shoulder, casually affectionate rather than passionate.

This pattern continues as the fic goes on. Dan stays up all night working on a project and while encouraging him to go to bed and rest they exchange a kiss that is ‘gentle, both of them sleep-soft and warm’ and we see how it affects Dan as his eyes ‘flutter shut’ and he makes a little sound as Phil ‘claim[s] his soft lips as quietly as he can’. That connection, that intensity between them is continuing to build but again, it pulls back, followed by simple good night kisses, a peck on the lips or even on the nose when they’re putting the star on the Christmas tree (so cute!).

Then there’s the night when, after a boozy lunch with PJ, the combination of the alcohol and PJ’s assumptions about their relationship leave Dan in a bad way. Phil goes to comfort him and they end up kissing in Dan’s bed. Phil’s just pondering on how it can feel so right to be doing this with your best friend, when Dan tugs on his hair and ‘all the blood in Phil’s body rush[es] to his crotch’, definitely new territory for them, definitely beyond the realms of just helping out your friend in a totally platonic way. Phil tries to stop things, tries to pull away but rather than let him, Dan’s response is to initiate a kiss between them for the very first time, pulling Phil back down, ‘lips hot and searching’.

This clear sign that they both want more than they’ve been willing to admit could have been the climax of the plot, the physical demonstration of their affection for each other then followed by a confession of their feelings, but again, the intensity drops back. The next morning things aren’t awkward, but they skirt around the subject, discussing how they should record last night’s kisses on their kiss chart rather than talking about what they might mean. Phil can’t quite keep his hands to himself though, ‘running his fingers down [Dan’s sides to where a strip of pale skin is exposed’ so he can touch ‘the soft skin of Dan’s belly’. But then over the next few days we’re back to tamer kisses, even though Phil’s now very aware of the true extent of his feelings for Dan as what he’d really like to do is ‘push [him] into the racks of Christmas CDs…..and kiss him silly’.

Before long, there are only two kisses left. Phil decides to keep the final kisses for Christmas Day, and so it seems like we’re being set up for that to be the climax to the story with maybe some big romantic gesture and a declaration of love, but instead Christmas Day dawns with Phil in bed with the flu, and Dan getting in beside him to look after him and provide him with comfort. It might seem that this was done simply to tease out the tension of the story and make us even more eager for it’s conclusion, but as mentioned earlier my view is that this role reversal with Dan looking after Phil is needed to help him let go of insecurities about himself and be ready to finally open up about his true feelings.

Their final two kisses, shared when Phil is feeling a bit better but still kind of groggy with fever aren’t really anything special, certainly not any kind of grand gesture, but it’s what happens next that counts. The experiment is over, the allotted number of kisses have been given….but they don’t stop. They both know that there’s now no reason for them to be kissing other than the simple fact that they both want to. At first, out of habit, Phil keeps counting but then he stops counting at all, Dan kissing him wherever he can reach and then confessing into Phil’s neck ‘I don’t want to stop’ in a voice which is ‘scared, wobbly, vulnerable’.

This really is the climax of the story, the point where the final barrier between them being together is being faced. Dan has taken a risk, put himself out there and even though we’re pretty certain of what Phll’s reaction is going to be, it still creates that point of tension, of the weight of the possible consequences of making this admission.

When Phil responds that they don’t need to stop, both we and they feel the tension finally break that’s been building and receding throughout the fic. We’ve reached the point where we’re finally assured that everything is going to be OK. Our boys were kind of clueless, a bit misguided but they got there in the end and we feel a mixture of relief and celebration.

I think it’s pretty clear that this pattern of gradually increasing tension that ebbs and flows but ultimately builds towards some kind of final climax is absolutely something that makes a fic satisfying to read! Whether it’s a fluffy one shot, a mammoth slow burn that unfolds over dozens of chapters or even a pwp with a different kind of happy ending, this pattern is used and enjoyed throughout phanfic to great effect.

the seven basic plots and phanfic // fics that don’t fit the mould

#phanfic #phanfiction #fanfic #fanfiction

4 notes · View notes

keysmashchronicles · 5 years ago

Text

the seven basic plots and phanfic

Having read about Booker’s concept of the seven basic plots and the universal structure that underpins them, I was curious to see how these ideas might relate to the phanfiction I’ve read and enjoyed. Although it’s possible to find fics that relate to all of the different plots, some of them are used much more heavily than others.

The plot which is overwhelmingly the most used in phanfic is that of comedy, which encompasses so many well-loved tropes such as fake relationships, sharing a bed and friends, enemies or strangers to lovers. The essence of the comedy plot is for characters to experience an ebb and flow between states of confusion, secrecy, miscommunication and separation and those of enlightenment, honesty, connection and unity, which perfectly sums up these stories where our boys have to overcome a series of obstacles which stand in the way of their eventual happy ending. In addition, tropes such as mutual pining, or unrequited love often also fall under this plot as these circumstances initially threaten to keep Dan and Phil apart but as the story unfolds they are challenged and ultimately overcome.

Two examples that demonstrate the comedy plot really well are fifty kisses to christmas by nokimisfics and The Way I See You by INeverHadMyInternetPhase. Both feature a plot device which forces previously hidden or denied feelings to be gradually brought to the surface. As a result, Dan and Phil begin to develop greater honesty, vulnerability and trust in their relationship, finding the courage to be more and more truthful with themselves and each other and eventually being ready for their happy ending.

Another of the plots which we see used often in phanfic is voyage and return, for example in fics which feature time travel, body swapping or characters falling into alternate realities. These fics are based around the challenge of characters finding their way back to the normal world, and often include the themes of self-discovery and self-development which Booker says are necessary for this plot to be developed to its fullest.

We see this plot used in fics like If Lost, Return to Phil by thatsmistertoyou where Dan falls asleep in 2014, wakes the next morning and realises he’s in 2021 and tries to make up for all the mistakes he’s made in the intervening years, or In Any World by jestbee in which Dan hits his head in the bath and finds himself trapped in a world of phanfic. Both feature a character who is struggling with admitting to themselves who they are and what they want from life. They find themselves suddenly wrenched our of that ordinary life and face a series of challenges or dilemmas which force them to grow and face up to the truths they’ve been trying to avoid and build towards a dramatic climax just when it appears that there’s no way the problems they are facing can ever be resolved.

Plots such as overcoming the monster, the quest and rebirth are less common, because of this being an RPF fandom rather than being based on a fictional world with heroes and monsters and epic quests, but there are some fics which make use of these plots, mostly AU fics such as parentaladvisorybullshitcontent’s Vampire AU which develops into an overcoming the monster fic over the course of the series, or the ATLA AU Burn and Bloom by jilliancares which combines aspects of both the overcoming the monster and the quest plots.

The rags to riches plot in its traditional form doesn’t feature prominently in phanfic, but I’d argue that in some ways it does form the basis for the ‘story’ of Dan and Phil’s real life relationship so in a sense it is the backdrop to a whole range of fics, both canon compliant and otherwise.

The plot I’d associate least with phanfic is tragedy in the sense that Booker means it, where the protagonist falls irrevocably under the shadow of some dark influence because of their greed, lust or selfishness, thereby becoming the monster that has to be destroyed in order for the story to achieve its happy ending. There are some phanfics that could be regarded as tragic in their subject matter, such as those featuring major character death, but Booker would not see these as tragedies in the sense he uses the term.

Thinking about the universal plot and its two essential elements, my experience of phanfic is that the stories I particularly enjoy do tend to stick pretty closely to what Booker describes. In reflecting on what makes a fic enjoyable for me, a structure where the tension in the story ebbs and flows but gradually builds up to a climax, usually accompanied by some kind of personal growth or addressing of some inner struggle are the stories that I really enjoy and get the most satisfaction from.

This isn’t to say that stories which don’t follow this pattern can’t be enjoyable too, and this is particularly true of fanfic. But the fics that really stay with me and that have a lasting impact tend to be those where the author has mastered the skill of using that universal structure to it’s best advantage.

It’s interesting that most of us never really tend to sit down and analyse the structure underneath a story in this way, and yet most writers seem to have a understanding of how to use it. Both writers and readers build this internal sense of what makes a good story through spending hours upon hours immersed in stories of all kinds and discovering what has the most impact on them, even if they never stop to think about it in analytical terms.

It’s similar to what Dan says in the BBC Talentworks podcast about how he learned to write comedy - it wasn’t through studying and analysing the structure of jokes and theories on how they work, but simply through years of watching panel shows and sitcoms and internalising a sense of how they worked. Then when he did start learning about that structure at the writers’ retreat, it was simply a confirmation and a codification of what he’d already come to understand through his own experiences of consuming and creating content.

the universal plot // getting specific with a fic example

#phanfic #phanfiction #fanfic #fanfiction

1 note · View note

keysmashchronicles · 5 years ago

Text

the universal plot

Although the descriptions of the seven different plots are interesting, what Booker’s real intention with his work is to identify and explore the commonalities they all share.

He describes these similarities as constituting a single universal plot, but to my understanding, what he’s actually describing is rather a common structure that all of the basic plots are built upon.

This structure consists of two parts:

The growth and development of the main characters as they face a series of challenges or struggles. They develop into better versions of themselves and essentially ‘earn’ a happy ending at the end of the story

A series of alternating states of tension and release, building in intensity until they reach a final climax

As Booker sees it, all stories are essentially about the movement of individuals and/or groups/communities from a state of darkness, disorder, oppression, confusion to a state of light, unity, harmony, understanding and love. This darkness might come from inside the protagonist, caused by their own self-doubt, confusion or selfishness. Or it can come from external forces, dark figures or powers that work against them.

They face a series of problems or challenges which require them to grow and change as the story builds towards a final climax where the dark forces are overcome and our characters are able to achieve their ‘happy ever after’ Often, the celebration of love and life that comes at the end of a story includes the union or reunion of one or more couples in love or marriage.

Even in the case of the tragedy plot, where the protagonist is generally destroyed at the end of the story, the happy ending is still achieved, albeit in a different way. The protagonist has fallen irrevocably under the influence of the dark power and therefore need to be destroyed in order for the happy ending to be achieved for the characters that have been affected by their wrongdoing - the death of protagonist allows them their happy ending.

Booker says that as human beings, the journey we go on to battle our demons, both literal and figurative, in order to achieve a state of unity, love and understanding is at the crux of our nature, and that as a result we are driven to create and consume stories which represent this process. However, to simply show someone moving in a straight line from darkness to light, struggle to success doesn’t hold our interest.

A story needs to have more complexity to really draw us in. It needs to take us through a whole series of threats or struggles which are temporarily or partially resolved, only to be replaced by still more danger until just when we think all hope is lost,we reach that final decisive confrontation where evil and darkness are overcome and love and life are triumphant.

We seem to be hardwired to respond to this sequence which is repeated over and over in stories, and still get pleasure and enjoyment from it even though logically we might find it predictable or may have experienced it many times before, because there are infinite ways of taking those basic elements and weaving them into something new. This is a talent we particularly see in writers of fanfic and phanfic, where characters and tropes we think we know inside out can still be used to surprise us.

(last edited 14/08/20)

7th plot - rebirth // the seven basic plots and phanfic

#phanfic #phanfiction #fanfic #fanfiction

0 notes

keysmashchronicles · 5 years ago

Text

rebirth

The final plot in the Seven Basic Plots (Booker, 2004) is that of Rebirth, which in essence is about an innocent protagonist coming under the influence of some dark force or power that creates the effect of disconnecting them from the life-giving force of love. This sometimes comes in the form of an external threat, for example in Sleeping Beauty where a prick from the enchanted needle causes Aurora and all those around her to fall into a deep sleep. It can also be an internal threat, for example in The Secret Garden or A Christmas Carol where the dark parts of the protagonist’s own character cause them to become cold, hard, unloving and unyielding, separated from warmth and love and life, and in this way also experiencing a kind of living death. It is only through the redemptive power of love that they can be awakened and reborn to a new life.

Again, we can see this plot laid out as a series of stages:

Anticipation and fall - The protagonist falls under the shadow of a dark power which threatens their connection to life and love

Dream stage - For a while, all seems well, the threat appears to be harmless or contained, or the protagonist seems unaffected by it

Frustration stage - The dark power returns in full force and imprisons the protagonist in some state of suspended animation or living death. There may be some attempts by the protagonist or those around them to push back these dark forces, but to no avail.

Nightmare stage - As this state continues, seemingly with no reprieve, it seems that the dark threat has triumphed

Thrilling return to life – just when all seems lost, through the redemptive power of love, the protagonist is awakened and reborn

Again here we see the familiar structure to the story which has been shown in each of the plots explored so far, and is the basis for what Booker describes as the Universal Plot. The plot goes through a series of alternating states, light and dark, love and death, culminating in an exciting climax, which usually requires the protagonist to grow and develop as a person in order to achieve this happy ending.

6th plot - tragedy // the universal plot

#phanfic #phanfiction #fanfic #fanfiction

0 notes

keysmashchronicles · 5 years ago

Text

tragedy

The sixth plot described in the Seven Basic Plots (Booker, 2004) is that of tragedy, a plot similar in ways to that of comedy, but where the darkness and oppression that threaten our protagonist cannot be overcome, and instead become the cause of their downfall. There is generally no redemption or last minute reprieve, the darkness triumphs in this plot, the only one of the seven basic plots where this is the case. Examples include plays such as Hamlet or Romeo and Juliet, books like Anna Karenina, Madame Bovary or The Picture of Dorian Grey, or films such as Thelma and Louise or True Romance

The structure of this plot is as follows:

Anticipation stage – the protagonist is in some way incomplete or unfulfilled, and identifies some goal or aim which they think will bring them happiness

Dream stage – they start to move towards that goal, abandoning their morality or getting ahead at the expense of other people. However, at this stage they seem to be getting away with it.

Frustration stage – a threat appears which gets in the way of pursuing their goal, and they may need to resort to more and more extreme measures to try and achieve success

Nightmare stage – things are getting out of the protagonist’s control, and there is a mounting sense of threat and despair, They may start to show some regret or contrition for their actions, but they find themselves caught up in a series of events that have a life of their own, carrying them towards an inevitable outcome

Destruction stage – either from the consequences of their actions catching up with them, or else by their own hand, the protagonist is destroyed. The happy ending is reserved for those characters who now find themselves free of our protagonist’s influence.

In this plot, it is usually the darkness in the protagonist’s own character which is the cause of their downfall, rather than some external threat. Instead of the movement towards growth, light, wholeness and unity that we see in the Comedy plot, here we see that the protagonist gives in to their desire for money, sex, power, or success no matter the cost, and they find they are so caught up in the pursuit of this that they themselves take on the role of the Monster we saw in the first plot, the enemy of the innocent, and therefore the story requires their destruction in order to reach it’s completion.

In some tragedies, it is not the amorality of the protagonist that leads to their demise, but that of the people around them that they cannot escape. For example, Romeo and Juliet where the hatred and violence of their families and communities lead to their demise.

In terms of structure, we see a similar pattern as with the previous plots - the identification of a problem to be solved, initial success which then alternates with frustration or struggle as the story progresses, bringing us to the climax. Instead of the growth and maturity that we see in a hero as they go through the story, we see the protagonist of a Tragedy getting drawn further and further under the influence of their character defects. It may seem like they might have a last minute change of heart, and sometimes they do, but for the story to reach a satisfactory end in the way Booker sees it, the Monster must be destroyed in order for the story to be properly concluded.

5th plot - comedy // 7th plot - rebirth

#phanfic #phanfiction #fanfic #fanfiction

0 notes

keysmashchronicles · 5 years ago

Text

comedy

The fifth plot described in the Seven Basic Plots (Booker, 2004) is that of comedy. This is meant in the more traditional sense as used by Greek playwrights or Shakespeare, rather than how we would tend to use the term to describe a film that makes us laugh (which can be seen as a subset of what Comedy is in it’s broader sense). This plot moves us out of the realm of monsters and evil masterminds as the source of threat, and into the sorts of stories where the threats are of a more human kind – miscommunication, denial, secrecy, mistaken identity and the like are the ‘enemy’ here. There are many variations to this plot, but for examples you could think of plays such as A Midsummer Night’s Dream or The Taming of the Shrew, books by authors such as Jane Austen, right through to films like How to Lose a Guy in Ten Days or Bridget Jones’ Diary.

Booker finds it hard to sum up the comedy plot in the same way as the previous plots because it comes in so many variations, instead describing it as having three general stages. However, in my understanding this plot can still be seen as having a similar five-stage process to that which we see in the other plots.

Anticipation stage - We are introduced to our central characters, and perhaps also their family, group of friends, community or town. We become aware that all is not well, that our central characters are under the shadow of some negative influence, and in some way or another are living in a state of division, confusion or frustration. They cannot see things clearly; truths are obscured or perhaps are being denied.

Dream stage - the effects of this shadow seem minimal and the characters may not be aware of the potential for harm, even though the consequences of this dark influence are starting to make themselves known.

Frustration stage - The confusion continues to get worse, with growing misunderstanding, miscommunication and difficulty between the characters. There are times of respite or light-heartedness where it seems like the shadow is lifting but these are only temporary.

Nightmare stage - The sense of darkness and oppression grow to the point where it seems that our characters will never be able to escape them, and their future happiness will be sacrificed as a result..

Resolution - Finally, just at that point where all hope seems lost, something will trigger a reversal where things are unexpectedly put things to rights – truths are uncovered, feelings confessed, assumptions corrected and the characters finally achieve a state of unity, freedom and joy

The success of this plot relies on the pattern of alternating tension and release building to a climax, as described in the previous plots.The confusion, uncertainty, miscommunication or deceit grow throughout the plot and it’s only at the end in the finale where they are are swept aside and our characters are able to find a place of understanding, connection and celebration. The achievement of this state of unity and connection is usually symbolised by the coming together of one or more couples who either marry or declare their undying love and presumably live happily ever after. Often, the main characters will need to develop and mature through the frustration and nightmare stages to enable the enlightenment that triggers the climax of the story to occur.

4th plot - voyage and return // 6th plot - tragedy

0 notes

keysmashchronicles · 5 years ago

Text

voyage and return

The fourth plot that is described in in the Seven Basic Plots (Booker, 2004) is that of Voyage and Return, which comes in a number of variations.

Examples would include stories of falling into some alternate realm, such as Alice in Wonderland or The Wizard of Oz, or of finding yourself in a completely new and alien environment, such as Robinson Crusoe or The Lord of the Flies. It is often explored in science fiction tales such as Journey to the Centre of the Earth or The Time Machine and would also include stories of body swapping or age regression, such as films like Freaky Friday, Big or 13 Going On Thirty.

The protagonist somehow finds they have been taken out of their normal, every day life to face some new and often scary reality that they need to learn to navigate, and this experience may or may not leave them fundamentally changed when they finally return to their normal life.

Again, we find that the protagonist’s journey through the story can be seen as a series of stages they must go through.

Anticipation and ‘Fall’ into the other world – we meet the protagonist who is generally portrayed as lacking in some way – they are perhaps young, naïve and immature, or selfish and mean spirited, or feel bored or frustrated with their current life. They then experience a sudden change in circumstance or are in some way wrenched away from their ordinary, familiar life

Dream Stage – they start to explore this new world, which may at first seem quite exciting, and they feel that perhaps the change is only temporary and the path back to normality not too difficult to find

Frustration Stage – their experiences of the new world take a darker turn, and they start to experience challenge, difficulty and danger from an emerging threat or threats. The possibility of becoming trapped there, and the difficulties involved in trying to find their way home become more and more apparent.

Nightmare Stage – Both the terror of being permanently trapped in the alien environment, and the threats the protagonist is facing there build to the point where their very survival is in doubt

Thrilling escape and return – Just as all hope seems lost, the protagonist is able to make their escape back to the world and/or life where they started, and experience the relief of having narrowly escaped from disaster. They often have grown or changed as a result of their experiences, finding or gaining whatever they may have been lacking at the start of the story – they may have become more worldly and mature, have let go of selfish ways or simply have come to realise the value of their normal life in contrast to the dangers they have faced.

This plot again follows the structure of tension and release that is common to all the plots we have explored so far, and also that sense of character progression and transformation that comes as a result of having gone through these difficult and challenging experiences.

3rd plot - the quest // 5th plot - comedy

#phanfic #phanfiction #fanfic #fanfiction

0 notes

keysmashchronicles · 5 years ago

Text

the quest

The third plot described in the Seven Basic Plots (Booker, 2004) is The Quest, where a plucky band of friends go on a perilous journey to attain some distant but precious goal that is worth all the risks that they’ll face along the way. For examples of this plot, think of The Lord of the Rings, Watership Down or Raiders of the Lost Ark among many more.

Unsurprisingly, we find that this plot too follows a five part structure:

The Call – Life as our protagonist knows it is being overshadowed by a threat, which can only be overcome by going on a long and dangerous journey to achieve a distant goal.

The Journey – Our protagonist, usually accompanied by a band of brothers, embarks on this journey, encountering a series of challenges and difficulties along the way

Arrival and Frustration – our protagonist finally gets within reach of their goal, bur realises that far from being the end of their journey, there is another even bigger challenge to be faced

The Final Ordeal – there is a final battle or test facing the protagonist, more challenging or deadly than anything they have ever faced before, and defeat seems certain.

The Goal – the threat is somehow miraculously overcome, and the precious goal is finally achieved, and as a result the safety and happiness of all the characters is assured

You can see the similarities with the two plots previously explored – the alternating states of safety vs danger, the threats being faced by the protagonist becoming increasingly powerful and then the thrilling conclusion where victory is snatched from the jaws of defeat. There is often, but not always, a sense that the protagonist has gone through some kind of evolution or maturing as a result of their experiences.

2nd plot - rags to riches // 4th plot - voyage and return

#phanfic #phanfiction #fanfic #fanfiction

0 notes

keysmashchronicles · 5 years ago

Text

rags to riches

The second plot explored in the Seven Basic Plots (Booker, 2004) is Rags to Riches. To give you an idea, think of some of the classic fairytales like The Ugly Duckling, Cinderella or Aladdin, films like My Fair Lady or even the story of Joseph and his brothers from the Bible.

Again, the plot has five parts or stages as it unfolds:

Humble beginnings - Our protagonist is introduced, usually a young person of low background who is at the mercy of dark figures or influences around them. They escape or are cast out into the wider world

Initial success – the protagonist starts to make their way in the world. They might find some friends or a kind benefactor, or discover some previously hidden or disregarded talent. They start to have some success and begin building a better life for themselves.

The central crisis – just as things seem to be looking up, something happens to threaten their happiness. This could be a romantic rival, illness or possibility of physical harm, the threat of financial ruin or loss of status/position, or the discovery of some dark secret from their past

Growing independence and the final ordeal – the protagonist battles to overcome the threat, growing in confidence and strength. At the same time, the threat continues to loom, or multiple threats accumulate and become seemingly insurmountable

Union and completeness – just when all hope is lost, some event, discovery or change of circumstances occurs which means the threat is defeated and the protagonist is free to achieve their goal – a loving union, financial success or some other goal that shows them in a state of happiness and completion

As with the Overcoming the Monster plot, this plot takes us through a series of states of constriction and expansion, threat and escape, building up throughout the story and culminating in the exciting climax. It also generally features the growth and maturing of the central character as we see how their experiences help them to develop a more mature and capable personality that is crucial in helping them to defeat the dark forces and get their happy ending.

1st plot - overcoming the monster // 3rd plot - the quest

#phanfic #phanfiction #fanfic #fanfiction

0 notes

keysmashchronicles · 5 years ago

Text

overcoming the monster

According to The Seven Basic Plots (Booker, 2004) the simplest of plots is that of Overcoming the Monster. Think of a classic Bond movie, or a monster-of-the-week episode of Buffy. Some kind of threat to humanity is identified, and our hero(es) are called to action to battle this evil foe.

These stories follow the same general pattern, which can be broken down as follows:

The Anticipation Stage or Call to Action – the appearance or discovery of some kind of threat to normal everyday life, and introduction of a heroic protagonist who is called upon to defeat the threat.

Dream Stage – the protagonist prepares to face the threat and seems confident and well-equipped to deal with it

Frustration Stage – the protagonist comes up against the threat or those allied to it for the first time and the full extent of it’s power starts to become apparent, The abilities and resources of the protagonist are cast into doubt in the face of the threat, and it becomes difficult to see how it can possibly be beaten. There may be a series of minor encounters with the threat or its allies

Nightmare Stage – the protagonist is close to being overcome by the threat. It’s power seems to be insurmountable and it appears that there is no way that the protagonist can hope to prevail

The Thrilling Escape from Death – Just when it seems all hope has been lost, someone or something will intervene just in the nick of time and the threat is defeated. Things return to normal, all is well with the world and the protagonist celebrates their victory

This basic plot is used over and over again in all popular forms of entertainment, we’re all familiar with it and yet it’s popularity remains, but why?

Booker’s theory is that in taking an audience through these five stages, this plot provokes in us a series of alternating states of tension and release that build in strength and intensity as the story progresses, and finally culminate in an exhilarating climax. His theory is that the satisfaction we find in this process of tension, release and climax is the crux of what we find enjoyable about storytelling.

my history in fandom and phandom // 2nd plot - rags to riches

#phanfic #phanfiction #fanfic #fanfiction

0 notes

keysmashchronicles · 5 years ago

Text

my history in phandom and fandom

I’ve always been an avid reader. If I’d have been born twenty years later than I was and grew up in a time when every kid has tablet or a phone, that need for stories might have been filled by TV or other formats instead, but in my childhood years it was all about books, and visiting the library as often as possible. I often daydreamed about the characters in books the books I read, mostly egocentric thoughts of what it would be like if I were to somehow find myself in the stories I was reading. What would it be like to have them as my friends, to be part of those adventures? Of course, in typical Mary-Sue fashion, it wasn’t the real me that I imagined in those daydreams, but some idealised version that was cleverer and funnier and prettier and of course, someone all the other characters either envied or adored.

As I got older, and we moved beyond the stage of just having one TV in the house, my obsessive nature shifted to include TV shows as well as books. The first show that really caught my imagination was Dawson’s Creek. I loved it, the over-articulate teens with all their angsty problems heightened by their hormones going haywire, going through mental health issues and struggles with sexuality and of course, the classic love triangle. I couldn’t wait to tune in every week and catch up on what was happening in Capeside.

I’m not sure how it happened, but one day I was online on our cranky old computer and stumbled across some Dawson’s Creek fanfiction. I was amazed, and fascinated, and also terrified that someone in my family was going to walk in and catch me reading it. But I read every story on that website, and then started looking for more. I couldn’t believe there were other people out there like me, people who didn’t just watch a TV programme and then forget it about it until the following week. There were others who thought about the characters in a TV show so much, it was almost like they became real. People who wanted to analyse every aspect of the relationships the characters had on screen, and also take these characters off into plots and stories and worlds that were nothing like what actually happened in the show, imagine them in endless different scenarios and see them experience every kind of emotion and think about how they’d react. People who wanted to write or read over and over again about the same characters because they found more and more to discover about them every time they did.I had found my happy place!

Over the years, the obsession with fanfic remained, but the focus of it shifted.I’d go through a cycle – discover a new fandom, immerse myself in it for maybe a year or two, then slowly lose interest. There would be a period where I wouldn’t read fic for a while, maybe 6 months or a year, and then all of a sudden, a new show would capture my attention and I’d be off and running again.

After my interest in Dawson’s Creek had run it’s course, the show that took its place for me was Buffy. As I recall, I had only watched a few episodes here and there and then a writer I was already reading started to post Buffy fics. I read a couple and realised that there must be much more to this show than I’d thought if it was inspiring such good writing. I think that obsession must have lasted a good 3-4 years, one of the longest I’ve had. There was just so much good stuff for writers to work with - a whole cast of interesting well-developed characters, the good vs evil narrative, the endless possibilities of spells and demons and alternate universes and origin stories and the threat that the world might end at any moment….the list goes on. And also, there was the smut - I’d read a fair amount in my previous fandom, but Buffy fics took it to a whole other level (this by the way being a major cause of the confusion I had when trying to work out my own sexuality - how can I be asexual? Have you seen my AO3 history???)

After that came the West Wing, followed by House, followed by the other behemoth of my fandom life, Sherlock. With all of these, although I read a hell of a lot of fic, that was always as far as my involvement in fandom went. I didn’t feel the need to join any fandom communities, in fact I don’t really think I would have known much about where or how to get involved if I’d wanted to. In the early days, the fic I read was on fan-hosted sites, with the aid of webrings to help you discover other authors. Then for a long time it was fanfiction.net, livejournal and finally AO3 where I read most of my fic today.

So how did I get into phanfic? In the aftermath of Sherlock series 4, it felt like my engagement with fic in that fandom came to a bit of a stop – there wasn’t really anywhere much to take the story in terms of canon, and a lot of people felt that the whole Eurus plotline had been kind of a jumping the shark moment. For myself, I’d got to that stage where it felt like there was nothing new under the sun. I was feeling the fatigue that always eventually came when I’d overread a fandom, and no matter how hard I’d try to find something to interest me, nothing seemed to capture my imagination any more.

I left the fic alone for quite a while, turning mostly back to traditionally published media – I dipped a toe back into Sherlock fic on occasion, read a bit of MCU here and there but nothing significant.

Then one evening in June 2019, I was scrolling through Twitter when I decided to check what was trending and saw a name I didn’t recognise – Daniel Howell. I had no idea who he was, but lots of other people were clearly very excited by something he’d done, so I thought I’d have a look and find out why. Usually when this happens, it turns the person is either on a reality TV show or plays sports of some kind, but on this occasion I saw the words ‘YouTuber’ and ‘coming out video’ and it piqued my interest. The only experience I really had of watching YouTubers was through my step niece, when she’d had an obsession with Miranda Sings and we’d watched a lot of her videos together, including collabs, so I knew a few names but not much beyond that.

I clicked on Dan’s video, fully expecting that like with most random clicks, I’d watch for a minute or two before getting bored and looking for something else to occupy my attention, but that didn’t happen. The video was incredible and I was absolutely transfixed for the whole 45 minutes. I thought it was brilliant - the deeply personal story that was being told, the humour, the well-thought out and confidently delivered arguments – I don’t think I’d ever seen anything like it. As someone who had come to identify as asexual and panromantic but not until they were in their late 30s, and who was (is?) still in a place of trying to understand what that meant in my life, it was also hugely resonant to me on a personal level, helping me to realise the unacknowledged but damaging internalised acephobia and homophobia that I was still carrying with me.

I went to Dan’s channel and watched some of his videos, then was curious about that guy named Phil that he’d mentioned, so I watched some of his videos too. I came across the first PINOF and was completely charmed by it, by their rapport and silly humour and how they clearly felt so comfortable just to muck about and be themselves.

For a while I was happy just going through all the content on their channels. It didn’t really occur to me to look for fic until it was referenced in one of their videos. Up until then, RPF had really not been my thing – I’d seen some fics written about the actors who played characters in my various fandoms and I’d avoided them because it had made me feel uncomfortable about what they’d think if they saw them. I’d also scrolled past a lot of 1D and BTS fic when browsing on AO3 tags and to be honest, had had a pretty snobby opinion about it.

But having heard Dan’s story, and then seen dnp’s obvious connection in their videos, I was curious to see what the fans’ take had been on their relationship, and also to see what was being written about them now that Dan had come out. I looked to see if there was anything about them on AO3 and bam! There it was, my next fic obsession had grabbed hold of me and there wasn’t anything much I could do about it!

Since then, I’ve not only read a ton of fics, but even had a go at writing a few. It’s painful because they never come anywhere near the standard of the fics and writers I really admire. I have the desire to want to write well, but also a complete lack of the patience and dedication it takes to develop the necessary skill. But for the first time I didn’t let that stop me from publishing a few fics as I realised I was really writing for myself, to have an outlet for thoughts and ideas that had been going around in my head, and if anyone happened to read it, that was just a bonus.

Then through reading the Seven Basic Plots, I realised that what I’m more interested in at the moment than learning to write fics myself is to come to a greater understanding of how they work, and what exactly has been fuelling my fic obsession for over 20 years (wow....that was weird to think about! Such a long time!)

So that’s my history in fandom, and in phandom, and explains why reading a book about the nature of stories and their purpose made me immediately think that I wanted to examine those ideas in relation to something I know and love – phanfiction.

the seven basic plots // 1st plot - overcoming the monster

1 note · View note

keysmashchronicles · 5 years ago

Text

the seven basic plots

“The Seven Basic Plots” is a book by Christopher Booker which I first read about 10 years ago. I didn’t read the whole thing (it’s 700 pages long!), but what I had read I had found to be interesting and insightful.

It stayed in the back of my mind and I started reading it again when I was trying to better understand the structure of plot when starting to write phanfiction.

As I reread the book, I refamiliarised myself with what Booker sees as the seven basic plots:

Overcoming the Monster

Rags to Riches

The Quest

Voyage and Return

Comedy

Tragedy

Rebirth

I found his ideas about the structure of these plots and the examples he gave to be interesting, but that part only takes up the first section of the book. As it goes on, he starts to explore the idea that actually, there are common concepts to all of these stories and rather than being 7 distinct and separate forms of plot, they are in fact simply variations on one common underlying structure which all stories have in common.

Underlying the seven different plots, there is a universal plot, a general pattern and rhythm that all stories must follow in order to be what Booker considers to be successful. He says that the experience of writing, telling, reading and watching stories that follow this pattern to it’s climax is an innate human need, something we are hardwired to find satisfaction in, and this is the reason that storytelling in it’s many and varied forms has always had such a position of importance in the culture of every society. Most of us spend a significant part of our leisure time, and no small amount of money, on the enjoyment of stories, and Booker argues this isn’t simply a meaningless form of escapism or entertainment, but something we are compelled to seek out.

The stories may be simple or complex, they may be passed on through an oral tradition, in books or films or comics or TV shows. However they are presented, Booker believes that in order to be considered successful, they must adhere to the structure he has identified in order to fulfil this need in us in the way that stories are intended to do. Of course, not all stories do adhere to the structure he identifies, but he considers this to be a sign of the proper form having gone wrong, and sees these stories as unsatisfactory and incomplete - I think he’s right in some cases, but there are some notable exceptions especially when it comes to fanfic.

Would I recommend that you should go and read this book? Yes and no. This is the only book of this type that I’ve personally read, so the information in it was new to me, but I’m sure there must be other books out there that cover similar ground which may or may not be better than this one. The book is quite hard to read as it’s long winded and labours its points at times, also there were some representations of minority groups that I personally found to be problematic, but at the same time I found it so thought provoking that it inspired me to start this blog, so there’s definitely plenty that I found to be of value in reading the book.

about // my history in fandom and phandom

#phanfic #phanfiction #fanfic #fanfiction

1 note · View note