#experiencing the horrors of this british literature class but we keep going!!!!

[ephhemeralite]

Since you came to ask for my process, I'd like to come over here and ask about yours!! I see you also do drafts, and I'd love to hear how that looks for you 👀

There is no pressure to go as in depth as I did for mine though!!! And there is no rush <333

I hope your writing is going well!!!

hello!! i have written, honestly, so much in response to this. thank you very, very much for asking, because i love to talk about writing!! maybe more than i enjoy writing, even. lord.

one caveat about me and prose: my thing is very, very definitely poetry. i write poetry about every other day and i have done for years. i adore fanfiction -- to write it, to talk about it, to brainstorm about it, to help edit my friends'. i love how collaborative it is, i love its unique sets of tropes, i love when people talk to me about my fics and their own. i LOVE fic. i do not adore writing it the same way. sometimes, i think of it as a means to an end (having a fic i would like to read and am proud to have written). the way that i go about writing fics reflects this, i think.

my process is pretty shaky and i can be bad about sticking to it (i try to 'trick' my brain out of needing the things it needs to complete longform writing. like a FOOL). the general shape of my process is: an inciting idea (a song lyric, a poem, another fic, a tumblr post, "wouldn't it be cool if [blank] happened in a fic?") -> an actual concept (what would actually have to go on in a fic to make [blank] plausible) -> first draft (me telling the story to myself, ugly) -> second draft (rewrite with a lot of influence from the first draft but, like, good to look at). all throughout this process, i tend to take the time to line edit when my brain gets too overwhelmed with the actual writing, since i find editing to be leagues easier. it's a good way to take a break while still working on the fic, but it is deeply inefficient from every other angle. but, hey, the first rule of fic is to have fun and be yourself.

i'm going to go into detail under the cut bc no one's dash deserves what i've done to this ask.

warning (?) for the fact that the fic i'm currently writing is hockey rpf.

i usually start out with rambling to my friends, too! when my hrpf first possessed me, i sent about 15 messages to my friend cara (who doesn't give a shit about hockey or hrpf) that outlined the (hrpf-specific) trope i liked, what fic inspired me (x), and the goal of my own fic. an abbreviated snippet of that:

it could be interesting to play with the two ways the trope manifests (violent/aggressive and protective) (needing to be taken care of/reassured by teammates) via having them both nest. it has the potential to be so tender . . . i have this mental image of ullmark, who is spacy (clue that he's due for nesting on his own) at practice doing drills or smth when he hears swayman yell/yelp/smth (depends on what sets him into nesting, hurt/confronted/whatever) and goes to check on him only to be met with a fully nesting goalie. while trying to calm him down, he ends up nesting, too.

i imagined this as a oneshot with an extended version of this scene and, perhaps, another. i knew what vibe i was shooting for and what content might pair with it. i skipped the concept step, because i am a fool and i hoped it might be short enough to get through writing it with momentum. i did not do that. more on this later.

what an idea turning into a concept should look like:

i want to write a version of the batfamily/white collar crossover that deals with all related topics the way that //i// think they should be handled

into

a two-chaptered fic, heavy on parallels, split between peter and dick's povs. lots of unreliable narration where the parallels draw attention to how unreliable everything is. both chapters should include the same or similar scenes with the characters' first impressions of each other, moments when they clash (insert scene ideas where dick loses agency, peter invades his privacy, a major plotpoint from the show, etc), how that results in a rise in tension, and when that tension breaks in the climax (burning building?? dick fakes his death???), and closing scenes. dick's pov is going to include a lot more family stuff, focus on the issues of the fic, etc, while peter's pov obscures the issues and completely misses the presence of dick's family.

this is only a recreation of what my 'acquainted with the saint of never getting it right' fic's concept would have looked like, since i've lost all of this since i drafted it two years ago, but the thought stands. it's really sparse -- less than your zero draft, even, but the next step in my process is more than a zero draft, so i'd say they hold the same place in my process. i might include references to ideas i have for scenes if i have them, but they're usually few-word clues like "sketchbook" or "peter in apartment for coffee."

since i like to swim without a paddle, my next step is draft one. my goal is to get it down; if the details feel good and come easy, i will include them, but i don't let them trip me up. it's easier to add shit into the next draft than it is for this one to go uncompleted, basically. some word choices from this draft might remain in the final piece, but rarely does sentence structure or much else.

Sway is growling from deep in his chest, projecting the sound out across the ice. The rest of the team is inching away from Sway’s crease and towards Linus, which upsets something in the back of his mind — Sway should have the team around if he's upset. Clearly, with the growling, he doesn't want them close, but that doesn't mean that they should leave him, either. Once he settles down, he's going to want them. Linus knows, he'd had his fair share of triggered nesting episodes when he was younger. Unless there was something specific that’d set him off — then things would be different, according to what he needed — but Linus doubts that. It was mostly likely that this was just a simple rough start and Sway could get into proper nesting the moment he settled down and relaxed in the net. He could show Sway that easily, Linus thinks. His drifting forward comes to a gentle stop near the front of the pack of teammates and coaching staff carefully not crowding Swayman. He registers, in a distant way, that what's happening right now is going to cause a heaping helping of issues for somebody, but he's also not worried about it. At all.  What he's worried about is how Sway needs to feel safe right now and how he doesn't. Linus knows that he's never felt safer than while nesting for this team and that he could give Sway that, if he tried. He just has to get Sway to a nest. All he needs to do is tell Sway that and Sway will surely listen. He lets out a loud chirp, cutting off whatever the head and goalie coaches were trying to say to Swayman. Usually, he'd feel pretty guilty about interrupting, but it's alright. He's going to fix the issue; they'll understand. Sway moves from eyeing up the coaches to staring straight at him so fast that Linus worries about him pulling something; all of the more reason to get him safe and tucked away, somewhere where they can both relax. The growl dies abruptly in his throat, which makes Linus want to preen. Clearly he knows his teammates best. Linus chirps again, eager to get this moving along. Eyes locked onto him, Sway chirps back.

this is a pretty long excerpt, sorry, but a lot happens between the first and second draft and this has plenty left unworked.

the first paragraph is alright -- some imagery i like (the growling and the team's movement), linus' thought process toes the line between coherent and incoherent the way i'd like it to (might lift that, wholesale, to the second draft), although the phrasing "which upsets something in the back of his mind" is... eugh.

the second, third, and fourth paragraphs' main use is to outline where linus' mindset is going, although it's clunky and off-target. i just need the reminder to write his mindset in and its vague shape, for this draft, though. if i kept any of this, the phrasing/sentence structure would need to be changed, but it's more likely that i'd scatter it through the movement and description i'd add into the second draft. my first drafts tend to be either all-internal or all-external, so my second drafts act as the equalizer.

beyond that, my second drafts also make everything... longer. so much longer. it helps me move everything from a barebones "this is what probably happens" to "this is what experts call a nice reading experience," you know? plus, i can move forward with draft one with questions still unanswered, like: i haven't actually decided how i want the narration to refer to these characters, yet. the first name vs last name vs nickname and WHEN debate is an important one, but if i got hung up on that first, i'd never actually write the damn fic itself. instead, we can get it moving.

the difference between a first and second draft might look like this for me:

Nile is in the desert.  Her boots are stiff with sand, her hands grasping her rifle, her body weary under her gear. She's marching. On the back of her tongue, she tastes blood. There's not another person around for miles. No squadmates, no commander. No civilians, no insurgents. The sun beats down on her from its place at perfect zenith. Nile stumbles to a stop, heaving for the heat. She casts about for her water, but it's not where it should be or anywhere it shouldn't be, either.

vs

Nile is never going to get out of the desert. That’s most of what she knows. There are other things, like: her boots are stiff with sand, her hands are grasping a rifle, her body is weary under her gear. She’s marching. On the back of her tongue, she tastes blood. She’s alone. From horizon to horizon, the terrain is empty of everything but herself. Her squadmates are missing, her commander absent. There are no civilians, no insurgents.  The sun beats down on her from its place at perfect zenith, millions of miles away. She stumbles to a stop, heaving for the heat. She wishes, desperate beyond words, for water, but her bottle is missing. It’s not hooked onto her vest or around her hips; she’s never spent a moment more aware of each of the trillion grains of sand that surround her, dry as dust, as in this moment.

(this fic, even the sun knows where you sleep, has been languishing as a half-finished second draft since may of last year. it's a crossover between the old guard and the sandman, where nile has a series of dreams influenced by morpheus. this is one of them) the first draft of this fic is about 5k, but the finished second draft could end up around 15k. long as hell, by my poet standards.

this second draft is lacking line edits, but bloop (my beloved sister, muah, ily, etc) helped me comb through it months ago so the proposed changes are available. the phrasing is prettier, the structure less repetitive, the imagery and setting clearer. the parts of this that are written are just a stone's throw away from being of posting quality. unfortunately, i'm also of the camp no-posting-before-completed, so it won't be.

i have a gomens fic sitting unfinished on my account because i lost steam and interest before i finished the second draft of its last chapter, which is just... so unfortunate. i'd love to finish it, and eventually i might, but i've acquired a bit of distaste for gomens in the meantime and (in the spirit of being myself and having fun) i'm not beating myself up about it. but, like, lesson learned.

back to the point: sometimes, the second draft can change more of a fic (warning for non-graphic violence):

Nile is standing at the window at the top of Merrick's skyscraper, Andy's labrys in hand.  The window is shattered again, though there's no other proof of their battle that Nile can sense. Andy is nowhere to be seen, nor is Merrick. Nile doesn't look down through the window, but she knows there's no crushed car or mutilated body, either. There is Nile, standing at the shattered edge, weathering the sharp breeze snapping against her. There is the ax in her hand, the wooden handle rough. Grainy. It hasn't been smoothed by use or through craftsmanship and Nile can feel splinters bite into her grip.  The wood is hot, she realizes suddenly – not skin-warm, but the type of hot that comes from holding something porous as it burns and vents heat through places yet untouched by the flame. In panic, she raises her head to find the source and is blinded, completely. The shock of it is such that she stops moving entirely and blinks, uncomprehending – the sun.

vs

Nile is standing in the moment before the fall. The precipice.  She’s at the top of Merrick’s tower again. Behind her lies a cold and empty room, made more of shadow than substance. She knows that she is supposed to continue through – see the moment to its end – but she has been given the opportunity to pause, as time comes to a standstill. Some things have changed; Andy and Merrick are missing. The evidence of their fighting is gone, except that the window is already shattered. A cold wind rushes through the absence, knocking sharp teeth against her body, frozen in its lunge forward toward empty space. In her fist is the labrys that should be cutting into the meat of Merrick’s shoulder. Nile can feel the tackiness of blood in her grip on the wooden handle. She wonders at the grainy texture caught beneath it, surprised that time nor craftsmanship hasn’t smoothed it over, before she understands that this is not Andy’s handle. Instead, the roughly-hewn lumber extends from the floor to a place over her head to become a sort of halberd, its point on the floor supporting most of her weight.  It's hot, too – not skin-warmth, but the type of heat that comes from holding a porous item as it’s being consumed by fire, venting heat out through places yet untouched by flame. Nile isn’t injured by the blister of it, but the sensation of burning without pain unnerves her and she raises her gaze to find the blade and the flame. Only, she doesn’t make it that far. Lifting her face out of her hunched position brings it to look toward the window, where she discovers the opposite of Merrick’s abyssal building as it inundates her: an immense deluge of light.

there's a lot more definitive changes to structure, phrasing, and imagery here than in my last snippet. i do, in a literal sense, go through and rewrite each word of my fic between drafts, but how many of those words are carried over from the first to the second can vary depending on the quality of the draft. it's way easier for me to rework a pre-existing piece than make something, wholesale, which i'm well aware of and try to cater to. this is the method that's seen my writing improve the most, even though i think it's wildly impractical and unwieldy. i've even done it with this exact post, which part of why it's taking me so long to finish it!

i'm trying something new with the process on the hrpf, since it's been giving me so much trouble. the theme's changed a bit, with a wider scope and something specific to say, but i also want to incorporate a social media/journalism/outsider's perspective element, which will let me move around outside of the characters' narrations while establishing the wider world of the au. this new step is as close to a zero-draft as i've gotten, even though it's still way less detailed. it looks like this:

MOST VIOLENT VS MOST AMIABLE GOALIES TO NEST IN THE NHL listicle Sway and Linus discuss nesting, Linus has settled into a pattern Could gentle-nester ullmark be a calming influence over swayman or will he dull his edge? speculative piece, focus more on the first option maybe to contrast the move towards understanding anger. Bruins vs buffalo, ullmark in net (dec. 7 game? If the timeline for that works), linus is upset at the loss/it goes bad somehow. Sway is supportive in a more assertive way than typical. It doesn’t start here but it turns here Can’t decide if tweets or something would be good here Internal, staff-only memo advising to keep sway away from linus when he’s feeling broody.

each line represents a separate 'chunk' of the fic. with the added elements, i need to know what will go where so that i can make sure the storytelling tracks throughout. i'm still on this part of the draft, but i'm having a good time with it again which is what i think is most important.

anyway, thank you for asking!! i definitely love to talk about writing! i'm always sooo down to chat, too, except for maybe right now because i am going to pass out asleep i think. <3!!!!!!

[cameoamalthea]

people are such jerks. I appreciate what you share.

Thank you! This means a lot to me. (I was honestly avoiding tumblr for a bit because I didn’t want to deal with more hate, but your positivity means the world to me).

I think, it’s important to remember that PTSD comes in different forms, it’s individual, and different people deal with different trauma and deal with trauma differently. People are in different stages of recovery and people cope differently.

Triggers are random. 

Once in undergrad I did a cross listed horror film and gothic literature class (my favorite literary period is British Romanticism, so I was up for rereading Frankenstein). We went from Mary Shelley to Steven King, sort a sample class of modern horror film and literature. 

Before we watched “Rose Mary’s Baby” the teacher took me aside and warned me the film contained a rape scene and was worried I might be triggered, since I’d brought up rape some analysis and she was worried I was a survivor and the scene would be triggering (rape culture and horror film, symbolism and violence against women). I told her I was fine. I just tended to go with a feminist lens because my pre-law minor was women’s studies focused. 

I still appreciated the warning and her asking. That’s good teaching and a good way to deal with trigger warnings in academia. Let students know. Give options. Check in. Make it clear that if there’s something you can’t handle, that’s all right, there was alternatives (watching the film at home instead of in class and skipping that scene or picking an alternative film).

I got through that film all right though, but it helped knowing I could leave if needed. But analyzing it, distancing myself from it, that actually helps. 

My abuse involved a lot of situations where I had no control, as a result, I’ve always tried to take control so I could feel safe. When I moved in with my guardians at 14, I knew I had nothing and would be on my own at 18. Take control meant work hard in school, try to get into college, keep working hard. If I could get a degree, I knew I’d have a chance. Even before that survival was trying to plan, trying to take steps, but so often I was helpless.

Recovery is learning that things aren’t always in my control, and that’s ok, but I think a positive side-effect has been a drive to just get on top of things. That includes being an advocate, trying to help others.

Like I can talk about abuse because my undergraduate degree was split between creative writing and a very social justice focused pre-law minor with a emphasis on crimes against women and children. I did work shops on preventing CSA in organizations like churches. In law school, I represented kids in CPS custody and women in domestic violence situations. 

I also know that these things can be triggering for me and I was up front with my professor and he partnered me with an experienced social worker who’d spent her life dealing with these kinds of situation before deciding to do family law so she could help legally so I could have support.

I don’t think having PTSD should prevent me from doing anything and I personally want to confront the uncomfortable. To understand, and thus, to feel a bit more in control, even while coping with the fact so much of the world is beyond me.

And that’s me. Everyone is different. Some people are at a stage where it’s easier to not talk about trauma (I have a friend who can’t talk about things without risking flash backs) and no even thinking about triggers. That’s valid too.

If you’re dealing PTSD, whatever stage of recovery you’re at and however you’re managing, that’s ok. 

What’s not ok is invaliding mentally ill people because they don’t fit your idea of what mental illness should look like or policing how survivors respond to trauma.

“If the sex scene in It is triggering why are you constantly posting about it? You just want a chance to bitch about your “trauma”, as usual.”

The fact is, I don’t know if the sex scene in “It” is triggering because I’ve never read that book.

I’ve just made a choice not to read it, because having heard about the scene, I don’t know if it will be triggering and I don’t know if it’s worth dealing with that. 

Like, I listened to “Girl With the Dragon Tattoo” on audio book and had no idea there were rape scenes. I didn’t know much about the book. I’d avoided spoilers. I was triggered by certain scene. Not badly, and only by one of the rape scenes (arguably the less graphic, because coercion is triggering). But, I still learned to be more careful about what I read/ask myself if I’m in a mental state to deal with it and if it’s worth it. 

Entertainment isn’t high on my list of worth it (as much as loved Lisbeth Salander) 

The last time I was triggered badly by a film, it was “The Wolf of Wall Street”. I had no idea going in that it would bother me. I didn’t walk out because I was with a friend and I didn’t want to ruin her good time. I was triggered by drug use, domestic abuse, and gold fish abuse. Gold fish abuse of all things. 

Triggers are random.

Sometimes I play it safe (I’m not watching Breaking Bad either) and sometimes triggers come out of nowhere (my husband was triggered by the Hunger Games Mocking Jay movies and couldn’t finish The Babadook). 

And like, the scene in “It” is my go to example of ‘there are a lot of messed up things in fiction’ because the concept of the scene is really freaking messed up (though I can, as someone who spent years studying writing and lit, kind of see what he was trying to do even if I think it doesn’t work - writing is a art and craft - I can dissect it). It’s one of my examples of choosing to avoid something I know might be triggering, because I heard about that scene, and noped out of putting that on my reading list. 

And I’m sure there people who can’t even talk about triggers or the existence of things that might upset them. And that’s valid. I’m sorry that you’re hurting. I pray for your and wish you the best on your recovery, and I know it’s a long hard, road. 

I just ask that everyone remember, we’re all dealing with trauma differently but it’s not a contest. 

There’s no ‘trauma’ in quotes. No fight over who had things worse or whose symptoms are worse. Pain is pain, problems are problems, and as long as you’re not hurting yourself or anyone else, you’re allowed to deal with these things however feels right to you.