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Have you ever used an image that’s protected under creative commons? Well, I personally think they’re the bee’s knees because holy moly those things are so useful. And there are a bajillion levels of nuance to those bad boys. There are so many levels of permissions that people can tag onto their artwork to try and protect it how they’d like it to be protected.
Artist’s creative desires should be respected.
As such, Fanfic is a sensitive subject to some because the content contrived is directly related to the character/world-building of another artist. Some creators can understandably get upset when someone else profits off of their brainchildren. It’s hard not to get irritated when you see someone profitting off your own hard work.
But all the same. Fanfic is an important step in learning to create effective stories.
Tell me, as a writer, how did you start out? Did you start writing full novels? Or did you consider the what if’s of your favorite movie/book/tv show?
It’s for this reason that I, personally, hesitate to shut down fanfic creators. And I wonder if there could be some way for artists to more accurately express how they feel about fellow content creators using their characters in scenarios? Something more like creative commons?
For example, I do find it a bit strange to have someone latch onto my characters so much that they imagine them in scenarios beyond my scope of creation. However, if a fan does imagine my characters, and write about them, haven’t I done my job as a writer properly?
I think the thing that irritates me the most is those who dominate the fanfic of a specific story. Not to name any names (coughs loudly) but I’m sure you know of at least one creator who’s profited off the fanfic they made off a work. And then they turned around to shut down anyone who might riff off of their fanfic.
I lack the words to express this properly. But, my closest approximation would be:
How could you be that much of a pissant?
This is why I point to creative commons as an acceptable option. If authors of original works stamped their texts with a “you can edit this” but only if you also allow others to edit it kind of thing, then we’d really be getting somewhere, wouldn’t we?
What do you think? What’s the best solution? And how can we let people learn to create while still respecting the author’s wishes?
Maybe you’ve seen some posts on here you’ve enjoyed and wish that you had more content like this on your website? Or, perhaps you just want to finally see me writing some fantasy (since I’m probably all talk and no action, right.)? Or, maybe you wanna read snippets from my current works? You’re welcome to hop onto my patreon which I’m just now starting in earnest.
I’ve got the lowest tier set to a dollar. So, for only a dollar a month you can read some experiments in writing and get story prompts. Every little bit helps and I hope that you can pitch in to participate in this journey.
If I still haven’t convinced you, that’s fair. But, if I have? Well, go ahead and hop over to my Patreon. I’m sure it’ll be a fun time if nothing else since you’ll probably find yourself reaching into the outer fringes of Patreon existence by the time you realize the time.
Thanks for your continued support.
Sometimes a twist comes at the expense of plot. And it hurts, so much. Because sometimes a story doesn’t need a twist to be good. So, here are some tips and/or things to avoid when making a plot twist.
The Rule Of Three
I’ve heard writers say that the drafting process exists to make you look like you knew what you were doing all along. As such, the rule of three applies here. If you don’t know, you can read about it in more detail on Wikipedia’s entry: Rule of Three (writing). But, as a quick summary here
“… a trio of events or characters is more humorous, satisfying, or effective than other numbers.”– Wikipedia
I know there’s a stigma for quoting Wikipedia, but isn’t that a real effective summary? Isn’t it just? Shrieks at every middle school or high school teacher ever. And so, the easiest way to make a healthy twist is to make something appear three times. A person, an object, a word, or even a whole snippet of conversation. The best part of a twist is if the reader can realistically see it coming in retrospect (this is related to qualms people have with magic in fantasy, but this is not a post for that so more on that later).
A book is a promise, and as a writer you must promise your reader that you will unfold for them the world you’ve developed and the plot you’ve devised. Please, use the rule of three. Even if it’s only in passing, this will make the twist so much stronger as an effective piece of the plot.
And you’ll have the reader going “of course, how did I not see it?”.
A super effective and appalling plot twist is unfolding exactly how unreliable your narrator is. When it’s revealed that your hero was the villain, it will send your reader reeling if you’ve done it right. Also, some narrators have nothing to lose; as a writer, you don’t have to unfold this to the reader, but it makes the story itself dubious. If you haven’t, take a look at the Brazilian novel, Dom Casmurro.
It’s so simple. The way the character sees the world impacts how the reader experiences the story. And so, the simplest twist is making the main character see the world in an entirely different light.
Twist Earlier, Leave Time For Payoff
If you twist at the end of act two, you leave time for the payoff. The reader is there for payoff. You’ve promised them the satisfaction of seeing the effects, on the characters, that a challenge may cause. So, when you twist earlier, you leave more time for the reader to see the payoff unfold.
Honestly, if you can provide the reader with your plot twist at the end of the first or second arc of your story, you’ll have much more luck and leave your reader more satisfied than a last-minute whiplash.
Do you know of a story that twists early? How about Knives Out as an example. The twist is revealed rather early on. At least one of them. And we spend the majority of the film relishing the tension that is created by the audience knowing that information while the characters flounder in suspicion.
Do you know of any other stories that twist early? Comment them in the space below.
A plot twist shouldn’t be contrived. Nothing will enrage your reader more than something thrown in for the surprise factor. Not only will it not be memorable, but it will also lower their overall satisfaction with the book. Because, it feels sloppy and is sloppy.
So, these were just a couple of tips and things to avoid; what other suggestions do you have for people writing twists?
Lesbian necromancers in space continues to amaze.
This book didn’t pull any punches and had me silently screaming from page one.
First of all, all that was promised with the world-building in book one continued to expand in book two. Some threads began coming together while others were introduced. Either way, the momentum is still picking up and I expect it will continue into the third book as well.
It will take some re-reading to capture the full scope of all the information. This is because of the book’s format, which I loved as well. The presentation strengthened the arc of the characters, but made it difficult at times to know which pieces of information were important (honestly, most of them were important; Muir is fantastic at weaving in plot important information).
The tension is present throughout as you, as the reader, are unsure but think you know more than the characters. It propels the plot forward, faster and faster. And as the pieces fall into place, you wait in anticipation for the plot to unfold only to be left with a dry mouth as your eyes skim over the final words in the novel.
And… you’re left wanting more. As I said at the start of this article, Muir pulls no punches. This book tugs at your heartstrings in all the best of ways. And, how many months is it again until book three is released?