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Mutual Satisfaction

Most authors have some model that they compare their work to. For fanfiction writers, many basic elements of the fiction are drawn directly from their favorite show, movie, or book. Fanfiction writers are basically what they sound like; they write fiction about a favorite show or novel. However, original fanfiction is not merely a spoof off of a favorite book, but is actual fiction that can stand on its own as a story. In some opinions, fanfiction is easier to write than actual fiction, but in some aspects it is harder. This is because the author is expected to keep up with other fans’ expectations of the story and characters. That means that the author has to keep some small portion of the original story in the fiction, or at least the characters. So how do fanfiction authors write good fiction while staying true to the expectations of the readers? Well, to decide that, one must open the fanfiction toolbox. The toolbox is made up of levels that are grammar, story structure, and mood.

After mastery of the first level (grammar and spelling) is achieved, the next level of the fanfiction toolbox is story structure, the first element being characterization. Because fanfiction writers have to use characters that have been used already, there must be some originality added to the character without the readers considering the character out of character (OOC). An example of OOC-ness is a character that is generally considered by fans to be cute and shallow speaking in a tone that is sardonic or learned. If an author wants a character to act differently than they would in the original format, the character must be well rounded and well supported to justify the character’s actions to the reader.

Dialogue can also be a good way to develop a character. However, most fanfiction that is based off of shows use a format that is similar to movie scripts, except without the stage directions. This is a lazy way to write dialogue and does not develop a character at all. How is the reader to know how a character feels when he is saying something, or how they are saying it? If you are one that thinks that script is an effective way to portray characters, read on:
Character X: I hate you.
Character Y: I know.
These two lines could be said in hundreds of ways. X could be saying, “I hate you” venomously, while Y replies nonchalantly, “I know.” Or they could be saying their lines in a completely different way. Now, if they were written differently, like:
“I hate you,” X cried out, in a passionate frenzy.
“I know,” Y said resignedly, still weary from the night before they had spent at work trying to figure out their financial issues and where they went wrong.

There are plenty of ways to write dialect into fiction, but it is advised for the non-experienced writer not to write it in his fanfiction. It’s safer, plus there is probably a built-in machine in the reader’s mind that tells them how a specific character speaks and enunciates. This is based on the assumption that the reader has at least read or seen what the author is basing his work on. However, if one is not sure of the reader’s knowledge but is sure of one’s writing ability, then go ahead! Dialect is an excellent way to portray a character’s personality, or in the following example’s case, their intelligence.
“ ‘What you reckon?” the boy asked… ‘You reckon the earth goes around the sun like they say?’
‘I don’t know what they say,’ Mistuh Butts replied. ‘I ain’t never studied what thisun or thatun says, because eachun says a different thing until your head is finally achin and you lose your aminite.’
‘What’s aminite?’ the boy asked.
‘You don’t never shut up the questions!’ Mistuh Butts cried… ‘Aminite is in your belly when it’s time to eat! Less you sick! And folks say I’m ignorant!’
‘Oh, appetite,’ the boy said placidly” (King, 181).

After reading this passage, a reader can conclude from Mistuh Butt’s impatient explanation of “aminite” and its relation to studying, that he is somewhat ignorant compared to the denotation of the word “intelligence,” but is wise about life. The most noticeable element in the characterization of Mistuh Butts is the contrast between the boy and Mistuh Butts to emphasize his ignorance and his self-assumed superiority over the boy. This passage is extremely well written, at least in the department of characterization, but if you are not adept at using dialect to develop characters, do not use this. Example:
“ ‘Nothin’…nothin’…the colour…it burns…cold an’ wet…but it burns…it lived in the well…I seen it…a kind o’ smoke…jest like the flowers last spring…the well shone at night…everything alive…sucked the life out of everything…in the stone…it must a’come in that stone…” (King, 182).

I am pretty sure that no one speaks like this. As Stephen King puts it, “Folks, people just don’t talk like this, even on their deathbeds[!]” (King, 182). Part of characterization is keeping the characters real. If the characters are not real, then the plot will never be believable.

First of all, do not use cliché storylines. They are usually very weak and even with well-developed characters, will sometimes collapse. Imagine a history professor at a university that has just launched their program that supports single parents who are also students. The sponsors of this program are a middle-aged, upper class couple. Not very intriguing, yet, is it? Just wait…

One day, one of the single parents, after attending an event at the sponsors’ house, falls into a coma, apparently induced from a poison put into a drink. The history professor is the matron of the house where all the parents live, and she becomes deeply involved because of her close connection with the parents, and because of the fact that she will be the foster mother of the child whose parent fell into a coma. The stage is set for a full-fledged mystery.

What is wrong with this, though, that it is used as an example? So far, nothing is wrong. What goes wrong is that as the reader travels to the end and the mystery is close to being solved, is that the reader finds out who is responsible for the crime. It is a character that is so undeveloped that the reader has to flip back all the way to the beginning in order to recall who the character is. Yes, this is an actual book, whose title I have deliberately forgotten. My point in forgetting it? Do not sacrifice characterization for the sake of writing an easy plot. This cannot be emphasized enough. On fanfiction.net (FF.net), there are so many stories in which the ideas are wonderful, but all is sacrificed for the sake of writing an easy plot.

The next level in the fanfiction toolbox is tone, which happens to be a basic element of style. Tone is important to build because it supports the plot and the characters that are active within the plot. For instance, take a fanfiction that is considered dark (meaning that it has a plot usually dealing with the supernatural and sinister). Usually a sardonic or somber tone would be used for the main character. If the tone of the character were flippant throughout the story, the entire plot would fall apart, because the tone does not fit and support the story. This is partially because the mood is created by tone and fanfiction is characterized and categorized by its mood.

The fanfiction “toolbox” is compiled of three levels, the first being grammar, then followed by story structure, and then tone. Correct grammar and spelling are used to focus a reader’s attention on the story, not on the mistakes. Story structure comprises of characterization and plot elements, which includes dialogue and diction that are used to supplement characterization. Tone and mood are used to supplement and add to the above elements. All of these elements and levels are used to supplement a reader’s experience, but are also intended to help a writer improve, to become successful, and most importantly, become satisfied with their own writing. Do not forget that part of the reason of writing fanfiction is to enjoy the original story even more and to add your own personal twist. Basically, writing fanfiction is for one’s own enjoyment, and then after satisfaction towards one’s self is achieved, then strive towards mutual satisfaction for both the reader and the writer.