Unless They Specifically Asked, You Don’t Get To Tell A Fanfic Writer You Think They Mischaracterized

subtle ways to include foreshadowing

one character knowing something offhandedly that they shouldn't, isn't addressed until later

the crow rhyme

colours!! esp if like, blue is evil in your world and the mc's best friend is always noted to wear blue...betrayal?

write with the ending in mind

use patterns from tragic past events to warn of the future

keep the characters distracted! run it in the background until the grand reveal

WEATHER.

do some research into Chekhov's gun

mention something that the mc dismisses over and over

KEEP TRACK OF WHAT YOU PUT. don't leave things hanging.

unreliable characters giving information that turn out to be true

flowers and names with meanings

anything with meanings actually

metaphors. if one character describes another as "a real demon" and the other turns out to be the bad guy, you're kind of like...ohhh yeahhh

anyways add anything else in the tags

They match each other's freak so well that if they separate, the public is in critical danger

BELLAMY BLAKE APPRECIATION WEEK ↳ Day Seven ∞ Free Choice

Lincoln Appreciation Week 2019 ↳ Day Three: Favourite Relationship - Linctavia

Hello again!! :D i was wondering, what makes a story feel lifeless? i mean, not the plot but the text itself. My writing feels like a bunch of facts one after the other: the sky was blue, it smelled like cinnamon; This happened and then That happened, now they're doing This etc. Despite including sensory details and the protagonist's thoughts, it still feels monochromatic and devoid of personality :( and like? too quick?? in a bad way (not sure why). How can i change this?

Great question! I love this one! Here are three things that come to mind for me.

Based on what you've written, it seems like what you might be missing is emotionality--without the right emotion beats, it's no wonder its feeling lifeless to you. You've got the senses nailed -- the sky is blue (what they see), it smells like cinnamon (scent, evocative! curious: why does it smell like that, i wonder as the reader, that's good!). And you've got plot points coming one after the other, also good.

So maybe your paragraph looks like this (obviously I'm just making this up):

Jane followed Maura into the farmer's market. It was a hot day. The sky was bright blue and the air smelled like cinnamon. Maura took a long time looking at all of the vegetables. Jane bought a Red Sox onesie for Frankie's baby. Maura spent a lot of money, and Jane was ready to go long before Maura was.

Here are three things I'd do to make this seem more alive, more emotional, and take longer (if you want it to):

1. Vary the sentence length. This is a great an easy fix to writing that sounds wooden. Read it out loud. Notice the steady tempo of the sentences above; they're all relatively similar in length. Breaking that up can give a more unpredictable rhythm that makes the reader's breath catch in their chest. After you read the above paragraph out loud, read this one. Notice that none of the words have changed, only the punctuation (and things like "and"):

Jane followed Maura into the farmer's market on a hot day. The sky was bright blue, the air smelled like cinnamon. Maura took a long time looking at all of the vegetables, and Jane bought a Red Sox onesie for Frankie's baby. Maura spent a lot of money. Jane was ready to go long before Maura was.

That's a little more lively, a little more of an emphasis comes into "Maura spent a lot of money," and there's a bit of a dance to "the sky was bright blue, the air smelled like cinnamon" in a way there wasn't to the first version.

Okay, simple fix done. Now to the more complex ones.

2. Tie specific emotion and memory to each sensation. So it smells like cinnamon, so what? So the sky is blue, so what? What do those things mean for Jane? Why are we calling those out? What can we learn from/about Jane and the scene from her reactions to those things? Maybe now it looks like this (new/modified stuff in blue):

Jane followed Maura into the farmer's market. It wasn't until they were approaching the first fruit stand that Jane realized how long it had been since she'd been here. Jane was surprised to find that she missed it, missed watching Maura touch every single damn zucchini and then buy none of them. It was nice, actually. It was the hottest day of the summer so far; the sky was bright blue, and the air smelled like cinnamon. Maura took a long time looking at all of the vegetables, as always, and Jane wandered away in a fit of boredom, returning with a cheap Red Sox onesie for Frankie's baby that made Maura mutter something under her breath about synthetic fabrics and infant skin. Jane didn't bother not to smile. It felt like old times. Maura finally found some berries up to her standards and spent more money than even Jane expected her to, and Jane eventually had to drag her back to the car.

Okay, so that's very different, right? Thinking about each detail, each action, as something that's specific and makes Jane think of specific things, to compare and contrast to how it might have gone before. That's going to give you lots of life and emotionality. We learn, without you having to tell us, that Jane expected it to be boring, stilted, long, and not very hot outside. That tells us a lot about Jane. Plus, we learn that not only was nice and kind of emotional and hot and Maura spent so much money, but also how Jane feels about those things, those expectations she had gotten wrong. That tells us even more about Jane!

And then the final thing that comes to my mind right now is:

3. Connect what's happening to the broader plot or tension of this scene. Why are they at the farmer's market? What is Jane needing to happen, or hoping doesn't happen? Let's say Maura has dragged Jane out because Jane has been stuck inside the precinct for a week trying to find a clue that's evaded her on a tough case. The unsolved case is weighing on Jane, and Maura is a firm believer that fresh air and exercise will give Jane's brain the breath it needs to find the clue. Jane is very grumpy about it. So that's tension: Jane wants to be at work saving lives, and Maura has dragged her here, using Jane's love for Maura to manipulate her into coming to the market. So maybe now it looks like this (new/modified stuff in purple):

Jane reluctantly followed Maura into the farmer's market. It wasn't until they were approaching the first fruit stand that Jane realized how long it had been since she'd been here; Maura used to drag her here almost every weekend, but that was before Casey. Before everything with Maura's dad. Before their relationship was stretched taut like a rubber band and then very nearly snapped in two. Jane was surprised to find that she missed it, missed watching Maura touch every single damn zucchini and then buy none of them. It was nice, actually. It was the hottest day of the summer so far; the sky was bright blue, and the air smelled like cinnamon. Inside the precinct, at her desk, it was always dark and smelled like a gym locker. Maybe Maura was right, not that Jane would ever admit it to her. Seeing the sky, smelling the pastries and coffee and ripe peaches--maybe this was what Jane needed to crack the case. Maura took forever looking at all of the vegetables, as always, and Jane wandered away in a fit of boredom, returning with a cheap Red Sox onesie for Frankie's baby that made Maura mutter something under her breath about synthetic fabrics and infant skin. Jane didn't bother not to smile. It felt like old times, like maybe one day they'd get back to the banter and easy affection they'd used to have. Maura finally found some berries up to her standards and spent more money than even Jane expected her to, and Jane eventually had to drag her back to the car, because murder can only wait so long, after all. The sunshine and stone fruit and the hot, humid breezes of summer would all still be waiting for her once she'd solved this damn case.

So by (1) varying sentence length, (2) making things tied to specific memories and details, and comparing/contrasting with past experiences or current expectations, and (3) tying the entire situation into the broad tension of the scene/chapter/fic, we've been able to add a lot of liveliness, character depth, emotionality, and slow down the pace so that we're not rushing from one thing to the next.

What do you think? What do you all do to add life to your scenes?

BELLAMY BLAKE WEEK 2023 ⇢ DAY 2: Favorite Trait Protective!Bellamy (Clarke Edition)

Kova jokingly said they are gonna get him pregnant??? For real??? I need to read/hear more about this. It is tooooooo cuteeeee

And yes for #boywife bellamy!!!

"Jokingly"

LOL but yes! So I'm planning out the rest of NOSA after the Mount Weather arc when Bellamy and Kova (finally) get together, just to make sure the current plot and future plots are consistent with each other. I'm so so so excited to write and post the next book haha :3

And because this is the first time I'm really talking about NOSA on this blog, I figured I should explain a little bit:

The Night Our Stars Aligned (NOSA) is my Bellamy Blake/Original Grounder Character (Kova) fanfiction series posted on AO3. Enemies to lovers, slow burn, Black gender-neutral/androgynous/agender OC, and Trigedasleng/Grounder culture expansion (with influence from Indigenous/Black culture and history ofc. Trigedasleng has influence from my Indigenous language Kichwa 😎). I'll probably make an official post on the fic soon.

It's also a fix-it because j**** did my fave characters dirty.

#boywifebellamy i'm coming after you baby girl

i hc the "one breeding request for shepard" was from wrex bc he wanted to screw with them but ended up getting screwed, and nobody can change my mind

krogan anatomy is very made up

hi hi! this one's mine >u<

What is the first sentence in your WIP?

I’ll go first