All Things Jikook

jiminie: I love you baby

kookie: I love you too..

horoscope: youre beautiful 

me:

Castle In The Sky (1986) Grave of the Fireflies (1988) My Neighbor Totoro (1988) Kiki’s Delivery Service (1989) Only Yesterday (1991) Porco Rosso (1992) Pom Poko (1994) Whisper of the Heart (1995) Princess Mononoke (1997) My Neighbors the Yamadas (1999) Spirited Away (2001) The Cat Returns (2002) Howl’s Moving Castle (2004) Tales from Earthsea (2006) Ponyo On A Cliff From The Sea (2008) The Secret World of Arrietty/The Borrower Arrietty (2010) From Up on Poppy Hill (2011)

If any of the links stop working, please let me know so I can fix it.

Writing and reading fanfic is a masterclass in characterisation. 

Consider: in order to successfully write two different “versions” of the same character - let alone ten, or fifty, or a hundred - you have to make an informed judgement about their core personality traits, distinguishing between the results of nature and nurture, and decide how best to replicate those conditions in a new narrative context. The character you produce has to be recognisably congruent with the canonical version, yet distinct enough to fit within a different - perhaps wildly so - story. And you physically can’t accomplish this if the character in question is poorly understood, or viewed as a stereotype, or one-dimensional. Yes, you can still produce the fic, but chances are, if your interest in or knowledge of the character(s) is that shallow, you’re not going to bother in the first place. 

Because ficwriters care about nuance, and they especially care about continuity - not just literal continuity, in the sense of corroborating established facts, but the far more important (and yet more frequently neglected) emotional continuity. Too often in film and TV canons in particular, emotional continuity is mistakenly viewed as a synonym for static characterisation, and therefore held anathema: if the character(s) don’t change, then where’s the story? But emotional continuity isn’t anti-change; it’s pro-context. It means showing how the character gets from Point A to Point B as an actual journey, not just dumping them in a new location and yelling Because Reasons! while moving on to the next development. Emotional continuity requires a close reading, not just of the letter of the canon, but its spirit - the beats between the dialogue; the implications never overtly stated, but which must logically occur off-screen. As such, emotional continuity is often the first casualty of canonical forward momentum: when each new TV season demands the creation of a new challenge for the protagonists, regardless of where and how we left them last, then dealing with the consequences of what’s already happened is automatically put on the backburner.

Fanfic does not do this. 

Fanfic embraces the gaps in the narrative, the gracenotes in characterisation that the original story glosses, forgets or simply doesn’t find time for. That’s not all it does, of course, but in the context of learning how to write characters, it’s vital, because it teaches ficwriters - and fic readers - the difference between rich and cardboard characters. A rich character is one whose original incarnation is detailed enough that, in order to put them in fanfic, the writer has to consider which elements of their personality are integral to their existence, which clash irreparably with the new setting, and which can be modified to fit, to say nothing of how this adapted version works with other similarly adapted characters. A cardboard character, by contrast, boasts so few original or distinct attributes that the ficwriter has to invent them almost out of whole cloth. Note, please, that attributes are not necessarily synonymous with details in this context: we might know a character’s favourite song and their number of siblings, but if this information gives us no actual insight into them as a person, then it’s only window-dressing. By the same token, we might know very few concrete facts about a character, but still have an incredibly well-developed sense of their personhood on the basis of their actions. 

And this is why many people who discover fic stop reading other stuff. Once you find the genre you prefer, you tend to read a lot in that genre. Some people love mysteries, some people love high-fantasy. Saying you love “fic” really means you love this character-driven genre. 

So when I hear people be dismissive of fic I used to think, Are they just not reading the good fic? Maybe I need to put the good fic in front of them? But I think it turns out that fanfiction is a genre that is so entirely character-focused that it actually feels weird and different, because most of our fiction is not that character-focused. 

It turns out, when I think about it, I am simply a character-based consumer of pop culture. I will read and watch almost anything but the stuff that’s going to stick with me is because I fall for a particular character. This is why once a show falters and disagrees with my view of the character, I can’t just, like, push past it, because the show *was* the character for me. 

Right now my big thing is the Juno Steel stories, and I know that they’re doing all this genre stuff and they have mysteries and there’s sci-fi and meanwhile I’m just like, “Okay, whatever, I don’t care about that, JUNO STEEL IS THE BEST AND I WANT TO JUST ROLL AROUND IN HIS SARCASTIC, HILARIOUS, EMOTIONALLY PINING HEAD.” That is the fanfiction-genre fan in me coming out. Someone looking for sci-fi might not care about that, but I’m the type of consumer (and I think most fic-people are) who will spend a week focusing on what one throwaway line might reveal about a character’s state of mind. That’s why so many fics *focus* on those one throwaway lines. That’s what we’re thinking about. 

And this is what makes coffee shop AUs so amazing. Like, you take some characters and you stick them in a coffee shop. That’s it. And yet I love every single one of them. Because the focus is entirely on the characters. There is no plot. The plot is they get coffee every day and fall in love. That’s the entire plot. And that’s the perfect fanfic plot. Fanfic plots are almost always like that. Almost always references to other things that clue you in to where the story is going. Think of “friends to lovers” or “enemies to lovers” or “fake relationship,” and you’re like, “Yes. I love those. Give me those,” and you know it’s going to be the same plot, but that’s okay, you’re not reading for the plot. It’s like that Tumblr post that goes around that’s like, “Me starting a fake relationship fic: Ooooh, do you think they’ll fall in love for real????” But you’re not reading for the suspense. Fic frees you up from having to spend effort thinking about the plot. Fic gives your brain space to focus entirely on the characters. And, especially in an age of plot-twist-heavy pop culture, that almost feels like a luxury. “Come in. Spend a little time in this character’s head. SPEND HOURS OF YOUR LIFE READING SO MANY STORIES ABOUT THIS CHARACTER’S HEAD. Until you know them like a friend. Until you know them so well that you miss them when you’re not hanging out with them.” 

When that is your story, when the characters become like your friends, it makes sense that you’re freed from plot. It’s like how many people don’t really have a “plot” to hanging out with their friends. There’s this huge obsession with plot, but lives don’t have plots. Lives just happen. We try to shape them into plots later, but that’s just this organizational fiction we’re imposing. Plot doesn’t have to be the raison d’etre of all story-telling, and fic reminds us of that. 

Everyone who’s experienced in reading fic has their little ‘trope plots’ we are willing to read or even prefer in order to spend time with our favorite characters. We know how it’s gonna end and we genuinely don’t care, because the character is the whole point of why we’re reading. And that is unique. That’s just not how mainstream media publication does things.

But there are also hundreds of thousands of fics people might call ‘plot driven’ and they have wonderful, intricate plots that thrill their readers.

But they’re not at all ‘plot driven’ in the same way as other mainstream genres.

The thing about ‘plot’ in fic is that it tends to ebb and flow naturally. There’s not the same high speed, race to the finish you’d get from a good action movie. There’s no stop and start of side plots you get in TV genre shows. The best fic plot slides from big event to restful evening to frantic activity to shared meals and squabbles and back, and it gives equal time and attention and detail to each of these things.

Like @earlgreytea68 said, “There’s this huge obsession with plot, but lives don’t have plots. Lives just happen. We try to shape them into plots later, but that’s just this organizational fiction we’re imposing. Plot doesn’t have to be the raison d’etre of all story-telling, and fic reminds us of that.”

Fic plot moves at a pace similar to the life of whatever character it’s about. Not the other way around. There’s a fundamental difference in prioritization in fic.

I think this only adds to the case of ‘fic’ as its own, distinctive genre. Stylistic choices of writing that would never work in traditional, mainstream fiction novels work for novel-length fic. Fic adventures spend as much time fleshing out the little moments between romances and friendships as they do on that plot twist. The sleepy campground conversations are as important to the plot as the kidnapped princess, because that’s how the characters are going to grow together by the end of the story. It’s not a grace note, it’s not a side episode or an addition or a mention - it’s integral and equal.

That’s just accepted as fact by fic writers and readers. It’s expected without any particular mention. And it gives a very unique flavor and pace to fic that makes a lot of mainstream stories feel like stale, off-brand wonderbread. They are missing something regular fic readers take for granted (and it isn’t just the representational differences, because we all know that’s a whole different conversation). There’s a fundamental difference in how ‘fic’ is written, detailed, and paced that is built on its foundations as a ‘character driven’ genre.  

And it isn’t only action/adventure/mystery plots that have this difference in fic. Those ‘everybody’s human in today’s world’ AUs, those ‘friends to lovers’ slow burn stories have it too. They have a plot, but it’s the life - the grocery shopping, the dumb fights and sudden inescapable emotional blows, those moments of joy with that person you click with, managing work and family and seasons - that’s the whole plot on its own.

And that’s almost impossible to explain to someone who hasn’t really experienced fic as a genre, who’s used to traditional person A and person B work together/overcome differences/bond to accomplish X. In fic accomplishing X might be the beginning or the middle, not the end result of the story, and A & B continue to exist separate from X entirely. X is only relevant because of how it relates to A & B, not the other way around.

I was always fond of saying, about my own fics, that my plots show up about two-thirds of the way through, because it takes me that long to figure out where I’m going, and then I would lol about it, because, ha, wouldn’t it be great if I organized it better. 

And now I read this and I’m like, WAIT. YES. THAT’S WHAT’S HAPPENING. IT’S BEEN HAPPENING ALL ALONG. I NEVER REALIZED IT. The idea that the primary importance is the throughline of the characters, and that’s what we’re following, and the plot is what’s dangling off the side of their story, that is SO IMPORTANT. You’re right, that usually we’re told as writers to construct stories from the plot outward. “Here are the beats your plot needs to hit, here’s the rising action to the climax to the falling action, now make sure your Character A makes this realization by Point X in order to get your plot into shape for Point Y to click in.” It’s *such* a plot-centric way to write and I am *terrible* at it. And I’ve always said, whenever I sit down to “outline” a story, like, How do you this? How do you know where the characters are going until they tell you where they’re going???

“Like @earlgreytea68 said, ‘There’s this huge obsession with plot, but lives don’t have plots. Lives just happen. We try to shape them into plots later, but that’s just this organizational fiction we’re imposing. Plot doesn’t have to be the raison d’etre of all story-telling, and fic reminds us of that.’”

“I was always fond of saying, about my own fics, that my plots show up about two-thirds of the way through, because it takes me that long to figure out where I’m going, and then I would lol about it, because, ha, wouldn’t it be great if I organized it better.”

I’ve always identified with authors who say, “… so I thought I knew what I was doing, and then he made me write this whole other thing, and I was like, no, that’s not the story, but he kept saying YES, THIS IS WHAT I’M DOING NOW!”

Maybe these are character-driven authors, as opposed to, for example, Anne Patchett, who I heard speak once, and when an audience member asked her if her characters change things as she’s writing, she said, “Hell, no. I have a plot and I make my characters do those things, because I’m the author.”

Of course, she also said that she based Easter (in State of Wonder) on a dog because she neither knows nor likes children, but I digress. She’s a plot-driven author.

I am not. None of my stories have been outlined or plotted in advance. I am constantly swinging by the seat of my characters’ pants (or tail feathers). I though it meant I wasn’t following the rules, or that I hadn’t really learned how to write the right way yet, but maybe it just means I’m a different kind of writer.

And I see this is my life, too. I want to hear about my friends’ feelings, about their friendships and relationships and love interests and how they fell in love or what it felt like when they broke up, and I’ll cry with them when they’re sad and be thrilled with them when they’re happy. I don’t really usually care about who got a promotion at work, you know?

Okay I choked for a sec