Habits

wrex-writes:

Much of what we do in life is determined by habit. Habits are routines our minds perform when they don’t know what else to do: you get into a situation they recognize, they wake up and go “huh what?” and they do the thing they always do. You can deliberately build habits, but most of our habits formed unintentionally just to get us through the day, without regard for whether they helped us in the long run. There’s no reason to keep doing things that way, but you do.

Our thoughts have habits too. Most were formed when we were trying to avoid pain or fear and our brains came up with a short-term escape plan and then just kept using it. Some examples: did someone criticize or discipline you a lot as a child? Well, your brain, like a dumbass, said well, I guess we’ll just have to never do anything wrong again, as if that were possible. Were you convinced that writing was the only thing you were good at? Your brain probably said great! so we’ll deserve to keep existing as long as we keep writing perfectly. Like a fucking asshole. Your brain is not good at this stuff. It’s good at escaping tigers, but under the conditions of modern society, if screws you over constantly, especially when you’re a kid.

If writing hurts for you, your life has probably instilled a bunch of self-protective habits in you that now sabotage you without your awareness. In my last post, I described learning how to draw an ellipse, and how I had to learn to hold the pencil loosely. Before that, my thinking was, if I’m drawing something tricky, I must try harder, I must hold the pencil tighter and exert more force to make it go where I want. This did not work. So I had to do annoyingly counterintuitive exercises to develop a new habit.

Writing is like that. You have probably noticed a pattern when you write – you have an idea, you sit down, you start developing that idea in a particular way, etc. etc. – I dunno, your process could be anything. But whatever it is, those habitual actions trigger habitual thoughts and feelings – probably (if you are reading this blog) painful and self-critical ones. So every time you write, things end the same way. Maybe you always stall out 3,000 words in, or maybe you feel intense aversion to writing the moment you begin. To deal with this, you can’t go right in and change the thoughts and feelings. You have to change what you do.

Minds, for the most part, are a series of dominoes – see or hear [a], think and feel [b and c], do [d] in response, think and feel [e and f] as a result of doing [d], etc. If the final dominoes in that series are always “feel awful, hate yourself and quit,” you’ve got to rearrange those first dominoes, to interrupt the cascade of habitual garbage thoughts by changing what you do and perceive at the beginning.

For instance: say you always start by sitting down, opening a blank document and staring at it for a while, feeling increasingly bad about yourself, until you finally write something and start to limp along. What if, instead of staring at the document, you immediately typed a bunch of arbitrary words until you relaxed a little and some kind of sense began to emerge? And if no sense emerged, you just stopped for the day and tried again later, without giving yourself a chance to spiral down into self-hatred? What if, instead of opening a blank document when you sat down, you wrote some random shit in a notebook? What if, instead of sitting down, you paced around your house and dictated some thoughts and phrases into your phone and then transcribed them?

I don’t know exactly what would work for you. You have to examine your habits and find the things you do not because they work but because that’s just how you do it, and then see where you could throw a wrench in those works. You have to find those spots where you’ve always gone left but you could go right, and then try going right.

And – this is key – if the familiar anxious, self-hating thoughts start to kick in, stop what you’re doing. Don’t tolerate them, don’t let them run roughshod over you like they always have. That pain just teaches you the same shitty lesson that formed the habits in the first place. Stop and try again later, or try something else – see what other part of your process you could turn on its head.

Let me be clear – you’re not looking for a “new best way to do things.” So notice if you start to get anxious about “fixing” your process. That’s not the goal here. The goal is to find a path around your triggers, basically, so you can experience what it’s like to write without a garbage script playing in your head. If you switch up your process enough, your brain won’t be able to play you its usual bullshit song, because it will be too busy going “wtf, this never happens, what do I do?” It won’t have a script yet, so it can be trained to play new, better ones that don’t fill you with poison.

I’m making it sound easier than it is. The old habits won’t go away. They will return to feed you garbage, especially at first. When they start up, just stop what you’re doing. You can do that. You do not have to listen to the shitty song all the way to the end. Get up, go outside. Later, when the noise has subsided, try something weird like writing on your kitchen floor. Try anything that doesn’t put you back in the same circumstances that triggered the garbage.

If you’ve got heavy anxiety around writing, you might need to do this kind of thing for a while, without the pressure to turn out finished, public-consumption material. You might have to fill a lot of notebooks with practice ellipses. You may feel like you’re wasting time, but you’re not. (I mean, really – was the old way not a waste of time? I never used to finish anything, so I had nothing to lose.) Your only job at this point is to learn how it feels to write without suffering, and most people can’t do this as long as they’re still worrying about “making it good.”

If it helps, think of this as permission to write badly: you’re preparing to write well in the future. This shitty writing (if you need to think of it as shitty and not just as exercise) is money in the bank. As your doctor, I in fact order you to give no shits about quality as you build these new habits. You can’t afford to.

Great stuff, especially the suggestions on how to start when you are staring at a blank screen

marginson:

writing fic when English is not your first language means having 18 tabs open like

It also means one or more of the following.

Sending friends emails with lists of questions about American/ British English usage

Pestering native English speakers with two or more near-synonyms, begging them to tell you which is the most appropriate in a specific instance 

Sending unsuspecting friends uncontextualised or almost-uncontextualised sentences, where words that you are not all that sure about are preceded by a question mark

Finally, finding a good beta reader and cherishing them for your entire life, more so if they know next to nothing about the fandoms you’re writing in.

hey, your writing has always been good, but with your last few works i am just blown away by how much you’ve improved still, like you can clearly see progress on so many levels and that’s just so inspiring!! i theoretically knew that writing a lot makes you a better writer but it’s so great to have an actual role model, you make me want to write so much. do you notice this in your own work? do you work consciously on improving certain skills and if you do, how?

bisexualpirateheart:

Ahh, thank you! Sometimes I’m so much in my own head, it’s hard to tell whether there’s any improvement at all with things. It’s mostly sometime later when I reread something and think, ‘This is actually satisfyng to read’ or ‘this is turned out better than I expected.’ 

Writing a lot does definitely help. The more you write, the more chances you have to look at things, decide what’s working and what’s not, to make mistakes and to figure out how to write what *you* really want to write. 

I admit I don’t consciously work on improving things. Mostly, I look at writing things I don’t usually write (pairings that i don’t usually write, or scenarios or descriptions, instead of dialogue, I like dialogue) and if those turn out well, I feel I’m getting somewhere. It’s easy in a lot of ways to write your favorite pairings (SOMETIMES, not all the times, there are pairings I absolutely adore and I’ve still not written much for at all) and things, but it helps to stretch yourself and write other things as well. 

Mostly though, you should write what you really really want to write. 🙂 

Agree enthusiastically, but …

What if “what you really want to write” works for you, but not for readers? You write a story that you think holds together, and feel pleased and maybe even a little proud, and other fans ignore it because it’s based more on an OC than an OTP? Or, you write a story with parts that seem ok to you, but do not persuade your trusted beta readers?  (What I personally tend to do is: in the first case, leave the story on AO3 and keep liking it and its OC; in the second case, do some soul-searching and aim at a compromise solution)

okayodysseus:

local psych and writing major with bad grammar here to tell you about subtle body language shit people do when they’re talking to help out with writing interactions:

  • note that people who are high self monitors will notice these behaviors more often and can adapt to different conversations more than those who are low self monitors, who may not realize that they are reacting inappropriately in a situation.
  • second note that we only remember a fraction of dialogue and conversation, what sticks in our mind is how a person made us feel during the conversation
  • women, parents, good teachers, and actors are more sensitive to gestures and expressions and noticing subconscious behaviors in others.  
  • please note that some of this may not apply to everyone, keep in mind where these social situations could change for your neurodivergent, mentally ill, and disabled characters

under the cut, i go through non-verbal interaction, gestures, personal space, and eye contact

Keep reading

Very helpful for would-be writers

sagefic:

sometimes when someone comments on your fanfic, it’s like those randomly-occurring emergency heal spells that bring you back up to full health when you’re about to die. like i was struggling to write today but someone out of nowhere left a comment and HELLO! THANK YOU! i am back and a writer again.

My usual term of comparison for comments (not just “nice story”, but detailed responses with concrit) is blood and plasma.

Characters according to Primo Levi (relevant to fanfiction writers?)

Each of these phantoms is born of your flesh, has your blood in its veins. It is your bud, your bloom. Worse, it’s a spy, it reveals a part of you […] They are your way of saying “I”: when you move or have them speak, you think twice about what you’re doing, for they might say too much. [… However], once you have conceived your character, if you attempt to impose upon him an act contrary to his nature, or forbid him from acting according to his nature, you’ll encounter a form of resistance, invisible but unmistakable: […] he grows remote and uncooperative, he dwindles, flattens out, becomes thin and blank. 

a moment of happiness

Ten or twelve years ago I went to see an Israeli film called “Walk on Water.” The main characters are an extremely fucked-up Israeli assassin and a young, gay German, the grandson of a Nazi officer.The assassin is told by the Mossad (Israeli secret services) that he needs to befriend the young man in order to get to the grandfather. Things develop differently and dramatically.

And I left the theatre in tears of rage and fury at the ending, which I saw as a major cop-out.

And now I have found that there are four, yes, four fix-it stories on AO3. Am jumping up and down in utter happiness.

All this boring waffle could actually be a P.S. for the discussion about fanfic writers and their implied readers: namely, irrespective of how well- or badly-written a fan fic story is, if it brings its readers even one minute of joy, it is a valuable thing, and its author has not (dramatic chord a’ la Morricone) lived in vain.

So there.

image

Question about implied readers

sybilius:

mcicioni-blog:

Each fan fiction writer, I assume, writes first and foremost for her/himself, and writes what they would enjoy reading, and/or what turns them on. But the moment they get their story out of the drawer/ hard drive/ tablet, and post it on fanfiction.net or AO3 or whatever, implied readers come into play. To what extent are writers who post their stories influenced by the potential responses of their (as yet unknown, or possibly already-known) implied readers? Do the writers who cheerfully say “I write what I want to write, and if people don’t enjoy it, too bad” deceive themselves to a greater or lesser extent?

This is an interesting question. 

I myself have had a peculiar relationship with readership since I used to write for the main ship in the small-ish fandom that is Death Note (I say smallish because it’s more on the scale of 50-100 people rather than the ~5-10 active blogs in the pasta fandom). Going from writing for a main ship to writing for a rarepair taught me a lot about my relationship to readers and what I should value in readers. I learned you only need a few dedicated and passionate readers to feel properly appreciated– quality over quantity. And the best are other writers/artists so that you can feel like your creativity sustains and inspires each other. 

I think my answer to this question would be that I almost never write for implied readers. Writing for the main ship taught me that, because when I looked at the mainstream content that had the most ‘kudos’ or the like, it was for the most part content I couldn’t even imagine myself reading, much less writing. There’s always going to be people with vastly different tastes than I, and I have no interest in writing things that I don’t believe are interesting and worth writing simply for the responses of readers (after all, I’m the one slaving behind the computer, I better damn well like it!).

But I do, often even, write for known readers. It’s an influence on whether I decide to write some of my shorter stories especially– that is, if I think someone I know well and who likes my work would enjoy reading a particular story that I also would enjoy writing, I’m a lot more inclined to write it. A box of wine and better off not talking is a good example of this. Readership occasionally influences decisions in the multichap I cowrite with @tartpants (although it might be more accurate to say it inspires us sometimes 🙂 ). 

There are, though, stories I write simply on the momentum of wanting them to exist, and they do have a special place of fondness for me. One of my best works, flowers grown in forgotten lungs, is more in this category than it is not. The recent Blondeyes fic I wrote, Devil’s eyes gonna teach you to sight, also falls in this category (I honestly was positively gleeful writing that…it was an evil urge)– but I certainly barely expected those who knew my writing to like it, much less discover a new fandom.

I guess the takeaway I get from all of this is that writing among friends is the best thing, and that following what fic you want to see written is almost always the best thing to do 🙂 write it, and hopefully they will come!

I sent off my question hoping for lots of answers and opinions, and received only @sybilius’ detailed and insightful answer. So, following the old Italian saying “if you want to be obeyed, give the order and then carry it out yourself”, I am going to try finding my own answer.

I agree with @sybilius: writing with a few trusted readers in mind is the best option. I have written a little in some tiny fandoms and a little in a couple of medium-sized fandoms. All of them were action fandoms: Westerns, cop shows, and Rome. I have always written what I would have liked to read: action stories where the OTP fight enemies as well as interacting with each other emotionally and sexually. This (like, ahem, being bisexual??) can be a recipe for joy and, as often happened to me, a recipe for disaster: “gen” fans of “my” shows enjoyed the action plots and asked me why I felt the need to include the slashy scenes, and slash fans said that they would have liked longer sex scenes of emotional and sexual communication. So I write, hope for comments, read them, am delighted if I have pleased some readers, suffer some pangs of self-deprecation for having failed other readers, try to follow intelligent suggestions (smiles at a recent intelligent critic, whose latest comment I will answer soon) and keep muddling on as best I can.

P.S. It would still be great to hear other people’s experiences.

Question about implied readers

Each fan fiction writer, I assume, writes first and foremost for her/himself, and writes what they would enjoy reading, and/or what turns them on. But the moment they get their story out of the drawer/ hard drive/ tablet, and post it on fanfiction.net or AO3 or whatever, implied readers come into play. To what extent are writers who post their stories influenced by the potential responses of their (as yet unknown, or possibly already-known) implied readers? Do the writers who cheerfully say “I write what I want to write, and if people don’t enjoy it, too bad” deceive themselves to a greater or lesser extent?