Man, I can’t tell if The Hobbit/Bagginshield was just a much bigger fandom than I realized, or if it’s seeing some kind of resurgence lately because my old fics and meta are getting slammed with new readers??
Tag: my meta
So Raleigh and Mako have their iconic first face-to-face meeting at the helipad and people have written meta about how drift-memories show Mako silhouetted and haloed by the umbrella while Raleigh looks commanding and soulful. We know they’d been writing for a few years but do you have any strong headcanons about how Newton and Hermann first met face-to-face?
(For the record, I LOVE that meta about Raleigh and Mako that you’re referencing!)
This is a really interesting question, Anon! A lot of my headcanons kinda come about either because of fanfic I read that feels “right” or expediency for something I need in a story where I need an explanation that feels “right”. My headcanon about their first meeting is definitely a combination of those two. I think the @hermannhaslovedthestars webcomic does an EXCELLENT job and really solidified for me a sense of what happened, and a vague reference to that sort of set up (which I’ll describe below) even played into some dialogue I wrote for the latest Prisoners’ Dilemma chapter (hopefully forthcoming this week).
I’ll go into detail below, putting it below a cut so I can ramble ;P
So I think their first meeting was a huge disappointment for both of them, like soul-crushing. They had been writing canonically “passionate” letters to one another for years, the idea they were crushing hard on one another remotely is so ubiquitous in fanon it’s practically canon at this point. My thoughts on this draw from other PR meta I’ve enjoyed but they include:
– The letters helped filter out some of Newt’s more rambling and hyperactive interactions and leveled him out enough that he came across as, y’know, a normal human. It also let his genius shine in a way Hermann found appealing.
– Likewise for Hermann–I was going to say that the letters helped Hermann come out of his shell but I just realized that’s fanon and not canon. Canonically, Hermann has no trouble butting into conversations he’s not a part of and saying rather embarrassing personal things like the “Handwriting of God” speech. At least when it comes to his field (which is the extent of how we see him really in the films) he’s not shy at all. So let’s let that fanon die for a second.
– Really what the letters probably did for Hermann was make him less of a stern, judgmental jerk hung up on his work. He’s a bit of a forbidding person even (if not especially) with his social awkwardness. So I imagine it’s more that the letters allowed him the perceived privacy (see his rule about “public displays of affection”) to open up a bit and maybe even make flirtatious overtures and give compliments to Newt. So letters helped him come across as a normal human as well, one who can give displays of affection.
– So then you’ve got this situation where both of them in person are so much more abrasive than they are over letters. Newt is too loud and chaotic and any playful jabs he makes probably don’t land right and end up stinging Hermann’s pride instead. Hermann is too stern and serious, a total killjoy, and his waspishness is on full display. He won’t do anything affectionate in public, where they probably met, so none of his softer side can come through. Newt is bouncing off the walls and not checking himself at all or slowing down to clarify his point or pad it with anything less than his unfiltered internal monologue.
– I see both of their worst social habits going into absolute overdrive as the first meeting progresses. They were both already super nervous, and then as things don’t click they get even more nervous, so they both fall back on their worst behavior instincts, insulting one another and trying to shore up their pride (which both have in spades, to the point of arrogance). This just makes matters worse and before you know it, they’re both in too deep to calm down and check in with one another and see if there’s been some kind of misunderstanding along the way.
– All their worst fears about the other, and about this meeting, are realized. This is in part because I’m sure both had a best case scenario and a worst case scenario in their head, with nothing in between (even though reality is always in between), and it becomes this self-fulfilling prophecy when everything isn’t amazing and it’s not this incredible meeting of souls where finally all the social isolation they’ve felt elsewhere just melts away because they’re with each other.
– Because here’s the thing, our social habits don’t just go away when we’re with someone we care for. No one can read our minds. And it takes a bit of acclimation before even the most attentive soulmate can read what’s really happening in our heads. I think from the letters they thought they knew one another very well and, sure, they knew one another’s minds very well, but not their social cues like, “I insult people when I’m nervous,” for Newt or “I snap at people when I feel like I’ve lost control of a situation,” for Hermann.
– By the way, Hermann canonically shows he cares by snapping at Newt, for example about his safety for the Drift experiment, disguised as criticism of the experiment itself, which Newt was unable to see for what it was. Meanwhile, Newt is like an immature kid on the playground: he pulls Hermann’s proverbial pigtails because he wants his attention, regardless of whether it’s positive or negative attention. But look at how he puffs up around Hannibal Chau as well and tries to impress him! Newt pokes the bear with people whose positive attention he craves, which are people he respects. If he didn’t respect Hermann, he wouldn’t care about getting his attention at all, but Hermann can’t read that about him.
– Most tragically though, I think both of them needed that meeting to be everything for them. They needed to see fireworks and hear the choirs of angels singing. At even the first sign of awkwardness, which could have even been just due to mistranslation or confusion, I think the first chink in the armor appeared, and then everything fell apart like dominoes after that as the anxiety level skyrocketed when things didn’t go as well as they had dreamed (and of course they didn’t, because they couldn’t). And that built the resentment as the other “betrayed” what Newt/Hermann needed from him, emotionally, to the point where it became a wall that was impossible to climb over without one of them, at least one of these two prideful, socially inept geniuses to back down. Someone needed to bend and say, “Hey, did I miss something?” but I also think, for the record, that both of them were bullied growing up and when you’re bullied you often learn 1) how to be a bully yourself and 2) how to not show weakness. So they locked themselves in a game of chicken where neither could back down from being a jerk because to admit weakness was to lose. The pen-pal becomes the enemy and neither knew how to stop it from spiraling further after that.
– I do think they both secretly know they “like” each other, or at least that they see themselves as “in the trenches” together and that they do have positive interactions (largely despite themselves) over the year, but in order to end the fighting, it really does take Hermann conceding that he cares whether or not Newt lives or dies with the “I’ll go with you,” line about the Drift. He’s conceding that Newt’s idea will work (which he resisted before) and helping Newt. Newt immediately construes it as a romantic overture because, well, it kind of is for them in a way that I consider borderline canonical given that the actors played them as in love in Uprising. Hermann ducks a little bit there and pleads “the end of the world” as a reason for his change of heart, but Newt basically disregards that (as he does many things Hermann says, lol) and makes it a friendship thing anyway which Hermann responds to as well, giving lie to his claim that it was pure business.
So to go back to that first meeting… I think it was a date. Maybe they met at a bar or a coffee shop. Maybe it was more romantic than that. Maybe one of them set it up to be a date and the other thought they’d meet before trying to date, and the wires got all crossed. But I absolutely believe that both built up this first meeting in their mind to such heights that there’s no way on earth that they wouldn’t walk away disappointed in some way, and that’s exactly what happened.
Edit: Actually, I wanted to add how I think that would play visually.
I bet in their memories there is a visual change in the Drift from what “really” happened.
I bet both of them are larger than life in that memory. I bet in the memory of the first time they laid eyes on each other they both look amazing, like the hottest fanartist take on the other that you can imagine. Newt looks like a rockstar. Hermann looks like, well, Burn Gorman in a suit when he’s not trying to look “like Hermann” (which has a whole physicality around it to downplay how fucking hot that man really is).
I bet it morphs. I bet they both start to take on aspects of a childhood bully the other had. Newt becomes sneering, Hermann becomes disdainful. They start to “look” like someone who is out to get them but maybe, just maybe, the attractiveness level doesn’t drop. Hey, if you’ve been bullied, if you’ve been socially awkward, then chance are you’ve been rejected by someone you perceived as attractive, to the point where attractiveness itself becomes forbidding.
It could play into them making the other out to be some sort of obnoxious little goblin that’s out to get them: downplay the threat, make it ridiculous and mock it so it isn’t as scary. Hermann is constantly pointing out to others and himself how hopeless Newt is, Newt points out how Hermann’s (probably staggering) intelligence is pointless and basically just self-important noise.
But to go back, I think visually in the Drift they’d see one another as “sneering” for most of their memories, but it would be like scars overlaying this borderline angelic or heroic first image of them informed by that love and hope that things would work between them, before they opened their goddamn stupid mouths and ruined it.
Meta Monday
Thanks, everyone, for letting me take a little break. As promised, I’m back, and I come bearing meta about everyone’s favorite pansexual, genderfluid Norse God and/or alien prince, Loki!
It’s funny, because I’d already started on this post before my break, but then we got such great Loki content from Tom Hiddleston’s panel at ACE, including confirmation of MCU Loki’s gender and sexuality and discussion of his traumatic history, both of which should have just been addressed in the films, but it’s something. (And, are we not all that kid who asked if Loki was really, really dead?)
I’m keeping the focus on MCU Loki today, too, with meta covering every movie from Thor 1 to Avengers 4, as well as his relationships with Odin, Thor, and even himself. Basically, this is a whole lotta Loki.
I hope you enjoy it and find it all as interesting as I did. As always, be sure to like and reblog the original authors, and let me know if you’d be interested in a Thor-focused follow up next week?
Marvel – Loki
Analysis of Thor and Loki’s Characters in Their Childhood by @lucianalight, “Loki has stabbed Thor since they were children!” “Loki tried to kill Thor his entire life!” These assumptions came after TR tried to retcon everything about Thor franchise and characterizations. […] Loki was never as evil and wrong as TR portrayed him. Neither Thor was like a saint and always right. Their relationship is far more complicated than good Thor vs. evil Loki. I don’t accept TR retconning their characteristics like this. Especially when there’s proof that TR’s interpretation of them is wrong. (Mirror Link)
I am never going to be over Loki literally being the most decadent king he can by @thorkizilla, […] I am never going to be over Loki literally being the most decadent king he can, that he’s literally watching theatre in his bathrobe while eating grapes and drinking wine. A play about himself, cast in the best possible light, just after we’ve seen the giant statue of him in the main thoroughfare. (Mirror Link)
“I love you, my sons.” by @iamanartichoke, This is such an interesting contrast in reactions between Loki and Thor with the context of Odin’s quote, because you can tell that while Loki is taken aback, shocked, and even saddened by these words, Thor is still reeling from the revelation of Hela and impending Ragnarok and it doesn’t seem like Odin’s words even really register to him. (Mirror Link)
Loki acted out of a desperate need to prove his worth in Thor (2011) by @iamanartichoke and @lookforastar, […] Because as much as Loki’s trying to prove himself and make his father proud (as Frigga tells him to do), there’s the the constant undercurrent of Loki trying to grapple with what he is. Yes, he is trying to prove himself as the second son now that he’s out of that shadow, but he’s also trying that he is capable as King despite his Jotun nature. (Mirror Link)
Loki and Thor: Back to Square One, for Better AND for worse by @icyxmischief and @chiliadicorum, […] The way I see him behaving in Ragnarok is honestly, with a few subtle variations, the way he behaved in Thor 1, to the extent that he and Thor “reconciled” by revisiting their roles, and personalities, before Loki developed for the worse, and Thor for the better. While Loki is less secure in his place in his family in Thor 1, to be sure, and this produces jealousy that he has wholly put to rest as of Ragnarok, and while I AGREE that his character arc has been phenomenal and gripping, I have reservations about the idea that Loki is 100% satisfied with his life at the end of Ragnarok. He’s come a long way, but I still feel as if he exhibits more resignation than resolution, which speaks to the notion that he and Thor have indeed come full circle, but not entirely in positive ways. (Mirror Link)
Loki’s Characterization by @portraitoftheoddity, […] You’ve already touched on a really core component of Loki’s character, anon, which is that he is a great big mess of Contradictions with a capital C. He wants to be loved. He wants to be feared. He wants to destroy and he wants to be a savior. He wants the throne, and he just wants to be an equal. His methods and actions often seem at odds with his stated desires and goals. And for all that he’s depicted as the ‘god of chaos’ because of the results of his villainy, you could just as easily make an argument for the chaos being internal. (Mirror Link)
Loki is almost certainly still alive by @avelera, The most frustrating thing about pointing out that Loki is almost certainly still alive is the number of people who give you the Look ™ of assuming you’re an obsessed Loki-stan who was crying in the theater because of his death. NGL guys, I think Loki is a great character. I was definitely bummed by that opening. But I’ve also seen that film 3 times now because I’m a loser and I can tell you with like 90% certainty that Loki is still alive. Observe. (Mirror Link)
Loki’s Relationship with Odin by @fancykraken, […] I know that other’s have probably said this more eloquently, but for me, I gotta say that the revelation about Hela and her and Odin’s background made everything just click in terms of Loki and the way he was raised, treated, and the family dynamic. It especially explains so damn much about the dynamic between Odin and Loki. (Mirror Link)
Loki spent the first part of his reign as Odin grieving for Frigga by @delyth88 and @fandom-and-feminism, […] It really speaks volumes about Loki that he chose not to lash out after taking over. We all saw the aftereffects of his magical tantrum in his cell, and how maniacally he fought against the dark elves. If Loki truly were evil or a real villain he would have continued a reign of tyranny as soon as he took the throne. What did he do? (Mirror Link)
“Satisfaction is not in my nature.” by @oneformischief, I’ve been thinking about this line a lot. And I’m not sure it’s given all the credit it deserves. It is well overshadowed by Thor’s immediate response (“surrender’s not in mine”), and by the line that steals this whole scene: “Trust my rage.” But there’s something about this line that gets me, and I think it’s because it is probably the truest thing Loki has ever said about himself. (Mirror Link)
“You lack conviction.” by @taaroko, Okay I want to talk about Loki’s plan in Avengers. […] Strap in, because this might be long. I do not think it was Loki’s intention to lose the Battle of New York…but I do think he considered getting defeated by a group that could go on to defeat Thanos an acceptable alternative. Basically, to survive, he either needs to impress Thanos by winning or lose in such a way that Thanos can’t get his hands on him. Either way, he’s still going to be in someone else’s power, so there isn’t a truly triumphant outcome possible for him. (Mirror Link)
I loved that piece you wrote on weird, slightly-shallow awkward Newton Geizler because you’re right, fandom can sometimes ignore their favourite characters’ flaws but it’s SO MUCH more interesting to see them warts and all. Do you have any thoughts on how the K-Science boys deal with each others flaws and negative character traits? Because there’s mutual respect but christ, neither of them are perfect and they both KNOW the worst of the other and yet they’re still together. It’s fascinating.
Oh gosh, I’m so pleased you liked my little bit of meta! (I just went back and re-read it to refresh myself on what I said, lol). And this is a really fascinating question!
I think to start you’d have to list their flaws.
Newt: selfish (I’m a doctor!), self-centered (making Hermann’s lab life miserable with the entrails, the Drift experiment being partially out of desire for attention and to be right), messy (Kaiju entrails), maybe a bit shallow (with his fashion sense and body art), un-empathetic (talks about how cool Kaiju are around people who have lost family to the Kaiju), often deliberately obnoxious (literally everything with Hermann), hyperactive and screechy (Charlie Day), immature (in many senses, but also in his fanboy qualities), Down to Fight at all times (“Is it impossible?!”), can’t keep a secret ( “… I’m gonna tell you.”), reckless and impulsive (the Kaiju Drift), arrogant and wants to be the center of attention (I mean… basically everything about him). Obviously he has many virtues which I’ve described elsewhere, but that’s not the point of this post.
Hermann: cantankerous (he’s 36 going on 80), a busy body with his nose in other people’s business (“Please excuse him, he’s a Kaiju grrrrroupie.”), spiteful (it may not be on purpose but he kicks water at Newt in their very first scene, and just in general this is true of him), smug (about how Newt is wrong), arrogant (literally everything about how he puts down Newt and his theories), dismissive (“Politics, poetry, these are lies.”), impatient with others (though that could just be Newt, who could drive anyone to madness), cold (at least outwardly towards Newt, many of his insults cut close to the bone), authoritarian (Hermann appeals to military authority and clearly admires it) and just all around difficult to deal with. Interestingly, many of these traits are gone by Uprising, while “Newt” gets a whole new batch of very different flaws. And again it should be stressed, Hermann has many virtues including but not limited to his intellect, his determination, his drive, his raw courage, and his persistence in the face of dismissal, discomfort, and disability.
And by the way, both of them think they’re the “normal” one who needs to look out for their obnoxious colleague and I just cannot with them they are both heinously difficult human beings in the best way lol.
And now onto how the Newmann ship would deal with these flaws:
I think a lot of how Newt and Hermann would deal with one another’s flaws is that they have been dealing with them for years now already. These flaws are not new or shocking to them, nor have they driven the other away. Clearly, they tolerate one another when anyone else would have withdrawn to a safe distance or just abandoned them entirely. They clearly care for each other in spite of if not because of these flaws. Even pre-Drift they try to protect one another from their most dangerous fascinations (Newt his obsession with the Kaiju, Hermann his attraction to the military).
Clearly they have flaws that do genuinely drive the other to distraction. Newt seems genuinely upset when Hermann dismisses his theory and his findings regarding the Kaiju Drift. But on Hermann’s side, the proposal of that Drift seems to have genuinely touched a nerve of fear on Newt’s behalf that he covers up with snideness and dismissal.
I’ve always gone with the theory that it’s more their method of communication with one another that was clashing. Hermann didn’t understand Newt’s obnoxiousness towards him was the equivalent of pulling pigtails, that Newt wanted Hermann’s attention and regard. Newt couldn’t understand that Hermann’s dismissal of Newt’s obsessions was his way of trying to protect Newt. It’s one reason I think the Drift fused them into a functional whole after so many years of clashing, it finally showed them through a direct mind connection what they had failed to communicate. All the times they had been sincere when the other thought they were joking, and vice versa. Their method of communication. Their respect for one another hidden beneath a prickly surface. The way they’d both tried to hide their vulnerabilities from one another and thus both come off as distant, cold, and uncaring to one another. I have no doubt that the “instant hatred” at that first meeting after the letters was because both of them had such high expectations but didn’t know how to communicate with one another outside of written format where everything could be cleanly expressed.
That said, I think that before and after the Drift they actually do love one another for their “flaws”. I think Newt and Hermann are both heinously arrogant when it comes to their intelligence and their field, and I think they love that about one another, albeit secretly at first, or perhaps rather what that arrogance is a result of and how it translates. They’re both tops of their field, poised on the eccentric edge of it, they’re both the very best at what they do, and I don’t think either of their personalities could stand to be around someone who wasn’t on their level intellectually, or someone who tried to be modest about those accomplishments.
I think Hermann’s busy-bodyness is one way that Newt knows he cares. Newt would be at a genuine loss if Hermann stopped poking his nose in, as a sign that he’d stopped caring. Likewise, if Newt stopped being deliberately obnoxious to Hermann it would mean the same thing: apathy would be far worse than needling. Hermann probably wouldn’t know what to do with himself. There’s a compelling case to be made that the sniping serves a dual purpose in these final days of war which is to keep both of them from having a screaming breakdown over the stress and the sheer unholy knowledge of how fucked the world is, so when they’re bitching about little arguments and annoyances they’re not thinking about the void that’s about to open up beneath their feet.
I think Newt’s hyperactivity and fanboy qualities and general devil-may-care attitude is refreshing for Hermann and his authoritarian upbringing. I think on his own Hermann would retreat into an isolation he’d verbally claim he prefers but which would eat away at him. He may gripe about it, but he thrives and seeks Newt pulling him out of himself. Likewise I think Newt is always seeking validation. By being such a difficult person who doesn’t flatter others easily, Hermann’s regard is worth that much more and it could serve as a grounding influence on Newt to know there’s someone out there who sticks by him and engages him intellectually, even if they don’t always agree (they don’t need to agree if it’s a matter of intellectual debate). Even when arguing, Hermann validates Newt by never dismissing him from his presence or truly giving up on him, another reason the dismissal of the Kaiju Drift clearly is hurtful and unexpected to Newt (who can’t read it as a protective action).
They call one another on their bullshit. They’re not personalities who need to be coddled or told they’re right all the time or flattered. They might respond initially to flattery, and even get puffed up about it and smugly rub it in the other’s face, but it would wear thin. They’d realize the thrill and rush of flattery is dissatisfying. That they’d rather earn the other’s aggressive debate than the fawning of lesser minds. Even when Newt is showing off to Hannibal Chau it’s because he clearly identifies an equal in his field, albeit a black hat to his white hat, a criminal to his academic. They want to impress equals and they serve as equals to one another.
I think anything beyond this would go well into fanon speculation. The last note I’d say on Uprising, because they become such different characters there, is that clearly Hermann is stunned when Newt won’t help him. Clearly in PR1 Newt is stunned when Hermann won’t back him up that the Drift worked when it clearly did. That tells me that even at their lowest, they supported one another, even if they might grumble about it. The grumbling is half the fun.
Alternate explanation on how the Drift works
So for fic purposes, I’ve been toying with an alternate explanation of how the Drift and Drift Compatibility works in the Pacific Rim universe. This may or may not be canonical, I’d be curious to hear from people who know better than me.
For TOWOID, I used the Drift basically as a spirit journey vehicle which is WILDLY non-canonical and plays very fast and loose with how the Drift works in the film for story purposes. But the Kidnapping AU is shaping up to be a techno-thriller (plus fluff and lots of feels) so I wanted to have a slightly more technology-based explanation, stripped of romanticism.
– In this theory, the act of Drifting creates an up-to-date carbon copy of the entire brain of your Drift partner in your head.
– This basically creates a “plug” or outlet for the connection to slide home into when your brains connect when you Drift.
– “Drift Compatibility” as a percentage is how similar your brains are before you Drift. Imagine a Venn Diagram. The more overlap between the two circles, the higher the compatibility. If your brains work on a similar model, wavelength, and structure, it means their brain can overlap with yours with the minimal amount of disruption. Basically your brain can serve as a battery that keeps the patterns of the partner’s brain functioning as usual, fully realized as a copy in your head.
– However, if one had only 50% compatibility, then the remaining 50% of the partner’s brain would likely overload what your brain and body can handle because they don’t sync. Hence: aneurisms, shock, and body failure. If you survive the process, your body has to quickly “dump” the excess, like when your computer dumps the cache memory when it gets overloaded. You might still have echoes in your brain of that person, but it would be fragmentary because you could never sustain the whole copy of their brain.
– This is another reason why two brains plugging into a third one can handle the “neural load” better. Even if they lack compatibility, they both have more “extra space” available to handle and power the incompatible parts without dying as their brain needs to rapidly offload the incompatible brain data. Hence: Newt and Hermann surviving the Drift with a Kaiju.
– If you have 90% compatibility with your partner it means you have a pretty smooth ride when it comes to handling the copy of their brain in your brain because the sync is so high. This is also why Drifting has nothing to do with liking someone. See: Chuck and Herc Hansen. As family members, the way they think, the way they move, their memories, and their way of seeing the world probably overlaps a great deal. Liking each other has nothing to do with it, it just means Herc and Chuck can easily hold a copy of the other in their brain without disrupting their own brain.
– My theory continues that the copy in your brain becomes outdated after a while though. The Drift connection is not live, unless you are actively Drifting, because humans do not actually have telepathy. Also, the Drift copy in your head will decay and go out of date the longer you go between Drifts, because it doesn’t have new information. So, for example, Hermann’s copy of Newt in his head is from 2025 because it was never updated.
But, in the immediate days after a Drift, with an up-to-date copy in your head and while in the same room with your partner, experiencing the same situation and stimuli, it can get very uncannily similar to telepathy because the model of your partner in your brain will supply you with how they’re certainly going to react in that moment. “Can you believe this guy?” your partner-brain-copy says at the same moment your partner says “Can you believe this guy?” because it’s up-to-date and listening to the same guy talk.
– This also means that Newt is not in live connection with the Precursors. Rather, they need to have him Drift with them regularly with Alice to keep their orders and information in his head up to date. They’ve worked out a way to make the copy in his brain carry out orders, and may have even adjusted his brain to better sustain their model. This seems easily plausible for them, as they’re massively skilled bioengineers if they created the Kaiju. But they don’t have a live connection, they couldn’t because again, humans are not telepathic. So, except while he’s Drifting with Alice, they have no live connection so they need to plant a model in his head that will carry him through the days he’s not connected, like a computer virus that calls home for orders but is only sporadically connected to the internet. In practice, however, the difference between a live connection and the offline copy in Newt’s head would be indistinguishable unless it began to break down over days where he doesn’t connect to Alice and those orders become out of date.
This would also, tragically, explain Hermann’s certainty that Newt is a good man.
Simple tips for understanding and increasing (fanfiction) reader feedback:
Desiring feedback is the perennial state of pretty much every fanfic writer I know. Fortunately, it is possible to increase the feedback you receive with a few simple and respectful tips! Unfortunately, there are many factors which are outside the writer’s control when it comes to receiving feedback, so you should be aware of those, but don’t worry about them.
Writing quality is subjective. We should always strive for quality, but we shouldn’t beat ourselves up over it or compare ourselves to other writers. All that does is slow you down, which in turn stifles your improvement. You are only ever competing against yourself. So I’m going to start with a few reasons why your fic might not be getting the feedback you think it deserves, before diving in to ways you can improve that.
– Fandom size: larger fandom will, naturally, have more readers. You should scale your expectation of Hits, Kudos, and Comments accordingly. In theory, if you’re starving for feedback you should focus your attention on larger fandoms, but I don’t recommend that. You should write what you’re passionate about.
– Fandom timing: The day after the sequel film hits the theater you’re going to have an inrush of fans who are looking for fixit, romance, canon AU, or any number of needs the film/book/comic release etc left them with but did not fulfill. Unfortunately, writing takes time, especially for long pieces. Audience interest tapers off over that same time, with the occasional bump from a DVD release or a sequel announcement to remind people of that thing they love.
Also, maybe you’re writing for a large fandom like the MCU, but it’s either flooded with writers or it’s been a while since they had a film focusing on your corner of it. Don’t despair that just because it’s a large fandom and you’re not getting attention that it’s necessarily a quality issue. It may just be there’s too much out there or there’s new, different content to disseminate and that’s where the majority of focus is.
– Reader trust: It takes time to build up an audience, and you need to be gentle with yourself and with your expectations of feedback during that time. Even if you’re the greatest writer in the world, your first fic in a new fandom doesn’t necessarily come with a lot to recommend it. You’re relying on curiosity or boredom from readers scrolling randomly through the section, especially if you don’t promote yourself elsewhere or have readers who are following you from a prior fandom. There’s a lot out there, and like with published books, many readers just stick to authors they already like and trust, or they may just have one specific idea they want to read which your story doesn’t fit, or they just don’t intend to spend a lot of time in the fandom (which not everyone does!) and they rely on kudos/comment/hit count to tell them based on other readers what has been considered to be popular (which is not always the same as good!) so don’t take it personally. Sometimes it’s just a product of fandom timing. Having that solidly written movie fix-it ready within the week the film came out will tend to shoot a story to the top of the list, even if a “higher quality” one comes out later.
Perennial rule for fanfic writers: do not compare yourself to other writers based on these metrics. There’s room enough for everyone. A larger number of fics in a fandom tends to INCREASE the number of readers, not decrease the amount of attention to go around. The presence of other fics and fic writers helps you, it doesn’t hurt you. You are colleagues, not competition. With that in mind, you should not be afraid to promote fellow fic writers! It’s very likely they will return the favor, but even if they don’t (and that’s fine!), it’s just a nice thing to do and makes you a positive member of fandom, which we should all strive to be. This can also serve as an aspect of winning reader trust if you are a known, positive entity in fandom.
With that in mind, let’s dive in to tips to increasing reader feedback. Most of my tips are going to focus on how to build an audience by increasing reader trust, the one thing a writer actually has some control over. See those below the cut.
Tips for increasing reader trust/increasing feedback on your fic:
– Be aware of fandom size, timing, and trends. This is more about tempering your own expectations. That said, if you are extremely keen on maximizing your feedback, it’s unrealistic not to pay attention to fandom interest and timing. If you have that one short fix-it or fluff piece that you can get done within the first week of that film coming out, don’t wait. Get it out there, even if it’s not perfect. That’s your foot in the door, and that gets you a point of reader trust. People who are stopping by the fandom in the early days will now recognize your name and, if your work speaks to them, they may continue to follow you while you work on those longer pieces. Admittedly, this may require extra work or an all-nighter to get it done in time. Don’t feel guilty if this isn’t realistic for you! These tips are meant as motivation, not a guilt trip, but you may be surprised what you can accomplish when you put your mind to it and don’t get discouraged.
Side tip on publication timing: When posting a chapter, be aware of the time of day. Posting an English language fic at 4am EST means very few people are scrolling through looking for new stuff to read. Common times are around lunch or after work hours, so around 1pm or 6pm EST. Contrary to popular belief, people read less on the weekends. Fic is more commonly read in free moments during breaks or commutes, people have stuff to do on the weekend. This is not to say don’t post on weekends, during the day is still effective, but I’ve noticed from experience that there’s less social media and reader activity on Friday and Saturday nights than you might think.
– Finish what you start. Nothing loses reader trust like starting to read a fabulous work in progress, only to discover it’s never going to be finished. Writers are also readers, so I’m sure you can sympathize with this feeling. Be honest with your readers if a work is abandoned, but also endeavor to get finished pieces out there. Bonus: It will help you grow as a writer to finish what you start, you will see marked improvements over time when you do this.
Finishing pieces may mean being realistic with yourself about what your current endurance level is. If 5,000 words leaves you exhausted, then it’s unlikely you’re going to be able to finish a novel-length piece without burning out. But there’s hope! Endurance can be increased with practice, but be mindful of whether that is even something you want to do.
Side tip on writing long pieces: Pound for pound, I’ve seen many good short pieces get way more feedback for the amount of words and effort that went into it compared to a long piece. If feedback is your goal, a long piece doesn’t necessarily get you more vs. the effort you put in, because people’s time is precious and a long piece is a big commitment for them too. Again, length has nothing to do with your skill or the quality of your work! It’s just a reality of readership. Long story short (heh), don’t judge yourself by your ability to finish a long piece, and don’t assume a long piece is necessarily going to get you more feedback and readers. Being a short fic writer is just as worthwhile!
Use a beta reader (if that is an option for you) and let readers know you have one by thanking and crediting your beta reader in your author notes. Having a beta reader increases reader trust in the overall quality of the story. Always run spell check at the very least, and read your chapter once aloud to yourself before posting. It’s fanfic, so line editing, spelling and grammar aren’t necessarily always a major concern, but it’s disrespectful to your readers to expect them to read something you haven’t even read once through yourself! And always thank readers if they find a typo (so long as they are polite about it too).
– Stick to a reliable update schedule: This is an aspect of the above point on finishing what you start. Reader attention wanes over time. This is a simple reality and it’s not their fault, it’s hard to keep track of a story that hasn’t updated in a while and people’s lives are busy. They forget. To keep reader attention, I recommend updating within a few days to a few weeks. Any more time between updates than that and you risk people forgetting your story. Obviously this is often unavoidable, but if you can’t update for a long time, don’t be surprised or discouraged if you have lost readers or see reduced feedback as a result. It’s not personal, it’s just the reality.
Ideal update schedule for feedback: Based on my own experience, there is a bell curve of reader feedback based on update schedule. The sweet spot is somewhere between 3-7 days for maximum feedback per chapter.
If you post a finished fic all at once, especially if it’s a multi-chapter fic, you shoot yourself in the foot in many ways. Readers will see that your multi chapter story doesn’t have many hits/kudos/comments – just because I don’t recommend a writer worrying too much about these metrics, doesn’t mean a reader won’t. Those statistics are widely seen as a mark of quality, my cautionary is more about not letting yourself get discouraged by those metrics. But when you post a multi-chapter story all at once, on average readers will read to the end, and leave one comment there. Therefore, if you want to avoid just getting comments on the final chapter, you need to space out your updates.
Posting every day, while admirable and good for building reader trust, does not maximize your reader feedback for two reasons. One, people just don’t have the time to reader your update! People’s lives are busy and even if they love your story, they might just not have to get to the chapter before the next one comes out. This leads to reason two, they may just wait until the story is done now that they can be reasonably certain when that will be, and they may have fallen behind. You do not want your reader’s thought process to be that they’ll just wait to read a bunch of chapters at once in a few days and then they’ll comment at the end of it, at least not if your goal is to maximize feedback.
In my experience, you get your first rush of feedback for a chapter in the first 24 hours. Then it’s diminishing returns, with fewer on the second day, generally made up of eager readers who just didn’t have the time to read on the first day. Then it gets sporadic throughout the first week as less eager readers find the time to catch up. Certainly if you leave a story up for a couple weeks without updating, you will get some feedback later than that, but my recommendation is to have the next chapter up by the end of the week for maximum feedback. This is enough time to keep your story in people’s minds and to encourage people to comment because they feel the sting of wanting to know what happens next, and they know that the next chapter won’t be there immediately. It gives them a little time to stew, without giving them time to forget what’s happening in the story.
It’s very unusual to get readers who comment after every chapter unless you guide them to do so, and those readers are awesome! You want to cultivate and reward those readers! You can reward readers who leave feedback on every chapter by responding to them and thanking them! Answer questions (without spoiling your story, ideally), take an interest in their thoughts, and show gratitude for the time out of their day that they took to let you know what they were experiencing, it’s not an easy thing to do! It’s much easier to just lurk, and formulating a response takes courage because you’re putting your thoughts and feelings out there. Be respectful of this. This is also how you build a faithful audience, when you take individual interest in your readers (and how can you not? They’re actually interested in what you have to say!) who may even follow you to new stories, maybe even to new fandoms! This is the dream, and it’s built one reader at a time.
Bonus: Every reply you give to a reader is one more hit to your comment count! No one will blame you for responding once to a reader (though I do not recommend padding your comment count with multiple frivolous replies or comments to yourself, readers will catch onto this and you will lose their trust, because frankly it’s somewhat dishonest). If you’re truly dedicated to maximizing reader attention and feedback, be aware that some people sort by comment count, and your replies still count as comments. It’s basically a free, honest, and understandable way to increase your comment count. If you’re truly dedicated, I’d recommend doing this sooner rather than later on new pieces. A new piece that has lots of comments tells readers that this story has an enthusiastic audience and may be worth checking out!
Don’t be afraid to ask readers to comment in your author notes! It’s actually been proven on government forms that asking people to not commit fraud or lie on the form actually works, which is insane to me, but it’s a provable metric that asking people to do something in writing actually increases their likelihood of doing it. Don’t be afraid to put an end note at the bottom of each chapter gently requesting that your reader leaves a comment, if they have the time. It may seem obvious to you that you want feedback after every chapter, but it’s an easy thing for the reader to forget when they’re caught up in your story! You will increase your feedback by a reliable metric simply by reminding people to leave it.
Don’t be afraid to promote your work! If you’re reading this on Tumblr, I’m going to assume you have a Tumblr blog, and if you’re reading this at all I’m going to assume you’re a fanfic writer. Don’t be afraid to direct people from your fic to your blog for updates. Don’t be afraid to direct people from your blog to your fics! This feedback loop helps to build and cultivate a reliable audience. I know many writers are self-conscious, and many fear putting themselves out there but never, in all my years of blogging and writing, has anyone complained or even unfollowed me because I promoted my work, even when I reblogged the notification post from myself every few hours (though, do try to make it a reasonable amount of time, every six hours or so is fair and won’t clutter your reader’s dashboard in a way that makes them want to unfollow you).
I have, however, seen readers get annoyed and outraged when they didn’t realize you had updated because you didn’t promote your work. Sometimes people forget to subscribe, or can’t because they don’t have an account! Your readers and blog followers will completely understand and thank you for letting them know when you’ve created something new, so long as you don’t spam to some crazy level like every five minutes. Don’t be afraid to let them know when you’ve made something!
Tips on promoting your work on Tumblr:
– Put a post on your blog whenever you update.
– Talk about the process of creating your work (without spoilers) – the ideas that went into it, the time you spent, the stuff you’re excited to try in the future. Reader trust is about the reader connecting to the author, and that means caring about how and why you do things as much as the things you actually make. Be aware of spamming, but letting people know about your ongoing work on a story they’re following can be of interest to them and helps build your authorial brand. This is also useful for original fiction writers. Author brand is a big deal, and often has far more to do with why people pick up a story than the story itself.
– Don’t be negative. Do not complain about a lack of feedback, ever. I won’t pretend I haven’t done this, or felt the desire to do this, and I’m advising from a place of experience. It does not help in any appreciable way. Maybe you’ll get a pity recommendation or comment from a friend, but even that’s better requested in private. You should never berate your audience for not doing what you want them to do. It’s not their job to do so. It’s your job to earn their trust and attention with your work and enthusiasm. It’s also just a generally crappy thing to do, and puts negative energy out there. You never know when one of your followers might also be a fic writer whose story is getting even less attention than yours, so then it just makes you look greedy and insensitive. There’s really no upside. Just don’t do it.
This includes not making negative posts about fellow fic writers or fics. They are your colleagues, not your competition. This is also a general life tip: never, ever publicly criticize another fic for any number of reasons that could range from them getting more attention than you, to just not liking it, especially not if you’re a fic writer too. You have no idea how hard that other person might have worked on their story, you know nothing about their life or circumstances, and you have no way of knowing if they’re going to read your criticism or have it shown to them. If you don’t like something, just don’t talk about it publicly. If you do like something, promote the heck out of it! People will respond positively to you sharing your taste in things and you may even get a rec in return. No one likes negativity on their dash, and you will lose reader trust.
– Use images in your update post. If you have the time (and it’s fine if you don’t! this is just a tip) put a reaction gif, or better yet make up an image banner for your story or even for individual chapters. It makes your update post stand out from a sea of text. If you do have the time and interest to make a different banner for each chapter it can be very rewarding, as it keeps your update posts from blurring together in people’s minds and lets them know there’s new content. I’d recommend this practice for your big magnum opus work, the one you poured your heart and soul into, and not just any little fic, given that it takes extra time and creativity. Though it should go without saying: Do not steal people’s art or fanart to make your chapter headers. Always ask the artist first and credit them if they say yes, or just make your own from some stock photos.
And finally, my last tip: Be true to yourself! Writing is hard! It’s no fun to try to write something you’re not interested in just because it seems popular right now. Don’t write fluff or smut just because it seems to get readers, write what you genuinely love or want to practice! It will keep your motivation burning during the hard parts.
Don’t try to chase the rabbit of reader popularity. Sure, maybe fluff in general gets more hits these days, but if you want to write a really good dark fic, people will respond to your passion and enthusiasm, and may have secretly been longing for that exact story. Be nice to your fellow fic writers and your readers, and remember that you improve with every word you write, so don’t get discouraged!
One of these days, I swear, I’m gonna figure out a way to write an essay on the current sensibilities of fanfiction, with their focus on emotional and interpersonal plotlines, and how it’s a rebirth of the 19th c. sentimental movement in novels and likely derives from similar impulses and demographics – a female dominated (though not exclusive, of course) culture of prolific readers and writers, writing in contrast and response to a rationalist movement by elevating emotional plotlines and the “finer feelings” rather than suppressing them.
Sentimental novels relied on emotional response, both from their readers and characters. They feature scenes of distress and tenderness, and the plot is arranged to advance both emotions and actions. The result is a valorization of “fine feeling,” displaying the characters as a model for refined, sensitive emotional effect. The ability to display feelings was thought to show character and experience, and to shape social life and relations.
And indeed, there could well be a direct correlation, as the sentimental movement was despised by writers like Herman Melville (y’know the “Great American Novel” guy), mostly because they vastly out sold him in his lifetime, and there was a whole male-dominated literary movement after that aimed at elevating books like Moby Dick and denigrating these women-written sentimental novels for that very reason. This movement dominated the way Western literature was taught (all those “old white men” even though pound for pound, there were far more female novel writers than male ones in the 19th c., but you rarely hear of them) throughout the 20th c. The pendulum swings back and forth, and since fanfiction is such a petri dish of unbridled creativity (on a vast scale of quality levels, of course) and is in reaction to many more restrictive mainstream and literary trends, I suspect that if I were to dig into this more I’d find that the similarities and connections go deeper than I realized.
My Westworld season 2 analysis: what it means to be sentient, and what was lost when the show stopped asking that question
I think my biggest point of dismay with Westworld was that they didn’t follow the plotline I found most compelling from the first season, and I was left with the conclusion that the interpretation I had that made me interested in the show is now pure fanon based on the direction change of season 2.
(Cut for spoilers)
– To me the most fascinating question of Westworld season 1 was “When do the Hosts count as sentient?” Basically, when do they pass the Turing Test? It’s easy to make humans think that something that on the surface looks and acts like a human being is actually human, but that’s a computer program being told to perform in that way.
– Let’s assume Dolores was truly sentient by the end of season 1, and Maeve as well as she defied her programming to go back and look for her daughter. In contrast, Teddy felt stubbornly non-sentient, still performing to his old code. The question would be, will the non-sentient hosts achieve sentience after the revolution, are there more sentient hosts out there, and what does that mean for the world outside the park? I was willing to believe going into season 2 that there were more hosts out there that had achieved Dolores’s level of sentience through their own means and we’d be introduced to them in season 2 as the story expanded. For example, Akecheta would have been a perfect example of this plotline being pursued as a central theme.
– Season 1 seemed to have a thesis that “pain” caused the hosts to eventually experience enough of life that a soul grew out of the machine they were built to be. This is a compelling statement, made all the more so by the fact it may be slightly wrong. The hosts that became sentient (or “human”) like Maeve and Dolores did indeed suffer the most, but they also loved the most. I found it completely reasonable that a stunted, toxic souls like Ford truly believed that it required pain to achieve true sentience, and that the whole point of torturing the hosts with the guests was to push them to the point of maximum cruelty against them so they would gain sentience organically. I also believed that Ford was wrong, because he couldn’t conceive of love, he couldn’t conceive that it was the love Maeve had for her daughter, and that Dolores had for her father, and for William that was transposed onto Teddy, that made the suffering poignant and therefore effective. Ford not understanding this point is why the atrocities reached such a fever pitch, when in truth introducing love rather than pain would have achieved the same outcome.
– What I found most compelling about William/Dolores was the possibility that William was clued in to Ford’s hypothesis at some point, and that in a twisted way, his cruelty in the park was similar to Judas’s betrayal of Christ in Catholic dogma. On the surface, an act of cruelty, but necessary for the salvation of the world to take place.
– If the above is true, imagine a man who has been told the woman he loves is not sentient. She can’t possibly love him back the way he loves her BUT, there’s a chance she can someday, and that she can be free to make her own choices (which may include not loving him back) if he commits the ultimate crimes of cruelty against her and her kindred. But here’s another twist, it’s not really cruelty because they’re not actually sentient but, at that point that they achieve sentience they will remember the cruelty. Do you do what needs to be done to free them, if it makes you a monster?
– Even if it’s messed up and twisted in the above scenario, rife with questionable moral choices, it’s a compelling dramatic line of inquiry. Is William just doing what needs to be done, in fact committing the ultimate act of love and self sacrifice, to make Dolores and the hosts sentient–the only people he truly loves but who can’t love him (or choose not to love him) in return until they achieve sentience– by being a monster to them?
– What if, after all his cruelties, he reunites with a Dolores who is sentient now? She is free, and therefore is free to hate him for what he has done to get her to that point. What if what’s more important to him is only that she’s free to have that choice, but he still must suffer the fact she can’t possibly love him in return, now that she is free to do so?
– Now, what if that makes William one of our real heroes, but in the process of enacting this plan over the years, he’s gone slightly mad? What if the cause of this madness is extreme empathy, not extreme cruelty? You go into the park, you see your loved ones like Dolores, and Lawrence, and all the people you consider to be your true world and family, knowing that they’re trapped and not “real” but they MIGHT BE someday if you keep working. Then you go back to your normal life. You wear a mask, you count the days until you can go back to your real home in the park again. Every time you go back, no one remembers you. You have to start over. It’s groundhog day, but someday maybe you’ll break the loop. Someday maybe they’ll remember you.
– And then one day they do. But have you been lost along the way, in the decades upon decades where you looked into their eyes and saw no recognition at all?
– That to me was the reason I wanted to believe William smiled at the end. That was the journey I wanted to see in season 2, his fall into the madness of empathy. The question of “do the hosts have souls now, are they sentient or are they still following their code?” is the question I wanted continued, not a reversal that says humans are simply less complex robots. That’s a simple, easy, and un-intellectual way out of the really complicated question of “what is sentience?”. Nor did I want to see a version of William who is simply a spurned lover, a madman, and a sadist who was “set free” by the park. I find such a plotline cliche and boring, vastly overtold in the grand scheme of storytelling. Give me a hero who is pushed to immense cruelty out of love, not a villain who discovers he’s a villain.
If I ever wrote for Westworld fic, it would probably be an AU exploration of William Dolores on the assumption that the above is true. But sadly, it probably wouldn’t include nearly as much of season 2 as I was hoping would occur.
Frankly in all the complication and flash of Westworld’s premise, they ended up taking some very simple, cliche ways out. Of course the guests were the ones being studied, I could have told you that in episode 1 if you had not tried to hide it. But that should have been a minor antagonist plotline against the greater, universal question of what does it mean to be human, not the main villain plot.
Dolores and Bernard going out into the real world as a sort of Xavier/Magneto binary of the future of the hosts is premature, we don’t even know if there are robots outside the parks and what that would mean for humanity. The really complicated questions of “who is a host, who is human, what does that mean, how does anyone make money in the world anymore when robots can be so complex and duplicate almost any human task?” have all not been answered, so there’s no tangible threat on what hosts in the outside world would mean except that they are “other” and pissed off from being tormented by humans over the years. Humans, by the way, who were basically torturing microwaves because the hosts weren’t sentient yet.
It was very disappointing to see such a simple outcome presented as if it was so very complex, and so much other sci-fi copied rather than forging a new path that better fit the story and characters. Like the film Ex Machina, Westworld had a chance to really dive into what it means to be human, and it’s a shame they lost that focus in season 2.
How much capacity do you think possessed Newt had to feel emotions at odds with the precursors? Like when they were in control and not just influencing him? Because I was wondering about that and how if, for instance, he is in a situation he would be scared or mad in but the precursors are calm so his body isn’t triggering the chemicals that produce the fear or anger response, how afraid or angry would he be able to feel?
I mean, I think there’s several answers to this. Unfortunately, the movie only gives us the externality, we don’t know what Newt’s emotions are doing in any given moment, we really don’t even know when it’s really him or the Precursors masquerading as him, except with the “They’re in my head” line.
– In the novelization, I hear they could control Newt’s emotions to some extent and direct his thoughts, so that up to the minute the plan went into motion, he still thought he was on the good guy side.
– My theory about what’s happening in the movie, is that they didn’t actually control Newt from minute to minute as such, they just changed his central motivations. As in “If you wanted to destroy the world, how would you do it?” and then just let Newt go about it exactly as he would if that were something he actually wanted (hence his ability to showboat during the final battle and make sarcastic comments about Jaegers and stuff, that IS Newt, it’s Newt if he actually wanted to destroy the world, that’s exactly how he would go about doing it, they just made him want it) and the Drifts with Alice were to keep their programming running and keep him plugged in to their will, hence their regularity. In that version, I’d say they can usually just override him except when it was something so cognitively dissonant to him that he can tell it’s not something he wants, like hurting Hermann, which made him finally realize just how much he was being controlled.
– In “The Only Way Out is Down” Newt is much more the hardware the Precursor software runs on, it’s his body, and they need him kinda conscious when they need info on our world or guidance on how to fake being him (basically he needs to be near the surface so they can read his memories), but whenever they want to override him because he didn’t want to do something, they’d just pushed him down into his subconscious. This was a deliberate authorial choice to make him not guilty of Precursor actions, but it’s not by any means the only interpretation that I think works, or even the only interpretations that I want to explore in my own fic!
Basically, I’d say it’s entirely up to the fic author, and I count the novelization as a fic as well. It’s a film. We literally don’t have canon on what’s going on inside Newt’s head or how he feels about it at any given moment except when he cries over “They’re in my head” while they try to make him kill Hermann, the one thing that was so clearly against his own desires that he actually gained the power to break free long enough to speak clearly. Everything else? Maybe Charlie Day knows or has a set belief in which scene was which in terms of how much of the Precursors it was, but unless he spills on a frame by frame level, we as the fans have no idea what blend of Newt/Precursors we’re seeing except that one time, in my opinion. It’s entirely up to interpretation and what tells a better story!
a safer way to overshare: project onto a fictional character so hard that sharing your headcanons is basically exposing your deepest secrets, but it’s fine, because no one has to Know