Author has written 3 stories for Naruto, and Star Wars.
Summer of 16: I am a Sophomore in College, and I honestly don't read much fanfiction anymore. It takes way too much time out of my life. However, after a few years of being on haitus from the whole fanfic scene, I started getting back into Naruto. Now I am going to try my hand at utilizing my, hopefully, much improved writing capabilities to explore the Naruto universe in ways I always wanted to see it explored. Basically, I want to create the Naruto I've always wanted to see. To do this, I will be stitching together the best aspects of the canon and the hundreds of fanfics I have read, all the while putting my own creative spin to it. I believe this will work out to create something cool, new, and original. On the other hand, you might be asking yourself, I have also read a lot of fanfiction, so why would I just read stories that are just an amalgamation of everything I have already read? Why would I read some weird fanfiction anthology if I have already read the individual fanfics that make up said anthology? Well, my response is that I have not read fanfiction in about four years, and I haven't religiously watched/read Naruto in about two. So, I will, at best, be paraphrasing long forgotten fanfics from memory, and, at worst, just using minor conceptual themes. Finally, the fanfics I will be referencing will be so far out of date, they won't even be applicable; my story should be a glorified refresher. Either way, I think I will have a lot of fun, and I hope you do to!
Summer of 17: Now soon to be a Junior in College, I became disenchanted with Naruto fanfiction because the story is over, and, honestly, there's nothing I'm really dissatisfied with that I want to fix about it. The reason I like Naruto fanfictions was because they made him super strong from a young age, but he's already, like the strongest ever, so there's no need to write one anymore. At least, no need for someone with my taste.
So this summer I was going to leave the fanfiction world. I was writing an original story, and I felt like it was going well. However, I suddenly came up with an idea for a Yoda backstory which would be sooooo, soooo good. That's what I'm working on. I don't know how much I'll work on it during the school year, if I do at all, but I thought I'd use the summer to write it and work on my prose. That's what I need help on most, the concrete aspects of actually getting a story down on paper. I feel that I'm very developed in terms of organizing the meta of a story and making it really stinking good. What I struggle with is actually writing it. That's what everyone says, but, as arrogant as it sounds, I'm confident I have a better grasp than most everyone on how to organize a story. Yet, putting pen to paper is something that requires hours of practice and criticism. I need to just write and get some good criticism. So please, tell me what I'm doing wrong. Not with regards to the goal of the story, though I do need some help because it is hard to make what I've written match what I've imagined, but with regards to specific nuances of prose.
Writing Style: Before I changed this, I posited a writing style that attempted to emulate the likes of Steinbeck and Hemingway. That was a year ago, and I feel I have developed as both an author and in literary understanding since then. Now, I feel more confident in averring a more unique writing style. Now, I prefer to write in a basic and academic manner, telling the story as simply as possible. There is a bit of tell and not show, but that's okay. All of the greats don't follow the show don't tell religiously, as they understand its true purpose (see below). In that way I guess my prose is a bit like Hemingway's, but it's not nearly as concise.
Show Don't Tell Rant: I know rants are popular on this website, as its filled to the brim with angsty, overdramatic, teenagers--characteristics I happen to despise irrationally. Subsequently, I felt it fitting to rant about this. Show don't tell is a ubiquitous maxim for callow writers; however, the way it is portrayed is incorrect. Most of the time, it is implied that nothing of the characters feelings, emotions, or motives should be explicitly stated to the reader. There is some truth to this, but much of it is simultaneously misleading. For the most part, when this aphorism is understood in its original intent, it has little to do with the minutiae of prose. Its true purpose lies in the broad meaning of a story. As an author, therefore, its not harmful to explain the feelings of a particular character (though it can be done to a detrimental extent); it is harmful to explain how events of the story relate towards its contextualization and interpretation. In short, show don't tell exists to remind people not to interpret the story for the reader. Let the reader do the work themselves and interpret its meaning. One example of when this rule is not followed is the movie Wonder Woman. The movie, as a whole, has few holes, yet this is one: at the end, it bends over backwards to explain that people are good and bad, no one is perfect, but that it's worth it to believe in love. The director should have just let the story speak for itself, it should have shown that meaning rather than explained it so explicitly to the audience. It interpreted the entire film for them. That's exactly what show don't tell is a reminder against, not over what things mean to characters.
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