just read your fic 'Postmodern Philosophy' and when I literally SHOUTED 'OH MY GODDDDDDDD YOU BITCHHHH' with the "Last call to Tarsus IV" line
never in my LIFE have I read a fic yet that has Jim go through it as an adult and im SO excited to see where it all goes - dealing with all of that ON TOP of his ptsd from death??????? chefs kiss truly
the writing is great - you've got the voices of all the characters down and the pacing is phenomenal! really enjoying it so far and hope to read more soon!!!
LOOOL this made me cackle
I'm so jazzed you're enjoying it!! It's definitely felt daunting to try to get the story and characters right in this particular context, so I really appreciate your excitement about it!! I'm about halfway through the next chapter and I hope I can do it justice!!
you're not turning your fandom hobby into a job are you? giving yourself deadlines and quotas that you have to meet? focusing on the numbers instead of your enjoyment of the act of creation?
you're not taking your love of something and using it as a tool to hurt yourself are you? loving it so hard that you forget to take care of yourself? telling yourself that people only care about you because of what you make and that they'll stop if you take a break? pushing yourself to work instead of rest so that the thing that used to give you joy and energy is now also burning you out, like everything else?
An Archive of Our Own, a project of the Organization for Transformative Works
For the two people out there who care, Chapter Four is finished!
Self deprecating jokes aside, two things I want to note:
1) For as long as it takes me to update (for various reasons that ultimately don't matter), I have never once considered this story abandoned. I've worked on this chapter off and on for the six years it took me to finally post it. I think about it constantly. It has a complete outline. No matter how long the hiatus, I always plan to come back to it.
2) A lot has changed in the last six years. Notably, the world is dealing with the advent of AI and AI generated content. I want to make it EXPLICITLY clear that my story is in no way AI generated, nor will it ever be in the future.
everyone in the notes we are all holding hands. everyone who hasnt worked on a wip in weeks or months or years, its okay. we are going slow but we are going
on “the blond,” “the older man,” and other crimes against third-person limited
You know that thing where a story is written in tight third person limited — we’re meant to be inside someone’s head, seeing the world through their thoughts — and then suddenly the narration says “the blond frowned” or “the shorter woman sighed” about a person the POV character knows really well?
That’s called antonomasia — using a descriptive label instead of a name. And it’s fine when we’re talking about strangers: “the cashier handed her the receipt,” “the tall guy blocked the door.” The POV character doesn’t know their names, and we just need a quick way to tell people apart.
But the moment it’s used for someone the POV character already knows, it breaks immersion. Because that’s not how our minds work. We don’t think “the older man smiled at me.” We think “Mark smiled.” Or maybe “my boss” if that relationship matters in the moment.
Third person limited means the narration sits inside someone’s perception. Their inner monologue is the story’s voice. So when you switch from “Mark smiled” to “the blond smiled,” you’ve pulled the camera away from their mind and turned it into an outside shot.
If you want to create distance or irritation, you can do it on purpose —
“The idiot from accounting emailed again.”
That’s character voice. That’s judgment. That works.
But otherwise?
As soon as your POV character knows someone’s name, use it. While we do tend to worry about repetitions, names rarely register as such to the readers.
If you need variety for rhythm, use relational or emotional identifiers that make sense in their head: her friend, his partner, their teacher, the person they loved.
Because inside someone’s thoughts, there are no “blonds” or “brunettes.”
I want to write. I have ideas. I open document. I type four of the worst sentences ever created in the english language. I daydream the rest of the scene. I close document.
“No writing is wasted. Did you know that sourdough from San Francisco is leavened partly by a bacteria called lactobacillus sanfrancisensis? It is native to the soil there, and does not do well elsewhere. But any kitchen can become an ecosystem. If you bake a lot, your kitchen will become a happy home to wild yeasts, and all your bread will taste better. Even a failed loaf is not wasted. Likewise, cheese makers wash the dairy floor with whey. Tomato gardeners compost with rotten tomatoes. No writing is wasted: the words you can’t put in your book can wash the floor, live in the soil, lurk around in the air. They will make the next words better.”
i think its so funny that relationship milestones are only shared and acknowledged when the relationship in question is romantic. like if me and my bestie start dating we gotta tell everybody and their mama but nobody ever wants to hear about how over the course of several months me and my friends from the internet have co-authored beautiful erotica together sometimes beginning as early in the day as 7am EST
I firmly believe that no writer should ever have to say "I suck at summaries", "my summary is bad but my story is good", "idk what to put in my summary" etc.
Why?
It makes you seem unconfident or disinterested in your own writing, which therefore puts off a lot of potential readers
It can come off like you didn't try
When tons of people say "I suck at summaries", it lowkey lumps you in with all the other writers who also don't know how to write summaries, and can make the premise of your fic seem less interesting or unique as a result
And quite frankly, I think every person who's ever slapped this kind of disclaimer on their fic absolutely can write a good summary if only they had some guidance and practice!
So, here are my go-to strategies for how to write a summary that functionally conveys the premise of your fic while also making it sound fun and interesting:
(Disclaimer, a lot of fellow fic writers out there have already internalized at least a good portion of what I've written below. This guide is designed for fanfic newcomers who may or may not still be learning how to write, largely because I most often see them posting the dreaded "I suck at summaries" as a shield, excuse, or preemptive defense of their works. I also want to say- no shame. We all have to start somewhere, and I just want to help out as much as I can.)
1) The In-Universe & Out Strategy:
I'm explaining this one first because if you've ever spared even a passing glance at Ao3, you've definitely come across this summary archetype before. And I'm super guilty of using it, too. But hey, if it works, it works!
This strategy is actually two summaries in one, the first being a blurb explaining the plot in a way similar to those you'd find printed in published books, with the goal of highlighting the drama or central conflict in the story and/or main character(s).
But it's also combined with an "out of character", typically much shorter summary that explains the premise by referencing its tropes or general format. The example below is one of my own fic summaries:
Let's start with the easier "out of character" component of this two-parter, that being the very last line of the example summary. This portion is technically optional in any summary, but has its many uses. The most important of which is that it offers clarity and guidance for your readers, and informs them of what exactly they're getting into if they were to click on your fic.
Also, it always comes second because the technical, "out of character" component is not you as a fandom participant trying to sell your story in an engaging way, it's you as the author explaining what it is you've made using familiar terms like "pre-canon"/"AU", etc.
And to be clear, I personally believe it's always better that your potential readers' first taste of your story (that being your summary) is immersive and enticing rather than plain and technical. So this smaller blurb should always go after your actual summary. Think of it as the cherry on top.
And you can make this portion of your summary very easily. Just state if your fic is an AU, if it's a "5 times X happened and the 1 time Y happened" fic, etc. All you have to do is tell your audience plainly what the main draw of the fic is, and all that takes is 1 sentence.
Aside from that, why does this format work and why is it so common in fandom spaces?
Well I referenced it before, but it offers something that most summaries in published books do not: clarity.
Yes, a good fic summary should tell you who the central character(s) are and a general idea of what happens in it. But summaries are also often used to build intrigue. You want your audience's curiosity to be piqued, so if you make your summary (and by extension your story) sound cool and mysterious, or full of adventure, or intensely cerebral and thought-provoking, readers will be inclined to click on your fic to find out how it ends.
But also, mystique offers uncertainty. And some readers might not like a fic if they can't quite parse out what exactly it'll be about. So, having an additional line or two after your "real" summary to explain the premise the way you might quickly explain it to a friend, gives that balance of intrigue and clarity.
But how do you write that first part? The actual summary?
2) The Cheater's Strategy:
It sounds a little dramatic, but honestly I consider this my "cheat sheet" way of making a summary because it's very much a shortcut that works.
And that strategy is: you sum up the first chapter of your fic. Nothing more. You do not allude to what the overarching plot is, you act as if chapter 1 is all you've got. But why would you do that?
Here's the thing about fanfics, based heavily on my experience in both writing and reading them. When you've got a fic that's more than 5-8 chapters long, or it stretches beyond 10-15k, oftentimes the first few chapters are all set up for your premise and the real meat of the story (the solving of the mystery, the big battles, the winding adventure, the burning portion of the slowburn) will come after.
When it comes to the cheater's strategy, you're going to ignore all the best portions of your story just so you can explain the boring set-up period where you position all your characters in the right places so they're ready to go on their (mis)adventure.
If you think that sounds like a bad idea, let me ask you this: When you pick up a mystery novel at the bookshop, does the summary give away who did it?
No! And you're not going to, either.
Also, it's implied and expected that the longer your story is, the more it will develop, change, and grow. So if you can sell your initial concept idea enough for a reader to click and read the first chapter, you very well could hook them and keep them seated for the rest of your story.
And remember what I said about building intrigue? This strategy is designed to build intrigue by suggesting there's more than what meets the eye.
Here's another example:
That might sound dense. And it's long. And it sounds like maybe a lot of stuff goes on in chapter one, but literally all I've done is explain the initial premise of my fic. (Note- this summary is for an Epic the Musical fic, which is a musical based of the Odyssey. Would highly recommend but that's beside the point)
The point is, this is an AU. But I didn't employ the Out of Universe strategy this time around and say it's an AU because it's obvious to anyone in the Epic fandom and it does not need to be further clarified.
What mattered to me in this scenario is that my potential reader sees my summary and knows that Odysseus the main character is a man who is married to the goddess Calypso, and is currently living in paradise. But in canon (both in Epic and in the actual Odyssey), Odysseus rebuked Calypso's advances because he wished to remain faithful to his actual wife Penelope.
The suggestion or implied understanding here is that something bad happened that caused Odysseus to discard Penelope in favor of Calypso. (Spoiler alert: the bad thing was him being brainwashed by a woman who would eventually become his abuser.)
And in this case, it's the suggestion of something gone wrong that builds the intrigue and curiosity for me without me having to add anything extra.
In the bulk of King of Ogygia, Odysseus goes on a strenuous mental journey to rediscover his true self with the help of various Greek gods, while also physically fighting back against his abuser. That all sounds pretty important to the story, right?
And it is! But I didn't want to include any of that and risk spoiling the overarching story. Anyone who'll be interested in chapter 1 will probably willingly continue reading to see how the story develops because that's just what you do when you find a story you like.
But let's say you're not writing an AU or a complicated, multi-chapter story spanning tens or hundreds of thousands of words.
If your fic is short and sweet, your summary should be as well. Next up,
3) Keep it Simple Strategies
(Yes, plural. This section is more like two different ideas lumped into one sum, but it made the most sense to put them together so please bear with me.)
Maybe you've got a neat little one-shot or a short fic (like 10k words or less) and you're not sure how to write it's summary precisely because it's so short. Or maybe you just prefer simple, direct summaries as opposed to the lengthy, dramatic kind.
Here's my next example from a 3k one shot I once wrote:
To be clear, this is a NOT an ideal summary. Far from it. But it's from a fic I wrote 6 years ago and I've definitely grown and changed as a writer since then. Let's dissect and rewrite this summary together.
Firstly, it does the bare minimum of telling you who the main character is (Kirishima), who he's being shipped with (Izuku), and the setting (a gym). And from a technical standpoint, that's almost all you have to write in order to reach the textbook definition of a summary.
But I didn't even really explain what the conflict or actual plot is, only suggested that that plot would be Kirishima trying to get together with another character who, in this setting, is a personal trainer.
It's succinct, I can at least give it that. But it's so short and plain that it doesn't really spark much imagination, does it? In all honesty, if I saw this exact summary posted at the top of Ao3, I'd skip right past it because it's so unimaginative and bland 😭
But the fic itself is only 3k, how do you build intrigue for a story that most readers can digest in about 30 minutes or less?
Let's start by identifying the main character and make a short list of their most important emotions or characteristics. Here, I would characterize Kirishima as being hopeful (that he can score a date), in love, and active (in a physical sense).
So I should try to channel these primary components into my summary. I could say something to the effect of:
Kirishima has been hitting the gym a lot more often, but it's not to improve his strength. There's a new personal trainer and he's got Kirishima's heart rate spiking better than cardio day. But can he work up the nerve to actually ask Izuku out?
Obviously, he'll ask out the cute trainer and they'll go on a date, but that's not what's important to a ship fic. It's the journey to the inevitable getting together that we want.
What makes this summary a little more engaging is that it's a lot more playful than the original. The gym pun and usage of "strength", "heart rate", and "cardio" really emphasizes the setting and premise. It helps sell the idea that this fic is a lighthearted romp while also hitting all the basics of who we're supposed to care about and where they are.
Here's a marginally better example summary:
Same fandom, different ship, similar premise. One character has a crush on the other, their crush is unaware of their affection at first, and the name of the game is winning them over.
But what makes this summary better than the previous example?
Well, it explains itself quite well by hitting all the minimum details. With four short sentences, it introduces who the two most important characters are and what their deal is. One of them is a god, the other is a mortal. It's a fantasy setting. The romance is one-sided.
But those minimum details coalesce into something greater than the sum of its parts. You also get the sense that Katsuki is dangerous and hot headed because he's the god of war, and you know that the object of his affections is more bookish and not quite interested in the brutish type.
How will they ever get along?
You thereby implicitly understand that the conflict of the story is figuring out how the ship will inevitably become a ship despite their initial differences. We could call this the Opposites Attract strategy, where the summary focuses on the juxtaposition between the two characters in the central ship, and makes that the central defining feature of the story. Got all that?
Good!
But making lists or divvying up character traits might seem confusing or tedious for some. (IMO if you're a new fanfic writer just starting out, it's worth a try to treat these simple strategies as writing exercises for your stories/summaries, even if you end up not using/posting them.)
If you as a writer want a more direct approach, try:
4) The Excerpt Strategy
All that stuff I said earlier about generating intrigue and hiding the meat of your story?
Well, you're still sort of doing that with this strategy, but not really. Instead, you're going to let the fic do the talking for you.
And by that, I mean your summary isn't really a summary at all, and is instead a brief excerpt from the fic itself. Here's some examples from various fandoms I've written for, including some where I've let the fic speak entirely for itself and others that I've combined with Strategy 1:
But how do you choose the right excerpt to represent your entire story?
In my opinion, a good excerpt needs to fulfill a few key requirements:
It has to convey who the main character is or what the plot is, so it will probably be from early in your fic.
Likewise, it can't give away the ending/big reveal because it looks careless. (And does not build intrigue!)
It can't be too long or else it'll seem bloated and readers might skip over it.
It also can't be so short that it ends up being confusing.
And most of all, it can't be so out of context that it ends up being baffling. Like if my fic's summary was just the line "And then all the kangaroos got wet" sure that could convey that my fic might be wacky and/or crack, but it's also distracting, uninformative, and doesn't really convey anything about your characters or plot.
Yes, oftentimes all of the above can be a hard checklist to fulfill, I know from experience. Hence why a lot of writers, myself included, combine it with a brief out-of-character explanation of the fic to cover all our bases.
The third and shortest example is arguably too brief for a proper summary, but it does one thing I really like by establishing the tone. It's sensual and a little sarcastic, offering a hint of danger, and is cushioned from failing by not fulfilling requirement #4 b/c of its supplementary summary.
So, why choose this strategy over any other?
Well, it advertises your writing style and unique voice more than a typical summary would. Sure, a regular summary kind of reflects who you are as a writer already, but I've definitely noticed in my own experience that the way I write a summary might be more formal, less formal, more dramatic, less dramatic, or just plain different from the voice/tone/perspective used in my actual fic.
And remember- that's because a summary is designed to GRAB attention. A fic is designed to MAINTAIN attention. They aren't quite the same and each has its own needs & goals.
And last but not at all least:
5) No man is an island
You really want to learn how to write good summaries?
Read more fics. Read more books. Read their summaries.
Go to your local bookstore or library, or visit your own book shelf, and study how others have written their summaries. What's important to each story in order to make a publishable summary? Is it the character's powers, the world they live in, the time period, the setting, their relationships, their enemies, their conflicts? Or something else? Or is it a combination of the factors above? And how do you make each factor as enticing as possible?
Does a sci fi novel have the same summary structure as a Jane Austin novel? Probably not! So if you have a sci fi fic in mind, it might do you some good to see how sci fi authors characterize their works. (Or maybe think outside the box and do take inspiration from an Austin blurb? Anything is possible in the world of fiction.)
Alternatively, go to Ao3 (or your preferred platform) and read how others in your community portray their fics. Comb through the fics you've bookmarked and study their summaries. Did they entice you? If so, try to figure out how and why. If not, what compelled you to click on the fic regardless?
And don't be afraid to draft out your summaries and revise them the same way you'd do so with your actual fics. Granted, I know there's lots of people out there that post fanfics without editing them, and that's fine. This should all be for fun, after all.
But if you want to put your best foot forward and give your story a strong advertisement, experimenting with the wording and structure of your summaries might do you some good!
Ultimately, when I say no man is an island, I mean it in the sense that artists study other artists all the time, and have been doing so for thousands of years. Crafting an effective and compelling summary is arguably an art itself. So, learn from those around you. Take advantage of your predecessors and the fellow writers in your community.
And that's that!
But we're not quite done here. My parting gift to you all is one last strategy, one that can be readily combined with nearly all others. It's called the Try & Try Again Strategy:
Start with a shitty first draft of your summary. It can be as bad and uninformative and bland as you want because it's just for you and no one else will ever see it. In fact, it should intentionally be as simple and plain as possible. Something like "Percy Jackson goes to the store"
Then tack on an extra detail, something to make it a little more exciting or elaborate. Maybe you've identified that your summary needs to convey what the initial premise or inciting incident is, as opposed to something like a romantic pairing or the setting. So you write a newly revised summary: "Percy Jackson goes to a store and a bomb goes off inside."
But you want to add a few more details to make it just a little more exciting and informative: "Percy Jackson thought he was about to have an ordinary day when he's framed for a pipe bomb explosion inside a deli market." (Now we have the central conflict- Percy is being framed for a crime! But how can we make it even better? How do we build even more intrigue?)
Keep trying: "Percy Jackson's day went from mediocre to horrible as he's framed for an explosion inside a New York bodega. Follow his misadventure as he runs from the local cops, finds the perpetrator, and most important of all- gets his groceries home by dinner time."
But wait, you might say. That's not a strategy. That's just doing the same thing over and over again to varying degrees of success.
To that I say yes, it most certainly is. And that's basically all writing is. It's trying to bring your idea to life, identifying what's not working along the way, and fixing it.
But starting with a seed is how you get a flower.
And if you've made it this far, I just wanted to say thanks for stopping by! Have fun writing! ♥️
To me the most fun part about fix-its is placing dominoes.
Tragedies often consist of escalating series of actions and circumstances which, in isolation, were not clearly leading to the tragic end but form a chain of cause-and-effect directly towards it in hindsight. In equal but opposite fashion, I love starting with small inoccuous changes to canon that in themselves do not obviously fix everything but start a new chain that leads to a better ending.
It's kind of impossible for fix-its to feel fully natural– the reader by definition knows what the original ending was and that this ending will be happier because the writer wants it to be– but it is possible for them to not feel contrived. A big deus-ex-machina, or a character breaking with their pre-established tragic flaws to suddenly make all the "correct" decisions almost always feels unsatisfying to me.
But a few carefully placed small domino pieces slowly knocking over bigger and bigger tiles until the entire story has radically changed? That's a lot more fun.
It recquires the author to both correctly identify the original chain of cause-and-effect and understand the characters well enough to know how they'd react to different circumstances. Because if the story feels like it's fixing the wrong problem or the characters don't act like themselves the magic is lost. But when it works? When it clicks and the reader sees the domino chain laid out in front of them? It's beautiful.
NOTICE: As more and more fanfic writers are using generative AI for their works (you uncreative dweebs), I hereby swear on everything I hold dear that I have not and will NEVER use generative AI in ANY of my written work. Everything I post will be organically and creatively my own.
