#writing commentary

[creativepromptsforwriting]

Another kind of diversity we need in writing is protagonists without love interests. Give me adults with full-fledged stories that don't include falling in love.

[mkw-writes]

I really hope the success of the Heated Rivalry show is the start of a renaissance re: sex scenes adding to characterization rather than just being treated like a ‘treat’ for the audience or controversy bait. Because explicit scenes are actually so good at building the narrative when the writer knows what they’re doing!

And once you have a show or series that does it well, it’s super easy to spot when sex scenes aren’t being used that way. They feel jarring and even out of character— more like non-sequiturs meant for shock value than natural parts of the narrative.

This show has really raised my standards, ngl. Give me more narrative-cohesive sex scenes in 2026, please!

[coline7373]

How to comment 101

A fandom is the subculture inherent to a group of fans. It touches anything related to the field of predilection of such a group of people and is organized or created by these same people. And, like everything that comes from people, it is alive and requires exchanges to continue to exists.

People who receive no comments have often and at length express how lonely it can feel to be shouting alone in the void and how discouraging such silence can be.

I have found after asking around that readers aren’t unwilling to comment, but mainly don’t have the energy or know what to say.

Some readers have also expressed a fear of annoying the author, as they are clumsy with words, or feeling intimidated in front of an author who has such a talent with words that the reader's own words feel too embarrassing. Or not feeling that their own five word sentence is worth the bother.

Every word matters.

Every comment is worth its writing to the author.

I refer you to this post if you doubt the importance and impact of comments on fanfics.

To help those willing to comment, I have done a very modest survey of roughly 20 persons, writers and readers alike, and here is what I have come up with.

For writers:

Write in your notes, at the end of the fic, clearly what type of comment you do not want. 

Clearly stating your limits and preferences helps readers who are uncertain or not very verbose to write in a relaxed way.

If they do not have the anxiety of offending, vexing or annoying the author, they will be more comfortable and therefore more inclined to write.

If you have repeated commenters, try to reply to their comments, even with just a few words. Some people who do not receive replies to any of their comments take the lack of response to mean the author is not reading comments at all, feel discouraged and stop commenting in turn.

If you do read the comments, but don’t want to reply for whatever reason, do say so at the end of the fic, in the notes, so that readers know what to expect and not be disappointed.

For readers:

Do:

About the story: 

You can write about a particular line that you liked, the themes, parallels with canon or within the story, the characterisation, a character’s exploration, a/several character’s motivation, a/several character’s mindset/thinking/emotional reaction, a/several characters’ interaction, the plot, the action happening, the worldbuilding, emotions within the fic, subtext, pacing...

If you liked everything and are overwhelmed on how to narrow it down, you can just say exactly that. “I loved everything!”

You can also focus on pointing out just one moment, one line, one specific thing and why you liked them, specifically. What matters is not that you wrote a novel but that you communicated to the author what made you happy, what you enjoyed.

About you: 

What emotions the fic made you feel, what you think is going on in a wip or what you (think you have) figure(d) out, what you are doing in real life while reading the story, afterward, because of it, and/or how the fic impacted your life (yay! motivation to make art!), how the fic is meaningful on a personal level because x, y, z, what it made you think of, like another fic, a book, a song, a movie, what subject/fact it prompted you to discover more of…

How: 

You can write an essay, a prose, or some serious, meaningful, impactful words but you can also joke with the author as long as you stay mindful or polite. A lot of authors have said they love when people make jokes or break the fourth wall. 

Unsure about your sense of humor? Here is an example: do not write "I hate you! How could you do this to me!” Write "How could you do this? The betrayal! die offscreen.”

Making a parody of what is going on with the characters with a few lines can be funny! Keep it positive. Not everyone has the same degree of sarcasm. But levity and good humor are always welcomed.

Small fics vs longer fics:

Emojis, keysmashing and incoherent yelling are very often correct comments for small fics or drabbles. (Unless otherwise specified.)

They are also loved in longer fics, (unless otherwise specified,) but people who have been writing a story for literal years appreciate you taking at least five minutes to say a bit more than that.

Try to go through all the “about the fic” and “about you” points above, methodically, and choose just two or three of them. Then write just one sentence per point.

If you really don't know what to say, look at other people's comments. Sometimes, you will recognise something you liked too or that you thought was really good. It can help and be the starting point of your own comment.

Long WIPs:

For long fics that you follow while they are being written, people have said they have at first a lot of enthusiasm for commenting, but find it harder and harder to know what to say as the number of chapters accumulate, and so does the number of comments they feel obligated to give in turn.

Please, keep commenting! Love keeps the writers motivated and helps creativity. It’s like shouting in the void and getting a high five back.

Even one line about something specific (a dialogue bit, a reaction, a plot maneuver) can make an author happy.

Writers are not really looking for length or details. They are looking for care. If you read something you liked, just point out what you enjoyed. That's engagement enough. 

Comments aren't really about the act of a compliment. They are about the shared joy of a fandom or a ship or a character. 

Example: “'X character diving headfirst into the sea like that is so like him!”

It’s good. It’s fun. It’s nice.

Some people have said to “save” a chapter, give a kudo and say “looking forward to reading this when I have time!” and wait until they do have time and energy to comment more at length, sometimes two or three chapters at the same time.

It let the writers know their fic is still being read. You just have to be mindful to not let months go by, otherwise, it goes back to leaving the author the impression they invested hours, weeks, months, into something no one interacts with. You can alternate strategies, lengthy comments, short comments, and commenting on several chapters saved.

If all else fails, go back to the tried and true. Choose one of the points above, choose just two or three of them and then write just one sentence per point.

If you are not a native speaker:

Google can help with the bare minimum. It's not great, but it lays the foundations. Write what you think in google translate and the translation will help guide your answer. You can always ask for help from someone else or warn the author that the fic’s language is not your native language, if you are unsure if your words come off in a tone not intended.

At the start of your comment, say “I am not a native speaker”.

Do not apologize. It’s not necessary. Just provide context. Use your words. Be clear.

Remember: 

The writer isn't what they write. They do not necessarily headcanon what they write, nor do they necessarily approve of it in real life. Be mindful to not approve or disprove of x, y, z going on in the fic as if they do. You do not know that.

It’s not about the length or the wording or the quality of your comments. Of course authors love that. But what they love most of all is to hold hands, jump up and down with you and squee and gush about the fandom, ship or character.

It’s about the sharing of the joy.

Don’t:

Do not ask for another chapter and for the author to finish a fic.

Do not threaten the author to put their fics in an AI if they do not finish the fic.

Do not say "I didn't like it" or "I liked but not that" or "It would have been better if x, y, z." If you want to talk about what you didn’t like, whether it’s part or all of the story, discuss it with willing friends. The author is not responsible for you reading something you didn’t enjoy (how it made you feel) and persevering.

Do not “offer” to correct typos, grammar, vocabulary, facts, canon facts, characterisation, ect. unless you know the author and know they are fine with it or they say so explicitly in the notes. 

Do not make demands. Do not.

Like that tumblr op said, “this is not the bespoke zone.” This is off-the rack. If the free suit is not to your liking, look for another free suit rather than demand to speak to the manager for "adjustments."

Tags are not owed to you. Ao3 is not a safe zone. Not everyone agrees on what degree of content merits each tag. Or what qualifies for a tag. So, if you found a fic that was more angsty than you expected and it broke your heart, comment on a part that was good and didn't make you sad, without saying you want a happy ending to the angst fic that was written for angst purpose. Off-the rack, remember?

Exemple:

"I found x,y,z to be upsetting. Would you consider tagging it?"

Vs "Your work is totally x,y,z triggery. You ought to tag it."

Vs "Hey, you do know some people find x,y,z, triggery, right?!? Because they do! So tag it!"

One of those answers is correct. The others aren't. No demands in the comments.

Your emotional well being while reading fic is your responsibility. If your expectations have been disappointed, do not say so. Talk about a point that was positive for you. If your expectations have been exceeded, do share!

Also, if you're mad, I have found that it helps to write your comment, leave it to decant, and wait a week or so to see what it looks like when you're in a different emotional mindset.

Some elements of fics can be very upsetting unexpectedly. It is not the responsibility of the writer to answer that. Nor comments are the place for it.

Once some time has passed, if you still want to talk about it, try to communicate in a way that is neither demanding nor negative. If you can't, talk about it with someone who is not the author.

My own personal opinion:

It can be so easy to focus on the fic and your own inner imaginary garden/cinema, that we sometimes forget to switch from "inner life" to "outer life" and exchange actively with people on both sides of the fence.

But it can also add so much more to the experience <3

Clear communication is always good. Even if you disagree. At least you know where you stand.

Say thank you. Fanfics are a gift. You have been given one. Say thank you. 

[angularblade]

Trying to write about a Star Wars space station is really hard because the layout of DS9 is burned into my retinas and my brain and my prose just automatically adjusts for describing that sort of massive promenade with various modules attached instead of the ridiculous variation present in different Star Wars media for what a space station can be. I mean it's not a problem I just think it's funny that--if it were left to me--every space station in the galaxy would just look like DS9.

[adejareve]

Tell Me Tuesday

A big thank you to @sorrygoldfish for the tag and also for getting this started again after several weeks without because I looooove seeing everyone's thoughts on their writing. (Thank you @epiphany-jones and @dags-over-caravans for the tags and all your cool stuff too!)

Pick a scene/chapter/whatever from one of your fics (or I'll suggest one!) and add any commentary you feel like. Why that line? How come this plot twist? What does the eyebrow waggle MEAN?!?! I want the dirt and I can only smash my face up against the glass of your stories so hard before I start to leave smudges.

Goldfish asked for: Maybe something about outlining? You've mentioned that you've outlined a lot of BW. Does it ever go off the rails? What's your process?

The short answer is: there are no rails, but if there were, we are... rail adjacent.

The first thing I should probably say is that Birdwatching has changed shape many times since I first had the idea. A very few core ideas have stayed the same, including Lucanis' background and the circumstances that got him to where we meet him in the story, some of the really major ways Thedas evolved over the 500 years since game-era, the ending (more or less), and a particular scene that hasn't been posted yet. I didn't really outline the story so much as work backwards to figure out what needed to happen to get from A to B to C that would earn or justify those moments. That got me to probably 7-8 major points in the story, and from there I sort of just made it up as I went to fill in the blanks.

(Incidentally, I wrote kindred spirits this way too. That story started as what eventually became chapters 6, 8, and 11 - everything else grew out from there.)

For a long time, Birdwatching was chapters 1 & 2, the fire escape scene in 5, the ballroom scene in 6, the kiss in 9, an upcoming scene, and the very last scene. My outline is less a proper outline and more a... slightly askew to-do list. Here's what the outline for chapters 6 - 9 looks like.

A lot of the details in between really come out as I'm writing the chapters, and that's really changed the story a lot as it's gone on. It's gotten longer (much... much longer...), the tone and timeline of Rook and Lucanis' relationship shifted quite a bit, and several scenes have jumped from the end of one chapter to the beginning of another (and consequently shifted POV) to keep the chapters from getting even longer than they already are. Chapter 8 was supposed to stay with Rook through the whole first apartment scene in 9, Chapter 10 was supposed to stay with her through the exit from the building, the situation with the guard in 10 was originally planned for 5, then moved to 6, chapter 13 was originally going to stay with Lucanis through the whole opening of 14.

I've come to really appreciate the flexibility to shift stuff around this way, because some things really could not be moved from one POV to the other and still work. (Alternating POVs has revealed itself to be a whole other can of worms to contend with.) And I like that it lets me still kind of feel out the character beats as they come along (the kiss in 6, for example, was an extremely late addition.)

So...idk, friends. Less a process, more a couple popsicle sticks propped up until I can figure out how to build a house around them? But it gets there in the end. Mostly. I hope.

Gently tagging @blightwashed, @gloaminghagette, @khayr, @vixenofcadmea, and @frotees-corner if you've got anything you wanna let us see behind the curtain on!

[hollow-w00ds]

You know what. I'm going to say it. A/b/o in fics cannot be judged when there are literal mate bonds in romantasy books that we act like are normal.

[wysteriadragon777]

This scene is PEAK Sinestro for me and probably my FAVORITE all-time panel of him.

My analysis of it is below keep reading!

This moment is one of the most defining character scenes Sinestro has ever had— not because of the threat and Parallax, but because it exposes the core pathology that makes Sinestro who he is:

Control is his identity.

Control is his morality.

Control is his love language.

Control is his religion.

Let's break this down! (What’s Actually Happening in This Scene):

Hal accuses Sinestro of losing his grip on Parallax. To Hal, this is a fearful possibility: if Sinestro slips, even a little, Parallax will annihilate everything in its radius.

Sinestro’s response is not verbal reassurance. It’s demonstration.

He releases the Fear Entity.

He lets Parallax strike.

But then just as quick as he did— he halts Parallax mid-attack and forces the cosmic embodiment of Fear itself back under his heel.

And his face in that panel says EVERYTHING:

This is not a man overwhelmed by Parallax. This is a man who is dominating the emotional embodiment of terror like it’s a disobedient hound.

And he looks Hal in the eye while doing it.

Not to intimidate him. Not to punish him. But to teach him.

“If I truly lacked control, you would already be dead." ^^ This is Sinestro’s point, proven through action rather than argument.

The Pathology: Why Control Is Sinestro’s Entire Psychology

Sinestro’s relationship to control isn't just a character trait— it is the root of every choice he makes.

In both canon and my Archive of Our Own Emerald Reflections universe:

1. Control is how Sinestro defines competence

Losing control = weakness. Weakness = death. Therefore, mastering one’s emotions, tools, environment, and even cosmic entities is not ego… it is survival.

2. Control is how he expresses care

In my ficverse Emerald Reflections, Sinestro protects Hal by tightening his grip— not because he sees Hal as weak, but because Sinestro sees the universe as chaotic, unpredictable, and malicious.

His control is the only shield he trusts.

So when Hal doubts that control, Sinestro feels more than insulted— he feels misunderstood by the one person he loves.

3. Control is how he proves truth

Sinestro is not a man of what-if's/hypotheticals. He teaches through force, demonstration, and embodiment.

So when Hal told him (about his control): “You’re slipping.” And Sinestro's answer became: “Then why are you still breathing?”

It was not cruelty— it is discipline.

How This Scene Connects to Emerald Reflections

My writing portrayal of Sinestro builds directly on this canon moment’s psychological architecture.

In this fic universe:

Sinestro’s dominance is not performative; it is a stabilizing force. He controls Parallax, Hal, situations, and even himself because chaos is unacceptable.

His love for Hal is expressed through mastery, protection, and teaching. He is the instructor. Hal is the pupil — even in intimacy, even in emotional growth, even in leadership.

Hal questioning Sinestro’s control hits the deepest nerve possible. Not because Sinestro feels insecure— but because Hal is the one person Sinestro wants to understand him.

Sinestro treats Parallax like a creature he has trained, not a force he fears. Which is exactly what this canon comic panel scene showcases: Sinestro doesn’t just resist Parallax. He leads it.

In Emerald Reflections, I expand on this concept further— Parallax becomes almost an extension of Sinestro’s will (gahhh I want to do another analysis why I write Sinestro as a narcissist because that's also key factor in his NPD), a creature more afraid of disappointing Sinestro than Hal is.

This canon scene is portrayed through my writing by:

Making Sinestro’s control the defining erotic, emotional, and narrative tension

Showing how Hal is both seduced and educated by that control

Highlighting Sinestro as the only being who can dominate Fear itself

Turning the “teacher/student” dynamic into the axis of their entire bond

Why Sinestro Says This Line...

“Who is the student and who is the teacher?”

It’s not arrogance. It’s a reminder of reality:

Sinestro is the master of fear. Hal is the master of will. They complete each other— but in this domain, Hal must learn from Sinestro.

This is the emotional set up and backdrop of my Emerald Reflections universe.

The Takeaway...

This wasn't a villain moment. Not even for bravado. This is the distilled essence of Sinestro:

A man whose brilliance is frightening

whose discipline is mythic

whose control is absolute

and whose love expresses itself through mastery and instruction.

And in my ficverse, this scene becomes even more layered — because Sinestro’s dominance over Parallax mirrors the dominance and guidance he gives Hal, both erotically and emotionally.

[okaynova]

Parallel Processors: Commentary

There were two Mensahbot March prompts regarding Mensah's experiences after the killware attack in Exit Strategy. AO3 author Mensah had already done a wonderful job portraying Mensah's POV during this time in the fic No Easy Distance. I didn't want to repeat what they had done, but I felt like I had some really distinct themes and ideas to writethat were all my own. (Though their timeline of events and some tech elements were very helpful in sketching out my own outline.)

So here it is: Parallel Processors

I really wanted to explore the ways in which Mensah would have been physically and mentally compromised by her recent trauma and how Murderbot's catastrophic systems failure was the final thing that tipped her over the edge into a systems failure of her own.

In cannon, Murderbot sees Mensah as appearing agitated and out-of-sorts during the rescue in Exit Strategy, but also still able to maintain her relatively calm exterior as the situation warranted it. We get a brief Mensah POV in Home and learn that her inner monologue is a lot more frenetic and self-critical than her words and actions often suggest. Accepting a hug from Murderbot in Exit Strategy was clearly a moment of that internal intensity bubbling over, her ability to stay composed only slightly undone by the presence of SecUnit in that brief moment.

So, I thought about that lifeline that it had been for her and what it would look like if that snapped and how that would mix with the horror of being held and questioned for weeks by GrayCris.

I wanted to create a narrative where Mensah's physical and mental state mirrors SecUnit's to some degree, which is why I separated the story into shutdown, restart and rebuild. The sequence also served as a small container to explore the three stages of trauma recovery (safety & stabilization, trauma processing, integration). Speaking of trauma, I thought that the most likely trauma responses for a kidnapping victim would likely be freeze, dissociation and compulsions (all a means of coping with the lack of stimulation, uncertainty and violation of bodily autonomy). Fight and flight wouldn't work in that setting and would have gotten used up during the rescue. Mensah was due for adrenaline drop and she wasn't even in a safe environment when it happened.

In the beginning I wanted to portray the visceral feeling of intense dissociation as much as possible; dropping the reader into the first paragraph mid conversation, as if they were coming-to in the situation along with Mensah. I used gaps of varying lengths between vignettes and tried to mention the passage of time or the physical world around her as little as possible, in order to convey that feeling of floating through and being so disconnected from what was happening around her. The breathing and the counting are tools that Mensah uses to ground herself throughout the fic. Counting, numbers and time are symbols I used to represent Mensah's loss of control and connection, with reality. Counting is near constant for her in this part, but becomes less needed as she starts to refer to herself within the passage of time, though it is still relied upon in situations where she does not have control (SecUnit's restart and slow return to awareness).

Sensation was something I didn't want to bring back to Mensah properly until she did something out of desperation to ground herself; the moment when she goes to SecUnit's bunk after a nightterror. The textures and sounds she notices are the only things in her environment that make her feel safe. She views this act as "using it for comfort" when she reflectson it later on, but I believe that in SecUnit's mind, this would have been part of assisting a distressed client, which it expressed through a buffer phrase when it sees (and only partially recognizes) her the first time it wakes up on the Preservation ship.

Another thing I wanted to play with was the use of Ayda Mensah's name. Names are a powerful signifier in this series. Murderbot has the name it sees itself as and the name it lets others call it. I wanted to do the same here. Her team calls her Mensah, because they see her through the lens of being a strong, competent leader, even though they are reeling from her absence in this role. They still call that potential out in her. Ayda is the name she refers to herself as. Anytime it is used in the text, it's her reflection on her private emotions and the parts of her that she doesn't want the outside to see (even if they do, despite her best efforts).

Naturally for Mensah, the Preservation ship is where she "comes back online", inentionally grounding herself with the familiar sensory data. The problem is that once you're no longer heavily dissociated, you have to deal with emotional flooding-- not only from the horrors of what happened to you, but also your feelings about how you're reacting to it. That's one of the reasons why I put in an OC who was close with Mensah, but well outside of her situation. I wanted Mensah to get a look at herself (and her behaviour towards SecUnit) through someone else's eyes, but still be held and not judged for her vulnerability. Taking in this outside perspective helps Mensah begin to process her emotions about how she and SecUnit exist with each other and in the world together. I loved timing her emotional breakdown along with SecUnit's memory breakthrough.

The thing that really helps her find herself again is SecUnit's rebuild process. Until then, she's been orbiting around it, but unable to do anything to help it. Helping it walk, patiently listening to it and caring for it while it recovers helps Mensah remember herself and the things she's good at. She can see herself in SecUnit when she says it's vulnerable, but not weak. She can remember that even the strongest, most capable people need rescue sometimes.

As a person who's experienced complex trauma, having the oppertunity to write a character going through a severe post-traumatic episode was a really meaningful experience for me. Some of the lines from this fic are literally lifted from my journals. That's why this fic means so much to me and why I put so much thought into the structure, themes and motifs. It is so hard to explain to the people around you what it's like when the wind has been completely knocked out of you and you are left so profoundly unmoored. Things got better for me with time, supportive people and the chance to engage in things that I was good at. I wanted to show that was possible too; not in a way that is tied up with a bow, but in a way that makes room for the complexity in the rest of the cannon that follows.