#god i just edited it but can you believe that i misspelled 'tight'??

[vaindumbass]

I’m letting loose (but holding on tight to you)

Remus was feeling a bit drowsy. The feeling wasn’t unpleasant, but Remus also felt relaxed, which warned him that something was out of the ordinary.

Carefully, he opened his eyes. As soon as he saw the white sheets he was bundled up in, the realizations slowly entered his mind, as if they were just passing by on a lazy river.

There was a full moon. This shouldn’t be a surprise, and it isn’t, not really, and it explains why he’s in the hospital wing, but it doesn’t explain why he feels so... light.

This full moon was worse than usual. He hums a little, at the back of his throat, and it sounds weirdly detached in his own ears. It also causes his chest to move in a way that’s painful, but not as painful as it could’ve been without these pain killers.

Huh. No moving for him, then. He lies back down and- Did you know there was a ray of sunlight, just above Remus’ bed? It illuminates specks of dusts that twirl in nonsensical, beautiful patterns.

Remus stares at it for quite a long time, and he doesn’t even worry about all the schoolwork he has missed. The floating feeling is a nice bonus, and the hospital bed feels softer than it ever has.

He’s warm, and content, and only mildly irritated when the door opens loudly. Sudden sounds and loud noises simply don’t fit with the silence and calm he had gotten used to.

Then he sees that it’s Sirius and all of his irritation dissipates. “Hey,” Sirius says softly, and Remus likes that, likes that Sirius isn’t being loud for once, all for him. 

He needs to return the favour. He strains his throat, and the “Hey” comes out a bit more scrapy than intended, and a little bit slurred, but it hurts only a little bit and Sirius smiles in response.

“Moony, as much as I love to hear your voice, please just leave the talking to me for now.”

Apparently, even the non-physical hurt of being fake-flirted with is dulled by these pain potions.

Sirius is coming over, now, is settling in on Remus’ bed, careful not to sit on his legs. Remus isn’t sure whether he imagines that he can feel the heat coming off Sirius or not.

For once, he allows himself to be unguarded, to bask freely in Sirius’ presence, to stare as much as he wants to.

He smiles drowsily, because Sirius looks gorgeous like this, hair falling into his eyes, a determined look on his face, rummaging through his bag in search of something.

“Aha!” Sirius says then, and Remus’ smile widens at that, because he’s simply overflowing with fondness right now and he can’t find it in him to keep it in like he usually does.

Sirius shows him a jar filled with a thick green paste as if it’s the greatest treasure in the world. “I got this from Pomfrey. She has already tended to most of your wounds, of course, but she said that if I was going to get in here anyways I should make myself useful.

“It should work against scarring, because while I think your scars make you look quite dashing, I know you disagree. Apparently the school couldn’t afford this, but you know I love spending my parents’ money, and since Gringotts doesn’t know that I’m disowned, probably because my lovely mother hates the goblins--”

Remus closes his eyes, and listens to the pleasant rythm of Sirius voice. His bed is soft, and Sirius’ voice is calming, and Remus feels as if he can fall asleep any moment now, and just sink away into the covers.

Then, Sirius touches him, and oh, that’s sure to pull him up. It doesn’t exactly startle him, though, but it’s grounding, and undeniable.

Warm fingers trail over his left arm. Remus opens his eyes, because he needs to know what Sirius looks like while doing this, needs to know if Sirius is disgusted by all of his scars.

It’s hard, and it takes a while, but it’s worth it for the sight of Sirius, looking at his arm in a way that’s almost reverent, with the end of his tongue peaking out of his mouth in a way that should be silly, and at the very most endearing, but the idea that Sirius is concentrating so hard on helping him does things to Remus.

Almost as if he can feel Remus’ gaze on him, Sirius looks up. Remus doesn’t look away when their eyes meet, like he usually would, but simply says: “Thank you.”

Sirius holds his gaze for a beat longer, before he grins a bit and says: “What did I say about talking?”, but Remus sees the way he keeps on smiling. It’s almost more intoxicating than the drugs he’s on.

Sirius fingers move down his arm, and Remus thanks the Wolf in his head for giving him a gash that extends until the back of his hand.

He realizes, in a detached sort of way, that normally this moment would be filled with tension. Normally, Remus would pull away a bit, or find a way to incorporate James, anything to avoid anything that could reveal his feelings.

Then again, Remus isn’t normally this relaxed. As it is, he simply turns over his hand when Sirius reaches it, and entertwines their fingers.

He sighs contently. This is how it should be.

Sirius stills, for a bit, but then he uses his left hand to scoop some of the paste out of the jar, never letting go of Remus, and uses that one to spread the salve, in a way that’s probably less than ideal.

Remus likes it, likes it a lot, the way Sirius rubs the salve in his skin in constant, soothing circles, likes the constant reminder that someone’s there, and that that someone is Sirius.

After a while Sirius finishes applying the paste, and the he just sits there and holds Remus’ hand in both of his, and Remus likes that even more.

Remus doesn’t know how long it’s been when Sirius moves his hands again, drawing shapes on his skin tentatively. “Is this okay?” 

Remus smiles again, or maybe he has never stopped. “More than.”

He revels in it, then, that he can have this, that he can have quiet moments where Sirius touches him as if he wants to, that he can have his lifelong crush so close to him without worrying about fucking it up.

(He thinks heaven can’t exist, because there’s nowhere that could be a better place than here, with Sirius)

Sirius’ eyes are a wonderful shade of gray, and his lashes are long and dark and beautiful, so Remus looks at them. And then Sirius looks back.

Once again, Remus can’t bring himself to worry, but decides, instead, to enjoy it. 

Sirius’ palm is against his, in a way that means their hands are dangling a bit off the bed, but Remus doesn’t worry because Sirius will make sure his hand doesn’t fall.

Just as Remus thinks of falling asleep again, his hand is left cold. He doesn’t worry too much, because Sirius’ fingers are still entertwined with his, but it is a bit weird that his palm is suddenly exposed to the air.

Sirius still doesn’t break eye contact, not even while he shifts his hand a bit, so that Remus’ hand is easier to carry, and then, with a delicious slide of his fingers, he brings Remus’ hand, palm up, to his lips.

Remus’ drug-addled brain thinks it’s fitting, that his hand looks like one of a beggar, like one of a reciever, like one of a taker. He doesn’t move his hand, and wonders what gift Sirius’ll give him.

Sirius gives him this: A hot breath, that makes warmth spread from his hand and makes it settle into his heart

Sirius gives him this: Lips skimming over his palm, and Remus has never been big on Divination but he thinks whatever path Sirius’ lips take must be where the love line is located.

Sirius gives him this: His pulse point, his veins protected by the seal of Sirius’ lips. That’s where Sirius holds still, and Remus knows that his heartbeat should be going through the roof, that he should be nervous, but Pomfrey did her work well.

All he feels is that same contentment that has characterized their entire interaction, and an almost overwhelming sense of rightness, because Sirius used his mouth to kiss where the Wolf used to bite.

Remus needs to give something back, he decides, and he clumsily raises the arm that isn’t held by Sirius to pull Sirius in closer, so that their foreheads are touching.

He could kiss Sirius, of course, but he doubs he’d be any good at it in his current state, and he’s still very tired so he looks at Sirius intently and says: “Talk. Tomorrow.”

“Whatever you want.” Sirius responds, and then he puts some distance between them again to brush some hair from Remus’ forehead. “Goodnight.”

“ ‘Night” Remus responds, and his eyes are already closing, “Love you.”

He’s asleep before he can see Sirius’ reaction.

((also on ao3))

#if anybody is wondering why remus is different than I usually write him its because hes drugged out of his mind #yes i wrote this entire fic JUST because of that one wrist kiss #no i dont regret it #this was meant to be a drabble but it turned into a oneshot #oh well #god this is soft #remus lupin #sirius black #wolfstar #wolfstar fluff #wolfstar fanfiction #marauders #marauders era #homoerotically tending to each others wounds #my writing #god i just edited it but can you believe that i misspelled 'tight'?? #i need a beta #mywriting

[writing-prompts-for-friends]

Notes from Stephen King’s “On Writing” 07: The Revision Process

Next, King walks us through his revision process. He makes it clear that this method is not the only method. It is merely a method. 

How Many Drafts?

“For me, the answer has always been two drafts and a polish (with the advent of word-processing technology, my polishes have become closer to a third draft).”

King admits that this number of drafts is not the golden rule. Kurt Vonnegut rewrote each page of his novels until he got them exactly the way he wanted them. This meant that when the manuscript was finished, the book was finished. (I certainly am not that big of a perfectionist, nor am I that patient lol.)

For beginner writers in particular, King offers the following advice:

“Let me urge that you take your story through at least two drafts; the one you do with the study door closed and the one you do with it open.

“This first draft--the All-Story Draft--should be written with no help (or interference) from anyone else. There may come a point when you want to show what you’re doing to a close friend because you’re proud of what you’re doing or because you’re doubtful about it. My best advice is to resist this impulse. Keep the pressure on; don’t lower it by exposing what you’ve written to the doubt, the praise, or even the well-meaning questions of someone from the Outside World. Let your hope of success (and your fear of failure) carry you on, difficult as that can be. There’ll be time to show off what you’ve done when you finish...but even after finishing I think you must be cautious and give yourself a chance to think while the story is still like a field of freshly fallen snow, absent of any tracks save your own.”

Basically, King just wants you to get it all out onto the paper, with no external forces influencing you (for better or for worse). Just get that first draft out, and then open it up for closer examination both to yourself and others.

Let It Breathe and Then Dig In!

Okay, so you finished writing the first draft! Celebrate! Rejoice! Maybe cry!

...And then throw that manuscript into a drawer, lock it up tight, and don’t look at it for a minimum of six weeks. And in the meantime, do something totally unrelated to what you wrote. Get into knitting. Write a short story that is nothing like what you just finished. It’s consumed you for months now--so give your mind and imagination some time to reset and chill. 

King recommends a minimum of six weeks, but even longer is okay. Resist all temptation to peek at it. And once the six weeks have passed, do the following:

“Take your manuscript out of the drawer. If it looks like an alien relic bought at a junk-shop or a yard sale where you can hardly remember stopping, you’re ready. Sit down with your door shut, a pencil in your hand, and a legal pad by your side. Then read your manuscript over.

“Do it all in one sitting, if possible. Make all the notes you want, but concentrate on the mundane housekeeping jobs, like fixing misspellings and picking up inconsistencies. There’ll be plenty; only God gets it right the first time and only a slob says, ‘oh well, let it go, that’s what copyeditors are for.’

“If you’ve never done it before, you’ll find reading your book over after a six-week layover to be a strange, often exhilarating experience. It’s yours, you’ll recognize it as yours, even be able to remember what tune was on the stereo when you wrote certain lines, and yet it will also be like reading the work of someone else, a soul-twin, perhaps. This is the way it should be, the reason you waited. It’s always easier to kill someone else’s darlings than it is to kill your own.”

You’ll also be on the lookout for any glaring holes in the plot or character development. And if you spot any of these big holes, you are forbidden from feeling depressed about them. Don’t be hard on yourself. Everybody makes mistakes, and they can all be fixed. 

Generally King goes through the first reading fixing all the superficial issues, like typos and unclear antecedents. But as he’s doing that, he’s also asking himself the Big Questions:

Is this story coherent? 

If it is, what will turn coherence into a song?

What are the recurring elements?

Do they entwine and make a theme?

What’s it all about?

“Most of all, I’m looking for what I meant, because in the second draft I’ll want to add scenes and incidents that reinforce that meaning. I’ll also want to delete stuff that goes in other directions. There’s apt to be a lot of that stuff, especially near the beginning of a story, when I have a tendency to flail.”

I can understand what King is saying here about the flailing at the beginning. Because I do not plot when I write, I have ideas that crop up halfway through that would require being introduced earlier, for example. Or perhaps as my understanding of the characters evolved as I wrote more, I realize that they behaved out-of-character earlier on. This is certainly one downside to not plotting. But isn’t is also kinda liberating to be able to take detours and wind up at a different but equally interesting destination?

Okay. So go ahead and fix all of the issues you found, and your first revision is complete.

Second Opinions and the Second Revision

“Do all opinions weigh the same? Not for me.”

Now you’re done with the first draft. You’ve patched over any plot holes and smoothed out those typos and grammar mistakes. You’ve polished the symbols and themes until they shine.

Once this is done, King gives a copy of work to his wife and several close friends (4-8) to receive detailed feedback. In other words, he has several close friends beta for him. 

“Many writing texts caution against asking friends to read your stuff, suggesting you’re not apt to get a very unbiased opinion from folks who’ve eaten dinner at your house and sent their kids over to play with your kids in your backyard. 

“The idea has some validity, but I don’t think an unbiased opinion is exactly what I’m looking for. And I believe that most people smart enough to read a novel are also tactful enough to find a gentler mode of expression than ‘This sucks.’ Besides, if you really did write a stinker, wouldn’t you rather hear the news from a friend while the entire edition consists of a half-dozen Xerox copies?”

What he gets back is 4-8 very detailed and different analyses of what he wrote. What’s very important to remember is that every reader looks at a work through a different lens. If half of them say a character’s portrayal is far-fetched but the other half say the opposite, than their feedback regarding that point has balanced out. However, if the majority of them say that something doesn’t work, then King goes back and sees if he can improve it. 

Also, different readers pick up on different details. This is the age of internet and now we are able to check facts whenever we like, but it is still nice to have something of a subject matter expert on hand, because they are liable to pick up on details that the writer may not. 

For example, I often beta fanfiction for anime. I am fluent in Japanese, live in Japan, and have studied Japanese culture and history. While I would never claim to be a “subject matter expert” on Japan, I am able to make certain corrections regarding, say, the type of kimono a character should be wearing, that the writer would not have considered. 

It’s very easy to accept feedback that deals with facts (i.e. a beta corrects you on the standard procedures for CPR). However, it’s much harder to handle subjective feedback (i.e. “The ending felt inconclusive.”). Having put as much work as you have into creating this, it can feel like a personal attack because this story is a very dear part of you. What do you do if your beta tells you something like this?

“Subjective evaluations are, as I say, a little harder to deal with, but listen: if everyone who reads your book says you have a problem, you’ve got a problem and you better do something about it.

“Plenty of writers resist this idea. They feel that revising a story according to the likes and dislikes of an audience is somehow akin to prostitution. ... But come on, we’re talking about half a dozen people you know and respect. If you ask the right ones, they can tell you a lot.

“Do all opinions weigh the same? Not for me. In the end I listen most closely to [my wife], because she’s the one I write for, the one i want to wow. If you’re writing primarily for one person besides yourself, I advise you pay very close attention to that person’s opinion. And if what you hear makes sense, then make the changes. You can’t let the whole world into your story, but you can let in the ones that matter the most. And you should.”

I think, especially in the age of prolific fanfiction in which the author usually updates as they write the story, the author feels a lot of pressure from their readers. Readers chomping at the bit for the main characters to have a naughty scene, or demanding to know about that one secret thing that you keep alluding to. A lot of fanfic writers struggle to tow the line of “writing a good story based on reader feedback” and “pandering.” 

My advice to fanfic writers out there is to tell those thirsty readers to read a one-shot if they’re looking for a quick fix of smut, and to have some goddamn patience. You’re trying to tell a story, one that builds and progresses, and that takes time. Don’t give in to those “OMG MAKE THEM KISS ALREADY” reviews. But if a lot of readers say something like, “I feel like this character wouldn’t do that,” then perhaps you should re-evaluate that. 

On Pace and Reducing Glut

“Formula: 2nd Draft = 1st Draft - 10%.”

So now you have your first draft done. You have your feedback from your trusted betas. And now you need to go and make the final changes. 

King states that you should rely on your most trusted betas to gauge whether or not your story is paced correctly and if you’ve handled the back story in satisfactory fashion. “Pace” is the speed at which your narrative unfolds. 

”There is a kind of unspoken (hence undefended and unexamined) belief in publishing circles that the most commercially successful stories are novels are fast-paced. I guess the underlying thought is that people have so many things to do today, and are so easily distracted from the printed word, that you’ll lose them unless you become a kind of short-order cook, serving up sizzling burgers, fries, and eggs over easy just as fast as you can. 

“But you can overdo the speed thing. Move too fast and you risk leaving the reader behind, either by confusing or by wearing him/her out. ... I believe each story should be allowed to unfold at its own pace, and that pace is not always double time. Nevertheless, you need to beware--if you slow the pace down too much, even the most patient reader is apt to grow restive.”

So how can you strike a happy medium? Rely on your most trusted betas and their input. King says, “Every story and novel is collapsible to some degree. If you can’t get out ten percent of it while retaining the basic story and flavor, you’re not trying very hard. The effect of judicious cutting is immediate and often amazing. You’ll feel it and your betas will too.”

On backstory, King issues some opinions and advice:

It’s important to get the backstory in as quickly as possible, but it’s also important to do it with some grace.

A reader is more interested in what’s going to happen instead of what already did.

Even when you tell your story in a straightforward manner, you’ll discover you can’t escape at least some backstory. 

“The most important things to remember about backstory are that (a) everyone has a history and (b) most of it isn’t very interesting. Stick to the parts that are, and don’t get carried away with the rest.”

Source: King, Stephen. On Writing: A Memoir of the Craft. Hodder, 2012.

#creative writing #creative writing methodology #creative writing theory #writing #write #writer #author #writeblr #how to write #writing tips #writing advice #writing resources #fiction #horror #fantasy #fanfiction #writing fiction #writing horror #writing fantasy #writing fanfiction #writing anything #revision #story revision #rough draft #story editing #stephen king #writing prompts for friends notes from on writing