Fic is such a great opportunity to explore what you love about a character--both in terms of figuring out which moving parts can replicate them, and in terms of expanding what you get to see on screen and going deeper with it. Fic is an opportunity to change the terms of your relationship with a character, because suddenly you need to be able to know them in these different ways, and synthesize and consolidate that relationship. When you write, you become partners with them, and you need to figure out how to make that partnership work for you--and how to make it work for them, when they come onto the page.
I'm definitely a close POV kind of person--third-limited or second are my jam--because I love exploring thought process. Not just a character's actual thoughts--though those are fun, too--but how those thoughts come together for them. And I love being in the body of the character and sitting really tight to their skin. Mmm. <3
But whatever the POV, I love finding a character's voice and possibly even more than that (though Sam and Dean have made me love finding dialogue, too), BODY LANGUAGE. Blocking out a fic can be hard, because describing movement can get overwrought and technical pretty quick, but whatever. I love it. Sam and Dean are great to work with in both body and voice, and I don't think I've ever had as much fun in a fandom as I have working with them.
Cars is interesting in that respect, because so much of the characters' charm is wrapped up in the animation. Like, script-wise, I wouldn't rank Cars as being particularly strong relative to its fellow Pixar brethren. But the loving detail that goes into making these cars come alive in motion probably outstrips a lot of other Pixar movies. And I'm gonna be honest, I don't think fic is a great medium for Cars. I got a lot more joy out of drawing Lightning than I did trying to write him.
There are always things that writing can do that other media can't, though. (And vice versa, naturally.)
I also love being able to have moments where you can take a step back from a character (your POV character, or someone they are observing) and offer a really tight, dazzling crystallization of who someone is, or what they're about, in ways that prose can do but film generally can't. Because then I think--okay, there it is. That's why we're doing this in writing, in particular. That's what this medium is giving to the filmic source.
Nos. 3&4: Integrating new information and indulging in detail
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