Why Media Writing is Easy -- Why Media Writing is Hard
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| Title: | Why Media Writing is Easy -- Why Media Writing is Hard |
| Creator: | Cicatrice du Veritas |
| Date(s): | June 1992 |
| Medium: | |
| Fandom: | multifandom |
| Topic: | |
| External Links: | |
| Click here for related articles on Fanlore. | |
Why Media Writing is Easy -- Why Media Writing is Hard is a 1992 essay by Cicatrice du Veritas.
It was published in A Writers' Exchange #3.
The Essay
Why Writing Media Fiction is Easy:
In Media Fiction many of the characters are already established for you: what they look like, how they dress, when and where they are living, how they have reacted to various situations in the past, so you don't have to make these decisions yourself.
In media fiction many of the locations are already established for you: The Enterprise; New York: tunnels, Manhattan; the TARDIS, and its many rooms, times and places; Los Angeles, 1997, "Little Tencton"; the 19th century American West.
Because of the episodic nature of stage and screen, there are loose ends to be tied, and stories to be continued-an endless supply of ideas to be exploited: What happens to the lives of the people Sam Beckett has just leapt from? Why does Ambassador Sarek of Vulcan marry Terran women? Why is there a watermelon on the lab table in Buckaroo Banzai.
There are many established places to hone your craft to critical acclaim with media fiction: over 50 Beauty and the Beast zines; at least a dozen Miami Vice, Star Wars, Quantum Leap venues; CrosSignals for mixed with a story; Rerun for multiple media tales.
Why Writing Media Fiction is Hard:
Because of the episodic nature of stage, screen and song, there can be no significant or long-term changes in the characters: it took 25 years and six movies before two of the bridge crew of the Enterprise transferred (on a permanent basis) to another ship; Sonny Crocket can't marry, no matter how beautiful, strong, or charming the woman is; Vincent and Catherine can't kiss, unless it is a dream, or one of them is dead at the moment.
The audience for media fiction knows the characters very well and can be critical of any inconsistencies in thought, word, or action: Catherine's hair is honey-brown, her eyes are green. Lucy (Ricardo) Carmichael's maiden name was McGillacuddy.
Fiction should be consistent. Media is not, but you as a writer need to know what has to be consistent: The top speed of the Enterprise. When Sam Beckett's father died. Catherine Chandler's age when she died (or disappeared).