Fanfic/Headscratchers: Difference between revisions

* I want to know how [[MMister PregSeahorse]] Fanfic writers justify the whole process but am too scared to enter that part of [[Fan Fiction]].Net [[Hand Wave]]? [[Lampshade Hanging]]? [[The Power of Love]]?

** [[House MD]] [[MMister PregSeahorse]] scares me. It's a ''Medical Show''!

** There are a few examples of [[MMister PregSeahorse]] where the reasons behind the pregnancy actually makes sense in the context of story through a scientific or magical explanation. These, however, are few and far in between.

** The problem with this one is pretty simple - for most authors, [[Peggy Sue]] stories are not something that is used not to explore potential character development and moral/emotional/mental issues that something like time travel (whether physical or mental) would cause, but rather as an answer to the question "why is this character stronger and smarter?". And the same thing applies to [[For Want of a Nail]] stories - they are supposed to be "what if?" scenarios taken to their logical conclusion, but for most people they are nothing more than a way to somehow show that some character can be stronger/smarter than another character. And they do that because they are afraid; after all, if they really followed the logical implications in those stories, they would have to take them [[Off the Rails]] and write their own story as it diverts from the original one, which most authors aren't capable of doing, in large part because it requires knowledge on some topics. Let's use [[ZeroThe noFamiliar Tsukaimaof Zero]] as an example, shall we? If we got [[Peggy Sue]] story in which Louise came back mentally to the time where she summons her familiar, most people would simply follow the original material but make Louise stronger; her emotions towards her familiar would also stay the same. And if the author actually tried to make the story more serious, then Louise would've felt a dissociation from the current situation, and her familiar would've felt differently about her because she would've been more sympathetic towards it from the start; that alone would be enough to change his attitude towards her, and with her not throwing Saito out of her room on the first night, many events would've changed, as there would be no trigger for his fight against Guiche, which means that by the time Fouquet came he would not be aware of his own power, and that is if Louise even allowed Fouquet to steal the target item from the vault. Then, the story would've gone in a very different direction, and the author would've had to have at least basic knowledge of human psychology to know what to do with it. Let's now go in another direction, with [[ZeroThe noFamiliar Tsukaimaof Zero]] again being the example. What if there was a [[For Want of a Nail]] story in which Louise summoned a familiar that only differed from Saito in that he was able to write poems? An insignificant change, however you look at it, but with that simple ability, there would be no reason for Louise to go exploring to get inspiration for the speech, what means that she would not be able to find the Zero fighter before someone else got to it, and Tristania would've lacked its trump card in the first battle of the war. And then the story would've gone to Albuquerque, and to make it plausible, the author would have to know something about politics, diplomacy, and tactics (both field-level and army-level), which is something you won't find in most authors. ''So, to put it simply, most authors are just too afraid or not skilled enough to change the world significantly enough to match the changes that should've happened because of the initial change. It is easier to write a story where only parts are new and where everything goes fine, than it is to write one where things really turned grim and there is no source material to use to help with writing.''