Yay! Somebody asking me about the process of writing (hardly anyone ever does! LOL!). I love that the dossier thing worked so well for you!
Hmm - scenes or ideas. That's interesting. It can be both. In this one, Nikita wanted Tony being trained, while my angst ridden head wanted Tony being beaten up by his father as a kid. So I connected the two together. And then I threw in a specific *scene* that I'd had in my head for ages - where Tony is in a club being whipped and is blindfolded and Gibbs takes over. So two different ideas and one actual scene came together and formed the basis of the fic.
I think I'm unusual in that I don't write anything down. I might outline a plot bunny but usually that's just to tell a friend what I'm doing - it's not for my own sake in the writing. What I have is an overall sense of what the story is about...but when I write it, a gazillion other things emerge. As they do, I sometimes realise one of them is *really* important (like that dossier) and weave it in or out. That started out as me needing a Gibbs pov at that stage after all the "WAAHHHH!" of them coming home. I wanted him to have a breather but that was a bit boring (Gibbs drinks coffee - so what?!) and then before I knew it there was a dossier involved *g* which was MUCH more interesting. Suddenly, we have a *mystery* - oooh! *g*. And when they go and see Skinner the next day, we see that he's guessed at some part of that mystery too. So having resolved one hook (will Gibbs turn up at the club and take Tony as his sub?), I've immediately created another one (what the hell is in that dossier and what is Tony hiding?) which gives a point to reading on (beyond just the hope of there being kinky sex of course *g*).
I hold two things in my head - the scene I'm currently writing, and the overall plot. And I usually work up scenes in my head. So I'll start out thinking "hmmm...they have a whole week before they have sex - what on earth *happens* in that week?" And I try a few things out in my head. Making connections is the hardest part - getting from a to b. If my brain isn't in gear then it's impossible, and I might as well forget it. I'll often think about it while I'm driving, walking, or taking a shower *g*. It kind of goes - "I need to get to point x - there are three ways to get there..." and I try each of them out and see which one works best.
POV is a big issue - I had to think of AGES whose pov the scene in the basement was from when Gibbs tells the stories about the 2 boys. In the end, it was so obvious I wondered why I'd had to agonise about it, but I went through how it would be if it was Gibbs, or Tony, or it swapped halfway through. Whose head did we need to be in - did we need to see a reaction or did we need to *feel* it?
no subject
Hmm - scenes or ideas. That's interesting. It can be both. In this one, Nikita wanted Tony being trained, while my angst ridden head wanted Tony being beaten up by his father as a kid. So I connected the two together. And then I threw in a specific *scene* that I'd had in my head for ages - where Tony is in a club being whipped and is blindfolded and Gibbs takes over. So two different ideas and one actual scene came together and formed the basis of the fic.
I think I'm unusual in that I don't write anything down. I might outline a plot bunny but usually that's just to tell a friend what I'm doing - it's not for my own sake in the writing. What I have is an overall sense of what the story is about...but when I write it, a gazillion other things emerge. As they do, I sometimes realise one of them is *really* important (like that dossier) and weave it in or out. That started out as me needing a Gibbs pov at that stage after all the "WAAHHHH!" of them coming home. I wanted him to have a breather but that was a bit boring (Gibbs drinks coffee - so what?!) and then before I knew it there was a dossier involved *g* which was MUCH more interesting. Suddenly, we have a *mystery* - oooh! *g*. And when they go and see Skinner the next day, we see that he's guessed at some part of that mystery too. So having resolved one hook (will Gibbs turn up at the club and take Tony as his sub?), I've immediately created another one (what the hell is in that dossier and what is Tony hiding?) which gives a point to reading on (beyond just the hope of there being kinky sex of course *g*).
I hold two things in my head - the scene I'm currently writing, and the overall plot. And I usually work up scenes in my head. So I'll start out thinking "hmmm...they have a whole week before they have sex - what on earth *happens* in that week?" And I try a few things out in my head. Making connections is the hardest part - getting from a to b. If my brain isn't in gear then it's impossible, and I might as well forget it. I'll often think about it while I'm driving, walking, or taking a shower *g*. It kind of goes - "I need to get to point x - there are three ways to get there..." and I try each of them out and see which one works best.
POV is a big issue - I had to think of AGES whose pov the scene in the basement was from when Gibbs tells the stories about the 2 boys. In the end, it was so obvious I wondered why I'd had to agonise about it, but I went through how it would be if it was Gibbs, or Tony, or it swapped halfway through. Whose head did we need to be in - did we need to see a reaction or did we need to *feel* it?
Sorry you asked now? *gggg*!