A/N: This is Version 2.0. I fixed some formatting errors that this site wouldn't let me upload, and added a few words here and there.
I am a HUGE LOTR reader, but I've sorta created my own little pseudo-Tolkien universe, so I probably won't be posting much else.
I was in a strange mood when I wrote this. Yes, this is a made-up thesis, from a made-up university. I haven't been to college yet, so I don't know if this is the proper formatting and whatnot.
If the first paragraph doesn't flow, that's because I mentioned specific authoresses and their stories, and they might get offended.
Other than that, enjoy the show; leave a review on your way out!
See bio page for disclaimer.
The Mechanics of Torture-Friendship Fanfictions,
Or: The Four C's
By Lunasariel;
Royal Middle-Earthian University
Over the past four years I have spent at the RMEU, I have made it my task to study each and every torture fanfiction that came my way, from the sublime grace of the majority to the horror that is a rare few.
In particular, I have focused on torture fics that have a strong friendship (a.k.a. "fluff") emphasis, especially the platonic brotherly love between Legolas and Aragorn (my major and minor respectively).
In this case, we will be considering a non-existent "template" torture-friendship fanfiction, compiled from my personal experience.
In a standard torture-friendship fanfiction, there are four main stages. For ease of reference, I shall refer to them as: Capture, Confrontation, Crisis, and Comfort. There is sometimes a nebulous "intermediate" phase, which I will discuss at the end of this thesis.
It is recommended that one hero should be focused on, but neither should be excluded. Viewpoint is usually from that of the sub-hero. Sub-and-alpha-hero roles are designated in the fourth paragraph of the Confrontation phase.
Capture.
In this initial phase, the main characters are captured by whatever villain/ villains feature in the fanfiction. It is all too easy to make them a random band of Orcs and/or evil Men. This is most often the sign of a new author.
Another important point is purpose of capture and eventual torture. The most common excuse is that the Orcs and/or evil Men simply hate Elves and/or Rangers. This is unimaginative in the extreme. Family feuds and imagined insults are a good way to start. If one is stuck for ideas, then resurrecting an old villain is acceptable, if handled correctly.
If one is a master authoress, then one may wait several chapters (ten is the extreme limit) to implement this phase, using the time to build up the villain's grievance against the main protagonist. Most other authors, however, should start this phase no later than the third chapter.
It is wisest to stick with canonical villains, but an OC (if done correctly, of course) breathes new life into a routine torture-friendship.
This is the best place to establish the villains: Main Villain, toadies, nameless grunts, named grunt who, while not being the Main Villain, is a significant antagonist.
This phase should involve a second-degree battle1 (please see bottom of page for battle degrees) at the very least. It is highly recommended that the sub-hero should receive an injury that, while allowing them to movie, is both painful and serious. Infected arrow wounds/sword slashes are popular.
Snappy banter (IF CANONICALLY APROPRIATE) should be placed near the end of this phase.
Confrontation.
After the capture and hypothetical "intermediate" phase, one of the villains will say or do something that harms one of the main characters, forcing the other to take action.
If the authoress wants to stage an escape attempt, now would be the time. The attempt would fail, thus making the villains angrier and the main characters more reckless.
This would also be the time for the main hero-to-villain confrontation (as suggested by title). If hero 1 and villain have a "history" that the hero 2 is not aware of, this would be the time for one of them (hero 1 or villain) to bring it up.
The villain(s) will now focus their attention on one hero, which will hereafter be known as the alpha-hero. The other will be referred to as the sub-hero. The sub-hero will usually be the one over whom the Confrontation developed, and the alpha-hero the one who stepped in.
At the end of the Confrontation phase, the villain will be in varying stages of apoplectic rage, depending on personality. The hero, who has rushed recklessly into the situation, begins to realize just what they have gotten into.
Crisis.
The signal for the beginning of the Crisis stage is the removal the alpha-hero's shirt/tunic. For some reason, this always has a deeply emotional effect upon the sub-hero.
The crisis usually takes the form of extreme physical abuse. Emotional and magical occur more rarely, and always in conjunction with physical. The average intelligence of the villains is proportional to the amount of emotional and/or magical abuse.
The Crisis is always the most traumatic scene, both emotionally and physically.
There is always some sort of officer or commander who presides over the Crisis, who may or may not be the Main Villain. This person administers the majority of the Crisis.
If breakage (i.e. screaming, crying, begging) of any kind does occur, it should not until at least three-quarters of the way through the Crisis. If it does, it usually occurs under threat of damage to the sub-hero.
Whips must be present at some point. Kicking and punching are also frequent. Hot irons, spells, etc. may also make an appearance.
At some point, just before breakage, the sub-hero diverts attention to himself, usually by forming a body shield between the alpha-hero and the villain. Thus, the alpha-hero becomes the sub-hero and vice-versa.
This sub-stage is considerably shorter, possibly due to exhaustion on the part of the villains. The current alpha-hero's wounds are almost never as serious as those of the current sub-hero's.
Whenever the villains cease to be an immediate threat (thus signaling the end of the Crisis phase), the heroes revert to the original sub-and-alpha-hero roles. In Case 1, one or more of the heroes looses consciousness. In the much more rare Case 2, the villains grow tired and leave the scene. Then, one of the heroes will fall asleep/unconscious under one of three conditions: head in other hero's lap, head resting on other hero's shoulder (preferred position if nightmares ensue), or in each other's arms. In the last instance, beware of slash overtones. In all three, the first sub-hero assumes a protective stance.
Comfort.
The Comfort phase usually occupies its own chapter, sometimes two.
It is the major fluff point of the fic, sometimes referred to as the "flaff/fluff peak."
This phase always begins with the first sub-hero waking up and immediately noticing the fragile condition of the other. Then the sub-hero (who is often also the healer, for precisely this reason) begins tending to the alpha-hero's wounds. Feelings of self-recrimination optional. At this point, the alpha-hero awakes and somebody promptly says something deeply moving.
If alpha-hero, it will be a deeply concerned, unintentionally ironic demand after the sub-hero's health. Response: wry appraisal of alpha-hero's state.
If sub-hero, guilt-wracked apology for putting alpha-hero in such a position. Response: simple, heartfelt declaration of friendship.
Flashback optional. If included, flashback should show meeting/vows of friendship/random special bonding moment between two heroes.
The point of the Comfort phase is to heal whatever emotional or physical trauma is caused by the Crisis phase.
If alpha-hero's wounds are especially serious/symbolic in nature, the sub-hero is permitted to cry, usually while the alpha-hero is still unconscious. If this is the case, it will cause the alpha-hero to awake and wipe away sub-hero's tears, in a tender, heartbreaking gesture that leaves a smear of blood across the sub-hero's cheek. Words can be used by a masterful authoress, but are often not needed.
Physical contact is required at some point. In the rare Case 2 mentioned above, this is taken care of. However, as Case 2 is indeed rare, a hand on the shoulder, hug (circumstances permitting), kiss (ONLY ON THE FOREHEAD), or other gesture of affection is needed.
The Comfort phase, and thus the sector, is ended by the arrival of an antagonist.
At this point, the fic shifts to whatever else it is marked as (mystery, AU, etc.).
If the fic is of epic length (more than fifteen chapters), there may be several torture-friendship sectors. This is very easy to overdo. Two major tortures is a safe number, with a series of smaller acts of violence (cuffs across the head, isolated kick, etc.) interspersed. The maximum any authoress should attempt in one fic is five.
Aside from the temporary switches outlined in the Crisis phase, sub-and-alpha-hero roles are assigned early and subtly enforced throughout the duration of the fic.
Between the Capture and Confrontation phases, there is sometimes a nebulous chapter/series of scenes that deals with transportation of captives/building up to Confrontation. In it, sub-and-alpha-hero roles are assigned, as are the roles of the villains. The readers are also made aware of any long-dormant issues between a hero and villain.
If the authoress chooses to gloss over this sector, its purpose can be delegated to the latter part of Capture.
As can be readily seen, torture-friendships have the potential, in the hands of the right authoress, to turn from mindless violence and fluff to a moving tale of courage and loyalty.
Today, torture-friendship is seen as not only a legitimate genre, but as a unique collection of those who can reconcile the horror of torture to the sweetness of fluff, and not end up with some Frankenstein's monster of a fic. Instead, many torture-friendships can be graceful and poetic testaments to the power of platonic love, so often downplayed in other fanfictions.
1 First degree: minor cuts and scrapes, victory, no long-lasting damage. Also known as a "skirmish."
Second degree: more serious cuts, arrow wounds/dislocations/concussions optional, if victory, more serious wounds, if capture, wounds are comparatively minor, some long-lasting damage. Also known as a "brawl."
Third degree: epic battle. Major, mortal wounds incurred, 50 chance of victory or defeat, serious, long-lasting damage. The only degree officially termed a "battle."