#dialogue asker if you’re reading this you’re up next I promise!

[hmgfanfic]

Talk about all the Fillory worldbuilding in LQoF, please :)

THIS IS INEXCUSABLY LATE. I’m so sorry!

And I wish I could say it was just my scatterbrainedness, which is definitely a constant factor, but it was also that when you sent this, I was deeeeeeeep into writing the final few chapters of Little Quirks of Fate and I was kind of... in my head about it. It took a lot longer to finish than I had planned (a cardinal sin to my particular combo of severe ADHD and Type-A personality) and I was spending excessive amounts of time making sure I figured out a satisfying ending by my own exacting standards, so I just didn’t have the headspace to think through my early process yet. Very sorry about that :( But now that I’m finally done, I’m excited to look back! So if you’ll indulge me a very late answer, I’d be tickled. 💗

Long ramblings and major fic spoilers under the cut.

The truth is a lot the world building came down to character stuff foremost, followed closely by my preferences as a writer. I adapted the world to the story I wanted to tell, while using the little bits of information we’re given in canon as a baseline, rather than building the story around the world. And that was a lot more fulfilling for me, since I only really love worldbuilding through the lens of character, rather than as an exercise unto itself (though it’s super fun once you get rolling.)

To explain what I mean by that, you need to know that Little Quirks of Fate was originally going to be a oneshot. My plan was about 25-30k (lol) of a pure S2 retelling, only with Quentin in the role of Fen. It was also going to take a much more traditional enemies-to-lovers’ path—with Quentin as an active member of the FU Fighters—and the whole thing was going to be in his POV. Also, they weren’t even going to kiss until after the bank heist (which, yes, was going to be a thing here), but that got abandoned the fastest in favor of trying my hand at smut. But two things made me realize I needed to significantly shift course:

1) I was struggling to make Quentin actually feel like Quentin. I wrote this very atmospheric early scene at the FU Fighters encampment, with lots of description of the bonfires and the way their shirts dyed in Fillorian red looked like blood (you get it.) It took place in the black of night, shrouded in secrecy, and when Bayler questioned Quentin about his new husband, Quentin said something like, “He’s a drunk idiot, we have the advantage.” It was all very lush and dramatic, but it really, really, really didn’t feel like Q in any recognizable way to me. Now, I’m not someone who thinks Q needs to be a precious sweetheart all the time, but what I was writing didn’t have his idiosyncrasies or a motivation that felt true to who I feel he is.

2) The draft was DEFINITELY missing Eliot’s story and his perspective. I certainly don’t think Eliot’s POV is always necessary (sometimes not having his direct thoughts heightens tension in romance especially), but it felt really necessary here, to fill in the gaps of what Quentin was assuming and also—more importantly—because the events were just as impactful on him, but in a very different way. So I knew I was missing half the narrative, but that meant I would need to deal more explicitly with the Beast (i.e., Mike, the most devastating storyline to me, personally) and I really, really didn’t want to do that.

My first step in making a more recognizable Quentin was figuring out a way he could more or less use the same syntax that he does on the show. Voice is the first way I connect with a character, so while many writers in this fandom thrive at modifying speech patterns and keeping the heart of a character alive, keeping close to Quentin’s canon speech was an easy fix for me in a story I was excited to get rolling. Sort of like the old adage of uplifting your strengths before putting outsize energy into things you struggle with.

The easiest way I could think to give him the same syntax was to figure out a way Quentin spent some significant time on Earth during his formative years. And once I rewatched 2x06 and was reminded that Ess went to Phillips Exeter Academy for high school, I lost my damn mind. I started sketching out ways that Quentin could get there too and that’s how I built out the idea of Umber brokering a marriage deal with the actual landmass of Coldwater Cove, which included an education opportunity for the boys (in a nod to Fillory’s patriarchal nature), and also the reason why Umber did that, which was to take advantage of his brother’s orgy mistake with the first Children of Earth to usher in a more productive and orderly Fillory. So that created a whole new set of rules and essentially a whole new world for me to play with... all for the sake of Quentin getting to say “fuck.” It was that important to me. :p

And as I worked through all that, I realized I also wanted to give Q magic, since Quentin’s relationship with magic is something I’m interested in. But I had read on ye olde Tumblr that the reason Illario uses a wand in 2x06 is a nod to the books, where Fillorians specifically aren’t Magicians and that’s the rationale for the Children of Earth royalty. And while I generally see the books as interesting supplemental material with zero bearing on the television show canon, I still said to myself, “Self, wouldn’t it be kind of funny if Quentin was the only native born Fillorian who had magic and so the FU Fighters believe he’s the chosen true High King, but instead of it being because he’s ~special~, it’s because Umber made a clerical error? Lol! Hilarious!”

So while all my questions for how to explain all THAT spun out into more and more detail, at the same time...

I caved to the idea that this story was going to be a No Beast AU, just like my last two stories, mostly because I really couldn’t bring myself to deal with the Mike of it all, even tangentially. I could have just changed that single element, but I’m not a half-measure gal! But I still wanted to stick with the vague background theme of Fillory = adulthood from a questing perspective and I wanted Julia leading the charge this time, but without the sexual assault that occurs in canon. So obviously, the answer was avenging all of the murdered and cannibalized “grown-ups,” i.e., master Magicians, by seeking out help from the gods in a balanced Fillory free from the devastation of the Beast. Duh! ;)

So then, like anyone would do, I rewatched every episode up to 4x11 that makes a mention of Fillory and took about twenty pages of notes on the canon worldbuilding, along with an analysis of how much a particular piece of information would be impacted or not by balance in the realm. For instance, the existence of geraniums (per The Fillorian Candidate and Tick’s misunderstanding of “power plants”) and the lack of diamonds as a precious stone (per the River Watcher not knowing the value of Margo’s earrings in Knight of Crowns) struck me as static facts unaffected by Ember’s reign of chaos. But I shifted the overall feel of Fillory to one that’s more functional and a lot more bureaucratic, leaning on things like the existence of socialized health/vision/dental insurance (the idea of which is canonical, per a petition from the beavers requesting dental coverage from acting High King Josh in Ramifications), strict taxation plans, and an overall sense of thriving Ceremony to show Umber’s influence.

Basically, I wanted Eliot to inherit a much, much easier Fillory to rule—especially with the highly educated Quentin as a built-in and passionate advisor—mostly so it wouldn’t completely strain credulity when a lot of his energy goes toward his love life rather than the intricacies of ruling (though Margo would say he still favored his personal life more than he should have, and she wasn’t... wrong. He wants to be a husband more than a king!) But I specifically made it so most of the chaotic elements were played as whimsical (sorry) quirky shit or smaller hints of greater injustice (see: Ember getting rid of STDs, but still letting magic-poor citizens die of sepsis because that’s too boring to deal with), all while a cataclysmic danger lurked under the surface.

After that, I just filled in details as they worked with character stuff and plot stuff, and I tried to make sure they didn’t contradict each other in a way that couldn’t be chalked up to “chaos.” I basically lived with the Fillory map open all the time and also took screenshots of Benedict’s map of Loria, which gave me alternate ideas for the overall feel of the landmass rather than just the kingdom. And pretty much that’s the basic process I used to create the world! It was extremely fun, and I learned a lot, though I’m *definitely* focusing on some pure relationship kind of stuff for a while because... oof, sometimes it was a lot.

Annnnnnnd if you’re still with me, here’s some stray observations, for funsies:

I wanted Quentin and Eliot’s starting points to be more mature than in the show. Quentin when we’re introduced to him as an adult in LQoF is a lot more jaded and cautious than S1 Q, which is because in this world, his S1 mentality happened while he was on Earth and came to a head during the throes of his fucked up relationship with Bayler. Similarly, Eliot had already gone through a lot of shit too, and was much more self-actualized by the time he agreed to be High King here than in the show. It was still out of desperation for purpose, but not coming out of a direct trauma spiral. I think if they had been younger, both in age and mentality, the story wouldn’t have worked because they would’ve blown it up day two. They’re both still disasters, as we like to say, which is why the... everything happens, but they’re not disasters in the exact same way as in early canon. I thought of them as closer to their S3 selves, pre-Mosaic.

While I mostly kept Quentin’s syntax the same as on the show, I did change it up in some ways to reflect his Fillorian upbringing. The most obvious was replacing “goddamn” with “godsdamned” and “Jesus” with “Hades,” but I also made him slow on the Earth idiomatic uptake and slightly more likely to use passive voice and less likely to use contractions, especially early on and especially when speaking with Fen. He also said slightly out of date things even for someone who last remembered 1999, since Earth was still overwhelming despite his immersion. E.g.: In the epilogue, he asks Eliot if he can spend some time “Googling the World Wide Web” instead of watching Gossip Girl together, even though by 1999 most people were saying “on-line” or “the internet” by a pretty wide margin. But in my mind, the first term he learned was World Wide Web and he stuck to it like glue.

I originally had a full-blown coronation scene, where Quentin helped Eliot with the answers to the 90s questions via subtle charades, such as flapping his hands at his sides to give him the answer “Wings” (and Eliot was eventually going to Eliot-Logically use that moment to argue to Quentin that maybe Q really is the true High King since he was the one who actually answered the Knight’s questions, etc.), but I cut it and only showed bits and pieces in flashbacks because it didn’t really matter. They had to treat it seriously because it was An Event in this version of balanced/un-Beasted Fillory, with a full audience bearing witness, but the whole thrust of the external plot was about dismantling that moment and the concept of monarchy in general, so giving it too much weight outside of the Eliot and Julia friendship felt disingenuous to the story I was telling.

This is also why it was important to me that Margo hated the title High King Eliot the Kind, even though I only brought it up textually once or twice. But in my view, she fucking hated it and never came around to it. Which isn’t because she doesn’t think Eliot is kind, it’s that it felt like a simplification of all that he is, and the coronation ceremony in general felt similarly shallow. It wasn’t just the four of them working out their shit on the beach; it was true ceremony after a year of questing toil and a lot lingering uncertainty/resentments (especially regarding Julia), so it was too Big Shiny Happy Bow to her.

Yet on the same theme, my greatest regret was not being able to work in the fact that Margo’s title for Penny (King Penny the Persistent) was supposed to be half-sincere and half-sex joke. She did genuinely admire that he stuck it out even through his initial heartbreak because he gives a shit about his people underneath it all, but—and this is a very important headcanon to me—she admired his dedication to the art of the female orgasm even more.

I was originally also going to include the One Day More sequence with way more details—such as Umber taking the Javert lines, Ember taking the Thenardier lines, Bayler taking the Enjolras lines, and Penny taking the Marius lines, but... uh... writing a musical number is apparently not in my skill set. Also, honestly, the weirdness of the original is its whole charm and so I didn’t want to improve upon perfection. See also, in a more serious way: Eliot bowing to High King Margo on the Muntjac, the events of Plan B, and Quentin & Penny in the Flying Forest. Would not touch it!

My favorite Fillorian detail was either the guy who sent a citizen petition requesting a “smidgen” of Eliot’s earwax for an undisclosed purpose, or the use of the verb “to peg” to describe a Pegasus flock greeting an outsider with honor. They encapsulate the obscene yet pristine feel I always tried to give Fillory.

My favorite subtle(-ish?) ironic moment is Ess, the heir to a hereditary monarchy, taking Quentin to task for not honoring the anarchy patch on his high school backpack. In general, I don’t like everything being neatly resolved, including on an overarching world level. And I very strongly felt they had ZERO business meddling in Loria, so it left some fun-to-me unanswered questions. Will Ess usher in democracy for Loria based on his experiences on Earth? Maybe! Maybe not, since tradition’s a hell of a drug and Loria has its own history and complexities. Who knows?

I misread the town name Sutton as Sultan on the map the first time I referenced Bayler’s hometown (Sultan’s Ridge), but instead of going back to fix it, I just made it a sister town. Whatever!

I do not know how Quentin got a full bookshelf of Earth literature back to Fillory with him. Magic, I guess. (That’s the answer to anything I didn’t totally think through.)

I occasionally get asked whether Quentin and Fen were physically related. The answer is no, though it doesn’t totally matter. But I intended heart-cousins to be more like close family friends. (Though I actually originally had a joke where Eliot still wasn’t sure by the epilogue, but it didn’t land/feel realistic so I cut it.)

The details of the magic frequency poisoning were DEFINITELY what I thought through the least. My main goal was to have something catastrophic happen to Fillory based in part from the historical actions of the Children of Earth and Ember, patently ridiculously but with lasting consequences. Hence, god orgy that took away Fillorian human magic and sent out a slow poisoning of the overall magic “frequency.” It sounds all well and good, but it’s definitely something that would fall apart with even the lightest bit of prodding. It serves it’s purpose though, so I figured the gaps could be filled in or politely ignored. ;)

This question was way too much fun and a helpful retrospective for me! Thank you so much for indulging me, many moons ago. 💗