#ust thought a new theme would inspire me to post more

[sugusearrings]

i forgot changing your blog theme around takes all day 😵‍💫

[katnissmellarkkk]

Alrightttt, I’m on a roll so we’re going onto chappy five 🥳🥳🥳😎😎

I know the movies made the Capitol — re: basically only Effie and maybe Caesar — have those ridiculous made up accents but .... I actually feel like the description of the Capitol accent in the book is supposed to be like the Kardashians or Paris Hilton’s voice. 🤷🏼‍♀️

“Why do these people speak in such a high pitch? Why do their jaws barely open when they talk? Why do the ends of their sentences go up as if they're asking a question? Odd vowels, clipped words, and always a hiss on the letter s. no wonder it's impossible not to mimic them.” Like this is a pretty good description of how Kim Kardashian and her sisters talk. And Suzzy C did say she was inspired by the juxtaposition between war news footage and ridiculous reality television shows so... I think my theory of the Capitol all talking like they’re on the Real Housewives of LA is pretty valid.

Just imagine Paris Hilton as Effie and Nicole Richie as one of her preps

Lolololol this whole section of waxing is reminding me to go get my legs waxed 😭😭😭 straight up calling me out here, Suzanne

I like how Katniss says her stylist “apparently has no interest in seeing her until the prep team has addressed obvious problems.” Like you can tell from her narration she was expecting to feel the same was about Cinna that she does about Effie and her prep team.

The “gritty loam that takes off dirt and three layers of skin” is probably just a strong exfoliator 😭😭😭 my girl knows nothing about quality skincare 🤧🤧 someone build a Panem Sephora

She mentioned them waxing her underarms.... girl, did you have hairy armpits before this? Idk why this revelation is new to me

“Grease her down!” Just sounds wrong 😅😅😅😅 I need to stop being annoying omg I’m like a twelve year old

Hmm it’s funny to me that Katniss refers to Octavia as plump. You’d think in a place like the Capitol body image and weight would be very important. Unless it’s like back in the old, old days when being overweight was a sign of wealth. Which would make more sense so this was an unnecessary thought process curtesy of Samantha

Katniss faking a smile and thanking her prep team shows she does know how to play the game and fake it better than she says.

So ... okay, hear me out, I’m not trying to get over the top or make this into something it’s not but ... the whole stylists / Cinna coming into the room and staring at her naked is a little weird. Especially considering Cinna isn’t Lenny Kravitz who’s like a bit older than her but actually like a twenty-something year old dude.

But okay, here’s the thing I was getting at ... Cinna’s one of the best people in this series and you can’t deny that. Even if you find him boring, he’s still one of Katniss’ closest people. Also he’s probably gay. But like ... what about the other stylists? I don’t wanna be that person who makes everything more than it is, but like, this scene just sounds like a perfect opportunity for some Capitol creep to assault a teenager idk I’m probably making a mountain out of a molehill just ignore Samantha okay.

That’s nice that he complimented her mama though 🥰🥰🥰

So Katniss calls District Twelve the least desirable district but ... doesn’t District Eleven suck too? Like she also later says District Twelve is the smallest and the poorest but doesn’t she also say Rue is worse off than her and Prim? Make up your mind, Suz.

Cinna claims he asked for District Twelve but did he really get an option? 😅 If it’s his first year and Katniss claims the newbies get them anyway 🤷🏼‍♀️ Samantha is once again, reading too much into this.

Awww, Katniss is thinking about how long it would take for her to assemble this fancy meal at home 🤧🤧🤧 it would take her days and the Capitol just has the necessary resources at their disposal and they just takes it for granted. And yes, I’m aware this is supposed to be calling all us readers out who take so much for granted I know. We’re the Capitol.

“How would I spend the hours I now commit to combing the woods for sustenance if it were so easy to come by?” It’s honestly so sad but so vital to her character that Katniss has zero hobbies or real free time. Her life is about surviving. She doesn’t get to live or enjoy very much of her time. She dedicates everything to keeping Prim — and her mother — alive, sacrificing everything a teenage girl should be doing. Sacrificing even the things the other girls in her world get to do. She mentions the merchant girls and the Seam girls who are more experienced romantically and sexually and socially than her. Because she doesn’t get to be a kid or innocent or even happy, in order to focus on her and her family’s survival. And the things she does enjoy, like spending time with Gale or dancing with Prim (mentioned in Mockingjay) she downplays in case they’re taken away, because nothing good is secure in her eyes. 🥺🥺🥺

Okay but what did Katniss’ facial expression give away that Cinna knew exactly what she was thinking? Or is she just less emotionless than she and Haymitch both claim? Ironically I think they’re the only people who call her emotionless which can easily be chalked up to their self-hate and terrible self-esteems.

Katniss is so afraid they’re gonna make her be naked for the parade 😭. Honestly though they’re children that’s so creepy that they’re even allowed to make 15/16/17 year olds be naked in a parade. I mean I know they kill kids every year but isn’t there like child pornography laws in Panem? 😭

“You’re not afraid of fire, are you, Katniss?” Is so foreshadowing 😭😂😅😎 Caesar Flickerman’s voice “Katniss Everdeen, the girl on fire!”

Honestly though Cinna is smart to make Katniss recognizable in the arena by leaving her with simple makeup. I know and the sky is blue we all know this already beating the dead horses until the farmer comes home.

“It crosses my mind that Cinna's calm and normal demeanor masks a complete madman.” It’s true though 😅😅😅😭😭 he was always a rebel. I actually think he may have asked for District Twelve after Katniss volunteered, because he saw the potential in her. Poor Peeta. Baby, I’m rooting you for even if no one else is.

Also I always found it a bit .... curious? That Peeta had a female stylist and Katniss had a male one? Not just because of the required nudity, you’d just think men would do better as a boy’s stylist and a woman would make a better girl’s stylist. So yes, my whole Cinna was interested in District Twelve because Katniss seemed like a good symbol for a rebellion idea seems very plausible.

I know I know I know I read wayyy too much into this stuff sometimes a cigarette 🚬 is just a cigarette 🚬

Katniss being relieved when Peeta shows up 😭😭😭 because even if she won’t admit it and even if she won’t let herself trust him, she still sees him unconsciously and completely against her will as a comfort because they’re in this thing together in a way, even if they’re supposed to try and kill each other

And honestly, it’s such a like... relatable feeling? To feel alone and nervous and uptight and then someone who you recognize — even if you maybe aren’t even friends with but you at least know — shows up and you just instantly feel less alone. I’m totally looking at this through shipper goggles and I’m not even ashamed you all knew who’s blogging you were reading ight? 😂🤣🤷🏼‍♀️

“He should know about fire, being a baker's son and all.” And he’s gonna learn a lot more about it when he falls in love — for real, falls in love, not a childhood infatuation — with the girl on fire. 🥰🥰🥰

But also, I love this particular line on a reread because it totally is an indicator towards their future. Like Peeta knows about fire, he’s experienced with how to handle it, and later on, he becomes the only person who truly comes to understand Katniss, who represents fire, in a way that no one else could ever imagine.

Hmmm, Katniss’ point of view here, talking about how Portia and Peeta’s team seem all giddy and air-headed and it’s only Cinna who seems reserved makes me rethink my previous imaginings of Peeta’s stylist. Maybe she’s just a Capitolite idiot and nothing like Cinna. And my baby got a raw deal here then too. Good thing Haymitch loves him more. Just kidding 😅😅😅

But also I wanna know why Cinna is hesitant to accept congratulations for his and Portia’s idea? Wasn’t he at least lowkey excited about it when he pitched it a page ago?

Their horses are coal black 🐴 😅. I like that they went the whole nine yards with the theme. Nothing but the best for the kids on Death Row.

Aww Katniss asking Peeta what he thinks about being set on fire is so sweet and pure for some reason. I just find their commodore here cute ok

“I'll rip off your cape if you'll rip off mine” this is literally their first friend type of interaction and it’s so pure y’all leave me be I’m emotional for them

🙃 Also lowkey reminds me of “I’ll show you mine if you show me yours.” Everyone look away ok I’m sorry

Peeta’s shady/annoyed Haymitch comment and Katniss’ joke at his expense 🤣🤣😂🤣😂😂🥲🥲☺️🥲🥲 they’re bonding it’s so presh

“And suddenly we're both laughing.” I hope they laugh a lot together post-canon 🥲🥲🥲. If they can make the other laugh during their terrible circumstances, then they can make the other laugh anywhere. 🤧 Except in Thirteen because he’s hijacked and she’s certifiable and they’re both so used and abused and 🥺🥺🥺🥺

Okay I have to say, Suzanne Collins really builds up a lot for certain events and then just like grazes over the actual action of said event? Like she builds towards the tribute parade but then kind of rushes through off the actual event itself? It’s a common theme in her writing. And I don’t like it at all ngl.

Oh wait she doesn’t actually rush the parade events the paragraph before just looked like she was about to I jumped the gun 🤣😂🤭 but what I said is still completely true for many events in these books sorry not sorry

I’m definitely reading too much into it but the fact that District One — the favorite of the Capitol — gets snow white horses and District Twelve gets coal black horsies kind of ... seems to imply something .... 🤭

Cinna just lets out a sigh of relief “it worked” like ... way to fill your tributes with hope, dude. “Yeah, you’re totally safe, don’t be scared-OH THANK GOD THAT WORKED I wasn’t actually sure you wouldn’t blow up.” But actually this answers my previous inquiry about why he seemed hesitant I guess he wasn’t even sure this wouldn’t burn them up that’s nice 🤭🙃

It’s a literal trial by fire *cue drum hit* 🥁 aww, I just cracked myself up 😭

“Then he gently tucks a hand under my chin. "Remember, heads high. Smiles. They're going to love you!" This is caught halfway between being very Capitol-y and very father-brotherly and idk which way to take it but it’s kind of cute 🤭

“For the first time, I look at him and realize that ablaze with the fake flames, he is dazzling.” This is such a significant line because Katniss isn’t saying Peeta is technically good looking (like when Haymitch said they were decently attractive) or someone else thinks he’s good looking (i.e Gale, her mother and lowkey Finnick) but she’s saying she herself thinks he’s attractive. Girl, your crush is showing.

"I think he said for us to hold hands," says Peeta.” I’m sure Cinna actually did say that but this just seems like a very good opportunity for Peeta to hold the hand of the girl he has a massive crush on. 😭😭😭

Okay Cinna gave a thumbs up so he actually was saying that but can you imagine Peeta’s excitement right now?

I mean, yeahhhh, there’s the certain death looming over him too but like live in the moment, babe. 🥰😘🤗👌🏻

I like that Katniss says the crowd is at first like 😳😳😳 before they start cheering like they’re thinking “what are these backwoods, hillbilly kids doing this year?”

“At first, I'm frozen, but then I catch sight of us on a large television screen and am floored by how breathtaking we look. In the deepening twilight, the firelight illuminates our faces” okay they both have to be pretty naturally attractive people objectively, because you illuminate my face without much makeup and no one is gonna be cheering.

“Remember, heads high. Smiles. They're going to love you! I hear Cinna's voice in my head. I lift my chin a bit higher, put on my most winning smile, and wave with my free hand.” I wonder what the true difference is for Katniss between Cinna and Effie saying this to her? Maybe it’s that Effie is just outright mean to her sometimes whereas Cinna shows her nothing but kindness from the start and expresses sympathy and understanding? It’s probably that he’s already earning her trust versus Effie who’s just cruel I’m not over her comments on the train ok

“I'm glad now I have Peeta to clutch for balance, he is so steady, solid as a rock.” Right from the start, Katniss refers to Peeta as solid and steady. Idk, I feel like this is something that the movies really misses along the way. Katniss wasn’t always strong or confident at all and Peeta, at least publicly, exuded those qualities pretty well. Samantha’s complaining again ™️ 💁🏼‍♀️🤦🏼‍♀️

Also this is just outright foreshadowing how Peeta will eventually become her rock. Or that he will be soon painted a rock ... pick and choose which way you wanna go with this. 🤷🏼‍♀️💁🏼‍♀️😅🤣

“As I gain confidence, I actually blow a few kisses to the crowd.” Okay, see I feel like Peeta really gives Katniss confidence in herself. If he’d been there in District Thirteen and they’d done propos together, she probably would have been a thousand times better.

But also this makes me think Katniss actually has it in her to be a charismatic, confident, alluring celebrity. She just chooses not to. 🤗🤗🤗

But this also reminds me of “She has no idea the effect she can have” okay imma move on and stop focusing on every little detail

I say that every chapter 🤧😅

“The pounding music, the cheers, the admiration work their way into my blood, and I can't suppress my excitement.” Say whatever you want, Katniss is still such a girl underneath it all. She gets excited over people liking her and cheering her on. And I know it’s because it increases her chances of getting sponsors but still

Honestly Peeta trying to showcase Katniss and let her take the spotlight is so selfless and indicative of his ultimate plan to help her win but also ... I can see how Katniss would believe it’s too good to be true and he’s messing with her. That he’s just playing the game to earn her trust, get her guard down and manipulate her later.

See, Peeta is actually framed at the start like the typical, standard YA love interest turned villain. In majority of YA books, at this point the boy is kind and sweet and helpful to the girl until she trusts him completely and then he turns on her and uses everything she gave him to destroy her. But the difference is, Katniss refuses to truly trust him and she is guessing his game incorrectly at every step. And then it’s revealed that it was never a game and he truly isn’t messing with her and everything he’s done that’s seem too good to be true and not even remotely plausible has actually been genuine and heartfelt and that, my friends, is why Peeta is above all other YA love interests. Because Everlark is actually the foil to many of the cliches. That was a long speech over some incoherent thoughts I’m so sorry if you suffered through that.

“It's not until we enter the City Circle that I realize I must have completely stopped the circulation in Peeta's hand. That's how tightly I've been holding it.” Awww he is her rock 😭🤧🥺

"No, don't let go of me," he says. The firelight flickers off his blue eyes. "Please. I might fall out of this thing." Okay this part is so cute and so blatantly setting Peeta up as her main love interest omg 😅 this isn’t the least bit subtle or disguised. But first off, the fact that Katniss is also Peeta’s stability here too 😭😭😭 and second of all, she takes time to notice his blue eyes against the firelight? She was attracted to him from the very start, y’all. That’s indisputable. 👌🏻😎🤧

“It's not really fair to present us as a team and then lock us into the arena to kill each other.” I agree with you, baby, it’s not fair at all. But you two take care of that situation nicely. Or not. Y’all do start a dang war. 🤭🤭🙃🙃

It’s rather ... ironic that it’s District Twelve’s chariot of them all that is pulled up and stopped directly in front of President Snow’s mansion. I know it’s a book, certain details like this are definitively contrived, I know get over it. 🤦🏼‍♀️💁🏼‍♀️

So uh. Snow is a small thin man? Why do I suddenly imagine Danny Devito as Snow 😅😅😅😅🤣🤣🤣🤣 y’all know he’d kill the role

“The darker it becomes, the more difficult it is to take your eyes off our flickering.” Okay, this is such a great line and it’s so significant to the rest of the series? The fact that Katniss — and Peeta, let’s not forget our boy — became symbols of the revolution. Like this line is deep if you think about it. The worse things in Panem got, the more the civilians looked towards Katniss and Peeta for hope 🥺🥺🥺🥺🥰🥰🥰🥰

Omg now after Songbirds and Snakes, we know the national anthem. I’m sorry, babies, that you have to endure that I’ll get you out of there 🙉🙉🙉

I feel like in part, the Capitol camera crew — Cressida, Pollux .... Pollux’s brother... is that you here???? — put so much attention on District Twelve because it would create some resentment and competition between them and the careers 🤭🤗

“I notice a lot of the other tributes are shooting us dirty looks, which confirms what I've suspected, we've literally outshone them all.” Insert Gretchen Wieners “I can’t help that I’m popular!” 😅😅😅😅😅

“I realize I'm still glued to Peeta and force my stiff fingers to open. We both massage our hands.” — they were hanging on so tight 😭😭😭😭

“Thanks for keeping hold of me.” He’s so sweet ☺️☺️☺️ I love him even if he’s kind of an idiot sometimes but so is Katniss so let’s not point fingers

“I'm sure they didn't notice anything but you. [...] And then he gives me a smile that seems so genuinely sweet with just the right touch of shyness” Omg I know Katniss views this as him trying to manipulate her but the fact that he’s actually just admitting the way he’s felt for years is so 😭😭😭😭 if only you’d spit it out sooner, Bready

“he gives me a smile that seems so genuinely sweet with just the right touch of shyness that unexpected warmth rushes through me.” She literally has a crush on her fellow tribute and her first line of defense is to decide he out to get her for making her feel this way 🤣😭🙃

“The more likable he is, the more deadly he is.” The more my crush grows, the more deadly he becomes. I know I’m reading this with shipper goggles but guess what? I’m unashamed. 🤷🏼‍♀️🤷🏼‍♀️🤷🏼‍♀️🤷🏼‍♀️ who feels guilty for reading this book with an Everlark bias not this girl right here 🙋🏼‍♀️🙋🏼‍♀️🙋🏼‍♀️

“I stand on tiptoe and kiss his cheek. Right on his bruise.” Okay first off, she says cheek here but according to a chapter ago, she claimed the mark was on his jaw... so in other words, she’s incredibly short. If a medium height guy has a bruise on his jaw and she has to stand on her tip toe to reach it... well... hashtag LittleKatniss

And second off.... can you even imagine how Peeta must feel. He genuinely complimented her here, the girl he has had a crush on forever, and she responds by kissing his cheek. He was probably really happy at this moment. And also this probably played further into his buying into her false display in the arena. That here we have her clutching his hand, smiling and laughing with him and kissing his cheek. Idk what I was trying to say necessarily but I made myself sad wow way to go me 🥺🥺🥺🥺🤧🤧🤧

Anyways! Those are my very over the top and too detailed thoughts! Hope you enjoyed if you read this! 🤣🤣🤣🤣🤣🥳🥳🥳🥳🥳🥳🥳😎😎😎😎😎😎😎🥰🥰🥰🥰🥰🥰🥰🥰

[kinetic-elaboration]

February 8: Mountain Lion Mean Notes

Okay, so I was writing up notes on my Troped Western fic and then I clicked something and it all disappeared! I’m very upset and I hate the idea of starting again but like... I guess that’s what I gotta do :/

Mountain Lion Mean on AO3.

Written for @troped-fanfic-challenge​

So as I said in my notes, I watched Hell or High Water on the Sunday the trope document opened and immediately became obsessed, and that was my main inspiration. I saw it and loved it and, like with most things I love, my first thought was how can I do this too?? I didn’t want to do a straight AU of it, because it’s just too good and I don’t want to mess with that kind of perfection, but I knew I wanted a similar mood. I also figured pretty early on that I would try to include a bank robbery.

For the first days after the trope doc opened, I mostly just gathered inspiration and tried to think Western thoughts. In addition to HOHW, my inspiration included:

The Western episode of Charmed

A Western Rock playlist I found on Spotify

This post of southwestern gothic aesthetics

“Ranch Girl” by Maile Meloy (also the inspiration for it is new moon and twilight, which, fun fact, was originally going to be a Western; I didn’t re-read the story but it’s been haunting me since I first read it c. 2001 and is probably a partial inspiration for everything I write)

William Faulkner (especially “A Rose for Emily” and A Light in August) for the “town POV” narration

Sigrid Undset for the floating third-person-POV

The wikipedia article on Westerns, for succinct summaries of the themes of Westerns

The original aesthetic, quoted from my notes: “The vastness of the west, the frontier, a little uncivilized, a little dangerous, tough looking men who don’t talk much, extrajudicial justice, the heat and the desert…“

By the time I sat down to brainstorm, I had a few ideas and a few images already in mind. I wanted to include a bank robbery. I liked the idea of Clarke as a gunslinger and/or purveyor of vigilante justice. I thought I might use Gina as a bartender (this was during the half-moment I thought I might write a Bartender Mechanic fic; obviously neither of these things happened). And I liked the idea of including Murphy as some kinda criminal or unsavory type. The image of Bellamy as a taciturn cowboy came fairly early too.

I was a little uncertain at first if I wanted to do an 1800s western or a neo-western, mostly because I felt like the tropes I was attracted to and the images in my head fit better in the 1800s. But ultimately I settled on neo-western pretty fast, because I thought the imagery and themes would work better in the modern day. Plus I just thought it would be easier tbqh.

My first concern was to not just re-write a shittier HOHW. I was really caught up in the logistics of the bank robbery; including too much of that would necessarily make it a copy of the film, so I tried to keep just the bare bones of the robbery + the general justification (saving the family land). Then I added additional portions of the scheme--not too difficult since I knew I wanted Gunslinger/Vigilante Clarke in there, and I needed some way to show that she takes Justice into her own hands--and additional characters. Again, most notably Clarke, but also Raven and Octavia. The characters have their own backgrounds, personalities, relationships, and motivations, all of which make the story more mine imo. I’m satisfied with the balance of Obvious HOHW Influences and original content.

At some point, I described it to my mom as “Bellamy is Toby, Murphy is Tanner, and Clarke is canon Clarke but in the modern West.” Which I still think is accurate.

Including Clarke, though, and privileging the various relationships among the trio of Bellamy, Clarke, and Murphy, made me feel like I was making an it is new moon and twilight knock off except with Clarke for Raven. I still kind of see it, tbh, in the sense that twilight was itself supposed to be a western--I think it would be fair to say that Mountain Lion Mean IS the fic I set out to write in February 2020--and in the sense that I could have written a different story in the same universe as Mountain Lion Mean that explored the Clarke, Murphy, and Bellamy relationships in a way that is similar to twilight. As is, a lot of that is unsaid and unseen. The two fics have different focuses, so it’s probably only apparent to me just how similar they are. Just like, to me, Mad Women and The Wanheda Tape are the same story even though they have very different aesthetics and plots.

Some excerpts from my notes that I think are fun:

I really want to work with the themes (haha themes) of frontier justice and also the sense that the west is infinite but also small, that nature is hard and impossible to wrangle but that the opportunities are narrow and it’s easy to get trapped in it, the melancholy nature of it, the dichotomy of nature (huge, powerful) versus man (small, struggling against nature and against man). Or some such. Or Murphy just robs banks.

Bellamy owns a struggling ranch. Clarke is a gunslinger (don’t really know if I can use this trope in the current day but possibly?) who doesn’t trust the law. Has a conceal[ed]-carry permit. Is the best shot in three counties. Murphy’s been in and out of prison most of his adult life, mostly for crimes like robbery and assault.

How do they know each other? Possibilities: Murphy knows Bellamy through Octavia (idk why…but I do feel like O should appear, riding a horse) (background Octaven? Just a thought), Bellarke are exes, Murphy used to work on the ranch. Clarke has killed someone (someone Bad) and gotten away with it.

I do like the focus being on these three characters, who have a long history but aren’t currently close, coming together for a mission (to rob a bank) for the benefit of one who is struggling (Bellamy) even thought this is an awful lot like both Hell or High Water and it is new moon and twilight lmao.

I like that mood from HOHW where actually Toby was the most dangerous, and the smartest, and he won—the idea that Bellamy is the taciturn cowboy who’s not good at sharing his feelings but he’s also the mastermind in the end. Is that the twist? You get the impression Vigilante Gunslinger Griffin and Actual Ex-Con Murphy are planning something, but then it turns out to be Bellamy who executes the plan? [Not quite how it turned out lol in that I think it’s decently obvious that Bellamy was a major part of it the whole time but I did try to get some of this in with Octavia in the final scene--to really drive home Bellamy’s importance, as the ring leader, since otherwise one could ask, what does he even do?]

Midway through the planning process I came up with some more images to work from:

B and C out at dusk on the ranch, she’s shooting can, a bit of UST perhaps

M shows up at the bar and there’s an awkward silent entrance—perhaps he’s just out of prison

Murphy or Clarke guns akimbo [I picked Clarke to emphasize that she’s the gunslinger, but I had Murphy shoot out the security cameras to show that they were using his robbery experience]

Bellamy being silent and awkward

At this point, it was just about putting all the pieces together. That’s how I tend to plan Troped fics: I lay out all the pieces I need or want to include and then I figure out the shortest and most efficient distances between them. For example, I knew I needed a bank robbery and for Clarke to administer some vigilante justice--so I use that justice as a way to launder the money. They fake a will for her victim and “give” the money to themselves.

I did worry, and still worry, about the timeline re: the Bellarke marriage and the will because I’m quite sure it doesn’t make sense and doesn’t work. But it also... it doesn’t keep me up at night because the whole point is that it’s a scam!! Worrying about legality in a scam is sorta... lol. What I mean specifically is that I wanted it to be clear that Clarke does not kill Kane FOR this scheme. They use something she already did to their advantage. So she and Bellamy can’t be married at the time Kane is killed. That implies the murder was pre-meditated for the bank robbing purpose. But I’m also fairly sure (and I should know this because I took T&E but like...honestly can’t remember) that the people in the will are counted at the time of death, not the time of probate, or you could like... adopt extra kids or marry or divorce someone to affect the will. Plus all that stuff about simultaneous death etc. etc. Also, on a practical level, if Clarke wasn’t married, Kane wouldn’t have an obvious reason to write her spouse into the will. But I get away with this in my head by saying, first, no one’s going to say the husband that’s standing right there doesn’t count as a husband--the law is the law but it’s implemented by people and they fudge corners all the time. They do what seems to make sense even if you’d lose points for it on a law school exam. And second, the will could have been written with the assumption or hope that Clare would marry. Possibly even, though I don’t say this in the fic exactly, on the condition of marriage--Clarke gets 100% to share 50-50 with her husband if she’s married, 0% if she’s not. Doesn’t really matter. It’s supposed to read as outwardly clever and create Mystery and play with the Exes Aesthetic even if it doesn’t hold up the strictest scrutiny. (JDs don’t @ me.)

I justified including the marriage as a necessity because Kane could possibly leave money to Clarke’s husband but he wouldn’t leave money to some rando. I do stand by that part.

I also decided at some point that I wanted to include Background Octaven but be really subtle about it so it was something else the reader would have to piece together: that Raven has a girlfriend, then that Octavia has a girlfriend but, hey, isn’t Raven a bartender?--and then it comes together in the last scene as we see that their relationship was factored into Bellamy’s plan all along: some of the loot goes directly to Octavia and her partner, officially as payment for Raven’s services, unofficially because Bellamy wants to give O a gift. Anyway. Either it was too obvious or too subtle/boring because no one mentioned it but I thought it was cool lol.

At this point in my planning I basically had everything I needed, so I wrote a quick outline of scenes, as I always do, to see how it would flow scene to scene and if I had a place to put all the necessary plot info. I also ended up doing “what I need from this scene” lists for each scene so that I knew what I had to have on my mind to include before I sat down to write each one.

The actual writing was done over 3 days and fairly easily and quickly. I had a lot of fun not just with planning but with the actual process of creation. I think it’s because I was just honestly excited to be in this universe and play with this aesthetic.

Not to blow my own horn here but some parts that I was particularly pleased with were:

“Arkadia hasn’t seen a drop of rain in thirty-two days. The asphalt on the highway shimmers with heat; the air crackles with heat; the heat rises, stifling and strong, from the parched dirt and the cracks in the pavement.” Like I’m sorry but that’s a good image, I like that a lot. Whenever I felt discouraged, I just read that again and felt better.

The description of past Bellarke because boy howdy do I not care to write romance anymore but that was fun. I thought it was hot.

Transitioning Murphy laughing until the coyotes can hear into Bellamy hearing coyotes at night into Bellamy still hearing them during the day. I don’t know if it worked quite like I wanted to but in my head that is a very Cinematic transition, okay? I also like that even though Clarke and Murphy aren’t literally riding off together in that scene, for the reader, they are leaving the narrative never to be seen again. So they get their Dramatic Exit.

Octavia’s explication of the Theme and Bellamy’s possible motivations. I’m pretty proud of myself for actually having a theme and I think I did a good job of explaining it without being too heavy-handed. I also think it was perhaps risky to end with the POV of Octavia, a character who’s barely been in the fic before the last scene, but ultimately that decision felt right to me and I think it had a good flow, a nice mellow exit from the narrative.

What I didn’t like as much was a lot of the first scene. I think it has some great bits but it was the most re-worked part of the fic, and there are still some paragraphs and phrases that I feel are a little stiff. For example, this is a paragraph that I cut entirely:

Diyoza was sure the Griffin daughter did the deed back in January and she's sure about it still. She even gives a quote to the Sun-Times about it, despite her troubles with Green. But she had no proof then, not even a body to justify a murder charge, and she has little proof now. So no one believes the investigation will come to anything.

As you can see, it gives no new information. There were other sentences and phrases that weren’t doing work but were interrupting the flow, which also got cut, but I’m still not sure that the flow is perfect in the final version.

Also displeased that I edited out a * from the version on AO3, thus letting two scenes run together. How embarrassing!!! It’s fixed now though.

Overall though I’m so pleased! I love this fic and I love that I can love things again. This year has already been so hard, just like being battered again and again by waves of a storm, and it’s only 5 weeks in but this experience was so unabashedly good and I’m so grateful for it.

[inevitably-johnlocked]

hi steph! know of any fics where sherlock dates someone else and john gets jealous and confesses his feelings?

Hi Nonny!

AHHHHHHH Okay, so I have this weird thing where I have a hard time reading fics where Sherlock is dating someone else, LOL, because I’m garbage. I dunno why… the closest I can get is fics with Victor Trevor in them as a “replacement” or “past bf” D: I’m so sorry I’m useless in this regard… Methinks these lists may help you out a bit? :)

MY FIC LISTS:

Jealous John

Jealous John Pt. 2 and Jealous Sherlock Pt 2

Jealous John Pt 3 and Jealous Sherlock Pt 3

Jealous John and Sherlock Pt. 4

ALEXX’S LISTS

John is Jealous of Victor Trevor

Victor Trevor Appears

MORE Victor Trevor/Sherlock (Part 2)

Jealous John

Sherlock with Other Men

John thinks of Sherlock with Other Men

EDIT: ACTUALLY NONNY, I just found an offline list in my folders that I think you will like; I’ve been waiting to post it anyway :P I hope this is good :D

VICTOR TREVOR / VICTOR IS SHERLOCK’S PAST FRIEND (S4)

Unforgiven by 221b_hound (M, 4,721 w., 1 Ch. || Marriage Proposal, Victor Trevor, Jealous / Protective John, Jealous Sherlock, Sherlock’s Past) – Sherlock’s latest case is for his ex boyfriend, the brilliant and handsome Professor Victor Trevor. John is not too happy about that. But things aren’t what they seem, an old friend of John’s is involved in the case, and John has a few surprises up his sleeve. Also - a proposal! Part 16 of Unkissed

Laid Bare by esplanade (T, 6,529 w., 1 Ch. || Romance, Fluff, Pining, Angst) – “I suppose it comes as no surprise that I always rather detested grand romantic gestures. They struck me as unnecessary and contrived, feeble attempts at desperately holding together relationships, most of which should have been allowed to fall apart.”

I can’t pretend by Salambo06 (E, 7,692 w., 1 Ch. || Fake Relationship, Victor Trevor, Jealous John, Miscommunications, Bed Sharing, Love Confessions, First Kiss/Time, Anal, BJs) – They had arrived more than a hour ago, and the moment they had walked inside the hotel reception, John had understood why Sherlock hadn’t wanted to come. Two men, posh suits and expensive watches on their wrists, had come to greet them with sharp remarks and badly hidden mockery, and John had seen red. Sherlock hadn’t said anything, mostly ignoring the two men entirely, and without thinking twice about it, John had slid an arm around Sherlock’s waist and introduced himself as his husband.

My Life for His by QuinnAnderson (E, 8,816 w., 1 Ch. || Guardian/Protector, Greek Mythology || Growing Up, Sex, Religious Themes, Suicide, Minor Character Death) – It began when Sherlock was eight, and he attempted to climb all the way up to the highest branch in the old willow tree in his back garden. He’d thought he was still small enough that it could support him, but the second he’d grabbed hold of it to pull himself up, the branch snapped, and down he went, plummeting a solid twenty metres. The odd thing was, he never actually hit the ground.

Illogical, even. by magikspell (E, 9,119 w., 1 Ch. || Grey-Ace Sherlock, Character Study, Growing Up, Victor Trevor, Romance, First Time/Kiss, Sherlock-centric) – Five reasons Sherlock never believed in love and one reason he does now.

I’m content as we are (but) by inqui (The_Circus) (E, 13,086 w., 1 Ch. || Jealous John, UST/RST, Pining, Victor Trevor, Minor Whump, First Kiss / Time, Misunderstandings) – In which John Watson sees something unusual, becomes jealous, and makes too much of a small thing as an old friend of Sherlock’s shows up in the middle of a case.

Say For Me, Love by MirabileLectu (T, 13,147 w., 1 Ch. || UST, First Kiss, Drama, Pining John, Victor Trevor) – If you had asked John this morning what the result of his quiet afternoon at home would be, discovering a truth about Sherlock’s past startling enough to shift the foundations of their friendship would not have been his first guess. So naturally, that was what was bound to happen.

Let’s Make a Bed Out in the Rain by theimprobable1 (M, 17,664 w., 11 Ch. || Pining Sherlock, Angst & Fluff, First Kiss, Unrequited, Jealous Sherlock, Protective Sherlock) – John is devastated after his long-term girlfriend leaves him. Sherlock helps him through it.

That Partitioning of the Things of Youth by wearitcounts (E, 35,353 w., 7 Ch. || Humour and Angst, Post-TRF, Fake Relationship, UST / RST, Friends to Lovers, Jealous John) – Victor Trevor is in town, and nobody’s happy.

(Never) Turn Your Back to the Sea by DiscordantWords (M, 39,968 w., 7 Ch. || Post S4 Fix It || Grief / Mourning, Victor Trevor, Friendship, Sherlock is Not Okay, Nightmares/Flashbacks/Panic Attacks, Parentlock, Pining Sherlock, Angst with Happy Ending, John Comes Home) – Baker Street is very much the same. Only different. And Sherlock is just trying not to drown.

Resistivity and Relative Charge by liriodendron (E, 41,750 w., 8 Ch. || Synesthesia, Angst, Case Fic, Romance, Est. Rel., Homophobia, Religious Content, Victor Trevor, Mild Jealous John, Mild John Whump) – In which Sherlock Holmes meets an old acquaintance, John Watson doesn’t enjoy a trip to the country quite as much as he thought he would, and the past absolutely refuses to stay where it belongs. Part 3 of Conductivity

Sacré Coeur by Mamaorion (M, 95,236 w., 27 Ch. || S4 Fix It Rewrite, First Kiss, UST / RST, Eventual Happy Ending, Coming Out, Holmes Family, Marriage Proposal, Husbands, Healing, Evil Mary, Beekeeping, Caretaker Sherlock, Mind Palace, Alzheimer’s Disease, Protective / Big Brother Mycroft, TD-12) – In this s4 fixit, John must piece together the gaps in his altered memory if he and Sherlock are to face the terror that has plagued Sherlock since childhood. As they untangle the web, seven years of hidden love ignite. (TO READ)

A Further Sea by i_ship_an_armada & ShinySherlock (E, 125,492 w., 23 Ch. || Historical Pirates AU || Enemies to Friends to Lovers, Doctor John / Pirate Captain Sherlock, Sailing, UST / RST, Masturbation, Action / Adventure, Mild Angst & Peril, Romance, Shaving, Molly/Janine, Bottomlock, Hand / Blow Jobs, Past Drug Use, Slow Burn, Mild Violence, Happy Ending) – Here be a tale of adventure for both body and soul, but beware if ye be not of stout heart, for this be piratelock, ya savvy? Luckless ship’s surgeon John Watson takes a chance, and finds himself eye to eye with The Ghost, the scourge of the seven seas and a definite thorn in the side of the blaggard, James Moriarty. But when John finds there’s more to this most cunning pirate than be meetin’ the eye, he has to choose… is it a pirate’s life for him?

Colors by Quesarasara (E, 140,537 w., 17 Ch. || Pleasantville-Inspired AU || Soulmates, Colour Bonds, Alternating POV, Angst, Fluff, Pining, Case Fic, Medical Procedures) – Everyone on earth is born with eyes that see in black, white, and an endless series of greys. When you meet your soulmate, you finally see the world in color. We’re all searching for the person who brings color to our lives. John and Sherlock are no exception. Part 1 of The Colors ‘Verse

SHERLOCK AND OTHER MEN

Nothing to Make a Song About by emmagrant01 (E, 36,833 w., 10 Ch. || Post-TRF, First Time, Reunion, Jealous John, Pining Sherlock, Romance, Angst with Happy Ending) – When Sherlock returned from his faked death, John could not forgive him for the deception and broke off their friendship. Ten years later, John returns to London in search of yet another new beginning. Sherlock, not surprisingly, is waiting.

Drawn to Stars by Silvergirl (E, 66,392 + w., 42/56 Ch. || WiP || S4 Compliant to TLD / TFP Doesn’t Exist, Sherlock’s Italian Adventure, Jealous John, Mutual Pining, Misunderstandings, First Kiss/Time, Idiots in Love, Angst with Happy Ending) – After the Culverton Smith case Sherlock is clean, working, and looking for a romantic partner—since John has told him that’s what he needs. Shame John didn’t mention he was interested in that role himself, before Sherlock went off to Rome with a gorgeous Italian copper to try to fall in love and become a complete human being. (MARKED FOR LATER / TO READ)

[vinylexams]

A very special fireside interview with XUXA SANTAMARIA

Check Insta for our thoughts on this landmark album from Oakland duo XUXA SANTAMARIA. Stay right where you are to read a really fun interview I scored with the band this week. They’ve just released Chancletas D’Oro on Ratskin Records out of Oakland and Michael blessed me with my very own copy. It was so good I knew I needed to tell you all about it and I wanted to pick their brains a little bit, too. Without further ado, please enjoy:

//INTERVIEW

You’re still breaking into indie world at large, but you’ve already got a huge following back in California and your home-base in Oakland. What has it been like to be featured in major outlets like The Fader?

SC: We are a funny project; we ebb and flow from being total hermits to having periods of relatively high visibility (relative to aforementioned hermit state). I wouldn’t say we have a huuuge following in CA but I do think that the ‘fandom’ we’ve developed here is really genuine because we don’t play shows out of an obligation to remain visible but instead do so because we feel super passionate about the work and the audience and I think people respond to that energy. I for one, and perhaps this is because of my background in performance, have a hard time performing the same stuff over and over without change which accounts for us being selective with our playing live. That’s also why videos are such an important part of what we’re about. The piece in The Fader was important to the launch of this album because it established some of the themes and, to an extent, the aesthetics of this album in a way that can be experienced outside of a live setting. None of this is to say we don’t like playing live, in fact we love it, we just like to make our sets pleasurable to ourselves and to our audience by constantly reworking it. We strike a weird balance for sure but we’ve made peace with it. If we ever ‘make it’ (lol) it’ll be on these terms.

Chancletas D'Oro is a pretty incredible record and while it reminds me of a few bands here or there, it’s got a really fresh and unique style that merges dance with all sorts of flavors. How would you describe your music to someone who is curious to listen?

MGK: Haha, we generally struggle to describe our music in a short, neat way (not because we make some kind of impossible-to-categorize music, but just because it’s the synthesis of a ton of different influences and it’s hard for US to perceive clearly). But with that caveat in mind - IDK, bilingual art-punk influenced dance/electronic music?

SC: Thank you for saying so, we’re pretty into it :) Like Matt says, we struggle to pin it down which I think is in part to what he says – our particular taste being all over the place, from Drexciya to The Kinks to Hector Lavoe- but I think this slipperiness has a relationship to our concept making and world building. As creative people we make and intake culture like sharks, always moving, never staying in one place too long. Maybe it’s because we’re both so severely ADHD (a boon in this instance tbh) that we don’t sit still in terms of what we consume and I think naturally that results in an output that is similarly traveling. Point is, the instance a set of words - ‘electronic’, ‘dance’, ‘punk’- feel right for the music is the same instance they are not sufficient. I propose something like: the sound of a rainforest on the edge of a city, breathy but bombastic, music made by machines to dance to, pleasurably, while also feeling some of the sensual pathos of late capitalism as seen from the bottom of the hill.

The internet tells me you’ve been making music as Xuxa Santamaria for a decade now. What has the evolution and development of your songwriting been like over those ten years?

MGK: Well, when we first started out as a band we were so new to making electronic music (Sofia’s background was in the art world and mine was in more guitar-based ‘indie rock’ I guess - lots of smoking weed and making 4 track tapes haha), so we legit forgot to put bass parts on like half the songs on our first album LOL. We’ve learned a lot since then! But in seriousness, we’ve definitely gotten better at bouncing ideas back and forth, at putting in a ton of different parts and then pulling stuff back, and the process is really dynamic and entertaining for both of us.

SC: This project started out somewhat unusually: I was in graduate school and beginning what would become a performance practice. I had hit a creative roadblock working with photography - the medium I was in school to develop- and after reading Frank Kogan’s Real Punks Don’t Wear Black felt this urge to make music as a document of experience following Kogan’s excellent essay on how punk and disco served as spatial receptacles for a wealth of experiences not present in the mainstream of the time. I extrapolated from this notion the idea that popular dance genres like Salsa, early Hip Hop, and Latin Freestyle among many others, had served a similar purpose for protagonists of a myriad Caribbean diasporas. These genres in turn served as sonic spaces to record, even if indirectly, the lived experiences of the coming and going from one’s native island to the mainland US wherein new colonial identities are placed upon you. From this I decided to create an alter ego (ChuCha Santamaria, where our band name originally stems from) to narrate a fantastical version of the history of Puerto Rico post 1492 via dance music. We had absolutely no idea what we were doing but I look back on that album (ChuCha Santamaria y Usted - on vinyl from Young Cubs Records) fondly. It’s rough and strange and we’ve come so far from that sound but it’s a key part of our trajectory. Though my songwriting has evolved to move beyond the subjective scope of this first album - I want to be more inclusive of other marginalized spaces- , it was key that we cut our teeth making it. We are proud to be in the grand tradition of making an album with limited resources and no experience :P

We’re a big community of vinyl enthusiasts and record collectors so first and foremost, thanks for making this available on vinyl. What does the vinyl medium mean to you as individuals and/or as a band?

MGK: I think for us, it’s the combination of the following: A. The experience of listening in a more considered way, a side at a time. B. Tons of real estate for graphics and design and details. C. The sound, duh!

SC: In addition to Matt’s list, I would just say that I approach making an album that will exist in record form as though we were honing a talisman. Its objecthood is very important. It contains a lot of possibility and energy meant to zap you the moment you see it/ hold it. I imagine the encounter with it as having a sequence: first, the graphics - given ample space unlike any other musical medium/substrate- begin to tell a story, vaguely at first. Then, the experience of the music being segmented into Side A and Side B dictate a use of time that is impervious to - at the risk of sounding like an oldie - our contemporary habit of hitting ‘shuffle’ or ‘skip’. Sequencing is thus super important to us (this album has very distinct dynamics at play between sides a/b ). We rarely work outside of a concept so while I take no issue with the current mode of music dissemination, that of prioritizing singles, it doesn’t really work for how we write music.

MGK: We definitely both remain in love with the ‘album as art object/cohesive work’ ideal, so I would say definitely - we care a lot about track sequencing, always think in terms of “Side A/Side B” (each one should be a distinct experience), and details like album art/inserts/LP labels etc matter a lot to us.

What records or albums were most important to you growing up? Which ones do you feel influenced your music the most?

SC: I know they’re canceled cus of that one guy but I listened to Ace of Base’s The Sign a lot as a kid and I think that sorta stuff has a way of sticking with you. I always point to the slippery role language plays in them being a Swedish band singing in English being consumed by a not-yet-English speaking Sofía in Puerto Rico in the mid 90s. Other influences from childhood include Garbage, Spice Girls, Brandy + Monica’s The Boy is Mine, Aaliyah, Gloria Trevi, Olga Tañon etc etc. In terms of who influences me now, that’s a moving target but I’d say for this album I thought a lot about the sound and style of Kate Bush, Technotronic, Black Box, Steely Dan, ‘Ray of Light’-era Madonna plus a million things I’m forgetting.

MGK: Idk, probably a mix of 70-80s art rock/punk/postpunk (Stooges, Roxy Music, John Cale, Eno, Kate Bush, Talking Heads, Wire, Buzzcocks, etc etc), disco/post-disco R&B and dance music (Prince, George Clinton, Chic, Kid Creole), 90s pop + R&B + hip hop (Missy & Timbaland, Outkast/Dungeon Family production-wise are obviously awe-inspiring, So So Def comps, Jock Jams comps, Garbage & Hole & Massive Attack & so on), and unloved pop trash of all eras and styles.

Do you have any “white whale” records that you’ve yet to find?

MGK: Ha - the truth is that we’re both much more of a “what weird shit that we’ve never heard of can we find in the bargain bin” type of record buyer than “I have a custom list of $50 plus records on my discogs account that I lust over”.

SC: Not really, I’m wary of collectorship. That sort of ownership might have an appeal in the hunt, once you have it do you really use it, enjoy it? Funnily, I have a massive collection of salsa records that has entries a lot of music nerds would cry over (though they’re far from good condition, the spines were destroyed by my Abuela’s cat, Misita lol, but some are first pressings in small runs). For me its value however, comes from its link to family, as documents from another time and as an amazing capsule of some of the best music out of the Caribbean. I’m glad I am their guardian (a lot of this stuff is hard to find elsewhere, even digitally) but I live with those records, they’re not hidden away in archival sleeves, in fact, I use some of that music in my other work. Other than that, the records I covet are either those of friends or copies of albums that hold significance but which are likely readily available, Kate Bush’s The Dreaming or Love’s Forever Changes, or The Byrds Sweetheart of The Rodeo as random examples

Finally, is there a piece of interesting band trivia you’ve never shared in another interview?

SC: haha, not really? Maybe that we just had a baby together?

//

Congrats on your new baby, and also for this wonderful new album. It was a pleasure chatting with you and I can’t wait to see what the future has in store for you and your music!

[rahirah]

The whole "And If the Grave Be Now Thy Bed" counts as a chapter or scene, right? "Splendid news, Mrs. Mears. Bloody Vengeance Inc. is going to take your case." Commentary, please :)))

For reference: https://archiveofourown.org/works/478957

Ok, this one is too long to do a blow-by-blow in a Tumblr post, so I'm gonna talk about it more generally.

For those of you who haven't read the series this story is a part of, it's a long-running AU which branches off of canon after "The Gift."  I started writing the first story in it immediately after "The Gift" aired, so Spuffy wasn't even a canon thing yet.  At the time, I was pretty certain that Spuffy would never be a canon thing; at most, I thought, there would be a lot of pining and UST, and maybe, in the very last season, Spike would get the crumb he was hoping for.

But I didn't care about that; something doesn't have to be canon for me to ship the hell out of it.  And I was fascinated by the concept of an evil demon trying to be good.  What would it look like, I wondered, if Spike and Buffy did get together in a working, functional relationship?  What changes and compromises would both of them have to make?  How would it meet both their needs?  What would the pain points be?  Of course, the easiest way to do it would be to slap a soul into Spike, but I felt that the show had already thoroughly explored that avenue with Angel, and I wanted to do something different.  Plus I have never been one to do things the easy way, and one of the recurring themes in my writing in general is free will and choices.  So I set myself the challenge of writing a story about how Buffy and Spike forge a relationship that works for both of them, and doesn't cheat on characterization – that is, Spike, having no human soul, is still "evil" in Buffyverse terms, and his motivations and behavior reflect that; even when he is doing good things, he is not doing them in the same way, or for the same reasons, as a human would. *

ANYWAY.  In this AU, Warren Mears and Co. still killed Katrina, but Warren went to jail for it.  However, when his inventions came to the attention of Wolfram & Hart, they got him released on a technicality, and brought him into their R&D department.  Warren took the opportunity to get his revenge on Buffy and Spike by zapping Buffy into a W&H pocket dimension, where W&H was collecting Buffys from many dimensions for nefarious purposes.  Unbeknownst to Warren, Buffy has just discovered that she's pregnant.  

This scenario generated four stories: "The Lesser of Two Evils," which details what happens when Willow and Spike confront Warren and try to force him to bring Buffy back; "In A Yellow Wood," which is about Buffy's adventures in the pocket dimension, "If the Grave Be Now Thy Bed," which deals with the fallout of the first two stories, and "To Grandmother's House," which wraps up the arc with Buffy's final decision about the fate of her baby.

I wrote these stories all out of order: "To Grandmother's House" first, "The Lesser of Two Evils" second, "In A Yellow Wood" third, and "If the Grave Be Now Thy Bed" last.  I knew the general course of the arc all along, but writing it inside out and backwards, over ten years or more, posed some interesting challenges.  "If the Grave Be Now Thy Bed" was not part of the original arc plan – in fact, it grew out of feedback I got for "The Lesser of Two Evils."

TLOTE/IAYW are deliberately morally ambiguous stories.  Spike, Willow, and Buffy all do questionable things – perhaps flat out wrong things – under severe emotional stress, and the consequences of those actions echo for a long time through the years to come.  While I hope that readers find their motives understandable, and even sympathetic, I didn't necessarily expect that every reader would agree with or approve of their actions.  Most people who've sent me feedback seem to enjoy the ambiguity, or at least find it intriguing.  Not all of them, however.  

One particular reader had...issues.  Over the course of several conversations, I found out that while they were a Spuffy shipper, they had very particular requirements for the kind of Spuffy stories they liked.  They had to be either A) totally canon-compliant, angst-ridden stories where Buffy hated herself for giving in to Spike's sinister attraction, or B) stories where Spike was a Romance Novel Bad Boy With a Heart of Gold, and there was a tacit agreement between writer and reader that hey, we both know this is totally OOC for both characters, but we're just here for the porn, amirite nudge-nudge wink-wink.

Reader In Question had started in on my work with the assumption that it fell into the latter category, but the more they read, the less comfortable they got, because, as I mentioned above, I was in this for serious.  I sweat blood over characterization.  And I was starting to convince them that maybe a relationship between Buffy and soulless Spike COULD work.  And they didn't WANT to believe that.  So they absolutely had to interpret my work as a dystopian take on Buffy's slide into total moral decay, with this particular arc as the nadir of her fall.**  They left me some despondent feedback on TLOTE, wondering what Warren's dear mother would think of this turn of events.  I'm not sure if they intended to shame me (or Buffy) for our evil ways, but I thought it was an interesting point.  And it planted the seed of an idea.

Over the next several years, as I worked on IAYW (and let me say right here, the less-than-enthusiastic feedback Reader In Question sent me on TLOTE made me work my ass off on IAYW.  Though I obviously don't agree with their overall interpretation, I thought they had some good points, and I wanted to be sure that IAYW addressed those points) I mulled over the thought: What WOULD happen if Warren's dear old mother confronted Buffy and Spike?  

A lot would depend upon what Warren's dear old mother was like.  There were two obvious ways I could go with that: she could be an innocent victim, or she could be as much of a monster as Warren was.  But I didn't want to do anything obvious with this story.   Fic-wise, I always like to take the road less traveled if I can, but in this case, I have to admit that I got a perverse pleasure out of taking Reader In Question's finger-wagging admonition and using it as inspiration for a story that's, well, not exactly what I imagine they were hoping to inspire.  I decided that I was going to make Mrs. Mears a little of both.

The next question was, what did I want to have happen when she shows up?Again, the obvious thing would be to have Buffy feel guilty.  But I had already dealt extensively with Buffy's feelings, and her reasons for making the decisions she made, in IAYW and TGH.  Yes, she feels guilty; she's not sure she did the right thing.  She's not even sure there was a right thing to do.  But that particular subplot plays out over the long term in this AU, culminating many years later in a completely different story arc, and I couldn't bring it to a premature resolution here.  Besides, I knew that Barbverse Buffy would never return to the uncompromising system of morality that Reader In Question wanted her to,*** so there was no point in writing a story where she Learns Her Lesson, Dusts Spike, and Is Very Sorry. ****

So I decided that this story would focus on Spike, and his reaction to Warren's mother and her loss of a son.  And that opened up a lot of possibilities.  I was to some extent constrained by the fact that I'd already written quite a lot of stories taking place after this one in the timeline, so there were certain things I couldn't do.  But I've always found that if you ask yourself, "What would X logically do in this situation?" and follow that through, you can avoid Idiot Plot Syndrome.   Let your characters be smart.   What would Spike do, confronted with the mother of the man he'd killed?  What would Mrs. Mears demand of him in recompense?  

What I wanted to do in this story was to answer those questions in a way that people wouldn't expect.  I was able to bring Spike's ambivalent feelings about his own mother into play, and provide a way for him to get some character development around coming to terms with her death and his part in it that I might not otherwise have been able to do.  And I was able to draw parallels between Warren and his mother, and Spike and Anne Pratt, and come up with some really intriguing takes on how and why Spike can do the right(ish) thing even when his reasons are kinda-sorta wrong(ish).  It gives some background, hopefully, on  how Buffy can make the ultimate decision she does in "To Grandmother's House," and not feel that she's tobogganing head-first down the slippery slope of Utter Moral Decay.  And I got to write Zombie Warren, who was gruesomely, deliciously horrible.  And I got to give Mrs. Mears the last word.

By the time I finished the story, Reader In Question had long since left fandom, and they probably wouldn't have read it even if they were still around.  But I feel I have to thank them for it anyway.  And that's why I always say that even though I don't necessarily like getting critical feedback, it can be the most useful feedback you can get if you look at it in the right way.

__________

* I could write a whole nother essay about the challenges of writing an evil-trying-to-be-good vampire, but that is beyond the scope of the current post.

** Eventually, they practically begged me to tell them that I was deliberately writing Buffy and Spike out of character, and that I didn't really think a relationship between them could work.  Alas, I could not oblige them, and they stopped reading my stuff.

*** I don't even believe canon Buffy stuck to that kind of rigid moral code – she tried to, but one of the things that makes her a complex, fully realized character is that canon Buffy is perfectly capable of double standards and hypocrisy where her friends are concerned, not to mention just plain changing her mind about things over the course of the show.  For every decision I have Barbverse Buffy [or Spike, for that matter] make, I can point to something in canon and say "This is why I think she could do that."

****Although... I do have an alternate ending to "To Grandmother's House" plotted out in my head, where Buffy [either accidentally or on purpose – just as in the main story, it's ambiguous] doesn't stop Giles in time.  I consider the Barbverse to be a low-probability AU, and I watch out for times and ways in which things could go spectacularly wrong, just so I can be sure to avoid them in a believable manner.  Or write stories about them going wrong, and the characters dealing with them.

*****

[miss-m-calling]

Trick or Treat 2018 letter

Dear writer,

Hello and thank you for writing for me. I’m very excited to read whatever you come up with.

Regarding tricks and treats: for tricks, a story in the general tone of the canon would be great; if you want to introduce a more clear-cut trick element, spookiness, ambiguity, menace, some darkness, maybe some violence if the story wants to go there, a dark supernatural element (e.g., what may or may not be a haunting) even if the canon’s realistic, rather than extreme grimdark where everyone dies or gets raped and dismembered.

For treats, a story in the general tone of the canon would be great; if you want to introduce a more clear-cut treat element, humor, silliness, crack, a maybe-supernatural element (e.g., this is definitely not a haunting right?), something mildly hopeful, rather than teeth-rotting fluff.  

Requests:

American Gods (TV)

Laura Moon, Mad Sweeney

Fic, trick or treat

I ship it. Yes I do. I also love their snarky road trip in and of itself. They’re both such assholes and so fascinating, even if they mellow toward each other a bit in the last two episodes, and all the gods/magic/resurrection stuff swirling around them begs to be explored further. Plus she’s half his size yet can and does beat him up with literally one finger, and then there the angst of he having killed her and then brought her back.

Please give me either missing scenes from the road trip (with or without Salim, whom I like too) or something post-S1. Laura discovers (how? you decide!) that Sweeney gave her back the coin after their accident -- whatever happens next, some punching may be involved. Wednesday’s big war finally comes, and “don’t you dare die on me, you asshole” is a line either Sweeney or Laura (or both) might say to each other. Or something exploring living death. Magical bargains. Meetings – smooth and harmonious, though let’s be real, with these two it’s probably the opposite – with other Old Gods and assorted supernatural beings from various cultures. What kind of favor did Sweeney do for Ostara that would be worth her bringing someone back to life as repayment? What other powers might Sweeney have (he doesn’t seem on a par with someone like Wednesday and Ostara, nor does he consider himself to be entirely like them)? How long can a dead wife keep going before she’s “soup”? What other superhuman abilities might dead!Laura have? Can the dead do magic? Laura asked “What does Wednesday have to lose?” and the answer is...? (Yes, give me that sweet poetic justice.) Sweeney basically stops calling her “dead wife” (or anything else) toward the end of S1 -- there comes a time when he (has to) call her by her actual name, and that’s a tricky moment for them to navigate. Or, Mad Sweeney is not his actual name, since true names have great magical power; Laura discovers or learns his name, from someone else or from himself; what does she do with that knowledge? Also, my perfect AG spinoff would basically be Sweeney and Laura tooling around America, looking to get her resurrected (whether they succeed in this or not is up to you), stealing ever more ridiculous vehicles, arguing/fighting and having those pesky moments where vulnerability and genuineness creep in – and fucking. So I’d be down for porn, but only for these two characters together, not one of them with a third party. If it helps your inspiration, you can find some of my meta and lots of tag-burbling about these two here.

I have read the book, and while I prefer the show characters, you can use or riff on book material if you want. With reference to one of my DNWs, for this canon, describing Laura’s physical decay is totally fine.

Cabin Pressure

Fic, treat

Carolyn Knapp-Shappey, Arthur Shappey, Martin Crieff, Douglas Richardson

I just want more canon-y stories with their loopy humor and their weird yet loving family dynamics among the crew. Shenanigans in mid-flight or in the tedium which precedes and the tiredness which follows them. Someone smuggles (knowingly or not) an exotic animal on-board, legal, security, medical and/or slapstick chaos ensues. A mechanical, passenger- or smuggled-goods-caused problem arises and is solved during a journey. More games played on board GERTI. While I DNW holiday settings or themes, I can see comic potential in Arthur getting overly enthusiastic about Halloween (remember Arthur at Christmas?). Playing around with a specific destination, like in many episodes, would be a plus. If it helps inspire you, my favorite episodes in terms of tone and content are: Douz, Gdansk, Johannesburg, Limerick, Ottery St. Mary, Uskerty, and Xinzhou.

For this canon, I’d prefer either gen or, if you want to go there, Douglas/Carolyn, which is a ship I always thought had potential – they understand each other very well and trust each other most of the time, but they’re both also snark-masters, tend to look down on anyone not as smart or quick-witted as they (Arthur being the sole -- occasional -- exception), and are really good about keeping their defenses up against other people.

Justified

Boyd Crowder, Rachel Brooks

Fic, trick or treat

For Boyd, a moment in canon or post-canon, during his likely-lifelong incarceration, where we get to see him work one of his schemes. For Rachel, case fic or friendship fic, and you can definitely throw in Raylan and/or Tim and/or Art. Model Marshal Rachel gets stuck doing the early morning prisoner transport or handling walk-ins (bonus points for telling me how she earned this punishment from Art). Banter is always a plus.

And if you wanted to tackle Boyd & Rachel or Boyd/Rachel, well. I would love that. Their few brief interactions in canon always left me wanting more. Boyd trying to pull the wool over Rachel’s eyes and her not having it. Having to work together or Rachel needing to use Boyd as a informant, and possibly how the hostility might shade into flirting and how Rachel might feel about that, given Boyd’s past (even if, as Raylan said, Boyd’s too smart to really believe in white supremacy, there’s still his lifelong criminality). The beginnings of a good working relationship or friendship or affection, and how frustrating and difficult that would be, because they are who they are. Or the later stages of a relationship, when somehow they make it work, however tense it gets at times.

Specifically for trick fic, there be somethin’ spooky in them there hills. Maybe it’s just the usual bunch of hillbillies with more firepower than brains, maybe it’s something genuinely eldritch. Marshals and/or local crime lords walk right into it. A Lovecraftian riff would be great, as would an actually-mundane case of crime happening under cover of supernatural goings-on.

DC New Earth

Thessaly

Fic, trick

I nominated this character under The Sandman’s canon tag, but it got moved to the DC New Earth umbrella tag. 

Thessaly is my favorite Sandman character and one of my favorite characters in general. I love that she is not always or even often likeable, but she is always compelling, intriguing, hypercompetent, ruthless, fearless, and sometimes foolhardy. Her solitary ways and commitment to her own long-term survival, without the reader ever figuring out what – other than the desire for more life – drives her, fascinate me, as does her humorlessness coupled with everything that’s fantastic and supernatural about her. I’d love to see her do more chilling magic (invent dark, bloody rituals and tell me about them, by all means), go on adventures in the Waking, Dreaming, or still other realms*, get into a jam (maybe the Moon tries to claim her? Or she obtains a magical artifact and its owner isn’t happy?) and get out of it in her own way. Or Thessaly interacting with other Dreaming denizens (say, snarky Matthew, or the three guardians of the entrance to Morpheus’ palace, or the Second Corinthian with all his identity issues). Or give me glimpses of Thessaly’s past, over the many millennia she’s been around. Or, she must have moved from other worlds or planes of reality, possibly at their final destruction, to our own, just as she moves to Barbie’s dreamworld and survives its destruction; what were those worlds like, or where might Thessaly go once this world is gone? Does she outlast or out-trick the Moon in the process?

One thing I would appreciate you not dwelling on is Thessaly/Morpheus – I don’t mean retcon it out of existence, just don’t dwell on the actual relationship, which I always found somewhat improbable. Exploring Thessaly’s hurt and anger after the end of that relationship is fine. I have also read the Thessaly spin-offs, so you can riff on those if you want (what does she do with all the dead crowding her at the end?), but please note that if you describe Thessaly, I prefer her frumpy, self-composed design in Sandman over the Lara Croft-lite of the spinoffs.

*Fusion suggestion: if you wanted to send Thessaly into the world of Jennifer Haley’s play The Nether, I would be there with bells on. If you are unfamiliar with The Nether, it’s a science-fiction play about literally living on the Internet (easily handwaved into a kind of magic or a living dream) and how that influences people’s sense of self – be forewarned that the play’s not explicit but is pretty damn dark.

Likes:

I love pre-canon, canon, post-canon, canon-divergent, and “missing scene from canon” stories. I love character-driven and plot-driven stories equally, and I love fics which mix humor and angst/serious business when appropriate for the canon.

I love character studies, characters at work and play, stories about group dynamics, family dynamics (including constructed families), professional partnerships, friendships, alliances, rivalries, intimate couples, UST-ridden couples who are not just UST-ridden but connected in other ways too, etc.

I love irony, snark, 5+1 stories, bittersweet endings, hopeful endings, happy endings, canon-fitting crack, worldbuilding, characters who are their own worst enemies as well as those who learn to get over themselves, characters with conflicting values which may or may not be reconciled/resolved in a believable and IC way, characters who treat each other with respect and as equals even if they hate/annoy/can’t stand/love to dislike each other.

I especially love workplace stories (this can mean anything from an office/procedural setting to anything that revolves around the canon world in which the characters live) in which the characters are competent and dedicated to the job, and while they may not be exactly friends and they may well irritate one another, they still manage to rub along to get the job done and maybe even grow to care about one another (much to their surprise and sometimes reluctance/discomfort). Or, if they can’t get along, show me why not and what’s preventing them from finding common ground.

In terms of ship dynamics, I love (where it fits the characters) banter, competitiveness or antagonism shading into attraction (this tension need not be resolved), bickering yet loving couples, faithfulness, characters who are serious about their romantic interests, characters who think they are much better at flirtation than they actually are, characters forced to work together only to prove much more compatible than they initially assumed, fics which mix an exploration of characters’ professional and everyday lives with shipping. A dynamic I cannot resist is shipping a couple who are incompatible in some important way (they are ideological enemies, cop/criminal, spies from opposite sides), and while they love and want each other they’re also not willing to change sides or surrender/compromise their identity for the other’s benefit, and how they might (or not) make their relationship work anyway.

I don’t have any very specific likes for smut, other than smut fitting the characters – show me how their canon dynamics spill over into the bedroom (or other place of congress). I also like sexual scenarios that subvert expectations a little and surprise the characters themselves (e.g., the person who’s usually quiet or more passive taking charge, the more aggressive person goes with it possibly snarking or commenting on it as long as they can). And I like sexual scenarios that contain an element of competition, antagonism, oh-god-this-is-a-bad-idea-but-we’re-going-for-it, not wanting to admit feelings or show vulnerability except oops it happens anyway, whether the characters acknowledge it or not, or just people getting way more into it or being more affected by it than they thought they would. Oral, vaginal, anal, manual (ifyouknowwhatImean) – it’s all good. You can go as veiled or as explicit as you like, but please avoid excessive medical jargon – I don’t find a lot of mention of “penis” and “clit” sexy.

DNWs:

Kinks, MPREG, A/B/O, knotting, D/s, incest, underage, genderswap and genderbent characters, non-con, dub-con, torture and abuse (this and non-con/dub-con can be mentioned if the story needs it, but please don’t dwell on it in loving detail or subject any of my requested characters to it), dwelling on bodily fluids (mentions of gore and come are fine where appropriate), toilet humor, character bashing, soulmates and soul marks, major character death (unless it’s canon), pregnancy and children as the lynchpin of the story (unless strictly canon appropriate), characters agonizing over/analyzing/dwelling on their or others’ sexuality as if it’s the sum total of their existence, secondary characters acting like shipping the main pair is their be all and end all, fluff and schmoop, OCs (except in small roles and/or for worldbuilding purposes – I just don’t want a fic in which OCs are the heroes, while my requested characters are cameos), issuefic, explicit or implicit reference to current events or politics in the US, fic written in the first or second person, holiday or wedding setting or theme, AUs which have nothing to do with canon (cop characters working in a coffee shop, high-school janitor characters in space, etc.)