#wrt fusion aus i’m just personally looking for ‘what would these elements to *this* story��

[acorrespondence]

@freekicks Oh man I have lots; so many that I’m making this a new post so I don’t clog up that poor person’s replies with 50 messages, haha! Basically, it’s an expansion on the idea that everyone has headcanons/canon details that are absolutely integral to their enjoyment of the story and any transformative works based on it (hard), and headcanons/canon details that they’re fond of but could still get pretty much unaltered enjoyment out of a fic that contradicts them (soft). Obviously all these are just opinions and what I get out of the story isn’t and shouldn’t have to be the same as what anyone else gets out of it.

One thing that sort of falls in the middle of the headcanon/canon divide is Raylan’s age when his mother died. The show contradicts itself on this point several times, and so it’s sort of fungible. I personally find the idea that Raylan’s mother died when he was very young, like younger than Loretta, while it may serve the parallels between them, to be much less compelling than the idea that she died later. It’s just so much more… boring for a character whose mother died when he was ten or so to have a gross misrepresentation of who she was as a person in his mental image of her. It’s much more compelling to me if he held onto that despite direct evidence to the contrary that he was old enough to understand. Of course he’d forget the hatchet story if it happened when he was eight. If it happened when he was eighteen, that opens up a much realer possibility that he just straight up repressed it, which is fascinating. Also, I don’t think it makes sense if he grew up with Helen in the house for the second half of his life there. To me that doesn’t really jive with their current relationship. (And on a less story-driven note, I am fascinated by the idea that, if Raylan’s mother died when he was thirty, he might not have attended her funeral. Because part of him knew it would challenge the version of her he had to remember in order to maintain his black and white perception of the world.)

Obviously, the mine and what it represents is a necessary component (though the time and place less so—my Old Guard au places them in the miners’ strikes of the 30s, and I’ve read a wonderful fic where the mine in question was on a different planet entirely. However, it does have to be placed in Harlan, or whatever approximation of Harlan fits the broader setting). The boys and their relationships with their daddies is another nonnegotiable for me. Specifically, the way they grew up; different times and causes of death for Bo and Arlo can work just as well. If Raylan and Boyd don’t meet until they’re established adults, that immediately kills my interest. Their rich history is so integral to why I’m drawn to the ship in the first place. It’s a hard sell for me to have Boyd leave or Raylan stay directly after the mine, but I’ve been known to make an exception if the story is compelling enough and doesn’t sacrifice characterization.

I think Boyd’s criminal history is important, though the nature of it less so. And even more important is the fact that Boyd never really makes it big as a criminal—making him some kind of fief lord of crime makes him much less interesting to me. His plans only succeed inasmuch as he always manages to survive their unraveling. I think it’s important that he’s spent time incarcerated. I’m not a huge fan of stories where they meet again outside of Harlan and never go back, it takes away the central tension between them and the place that made them that Raylan so struggles with and Boyd embraces so wholly, which for me is a really interesting part of their relationship, this dichotomy. I also don’t care for stories that give them a ton of good friends outside each other, or casual friends who actually know them and hang out with them—they’re too big of assholes for that. Of course, this doesn’t include the characters they’re close with in canon; I love Raylan and Rachel’s friendship, in particular, and their understanding of each other despite their vast superficial differences is fascinating. I guess I should say instead that I don’t buy either of them having typical friendships, period. They’re just too weird and fucked up for that. They trauma bonded at nineteen and it continues to be one of the most important relationships in either of their lives. Winona puts up with Raylan’s relational weirdness for love; no one is doing that for their drinking buddy. So they may have close friendships, but they don’t look the way you’d expect.

I’d never make their relationship uncomplicatedly sweet and unfraught, or sand down the kind of feral edges of it, and I don’t think they’d be much for traditional PDA—I just love the way in canon the physical (and otherwise) manifestations of their intimacy are so outside of what’s expected from buddies OR lovers. In the same vein, I don’t love it when Raylan goes crazy with the terms of endearment, because he doesn’t use them much with his love interests in canon. I have him use them with the girls in heavy heart more as verbal tics he picked up after spending too much time around Boyd, who LOVES to use them, plus I think he models at least some of his displays of parental affection after Helen, who canonically calls him “honey”. I’m fine with Boyd throwing endearments around liberally; I just don’t do it in my own fics because I love the way in canon he twists Raylan’s name itself into almost an endearment. He just can’t stop saying it every other sentence, so why would he give up the chance to say it by replacing it with another word? Plus, it fits in with how weird they are about each other in general.

More broadly, I have never really enjoyed full aus (based on any story) that don’t try to approximate at least the broader beats of place and history from canon, but I really really love stories that manage it. I respect authors who can sort of map canon onto a completely different stage, like the space au mentioned above, so much. I hope that I manage that at least somewhat with catching bullets.

That’s all the big ones I can think of at the moment, though I’m sure there’s more I’ve forgotten (most of the rest fall more under ic-ness vs ooc-ness, which is harder to articulate; “what makes them themselves?” is a much more difficult question). Ultimately, I think probably a lot of these come across through cross-referencing both of my WIPs—basically, if it shows up in both, there’s a very good chance it’s a nonnegotiable for me, and if it changes between the two, then I can obviously live without it.