Dear Yuletide Writer (I Adore You Already)--
Placeholder. Letter is coming ASAP.
...And so is communication with LJ friends I've fallen behind on contacting. I do think about you often and love you regardless! I'm just really struggling to balance offline and online life. I'm sorry. I suck.
(My requests are both Crueltide and Yuleporn friendly!)
Dear Yuletide Writer,
Whomever you are, I want you to know right off the bat that whatever you write for me, I will love it. I already do, because here you are, having signed up to write for a (possible) stranger in a rare fandom that we both share, and that is better than gold.
Please, be reassured that in both my signup and here I'm aiming to provide a number of different prompts that I'd love to see written and that might spark your imagination, and I do not expect you to smush answers to all my questions into one story. Take what works for you and discard the rest.
Additionally, I know it's right there in the rules, but I want to stress that I know the details are optional, and while I've tried to offer a range of characters, pairings and prompts, if none of them excite you, or you're simply not able to make them work, don't worry. I will still be so excited to see a fic written in one of my six chosen fandoms that the rest will just be icing. But if you're looking for a bit more direction, or you just want to know a little more about my preferences, I hope this letter will help. All of my fic - with the exception of much of Words/Silence/Flesh (co-written LotRPF WIP) and some silly email spam parodies - has been archived on AO3.
...So, you may have picked up that I'm a slasher. Despite being a dyed-in-the-wool slasher, I do read/write het and gen from time to time, so if slash isn't your thing, don't worry overmuch. In the fandoms in which I'm asking for it, I'm honestly just looking for a scenario that acknowledges that type of relationship between the characters, not a NC-17 pornfest. (Although that is totally ok too! If all you want to do is write me some smut, I am so down with that! ♥) While I'm not religious, I'm very fond of the secular aspects of Christmas (the decorations, traditions, weather, etc.), so if you want to write a seasonal story, I'm all for it!
Other things I'm fond of in fiction include historical uniforms/well-fitted suits/period costumes; kink/BDSM (not 24/7 formalized D/s, however); power exchanges/struggles between powerful characters; established relationships; hurt/comfort scenarios where one party is (temporarily) injured/incapacitated and as a result, feelings are realized/revealed; and characters who are comfortably intimate with one another, both inside and outside the bedroom, and/or as friends. I dislike watersports, scatological play, MPREG, cross-dressing, genderswapping, bestiality, hurt/dead/dying animals, snakes/insects/arachnids, chronic/terminal illnesses, diminutive nicknames, phonetically spelled-out accents and character bashing (not even under the guise of humour). I also don't believe that what we do online is an accurate representation of our activism offline, nor that giftfic is an appropriate place for "teachable moments," so I'd rather avoid issuefic, soapbox stories and/or tales where the author's politics are obviously on display, if that's ok.
(As a silly sidenote, while I don't hate cats at all, I do prefer dogs, so if you're thinking of adding a non-canonical pet to a story, I connect better with canine characters. Or dragons. Dragons are awesome.)
More than any of that, however, what really makes me happy is fiction with a good grasp of grammar and spelling.
I'm not much of a fannish butterfly, so my Yuletide fandoms of choice tend to stay fairly stable over the years. I try to freshen up those repeat prompts where I can, although of course the things I love about each canon don't change too much. This year is a mix of old (3) and new (3) for me; I've rewritten one of the older prompts entirely, but the other two have stayed the same, mostly because they're preferences developed over time. Just because the prompts are similar/the same from year to year, however, doesn't mean I am less enthused about any of them. They're favourites because I literally cannot get enough of them, and I always enjoy seeing different spins on these themes. With that said, my apologies if you've been assigned to me before; I hope it'll feel more like a happy accident than a disappointment.
Colony (TV)
Requested Characters: Will Bowman, Katie Bowman, Eric Broussard, Alan Snyder
Optional Details: "I would absolutely adore a story that brings some closure to the series, preferably with Will and Katie repairing their marriage and finding some (mutual) peace. What happens after Will turns himself in to the RAPs? What does Katie do once she's trapped outside the gates? What kind of leader does Broussard become? Does Snyder rise or fall (or rise and fall and rise again)? Basically, I just really, really want to know what happens. You might write something about the immediate fallout of the enemy attack; or Will's experience on the frontlines of the war; or how these four characters' lives still intersect, even when they're all separated; or how they manage to find each other again/survive just as everything changes.
Now that we know what the RAPs look like, I'd love to know what their enemies look like. Are they fully organic, or cybernetic? What's their relationship to the RAPs? Are they the other half of the RAPs' society? Did they make the RAPs, and now they're trying to stop them? Or are they another, more dominant and dangerous adversary, and the RAPs have the right idea, running from them and using the resources of another world to fight them? What's it like to fight them? What is it about the Outliers that is so special? Is it just their skills and ability to think differently than your average soldier, or something more profound? Do Will and the other Outliers simply fight their way through the war, or work to bring down both sides/stop one or both/betray the RAPs/escape? What do Katie and Eric do to defend the earth/destroy these invading forces/protect themselves and those they love? How does Snyder survive this time? Who does he betray and how? How does he come out of the invasion this time? In a position of power, or completely powerless?
Or maybe you'd prefer to write something about what happens far in the future, after the war is over and the RAPs and their enemies are done. Have both sides left the earth? What does humanity look like now? Are we prospering, or in a worse state than before? Did the RAPs' enemies take over the earth? Are we in better or worse shape because of it? what has happened to Will, Katie, Eric and Alan? Where do they live? Have they reunited with the people they care about, or have they lost everything?
Truly, what I'm looking for is closure, and for Will and Katie to forgive themselves for the things they've had to do, find each other, and go forward *together*, whatever that looks like."
***
...Did I mention I'm looking for closure? ^_~ I enjoyed the hell out of Colony. I started watching it because it was scifi and starred Josh Holloway (and I freaking loved Lost...yep, even the ending), and I stayed because it was solid, interesting, and didn't pull any punches. I also really appreciate seeing a family onscreen where the married couple is in the same age range, rather than the usual trope of an older man married to a younger woman. (There is nothing wrong with that in practise, provided everyone is an adult and there's no power imbalance in place, but I am super tired of it as a Hollywood trope.) I love that they both have strong personalities and opinions, are very independent, and deal with the invasion in different ways. I like that much of the show is the two of them not just dealing with the invasion itself, but also negotiating their own marriage. I love that Katie joins the resistance first, and that she is absolutely committed; this is something she needs to do, because it is the right thing to do, and the right choice to make. I love how that strong sense of self carries her through the rest of the series. And I love how torn Will is between collaborating with the enemy to protect his family, and using the system to act against that same enemy. These are great starting points for the both of them, and I love that they don't just stay static; they both grow and change and refine their points of view and make all sorts of hard decisions as the series continues.
Broussard is such an enigma, and Snyder is a master manipulator, and the two of them have become so integral to the story that I'd love to find out where they ended up too. I feel like there was more to Broussard than we ever really found out, and that the show was slowly doling out information about him, as well as moments of vulnerability, and that perhaps we'd find out more about who exactly he was before the invasion happened. Snyder, OTOH, fascinates me, mostly because he's a total snake in the grass, but he's also always reinventing himself in the pursuit of his own safety and the prospect of more power. I wonder how much of his more vulnerable, terrified moments are true, and how much of them are just put on to continue that cycle of manipulation.
I am still really frustrated that the show was cancelled without giving the cast and crew a head's up, and as a result, we're stuck at the absolute climax of the show's arc, with no resolution coming. All this time, we were moving towards the Bowmans facing down the RAPs directly, and the second invasion beginning, and now we're here and... there's nowhere left to go. Except for Yuletide, that is. ^_~
Constantine (TV)
Requested Characters: John Constantine, Papa Midnite
Optional Details: "I would adore a Constantine/Midnite slash story, whether that's G rated or NC-17, and whether it's an expression of fondness between allies or aggression between enemies. How did they meet? When you strip away all the names and insults they throw around, what do they really think of each other? Do they understand each other better than their respective friends and family do, or is the gulf between their approaches/beliefs too great? When time and circumstances permit, are they as likely to clash between the sheets as they do when in the middle of a supernatural crisis, or do they view the bedroom as a different kind of battlefield? When it comes down to it, are they truly willing to let the other die? To kill each other?
They're both such big personalities that I love seeing them circle around each other, (verbally, physically, mentally and supernaturally) spar, and clash with one another. John's such a jack-of-all-trades, where Midnite is so specialized, and I would love a story that explores the intersection of their powers and temperaments. Perhaps Midnite and John are in a situation in which they need to call on Midnite's sister? How much does John know about how she became a conduit through which Midnite can commune with the world of the dead? How do his own sacrifices and losses (friends, loved ones, etc.) inform what he thinks of Midnite's own choices? What kind of history do John and Midnite have exactly? Has Midnite seen and can he understand the weight of John's guilt and weariness over all that he's done? A story in which the two of them see each other without the bluster that comes with their larger-than-life personas, where they truly see what the other person carries, would hit me in *all* the right places.
I am totally ok with hatesex for this pairing, but I'm equally curious to see what kind of scenario would lead them to show fondness, compassion or care for an equal. Additionally, John's such an annoyingly charming asshole that any story that showcases his sharp tongue and Midnite's wit would be brilliant."
***
I forgot to mention in my signup that while I'm aware that Constantine is now on Legends of Tomorrow, I'd prefer to stay away from that universe in regards to this request. LoT just isn't really my thing. Thanks!
I have the biggest weakness for characters who are charming, witty jerks with [well-hidden] hearts of gold, a little bit tortured, a little bit tormented. It should be no surprise that John Constantine hits that sweet spot bang on. I love that he seems really flip and glib about everything on the surface, very nihilistic about everything, but he's always there, always steps up to the plate when the chips are down and regularly puts himself in real danger in order to help the lost and vulnerable. It always seems to me that John is so blasé precisely because he cares and doesn't want to let on how much that is, how much is at stake, and possibly how unsure he is that anyone is going to come out of it alive.
It also means a lot to me that he's canonically bisexual (at least in the comics), since it is another one of those areas in which there's little to no representation of bisexuals in the media, and what does exist is generally unfavourable. Sure, John isn't the most morally upstanding person out there, but he's complex, and his sexuality is just one aspect of him: important, but not his only defining characteristic.
Likewise, Papa Midnite really intrigues me. He's a magnetic presence, and it's easy to see why people follow him. I am intrigued by his relationship with his (dead) sister, how that situation came to pass, and I love that, just like Constantine, he's neither good nor bad, but exists in the grey area in between. I love how that means that sometimes he and John are at odds with each other, and sometimes they're on the same side, and I love seeing how, exactly, that plays out.
I also love the sometimes surreal feel of the show, especially the Mill House. I'm fascinated by the endless potential of its strange dimensions and many, many doors and rooms, and love all the items tucked away here and there. Each one has to have a story, and I'm so intrigued by what those stories might be. (For instance, watching John watch Jasper through the mirror is such a poignant, bittersweet moment: Is it just Jasper the mirror reflects? Does it hone in on those moments that would mean the most to those viewing? Is it only able to show the past of the room it's in? Where did it come from? How did it become a viewing portal to the past?)
I also love all of the characters in Constantine past John and Midnite, so I'm absolutely not averse to Chas, Zed, Manny, Liv, or any of the Newcastle crew showing up or interacting with our anti-heroes.
Crimson Peak (2015)
Requested Characters: Lucille Sharpe, Thomas Sharpe
Optional Details: "I would love a story about Thomas and Lucille's twisted relationship, of any rating. I'd love something pre-movie, whether that's about their shared childhood, before they decide to bilk (and murder) the ladies of Europe, or while they're conspiring against (and/or poisoning) one of Thomas' previous wives. I am *all* for the tropes of Gothic Romance, and I'm in love with the movie's landscape and atmosphere, so feel free to go as dark and creepy as you like. Perhaps something about the beginning of Thomas and Lucille's incestuous impulses? When did that happen? What was the cause/catalyst? Was their mother aware that they had decidedly adult desires for their own sibling? Was the abuse the reason that Thomas and Lucille looked to each other for love, or was the incest a convenient excuse to hurt them? Or perhaps something about Thomas becoming aware of the depth of Lucille's madness? When did it first manifest? What drove her to kill? How did he become so accepting? How did they hatch the plan to start conning women into marrying Thomas and then murdering them for their money? What was it like living in that house, either as one of Thomas' fated wives, or as Lucille or Thomas, as these plots spun out? What, if anything, tipped his wives off that they were being poisoned/something was going on between Thomas and his sister? What was it like for Thomas, watching Lucille poison his brides? What was it like for Lucille, watching Thomas play the doting husband (while rebuffing any use of the marital bed), yet still coming to her in private moments to consummate their own union over and over again?
Or maybe you want to write more about the ghost angle? How are Thomas and Lucille haunted by what they've done, if at all? Is one of them more haunted than the other? Are they at all aware of the literal ghosts in their home? Is it more a figurative haunting for one/both of them? There's plenty of room to play with the supernatural (or the psychological), and I'd love to see what you can do with it, if you're so inclined."
***
My god, the atmosphere of this movie was amazing. I loved how the landscape itself was a character, and how much detail and mood was embedded in every setting. I loved how colour was used to separate Lucille and Thomas from the other characters, as they were dressed in bold colours -- like Lucille's shockingly red dress, or their exceptionally black outfits -- while everyone else wore cooler, lighter colours, making the Sharpes stand out from all those around them (while signalling their dark and bloody pact). Crimson Peak itself was absolutely glorious in its horrible, run-down state, from the gigantic hole in the roof and the falling leaves/drifting snow/howling wind to the surprisingly well-furnished drawing rooms to the rickety elevator and cavernous mine entrance. It was such a monument to the utter rot shot through the Sharpe family, standing as it did on top of the very materials that could save it -- the clay from which they could make brick -- and yet Lucille and Thomas are so focussed on their own goals that they completely fail to shore up and make right their home and their lives.
I adored the way in which Crimson Peak plated with Gothic Romance tropes, especially the role of the innocent victim who needs saving, and the evil, controlling husband. I loved that Edith saved herself (and that her male protectors seemed far more interested in Thomas' marital status than the fact that he and his sister were knocking off women left, right and centre), and I loved that it turned out that Lucille, not Thomas, was the one really running the show. While the Sharpes are fascinating as equals in their crimes, there is something powerfully captivating about Thomas under Lucille's thumb, always ready to please her and do her bidding.
I was a bit disappointed that the plot, in the end, was very straightforward and the ghosts played a far smaller role than I'd expected them to, but the style, cinematography and acting were so overwhelmingly beautiful that it hardly mattered. And while I didn't find most of the ghosts all that frightening -- although there is something about voices from the past recorded on wax cylinders, the slight distortion of the medium warping speech just enough to give it a disturbingly otherworldly quality -- Edith's mother was utterly terrifying. I would not be averse to a story that did a little more with the ghosts, is what I'm saying. ^_~
...And while I know the dog died off-screen, I'm totally ok with you bringing it back, either as a wee ghost!dog or actually alive, should you wish. (Poor thing. I hate to think that it actually met a gruesome fate, horrible yelp and crunch notwithstanding.)
The Exorcist (TV)
Requested Characters: Marcus Keane, Peter Osborne
Optional Details: "So here's another show that was unceremoniously cut off in the middle of things. Honestly, I would just love a story in which Marcus and Peter get together and end up happily coupled up. That sounds weird for the Exorcist, of course, but I am totally ok with their relationship existing against a backdrop of horror and terror, of exorcisms and possessions, of messy conversations about God and one's calling and all those really knotty, difficult stuff. After all, Peter seemed to be helping Marcus come to terms with his relationship with the Church, his sexuality, and the tragedies he's both witnessed and been a party to, so it's not like he isn't aware of the more dangerous, disturbing parts of Marcus' life.
At the end of the series, Marcus is called, presumably by God, to go help Tomas and Mouse. If you want to explore that, what happens? Why is he being called to help them? What kind of a situation is he facing? Does he meet up with Peter on the way, or after? Is he able to navigate exorcisms and the supernatural without taking up the collar once again, or does he need to become a priest once more? What effect does that have on his relationship with Peter? How do they negotiate the boundaries of Marcus' calling?
Or perhaps you want to explore where Marcus has been and what happens to him after he parts ways with Tomas, but before he returns to them. Where does he go? What does he experience? Is he witness to beautiful spiritual or supernatural moments, out in the big, wide world, or does he simply experience a life where he can be whomever he likes, and live as he likes, without fear of the threat of evil? Does he reach out to Peter? Does Peter reach out to him? How does that play out?
Or maybe you'd like to write something further in the future. Does Marcus ever really retire from fighting evil? Can he? Do he and Peter get to peacefully sail away on Peter's boat? Or is there always something sinister lurking in the shadows, whether they see it there or not?
Really and truly, I just want Marcus and Peter to manage some sort of functional relationship while navigating the larger, more terrifying parts of Marcus' life. I would love it if you could show me how that happens! How do "normal," loving moments look in the context of fighting evil? (Does Peter bring Marcus tea and a sandwich to eat during breaks in exorcisms? Does he throw himself wholeheartedly into helping hold down the possessed while dodging projectile vomiting? I don't know! Tell me how it all works!)"
***
This is my year of "Please, all I want is closure!" Another great show cut off just as something big was about to go down.
I began watching The Exorcist just to see where they were going with it, since the movie is so very iconic. I ended up pleasantly surprised at not only the creepy, scary atmosphere and the really visceral possessions and exorcisms, but how beautifully the tv show linked itself with the original movie. I also love that it preserved the "I'm going to need an old priest and a young priest" format. ^_^ ...And, of course, I fell head-over-heels for the sad, tortured "old" priest.
I love the bits and pieces that were slowly revealed about Marcus' background, from his initial introduction, to his history with Mouse. I love how his spirituality extends outside of the structure of the Church, and how his relationship with God is governed more by his internal compass than whether he has a collar around his neck. I love that he is so willing to sacrifice himself for others, to throw himself in a demon's path, and that he is also canny enough to spot a fake possession and put a stop to the resultant abuse.
And of course, I love, love, love that Peter is a rational, kind, balancing force to all of Marcus' tortured chaos. Peter is an island of calm in the midst of troubled waters, and I adore the easy progression of their relationship. I love that Peter provides Marcus with quiet moments away from the frenzy and fear of his usual life, and that he represents a different kind of life that Marcus could have, if he only pursued it. I love that as much as the show provides Peter as a love interest for Marcus, it doesn't freeze him in place, either. Peter has a life outside of possessions and exorcisms, beyond his relationship to Marcus or Tomas or Andy's family. Even if we don't see much of it, we're still made aware of the fact that Peter has his own obligations, responsibilities, interests and desires. And I think that's part of what makes him such an appealing character. Nevermind that he's probably the sole character in The Exorcist who exists outside of the whirlwind of evil that Marcus and Tomas have to deal with over and over again.
...And that finale. Marcus, a world away from everyone else, searching for his purpose, for the voice of God, is suddenly called upon to help Tomas and Mouse. That was such a great, powerful ending of one season, and a great lead into another, and, well... We all know that didn't happen. That last scene conjures up all sorts of possibilities for me, and keeps me desperately wanting to see what happens next.
Flowers in the Attic - V. C. Andrews
Requested Characters: Chris Dollanganger, Cathy Dollanganger, Cory Dollanganger, Carrie Dollanganger
Optional Details: "(While I've listed all four of the Dollanganger children here, my primary focus is on Cathy and Chris, so I'm open to you writing about the two older siblings with or without reference to their younger siblings.)
I am utterly fascinated by the attic playroom the children set up, and the ways in which it both gives them a sense of normalcy and is the backdrop for so many of the horrors they experience. I find the image of the paper flowers and the swing absolutely haunting. I am also both repelled and fascinated by Chris' rape of Cathy, because it is so incredibly fraught, beyond the non-consensual nature of it. I mean, it's a complete mess of victim-blaming, self-loathing, and exceptionally archaic notions of women's sexuality. But it's also fiction, and narratively-speaking, it happens in an extreme situation where "normal" is something you mimic, but never experience. It is twisted and wrong and utterly fascinating, and I am here for all your strangest, dirtiest, most horrible explorations of Chris and Cathy's lives in the attic. I would love more about the Dollangangers' time tucked away in Foxworth Hall, and the fallout of the relationships they formed between themselves.
Like Cathy, I'm also captivated by their mother's swan bed (none of the adaptations seem to quite have the scale and grandeur of it down pat), and the contrast between the bedroom and attic rooms and the decadence of the downstairs of the mansion, especially during the Christmas party. Pretty much all of the really horrible goings-on keep me coming back to the novel over and over again. (I will never get over the powdered doughnuts. Never.) I would love some real closure regarding Cory's fate, if you wanted to write about Cathy actually discovering where he has been laid to rest, or reflecting on the impact the loss of the twins had on her and her brother. Both Cory and Carrie are such desperately sad characters, especially since neither of them ever really escape the attic.
I've read all of the books (and seen all the adaptations), so while I'm looking for more about their imprisonment, I'm certainly a-ok with stories set in that time period, or reflections on the attic after they've escaped. Just... give me more twisted Cathy/Chris with a side order of sweet, poor Cory and Carrie, please! I'm also ok with however you want to look at Chris/Cathy. Was their relationship, in the end, a horrific taboo covered in the thin veneer of normality, or was it a pure, loving, good thing carved out of the horrors they experienced?"
***
So Flowers in the Attic is my not-so-guilty pleasure. Not-so-guilty in that I have exactly no shame about loving every disturbing, twisted, messy, wrong bit of it, and have been known to explain the more scandalous and shocking bits of it to [willing] audiences at the drop of a hat. (Also, I have been known to explain the plot of My Sweet Audrina to those same audiences, and I am of the opinion that is the most messed up of V.C. Andrews' novels. ^_~) I read it as a kid -- I don't think my parents were quite aware of its content, and it looked like a hundred other dark, brooding, Gothic ghost stories I'd read in the past -- and it stuck with me over the years. I love every inch of its melodrama, of its shock value, of its lurid descriptions of horrors, secrets and erotics. Honestly, it and the other core Andrews novels balanced melodrama and the Southern Gothic better than her ghost writer has ever managed.
I have returned to this novel over and over again, and each time reminds me why it felt like a secret when I first read it: like it wasn't just a story about children turned into secrets, but like the experience of reading the novel itself was a secret shared only with those that had read it cover to cover. There's something viscerally thrilling about the horrors contained within the book, and how those horrors deepen with new knowledge from each book in the series. I remain fascinated by how Andrews took things we would consider to be part of "the natural order " -- like motherhood, childhood innocence, parental protection, and love -- and pushed them beyond their limits. Corrine is a wonderful mother...until she isn't. Chris and Cathy are normal siblings...until they aren't. And it's all about how their situations shape them and twist what they understand as "normal" into something entirely different.
As I said in my request, the attic itself (and the bedroom below) really capture my imagination. The children's captivity; the contrast between the luxury of the Foxworth estate and the physical limits of their prison; the ways in which they try to make it bearable, habitable, and ultimately expand the possibilities of the attic itself...all of these find me returning, again and again, even just to read the sections around their captivity over.
I think some of the attraction of this novel, at least for me, is also the puzzle it presents. It's not difficult to imagine that extreme situations will result in people adapting in extreme ways, and Andrews manages to meld the ordinarily believable (horrible parenting, greedy heirs, etc.) with the extraordinarily unbelievable (poisoning one's own children, multiple years of captivity, etc.). And it's those latter ones that provide the questions: How does Corrine justify squirrelling her children away? Poisoning them? How do Chris and Cathy ever hope to have a healthy relationship with each other when it began the way it did? How is Carrie supposed to ever get over the death of her twin, given the way in which she lost him? Have any of them truly moved on from the attic? ...I don't know. What I do know is they're questions that draw me back, no matter how long it has been since I read it last.
Killjoys (TV)
Requested Characters: Johnny Jaqobis, Dutch | Yalena Yardeen, Lucy
Optional Details: "(So, while Johnny is my absolute favourite, I love *everyone* in the Killjoys universe, so I'm fine with you bringing other characters into your story as needed! For instance, I have a giant soft spot for Khlyen and Turin, and how can you not love Pree?)
Given the season finale this year, there's a whole wealth of opportunities for strange new stories in this universe. I would love something about John and Dutch's relationship in The Lady's new version of the world. Dutch and John have seen each other as siblings for so long, what's it like when they're in a romantic relationship instead? What's different? What's the same? Do they fit together as well as they do in the "true" version of the universe? How have their personalities changed/stayed the same? Do they still retain their Killjoy instincts? For that matter, do they even really fit comfortably in these new versions of themselves?
Also, what's happened to Lucy? What's her relationship to Johnny now? Is she still a ship? Is she an AI in some other framework? Or has the Lady made her over into an actual human being? Does she still care for Johnny? Does she know him at all? How does he feel if/when he comes into contact with her in this new world?
Do John or Dutch have flashes of their original reality in the midst of their strange new lives? How do they deal with them? What do they see? Is the Green something normal and everyday now, or has it vanished now that The Lady is out and controlling everyone?
So basically, I have a *lot* of questions, and I'd be thrilled to explore your answers to any of them. Surely the Lady's reality can't be perfectly constructed and a perfect fit, can it? There must be something off, right? Maybe? I'd love it if you could show me that slight tilt, the little ways in which it's off... or maybe how it offers up otherwise untapped opportunities. Are John and Dutch happier than before? I suppose you can be happier even if you aren't actually living the life you're meant to live...maybe?"
***
I was surprised how much I enjoyed Killjoys in Season 1, and every season after it has kept the intrigue coming! When I first heard of it, I was fully expecting it to just be a fun space opera/romp with one of the Ashmore boys, and it turned out to be so much more than that. I'm fascinated by the world of the Killjoys, from the minutia of their profession to the clashing and uprisings of the various classes (the Nine! the Hullen! the Green! the Lady! the miners! the Hackmods! the Scarbacks! the Killjoys themselves!) to the whole planetary system and its structure; I also love pretty much every character on the show, with few to no exceptions (in fact, right now, I can't think of anyone I don't like).
Even moreso, I am deeply intrigued by the relationship between Lucy and John, and I would love to know how authentic it is for Lucy (vs. some sort of human programming/interfacing quirk). Likewise, I'm fascinated by John and Dutch's relationship; I love how they each were exactly what the other one needed when they first met, and I love that the show prioritizes their platonic connection, and how it never pushes aside how important they are to each other, not even in the name of a romantic partner. That's not something you see very often in fiction. ...Of course, that doesn't mean I'm not curious about what could have been, especially in light of this season's ending!
I'm also fascinated by the limits of the Green and the Lady. I love the importance of memory to the series, from the memories of the individual characters to the collective memory of the Green, to the loss/gain/altering of memories, to Dutch's speech about how the universe itself has a memory. (That was an absolutely wonderful bit of writing last season.) I also love how Killjoys turns the usual "Big Bad" on its head: for all of Seasons 1-2, Khlyen was their biggest antagonist... until he wasn't. For all of Seasons 2-3, Aneela was their biggest threat... until she wasn't. And now? Maybe the Lady is finally the big bad we've been expecting; but maybe not, maybe they'll throw us another curve ball instead.
Just as I was thrilled to have Khlyen back when Aneela and Dutch entered the Green, and dismayed at how the Lady tried to use Pawter against John, I wonder what and who else it can conjure up. I wonder what kind of echoes of the past will mingle with this new future. Will the new world she's made wipe everything clean, or is it impossible to scrub reality entirely? I wonder how truth and fiction will end up twisting together, and whether that will change things once our Killjoys (presumably) defeat the Lady. (I also really hope we eventually find out what or who she is!)
Honestly, Killjoys is just so full of promise that there are a thousand and one questions I have about it. It's turned out to not just be a return to the space operas of the past, but it's packing some fascinating ideas and plotlines that keep me wanting more and more.
Ok, hopefully all that helped rather than made things harder. Again, absolutely everything I've said here is optional and up for ignoring, partially or wholesale. After all, it's not like I'm ordering dinner; I'm really just flailing wildly and offering up far too much info.
Thank you again, Yuletide Writer. I'm so very excited about the exchange, and I know I'm going to love whatever you write for me. ♥
...And so is communication with LJ friends I've fallen behind on contacting. I do think about you often and love you regardless! I'm just really struggling to balance offline and online life. I'm sorry. I suck.
(My requests are both Crueltide and Yuleporn friendly!)
Dear Yuletide Writer,
Whomever you are, I want you to know right off the bat that whatever you write for me, I will love it. I already do, because here you are, having signed up to write for a (possible) stranger in a rare fandom that we both share, and that is better than gold.
Please, be reassured that in both my signup and here I'm aiming to provide a number of different prompts that I'd love to see written and that might spark your imagination, and I do not expect you to smush answers to all my questions into one story. Take what works for you and discard the rest.
Additionally, I know it's right there in the rules, but I want to stress that I know the details are optional, and while I've tried to offer a range of characters, pairings and prompts, if none of them excite you, or you're simply not able to make them work, don't worry. I will still be so excited to see a fic written in one of my six chosen fandoms that the rest will just be icing. But if you're looking for a bit more direction, or you just want to know a little more about my preferences, I hope this letter will help. All of my fic - with the exception of much of Words/Silence/Flesh (co-written LotRPF WIP) and some silly email spam parodies - has been archived on AO3.
...So, you may have picked up that I'm a slasher. Despite being a dyed-in-the-wool slasher, I do read/write het and gen from time to time, so if slash isn't your thing, don't worry overmuch. In the fandoms in which I'm asking for it, I'm honestly just looking for a scenario that acknowledges that type of relationship between the characters, not a NC-17 pornfest. (Although that is totally ok too! If all you want to do is write me some smut, I am so down with that! ♥) While I'm not religious, I'm very fond of the secular aspects of Christmas (the decorations, traditions, weather, etc.), so if you want to write a seasonal story, I'm all for it!
Other things I'm fond of in fiction include historical uniforms/well-fitted suits/period costumes; kink/BDSM (not 24/7 formalized D/s, however); power exchanges/struggles between powerful characters; established relationships; hurt/comfort scenarios where one party is (temporarily) injured/incapacitated and as a result, feelings are realized/revealed; and characters who are comfortably intimate with one another, both inside and outside the bedroom, and/or as friends. I dislike watersports, scatological play, MPREG, cross-dressing, genderswapping, bestiality, hurt/dead/dying animals, snakes/insects/arachnids, chronic/terminal illnesses, diminutive nicknames, phonetically spelled-out accents and character bashing (not even under the guise of humour). I also don't believe that what we do online is an accurate representation of our activism offline, nor that giftfic is an appropriate place for "teachable moments," so I'd rather avoid issuefic, soapbox stories and/or tales where the author's politics are obviously on display, if that's ok.
(As a silly sidenote, while I don't hate cats at all, I do prefer dogs, so if you're thinking of adding a non-canonical pet to a story, I connect better with canine characters. Or dragons. Dragons are awesome.)
More than any of that, however, what really makes me happy is fiction with a good grasp of grammar and spelling.
I'm not much of a fannish butterfly, so my Yuletide fandoms of choice tend to stay fairly stable over the years. I try to freshen up those repeat prompts where I can, although of course the things I love about each canon don't change too much. This year is a mix of old (3) and new (3) for me; I've rewritten one of the older prompts entirely, but the other two have stayed the same, mostly because they're preferences developed over time. Just because the prompts are similar/the same from year to year, however, doesn't mean I am less enthused about any of them. They're favourites because I literally cannot get enough of them, and I always enjoy seeing different spins on these themes. With that said, my apologies if you've been assigned to me before; I hope it'll feel more like a happy accident than a disappointment.
Colony (TV)
Requested Characters: Will Bowman, Katie Bowman, Eric Broussard, Alan Snyder
Optional Details: "I would absolutely adore a story that brings some closure to the series, preferably with Will and Katie repairing their marriage and finding some (mutual) peace. What happens after Will turns himself in to the RAPs? What does Katie do once she's trapped outside the gates? What kind of leader does Broussard become? Does Snyder rise or fall (or rise and fall and rise again)? Basically, I just really, really want to know what happens. You might write something about the immediate fallout of the enemy attack; or Will's experience on the frontlines of the war; or how these four characters' lives still intersect, even when they're all separated; or how they manage to find each other again/survive just as everything changes.
Now that we know what the RAPs look like, I'd love to know what their enemies look like. Are they fully organic, or cybernetic? What's their relationship to the RAPs? Are they the other half of the RAPs' society? Did they make the RAPs, and now they're trying to stop them? Or are they another, more dominant and dangerous adversary, and the RAPs have the right idea, running from them and using the resources of another world to fight them? What's it like to fight them? What is it about the Outliers that is so special? Is it just their skills and ability to think differently than your average soldier, or something more profound? Do Will and the other Outliers simply fight their way through the war, or work to bring down both sides/stop one or both/betray the RAPs/escape? What do Katie and Eric do to defend the earth/destroy these invading forces/protect themselves and those they love? How does Snyder survive this time? Who does he betray and how? How does he come out of the invasion this time? In a position of power, or completely powerless?
Or maybe you'd prefer to write something about what happens far in the future, after the war is over and the RAPs and their enemies are done. Have both sides left the earth? What does humanity look like now? Are we prospering, or in a worse state than before? Did the RAPs' enemies take over the earth? Are we in better or worse shape because of it? what has happened to Will, Katie, Eric and Alan? Where do they live? Have they reunited with the people they care about, or have they lost everything?
Truly, what I'm looking for is closure, and for Will and Katie to forgive themselves for the things they've had to do, find each other, and go forward *together*, whatever that looks like."
***
...Did I mention I'm looking for closure? ^_~ I enjoyed the hell out of Colony. I started watching it because it was scifi and starred Josh Holloway (and I freaking loved Lost...yep, even the ending), and I stayed because it was solid, interesting, and didn't pull any punches. I also really appreciate seeing a family onscreen where the married couple is in the same age range, rather than the usual trope of an older man married to a younger woman. (There is nothing wrong with that in practise, provided everyone is an adult and there's no power imbalance in place, but I am super tired of it as a Hollywood trope.) I love that they both have strong personalities and opinions, are very independent, and deal with the invasion in different ways. I like that much of the show is the two of them not just dealing with the invasion itself, but also negotiating their own marriage. I love that Katie joins the resistance first, and that she is absolutely committed; this is something she needs to do, because it is the right thing to do, and the right choice to make. I love how that strong sense of self carries her through the rest of the series. And I love how torn Will is between collaborating with the enemy to protect his family, and using the system to act against that same enemy. These are great starting points for the both of them, and I love that they don't just stay static; they both grow and change and refine their points of view and make all sorts of hard decisions as the series continues.
Broussard is such an enigma, and Snyder is a master manipulator, and the two of them have become so integral to the story that I'd love to find out where they ended up too. I feel like there was more to Broussard than we ever really found out, and that the show was slowly doling out information about him, as well as moments of vulnerability, and that perhaps we'd find out more about who exactly he was before the invasion happened. Snyder, OTOH, fascinates me, mostly because he's a total snake in the grass, but he's also always reinventing himself in the pursuit of his own safety and the prospect of more power. I wonder how much of his more vulnerable, terrified moments are true, and how much of them are just put on to continue that cycle of manipulation.
I am still really frustrated that the show was cancelled without giving the cast and crew a head's up, and as a result, we're stuck at the absolute climax of the show's arc, with no resolution coming. All this time, we were moving towards the Bowmans facing down the RAPs directly, and the second invasion beginning, and now we're here and... there's nowhere left to go. Except for Yuletide, that is. ^_~
Constantine (TV)
Requested Characters: John Constantine, Papa Midnite
Optional Details: "I would adore a Constantine/Midnite slash story, whether that's G rated or NC-17, and whether it's an expression of fondness between allies or aggression between enemies. How did they meet? When you strip away all the names and insults they throw around, what do they really think of each other? Do they understand each other better than their respective friends and family do, or is the gulf between their approaches/beliefs too great? When time and circumstances permit, are they as likely to clash between the sheets as they do when in the middle of a supernatural crisis, or do they view the bedroom as a different kind of battlefield? When it comes down to it, are they truly willing to let the other die? To kill each other?
They're both such big personalities that I love seeing them circle around each other, (verbally, physically, mentally and supernaturally) spar, and clash with one another. John's such a jack-of-all-trades, where Midnite is so specialized, and I would love a story that explores the intersection of their powers and temperaments. Perhaps Midnite and John are in a situation in which they need to call on Midnite's sister? How much does John know about how she became a conduit through which Midnite can commune with the world of the dead? How do his own sacrifices and losses (friends, loved ones, etc.) inform what he thinks of Midnite's own choices? What kind of history do John and Midnite have exactly? Has Midnite seen and can he understand the weight of John's guilt and weariness over all that he's done? A story in which the two of them see each other without the bluster that comes with their larger-than-life personas, where they truly see what the other person carries, would hit me in *all* the right places.
I am totally ok with hatesex for this pairing, but I'm equally curious to see what kind of scenario would lead them to show fondness, compassion or care for an equal. Additionally, John's such an annoyingly charming asshole that any story that showcases his sharp tongue and Midnite's wit would be brilliant."
***
I forgot to mention in my signup that while I'm aware that Constantine is now on Legends of Tomorrow, I'd prefer to stay away from that universe in regards to this request. LoT just isn't really my thing. Thanks!
I have the biggest weakness for characters who are charming, witty jerks with [well-hidden] hearts of gold, a little bit tortured, a little bit tormented. It should be no surprise that John Constantine hits that sweet spot bang on. I love that he seems really flip and glib about everything on the surface, very nihilistic about everything, but he's always there, always steps up to the plate when the chips are down and regularly puts himself in real danger in order to help the lost and vulnerable. It always seems to me that John is so blasé precisely because he cares and doesn't want to let on how much that is, how much is at stake, and possibly how unsure he is that anyone is going to come out of it alive.
It also means a lot to me that he's canonically bisexual (at least in the comics), since it is another one of those areas in which there's little to no representation of bisexuals in the media, and what does exist is generally unfavourable. Sure, John isn't the most morally upstanding person out there, but he's complex, and his sexuality is just one aspect of him: important, but not his only defining characteristic.
Likewise, Papa Midnite really intrigues me. He's a magnetic presence, and it's easy to see why people follow him. I am intrigued by his relationship with his (dead) sister, how that situation came to pass, and I love that, just like Constantine, he's neither good nor bad, but exists in the grey area in between. I love how that means that sometimes he and John are at odds with each other, and sometimes they're on the same side, and I love seeing how, exactly, that plays out.
I also love the sometimes surreal feel of the show, especially the Mill House. I'm fascinated by the endless potential of its strange dimensions and many, many doors and rooms, and love all the items tucked away here and there. Each one has to have a story, and I'm so intrigued by what those stories might be. (For instance, watching John watch Jasper through the mirror is such a poignant, bittersweet moment: Is it just Jasper the mirror reflects? Does it hone in on those moments that would mean the most to those viewing? Is it only able to show the past of the room it's in? Where did it come from? How did it become a viewing portal to the past?)
I also love all of the characters in Constantine past John and Midnite, so I'm absolutely not averse to Chas, Zed, Manny, Liv, or any of the Newcastle crew showing up or interacting with our anti-heroes.
Crimson Peak (2015)
Requested Characters: Lucille Sharpe, Thomas Sharpe
Optional Details: "I would love a story about Thomas and Lucille's twisted relationship, of any rating. I'd love something pre-movie, whether that's about their shared childhood, before they decide to bilk (and murder) the ladies of Europe, or while they're conspiring against (and/or poisoning) one of Thomas' previous wives. I am *all* for the tropes of Gothic Romance, and I'm in love with the movie's landscape and atmosphere, so feel free to go as dark and creepy as you like. Perhaps something about the beginning of Thomas and Lucille's incestuous impulses? When did that happen? What was the cause/catalyst? Was their mother aware that they had decidedly adult desires for their own sibling? Was the abuse the reason that Thomas and Lucille looked to each other for love, or was the incest a convenient excuse to hurt them? Or perhaps something about Thomas becoming aware of the depth of Lucille's madness? When did it first manifest? What drove her to kill? How did he become so accepting? How did they hatch the plan to start conning women into marrying Thomas and then murdering them for their money? What was it like living in that house, either as one of Thomas' fated wives, or as Lucille or Thomas, as these plots spun out? What, if anything, tipped his wives off that they were being poisoned/something was going on between Thomas and his sister? What was it like for Thomas, watching Lucille poison his brides? What was it like for Lucille, watching Thomas play the doting husband (while rebuffing any use of the marital bed), yet still coming to her in private moments to consummate their own union over and over again?
Or maybe you want to write more about the ghost angle? How are Thomas and Lucille haunted by what they've done, if at all? Is one of them more haunted than the other? Are they at all aware of the literal ghosts in their home? Is it more a figurative haunting for one/both of them? There's plenty of room to play with the supernatural (or the psychological), and I'd love to see what you can do with it, if you're so inclined."
***
My god, the atmosphere of this movie was amazing. I loved how the landscape itself was a character, and how much detail and mood was embedded in every setting. I loved how colour was used to separate Lucille and Thomas from the other characters, as they were dressed in bold colours -- like Lucille's shockingly red dress, or their exceptionally black outfits -- while everyone else wore cooler, lighter colours, making the Sharpes stand out from all those around them (while signalling their dark and bloody pact). Crimson Peak itself was absolutely glorious in its horrible, run-down state, from the gigantic hole in the roof and the falling leaves/drifting snow/howling wind to the surprisingly well-furnished drawing rooms to the rickety elevator and cavernous mine entrance. It was such a monument to the utter rot shot through the Sharpe family, standing as it did on top of the very materials that could save it -- the clay from which they could make brick -- and yet Lucille and Thomas are so focussed on their own goals that they completely fail to shore up and make right their home and their lives.
I adored the way in which Crimson Peak plated with Gothic Romance tropes, especially the role of the innocent victim who needs saving, and the evil, controlling husband. I loved that Edith saved herself (and that her male protectors seemed far more interested in Thomas' marital status than the fact that he and his sister were knocking off women left, right and centre), and I loved that it turned out that Lucille, not Thomas, was the one really running the show. While the Sharpes are fascinating as equals in their crimes, there is something powerfully captivating about Thomas under Lucille's thumb, always ready to please her and do her bidding.
I was a bit disappointed that the plot, in the end, was very straightforward and the ghosts played a far smaller role than I'd expected them to, but the style, cinematography and acting were so overwhelmingly beautiful that it hardly mattered. And while I didn't find most of the ghosts all that frightening -- although there is something about voices from the past recorded on wax cylinders, the slight distortion of the medium warping speech just enough to give it a disturbingly otherworldly quality -- Edith's mother was utterly terrifying. I would not be averse to a story that did a little more with the ghosts, is what I'm saying. ^_~
...And while I know the dog died off-screen, I'm totally ok with you bringing it back, either as a wee ghost!dog or actually alive, should you wish. (Poor thing. I hate to think that it actually met a gruesome fate, horrible yelp and crunch notwithstanding.)
The Exorcist (TV)
Requested Characters: Marcus Keane, Peter Osborne
Optional Details: "So here's another show that was unceremoniously cut off in the middle of things. Honestly, I would just love a story in which Marcus and Peter get together and end up happily coupled up. That sounds weird for the Exorcist, of course, but I am totally ok with their relationship existing against a backdrop of horror and terror, of exorcisms and possessions, of messy conversations about God and one's calling and all those really knotty, difficult stuff. After all, Peter seemed to be helping Marcus come to terms with his relationship with the Church, his sexuality, and the tragedies he's both witnessed and been a party to, so it's not like he isn't aware of the more dangerous, disturbing parts of Marcus' life.
At the end of the series, Marcus is called, presumably by God, to go help Tomas and Mouse. If you want to explore that, what happens? Why is he being called to help them? What kind of a situation is he facing? Does he meet up with Peter on the way, or after? Is he able to navigate exorcisms and the supernatural without taking up the collar once again, or does he need to become a priest once more? What effect does that have on his relationship with Peter? How do they negotiate the boundaries of Marcus' calling?
Or perhaps you want to explore where Marcus has been and what happens to him after he parts ways with Tomas, but before he returns to them. Where does he go? What does he experience? Is he witness to beautiful spiritual or supernatural moments, out in the big, wide world, or does he simply experience a life where he can be whomever he likes, and live as he likes, without fear of the threat of evil? Does he reach out to Peter? Does Peter reach out to him? How does that play out?
Or maybe you'd like to write something further in the future. Does Marcus ever really retire from fighting evil? Can he? Do he and Peter get to peacefully sail away on Peter's boat? Or is there always something sinister lurking in the shadows, whether they see it there or not?
Really and truly, I just want Marcus and Peter to manage some sort of functional relationship while navigating the larger, more terrifying parts of Marcus' life. I would love it if you could show me how that happens! How do "normal," loving moments look in the context of fighting evil? (Does Peter bring Marcus tea and a sandwich to eat during breaks in exorcisms? Does he throw himself wholeheartedly into helping hold down the possessed while dodging projectile vomiting? I don't know! Tell me how it all works!)"
***
This is my year of "Please, all I want is closure!" Another great show cut off just as something big was about to go down.
I began watching The Exorcist just to see where they were going with it, since the movie is so very iconic. I ended up pleasantly surprised at not only the creepy, scary atmosphere and the really visceral possessions and exorcisms, but how beautifully the tv show linked itself with the original movie. I also love that it preserved the "I'm going to need an old priest and a young priest" format. ^_^ ...And, of course, I fell head-over-heels for the sad, tortured "old" priest.
I love the bits and pieces that were slowly revealed about Marcus' background, from his initial introduction, to his history with Mouse. I love how his spirituality extends outside of the structure of the Church, and how his relationship with God is governed more by his internal compass than whether he has a collar around his neck. I love that he is so willing to sacrifice himself for others, to throw himself in a demon's path, and that he is also canny enough to spot a fake possession and put a stop to the resultant abuse.
And of course, I love, love, love that Peter is a rational, kind, balancing force to all of Marcus' tortured chaos. Peter is an island of calm in the midst of troubled waters, and I adore the easy progression of their relationship. I love that Peter provides Marcus with quiet moments away from the frenzy and fear of his usual life, and that he represents a different kind of life that Marcus could have, if he only pursued it. I love that as much as the show provides Peter as a love interest for Marcus, it doesn't freeze him in place, either. Peter has a life outside of possessions and exorcisms, beyond his relationship to Marcus or Tomas or Andy's family. Even if we don't see much of it, we're still made aware of the fact that Peter has his own obligations, responsibilities, interests and desires. And I think that's part of what makes him such an appealing character. Nevermind that he's probably the sole character in The Exorcist who exists outside of the whirlwind of evil that Marcus and Tomas have to deal with over and over again.
...And that finale. Marcus, a world away from everyone else, searching for his purpose, for the voice of God, is suddenly called upon to help Tomas and Mouse. That was such a great, powerful ending of one season, and a great lead into another, and, well... We all know that didn't happen. That last scene conjures up all sorts of possibilities for me, and keeps me desperately wanting to see what happens next.
Flowers in the Attic - V. C. Andrews
Requested Characters: Chris Dollanganger, Cathy Dollanganger, Cory Dollanganger, Carrie Dollanganger
Optional Details: "(While I've listed all four of the Dollanganger children here, my primary focus is on Cathy and Chris, so I'm open to you writing about the two older siblings with or without reference to their younger siblings.)
I am utterly fascinated by the attic playroom the children set up, and the ways in which it both gives them a sense of normalcy and is the backdrop for so many of the horrors they experience. I find the image of the paper flowers and the swing absolutely haunting. I am also both repelled and fascinated by Chris' rape of Cathy, because it is so incredibly fraught, beyond the non-consensual nature of it. I mean, it's a complete mess of victim-blaming, self-loathing, and exceptionally archaic notions of women's sexuality. But it's also fiction, and narratively-speaking, it happens in an extreme situation where "normal" is something you mimic, but never experience. It is twisted and wrong and utterly fascinating, and I am here for all your strangest, dirtiest, most horrible explorations of Chris and Cathy's lives in the attic. I would love more about the Dollangangers' time tucked away in Foxworth Hall, and the fallout of the relationships they formed between themselves.
Like Cathy, I'm also captivated by their mother's swan bed (none of the adaptations seem to quite have the scale and grandeur of it down pat), and the contrast between the bedroom and attic rooms and the decadence of the downstairs of the mansion, especially during the Christmas party. Pretty much all of the really horrible goings-on keep me coming back to the novel over and over again. (I will never get over the powdered doughnuts. Never.) I would love some real closure regarding Cory's fate, if you wanted to write about Cathy actually discovering where he has been laid to rest, or reflecting on the impact the loss of the twins had on her and her brother. Both Cory and Carrie are such desperately sad characters, especially since neither of them ever really escape the attic.
I've read all of the books (and seen all the adaptations), so while I'm looking for more about their imprisonment, I'm certainly a-ok with stories set in that time period, or reflections on the attic after they've escaped. Just... give me more twisted Cathy/Chris with a side order of sweet, poor Cory and Carrie, please! I'm also ok with however you want to look at Chris/Cathy. Was their relationship, in the end, a horrific taboo covered in the thin veneer of normality, or was it a pure, loving, good thing carved out of the horrors they experienced?"
***
So Flowers in the Attic is my not-so-guilty pleasure. Not-so-guilty in that I have exactly no shame about loving every disturbing, twisted, messy, wrong bit of it, and have been known to explain the more scandalous and shocking bits of it to [willing] audiences at the drop of a hat. (Also, I have been known to explain the plot of My Sweet Audrina to those same audiences, and I am of the opinion that is the most messed up of V.C. Andrews' novels. ^_~) I read it as a kid -- I don't think my parents were quite aware of its content, and it looked like a hundred other dark, brooding, Gothic ghost stories I'd read in the past -- and it stuck with me over the years. I love every inch of its melodrama, of its shock value, of its lurid descriptions of horrors, secrets and erotics. Honestly, it and the other core Andrews novels balanced melodrama and the Southern Gothic better than her ghost writer has ever managed.
I have returned to this novel over and over again, and each time reminds me why it felt like a secret when I first read it: like it wasn't just a story about children turned into secrets, but like the experience of reading the novel itself was a secret shared only with those that had read it cover to cover. There's something viscerally thrilling about the horrors contained within the book, and how those horrors deepen with new knowledge from each book in the series. I remain fascinated by how Andrews took things we would consider to be part of "the natural order " -- like motherhood, childhood innocence, parental protection, and love -- and pushed them beyond their limits. Corrine is a wonderful mother...until she isn't. Chris and Cathy are normal siblings...until they aren't. And it's all about how their situations shape them and twist what they understand as "normal" into something entirely different.
As I said in my request, the attic itself (and the bedroom below) really capture my imagination. The children's captivity; the contrast between the luxury of the Foxworth estate and the physical limits of their prison; the ways in which they try to make it bearable, habitable, and ultimately expand the possibilities of the attic itself...all of these find me returning, again and again, even just to read the sections around their captivity over.
I think some of the attraction of this novel, at least for me, is also the puzzle it presents. It's not difficult to imagine that extreme situations will result in people adapting in extreme ways, and Andrews manages to meld the ordinarily believable (horrible parenting, greedy heirs, etc.) with the extraordinarily unbelievable (poisoning one's own children, multiple years of captivity, etc.). And it's those latter ones that provide the questions: How does Corrine justify squirrelling her children away? Poisoning them? How do Chris and Cathy ever hope to have a healthy relationship with each other when it began the way it did? How is Carrie supposed to ever get over the death of her twin, given the way in which she lost him? Have any of them truly moved on from the attic? ...I don't know. What I do know is they're questions that draw me back, no matter how long it has been since I read it last.
Killjoys (TV)
Requested Characters: Johnny Jaqobis, Dutch | Yalena Yardeen, Lucy
Optional Details: "(So, while Johnny is my absolute favourite, I love *everyone* in the Killjoys universe, so I'm fine with you bringing other characters into your story as needed! For instance, I have a giant soft spot for Khlyen and Turin, and how can you not love Pree?)
Given the season finale this year, there's a whole wealth of opportunities for strange new stories in this universe. I would love something about John and Dutch's relationship in The Lady's new version of the world. Dutch and John have seen each other as siblings for so long, what's it like when they're in a romantic relationship instead? What's different? What's the same? Do they fit together as well as they do in the "true" version of the universe? How have their personalities changed/stayed the same? Do they still retain their Killjoy instincts? For that matter, do they even really fit comfortably in these new versions of themselves?
Also, what's happened to Lucy? What's her relationship to Johnny now? Is she still a ship? Is she an AI in some other framework? Or has the Lady made her over into an actual human being? Does she still care for Johnny? Does she know him at all? How does he feel if/when he comes into contact with her in this new world?
Do John or Dutch have flashes of their original reality in the midst of their strange new lives? How do they deal with them? What do they see? Is the Green something normal and everyday now, or has it vanished now that The Lady is out and controlling everyone?
So basically, I have a *lot* of questions, and I'd be thrilled to explore your answers to any of them. Surely the Lady's reality can't be perfectly constructed and a perfect fit, can it? There must be something off, right? Maybe? I'd love it if you could show me that slight tilt, the little ways in which it's off... or maybe how it offers up otherwise untapped opportunities. Are John and Dutch happier than before? I suppose you can be happier even if you aren't actually living the life you're meant to live...maybe?"
***
I was surprised how much I enjoyed Killjoys in Season 1, and every season after it has kept the intrigue coming! When I first heard of it, I was fully expecting it to just be a fun space opera/romp with one of the Ashmore boys, and it turned out to be so much more than that. I'm fascinated by the world of the Killjoys, from the minutia of their profession to the clashing and uprisings of the various classes (the Nine! the Hullen! the Green! the Lady! the miners! the Hackmods! the Scarbacks! the Killjoys themselves!) to the whole planetary system and its structure; I also love pretty much every character on the show, with few to no exceptions (in fact, right now, I can't think of anyone I don't like).
Even moreso, I am deeply intrigued by the relationship between Lucy and John, and I would love to know how authentic it is for Lucy (vs. some sort of human programming/interfacing quirk). Likewise, I'm fascinated by John and Dutch's relationship; I love how they each were exactly what the other one needed when they first met, and I love that the show prioritizes their platonic connection, and how it never pushes aside how important they are to each other, not even in the name of a romantic partner. That's not something you see very often in fiction. ...Of course, that doesn't mean I'm not curious about what could have been, especially in light of this season's ending!
I'm also fascinated by the limits of the Green and the Lady. I love the importance of memory to the series, from the memories of the individual characters to the collective memory of the Green, to the loss/gain/altering of memories, to Dutch's speech about how the universe itself has a memory. (That was an absolutely wonderful bit of writing last season.) I also love how Killjoys turns the usual "Big Bad" on its head: for all of Seasons 1-2, Khlyen was their biggest antagonist... until he wasn't. For all of Seasons 2-3, Aneela was their biggest threat... until she wasn't. And now? Maybe the Lady is finally the big bad we've been expecting; but maybe not, maybe they'll throw us another curve ball instead.
Just as I was thrilled to have Khlyen back when Aneela and Dutch entered the Green, and dismayed at how the Lady tried to use Pawter against John, I wonder what and who else it can conjure up. I wonder what kind of echoes of the past will mingle with this new future. Will the new world she's made wipe everything clean, or is it impossible to scrub reality entirely? I wonder how truth and fiction will end up twisting together, and whether that will change things once our Killjoys (presumably) defeat the Lady. (I also really hope we eventually find out what or who she is!)
Honestly, Killjoys is just so full of promise that there are a thousand and one questions I have about it. It's turned out to not just be a return to the space operas of the past, but it's packing some fascinating ideas and plotlines that keep me wanting more and more.
Ok, hopefully all that helped rather than made things harder. Again, absolutely everything I've said here is optional and up for ignoring, partially or wholesale. After all, it's not like I'm ordering dinner; I'm really just flailing wildly and offering up far too much info.
Thank you again, Yuletide Writer. I'm so very excited about the exchange, and I know I'm going to love whatever you write for me. ♥