Having finally found a formula that seems to work for remixing, I thought I'd share some of my thoughts on the process. I'm not big on prescriptive Do's and Don'ts, so I've written this more as a travelogue, looking at how I went about writing "
Home Fires," which is the first remix I've been really pleased with as a story in its own right
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But I always feel like the remixes should be, well, remixes, where you're saying, "Okay, this is a story. It's made up of all of these different parts. What story do I want to tell using some of these parts?" And the parts that I usually latch onto are the events, so my approach is typically something closer to, "What happened here?" and "Why do I care about it?" and "What do I want to tell some hypothetical reader about what happened?" Because I think within a story there should always be an answer to "and why are you, madame author, telling me this stuff?"
So the closest I've ever come to a straight ahead retelling was when I took Helping Hands and made that story the ( ... )
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It seems to me that regardless of the writing process we use (and your process *does* sound different), remix stories tend to fall out into two types: those with one small change (commonly POV), or those which are re-imagined. Your Farscape remix is definitely re-imagined, even though the first of your 5-things is a simple POV change.
It's the re-imagining that I was struggling with in my first few remixes; I couldn't quite see how to get past the original author's vision. So I developed a very methodical way of extrapolating in order to try and break-out of that. It's certainly not the only way to remix, or even the best. In fact, I think yours works really well! I wish any of my remixes were half as inventive as your one Farscape remix! I may have to try your way next time--maybe it will prove even more productive than my plodding step-by-step approach.
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