#“well dear hes reading this book about a knight in his personal exploration about religion. sexuality. beliefs. concepts of love. family...”

[dad-galaxy]

🐊🦩

[miss-m-calling]

Yuletide 2017 letter

Dear writer,

Thank you for writing for me! I hope my prompts inspire you, I am very eager to read whatever you write.

Fair warning: my prompts can get pretty verbose, and there are spoilers.

My AO3 page

The Marianne Trilogy - Sheri S. Tepper

Characters: any (Marianne Zahmani, Makr Avehl Zahmani, Aghrehond, Therat)

What is this canon: Low fantasy, feminist trilogy about Marianne, a student at an American university who comes from the tiny, fictional country of Alphenlicht, wedged in between Turkey and Iran, with a native religion that vaguely resembles Zoroastrianism, a long tradition of both light and dark magic, and civil conflict with echoes of the Cold War (one part of the country seceded with Soviet help). Marianne is financially dependent on her abusive older brother Harvey, but trying to assert her independence. Then she meets Makr Avehl, a cousin and de facto president of Alphenlicht, who’s both a mage and a charmer. And then Marianne gets targeted by dark magic and has to become self-assertive and figure out how to save herself, even as Makr Avehl also tries to save her (and sweep her off her feet), often with more complicated results than he intended. Every book introduces a different set of magical challenges, most of which transport Marianne to a different constructed/magical realm, with disturbing parallels to the cruelties of the real world and some interesting meta commentary on gender relations. Also in the mix are Aghrehond, Makr Avehl’s loyal retainer, chauffeur, and all-around kind soul, and Therat, an intense young mage in training.

While I have a like-get-annoyed relationship with most of Tepper’s work I’ve read, I adore this trilogy unreservedly. I love the mixture of dark fantasy, sly humor, creepiness, complex magical systems and surreal constructed/parallel/hidden worlds described in just enough detail while remaining, for lack of a better word, magical, the intersection of old and new and invented worlds... I adore Marianne, whose lives (it makes sense in context) have made her many things: the traumatized yet defiant survivor, the semi-skillful player of the game of life and magic, the lover and wife and mover-and-shaker in her own right. Her relationship with the other characters - romantic, sometimes overbearing, arrogant, yet loving and lovable Makr Avehl; intense and dedicated Therat; loyal, warm, kind, humorous Aghrehond - are so rich and wonderful. I love all the playing with and inverting and deconstruction of tropes and cliches, the aforementioned magical/constructed/parallel worlds of whimsy and creepiness that riff on ordinary aspects of the real world while also running on their own internal logic…

Some prompts:

Any/all of these characters visit the Cave of Light and then try to solve a problem or complete a quest (however grand, mundane or cracky) according to its message.

Road trips with Aghrehond - exploring Alphenlicht and/or magical realms.

Marianne said at the end of the last book that Therat may be surprised – I’d love to see what might surprise Therat, in addition to Marianne and Makr Avehl’s firstborn sharing her name. Or give me Makr Avehl having to work closely with Therat due to some magical/mystical/political issue, given that he’s always dropping unsubtle hints about her scary eyes. Or Aghrehond being deferential yet unintimidated by Therat - and maybe even making Therat laugh.

Any/all of these characters end up visiting fields on the board-game from book 3 which the book didn’t describe – what kind of a place do they encounter? What (probably dangerous, troubling, and/or creepy) adventures do they have?

Marianne promised to meet Queen Buttercup for a meal at Frab Junction’s Marveling Galosh – magical promises are serious things, so what happens when Marianne has to make the date and the others come to save her and possibly get in each other’s way more than they help?

I loved how canon gently sent up Makr Avehl’s image of himself as Marianne’s protector/lover/white knight in the first and third books’ magical worlds. Actually, Makr Avehl as the Freudian chimera in book 1 and as the hapless hero in book 3 are my favorite things about this canon, beside the general worldbuilding and Marianne’s character development. So I’d love to see more variations on that theme - Makr Avehl as Marianne’s hero, both swoony and ridiculous, gentle yet lecherous, intense and funny with it - either in the real world or in some new (and sinister) magical realm (you can tell that I would love worldbuilding for this canon).

As a general note, I do ship Marianne/Makr Avehl, but I would prefer any shippiness to remain at the books’ level, so nothing too explicit and nothing that overwhelms the non-shippy plot, please. I’m more into this canon for the worldbuilding and the inventive magic, and I like how the books mix the shippiness with adventure, magical horror, and often-meta humor. Oh, and I would prefer not to have Harvey Zahmani or Madame Delubovoska appear in the story - they can be mentioned, just no walk-on parts for them please. Walk-on parts for Marianne’s parents or aunt, or for Makr Avehl’s sister are fine.

Starred Up

Characters: Oliver Baumer, Eric Love

What is this canon: British prison movie, very pared back and austere and yet super emotional in how the relationships between the main characters play out. Eric Love (played by Jack O’Connell) is a 19yo who gets “starred up” (i.e. transferred from a young offenders’ institution to an adult prison before he’s 21) for being too violent for juvvie. On his first day, he’s involved in a violent incident and crosses the path of Oliver Baumer (played by Rupert Friend), a volunteer counselor who runs an anger-management group for the prisoners and decides Eric would benefit from being in his group. Also in the mix is Eric’s father Neville (played by Ben Mendelsohn), a lifer who pushes Eric toward a harder mode of masculinity. The father-son relationship is the movie’s main emotional axis, but so is the relationship between Eric and Oliver (and Eric’s growing friendships with some of the other men in the group).

Yes I do ship it, I do, I do!

Ahem. Don’t get me wrong, I liked what the movie did with the father-son relationship and its influence on both men’s character development -- but I really wish they hadn’t got Oliver out of the action before the story’s climax (not like that!). The final denouement with Love father and Love son was great, as was the hint at the end that Eric learned something in anger-management group and has a support network that will help him a lot, but I would have wanted to see more of the intriguing dynamic between Eric and Oliver - the intelligent, semi-feral, yet not-incorrigible, young thug and the educated, dedicated, kind yet aware of his own potential for violence, slightly older counselor.

The confrontational and oddly flirtatious way Eric quickly gets a rise out of Oliver when Oliver comes to pick him up from his cell, the way Oliver immediately jumps to Eric’s defense when they meet under such adverse circumstances and keeps sticking up for Eric again and again, how Eric barely puts on a front before he lets Oliver and the group influence him, Oliver’s far-too-involved “I want him” and Eric telling his father that Oliver’s a better man than Neville – it all made me want more. I would love to see Oliver return to holding his group in prison, so the two of them can interact more, either in the movie’s immediate aftermath or years down the line (it was hinted that Eric will be serving a very long sentence - more than thirteen years, and probably for killing his mom’s asshole boyfriend, if I understood Neville’s oblique reference right).

Some prompts – if you’d prefer to keep it smut-free and relatively sublimated, I’d love more scenes from anger management or the free-flowing conversations in group, either with the other men present (because I loved their group dynamics, their training in anger management techniques, and their ribald, un-PC, yet constructive talk) or in a one-on-one session between Oliver and Eric, as they deal with their personal histories and experiences (we know quite a bit about Eric’s crappy life, but why does Oliver, by his own admission, NEED to be there, volunteering in a prison? Did/do his own violent impulses spill over despite his acute awareness of them?) If you could work in an oblique or open-but-undramatic admission/declaration that they both know there’s something there but they probably don’t want to name it, get into the details, and it’s too frustrating given their circumstances, but they both know and accept it’s there - well, I would love that.

If you want to write smut, the logistics may be tricky, but I suspect an emergency in the prison might require a lock-down, so Oliver gets temporarily stuck in Eric’s cell or another room with only Eric for company. Or Eric is eventually released and crashes with Oliver while he adjusts (with difficulty) to the outside world, and there’s awkwardness, probably some male chest-thumping, and eventually fucking with the realization that they’ll never be complete equals in terms of the power dynamic between them (in the sense that Oliver is more educated and of a better social status BUT Eric would win in a fight, so it’s a constant push-pull rather than one of them always having the upper hand).

If it happens in prison, it could be a few months after the movie, or it could be after Eric has had some time to become a fully mature adult – and has spent enough time in prison to accept the truth of his father’s taunt about the appeal of a tight, hairy asshole. (On a side note, while Neville had no idea whether his son was a virgin or not, this would definitely be either Eric’s first time or his first time in a really long time. And I do headcanon Oliver as either gay or bi, his comment about sex with women more to save face in front of the group than anything else, but you can “play” their sexual histories any way you like, if they’re even relevant to what you want to write.) Eric might seem like the logical initiator and/or dominant partner, but then Oliver might (or might not!) surprise him and is definitely the one more in touch with himself. Is it ha-ha-we’re-locked-in/stuck-together-as-housemates, I-dare-you-to-pass-the-time-and/or-help-my-emotional-stability-with-a-fuck – or is it hell-shit-fuck-something-has-been-percolating-between-us-and-now-we’re-locked-in-together, possibly with a side of cry-me-a-river-you-want-to-know-how-long-it’s-been-for-me-well-I’m-not-telling?

In any scenario, I think there could definitely be some verbal taunting/flirting about who wants/is eager to do what or is good at doing something. There may be some sniping comments about logistics and (lack of) condoms and barebacking and what men get up to in prison. There probably wouldn’t be deep discussions about sexual identity - if anything, one of them might try to taunt or tease the other in order to keep defenses up, only to get a “yeah, that’s true actually, what are you going to do about it” kind of disarming answer. The sex could be pretty rough or go-for-it-no-frills, yet enthusiastic and eager and unexpectedly tender (even if either or both don’t want to admit it), in that way the canon has of jerking the characters from violent confrontation to something deeper and gentler without warning. (Again, a non-binding headcanon of mine: I do have this idea that, at some point, probably not their first time but when they’re used to each other and have a chance to take their time and have real privacy, Oliver would ignore Eric’s come-on-already and go super slow, to make Eric fall apart with pleasure *and* have an actual emotional reaction to sexual intimacy, which he wouldn’t be able to brush off as just of the moment.) There could be a progression/escalation of sexual contact over a series of encounters, possibly starting with just words or masturbation (of oneself or the other or mutual) or some other form of arousal, to blowjobs and who already knows how to give them and who expects them as a given and who learns how to give them, and ending in full-on screwing.

The Village (TV)

Characters: Clem Allingham, Stephen Bairstow

What is this canon: BBC show that ran for two six-episode seasons in 2013-2014 (never officially cancelled but unlikely to continue, it ends with some resolution as well as plenty of loose ends for fic continuation). The titular Derbyshire village serves as a cross-section of British rural society in the early twentieth century - S1 covers World War I, while S2 goes through the early 1920s. There’s an ensemble cast, lots of political, social, and private drama (think Downtown but actually semi-realistic), and we spend equal amounts of time with a hardscrabble farming family, the Allingham clan who own the local ‘big house’ and have demons of their own, and various assorted villagers (the Methodist preacher and his idealistic daughter, the socialist schoolteacher, the social-climber shopkeeper and his snooty wife, etc.). The two characters I nominated and requested are the Allingham family matriarch (played by Juliet Stevenson) and the brash Yorkshireman (played by Joe Armstrong) who arrives at the village as a police detective then gradually makes himself indispensable to the Allinghams.

My surprise ship from a show I didn’t expect to have any ships for! For real, the show can get pretty dreary and awful things happen to everyone (much like in life), but these two had such a great dynamic, and I thought the actors had wonderful chemistry, and I also like older woman/younger man ships as well as ships with a class difference (not so that one holds all the power over the other, more so that there’s always tension springing from differences of upbringing and life expectations). I just love how they only manage to be themselves with each other (their frank talk in the chapel on the day of Edmund’s wedding), I love the class tension and spikiness (they go from Bairstow grabbing Lady A’s wrist while she sputters in outrage in one of their first encounters to her playfully threatening to send him back to Yorkshire if he continues to swear in her presence and bopping him on the nose for good measure toward the end of S2!), and common-cause camaraderie of their relationship.

They’re both such rich characters, and together they’re a kind of quiet fireworks. Lady Allingham tries to keep up appearances and good cheer and be the perfect Edwardian hostess, but she has a sense of humor and is a lot savvier than you'd expect. People dismiss her as old-fashioned and out of touch, she can be a drama queen, but she's no fool, although she lets some unfortunate things happen in her family. And Bairstow is really kind of a dick (his treatment of Agnes the factory girl made me want to slap him), but he too is funny, extremely competent, not above manipulating and blackmailing just about anyone, plays up his working-class Northern origins while claiming that the war erased class distinctions until he gets a painful reminder that it didn't. He's dismissive of most people, but shows his softer side with several village women coping with their sons' war trauma - and with Lady A. I’d even say he always plays straight with her, rather than manipulating her (for example, their conversation in the library about needing to get Edmund hitched), because while they snipe at each other all the time, they also appreciate what each brings to the table, and by the end of S2 they've become allies or co-conspirators. And Lady A in turn allows her mischievous side to come through when dealing with Bairstow, like in the “impotentia coeundi” scene - she takes all of half a second to start volleying double entendres at the clueless Hankins while Bairstow grins on the sidelines.

In terms of prompts, I would love to see some recognition on both their parts that, despite all their differences, they’re a natural match.

Maybe Lady A tries to express her gratitude for Bairstow organizing the return of her grandson and that opens the way for them to get closer. Bairstow, who doesn’t like talking about himself if he can get others spilling secrets, could reveal more of his background to Lady A - the few clues canon provides are tantalizing. Lady A could reveal more about her marriage and how she has retained a girlish love of Jane Austen-esque romance through it. Maybe you can bring the story forward, into the late 1920s/early 1930s, to show how their relationship evolves and deepens when the Allinghams and Britain encounter a new dark period. Their relationship could remain as unspoken/sublimated or as out in the open as you want to make it.

Or heck, I would love something as outrageous as Lady A, who made it clear after her husband’s suicide that she has limited patience for hypocrisy and social expectations, deciding to throw caution to the wind and elope or embark on a torrid affair with Bairstow, and all the scandal and family drama that would cause (seeing George, Edmund, Harriet, and Caro’s reactions or the commentary from the villagers would be welcome but not obligatory). Bairstow holds an ambiguous social position, sort of between a servant, an employee, and a poor family member/hanger-on, but he is definitely not a socially acceptable partner for a widowed, aristocratic matron. And that’s what I love about the idea!

If you decided on smut or something smut-adjacent, I could see a lot of push-pull, some gentle (or not so gentle, though they’d know at once if they went too far) mockery and giggles, neither wanting to show vulnerability but doing it anyway, some negotiation - in the sense of working up and psyching themselves up to the main event - between the guy with the bum leg who’s used to using his lovers rather than treating them as equals and the woman from a buttoned-up era whose only experience of sex may well have been with her unstable husband. Or just show me these two giving each other support and continuing to enjoy flirting/sniping/confiding in each other/putting each other in their respective places, as they do.

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 irony, snark, 5+1 stories, bittersweet endings, hopeful endings, happy endings, unhappy-but-stoic (in terms of where the characters end up) endings, ambiguous or and-the-adventure-continues endings, canon-fitting humor, 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 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). For friendship and family dynamics, I love to see how the many layers long relationships of this kind can play out: the recrimination, the regrets, the humor, the love.

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.

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). Oral, vaginal, anal, manual (ifyouknowwhatImean) – it’s all good, go as veiled or as explicit as you like. 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, people having to overcome their own inhibitions or insecurity by just bulling through to where they can let themselves enjoy it, oh-god-this-is-a-bad-idea-but-we’re-going-for-it, I-hate-that-I-want-you-oooh-don’t-stop, 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. Also situations in which people have been acting competitive or fine-fine-shut-up-already and then jump into the sex with great enthusiasm even if still snarking. Also situations in which people who’ve wanted each other for a long time but couldn’t admit or act on it for reasons - and maybe weren’t sure or wouldn’t let themselves believe the desire was mutual - finally get a chance to do it, and it’s intense and emotional.

DNWs:

Hard kinks, MPREG, A/B/O, knotting, D/s, incest, genderswap and genderbent characters, non-con, dub-con, torture and abuse, dwelling on bodily fluids (mentions of gore and come are fine, but no loving detail please), vore, toilet humor, character bashing, soulmates and soul marks, major character death (unless it’s canon), pregnancy and children as the lynchpin of the story, 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, teeth-rotting fluff and schmoop, issuefic, fic written in the first or second person, holiday setting or theme, fics which revolve around weddings and birthdays, AUs which have nothing to do with canon (cop characters working in a coffee shop, high-school janitor characters in space, etc.)