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these are the stories wherein I write stories
Week 3 and I'm now at 26 stories on AO3 -- officially too many to fit all the summaries on one page, woot! Newbies this time around are:
The Bee-Charmer -- SGA. I don't know if I've ever written anything more family-friendly than this Ronon/Teyla piece; aside from a couple of "fucks," you could almost let your grandma read it. I like shy!Ronon, courting Teyla via hog roasting. Because what woman could resist a hot guy having a barbeque?
Ghosti -- due South. As anyone who reads much of my stuff knows, I have a particular fondness for grabbing onto one particular decision that someone makes in canon and going, What would happen after that if they did the exact opposite thing? It's a game that just fascinates me to no end. This one is the, What if they took those transfers after Mountie on the Bounty? story. One of the rare stories that I did actual research for, and like East O the Sun, West O the Moon, it manifests my obsession with the idea of Kowalski experiencing the wilderness for the first time. I still feel like I have another story on that theme in me somewhere, but I haven't found it yet. (On a random personal note, "The answer is fucking fish" is probably my favorite of the lines I've ever written that were supposed to be funny. That bit still makes me grin, and usually I hate going back and reading the alleged funny stuff in my stories.)
Herrenvolk -- Smallville. I think I wrote this during the summer after the first season aired, so it's kind of interesting to go back and see what I thought the future might look like for these characters. Yeah, it didn't turn out to be that. I don't quite know what kind of a story this is, except that it's one of those things I like to write where a character muddles through the complicated different types of love he has for the people he cares about, in this case Lana, Chloe, and Lex. This is the type of the story that makes me want to drive a pick through my eye when I'm supposed to come up with a pairing label. But I do so love writing them that it's worth it.
In the Hands of Yes -- SGA. Ta-da! Almost without a doubt the single most popular thing I've ever written, back on the internet at last. If you managed to miss it the first time, it's one-half Aliens Make them Get Married Rodney/Ronon adorableness wallow, grafted on to one-half of -- something else entirely, God knows what you'd call it. Something about John. It was actually inspired totally and completely by the quote at the end of the story, which I ran across in a college creative writing class, which got me thinking about how to write a story where marriage wasn't the Happy Ending of the story, but that still was about a happy marriage. This is also more of a unique story for me in that there are some homophobia themes in it, which is just not my wheelhouse and I usually avoid writing. I think it works because it comes in third for themes, after "Commitment is kind of scary" and "Your other relationships change after you stop being a single person."
Lexicon -- The Sentinel. Speaking of marriage, I think one thing that anyone with half a functioning imagination worries about when they make a long-term commitment is what will happen if they're ever in a position of needing to give extensive care to a sick or injured partner. It's universally scary, and therefore great story conflict. It's interesting to me that, while that was the story I wanted to write, by giving Jim the POV here, I really put a lot of distance between the story and that issue, and it became a story much more about a very self-reliant person adjusting to needing care and accommodations that he never expected to need. I think Lexicon is a really good story, but I just find it interesting that it's not at all the one I started writing.
Penitent -- SGA. Man, I still resent having to use this title; I wanted to call it "The Long Goodbye," which is a vastly better title for this story than it was for the episode, but it seemed weird to do that. In my head, it'll always be called The Long Goodbye. Another story that defies my ability to label it -- Teyla gen or Teyla/John? What about the Rodney/John and Ronon/John? I think I kicked some Rodney/Ronon into it just because even by my standards this was a really fucking bleak story without it. It's deathfic -- I'm always willing to warn for character death when it happens at the beginning of the story, though not when it spoils the ending. This is not a spoiler: John is all kinds of dead in it.
Sibylla ti theleis -- due South. I guess TS Eliot just serves as a challenge one has to rise to meet as a writer, or maybe you always bust out your A game when someone tells you you're going to be writing gift-fic for Kat Allison; for whatever reason, I think this is probably the most fully competent thing I've ever written. And that sounds weirdly backhanded, but it gives me a good feeling! I often feel like I'm a very interesting writer with moments of genius, but I rarely feel like the things I write feel *done,* in a sense. I just get to a point where there's an ending and I'm like, this'll do, I like this pretty well. This is maybe the one story I've ever written that I wouldn't change a word of. I just think I got it right.
Witness -- Buffy the Vampire Slayer, with a side of Dark Angel. Not really a crossover per se, except that it sets up what I think is a kind of interesting fusion of the BtVS universe with the post-apocalyptic Dark Angel mythology. I was pretty much entirely wrong about who would survive the series and who wouldn't, of course -- not that I was really trying to guess accurately. It's always tough to write a "redeemed" version of an anti-hero character; you don't want to take a character like Faith and reshape her out of all recognition to make her a (to use Joss' parlance) champion again -- but on the other hand, I really love redemption stories! I actually really like this fusion universe, and the story does more to set it up than it really does to take advantage of it.
The Bee-Charmer -- SGA. I don't know if I've ever written anything more family-friendly than this Ronon/Teyla piece; aside from a couple of "fucks," you could almost let your grandma read it. I like shy!Ronon, courting Teyla via hog roasting. Because what woman could resist a hot guy having a barbeque?
Ghosti -- due South. As anyone who reads much of my stuff knows, I have a particular fondness for grabbing onto one particular decision that someone makes in canon and going, What would happen after that if they did the exact opposite thing? It's a game that just fascinates me to no end. This one is the, What if they took those transfers after Mountie on the Bounty? story. One of the rare stories that I did actual research for, and like East O the Sun, West O the Moon, it manifests my obsession with the idea of Kowalski experiencing the wilderness for the first time. I still feel like I have another story on that theme in me somewhere, but I haven't found it yet. (On a random personal note, "The answer is fucking fish" is probably my favorite of the lines I've ever written that were supposed to be funny. That bit still makes me grin, and usually I hate going back and reading the alleged funny stuff in my stories.)
Herrenvolk -- Smallville. I think I wrote this during the summer after the first season aired, so it's kind of interesting to go back and see what I thought the future might look like for these characters. Yeah, it didn't turn out to be that. I don't quite know what kind of a story this is, except that it's one of those things I like to write where a character muddles through the complicated different types of love he has for the people he cares about, in this case Lana, Chloe, and Lex. This is the type of the story that makes me want to drive a pick through my eye when I'm supposed to come up with a pairing label. But I do so love writing them that it's worth it.
In the Hands of Yes -- SGA. Ta-da! Almost without a doubt the single most popular thing I've ever written, back on the internet at last. If you managed to miss it the first time, it's one-half Aliens Make them Get Married Rodney/Ronon adorableness wallow, grafted on to one-half of -- something else entirely, God knows what you'd call it. Something about John. It was actually inspired totally and completely by the quote at the end of the story, which I ran across in a college creative writing class, which got me thinking about how to write a story where marriage wasn't the Happy Ending of the story, but that still was about a happy marriage. This is also more of a unique story for me in that there are some homophobia themes in it, which is just not my wheelhouse and I usually avoid writing. I think it works because it comes in third for themes, after "Commitment is kind of scary" and "Your other relationships change after you stop being a single person."
Lexicon -- The Sentinel. Speaking of marriage, I think one thing that anyone with half a functioning imagination worries about when they make a long-term commitment is what will happen if they're ever in a position of needing to give extensive care to a sick or injured partner. It's universally scary, and therefore great story conflict. It's interesting to me that, while that was the story I wanted to write, by giving Jim the POV here, I really put a lot of distance between the story and that issue, and it became a story much more about a very self-reliant person adjusting to needing care and accommodations that he never expected to need. I think Lexicon is a really good story, but I just find it interesting that it's not at all the one I started writing.
Penitent -- SGA. Man, I still resent having to use this title; I wanted to call it "The Long Goodbye," which is a vastly better title for this story than it was for the episode, but it seemed weird to do that. In my head, it'll always be called The Long Goodbye. Another story that defies my ability to label it -- Teyla gen or Teyla/John? What about the Rodney/John and Ronon/John? I think I kicked some Rodney/Ronon into it just because even by my standards this was a really fucking bleak story without it. It's deathfic -- I'm always willing to warn for character death when it happens at the beginning of the story, though not when it spoils the ending. This is not a spoiler: John is all kinds of dead in it.
Sibylla ti theleis -- due South. I guess TS Eliot just serves as a challenge one has to rise to meet as a writer, or maybe you always bust out your A game when someone tells you you're going to be writing gift-fic for Kat Allison; for whatever reason, I think this is probably the most fully competent thing I've ever written. And that sounds weirdly backhanded, but it gives me a good feeling! I often feel like I'm a very interesting writer with moments of genius, but I rarely feel like the things I write feel *done,* in a sense. I just get to a point where there's an ending and I'm like, this'll do, I like this pretty well. This is maybe the one story I've ever written that I wouldn't change a word of. I just think I got it right.
Witness -- Buffy the Vampire Slayer, with a side of Dark Angel. Not really a crossover per se, except that it sets up what I think is a kind of interesting fusion of the BtVS universe with the post-apocalyptic Dark Angel mythology. I was pretty much entirely wrong about who would survive the series and who wouldn't, of course -- not that I was really trying to guess accurately. It's always tough to write a "redeemed" version of an anti-hero character; you don't want to take a character like Faith and reshape her out of all recognition to make her a (to use Joss' parlance) champion again -- but on the other hand, I really love redemption stories! I actually really like this fusion universe, and the story does more to set it up than it really does to take advantage of it.
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