#ficspiration: links
Link
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Hi!
So, you probably don't know me & I don't usually do asks or messages or anything 'cause they make me anxious, oddly. But I just wrote a short fic inspired by/based on your A List of Things Eddie Diaz Deserves edit and ended up using several lines from your poem actually in the fic, so wanted to check with you before I post it, with credit & linking back to your edit post, of course.
But if you're not comfortable with me including your lines, I won't & can rewrite or not post.
Either way, it was honestly nice just to finish something today and break out of the writing rut I've been in, so thank you for your edit, which has been in my ficspiration tag since it first crossed my dash!
And now I'm rambling so will stop and instead anxiously hover over the ask button for an eternity before I can make myself send this...
Hi! I feel really flattered that you would write something inspired by my poem (that's really sweet and i appreciate it!) but i do wish you would've asked me before writing it, instead of asking me when everything is already done.
and i'm really sorry but i don't feel comfortable with actual lines of mine being part of the fic. It's your fic and I'm sure it's great, but I don't want lines of mine to be there, if that's okay with you.
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You're so good at writing romance! Was catching up on some of your recent uploads, and they are a gift. How do you balance creating a believable feel and dynamic between the characters while also having a satisfying, indulgent and spicy encounter?
So I’ve been staring at this ask for like two three four days trying to figure out how to answer 😅
First of all, THANK YOU friend! I’m so glad you’ve been enjoying my fics! Truly, they’re a pleasure to write and it always makes me so happy to hear that other people like reading about all my silly little headcanons and daydreams! <3
And now here’s the hard part that I don’t really know if I know how to answer, but I’ll try!
I’m going to focus on that first part of what you’re asking about (believability) because I think being able to keep them (somewhat/as much as possible) in character is (maybe?) the part that requires more conscious effort, for me at least.
(The “encounters” (both spicy and otherwise) are the part of my brain that won’t shut up—my imagination running wild. 😉)
I guess the main question I ask myself to help myself keep that balance while I’m writing is: how does this relate to canon?
I think there are two main things I use to make sure that how I’m writing DOES fit in/fall in line with canon (or at least the my interpretation of canon or the parts of canon that I’m focusing on).
allusions to specific moments/scenes
allusions to recurring patterns/themes
Overall, I rely way more on alluding to specific moments when writing lighter fare (flirting and spiciness and teasing), probably because those pieces tend to be less introspective and more based in whatever one-off situation my brain has decided to plonk rayllum into. (Also, let’s be honest: these are usually the fics/chapters where they’re either pining or horny—more in the moment “conflict” than anything, ha.)
For example, for this fic (rated T, rayllum awkward fluffy spice at the moon Nexus mid-TTM), canon gave us a nice little euphemism for all of Callum’s awkwardness (“weird”) about putting his arm around Rayla in the desert, which made sense to weave into his internal monologue when writing about him feeling awkward again about some new touchy-feely territory.
(specific lines/actions are also one of my FAVORITE sources of ficspiration, especially for missing moment fics!)
On the flip side, heavier stuff (hurt/comfort-y stuff, big feelings time, and what little angst I write) dips WAY more into introspective territory, which means that I’m thinking more about how I can allude to canon with their patterns of behavior.
I’ve been working on angsty adult rayllum reunion this month (current chapters rated T, will get up into M/E range…) and JEEZ it’s been tough, because there’s just so much to consider and factor into Rayla making the decisions she does.
Of course, specific allusions make their way into heavier stuff. In Clean Slate (rated T, multichap, post-S3), I have Rayla circling back to Callum’s “I’m here with you” from 3x05, like…constantly. Likewise, lighter stuff certainly DOES have recurring patterns of behavior from both of them: uh, HELLO to Callum being a giant DORK, for ONE example. (Can’t even narrow down fics to link bc that mess is PERVASIVE, bless him)
Another way I think about it: I can keep dialogue/actions in check (“yes, this is a thing they would do/say”) with specific allusions to canon and actions/plot in check (“yes, this is how they would react given this situation”) with broader allusions.
One more thing:
I do think that the fact that it’s *rayllum* that I’m writing makes my task easy as far as being able to write sweet but spicy fluff/smut. I just think they’re Like That—flirty & tease-y (which is fun for fluff but ESPECIALLY fun for spice ;D) and sweet & supportive (which makes my heart flutter for fluff and is NECESSARY for the spice I like).
ANYWAY, I don’t know if this was even remotely the answer you were looking for, but it was fun to think about my own writing and I’m flattered, truly, that you asked!! I can certainly explain anything that’s missing/unclear too! :)
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Band AU master post [updated]
Here is a list of things written and drawn for the Band AU, presented in chronological order and by the equivalent book. I’m (ONE OF THESE DAYS) going to do a master list of references/influences as well, but if you’re really curious just trawl #the band au here.
OR go toThe Artist Known as Lymond: a tumblr specifically for this AU, with aesthetics, ficspiration, and (coming soon) fanart, fics and meta.
I’ve also included links to illustrations by the wonderful @stripedroseandsketchpads
Ficlets under 500 words
Fics under 1500 words
Fics under 5000 words
Fics over 5000 words
Pre-series: Sibylla and her children watch the moon landing together in 1969, art by me.
Young Oonagh, illustrated by K
Prequel (posted chronologically on Ao3 as 'Music is a made-up thing like myth'. Updates in fits and starts)
Freshly victorious at the 1979 Solway Moss Battle of the Bands, young Francis Crawford, aka Lymond, finds himself stuck in an awful contract and an even worse relationship. Things don’t improve as his first US tour approaches and Lymond struggles to find artistic freedom.
Eloise Crawford illustrated by K
Isolation (Richard reflects on the loss of his siblings)
Gunpoint (Lymond meets Dragut when he falls in with some mafia types)
Bleeding out (More mafia types)
Game of Kings
Returning to the UK, Lymond has to navigate rumours both personal and political: what role did he play in his sister's disappearance and just how involved was he with the mob in New York? In the meantime, uncertain of his record contract and his inheritance, he has to make a living: he tours relentlessly with bandmates Turkey Mat (drums), Will Scott (bass) and Christian Stewart (guitar).
Francis in the style of Munch drawn by me
"Don't move" (Lymond wakes up from an accident to find Christian by his bedside)
Trembling (Philippa Somerville thinks her father has just returned - it turns out to be someone quite different)
Humiliation (Will Scott tries - and fails - to humiliate Lymond)
"Stay with me" (Richard pushes his injured brother too far)
Queens' Play
West Germany, 1983: Ireland's Eurovision entry, ex-model Oonagh O'Dwyer, is forced to pull out because of industrial action at the Irish state broadcaster. Her partner, the playwright Cormac O’Connor, convinces her they may as well go to on that holiday to Munich and Berlin anyway. The Artist Formerly Known as Lymond, in a techno-goth outfit with Irish producer O'Liamroe, is on hand to disrupt events and keep an eye on young Mary Fleming, part of the British ensemble. But while he's there who can say no to a few illicit cross-border gigs in the GDR? Western decadence at its most provocative...
Laced drink (Margaret Erskine is on hand to comfort Lymond in the aftermath of a heavy night)
Pinned down (Oonagh searches the wreckage in the aftermath of an illicit gig)
Disorderly Knights
Seeking control over his career, Lymond decides to set up his own recording studio and fill it with hand-picked talent. In researching the kind of set-up he wants, he's pushed to get in touch with master producer Graham 'Gabriel' Reid Malett, who is now a senior figure in the spiritual movement established by Rajneesh/Osho. As the miner's strikes rage on and police response toughens, the role of music in protest comes into sharper focus than ever.
Shackled (Jerott Blyth witnesses the carnage at Orgreave picket line)
"Don't try to fix me." (Adam Blacklock thinks he recognises something about Joleta's behaviour)
Bloodied shirt (Everyone is sleep-deprived and grumpy as they leave Dumbarton in the middle of the night)
Stab wound (Lymond is late to a DJ set and misses an altercation)
Joleta and her favourite things drawn by K
Dragged away (Philippa and Joleta go for a night out in Edinburgh)
A doodle of Francis playing guitar by me
Scars (Joleta is curious about Lymond's scars)
Nightmare (Joleta stays over with Mariotta Crawford, trouble ensues)
Recovery and "None of this is your fault." (Philippa waits by her friend's bedside after an overdose)
Oonagh and Joleta drawn by K
Oonagh in Rajneeshee red drawn by K
Abandoned (Oonagh O'Dwyer abandons her life in Europe for the promises of a Nebraskan ashram)
Breathe for two (Oonagh realises she's trapped at Graham Reid Malett's ashram)
Pawn in Frankincense
It's time to try and break America - second time lucky?/Or will America break Lymond? As a front for a final showdown with Gabriel at his ashram in Nevada it's not exactly subtle, but at least Lymond gets to learn something about his family along the way.
Human shield (Marthe takes Philippa into her first mosh pit)
Delirium (Jerott suffers with a combination of delerium tremens and cyanide poisoning)
Adrenaline (Luckily, there's a telenovela star called Doña Maria there to get him out of jail)
Asphyxiation (still suffering from the poisoning, Jerott wakes up at Baron Morgan's motel)
Secret injury (Gabriel doesn't want Jerott to leave the ashram)
Jerott in the style of Munch
The only one keeping me sane. (Marthe takes care of Oonagh at the ashram).
Marthe's t-shirts, illustrated by K
Unconscious (Lymond and a small blond boy sleep off their adventures)
Ransom (Gabriel catches up with them in Vegas)
Shaky hands (Lymond is not in a fit state to be playing this gig)
Hallucination (Archie figures out the cause of Lymond's present malady)
Muffled scream (Philippa and Lymond share a Vegas hotel room)
Tear-stained (Oonagh and her son are going home)
Anemone (Jerott accompanies Francis into rehab; he's in denial about a number of things though)
Marthe and Oonagh, illustrated by K
Más é an ceol bia an ghrá (One night stands in Dublin: Marthe goes to Oonagh's leaving party, Jerott stays in the hotel bar)
The Ringed Castle
1987, glasnost: Lymond and an ambitious group of artists, experimental sound technicians and musicians are invited to tour behind the iron curtain alongside Ukrainian bete noir Baida and his band. The tour is to be filmed by ex-propaganda director Ivan Vasilyevich. Meanwhile Red Wedge tries its hardest to get the people of Britain to vote in a non-Tory government at the general election.
Stitches (Adam Blacklock has had a rough night)
Numb (Richard encounters his brother in Dundee)
Embrace (a version of the Languish Locked in L scene)
Philippa's Raspberry Beret drawn by me.
Checkmate
??Profit?? No really I need to write more of the rest before I know what the fall-out here is going to look like. It will probably involve: Nelson Mandela's 70th Birthday Concert, the opening of the Cairo Opera House and the Fall of the Berlin Wall.
Beaten (Jerott Blyth has been behaving badly)
Soap, soup and salvation (Danny teaches Adam to cook for Kate)
Coisich, a rùin [come, my love] (a series of scenes in Francis and Philippa's relationship)
Post-Checkmate
Don't wake the house (Jerott breaks down on an half-familiar (OC's) shoulder post-Checkmate)
Jerott, Archie, Adam and Kate get ice cream, drawn by me
A love that seems great beyond growth (in need of rest and recovery, Marthe visits Oonagh in her new life)
"Would you just hold still?" and What I love about many waters (Philippa and Joleta go for cocktails. Lymond helps his wife through the hangover)
"Don't look at me like that." and "When you smile..." (domestic, married fluff with Francis and Philippa).
Pushin' palaces to fall (Thompson the pirate causes trouble for the Crawfords. He gets trouble back)
Spoilers for overarching plot NO REALLY POST-CM SPOILERS
Explosion
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#*but don't hold that against him!#jesse ed davis#to read#research#setting: 1970s#setting: 1980s#ficspiration: links
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But, just as Shelagh's career looked set to take off, her life began to falter. A relationship turned sour, she found herself living in a rough area of London and, most damaging of all, she began experimenting with drugs. Her fragile and sensitive personality could not cope with the psychedelic onslaught of the cannabis and LSD so readily available in the folk scene.
"Everybody was experimenting with drugs," she recalls. "But in April 1972 I took a trip that turned my world upside down. I thought it would be out of my system within 12 hours, but three weeks later I was still hallucinating.
"It wasn't the kind of colourful hallucination you normally got with LSD - this was horrific. I was walking around the shops and looking at people who had no eyes or features, their faces were just blank.
"It went on for so long, I just forgot to eat and was just skin and bone. I was all over the place and didn't seem to know what I was doing or where to turn to.
"Suddenly, I had to get out. My disappearance wasn't at all conscious. It was a coping mechanism - self-preservation."
#character: eloise crawford#i'm not saying she's definitely alive in the au. but she could be :')#band au: prequel#sex and drugs and rock and roll#shelagh mcdonald#setting: 1970s#reference#ficspiration: links
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In the pop world, O'Connor felt like she couldn't be herself. She said she spent more time having her picture taken than doing what she really loved — performing live and making music.
"I found the world of pop stars quite imprisoning. It's a bit like being the Queen of England or the President of Ireland. You can't actually express an opinion about anything," she told Power.
For O'Connor, freedom of speech is at the heart of her artistry.
"I'm an Irish artist, and we have a history of causing riots in the streets with songs and plays," she said. "You know, back in the old days, you couldn't put an Irish play on without there being a riot in the street after, or, you know, mounted police on horses outside the gigs in London. Our job as Irish artists [is] to cause riots in the streets."
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“My agent, Vic Lewis, said: ‘As soon as you put your foot on [the British airline] BOAC in Tokyo, you’re on British soil – the whole tax plan is out of the window. I was about to earn more than any British artist had ever earned on a year dropout – $7m. Today it would probably be a lot more. Vic was on his knees in the airport, because he stood to get 10%.” I quite like this tableau, the mystic bard shuffling sadly on to a plane, foregoing his ancient principle of opposing a supertax, as his agent prostrates himself on the ground for his lost 700 grand. Where’s Hans Holbein when you need him?
#ficspiration: links#ficspiration#donovan#this is either#persona: thady boy#taking the absolute piss#or it's#character: graham reid malett#anyway it had me in stitches#zoe williams
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