Yuletide letter 2018
Oct. 13th, 2018 06:15 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
cadma2Hi and thanks for writing for me! I’m excited about all these canons and I like talking about them so I’ve talked a bit about why I like the characters and what I find interesting about them. If it sparks anything use it but if not feel free to ignore it. The specific prompts are also totally optional. I would just be happy with anything featuring these characters and settings, either gen or shipping. Mostly behind cuts for navigation:
DNW: suicide, abuse, incest, internalised homophobia, gender identity issues, anal sex, noncon (dubcon’s fine)
The Life and Death of Colonel Blimp
So I like all three of these characters but I’d really like a story about Edith. The film’s so much from Clive’s point of view that we never see the older Edith – in fact, I’m not sure we ever see her when Clive’s not there? Her life must have been just as interesting as Clive’s and Theo’s and I’d like to see some more of it and know how her experiences affected her.
I’m intrigued by the suggestion that Edith’s family didn’t want her to go to Berlin and wanted her to stay at home. She’s obviously determined to do the things she’s made up her mind to do – like inviting Clive even though she doesn’t know him – even if it doesn’t always work out like she intends. I wonder how far she marries Theo because she likes him, and how far because she doesn’t want to go home. I get the impression she’s developed feelings for Clive by the time he leaves, and doesn’t think he reciprocates. But from what Theo says in 1939 it sounds like they were happy together.
I really enjoy all Clive and Edith’s scenes together – they both seem a bit socially awkward at first but then they start having fun together. I enjoy Clive and Theo’s friendship too. Possibly they don’t think about each other much between meetings? – apparently Theo lives in London for years without telling Clive and Clive doesn’t know whether Theo and Edith have children in 1919? But they’re there for enough important moments in each others’ lives that it makes sense they’d be close in old age, especially once they’ve lost their families.
NB I can read German and if you’re able to include any it would be extremely cool. But obviously this is totally optional and I’m not expecting it or anything. Also you don't have to use both Clive and Theo if it doesn't suit your story.
• Edith survives and comes back to London with Theo in the 30s. Does she feel like she fits in? Can she find a job? What does she do when Theo gets interned? How does she get on with Johnny?
• What’s it like for Edith in WWI when her two countries are at war with each other? How about when Theo comes home and is angry about Versailles and the English attitude – does she still automatically defend England like she did over the Boer War? Theo says she wants to go back to England after the war but chooses to stay with him – how does she come to that decision?
• Something set when Clive, Theo and Edith are all staying in the nursing home together – I would enjoy anything where they’re becoming friends or having fun together. I’d also be up for Edith/Clive/Theo.
• If you’re stuck on writing Edith or don’t want to, I’d also enjoy a story where Clive and Theo meet during WWI but before it’s clear which side will win. How would they feel about each other at that point? Would one help the other survive or escape?
Kind Hearts and Coronets
This film is pretty much perfect. I don’t have as much to say about it here – I would just like to read more of Louis and his outrageous plots and witty commentary! First or third person narration would be equally good, and feel free to use Edith and/or Sibella as suits your story. Obviously there is a lot of potential with the ambiguous ending, but more detail or variation on what comes before would also be great!
• How does Louis handle the situation at the end of the film?
• Louis’ stint as a suffragette is massively intriguing– did Sibella and Edith find out and what did they think? How did Louis infiltrate the group without causing suspicion?
• Sibella somehow obtains the manuscript of Louis’ memoirs and he tries to get them back.
• Sibella happens to meet Edith at a charity event and befriends her with the intention of stopping her getting engaged to/marrying Louis.
• Sibella marries Louis instead of Lionel and they plot the murders together.
Excellent Women
I love Mildred’s narration in this book – she’s funny and curious and imaginative. At the same time she’s convinced that because she’s a reserved church-going spinster everyone must think she’s really dull. I wonder how far she’s right about this – I’d love to read a story where we see her from someone else’s point of view. Any of the other three characters' perspectives would be great and you don't have to include all three. Or if you get stuck, I'd be happy with more of Mildred's point of view as well.
Helena: Mildred clearly thinks Helena’s everything she’s not but I find it hard to judge what Helena thinks of Mildred. She’s obviously picked up on Mildred’s attraction to Rocky but does she know how far it goes? How does she feel about Mildred and Everard together – surprised, jealous, relieved? It’s interesting that they both come from religious backgrounds in small villages, but Mildred stayed at home for all of her twenties whereas Helena seems to have left as soon as possible. How did she get into anthropology as a career? Does she see Mildred’s life as something she escaped or does she think Mildred has more freedom and has her life in order? I know a later book says she gave up anthropology after moving to the country with Rocky but I’d rather ignore that.
Rocky: He’s nice and he likes Mildred but is she right when she says he doesn’t really understand anything about her? I also wonder if Mildred really understands him – she does spend a lot of time thinking he’s shallow, and apparently he’s a painter but she just says she doesn’t understand his paintings and doesn’t show any more interest.
Everard: the first time I read the book I wanted Mildred and Everard to get together until he got out his proof sheets and then I was like “No Mildred! Don’t do it!”. But actually I think he is a good option – more suitable than Rocky (sensible, religious) and more exciting than Julian (good-looking, expert in an exotic field, impressive to strangers). And I’d like Mildred to get a guy since she clearly wants one. But if you don’t want them to get together that’s fine too.
Everard and Helena: Did they have an actual affair which was supposed to end when Rocky came back? I lean towards no because Everard is devout and seems like he’d stick to his principles, but I’d find it totally plausible so go with what seems right to you.
• A different character’s point of view of one of the events in the novel. Helena on the reading of the paper and subsequent dinner? Rocky when he comes back from Italy and finds Mildred not Helena? Everard trying to get Mildred to go out with him near the end (what does he think when Mildred turns him down then tells him Julian and Mrs Grey have just split up?)
• Helena comes to London to give a paper at the Learned Society for the first time since Everard and Mildred got together; awkwardness ensues (or not)
• Mildred dumps Everard; he asks Rocky or Helena (or Julian or Winifred) to help him get her back
Palliser Series
Trollope is so good at describing his characters’ thoughts and reactions and he makes them seem so real. He’s also pretty amazing at female characters for a male Victorian novelist, even if he sometimes punishes them for stepping out of line. Really I’d like anything with any combination of these four. I’ve tried to come up with prompts for stuff that wouldn’t happen in canon, since there’s so much canon and it explores everything that happens pretty thoroughly, but if there’s something in canon you want to explore further go for it!
Phineas and Laura: Laura’s definitely punished for stepping out of line imo. She and Phineas are pretty evenly matched at the start – they’re both idealistic, both interested in politics in a way that’s more to do with the drama and excitement than the policy detail the way e.g. Plantagenet Palliser is interested. Phineas has an advantage by being male and Laura has the advantage of social class. Then Phineas picks himself up and moves on every time something goes wrong whereas Laura makes one mistake and it ruins her life. I like the storyline in ‘Phineas Finn’ – the fact this can happen to women is an interesting theme in the series. It gets upsetting in ‘Phineas Redux’ though – it seems like a huge loss of dignity for her to be so obsessed with Phineas and have nothing else in her life. So slightly specific DNW – if the story’s set after ‘Phineas Finn’, could you either ship them or set it in an AU or later point in time where they’re equally happy to just be friends? Anyway, I love both characters, even when Laura’s being aristocratic and superior or Phineas is being selfish and getting away with it because he’s so charming and friendly.
Glencora and Plantagenet: so they are about as different as you can get but their marriage is great and I love reading about it, especially in ‘Can You Forgive Her?’ when it first starts working for them. I like the way Plantagenet has the respect for her not to be spying on her or suspicious of her with Burgo, even if he realises he should have been less passive about letting his friends spy on her. And I like the way she gains respect for him as well. And I like that they’re both good people and very honest and sincere in their different ways.
NB on the massive length of this series: I originally read it a few years ago and I’ve reread parts since, but I definitely don’t remember everything in it. So don’t feel like you have to reread the whole thing or remember every detail to write it. Also you don’t have to include all four characters – pick however many you want to write about or work for your story. I didn’t have room to nominate her but I also enjoy all the appearances by Asphasia FitzGibbon so it would be cool if you wanted to use her but totally optional of course.
• Inspired by Disraeli/Daubeny, Phineas becomes a romance novelist to fund his political career.
• Once she’s free of Mr Kennedy, Laura uses her wealth/free time/connections to play a role in the feminist movement – after enough time has passed for old scandals to be semi-forgotten…
• London is invaded by Martians (or vampires or some other supernatural force) – how does the Mildmay/Omnium government react?
• I also ship Glencora with Alice Vavasor, especially while she’s still unhappy with Plantagenet – but I could also see her and Plantagenet having an open marriage later on…
• No sexism AU! Laura becomes an MP. Glencora probably wouldn’t, but what does she do? Does she still get together with Plantagenet? End up a wealthy reprobate like Burgo?
• If you also like ‘Jonathan Strange and Mr Norrell’ (book version), a crossover would be very cool. Either featuring now-elderly JS&MN characters – Strange, Stephen Black and Arabella are my favourites but any would be great – or just set in the same universe fifty years on.
DNW: suicide, abuse, incest, internalised homophobia, gender identity issues, anal sex, noncon (dubcon’s fine)
The Life and Death of Colonel Blimp
So I like all three of these characters but I’d really like a story about Edith. The film’s so much from Clive’s point of view that we never see the older Edith – in fact, I’m not sure we ever see her when Clive’s not there? Her life must have been just as interesting as Clive’s and Theo’s and I’d like to see some more of it and know how her experiences affected her.
I’m intrigued by the suggestion that Edith’s family didn’t want her to go to Berlin and wanted her to stay at home. She’s obviously determined to do the things she’s made up her mind to do – like inviting Clive even though she doesn’t know him – even if it doesn’t always work out like she intends. I wonder how far she marries Theo because she likes him, and how far because she doesn’t want to go home. I get the impression she’s developed feelings for Clive by the time he leaves, and doesn’t think he reciprocates. But from what Theo says in 1939 it sounds like they were happy together.
I really enjoy all Clive and Edith’s scenes together – they both seem a bit socially awkward at first but then they start having fun together. I enjoy Clive and Theo’s friendship too. Possibly they don’t think about each other much between meetings? – apparently Theo lives in London for years without telling Clive and Clive doesn’t know whether Theo and Edith have children in 1919? But they’re there for enough important moments in each others’ lives that it makes sense they’d be close in old age, especially once they’ve lost their families.
NB I can read German and if you’re able to include any it would be extremely cool. But obviously this is totally optional and I’m not expecting it or anything. Also you don't have to use both Clive and Theo if it doesn't suit your story.
• Edith survives and comes back to London with Theo in the 30s. Does she feel like she fits in? Can she find a job? What does she do when Theo gets interned? How does she get on with Johnny?
• What’s it like for Edith in WWI when her two countries are at war with each other? How about when Theo comes home and is angry about Versailles and the English attitude – does she still automatically defend England like she did over the Boer War? Theo says she wants to go back to England after the war but chooses to stay with him – how does she come to that decision?
• Something set when Clive, Theo and Edith are all staying in the nursing home together – I would enjoy anything where they’re becoming friends or having fun together. I’d also be up for Edith/Clive/Theo.
• If you’re stuck on writing Edith or don’t want to, I’d also enjoy a story where Clive and Theo meet during WWI but before it’s clear which side will win. How would they feel about each other at that point? Would one help the other survive or escape?
Kind Hearts and Coronets
This film is pretty much perfect. I don’t have as much to say about it here – I would just like to read more of Louis and his outrageous plots and witty commentary! First or third person narration would be equally good, and feel free to use Edith and/or Sibella as suits your story. Obviously there is a lot of potential with the ambiguous ending, but more detail or variation on what comes before would also be great!
• How does Louis handle the situation at the end of the film?
• Louis’ stint as a suffragette is massively intriguing– did Sibella and Edith find out and what did they think? How did Louis infiltrate the group without causing suspicion?
• Sibella somehow obtains the manuscript of Louis’ memoirs and he tries to get them back.
• Sibella happens to meet Edith at a charity event and befriends her with the intention of stopping her getting engaged to/marrying Louis.
• Sibella marries Louis instead of Lionel and they plot the murders together.
Excellent Women
I love Mildred’s narration in this book – she’s funny and curious and imaginative. At the same time she’s convinced that because she’s a reserved church-going spinster everyone must think she’s really dull. I wonder how far she’s right about this – I’d love to read a story where we see her from someone else’s point of view. Any of the other three characters' perspectives would be great and you don't have to include all three. Or if you get stuck, I'd be happy with more of Mildred's point of view as well.
Helena: Mildred clearly thinks Helena’s everything she’s not but I find it hard to judge what Helena thinks of Mildred. She’s obviously picked up on Mildred’s attraction to Rocky but does she know how far it goes? How does she feel about Mildred and Everard together – surprised, jealous, relieved? It’s interesting that they both come from religious backgrounds in small villages, but Mildred stayed at home for all of her twenties whereas Helena seems to have left as soon as possible. How did she get into anthropology as a career? Does she see Mildred’s life as something she escaped or does she think Mildred has more freedom and has her life in order? I know a later book says she gave up anthropology after moving to the country with Rocky but I’d rather ignore that.
Rocky: He’s nice and he likes Mildred but is she right when she says he doesn’t really understand anything about her? I also wonder if Mildred really understands him – she does spend a lot of time thinking he’s shallow, and apparently he’s a painter but she just says she doesn’t understand his paintings and doesn’t show any more interest.
Everard: the first time I read the book I wanted Mildred and Everard to get together until he got out his proof sheets and then I was like “No Mildred! Don’t do it!”. But actually I think he is a good option – more suitable than Rocky (sensible, religious) and more exciting than Julian (good-looking, expert in an exotic field, impressive to strangers). And I’d like Mildred to get a guy since she clearly wants one. But if you don’t want them to get together that’s fine too.
Everard and Helena: Did they have an actual affair which was supposed to end when Rocky came back? I lean towards no because Everard is devout and seems like he’d stick to his principles, but I’d find it totally plausible so go with what seems right to you.
• A different character’s point of view of one of the events in the novel. Helena on the reading of the paper and subsequent dinner? Rocky when he comes back from Italy and finds Mildred not Helena? Everard trying to get Mildred to go out with him near the end (what does he think when Mildred turns him down then tells him Julian and Mrs Grey have just split up?)
• Helena comes to London to give a paper at the Learned Society for the first time since Everard and Mildred got together; awkwardness ensues (or not)
• Mildred dumps Everard; he asks Rocky or Helena (or Julian or Winifred) to help him get her back
Palliser Series
Trollope is so good at describing his characters’ thoughts and reactions and he makes them seem so real. He’s also pretty amazing at female characters for a male Victorian novelist, even if he sometimes punishes them for stepping out of line. Really I’d like anything with any combination of these four. I’ve tried to come up with prompts for stuff that wouldn’t happen in canon, since there’s so much canon and it explores everything that happens pretty thoroughly, but if there’s something in canon you want to explore further go for it!
Phineas and Laura: Laura’s definitely punished for stepping out of line imo. She and Phineas are pretty evenly matched at the start – they’re both idealistic, both interested in politics in a way that’s more to do with the drama and excitement than the policy detail the way e.g. Plantagenet Palliser is interested. Phineas has an advantage by being male and Laura has the advantage of social class. Then Phineas picks himself up and moves on every time something goes wrong whereas Laura makes one mistake and it ruins her life. I like the storyline in ‘Phineas Finn’ – the fact this can happen to women is an interesting theme in the series. It gets upsetting in ‘Phineas Redux’ though – it seems like a huge loss of dignity for her to be so obsessed with Phineas and have nothing else in her life. So slightly specific DNW – if the story’s set after ‘Phineas Finn’, could you either ship them or set it in an AU or later point in time where they’re equally happy to just be friends? Anyway, I love both characters, even when Laura’s being aristocratic and superior or Phineas is being selfish and getting away with it because he’s so charming and friendly.
Glencora and Plantagenet: so they are about as different as you can get but their marriage is great and I love reading about it, especially in ‘Can You Forgive Her?’ when it first starts working for them. I like the way Plantagenet has the respect for her not to be spying on her or suspicious of her with Burgo, even if he realises he should have been less passive about letting his friends spy on her. And I like the way she gains respect for him as well. And I like that they’re both good people and very honest and sincere in their different ways.
NB on the massive length of this series: I originally read it a few years ago and I’ve reread parts since, but I definitely don’t remember everything in it. So don’t feel like you have to reread the whole thing or remember every detail to write it. Also you don’t have to include all four characters – pick however many you want to write about or work for your story. I didn’t have room to nominate her but I also enjoy all the appearances by Asphasia FitzGibbon so it would be cool if you wanted to use her but totally optional of course.
• Inspired by Disraeli/Daubeny, Phineas becomes a romance novelist to fund his political career.
• Once she’s free of Mr Kennedy, Laura uses her wealth/free time/connections to play a role in the feminist movement – after enough time has passed for old scandals to be semi-forgotten…
• London is invaded by Martians (or vampires or some other supernatural force) – how does the Mildmay/Omnium government react?
• I also ship Glencora with Alice Vavasor, especially while she’s still unhappy with Plantagenet – but I could also see her and Plantagenet having an open marriage later on…
• No sexism AU! Laura becomes an MP. Glencora probably wouldn’t, but what does she do? Does she still get together with Plantagenet? End up a wealthy reprobate like Burgo?
• If you also like ‘Jonathan Strange and Mr Norrell’ (book version), a crossover would be very cool. Either featuring now-elderly JS&MN characters – Strange, Stephen Black and Arabella are my favourites but any would be great – or just set in the same universe fifty years on.
