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Canon Has Shot My Fic Down (why am I making myself do this anyway?)

Canon Has Shot My Fic Down (why am I making myself do this anyway?)

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dief: Dief cry
This is when all my due South meta and backwards fan theory falls to bits.

Suddenly, the names George and Martha drop into my head.

Oh fuck. That's just killed my entire theoretical childhood of Fraser and therefore almost everything [emotionally Fraser and Ray related] in Booked for Murder / CYOA is wrong.

Goodbye about 1/3 of the not-the-plot line.

Fraser was raised by his paternal grandparents so:

* the whole dynasty of Victorian RCMP officers doesn't work
* the bit where I had Fraser's maternal grandparents having Fraser is dead
* the bit where Caroline was the [1950s] free-spirited aboriginal rights campaigner with the happy liberal cult of librarian revolutionaries who took in the kid and...
* the whole everything I've put into Fraser's childhood didn't happen right down to where he learnt to drive and his first dog and the incident with the little boy in two snow suits didn't happen.
* most of my Tiberius theory is gone.
* all of my why Fraser wanted to be a mountie (the not father emulation version) is gone.
  • Can you make it an AU to keep your version? Or does that not work for you?
  • Dosk has just said the same thing and given me a hug.

    It's a weird beast. I tried to write a due South choose your own adventure thing which eventually, for the sake of my continued sanity, has turned into some rather odd casefic.

    [I am probably the only person to conceive a "real time" coya which limits the number of actions doable in one day and includes the time taken driving between places. Choose to drive in the Chicago rush hour and you will lose time waiting in traffic but had you gone earlier, then...]

    What I have is a bit of a mess. The writing is sliding all over the place. There are sections that are manically cheerful (with a 'feel' that makes me think of h2g2 - I explore my love of footnotes), serious viewpoint issues and the other versions include something that is almost painfully dark [it followed through on the 'comedic' elements and knocked them into a realer world, where hi-jinks would be more looking at a court martial then cause all the funny comedy stuff

    this also sounds about as much of a mess as it is right now

    *waves arms in the air*

    ugh. proper explanation forthcoming (probably)
    • a "real time" coya which limits the number of actions doable in one day and includes the time taken driving between places. Choose to drive in the Chicago rush hour and you will lose time waiting in traffic but had you gone earlier, then...

      That's a nifty idea (and reminds me of 24 putting longer drives and things like that to coincide with ad breaks - which then completely didn't work when shown on the BBC) but sounds absolutely brain-breaking to implement!

      But your differences in tone sound a bit like you are trying to put two stories that don't fit together. Can you split the H2G2 feeling bits and Ray investigating Fraser into it's own story (where that is the point, with no real-world crime, but Ray solving Fraser's "crimes" - maybe as a challenge from Fraser) that has the fun and romance, and maybe the COYA, and have the darker strands as a different, more straightforward story?
      • Yes.

        I am totally looking at this in another direction. I have a hang over from the COYA idea, where you controlled Fraser. To control Fraser and shape an investigation where he (and you) called the shots, I had a logical [well, dS logical] reason for him to take the lead on the case.

        [Welsh has had it up to 'here' with american-canadian operations and thinks that the canadians should step up to the plate and conduct a canadian-american operation where the canadians are in charge (as opposed to the americans i.e. him) - i said it was dS logic]

        One of the things I have run through is a lot of the transcripts [including some fun with the ctrl +f function (find) which is nifty for hunting down Uncle Tiberius] and it gets mentioned very early in the pilot that the biggest place Fraser has ever worked is in Moose Jaw (pop 30k - I looked it up).

        That got me thinking. Rookie placements in the RCMP are essentially random [it's pretty much take a name out of a hat approach with the current vacancies list]. Which puts Fraser there in 1982 - essentially, Fraser has no experience outside patrol work in an urban environment and whatever-the-hell-you-call-it back home. Essentially, that is no "investigation" experience.

        [ugh. i don't have enough words here]
        canon: Fraser is a bad driver
        implication: Fraser is a bad driver in urban areas and drives as if he was driving back home [which was a big something I had sorted out for myself - how he'd learnt to drive, what conditions he learnt to drive in and what the hell he drove in the first place. answer: caroline's dad's vintage landrover (i have a model, a chasis style and a production paint colour) which he used to pull the travelling library and also to do a lot of something like 'community work' like driving people from Tuk to medical appointments in Yellowknife in the winter... see that's where the *hand wave*]

        and it's Fraser's weird world view that makes the connections (sort of) but he needs ray (his liaison officer) and turnbull (who actually knows what he's doing but that is another story) and pull everything together (and covertly recruit frannie).

        I just got fed up with mcguffin crime plots and how (outside a 30 minute time slot) they don't work

        and that screws with the comedy tone / ott emo tone / the what the hell is this tone

        and the what I think I want tone, which is a plot, a crime and plausible daftness [also, plausible forensics - i worked backwards before I worked forwards]

        and talking about all this (TYK) is really helping weed out the _really_ oddball elements left from the coya set up in favour for _kooky_ oddball elements which make sense

        [which I have been doing - a lot of "why does this person know this in the first place?" thinking is going on]

        • eta: I have also got a tendency to take silly ideas into real logical sensibilities/contexts. If Turnbull and Fraser were secretly covering for each other [rotating mounties! fun! asylum-style hi-jinks!] then that would be falsifying time-sheets (etc) and result in a court martial if anybody finds out... which could add some horrible consequences if somebody found out... and that someone is ray.

          [okay, I said it veered between silly, sensible, and way too dark]
          [guess what?! I wrote that scene and it is heartbreaking how Fraser tells Ray and then tells Ray that it doesn't matter if Ray informs his senior officers because it would never be Ray's fault and that he loves Ray so much [without slash context] ]

          the rcmp, at the end of the day, are paramilitary and they have hung on to a lot of their army/military heritage and that includes some of the really scary stuff
  • Okay, let's try this again.

    I was trying to write a Choose Your Own Adventure type due South thing [it had been hypothetical until I had a little shove...] and that started going wrong very fast as the number of trees quickly outnumbered my general sanity.

    So, eventually, I went with what some people in my life (i.e. my entire family) told me to do in the first place and write it all as one thing and then see if I can start dropping choices in.

    So, I tied myself into knots (again). Then finally developed something that might resemble a plot but then had issues with endings. It all seemed to push to a "pick out the murderer" ending which was so random beyond words.

    So, I threw the whole COYA angle completely out the window

    • Except for the bit I didn't.

      This was due South and that means adventure! characterisation! slightly magical realism! so there is
      a) the who did it (which took me weeks to figure out) and the how they did it and the clues etc
      b) the motivation for all the above - back-story, motivation, the victim... [you know I over-plan] and work out the personal connections and what the hell everyone thought they were doing
      c) the due Southiness was the tricky bit.

      I have been all over the place with the darn thing. Some of the COYA set up went in to explain WTF the boys were doing in an AC story and some more along the lines of [Fraser investigates crime/ Ray investigates Fraser] and that was going to be the motor for the whole thing.

      Basically, Ray learns a lot about Fraser and what he learns is important to his understanding of the case.

      "Fraser the legendary Mountie" and "Fraser the boy from Tuk who wanted to help people" don't match up. Some of this is very deliberate myth-making on Fraser's part. Some of it is expediency. Some of it is that Fraser and Turnbull are bored rigid. Some of it is other people who Fraser has never corrected.

      The victim was a novelist (and not a terribly nice person, as we find out). She went with the "I was a battered woman" thing [no, she was the abusive partner] and "I was a journalist following my instincts" [no, she worked in the typing pool at a local newspaper] and the "estranged ex keeps me away from my kid" [uh, no, the ex desperately wants her to make contact and she sends back his letters]...

      The big difference is most of Fraser stuff is fun-ish. Why he is a disaster on wheels [learnt to drive on the tundra] and why he became a mountie [not what you think] and that his grandparents were not entirely boring [especially his maternal grandfather who kicks ass but can't unzip a four year old - everyone has embarrassing kid stories, Fraser's involved snowsuits]
  • have I hit the right comment button?
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