#i do like a good a/o fic that subverts some of the tropes common to a/b/o dynamics | Explore Tumblr Posts and Blogs

thedeadflag · 5 years

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so this is something I've been mulling over for a while now - do you reckon it'd be possible to make a version of a/b/o that isn't fundamentally transphobic, or would it reach the point of "this is so different that you might as well not call it a/b/o" before that? off the top of my head you'd have to take out all elements of g!p, mpreg, and biological essentialism, and it'd probably be possible to write a version of a/b/o with that framework, but I don't know if I'm missing anything.

a/b/o is a reactionary trope that relies on cissexism-derived biological essentialism to function. Like, that’s the engine that powers the bdsm/power dynamics, cisheteronormative breeding/family building, “dub/non-con”, etc. elements that draw people to it, and led people to create it in the first place.

Like, my best attempt at describing a non-transphobic, non-shitty typical a/b/o adjacent fic would include:

Werewolves (let’s face it, werewolves can be really cool if written well, and there’s a lot of really good ways to write them, a lot of ways to subvert tired subtropes within the trope)

Found Family-focused family/pack building (because wolves often adopt wolves from other packs into their own, blood lineage isn’t really a thing; much like vampires being created, newly turned werewolves of any age can be considered their sire’s child; if it needs to have a pregnancy arc between two men or two women, there’s IVF/IUI, or magically/spiritually-induced pregnancies, and of course writing a fully fledged complex trans character with their own non-pregnancy arc and virtues/flaws/goals/etc. and getting relevant trans beta writers who aren't your friends to keep it on track if you’re a cis writer)

A flexible, non-binary gendered society (rather than the rigidly structured biology-is-destiny a/b/o society) that’s trans inclusive either explicitly, or implicitly if it’s a new social universe with different rules.

If mating seasons have to exist, they’re cultural more than biological, and no biological processes that could impede or trouble a person’s ability to properly consent.

No inherent, glorified or reified power dynamics, certainly none rooted in or fostered through biology.

That doesn’t seem very much at all like a/b/o to me. It’s a werewolf AU, which is the reason why a/b/o was created in the first place. It wasn’t enough. It needed something more than just a supernatural bent

I’ll continue on below for a bit on some simplified functions of a/b/o, but it’s mostly just some ramblings.

Like, to quote the originators of the genre/trope:

I'd like to see Alpha male Jared, and Bitch male Jensen. Jensen is a snotty prude (think Lady from lady and the tramp) he may be a bitch male but he's not just going to let anybody take a go at his sweet little ass...until he meets Jared...then prudey little Jensen turns cock slut for Jared. Bonus points for J2 being OTP, Jensen was a virgin before Jared, and now that they met each other, it's for life.

...

There are three types of men, alpha males, beta males, and omega males. Alpha males are like any ordinary guy with the exception of their cocks, they work just like canines (the knot, tons of cum, strong breeders, etc) The beta male, is an ordinary guy without the special cock. Omega males are capable of child bearing and often called bitch males.

Like, I want you to look at that real close and see what’s going on in there.

This was created to be a trope where there’s a world where women, as we explicitly know them, don’t exist, but where a subgroup of men take up the functional role of the woman in the heteronormative social structure of the world. It’s also not surprising that (assumedly cis) women created and initiated the spread of this trope.

Look at the language used. This is heavily, explicitly gendered for a reason. If you’ve read much of anything about how the male gaze impacts female sexuality, you’ll know a common response is for women to position themselves out of the proverbial frame entirely, so that no part of them can explicitly exist as an object, where they can take on the role of a subject. There’s no women whose experiences will directly link to her own and her own perceptions, comfort/discomfort/etc.

However, many of these women also have been heavily affected by the male gaze and heteronormativity, and that combined with not knowing what a real gay male relationship is like, what it looks like, what experiences might be unique to it...they fill in the blanks with their own conditioning.

And maybe seeing a lot of that toxic masculinity in media content was unsettling because of how women get treated in that content, and how they in turn might feel in those shoes. But if a MAN, even if it’s a heavily female-coded man, were to undergo that...well, it’d be easier to appreciate those tropes and dynamics they’ve been force-fed to believe were arousing, hot, desirable. Especially if they can have two hot men in it. They can enjoy that self-created taboo, bypass their own discomfort and insecurity, and project it onto a type of person different enough to suspend their disbelief and maintain that difference, even if they’re pumping that guy full of all the typical misogynistic tropes and experiences they’re not comfortable having directed towards them and other women.

In short, it’s a way to get off on heteronormative norms/tropes, using another as a vehicle in order to keep up their cognitive dissonance.

Of course, this eventually spilled out into the Het fandom (makes perfect sense, since many of the a/b/o originators and proponents were het women), and then worked its way into Femslash fandom by piggybacking on g!p in order to meet the necessary criteria for PiV sex.

Just, in this case, you necessarily shift some of the puzzle pieces around. Trans women take the place of the “alpha”, acting as an acceptable vehicle for a toxic masculine cis man, since lesbians aren’t into men. Even if the trans woman is generally written, in nearly every way aside from part of her body, as a toxic cis man. The original a/b/o’s “Bitch Male”/Omega Male is swapped out for the Omega Female, usually a spunkier, more in your face version outside of romantic/sexual contexts in the media content, but let’s be real here, she’s still by and large submissive when it comes down to it.

In a world where more wlw grew up feeling predatory for their attraction to other women, for feeling sinful, for being rejected from female intimacy het women enjoyed with each other after coming out, etc., it’s pretty common for a lot of lesbians to lack initiative, not be able to read or communicate romantic/sexual cues between each other...to essentially be “useless lesbians’ as the joke goes,and to feel isolated and undesirable.

So writing a F/F fic where some hot woman modeled in the image of some hot cis woman pursues you? Takes the initiative sexually/romantically? Doesn’t beat around the bush, but is blatant? Who can’t control her lust around you? Who can give you the perfect nuclear family you’ve been conditioned to want in order to feel value in our heteronormative world, but were told you weren’t worthy of or could never feasibly attain? Who gives you a sexual encounter you have some education in and some emotional stake in due to common conditioning of PiV sex > all else? Who can give you plausible deniability for a number of contexts due to a lack of ability to explicitly consent? etc. etc.

Like, yeah, that’s going to feel comfortable for a lot out there. That’s going to seem pretty hot/arousing. It’s a way to get off on the norms and expectations thrown on women in society, but in a way that lets them distance themselves ever so slightly from men by shifting it from text to subtext, explicit to implicit.

Don’t just take my word for it, though. Here’s a few snippets from one of the most popular g!p/omegaverse femslash writers (if not the most popular) that help illustrate how/why this trope has found an audience

Why Do I Write G!P?The elephant in the room. It arouses me, but it’s also a form of self-comfort. I grew up in a very fundamentalist home. Women being with women was at first unspoken, and then derided, both by my church and at home. I felt insanely guilty for my attractions, so I developed ‘cheat codes’ to deal with it.

It was okay if the woman I had sex with in my dreams had a penis, for example. It was okay if she forced me to have sex with her. It was okay if we basically simulated heterosexual sex.

Because of my childhood (which included conversion therapy), I found myself falling into heterosexual roleplay patterns, at least sexually. It was a lingering thing from my childhood.

It’s still there, and I know I’ll never be rid of it.

...

I associate penetration with power. You know, being steeped in sexism from an early age turned some problematic thoughts into kinky lemonade. And since I’m a femme sub, taking power away from the top by ‘penetrating’ them can ruin the mood for me. I mean, I can write power bottom scenes with the best of them, and I enjoy them, but… *shrug* if I’m going to write omegaverse or g!p, someone’s getting fucked, and it’s not the top.

There are rules to a/b/o. There are specific reasons it’s sought out, read, and created, and that’s why it’s hard to imagine a version of it without those harmful elements, because the trope requires them for the audience to be satisfied.

It’s why all gay male a/b/o fits a pretty specific pattern. it’s why femslash a/b/o fits a very specific pattern. There’s nearly no deviation as a rule, because there are so many parts that have to be in play and functioning in a specific way in order to get the desired result.

I could go on for hours about this, and the above is all a pretty damn simplified take of what’s going on in a/b/o for it to exist in the way it does and meet the needs of the audience, and I’ve already written a lot about this in the past, so I’ll try to cut it short here.

#a/b/o #omegaverse #trans fetishization #creative responsibility #transmisogyny #cissexism #genitals tw #genital mention tw #long post #fandom dynamics #fandom meta #heteronormativity #g!p #biological essentialism #Anonymous

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algernoninwonderland · 5 years

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Why the Alpha/Beta/Omega dynamics is a rubbish idea, and how to do better

I’ve been reading fanfictions for almost a decade now, younger me really liked Johnlock and Stony and things like that. I’ve read some godawful things and some genuinely great stuff. But if there’s one thing I’ve always felt quite iffy about, it’s the a/b/o dynamics and the omegaverse things.

I genuinely believe that the entire premise of the omegaverse is rubbish and really easy to use to portray harmful ideas, relationships and power structures as something hot and sexy and whatnot when it’s clearly terrible.

Let’s:

1. Take a look at what the a/b/o premise is 2. See what is utter rubbish about it 3. Propose a few ideas to avoid writing an omegaverse fic (if you still wish to write one) which present these ideas at face value

But before we begin, a few things:

First, the themes of rape, sexual violence and abusive relationships will be discussed during this, so there’s a tw tag for these things.

Secondly, I do not believe that depicting terrible things in art means you automatically condone them. Take the way Toni Morrison deals with that scene between Pecola and her father in The Bluest Eye, for instance (that’s the one example that comes to my mind but there are countless others). But I also believe that you have to be responsible when you depict terrible things, and that you should try to make sure what you produce cannot be interpreted as an endorsement of these things.

I’m not here to tell you you are a bad person if you enjoy omegaverse fics, I don’t know you and I’m not here to judge you as people, I wish to engage with ideas and the way they may impact people.

At last, I am not here to tell you what to think or what to write. These are just my thoughts and suggestions, nothing more. I have no authority over you, I can’t tell you what to do.

Are we good?

Alright, then, let’s get started!

1. What are these Alpha/Beta/Omega dynamics all about?

There are posts all over the internet for that’ll explain you that in more detail than this post, a Fanlore wiki page here if you want to read that, it does a great job at tracking down the history of a/b/o, but I’ll sum it up here with a few extra things I think are relevant.

So, in the omegaverse, the society is split between two, or three categories. Characters are either alphas, betas or omegas, well-established roles, socially and genetically: Alphas are in a position of power, the sexually ‘dominant’ ones, whereas the Omega is the opposite of this and the one to carry the Alpha’s seed and whatnot (there are no other ways to put it); the beta is sort of a middle ground between the two.

This introduction of these concepts and that distinction between so-called Alphas, Betas and Omegas comes from a 1970 bestseller, “The Wolf: The Ecology and Behaviour of an Endangered Species” by zoologist L. D. Mech, and we’ll talk a little more about that thesis later.

So it is not surprising that the omegaverse tropes are really common in werewolf fiction and werewolf AUs. Teen Wolf and Supernatural have thousands of these fics on ao3 alone, and there’s more on many other websites.

The classic narrative scheme is the following: the strong and domineering Alpha is in heat and mates with a submissive Omega, bonding with them in the process. The great majority of these fics are M/M fics.

What we have here is the superposition of a social role and of biological functions: the Alpha is in a position of absolute power from a social, and material standpoint, and is the one who gets to impregnate their partner/partners, they have the most sexual power. To put things crudely, they are the ones to make use of their penises whereas the beta/omega does not have this sexual intensity and plays a more passive role.

In the omegaverse, you need Alpha blood and an Alpha’s social status to have sex the way an Alpha has sex, you need to have Alpha blood to live like one. These two things cannot be dissociated. And sex… There’s a lot of it in the omegaverse, I mean it’s basically the offshoot of other kink fics and is pretty much a kink itself.

2. So, OK, the hierarchical aspect of the relationship is a bit weird, and maybe Mpreg is as well, but that’s it, right?

Well not only. Remember that thing about the 1970 bestseller? Its own author acknowledges that it is biologically incorrect and does not apply to wolves at all. There are no such things as Alphas, Betas and Omegas in wolf packs.

But did that keep people from using these notions even though they have been proven to be rubbish?

I mean, the alt right seems to love them and uses them unironically so, I don’t know… And so do some fics. Does that mean that all a/b/o fics are inherently fascist? For the most part, I don’t think so. But they don’t always try to detach themselves from that either.

What about the sex? Yes, let’s talk about sex. That’s the main reason why 14yo me once clicked on one of these fics, out of curiosity and because I was 14 and didn’t know better. I regret so many things.

Sex in the a/b/o fics is very explicit, very anatomically inaccurate (though it’s not why we click on these in the first place, or smut in general, but none of the gay/bi/pan men I personally know enjoy a/b/o), and quite often, it’s very fucked up sex. Dubious consent, underage sex, outright rape, you name it, that’s what tags are for.

Sex in the omegaverse is a traumatic experience with that strong sense of hierarchy, a possessive alpha and their possession, an omega. It often comes with knotting, too. And if you don’t know what that is, you’re really lucky, don’t google that, ever. Just know that, at least in the beginning, sex doesn’t feel good for the beta/omega, and when it does, it still comes with quite some pain.

I’d argue that sex in a/b/o fics is not too far off from the uke/seme dynamics in yaoi, the two even overlap: there’s an “attacker” and a “receiver”. This is not just dom/subs, which can still be healthy, it’s almost spelled out “the way these have men have sex is downright abusive”. I won’t discuss the rape tropes in yaoi here, many have done so before and better than I could ever do it, but they’re here.

The Alpha is the attacker, depicted with hyper (and obviously toxic) masculine traits and quite the emphasis on his… Membrum virile. He is not the one who has to carry the child in the case of a Mpreg fic. He can’t act any other way, it’s in his blood, it’s his nature, his instincts, he can’t help it if he’s in heat and wants to fuck. Oh, I sure wonder what that sort of justifications makes me think of. I’m sure you’ll find it.

The Omega, on the other hand, is in a position of inferiority because of his role during sex and due to his social status: he is submissive, abused, soft-spoken and physically weaker than the Alpha. He is belittled because he is the one who can give birth to a child, yet a prized possession — not a being, a possession— because of that. Change the pronouns from “he” to “she” and there you'll have a nice surprise. (It’s really not surprising at all).

I’d like to quote a prompt also featured in the Fanlore wiki page for a/b/o, and think about it for a little while.

“There are three types of men, alpha males, beta males, and omega males. Alpha males are like any ordinary guy with the exception of their cocks, they work just like canines (the knot, tons of cum, strong breeders, etc) The beta male, is an ordinary guy without the special cock. Omega males are capable of child bearing and often called bitch males”

The use of “bitch” here is extremely revealing, don’t you think? We’ve got both the animalistic aspect and the misogynistic undertones that come with it. And we, readers, are supposed to find that sexy.

So, what we have is M/M fics dripping with rape culture, misogyny, homophobic clichés (the rampant homosexual and his uncontrollable and violent sexual urges). And don’t get me started on the transphobia and transmisogyny, and racism (when there are POC in at all, which is to say rarely).

Does this mean all writers who write a/b/o fics are rampant misogynistic, homophobic people who endorse rape culture?

The answer is complicated. But, as a former member of the “not like the other girls” group, I’d say that internalised misogyny is very, very pernicious. Rape narratives are ubiquitous in modern “Western” culture. And a/b/o often perpetuates homophobic clichés.

3. What do we do now?

With such a terrible premise, it would be wise to not write anything a/b/o at all.

But perhaps with a self-aware approach, perhaps by subverting these tropes, by dissociating this “biological” aspect from the societal one or by throwing them out the window completely, writing something a little more interesting is possible.

Showing that these categories are rubbish and an artificial construction, for instance. Have the rape victim get away from his rapist, or even better, no rape at all. Have the couple adopt children.

But, personally, I believe writing something else than a/b/o is still the better option.

Fan fiction, fan content can be so much more than these terrible shitty things if we try our best to know where ideas come from, what they imply and how to execute on them.

#fanfiction #omegaverse #discourse #tw: rape #tw: homophobia #a feminist and queer approach to fiction #alpha #beta #omega #a/b/o dynamics #a/b/o verse

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miss-m-calling · 3 years

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Fandom Growth Exchange 2021

Fandoms:

The Marianne trilogy - Sheri S. Tepper

Jutro će promeniti sve | Morning Changes Everything (TV)

Senke nad Balkanom | Shadows over the Balkans a.k.a. Black Sun (TV)

Бeсa ǀ Besa (TV)

Oficir s ružom | The Officer with a Rose (1987)

Dear author,

Hello and thank you for writing for me, and extra special thanks that you’re tackling one of these tiny canons of my heart. :-)

I’m Miss_M on AO3. For all requests, I am asking for fic.

General likes:

-pre-canon, canon, post-canon, canon-divergent, and missing-scene stories

-character-driven as well as plot-driven stories

-fics which mix humor and angst/serious business (when this fits the canon)

-characters at work and play

-group dynamics, family dynamics (including constructed families), professional partnerships, friendships, alliances, rivalries, intimate couples (new lovers/first times as well as long-term/established couples), UST-ridden couples who are not just UST-ridden but connected in other ways too

-irony, snark, humor, angst – all arising from the characters rather than the plot crowbaring it in

-linear, non-linear, and 5+1 stories

-hopeful endings, happy endings, bittersweet endings, “everything is awful but you’re here and maybe I don’t entirely hate that” endings

-worldbuilding

-spiky characters who keep their jagged edges and spikiness in adversity as well as when their lives are going well, square-peg-in-round-hole characters, tough characters with (maybe not so well) hidden vulnerabilities, characters who are their own worst enemies, characters who manage to get over themselves when the occasion calls for it, characters with conflicting values which may or may not be reconciled/resolved, characters who treat each other with respect and as equals even if they hate/annoy/can’t stand/love to dislike each other, characters who may not be exactly friends and may well irritate one another but manage to rub along to get the job done and maybe even grow to care about one another (much to their surprise/reluctance/discomfort), characters who just cannot get along with each other or find common ground

-workplace stories (this can mean anything from an actual workplace/casefic/procedural setting to anything that revolves around the canon world in which the characters live) in which the characters get to be competent

Shippy and smutty likes:

-(where it fits the characters) banter

-competitiveness or antagonism shading into attraction (this tension need not be resolved)

-”oh god why did it have to be you what did I do to deserve this“

-”come here and say it to my face/do that again/kiss me, you motherfucker”

-bickering yet loving couples

-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

-characters who are incompatible in some important way (they are ideological enemies, cop and criminal, spies from opposite sides, or there has been betrayal!!!), and while they love and/or want each other, they’re not willing to change sides or abandon/compromise their identity/beliefs for the other’s benefit

-I don’t know how better to phrase this than: smut which fits the characters; how does their canon dynamics spill over into hubba hubba stuff?

-sexual scenarios that subvert expectations a little and surprise the characters themselves

-sexual scenarios that contain an element of competition or antagonism

-“this is a bad idea but we’re going for it hammer and tongs”

-not wanting to admit feelings or show vulnerability except oops it happens anyway, whether the characters acknowledge it or not

-characters getting way more into the sex or being more affected by it than they thought they would

-quick and intense sex, slow and intense sex, rough yet willing sex (when it fits the characters), unexpectedly emotional and/or tender sex

-masturbation while thinking of the other half of the ship (or not wanting to think about them only oops there they are in the fantasy!)

-first time sex

-established relationship, we-know-each-other-so-well sex

-”we’ve both wanted this and now we both know it so here we go diving in headfirst” sex

-for het and/or slash, oral, vaginal, anal incl. pegging, manual (ifyouknowwhatImean) – all is good. You can go as veiled or as explicit as you like, but please avoid excessive medical jargon – I don’t find a lot of mention of “penis” or “clit” sexy.

Ship/smut DNWs:

MPREG, A/B/O, knotting D/s, formalized BDSM, painful sex, hard kinks (holding someone down playfully, hair pulling and such like, the odd spank are a-OK) scat, watersports knife/gun/blood play incest deaging/infantilization, mommy/daddy kink under-16yos in sexual situations humiliation body distortion/horror (feeding/weight kink, come inflation, vore, etc.) unrequested ships/pairings soulmates and soul marks pregnancy and children (can be mentioned if canon, just don’t make the whole fic about them) wedding setting/theme secondary characters shipping the main pair like it’s their job xeno, tentacles, bestiality noncon/dubcon

Other DNWs:

torture and abuse (this and noncon/dubcon can be mentioned, but please don’t dwell on it in loving detail or subject any of my requested characters to it) descriptions of vomit, shit, and piss (”He pissed up against a tree” and the like is fine), toilet humor lots of gore/blood (mention it, yes; lovingly describe it, no), cannibalism, serious illness or injury character bashing genderswap/genderbent characters, characters as kids/young teens issuefic, gender/sexuality/race/ethnicity/religion/ability/identity headcanons death of requested characters hopeless, unrelenting gloom/angst/horror RL holiday setting/theme, RL religions as a major theme (invented fictional holidays and rituals are fine) reference to RL current events 1st and 2nd person POV unrequested crossovers or fusions AUs which have nothing to do with canon fic written in lapslock

Requests:

The Marianne Trilogy - Sheri S. Tepper

Marianne Zahmani, Makr Avehl Zahmani, Aghrehond, Therat, various combos thereof

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.

The books came out in the late 1980s and were reprinted in a one-volume omnibus edition. They’re long out of print now, but you might find them at your library or used copies for sale online.

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…

Canon-specific DNWs: Harvey or Madame Delubovoska appearing in the fic (you may mention them); focusing on Marianne’s pregnancy or on her and Makr Avehl’s daughter; anything over M rating for sex

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.

Jutro će promeniti sve | Morning Changes Everything (TV)

Anđela Knežević, Aleksandra “Saša” Tomić, Ivona Spasić

What is this canon: one-off Serbian TV show, 39 episodes in total. A slice-of-life drama that follows one year (even though it was all filmed in spring and summer, and it shows) in the lives of four thirtysomethings in contemporary Belgrade, dealing with life issues common to that generation but also specific to being a still-young, educated, professionally and existentially frustrated person living in Serbia today. The main characters are: Filip, a programmer who’s lived in the US for several years and kicks off the show by coming home for what’s supposed to be a vacation but turns out to be a permanent stay; his sister Anđela, who’s finishing her PhD, expects to get a permanent teaching position at the University of Belgrade, and has a nice, steady boyfriend she’s bored of, not least because she eventually figures out she’s not straight; Anđela’s roommate Saša, who starts the show running a bar and running through men like Kleenex, and gradually reveals her issues and vulnerabilities; and their friend Ljuba, who’s from a small town, works in a gym, and pinballs between several girlfriends in part because he’s homeless and needs a place to crash. A major supporting character is Ivona, Ljuba’s on-again, off-again girlfriend whom none of Ljuba’s friends like due to her severe personality.

You can watch the whole show here (free account needed).

Listen, this is my show. I feel it in my bones. I rewatch it at least once a year, and I always get so immersed and then wish there were more, even though I respect the showrunners’ decision to let it end with a kind of low-key “and the adventure (their lives) continues…” vibe. So I would be delighted with pretty much anything you choose to write! I am only asking for the female characters because I find them especially rich and interesting, and their dilemmas and problems especially poignant. Feel free to write something funny (that specific city humor!), something with a sad or melancholy or happy or totally open ending, something with or without a plot, a character vignette, a slice of life… All of those would fit the show’s mood and narrative arc. Also, as much local color and detail as you want to work in, I would love love love, especially if it’s from the proverbial krug “dvojke” – and if you want to write the fic in Belgrade Serbian (all the slang! all the cultural references that people born in the 1980s would know!), or include some phrases/words/lines of dialogue in it, I would probably dance a literal jig of joy and celebration.

Canon-specific DNWs: explicit smut (M rating and/or fade to black is fine); Saša/Filip-centric fic; fic centering only on Ivona’s pregnancy and/or baby; soapboxing about Balkan history/conflicts/ethnic relations

Anđela:

-Anđela in Iceland. Dealing with culture shock, especially when she least expects it. Making friends with her African roommate – two people’s experiences of culture shock clashing and/or meshing. Trying to date or hook up with girls in a society that’s a lot less homophobic but also less familiar in every way than Serbia. The emigrant’s inescapable sense that something’s missing: adjusting to her new life and homesickness, knowing why she left but wishing things could be different anyway. Or, it’s the end of Anđela’s postdoc year and she has to decide (again): now what?

-After her year in Iceland, Anđela moves in with Saša again. How has their relationship changed and how has it stayed the same? If she decides to make a go of staying in Serbia, what are Anđela’s career prospects? Anđela’s canon arc is all about figuring out what to do when your life and what you want out of it turn out very differently than you always assumed they would, so it would be cool to see her forge a career path that uses her education and professional skills in unexpected ways.

-She runs again into some of the people who shaped her decision to leave in the first place: Darija, Marta, Miroslav, the two lecturers who squeezed her out of the Psychology Department… Those encounters are not easy or even pleasant, but they give Anđela something important nevertheless: closure or…?

-Of all the main characters, Anđela has the most intense connection to places, like when she rides her rental bike around the city before she leaves for Iceland, or how she’s often framed as being alone in spaces even when there are other people present (the moving-in party, many of her scenes at the university and in Studentski park). Give me more of Anđela just taking in and experiencing a place, whether that’s Belgrade or Iceland or wherever she goes after Iceland.

Saša:

-AU where Saša is the one that goes abroad at the end of the show. What drove her to it? Where does she go and why (or at least, what’s her excuse for visa purposes)? How does it go – does she stay abroad permanently, or does she come back after a while?

-Saša’s half-sister moves to Belgrade to attend FLU (the art academy) and moves in with Saša after Anđela goes abroad. They learn to be friends and sisters and roommates. They grieve the loss of their father in their own as well as in shared ways. There’s a generation gap, despite Saša’s cool-girl persona – how do they navigate it?

-More of Saša and Ljuba running their restaurant. I’d love either something dramatic (someone’s trying to force them to pay protection money or force them out of their rented space, a kitchen incident happens and there are hungry people waiting…), or a totally mundane, cozy vignette (putting together the menu for next week, chef Ljuba absolutely must have this one ingredient and he wants it from Bajlonijeva pijaca because they may charge 350 dinars but quality matters – and Saša really doesn’t see why they can’t just go to Tempo…) It would also be cool to see more of Dina, the high-strung but pretty cool manager at the restaurant where Saša and Ljuba worked before they opened their own place.

-Saša and her mom Svetlana have the hardest time being kind to each other, and it’s not for lack of love. Sometimes people just can’t get along easily. How do they get along not-easily after the ways in which canon changed them both?

-I’m not really interested in Saša/Filip, but you can include that canon ship in whatever you’re writing. Just please don’t make the whole fic be just about the ship.

Ivona:

-I may be the only person who’s watched this show who actually likes Ivona. I love her self-possession, how she is absolutely herself and doesn’t bother to pretend otherwise even if it annoys or makes others uneasy, and she’s arranged her life in a way that works for her. I also love her brief flashes of vulnerability and even relaxation. Maybe a day in her life as a career woman and single mom, either with or without her nice boyfriend and/or Ljuba being around? Re: my blanket DNW for fic revolving around babies and pregnancy – you can include Ivona’s pregnancy and motherhood in the fic, just please don’t make the whole fic be just about that.

-Ivona takes her dog Marlena to a dog show. She has to be very cool and serious, and is like that by nature, but it’s exciting when her dog wins something!

-Ivona interacts more with Anđela and/or Saša. They were once very incompatible roommates, maybe that’s how Ljuba met Ivona in the first place? They happen to just hang out one time, and they won’t ever be friends but maybe they can find some common ground? Saša especially dislikes Ivona and judges Ljuba’s involvement with her, and Ivona’s aloofness and humorlessness can make her seem harsher than she perhaps is – it would be interesting if those two could maybe learn not to dislike each other quite so much.

Senke nad Balkanom | Shadows over the Balkans a.k.a. Black Sun (TV)

Andra “Tane” Tanasijević & Stanko Pletikosić

What is this canon: Serbian historical crime drama set in the interwar era. Loads of characters, the city of Belgrade and the Kingdom of Yugoslavia itself being almost characters in their own right, plot twists all over the place, people’s allegiances changing on a dime, murder mysteries, the drug trade, and the illicit pursuits of both rich and poor influencing the RL course of some major events. For comparison, think Babylon Berlin but, like, super Balkan. Two seasons so far, 10 episodes each, set in 1928 and 1934, respectively, with a third season currently in production, set to tackle the early days of World War II. The two leads are a fun variation on the old cop-young cop trop. Old cop is Andra Tanasijević (Tane), veteran homicide investigator, also veteran of World War I, (semi-)alcoholic, cynical, terminally unimpressed by everything and everyone (himself included), but still with a white knight streak he can’t seem to suppress even when it gets him in trouble. Young cop is Stanko Pletikosić, war orphan, trained abroad in forensic science, earnest, sometimes snarky, wet behind the ears but by mid-S1 he starts to get more streetwise without losing all of his idealism. Together They Fight Crime! Also get tangled up with all sorts of criminals, spies, government operatives, and shady dames, while they try to set the world and history straight.

The second season is available here, and the first one can be found, ahem, torrenting around.

All I want in fic for this canon is MORE. More canon-style shenanigans, more of that rich atmosphere, more historical detail, just MORE. Play with the canon however you like! Plot out a case fic! Embroil the two detectives in more historical goings-on, either before WWII, during it, or even after it! The show tends to reassert ontological inertia so historical events always fall into place as they did IRL – you can work with that, or go ahead and change the course of history (rather, have Tane and Stanko do it)! Have them interact and likely get in trouble with some of the other characters! (I am fond of the entire cast, especially Pršo, Stanko’s grandfather, all the Jatagan Mala folks, everyone who works at Glavnjača, the entire Macedonian mafia, all the historical characters – yes, all of them, even the really nasty pieces of work benefit from their actors’ commitment to the role. I would especially love for some of the supporting female characters – Mara, Mina, Violeta, Jana, Sonja – to get a chance to shine, or kick ass, or get their own revenge/heart’s desire, or even just fuck shit up and get in other characters’ way.) Or you could just have Tane and Stanko drown their troubles and shoot the shit in a tavern long past last call!

I would be happy for their dynamic to be what it was when they first met, all rubbing each other the wrong way and reading each other wrong (and sometimes right), or what it becomes later, when they’re a crack team even if they sometimes get on each other’s nerves big time. If you’re writing a case fic, feel free also to bring in Božidar Zečević, Stanko’s S2 partner, at least while he was along for the ride as a fellow investigator, before his role in the plot is revealed. I was very amused by his and Tane’s mutual animosity, very “the missus and the ex” over who gets to call Stanko his partner. (Also Zečević was totally in love with Stanko, come on!)

If you wanted to include some dialogue or phrases or hey write the whole fic in any dialect of what used to be called Serbo-Croatian, I’m here for that with bells on!

Canon-specific DNWs: Tane/Stanko; focus only on smut or ships (you can include the characters’ canon or invent non-canon ships, I just don’t want a fic only about those); anything above M rating for sex; soapboxing about Balkan history/conflicts/ethnic relations (the characters can clash about this, use stereotypes, etc. – I just don’t want the fic to be an excuse for the writer’s hot takes, ‘kay?)

Бeсa ǀ Besa (TV)

Petrit Koci

What is this canon: crime drama, one 12-episode season so far, produced in Serbia with dialogues in Serbian, Albanian, and English, and created by Tony Jordan of “Hustle” fame. Set in (and with a cast including actors from) several ex-Yugoslav states, the story follows three main characters: a Serbian family man and regular joe who accidentally kills the daughter of a major Kosovar Albanian crime boss in a car accident; said Albanian crime boss, who coerces his daughter’s unwitting killer to start working for him as an assassin; and a half-Albanian, half-Serbian Interpol agent who’s after the crime boss but starts investigating the regular joe turned assassin as well.

You can find it on Dailymotion if you search for “BeEp.0[episode number]”

The show has a twisty plot (with one plot hole I would love to get fix-it fic for, see below), gritty and handsome visuals, excellent performances, IMO is really good at depicting the various ethnicities and the complicated history behind the present-day events, and has a great through-line of deconstructing Balkan machismo and patriarchal culture. All three of the main characters have an image of themselves as MEN who Provide and/or Take Care of Business and Put Family First, each in their own way, and all three end up compromising on all their principles by season’s end. The women in the show’s ‘verse sometimes become collateral damage but also assert themselves in unexpected ways, which is great. The title refers to the Albanian (but more broadly, Balkan) cultural concept that one’s promise/vow/word of honor has to be kept and carried out no matter what, at peril of losing face, dishonoring both oneself and one’s family, even death. This gets deconstructed five ways from Sunday too, and it is awesome.

I’m requesting the Interpol agent because I find him to be the most fascinating. He is so committed to being the “good sheriff” and carrying out his professional duty regardless of whom he has to piss off along the way, but is also often quite ineffectual because the local police forces with which he has to cooperate tend to resent both his attitude and his ethnic background – not to mention that when everyone’s corrupt and compromised, the man who refuses to play the game makes lots of enemies. He’s also a real hard-ass who made a conscious choice long ago to have nothing in his life but his work, is a bit of a bastard, has a huge blind spot about gender which comes back to bite him, and ultimately is driven by a desire for personal vendetta more than an abstract commitment to justice (I love a character who is super focused on their goal and presents themselves as invulnerable, yet whose insecurities and traumas are always just beneath the surface of what drives them). And yes, by the end of the season he’s presented with a Faustian bargain and gets a huge target on his back. There’s a lot to unpack there!

I will eat up any local color you want to throw in. Ditto, the canon is super intense, but if you find a way to bring in some vintage Balkan pitch-black humor, I’m here for it. If you wanted to include some dialogue or phrases or hey write the whole fic in any dialect of what used to be called Serbo-Croatian, I’m here for that with bells on! Alas, I do not read Albanian, but if you want to include dialogue/phrases in it, go for it, so long as you tell me (in parentheses, in footnotes, whatever works) what’s going on.

Canon-specific DNW: soapboxing about Balkan history/conflicts/ethnic relations (the characters can clash about this, use stereotypes, etc. – I just don’t want the fic to be an excuse for the writer’s hot takes, ‘kay?)

Prompts:

-Any kind of casefic, either a divergence from S1, something pre- or post-canon, or a side investigation spinning off from the canon’s central plot. Anything that requires Koci to again traipse all over former Yugoslavia, butt heads with everyone, interrogate people, and do that soft-spoken “you don’t want to give me what I want but you’ll do it anyway” thing he does along the way. Maybe he gets a case that seems to have nothing to do with his pursuit of the Berisha clan, is annoyed by this (how dare his bosses expect him to work a case in which he’s not personally invested), but then surprise! There’s a connection between the cases.

-Something that requires Koci to use his knowledge of Albanian language and culture even more than in canon. I love how the canon depicts the existential discomfort of never fully fitting into – or being accepted by – either of the cultures/communities to which one has a connection, and how a person can become antagonistic and volatile as a result. Leaning into that would be wonderful.

-The Petrit Koci we meet at the start of the show has a solid façade of having no one, needing no one, wanting no one in his life. But what we learn about his background along the way (his police-chief father’s murder by the Berisha clan when he was a kid, the ex-fiancée whose family found him “a little too Albanian” for their taste) suggests that there was a lot of repeat heartbreak along the way, like he had to build his hard-ass persona one unpleasant life experience at a time. I would love something that explores his background in more depth – maybe a 5+1 fic, five times Koci let something get to him and one time he refused to care?

-Related to that: we learn a little about Koci’s father (whose murder when Koci was a child is his primary motivator), but we learn nothing about Koci’s mother other than that she’s ethnically Serbian. Is she still alive? What is/was their relationship like once they were alone and relocated from Prishtinë/Priština to Belgrade (in the 1980s, 1990s, 2000s, oh my)?

-Koci has devoted his whole life to bringing down the Berisha clan. He finally gets his wish. Now what the fuck does he do (with himself)?

-I was really struck by the one scene of Koci talking to Skënder Berisha – everything about the past history between the Koci and Berisha families, but especially Koci’s line that his late father didn’t believe in blood vendettas, but he (Koci) does. The end of the season implies he might go totally rogue, because if he can’t bring down the Berishas through the law, there are other ways. Tell me how this goes. In general, tell me your version of S2, there’s other stuff (ahem, spoilers) at the very end of S1 that suggests more trouble is coming down the pike.

-The one glaring plot hole which made me want to throw stuff is when Koci repeatedly dismisses one suspicious development as “oh that guy was lying because he’s cheating on his wife, nothing to see here.” I hate it when smart characters act dumb because the plot needs to keep going for however many more episodes. This does come back to bite Koci by season’s end, but I’d love to see it go a different way.

-Ship fic? Yes to ship fic! I would love either gen or ship fic for Koci paired with any of the following characters. Maybe the other character has to turn to Interpol for help/becomes a material witness/gets arrested/enters witness protection, or otherwise has to do teeth-clenched teamwork with Koci. If any of those dynamics turn porny, the antagonism and complicated dynamics and maybe a reluctant recognition that they’re not so different would perpetuate themselves in the porn too, and I’m here for it. (For this canon, I’m waiving my dubcon blanket DNW, but for M/F ships I want both to be motivated by anger/revenge/general existential bleakness instead of or as well as lust – so no M/f dubcon, please):

Uroš Perić – the regular joe turned assassin, who gets multiple chances in the course of the show to seek Koci’s help and doesn’t because he gets in deep and wants to be the guy that protects his family and takes care of everything himself. I keep thinking back to their very first scene, when Koci gives Perić his calling card and tells him to get in touch, and Perić could have done that before he committed his first murder but… didn’t. And then at the end, there’s that huge spoiler setting up S2. Despite becoming a murderer several times over, Perić is a much softer character than Koci, but he doesn’t like getting pushed around either. How would they work together, how would they clash?

Marija Perić – Uroš’s Croatian wife, who has the thankless role of being married to the guy who’s keeping her in the dark about major plot developments, but makes up for it with how she reacts to the hints she gets of Uroš’s continuing troubles as well as getting on Koci’s radar. She’s scared and out of her depth, but she’s also angry and antagonistic when she thinks Interpol is harassing her for no reason. I love the scene where Koci interrogates her and she won’t give him an inch even when he blindsides her with evidence of her husband’s activities – more of that kind of thing, please!

Dardan Berisha – the grieving crime boss and main target of Koci’s obsession (even though it was actually Dardan’s old uncle who had Koci’s father killed decades earlier). They’re both such hard, intense men, in part because they’ve had to be, and the narrative sets them up as mirror images of each other (while Uroš Perić is more a study in how someone becomes hard when circumstances push them to it). Yet while their conflict underpins the whole show, they rarely share a scene. Put them together more; let them fight or y’know *waggles eyebrows*.

Teuta Berisha – Dardan’s wife, who first loses her daughter, and by the end of the season her family is totally blown to smithereens, in part because of how she chooses to assert her agency within the super-patriarchal context in which she lives. She was ambivalent about her marriage before we meet her, and I love how canon events bring out her anger, grief, and quiet steeliness. Also, that moment at her daughter’s funeral when Koci gives her his condolences really hit me – they know they are enemies, but there’s that moment of standoffish respect between them. What if somehow they had to work together? A divergence from the end or any part of S1 would be very welcome.

Divna Dukić – Koci’s Interpol colleague and maybe the only character that likes him. Their dynamic is both very professionally respectful and yet… “flirtatious” may be too strong a word. They obviously have a little thing for each other but choose not to act on it for a whole mess of reasons (he’s an emotional disaster area, she has enough on her plate as a single mom with a shitty ex, they work together). Also, I have a theory that Divna, while seeming loyal, may take her marching orders from one of the criminal elements or maybe from the more corrupt parts of Interpol or the Serbian police. I would love any or all of that to get explored more.

While I do not want them shipped, the conversation at the hospital between Koci and Skënder Berisha is one of my favorite scenes, so if you want to throw those two together more as gen antagonists – yessssss, give it to me!

Oficir s ružom | The Officer with a Rose (1987)

Petar Horvat/Matilda Ivančić/Ljiljana Matić

What is this canon: Yugoslav movie set in Zagreb in 1945, right after the Partisan (communist resistance movement) victory in World War II. Matilda is a young widow whose husband was a little too close to the Croatian fascists and the Nazis, and she herself is too much of a rich bourgeois lady for the new regime’s liking. She runs afoul of Petar, a Partisan officer who threatens her with jail time and having her lavish apartment turned into communal housing – but in the end, Petar only moves his girlfriend Ljiljana into Matilda’s apartment and then starts hanging around more and more himself. Ljiljana is very young, naïve, and unworldly while also being a hardened soldier and true believer in the better future that communism would build, and she adores Petar and develops a very obvious girl-crush (or maybe just a crush) on Matilda, who is both bemused and reluctantly fond of Ljiljana. Matilda and Petar initially treat each other with anger and a kind of amused contempt, then they start to fall for each other. Uh oh – on both the personal and the political level.

You can find the movie floating around various sites with ex-Yu movies, it was/is on Dailymotion too.

I love how this movie is quite gentle with its characters while they deal with violent and horrific world events, how the narrative lets each of them fully embody their class, gender, and ideological self, plays up the conflicts and the barbed humor and the reluctantly-nascent commonalities between them for emotional payoff, and even when they’re happy (or think they are), the times in which they live just don’t allow for anything like a simple HEA. How to improve on canon? Clearly the movie should’ve gone the threesome route! I would love something set either in those early days, when Petar foisted Ljiljana on Matilda as a tenant and basically moved in himself, or a divergence so Ljiljana never leaves Zagreb and the ending isn’t such a complete bummer.

For early-days scenarios, gimme more of the merry war between Petar and Matilda, with Ljiljana’s crush on both of them stirring things up even more. Teasing and fighting and not wanting to admit they actually do get along, while enjoying breakfast for three. People walking in on each other in the shower. More of how, in the movie, Matilda’s apartment is an oasis from the massive changes happening outside, but the world keeps encroaching on the trio’s intimacy anyway. Maybe Petar and Ljiljana discover other elements of bourgeois living they start to enjoy, or they know they shouldn’t care when Matilda has to give some of her creature comforts away or trades them on the black market, but they mind anyway. Or, by painful fits and starts, Matilda adjusts to the new reality; maybe for some reason Matilda has to accompany the other two to the working-class neighborhood where Petar grew up or to Ljiljana’s village, or they bring her along/she gets sentenced to work on a public reconstruction project (radna akcija), and she hates it, but she has people on her side whether she’s ready to see it or not. If you want to write smut, I’m here for three-way sex, or for one of them to egg the other two on or spy on them so they can watch (oops they don’t end up just watching!), and/or for one or two of them to teach the other(s) something they haven’t done before or consider to be beneath them, and everyone enjoys it greatly. There’s great potential here for emotional manipulation and mind games, and I’m here for it.

For a canon divergence from the end, I don’t need a HEA – just don’t let people be dead and/or alone and inconsolable. The historical era was what it was, these characters are who they are (for one thing, Petar is strongly implied to participate in executions of political prisoners). I am good with as much historical detail as you want to throw in, and I’m good with an open-ended or bittersweet or even ominous ending, just so long as it’s not all unrelenting gloom and there is acknowledgment of the attachment between the trio.

If you wanted to include some dialogue or phrases or hey write the whole fic in any dialect of what used to be called Serbo-Croatian, I’m here for that with bells on!

Canon-specific DNW: Ljiljana’s canon pregnancy featuring in the fic; breaking up the threesome into just a series of twosomes in a smut scenario (I’m good with twosomes leading to some kind of three-way scenario, but not twosomes alone); soapboxing about Balkan history/conflicts/ethnic relations (the characters can clash about this, use stereotypes, etc. – I just don’t want the fic to be an excuse for the writer’s hot takes, ‘kay?)

#dear author letter #fandom growth exchange

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