Sleep No More

The McKittrick Hotel is a dreamspace in real life, fluid in the way that only often-retold stories can manage. It’s also one of my favorite places in the world.

Witch/Witch/Witch: I love the witches because they feel like a force of nature within the hotel, a well-oiled machine that runs on promise and punishment, but spending time with any of them reveals very distinct personalities. I would love to hear about how that relationship functions outside of the night we see— are they a twisted supportive family, playing games with the town, or have they kept up the pretense of being strangers until just now? Are they the avenging spirits of Paisley, or something more modern than that?

I also enjoy speculating about the more meta side of things in terms of how the characters perceive their audience and who is aware that they’re stuck in a looping story. In this context or otherwise, I feel that exhibitionism would never be out of place for these three…

Fulton & Speakeasy Bartender: I really enjoy watching all the ways the 4th floor characters can be played, for Fulton, everything from pious jerk to a kind of white witch guided by the Cunning, to a regular everyman desperately over his head. The Bartender’s range runs even farther, all the way to inhuman familiar, or teasing spirit, or just one extremely jaded addict tied up in some pretty shady stuff. However they’re played, something certainly happened to make Fulton suspect Speaks of colluding with witches, and that’s an untold story I’d love to hear. Again, playing with more meta levels of awareness could be very interesting, but I’d be equally happy with something small-town and atmospheric.

For Art, I honestly just love seeing what struck fellow fans while they were in the show! The whole thing is so cinematic that any moment could become a gorgeous still.

The Watchmaker of Filigree Street

Keita Mori/Thaniel Steepleton: I read Watchmaker with such an ache in my heart, wanting Mori to get the future he seemed to have already given up on. I love both of them and how self-controlled they are, how they make the extraordinary almost ordinary, and how good they clearly are for each other.

I would love to see some serious domesticity here, set after or during the events of the book. I'm especially intrigued by the idea of Mori writing down special things that Thaniel avoided "so he can still get credit." If you want to get them out of the house, Mori's feelings on Englishmen (and their feelings on him) always amuse me. I also confess to having a deep and abiding love of all things G&S and if for any reason you want to nerd out over music and opera I would be on board.

This is also the one pairing I'd break my "no AUs" rule for, because I can't stop wondering how they could have met and gotten together in other worlds, with or without their respective, ah, interesting ways of seeing the world.

For art: you have two characters with very unique ways of seeing the world here! I would love a visual interpretation of that.

Gentleman Bastard Sequence

Locke Lamora/Jean Tannen: This is the part where I have to admit that I love the cons far more than the epic or angsty portions of the Gentleman Bastard Sequence. I could read whole books about things going right for Locke and Jean, and I'm hoping that you can provide. Any and all other members of the Bastards are very welcome to join in the plotting (and Sabetha is definitely included in that if you’re going with an earlier canon setting.)

As for Locke/Jean in particular, I want more of their childhood and their growing devotion to each other, their spitballing of crazy cons, learning when to egg each other on and when to rein each other in. I especially love their snarky secret conversations in public (and think that it could be exploited? Well, yes.)

Art: The descriptions of clothing and places are alway so sumptuous that I wish I could to see our Bastards in them.