sincereously

Hello, creator!

I'm so excited to see what you come up with for this exchange! Hope you have a great time with it. Prompts are here if you want them, but if you have another idea that's inspiring you I'm happy to see that too.

If you have any questions or concerns, please contact me through the mods. I'm also sincereously on AO3.

General fic likes:
Worldbuilding (especially magical, religious and cultural worldbuilding)
Encounters with the supernatural, particularly ghosts
Characters using or attempting to use magic or other supernatural forces
Maybe-magic-maybe-mundane events
Canon divergence
Introspection
Humor
Suspense
Unreliable narrators
Dramatic irony
Moments of quiet intimacy during breaks in the action (especially good for missing scenes in between what we see in canon)
Complicated women, and complicated relationships between complicated women
Slowly building intimacy/respect together - slow burn in general
Taking care of injured people
Forced proximity (undercover together, trapped together, accidental/arranged marriage, fake dating, only one bed, etc.)
Elaborate plans that may or may not work out
Improvising new plans as you go along
"That's an extremely bad plan, of course I'm in" type situations and interpersonal dynamics
Getting in way over your head but throwing yourself headfirst into the plan anyway
Repressed characters being vulnerable
Struggling against temptation/the Dark Side/inner demons (and giving in)
Mind control/possession (and resisting mind control/possession)
Unusual formats, including in-universe documents
Five + one things structure

General art likes
Depictions of canon rooms, houses, and landscapes (also includes maps and set designs)
Characters with bloody hands
Characters doing ordinary things with very un-ordinary things happening in the background
Symbolic imagery
Black-and-white or greyscale with pops of color
Light - from warm glows illuminating the whole space to chiaroscuro
Any art style is great!

General DNWs:
Character bashing
Non-canonical child death
Setting change AUs (ex. coffeeshop, high school, modern AU, etc.)
Time travel AUs
Explicitly stated sexuality labels for characters whose sexuality is not canonically defined
Formalized dom/sub relationships
Ageplay
Omegaverse
Mpreg
Excretory kinks
Rape/noncon (dubcon - sex pollen with both/all characters dosed, sex in arranged marriages, fuck-or-die, etc. - are fine)*
Underage under 15 and unrequested non-canonical ships with 20+ year age gaps (mentions of canon examples of both are acceptable, but please don't make them the focus of the fic)
Animal abuse
Fic devoted primarily to examining real-world issues/-isms (please don't feel that you have to avoid them, but I'd rather they not be the entirety of what the work is about)
Hopeless endings (endings can be dark, but not without any shred of hope)
For both fic and art, please keep the level of violence at about what it is in canon.

*Exception to the rape/noncon DNW: any ship involving Helen Vaughan.

FANDOMS

Arsenic and Old Lace

Requested Characters: Abby Brewster, Martha Brewster, Teddy Brewster, Mortimer Brewster, Elaine Harper

Canon-specific DNWs: Canon-divergent death of any requested characters.

A classic movie with dead body shenanigans, the nicest murderers you’ll ever meet, and one very frazzled Cary Grant. What could be better for Halloween? I love the humor in this, the contrast of sweetness with horror lurking underneath (like the poisoned elderberry wine), and watching it has been a Halloween tradition for me for years.

I like Mortimer/Elaine, and I’m also happy with gen-focused works for this canon.

Prompts

- I’d love to see more of Abby and Martha’s history - how they grew up (their dad had a laboratory and seemed to be pretty wonky himself), raising Mortimer and getting to know Elaine, some of their early kills…

- With the way Teddy seamlessly blends whatever happens in his life to the life of Teddy Roosevelt and carries on his merry way, his POV on the events of the movie would be really fun to read. Also, what would it be like post-canon with him and Abby and Martha in Happydale? Do Abby and Martha find any more yellow fever victims for him to bury?

- During Mortimer and Elaine’s courtship, Abby and Martha decide to make a love potion for the lovebirds.

- Abby and Martha are throwing a Halloween party! And during the party, they find a lonely old gentleman who they think might need some of their special charity...

- Post-canon, Mortimer and Elaine just...have a house in Brooklyn with thirteen dead bodies in the basement. How do they handle that?

- The ghosts of the dead men start coming around. How do the inhabitants deal with that? Abby and Martha would probably just set out a nice tea for them, but Mortimer and Elaine would probably be less sanguine.

The Great God Pan

Requested Characters: Helen Vaughan, Rachel

I really enjoy the flashes of eldritch horror hiding under the surface, imbuing everything with this subtle sense of wrongness wherever Helen is involved. One thing that also really fascinates me is how much of the story is built on secondhand information, where Helen is as otherworldly and seductive and unknowable as Pan himself.

I enjoy Helen/Rachel (definitely does not need to end happily) and in general Helen/fucking everybody while fucking everybody up.

Prompts

- The narrators of this story are all men - we never hear from any women describing their encounters with Helen. What could some of their stories of Helen be? How would they perceive her appeal and her danger?

- For that matter, what is Helen's life like from her own perspective? How does an eldritch being even perceive the world, anyway? She can shapeshift - how did she develop this persona out of all she could have chosen? How did she choose her victims and relate to her companions? Did she just not have the power to escape at the end or did she commit suicide for her own reasons?

- Helen draws quite a number of followers in her court - what happened in their revels? I especially like the idea of a Bacchanalia-esque mystery cult forming around Helen, with all the ecstasy and horror that could entail.

- "What happened to Rachel" is one of the story's longest-running threads, and one of the ones I find most interesting. How did Rachel see Helen before going into the woods with her - with fascination, skepticism, trepidation, desire? What did Helen promise her to get Rachel to go into the woods with her? What did Rachel become when she encountered Helen and her companions in the woods? I do kind of like the idea of Rachel undergoing an eldritch transformation, maybe into Helen's Mary or maybe into something like Helen herself.

- More in-universe documents about Helen, from anyone's perspective including her own. Things like inscriptions to invoke Pan and/or Helen, or medical and police reports of victims driven to madness, or diaries of people on the periphery of Helen's wake of destruction (maybe people who'd be beneath her notice, like servants, or people who are deliberately trying to get her on their side to destroy their enemies and may be destroyed themselves).

Psycho

Requested Characters: Lila Crane, Marion Crane, Sam Loomis, Norman Bates, Mother/Norman's alter

Canon-specific DNWs: Canon-divergent deaths of Marion or Lila, or complete disappearance of Mother/Norman's alter while Norman survives. Canon deaths are fine, as is non-canonically killing off Norman or Sam.

I enjoy all the things that are not as they seem in this canon, about the sides of the characters that they hide from everyone, sometimes including themselves. There’s a lot of horror, but it’s understated and happens more in people’s heads (including those of the audience).

Shipwise I like Marion/Sam, Marion/Norman, and Sam/Norman. None of these ships have to be portrayed as straightforwardly romantic and can definitely go to dark places (particularly those involving Norman, because, well, dude has issues). I don't mind incorporating aspects of the books/sequel movies but would prefer a focus on this specific movie, and I'm also fine with ignoring the books/sequels if you'd like to explore something different.

Prompts

- What was Norman's life like in that spooky house and that run-down motel with only Mother for company? What did the other townsfolk, including Sam, think of him? It's not unlikely that the knife that killed Marion came from Sam's hardware store...

- Mother's perspective on the events of the movie, or on living in the mental hospital after canon. How much is she aware of the things she's done and/or the things Norman blames her for? How much does she see herself as separate from or a part of Norman, and how does she express that understanding?

- Marion's ghost appears - haunting her killer, leading her sister and/or lover to the truth of what happened to her, just taking out her frustration on everything in sight, etc.

- Marion isn’t attacked in the shower, and later comes to live in Fairvale with Sam without telling him what she did. She and Norman now have the weird position of having shared some secrets with each other but kept plenty of others - what happens when she runs into him again? Does Lila or Sam ever suspect what happened? Are the police still after Marion, or do they ever get suspicious about Norman?

- Anything about Lila's grief, and Sam's, post-canon. Marion was one of the few people either of them had left and she died a couple of weeks before Christmas, poor guys. I'd also be interested in seeing Lila confront Norman/Mother, or making a desperate attempt to reach Marion beyond the grave.

General Likes and DNWs

General Fic Likes:
Worldbuilding (especially magical, religious and cultural worldbuilding)
Unusual formats, including in-universe documents and IF/Choose Your Own Adventure
Canon divergence
Outsider POV
Dramatic irony
Moments of quiet intimacy during breaks in the action (especially good for missing scenes in between what we see in canon)
Slowly building intimacy/respect together - slow burn in general
Taking care of injured people
Hair care, washing, and styling as bonding
Forced proximity (undercover together, trapped together, accidental/arranged marriage, fake dating, only one bed, etc.)
Elaborate plans that may or may not work out
Improvising new plans as you go along
"That's an extremely bad plan, of course I'm in" type situations and interpersonal dynamics
Getting in way over your head but throwing yourself headfirst into the plan anyway
Repressed characters learning to let go
Struggling against temptation/the Dark Side
Five + one things structure

General DNWs:
Canon-divergent death of requested characters (canonical deaths are fine)
Non-canonical child death
Setting change AUs (ex. coffeeshop, high school, modern AU, etc.)
Time travel AUs
Explicitly stated sexuality labels for characters whose sexuality is not canonically defined
Formalized dom/sub relationships
Ageplay
Raceplay
Omegaverse
Mpreg
Excretory kinks
Rape/noncon (dubcon - sex pollen with both/all characters dosed, sex in arranged marriages, fuck-or-die, etc. - are fine, as are references to canonical rape/noncon.)
Underage under 15 and unrequested non-canonical ships with 20+ year age gaps (mentions of canon examples are fine, but please don't make them the focus of the fic)
Cross-gen incest
Animal abuse
Hopeless endings (endings can be dark, but not without any shred of hope)

Please keep the violence level at about what it is in canon.

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Cat Ballou (1965)

Tags: Cat Ballou, Kid Shelleen, Cat Ballou & Clay Boone & Uncle Jed & Kid Shelleen & Jackson Two-Bears, Cat Ballou/Jackson Two-Bears, Cat Ballou/Kid Shelleen, Clay Boone & Uncle Jed, Jackson Two-Bears & Kid Shelleen, Kid Shelleen & Tim Strawn, Professor Sam the Shade & The Sunrise Kid, Cat Ballou & Professor Sam the Shade & The Sunrise Kid

Additional Info and Prompts:

Such a fun movie! And it's a movie about stories, first and foremost - the legend of Cat Ballou, of course, but also the stories that built the myth of the Old West and the Western movie. It's fun to see where those legends contrast to the real (or real-ish) story, but also where the characters work to make the legends real themselves.

- Further adventures of Cat Ballou, queen of the outlaws, and her gang! What other heists do they pull off? How does the gang interact with the other residents of Hole-in-the-Wall? Do the relatives or associates of Sir Harry Percival try to take revenge against Cat, and how does she react? Do they run into other situations that require their justice? Can they adapt their Old West Outlaw Gang identity even as modernization rapidly approaches? I'd also love any of these stories as in-universe pulp stories or as ballads by Professor Sam the Shade and the Sunrise Kid.

- What did Clay and Jed get up to pre-canon? What drove them to become cattle rustlers? Jed's priest disguise seems to be a favorite of his - what was it like the first few times he tried that out?

- What were the other adventures of Kid Shelleen, real or imagined? What were the in-universe stories of Kid Shelleen like - the ones Cat read on the train and based the train robbery on, as well as new stories - and how did Shelleen tell the stories to others? What was Kid Shelleen and Tim Strawn's relationship like growing up, and what precipitated the final break between the two of them?

- I have a soft spot for Cat/Jackson - it's one of the sweetest relationships in the movie, with Cat defending him against the bigoted townsfolk and Jackson being so ride-or-die for the Ballous. What kind of a life could they build together? (Clay can head to St. Louis more-or-less amicably or just not be mentioned at all per your preference).

- I also like the idea of Cat choosing Kid Shelleen and going even further into a wild life of crime, ruled only by her own sense of right and wrong and Kid's dubious guidance. Can he impart useful heist planning skills and marksmanship techniques (once he's reached the right level of drunk) and help her embrace her sense of freedom? What havoc could they create together? Could they save each other, in their own way?

- Jackson and Kid Shelleen had a remarkably fun relationship, with Jackson as squire to Kid's knight-errant (especially in the dressing scene before Kid goes to fight Tim). Could they have gone off to have their own adventures, either post-canon or in a world where Tim and Harry were defeated before they could kill Frank Ballou? (There's also an interesting tension of Jackson Two-Bears as a Native American taking up the role of an Old West gunslinger).

- Professor Sam the Shade and the Sunrise Kid are a great framing device, but I'd also love to know more about them personally. How did they meet and start working together? Do they go from place to place singing outlaw ballads? Were they the ones that wrote the ballad of Cat Ballou, and what was the process of writing the song like? If they did write the ballad, was the "real" story different from the story we get in the movie? (I also like the idea of Sam the Shade and the Sunrise Kid manipulating and changing the story while the characters of the movie can still interact with them, or like a more benevolent version of the Player in Rosencrantz and Guildenstern Are Dead. Could Cat hear her story and come to them to demand a different ending?)

Double Indemnity (1944)

Tags: Phyllis Dietrichson, Lola Dietrichson, Barton Keyes, Phyllis Dietrichson/Walter Neff, Phyllis Dietrichson & Barton Keyes, Lola Dietrichson & Phyllis Dietrichson, Lola Dietrichson/Phyllis Dietrichson

Additional Info and Prompts:

I love the atmosphere of this movie, the sense of corruption just under the surface, the sharpness of the characters and their dialogue and the way they play off each other - basically, everything this movie exemplifies as a film noir.

- Backstory of Phyllis - before she met the Dietrichsons, while she was nurse to the first Mrs. Dietrichson, etc. How much is she telling the truth about her past? Did she have any other murders besides the first Mrs. Dietrichson? I'd love to see more about how her mind works.

- What was Phyllis' next move going to be if she'd managed to successfully kill Neff in their final confrontation? She's perhaps not as good a plotter as she thinks she is, but she's ruthless enough that she could make a good go of escape, and it'd be really fun to watch whether she succeeds or fails.

- In the book, Phyllis and Walter escape to a steamship bound for Mexico, where they commit suicide by jumping off the ship into the water. What could have happened if this version of Phyllis and Walter had both escaped only to see each other again in Mexico, both on the run from the law and still in the midst of their love/hate/possible murder attempts against each other?

- For either of the two above prompts, you could also have Barton or Lola in pursuit of the criminals, for justice and/or for revenge. What emotions are running through them, now that the horrible truth has come out? How do they track the fugitive(s) down? What's it like if they confront Phyllis and/or Walter again?

- Outsider POV on the movie from Barton's or Lola's perspective - they're both clever enough to get most of the way to the truth, but they're missing a few crucial pieces, and it's be interesting to see where their insights and blind spots are from their own perspective.

- What could have happened if, instead of antagonizing Lola, Phyllis had tried to make an ally of her instead? Between Phyllis' coldness and Lola's fire, you could have this really interesting mix of mentorship and manipulation between them. Would Phyllis succeed in corrupting Lola, or would Lola turn the tables on Phyllis? (Maybe a bit of both?)

Psycho (1960)

Tags: Lila Crane, Marion Crane, Mother, Norman Bates, Sam Loomis, Lila Crane & Marion Crane, Lila Crane & Sam Loomis, Marion Crane/Sam Loomis, Norman Bates & Lila Crane, Norman Bates & Marion Crane, Norman Bates & Mother, Norman Bates/Marion Crane, Norman Bates/Sam Loomis

Additional Info and Prompts:

I enjoy all the things that are not as they seem in this canon, about the sides of the characters that they hide from everyone, sometimes including themselves. There’s a lot of horror, but it’s understated and happens more in people’s heads (including those of the audience).

Shipwise I like Marion/Sam, Marion/Norman, and Sam/Norman. None of these ships have to be portrayed as straightforwardly romantic and can definitely go to dark places (particularly those involving Norman, because, well, dude has issues). I don't mind incorporating aspects of the books/sequel movies but would prefer a focus on this specific movie, and I'm also fine with ignoring the books/sequels if you'd like to explore something different.

- What was Norman's life like in that spooky house and that run-down motel with only Mother for company? What did the other townsfolk, including Sam, think of him? It's not unlikely that the knife that killed Marion came from Sam's hardware store...

- Mother's perspective on the events of the movie, or on living in the mental hospital after canon. How much is she aware of the things she's done and/or the things Norman blames her for? How much does she see herself as separate from or a part of Norman, and how does she express that understanding?

- Marion's ghost appears - haunting her killer, leading her sister and/or lover to the truth of what happened to her, just taking out her frustration on everything in sight, etc.

- Marion isn’t attacked in the shower, and later comes to live in Fairvale with Sam without telling him what she did. She and Norman now have the weird position of having shared some secrets with each other but kept plenty of others - what happens when she runs into him again? Does Lila or Sam ever suspect what happened? Are the police still after Marion, or do they ever get suspicious about Norman?

- Anything about Lila's grief, and Sam's, post-canon. Marion was one of the few people either of them had left and she died a couple of weeks before Christmas, poor guys. I'd also be interested in seeing Lila confront Norman/Mother, or making a desperate attempt to reach Marion beyond the grave.

The Russians Are Coming The Russians Are Coming (1966)

Tags: Solo: Yuri Rozanov, Solo: Elspeth Whittaker, Alexei Kolchin & Yuri Rozanov, Alexei Kolchin/Alison Palmer, Muriel Everett & Alice Foss, Yuri Rozanov & Walt Whittaker, Yuri Rozanov/Elspeth Whittaker/Walt Whittaker

Additional Info and Prompts: So this is actually the movie I got my username from, with Kolchin being so sincereously sorry about all the nonsense that's going on. It's so delightfully madcap (and so very '60s) and I enjoy both the hijinks and the heart underneath it.

Although this movie is built on Cold War tensions, for fic of this canon I'd prefer a lighter touch with the politics of the era (you don't have to avoid them, but you also don't have to write an actual realistic CIA/KGB interrogation or anything like that).

- All of the in-universe debriefings and reports after the events of the movie, because you know the officials are gonna want to know what exactly went down here. Bonus for the series of events being just as confused in the retelling as they were to experience, and for all the people involved - from Alice to Yuri - having wildly different perspectives and telling the story in massively different terms.

- I'd also love to see general "views of the movie from their POV" from Yuri, Elspeth, Muriel, and/or Alice. Yuri's POV would be hilarious as he tries to keep on goal and gets increasingly frustrated in it; Muriel and Alice's would be hilarious for how they take what awareness (or lack of it) they have and just take off with it. With Elspeth, she gets to be one of the relatively calmer heads throughout the movie - how is she processing all the antics going down?

- Further adventures of Alexei and Yuri aboard the СпруT, maybe keeping up some kind of correspondence with their Massachusetts friends or talking about the events of the movie afterward or teaming up to keep the captain from going on yet another hairbrained idea because didn't he learn enough the first time?

- Alexei and Alison keeping up a long-distance Cold War relationship and finding ways to meet again. Does Alexei ever send her messages and trinkets from all the faraway places the submarine comes to port? Does Alison make it over to Russia for a visit, or does Alexei get to see more of America? This would also be great for epistolary fic, if you're interested in that.

- Walt and Yuri becoming buddies against their will! Maybe they're the ones who end up tied or handcuffed together at one point and have to figure out a way to get unstuck. Maybe Walt does accidentally wing Yuri when he shoots at him, and afterward guiltily helps bind up his wounds.

- Between Walt and Yuri growing to understand each other and work together and the hand kiss from Yuri to Elspeth, it really got me thinking about Yuri/Elspeth/Walt. Maybe the sailors get to come back on a (sanctioned, this time, or maybe clandestine) visit to the island and they all find that they actually really, really like each other under more relaxed circumstances. Maybe for Reasons Walt and Elspeth have to hide Yuri from the authorities with them in their summer vacation house, and the forced proximity makes them all bond more deeply.

- Newly inspired, Walt Whittaker overcomes his writer's block and finally produces a new musical comedy - and what do you know, it's about a bunch of Russian sailors who are accidentally stranded on a small Massachusetts island. Walt manages to get tickets for the opening night to some of the sailors of the СпруT (maybe the governments or producers think it'll be good PR, maybe he has to pull a few strings to smuggle them in in secret). How do they all react to seeing the story on stage? Are they annoyed or amused by inaccuracies or artistic license? Does it become a date night for Alexei/Alison or for Yuri/Elspeth/Walt?

The Touch of Satan (1971)

Tags: Melissa Strickland, Lucinda Strickland, Melissa Strickland/Jodie Thompson, Melissa Strickland & Lucinda Strickland, Melissa Strickland/Lucinda Strickland

Additional Info and Prompts:

For a movie I first got to know through a MST3K episode, this movie has a LOT of potential. Supernatural powers! Horror! Desperate bargains and the price of getting what you want!

- Melissa has so many fascinating things going on in general - eternally young while her family (unevenly) ages, isolated and world-weary and desperately lonely, looking for an escape, devoted to her family but fascinated by Jodie's freedom. She literally sells her soul to Satan to prevent her sister from burning to death but later burns said sister to death herself for the sake of a guy she's known for two days - what's going through her heart and mind when that happens? Any sort of Melissa character study - pre-canon, during canon, after canon - would be great. How did she relate to her family and to the townspeople as she grew in her powers? (I'm especially interested in how she shifted from daughter to head of the household in the Strickland family because of her powers, and the tensions that brings). Did she ever try to escape the walnut ranch pre-Jodie?

- What kind of things can Melissa do with her witch powers? We mostly see her setting/putting out fires, messing with dreams, casting curses, and magicking clothes off - what are the possibilities and limitations of her powers? How did she experiment with witchcraft? What's it like, day-to-day, to live with the Devil's spirit inside her?

- Could Lucinda ever access witch powers? (The townsfolk assume it's Lucinda who's the witch at first, and Melissa does say "burn, witch, burn" when she kills her). If she could, what did she do with them? Did she have her own bargain with Satan, which Melissa may or may not have known about? Could she have used her powers (or hers and Melissa's combined) to change her fate?

- Melissa and Lucinda's bond is really interesting to me, considering Melissa is ultimately both Lucinda's savior and her killer. What were they like before the attempted burning - did they ever play around with folk magic together before anyone ever thought of selling their soul? What about later on, as Lucinda deteriorates and Melissa tries to hang on to Lucinda's sanity to no avail? What did Lucinda and Melissa do to try to keep Lucinda from losing her mind? What feelings did they have for each other - love, need, care, connection, desperation, resentment?

- How do Melissa and Jodie find their way post-canon? If Jodie does become a lawyer, that's prime material for "lawyer sold his soul to Satan" opportunities, but I could also see them wandering around the country looking for some way to be satisfied and be happy. How does Melissa handle her new freedom? How do they deal with the Devil and see each other in the aftermath? Do they find some kind of happiness together, or even find a way out of their deal with the Devil?

- In all honesty, while I'm looking for more earnest fic for this canon, I wouldn't mind bringing in aspects of the MST3K episode either. The pauses really are long!

Hello, creator!

I'm so excited to see what you come up with for this exchange! Hope you have a great time with it. Prompts are here if you want them, but if you have another idea that's inspiring you I'm happy to see that too.

If you have any questions or concerns, please contact me through the mods. I'm also sincereously on AO3.

General fic likes:
Worldbuilding (especially magical, religious and cultural worldbuilding)
Encounters with the supernatural, particularly ghosts
Characters using or attempting to use magic or other supernatural forces
Maybe-magic-maybe-mundane events
Canon divergence
Introspection
Humor
Suspense
Unreliable narrators
Dramatic irony
Moments of quiet intimacy during breaks in the action (especially good for missing scenes in between what we see in canon)
Complicated women, and complicated relationships between complicated women
Slowly building intimacy/respect together - slow burn in general
Taking care of injured people
Forced proximity (undercover together, trapped together, accidental/arranged marriage, fake dating, only one bed, etc.)
Elaborate plans that may or may not work out
Improvising new plans as you go along
"That's an extremely bad plan, of course I'm in" type situations and interpersonal dynamics
Getting in way over your head but throwing yourself headfirst into the plan anyway
Repressed characters learning to let go
Struggling against temptation/the Dark Side/inner demons (and giving in)
Mind control/possession (and resisting mind control/possession)
Unusual formats, including in-universe documents
Five + one things structure

General art likes
Depictions of canon rooms, houses, and landscapes (also includes maps and set designs)
Characters with bloody hands
Characters doing ordinary things with very un-ordinary things happening in the background
Black-and-white or greyscale with pops of color
Light - from warm glows illuminating the whole space to chiaroscuro
Any art style is great!

General DNWs:
Character bashing
Non-canonical child death
Setting change AUs (ex. coffeeshop, high school, modern AU, etc.)
Time travel AUs
Explicitly stated sexuality labels for characters whose sexuality is not canonically defined
Formalized dom/sub relationships
Ageplay
Omegaverse
Mpreg
Excretory kinks
Rape/noncon (dubcon - sex pollen with both/all characters dosed, sex in arranged marriages, fuck-or-die, etc. - are fine)
Underage under 15 and unrequested non-canonical ships with 20+ year age gaps (mentions of canon examples of both are acceptable, but please don't make them the focus of the fic)
Animal abuse
Fic devoted primarily to examining real-world issues/-isms (please don't feel that you have to avoid them, but I'd rather they not be the entirety of what the work is about)
Hopeless endings (endings can be dark, but not without any shred of hope)
For both fic and art, please keep the level of violence at about what it is in canon.

FANDOMS

Arsenic and Old Lace

Requested Characters: Abby Brewster, Martha Brewster, Mortimer Brewster, Elaine Harper

Canon-specific DNWs: Canon-divergent death of any requested characters.

A classic movie with dead body shenanigans, the nicest murderers you’ll ever meet, and one very frazzled Cary Grant. What could be better for Halloween? I love the humor in this, the contrast of sweetness with horror lurking underneath (like the poisoned elderberry wine), and watching it has been a Halloween tradition for me for years.

I like Mortimer/Elaine, and I’m also happy with gen-focused works for this canon.

Prompts

- I’d love to see more of Abby and Martha’s history - how they grew up (their dad had a laboratory and seemed to be pretty wonky himself), raising Mortimer and getting to know Elaine, some of their early kills…

- During Mortimer and Elaine’s courtship, Abby and Martha decide to make a love potion for the lovebirds.

- Abby and Martha are throwing a Halloween party! And during the party, they find a lonely old gentleman who they think might need some of their special charity...

- Post-canon, Mortimer and Elaine just...have a house in Brooklyn with thirteen dead bodies in the basement. How do they handle that?

- The ghosts of the dead men start coming around. How do the inhabitants deal with that? Abby and Martha would probably just set out a nice tea for them, but Mortimer and Elaine would probably be less sanguine.

Carrie

Requested Characters: Carrie White, Margaret White, Sue Snell

Canon-specific DNWs: Canon-divergent death of Sue Snell.

Each of these characters have such raw pain guiding their lives and actions, and seeing how they express that hurt - for better or for worse - is so fascinating to me. The mundane setting tinged with the supernatural (or at least a kind of natural that includes things like telekinesis) also opens up a lot of fun worldbuilding possibilities that any of these characters can explore.

Ship preferences: Carrie/Sue and/or canon pairings

Prompts

- Any requested character having a moment of vulnerability, for whatever reason, in front of one or more other requested characters. They all have to put up such a strong front to other people; what happens when that front fails?

- I liked how much the book drew on in-universe documents to build its narrative, and I’d love to see other documents - Carrie’s schoolwork? religious pamphlets Margaret wrote? Sue’s book?

- Carrie doesn’t go to the prom and gets the chance to practice her power in smaller forms of vengeance/revenge in high school. How might she experiment with the power? How does she keep it secret or not? Is there ever a point where she crosses the line?

- Carrie's power is exposed earlier and she goes on the run from being captured and contained by the government/a company/various and sundry nefarious forces, either on her own or with Sue or Margaret.

- Anything on Margaret’s past and how she developed her twisted religious views - was there any specific incident that gave her such a horror of roadhouses, or did it slowly build up over time? This could also work with five-times structures (five lessons Margaret taught Carrie, etc.)

- Margaret herself has the carrier gene for TK - what would have happened if she had gotten the power? How would it have changed her religious views and the way she raised Carrie?

- Sue becomes a leading TK researcher and mentors another young TK-positive girl. Carrie’s ghost - figurative or real - may also make an appearance

Psycho

Requested Characters: Lila Crane, Marion Crane, Sam Loomis, Norman Bates, Mother/Norman's alter

Canon-specific DNWs: Canon-divergent deaths of Marion or Lila, or complete disappearance of Mother/Norman's alter while Norman survives. Canon deaths are fine, as is non-canonically killing off Norman or Sam.

I enjoy all the things that are not as they seem in this canon, about the sides of the characters that they hide from everyone, sometimes including themselves. There’s a lot of horror, but it’s understated and happens more in people’s heads (including those of the audience).

Shipwise I like Marion/Sam, Marion/Norman, and Sam/Norman. None of these ships have to be portrayed as straightforwardly romantic and can definitely go to dark places (particularly those involving Norman, because, well, dude has issues). I don't mind incorporating aspects of the books/sequel movies but would prefer a focus on this specific movie, and I'm also fine with ignoring the books/sequels if you'd like to explore something different.

Prompts

- What was Norman's life like in that spooky house and that run-down motel with only Mother for company? What did the other townsfolk, including Sam, think of him? It's not unlikely that the knife that killed Marion came from Sam's hardware store...

- Mother's perspective on the events of the movie, or on living in the mental hospital after canon. How much is she aware of the things she's done and/or the things Norman blames her for? How much does she see herself as separate from or a part of Norman, and how does she express that understanding?

- Marion's ghost appears - haunting her killer, leading her sister and/or lover to the truth of what happened to her, just taking out her frustration on everything in sight, etc.

- Marion isn’t attacked in the shower, and later comes to live in Fairvale with Sam without telling him what she did. She and Norman now have the weird position of having shared some secrets with each other but kept plenty of others - what happens when she runs into him again? Does Lila or Sam ever suspect what happened? Are the police still after Marion, or do they ever get suspicious about Norman?

- Anything about Lila's grief, and Sam's, post-canon. Marion was one of the few people either of them had left and she died a couple of weeks before Christmas, poor guys. I'd also be interested in seeing Lila confront Norman/Mother, or making a desperate attempt to reach Marion beyond the grave.

With one week left to prompt in the Three Sentence Ficathon, I thought I'd collect my promptfills for this year here! Post 1 (found here) is available for fills only; Post 2 (found here) is available for both fills and new prompts for one more week. Fills are welcome on both posts until the next Ficathon starts next January!

Fallen London

Original prompt: Any, any, peckish (A Seeker of the Name)

When you first began to hunt the Name, that niggling little peckishness had been a mere annoyance; it became a constant companion, became a friend, became the only part of you that has not yet melted away like a candle's wax. The gnawing has eaten your stomach now, and still you devour - chestnuts and flesh, and dreams, and hope. Still you are never satisfied.

(This is only right.)
(Hunt as he was hunted.)
(Consume as he was consumed.)

Golden Girls

Original prompt: The Golden Girls, Blanche, Her previous lovers.

Dorothy and Sophia would never believe her, but she's never been with a man she didn't love. Well, all right, it might not be what most people think of love - not the kind of always-and-forever love that made you actually want to stay in with them on a Friday night, the kind she had with George - but she always saw something in her men that she loved, whether it was the firm muscles of his rear or the hot spark in his eye or the way he smiled crookedly whenever one of his jokes sent her into peals of laughter, or even just how good he made her feel on and in his arms.

The stories might have been a teensy bit exaggerated and perhaps a bit contradictory over the years, but every woman is entitled to a little mystique and some harmless pleasures, and her stories do her good; whenever she gets to remembering all her lovers she smiles, and shivers, and shimmies into her favorite slinky dress and then she's ready to fall in love all over again.

Singin' in the Rain

Original prompt: Any, Any OT3, summarizing each relationship. (Don/Kathy/Cosmo)

They've all got their own rhythm, the three of them. Don's got the control and easy strength that can equally lift Kathy into a graceful spin and launch Cosmo into a playful backflip; Kathy throws her heart into every motion and flies into the air always trusting Cosmo to hold her steady and Don to catch her if she falls; Cosmo nimbly steps in among them all, and while he might sometimes look like he's in the background, the dance would never look quite right without him pulling Don into an old routine or catching Kathy's arm to show her a new step.

They all have their own rhythm, but when they dance together, they're in perfect harmony.

A Song of Ice and Fire

Original prompt: ASOIAF, Joffrey, a good king (Version 1)

His father shows him that a king drives his kingdom, his court, his family with his appetites and his strong arm (and his backhand); his mother teaches him that he should have everything he wants, as anyone of Lannister blood deserves. His grandfather lectures him about moderation every once in while, but Joffrey has read his histories, and he hardly thinks Grandfather showed moderation when he slaughtered the Reynes and the Tarbecks like the dogs they were - he wonders if Grandfather liked it when they begged and screamed, the way Joffrey likes it when Sansa is obviously trying not to cry.

Joffrey knows what a king is - a man who holds a kingdom in his fist and squeezes it as he likes - and he is as good at being a king as he knows to be.

Original prompt: ASOIAF, Joffrey, a good king (Version 2)

Joffrey absolutely hated Winterfell when he first arrived - the rules, the new foster father and mother who made him actually mind those stupid rules, the new foster siblings who never held back from showing him up at lessons, the ugly heart tree and the horrible food and the ever-present awful bloody cold.

But the years passed, and somehow the rules started to feel more reasonable and the cold more comfortable, and when his father died and he came back to King's Landing for the first time since he was six he brought his foster family with him, for he could not imagine being the kind of king the realm needed without their love and their counsel.

And so in the years to come the people talked of the honor of King Joffrey, the king who brought justice to his vassals and his smallfolk and who brought the armies against the terrors from beyond the Wall - as good a king, they all agreed, as any king they knew to be.

Original prompt: ASOIAF, any, genderswap (f!Viserys III)

Her first husband would have given her a queen's crown, for the day Viserra was born her father had made Rhaegar marry his newborn sister, and if Rhaegar had only given her a chance to grow up she knows she would have made a good consort to his reign, two true Targaryens the way it is always meant to be.

But Rhaegar had spurned her, broken her destiny and her family for the sake of the Stark girl, and so today she takes a second husband for a queen's crown. But not a consort's crown, not this time, she thinks as she winds her silver hair into a braid and pins it in place, this time I get the khal and his ten thousand Dothraki, and I get to sit on the Iron Throne and watch the Usurper burn to ash at my feet, and I get a golden crown, yes, everything that is the dragon's, it's going to be mine.

Original prompt: ASOIAF/GOT, any Arryn, Spirit (Jeyne Arryn)

Some fools say that the Eyrie is one of the harshest and most barren seats in all the Seven Kingdoms, but they do not know it as Jeyne does.

From atop the Giant's Lance she can take the falcon's view of her lands, tracing her life's path in the ridges and dips below - the high crag where the Stone Crows killed her father and brothers, just north of the river against whose banks she'd trapped her almost-usurper cousin and ended his ambitions, which tumbled into the lush green valley full of swaying wheat, where Jeyne could just barely see the small lake where she'd first promised Jessamyn her love.

The howling mountain winds wax and wane like the Vale itself is breathing, and when Jeyne breathes with them she can fancy that she and the very spirit of the Vale have become one.

Original prompt: ASOIAF/GOT, any, Dothraki Dragons (Irri)

It is known that dragons are terrible and evil creatures, magic-made perversions of beasts, who swallow horses whole and char the mother earth so fiercely that for years no grass can grow upon it. It is known that they are long gone, along with the silver-haired bloodmages who made them - that is, until three eggs crack in a pyre and turn the world upside down.

Irri also knows that a brave girl can leave sheep for a dragon and slowly win it to her side, and so when the khaleesi vanishes she takes any meat she can find and brings it to the pyramid where the dragons wait.

Star Wars

Original prompt: Any, any, bodyswap (Han & Luke)

"You tell me to stretch out with my feelings one more time and I'll kill you before the worm gets around to it," Han muttered, ignoring his own face frowning back at him.

Luke leaned back against the wall of their cell, rubbing the side of his head like he was getting a headache. Han, admittedly, could not blame him. Theoretically, escaping the Hutt who captured them should have been as easy as telling the guard to open up the door, or maybe breaking into the fiddly inner workings of the door lock. Unfortunately, both things required the Force, and due to some godsforsaken Sith machination Han currently controlled the body with the Force sensitivity, and the Force did not seem to like Han very much. After the third time he'd tried to sway the guard and accidentally sent them into an attack frenzy instead, the feeling was mutual.

Han squeezed his eyes shut and slumped back against the door, tuning out the buzz of awareness - of Luke, of the guard, of the people on the street above this prison - as best he could. Thinking like a Jedi was getting him nowhere. Think like a criminal, then. What could he use to break the lock? The cell was completely bare, and even Han trying to break down the walls with the Force had only put shallow scratches in them. What else did he have?

Only what you take with you.

Luke had sidled over while Han was thinking, and gave him an encouraging pat on the shoulder. Han looked over at Luke's hand - formerly Han's own - on his shoulder, and an idea struck him.

"Are you breaking my hand?" Luke said incredulously as Han popped open the panel on his mechanical right hand and fished out a few thin metal pieces, plus some wiring for good measure.

"Look, right now it's my hand anyway," Han said, squinting as he maneuvered the makeshift lockpick. One of the attempted door breakdowns had created a small gap, just wide enough to allow one of the wire pieces through and let Han finagle the mechanism.

Of course, it wasn't easy to do with one hand now out of commission. Han looked over at Luke and raised his eyebrows, and Luke might not be able to read emotions in the Force right now but he still got the message very clearly.

"All right," he said, shuffling beside Han and slotting the metal pieces into place, "but as soon as we're back to the Falcon you're fixing it back to normal, okay?"

"Deal," Han replied, grinning as the lock clicked and the door hissed unlocked. The next few steps might be tricky, but between the two of them - as long as you help us out for once, Han thought to the Force - they ought to get out of it just fine. Same as always.

Original prompt: Any, any, meeting your dark mirror universe self (Leia vs. dark!Leia)

"I don't think you and your pitiful little rebellion know what you're dealing with," the Empress drawled, the yellow irises of her eyes catching the bright red beam of her lightsaber as she stared at Leia; with her free hand she twisted a strand of her familiar dark hair out of the way of her horribly familiar face, in a gesture Leia had seen thousands of times in her own mirror.

Looking at the Empress was about as disorienting as falling into this universe in the first place had been...but Leia had her own advantages, from her weapons to her friends to her strange recognition of the storm of rage and passion and determination she sensed from her enemy's all-too-familiar heart.

"I think I know exactly who I'm dealing with," Leia snarled, igniting her own saber's blade, "the question is, do you?"

Original prompt: any, any, sedoretu (Luke/Mara/Leia/Han)

Somewhere in the evening, while they were working out the logistics for a tricky run, Han looked up from the endless piles of flimsi, a weirdly soft look on his face as he said, "You gotta admit it all worked out pretty good, right?"

Mara's first instinct was to ask where the hell that came from, but she looked across the room and understood - their Morning wife and Chief of State smiled triumphantly down at her datapad as she worked yet another crisis out, her feet in the lap of their Morning husband as he chatted to the twins over a grainy holo connection about an old Jedi artifact he'd just found, and they themselves sat together with their handwriting overlapping on scratch-sheets and all their belongings comfortably strewn together - a scene Mara could never have imagined when Han had first casually asked her what she knew about sedoretu and she had been half-waiting for the trap to spring.

After all these years - after hundreds of dejarik games and sparring matches and rescues in battle, after thousands of kisses - Mara finally had it in her to grin back at him, and throw her arm around his shoulder, and say, "You know what, this time I think you're right."

Stardew Valley

Original prompt: Stardew Valley, any, learning beauty again (Leah)

Zuzu City seeped into Leah like the exhaust fumes that clung to her clothes, like Kel's long-suffering sighs burrowing into Leah's heart whenever Leah procrastinated on a work project to chase the ever-fainter spark of art inside her.

If she stayed there any longer the fumes and the sighs would suffocate her, and so Leah escaped to a world of quiet snows and soft breezes laden with butterflies. The soft rains of Stardew Valley have finally washed the city out of her soul, and when she studies the woods around her, all she can see is the beauty of possibilities.

Hello, writer!

I'm so excited to see what you come up with for this exchange! Hope you have a great time with it. Prompts are here if you want them, but if you have another idea that's inspiring you I'm happy to see that too.

If you have any questions or concerns, please contact me through the mods. I'm also sincereously on AO3.

General likes:
Worldbuilding (especially religious and cultural worldbuilding)
Canon divergence
Bickering, friendly and not-so-much
Introspection
Unreliable narrators
Moments of quiet intimacy during breaks in the action (especially good for missing scenes in between what we see in canon)
Complicated women, and complicated relationships between complicated women
Slowly building intimacy/respect together - slow burn in general
Taking care of injured people
Forced proximity (undercover together, trapped together, accidental/arranged marriage, fake dating, only one bed, etc.)
Elaborate plans that may or may not work out
Improvising new plans as you go along
"That's an extremely bad plan, of course I'm in" type situations and interpersonal dynamics
Getting in way over your head but throwing yourself headfirst into the plan anyway
Repressed characters learning to let go
Struggling against temptation (and giving into it)
Unusual formats, including in-universe documents
Five + one things structure

General DNWs:
Character bashing
Canon-divergent death of any requested characters (canonical deaths are fine)
Non-canonical child death
Setting change AUs (ex. coffeeshop, high school, modern AU, etc.)
Time travel AUs
Formalized dom/sub relationships
Humiliation during sex
Ageplay
Raceplay
Omegaverse
Excretory kinks
Rape/noncon (dubcon - sex pollen with both/all characters dosed, sex in arranged marriages, fuck-or-die, etc. - are fine)
Underage under 15 and unrequested non-canonical ships with 20+ year age gaps (mentions of canon examples of both are acceptable, but please don't make them the focus of the fic)
Cross-gen incest
Animal abuse
Fic devoted primarily to examining real-world issues/-isms (please don't feel that you have to avoid them, but I'd rather they not be the entirety of what the work is about)
Hopeless endings (endings can be dark, but not without any shred of hope)
Please keep the level of violence at about what it is in canon.

FANDOMS

I'm also happy with crossovers among any of my requested fandoms! Three of the four take place in roughly the same time era and all involve performers, so you could potentially find something interesting out of mixing them together.

Dreamgirls

Requests: Effie White, Deena Jones, Lorrell Robinson

Ship and group notes: I'm good with gen, canon pairings, and/or Effie/Deena. I'm also happy to have any combination of requested characters, including leaving one or two of the requested characters offstage or in the background if it makes more sense to focus on only one or two requested characters.

About the canon: See last year's promo post here!

The summary I gave in the promo post doesn't really do justice to the women and their relationships, which I love. I love how headstrong and indomitable Effie is, and how Deena builds her confidence and comes into her own, and how Lorrell has a snarky streak in her sunny personality. The whole show is about their dreams and their struggles and successes in making those dreams a reality, and it's so fun to watch them grow and change over the course of the show.

I'm also interested in the setting: the 1960s-1970s R&B and pop music industry as interpreted by 1980s Broadway. There's room for social commentary (among other things, the Black leads get one of their early songs covered and buried by a white group), drama (secret affairs and Curtis' payola operations), and Broadway glitz (look at the costumes! often with super-fast costume changes!).

I'm good with basing the fic off of any production you want. In addition, while I requested the stage show for this, the movie sticks very closely to the stage version and I would be fine with more movie-influenced fic as well, if you're having trouble finding/watching the stage musical.

Prompts:

- How did the girls first come together as a group? Were they all friends growing up (Effie talks about her and Deena once being each other's closest friends), or did they meet later on and bond over their shared desire to sing? I'd love to hear about their successes and failures pre-fame, and them sharing their big dreams with each other.

- How did Deena and Lorrell handle the interim time period between Act I and Act II, where they're going on international tours as the Dreams, adjusting to Michelle replacing Effie, and dealing with Deena's wedding to Curtis as well as Lorrell's continuing relationship with Jimmy?

- Effie mentions that she saw Deena at Deena's mother's funeral and wanted to talk to her, but there were "too many people in the way". What would have happened if they had had the chance to talk? What would that conversation have been like?

- When the show ends, they've reconciled but they're also on different paths. What would happen if they reunite again a few years later, while Effie's rising in the music business again and Deena's in her movie career and Lorrell's pursuing a life without Jimmy in it? Anything about them rebuilding their friendships and how them going after their own dreams is turning out. (I didn't request Michelle here, but you can also bring up what she's doing at this point).

- Curtis was supposed to love Effie. So was Deena. (Take that however you will).

Gypsy

Requests: Louise, June, Rose

Ship and group notes: I'm good with gen, canon pairings, and/or f/f pairing one of the requested characters with Tessie, Mazeppa, Electra, or OCs. I'm also happy to have any combination of requested characters, including leaving one or two of the requested characters offstage or in the background if it makes more sense to focus on only one or two requested characters.

About the canon: See last year's promo post here!

I love how wonderfully complex the women are, especially Rose. It's fun watching her smash her way through all obstacles through a mix of manipulation and just plain grandstanding, but her talent for deception also includes deceiving herself, to the detriment of her relationship with June and Louise. With June and Louise, I love them growing up and figuring out how to break free and find their own dreams, even if it's not what Rose had in mind for them. I love the complex mix of love and self-centered ambition that Rose has for her daughters, and the mix of love and frustration and hunger for approval that the girls feel for Rose. These women all do deeply care about each other, but man, sometimes they have a very dysfunctional way of showing it.

I'm good with basing the fic off of any production you want. In addition, while I requested the stage show for this, the movie(s) sticks very closely to the stage version and I would be fine with more movie-influenced fic as well, if you're having trouble finding/watching the stage musical.

Prompts:

- Any missing scenes of the family, Herbie, and the boys (and all their animals!) on the road - practicing the routines together, conning their way out of jams, exploring the new cities they perform in.

- Any part of Rose's backstory before the events of the play. So much of Rose's issues in her parenting seem related to the fact that her own mother walked out on her, after all. I'd also love to see Rose as unreliable narrator!

- Rose teaching her daughters the things she thinks they need to learn, and the lessons that they learned from her without her meaning to. (I also like the moments where June and especially Louise are taking a page from Rose's books to get what they want, and where they're more alike than they might want to acknowledge).

- What was Louise's life like in between that first striptease show and the high life we see in the final scenes? How did she get comfortable with this new way of performing? What kind of tactics did she use to get bookings and advance her career, and how did she start using and enjoying her rising fame and fortune?

- How did June deal with being on her own with Tulsa once she escaped the troupe? For better or for worse it'd be the first time in her life she'd ever been away from Mama and Louise - that has to turn up some intense emotions.

- I'd also be interested in seeing the women reunite and reflect on how their lives have gone at some point after canon, particularly a reunion for the sisters or for Rose and June. (I tend to see the musical characters as separate from the real-life figures, so you can take as much or as little as you want from the real peoples' history here, including inventing something new).

Singin' in the Rain

Requests: Don Lockwood, Kathy Selden, Cosmo Brown, Lina Lamont

Ship and group notes: I'm good with gen, Lina/Zelda or Lina/OC, and any combination of Don/Kathy/Cosmo but most particularly as an OT3. I'm also happy to have any combination of requested characters, including leaving one or two of the requested characters offstage or in the background if it makes more sense to focus on only one or two requested characters.

About the canon:

With Don, Kathy, and Cosmo, I love their easy affection for each other. They all seem to have so much fun together! With Lina, I enjoy her utter determination to get what she wants - she comes off as a figure of fun, but she can really hold her own when it gets down to it. I also love references to silent and early sound-era Hollywood, whether real or fictional, as well as the business of making movies during that time period.

Prompts:

- Any pre-film scenes in the lives of the characters. Don and Cosmo (or Don/Cosmo) scraping by and getting into scraps in their traveling vaudeville days! Lina's past (is Lina Lamont her real name?) and her rise to stardom! How did Kathy decide to move to Hollywood, and what other kind of gigs did she do before Don and Cosmo rediscovered her?

- Lina uses her contract to maneuver at Monumental pretty deftly - what if she subsequently got more into the business side of Hollywood post-film?

- Slice-of-life stories work so well for Don and Kathy and Cosmo, whether in the process of making a movie or writing a symphony or just their day-to-day existence.

- After the film, Kathy gets an opportunity to work in a prestigious New York theater production. How does she (and Don, and maybe Cosmo) adjust to that very different performing world? Alternatively, maybe the three of them take The Dancing Cavalier to Broadway!

- This is a great canon for unusual formats and in-universe documents - news clippings, programs from productions they did, scripts (maybe with with their revisions and notes and markings), gossip columns, etc.

Some Like It Hot

Requests: Jerry|Daphne, Joe|Josephine, Sugar Kane, Osgood Fielding III

Ship and group notes: I'm good with gen, canon pairings, and/or any combination of Jerry|Daphne/Joe/Sugar. I'm also happy to have any combination of requested characters, including leaving one or two of the requested characters offstage or in the background if it makes more sense to focus on only one or two requested characters.

About the canon:

This is such a fun, witty movie, and I love the plots and counterplots and disguises and secret identities and secrets revealed. The characters are constantly pushing and pulling at each other, and for Joe|Josephine and Jerry|Daphne, it leads to genuine growth. (I personally like the idea of nonbinary Jerry|Daphne, but I'm happy to see any other gender interpretation as well). Sugar is a lovely combination of cheery, sweet, sultry, and wistful, and Osgood is off somewhere in his own world and all the more delightful for it.

Prompts:

- Outsider POV on the group of them during or after the film - maybe from Sweet Sue trying to manage her band, or from Osgood's Mama as he introduces his future bride and her best friends? I'd also like to see various newspaper articles on the events of the movie, from the raid at the funeral home to the Society Syncopaters performances to the mob's cake shooting at the hotel in Florida, and of their lives afterward (with none of the articles quite getting the whole picture...)

- Daphne and Osgood are pretty much set (for now, at least) but do Sugar and/or Joe keep performing for a living? What kind of careers do they have? Do Daphne and Osgood ever help them out (or have Daphne join one or both of them as a performer)?

- Their lives before the movie - Jerry and Joe becoming the Two Musketeers and eking their way through a musician's life in Chicago (did the gig where they wore the earrings or the grass skirts awaken anything in Jerry even before he became Daphne?), Sugar taking on a new name and looking for something in all those bands and all those saxophone players, Osgood and all his wives...

- The wedding of Daphne and Osgood, with all the joy and possibility of humorous disaster that entails.

Hello, creator!

I'm so excited to see what you come up with for this exchange! Hope you have a great time with it. Prompts are here if you want them, but if you have another idea that's inspiring you I'm happy to see that too.

I'm also glad to have any works that fit this year's community challenge, whether tricks or treats or Halloween-themed works!

If you have any questions or concerns, please contact me through the mods. I'm also sincereously on AO3.

General fic likes:
Worldbuilding (especially magical, religious and cultural worldbuilding)
Encounters with the supernatural, particularly ghosts
Characters using or attempting to use magic or other supernatural forces
Maybe-magic-maybe-mundane events
Canon divergence
Introspection
Humor
Suspense
Unreliable narrators
Dramatic irony
Moments of quiet intimacy during breaks in the action (especially good for missing scenes in between what we see in canon)
Complicated women, and complicated relationships between complicated women
Slowly building intimacy/respect together - slow burn in general
Taking care of injured people
Forced proximity (undercover together, trapped together, accidental/arranged marriage, fake dating, only one bed, etc.)
Elaborate plans that may or may not work out
Improvising new plans as you go along
"That's an extremely bad plan, of course I'm in" type situations and interpersonal dynamics
Getting in way over your head but throwing yourself headfirst into the plan anyway
Repressed characters learning to let go
Struggling against temptation/the Dark Side/inner demons (and giving in)
Mind control/possession (and resisting mind control/possession)
Unusual formats, including in-universe documents
Five + one things structure

General art likes
Depictions of canon rooms, houses, and landscapes (also includes maps and set designs)
Characters with bloody hands
Characters doing ordinary things with very un-ordinary things happening in the background
Black-and-white or greyscale with pops of color
Light - from warm glows illuminating the whole space to chiaroscuro
Any art style is great!

General DNWs:
Character bashing
Non-canonical child death
Setting change AUs (ex. coffeeshop, high school, modern AU, etc.)
Time travel AUs
Explicitly stated sexuality labels for characters whose sexuality is not canonically defined
Formalized dom/sub relationships
Ageplay
Omegaverse
Mpreg
Excretory kinks
Rape/noncon (dubcon - sex pollen with both/all characters dosed, sex in arranged marriages, fuck-or-die, etc. - are fine)
Underage under 15 and unrequested non-canonical ships with 20+ year age gaps (mentions of canon examples of both are acceptable, but please don't make them the focus of the fic)
Animal abuse
Fic devoted primarily to examining real-world issues/-isms (please don't feel that you have to avoid them, but I'd rather they not be the entirety of what the work is about)
Hopeless endings (endings can be dark, but not without any shred of hope)
For both fic and art, please keep the level of violence at about what it is in canon.

FANDOMS

Arsenic and Old Lace

Requested Characters: Abby Brewster, Martha Brewster, Mortimer Brewster, Elaine Harper

Canon-specific DNWs: Canon-divergent death of any requested characters.

A classic movie with dead body shenanigans, the nicest murderers you’ll ever meet, and one very frazzled Cary Grant. What could be better for Halloween? I love the humor in this, the contrast of sweetness with horror lurking underneath (like the poisoned elderberry wine), and watching it has been a Halloween tradition for me for years.

I like Mortimer/Elaine, and I’m also happy with gen-focused works for this canon.

Prompts

- I’d love to see more of Abby and Martha’s history - how they grew up (their dad had a laboratory and seemed to be pretty wonky himself), raising Mortimer and getting to know Elaine, some of their early kills…

- During Mortimer and Elaine’s courtship, Abby and Martha decide to make a love potion for the lovebirds.

- Abby and Martha are throwing a Halloween party! And during the party, they find a lonely old gentleman who they think might need some of their special charity...

- Post-canon, Mortimer and Elaine just...have a house in Brooklyn with thirteen dead bodies in the basement. How do they handle that?

- The ghosts of the dead men start coming around. How do the inhabitants deal with that? Abby and Martha would probably just set out a nice tea for them, but Mortimer and Elaine would probably be less sanguine.

Blithe Spirit

Requested Characters: Ruth Condomine, Elvira Condomine, Charles Condomine, Madame Cecily Arcati

I love the dry, irreverent humor of this play, full of vaguely terrible but deeply entertaining people sparking off against each other.

I'm happy with gen or any shipping combination of characters!

Prompts

- How do any of the characters deal with the world of the afterlife, tiresome bureaucracy and backgammon with Genghis Khan alike?

- Madame Arcati's career as a medium outside the events of the play - what all happened at the Sudbury case? Did she have any other significant successes, before or after the events of the play? How did she develop her connection with Daphne?

- Charles seems to escape when the curtain falls, but is he ever free from ghosts? Does he run into Elvira or Ruth after canon, or does he find that now other ghosts won't leave him alone (possibly on Elvira or Ruth's instigation)? What happens when he dies?

- Elvira and Ruth are developing something of an understanding as the play winds down - they have wildly different personalities, but they can bond over their frustrations with Charles and with being dead. What do they choose to do with their (un)lives after canon? Can they ever work together or find some genuine rapport, or are they stuck in conflict for eternity?

- Ruth and/or Elvira possess Charles and/or Madame Arcati. Things spiral rapidly from there.

Psycho

Requested Characters: Lila Crane, Marion Crane, Sam Loomis, Norman Bates, Mother

Canon-specific DNWs: Canon-divergent deaths of Marion or Lila, or complete disappearance of Mother. Canon deaths are fine, as is non-canonically killing off Norman or Sam.

I enjoy all the things that are not as they seem in this canon, about the sides of the characters that they hide from everyone, sometimes including themselves. There’s a lot of horror, but it’s understated and happens more in people’s heads (including those of the audience).

Shipwise I like Marion/Sam, Marion/Norman, and Sam/Norman. None of these ships have to be portrayed as straightforwardly romantic and can definitely go to dark places (particularly those involving Norman, because, well, dude has issues). I don't mind incorporating aspects of the books/sequel movies but would prefer a focus on this specific movie, and I'm also fine with ignoring the books/sequels if you'd like to explore something different.

Prompts

- What was Norman's life like in that spooky house and that run-down motel with only Mother for company? What did the other townsfolk, including Sam, think of him? It's not unlikely that the knife that killed Marion came from Sam's hardware store...

- Mother's perspective on the events of the movie, or on living in the mental hospital after canon. How much is she aware of the things she's done and/or the things Norman blames her for? How much does she see herself as separate from or a part of Norman, and how does she express that understanding?

- Marion's ghost appears - haunting her killer, leading her sister and/or lover to the truth of what happened to her, just taking out her frustration on everything in sight, etc.

- Marion isn’t attacked in the shower, and later comes to live in Fairvale with Sam without telling him what she did. She and Norman now have the weird position of having shared some secrets with each other but kept plenty of others - what happens when she runs into him again? Does Lila or Sam ever suspect what happened? Are the police still after Marion, or do they ever get suspicious about Norman?

- Anything about Lila's grief, and Sam's, post-canon. Marion was one of the few people either of them had left and she died a couple of weeks before Christmas, poor guys. I'd also be interested in seeing Lila confront Norman/Mother, or making a desperate attempt to reach Marion beyond the grave.

Hello, creator!

I'm so excited to see what you come up with for this exchange! Hope you have a great time with it. Prompts are here if you want them, but if you have another idea that's inspiring you I'm happy to see that too.

If you have any questions or concerns, please contact me through the mods. I'm also sincereously on AO3.

General fic likes:
Worldbuilding (especially magical, religious and cultural worldbuilding)
Encounters with the supernatural, particularly ghosts
Characters using or attempting to use magic or other supernatural forces
Maybe-magic-maybe-mundane events
Canon divergence
Bickering, friendly and not-so-much
Introspection
Humor
Suspense
Unreliable narrators
Dramatic irony
Moments of quiet intimacy during breaks in the action (especially good for missing scenes in between what we see in canon)
Complicated women, and complicated relationships between complicated women
Slowly building intimacy/respect together - slow burn in general
Taking care of injured people
Forced proximity (undercover together, trapped together, accidental/arranged marriage, fake dating, only one bed, etc.)
Elaborate plans that may or may not work out
Improvising new plans as you go along
"That's an extremely bad plan, of course I'm in" type situations and interpersonal dynamics
Getting in way over your head but throwing yourself headfirst into the plan anyway
Repressed characters learning to let go
Struggling against temptation/the Dark Side/inner demons (and giving in)
Mind control/possession (and resisting mind control/possession)
Unusual formats, including in-universe documents
Five + one things structure

General art likes
I love a wide range of art styles, so I don't have much of a preference there. For art/comic-specific prompts:
Learning how to dance
Sneaking into a place they're not supposed to be
Characters using weapons
Anything in a stained glass style!

General DNWs:
Character bashing
Non-canonical child death
Setting change AUs (ex. coffeeshop, high school, modern AU, etc.)
Time travel AUs
Explicitly stated sexuality labels for characters whose sexuality is not canonically defined
Formalized dom/sub relationships
Ageplay
Omegaverse
Mpreg
Excretory kinks
Rape/noncon (dubcon - sex pollen with both/all characters dosed, sex in arranged marriages, fuck-or-die, etc. - are fine)
Underage under 15 and unrequested non-canonical ships with 20+ year age gaps (mentions of canon examples of both are acceptable, but please don't make them the focus of the fic)
Animal abuse
Fic devoted primarily to examining real-world issues/-isms (please don't feel that you have to avoid them, but I'd rather they not be the entirety of what the work is about)
Hopeless endings (endings can be dark, but not without any shred of hope)
For both fic and art, please keep the level of violence at about what it is in canon.

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Arsenic and Old Lace

Requested Characters: Abby Brewster, Martha Brewster, Mortimer Brewster, Elaine Harper

Ship Notes: I like Mortimer/Elaine, and I’m also happy with more of a focus on gen for this canon.

Canon-specific DNWs: Canon-divergent death of any requested characters.

About the canon:

A classic movie with dead body shenanigans, the nicest murderers you’ll ever meet, and one very frazzled Cary Grant. What could be better for Halloween? I love the humor in this, the contrast of sweetness with horror lurking underneath (like the poisoned elderberry wine), and watching it has been a Halloween tradition for me for years.

Prompts

- I’d love to see more of Abby and Martha’s history - how they grew up (their dad had a laboratory and seemed to be pretty wonky himself), raising Mortimer and getting to know Elaine, some of their early kills…

- During Mortimer and Elaine’s courtship, Abby and Martha decide to make a love potion for the lovebirds.

- Post-canon, Mortimer and Elaine just…have a house in Brooklyn with thirteen dead bodies in the basement. How do they handle that?

- The ghosts of the dead men start coming around. How do the inhabitants deal with that? Abby and Martha would probably just set out a nice tea for them, but Mortimer and Elaine would probably be less sanguine.

Mexican Gothic

Requested Characters: Noemi Taboada, Catalina Taboada, Francis Doyle, Virgil Doyle

Ship Notes: I’m happy with any canon ships as well as any shipping among requested characters.

Canon-specific DNWs: Death of Noemi or Catalina. Any canon deaths are fine, as is non-canonically killing off Francis or Virgil.

About the canon:

The characters are so great - I love how they interplay with each other through the story, with Noemi’s ingenuity and Catalina’s quiet determination and Francis’ gentleness and Virgil’s dangerous charm. Besides the characters, I love the book’s hazy, disorienting, suspenseful atmosphere and the way family secrets interact with it.

Prompts

- Any pre-canon relationship development, especially between Catalina and Noemi and between Francis and Virgil at High Place. For the former two, maybe scenes with them at a masquerade or another seasonal celebration? With the latter two, what was it like growing up in that horror of a house?

- In addition to general backstory, I’d love to see more of Catalina and Virgil’s courtship and early marriage, with Catalina slowly realizing how fucked-up the Doyles are and figuring out what she needs to do to survive.

- There’s a lot of room for exploring rituals, from getting involved in a Day of the Dead celebration to the Doyles’ efforts to continue their connection to the fungus.

- Noemi, Catalina, and Francis on fungus-hunting road trips post-canon.

Psycho

Requested Characters: Lila Crane, Marion Crane, Norman Bates, Sam Loomis

Ship Notes: I like Marion/Sam, Marion/Norman, and Sam/Norman. None of these ships have to be portrayed as straightforwardly romantic and can definitely go to dark places (particularly those involving Norman, because, well, dude has issues).

Canon-specific DNWs: Canon-divergent deaths of Marion or Lila. Canon deaths are fine, as is non-canonically killing off Norman or Sam.

About the canon:

I enjoy all the things that are not as they seem in this canon, about the sides of the characters that they hide from everyone, sometimes including themselves. There’s a lot of horror, but it’s understated and happens more in people’s heads (including those of the audience).

Prompts

- What was Norman's life like in that spooky house and that run-down motel with only Mother for company? What did the other townsfolk, including Sam, think of him? It's not unlikely that the knife that killed Marion came from Sam's hardware store...

- Marion isn’t attacked in the shower, and later comes to live in Fairvale with Sam without telling him what she did. She and Norman now have the weird position of having shared some secrets with each other but kept plenty of others - what happens when she runs into him again? Does Lila ever suspect what happened? Are the police still after Marion, or do they ever get suspicious about Norman?

- Anything about Lila's grief, and Sam's, post-canon. Marion was one of the few people either of them had left and she died a couple of weeks before Christmas, poor guys. I'd also be interested in seeing Lila confront Norman/Mother, or making a desperate attempt to reach Marion beyond the grave.

A Series of Unfortunate Events

Requested Characters: Beatrice Baudelaire, Kit Snicket, The Duchess of Winnipeg

Ship Notes: I'm happy with any of the canon ships or with any shipping among requested characters. If you're writing Kit around the time of her pregnancy I'd prefer that her child's father be Dewey.

About the canon:

One of my favorite series as a kid! I love the frequent references, the macabre humor, and the mysteries that are constantly hinted at and only sometimes solved. For this exchange, I’m also interested in the friendship among the women, as tragically as it turned out.

Prompts

- Anything at all about them growing up in VFD together - practicing theatrics and codes, going mountain climbing, training bats, interacting with their fellow Volunteers, things like that!

- I enjoy unusual formats and I'd love to see in-universe coded correspondence and puzzles sent among them about their lives and their missions for VFD.

- Beatrice actually did survive the fire and is rescued by Kit and/or the Duchess. Does having her friend back help Kit's unhappiness? Could she and the Duchess pull off a plan to stop the firestarters or try to help her children?

Since the first post for the Three Sentence Ficathon has recently closed, I thought I'd collect my fills here! It's been a lot of fun, and if you're interested, you can fill in prompts from the first post here or join in on the second post here.

You can also find lists of unfilled prompts from the 2020 and 2021 Three Sentence Ficathons, compiled by

conuly.

Prompts with asterisk* marks are from the second round of prompts.

Antigone (Ancient Greek Religion and Lore)

Original prompt: Antigone - Ismene - if there´s a reason I´m still alive when so many have died I´m willing to wait for it (I am the one thing in life I can control)

It would be easier to die, she knows - she is the last child of Jocasta, a creature that was never meant to exist in the first place. She can see how the people lower their voices and cross the room when she appears, as if the heavy burdens of a gods-cursed life can somehow fall upon them if they come too close.

It would be easier to fade away, to allow them to forget her and everything that has happened to her - to Father, to Mother, to her brothers and her dearest Antigone - and for that alone, she is determined to live.

The Giver - Lois Lowry

Original prompt: The Giver, Lily, left behind

Lily never knew what color Jonas' eyes had been, but she thinks they were like the Receiver's eyes - blue as the water of the river, gentle and patient.

The Receiver tells her that the deep ache in her chest that makes her cry whenever she notices one of Jonas' belongings still lying around is called "grief" and "loss", and he encourages her to talk about it with her parents and her teachers (some things in the Community have not changed so much, after all).

But she comes to the Receiver instead, and when he looks at her with Jonas' eyes, it's as close as she thinks she'll ever come to seeing her brother again.

Paint Your Wagon

Original prompt*: Paint Your Wagon, Elizabeth/Pardner/Ben Rumson, the golden country

Seems like all anybody can talk about in No-Name City is gold - where the newest strikes are, who's got the best claim, all the most tricky and ingenious ways to barter and steal and trade your way to that enticing yellow dust.

Elizabeth can't help but think they're all off their heads.

Maybe gold's got some certain value, she'll give it that, but - the gold of the sunset behind the from the porch of her new house, the shining glint of Ben's eyes as he drunkenly proclaims on the beauty of this wild land, the yellow of her hair in the mirror when Pardner runs his hands through it, that's all the gold Elizabeth needs.

A Song of Ice and Fire

Original prompt: ASOIAF, any, snowball fight

Brandon shook the snow out of his hair and glared at Ned, which might have come across as more intimidating if they hadn't all just heard him yelp when several well-aimed snowballs hit his back. "You were supposed to be on my side!"

Ned only smiled and tossed the last snowball he was holding at Brandon, who ignored it in favor of launching himself at Ned, tackling him into the snowbank. Behind them, Lyanna and Benjen peeked out from behind an oak tree and burst into laughter.

Brandon laughed himself as he shoved handfuls of snow down the back of Ned's shirt, saying, "Traitor! Turncloak! I was going to give you a holdfast when I become Lord of Winterfell, but if that's how you're going to treat your liege lord - "

"That won't happen for ages, anyway," Lyanna said as she threw herself into the snowbank - her brothers never did something without her wanting to be in the middle of it - and started to pile snow on them both.

Benjen nodded, leaning back against the oak tree. "She's right. Father's never been ill a day in his life."

"You'll be an old, grey man before you get Winterfell," Lyanna declared.

Brandon threw a snowball at her for that, but halfheartedly - the energy was beginning to go out of all of them as the sun started to set over the walls of Winterfell. He pulled himself up, offering his hands to his brother and sister where they lay in the snowbank. "Come on, then. If we have so much time before we have to worry about Winterfell, we might as well spend it someplace warmer."

Original prompt*: asoiaf, Irri and/or Jhiqui, dragonriders

"It's not so different from riding a horse," the khaleesi says, and Irri would have laughed if she had not been so nervous, the hot breath of the dragon rolling down her body as she put a hand on its burning scales.

But the khaleesi puts Irri in the saddle in front of her, her body molded comfortably into Irri's, and when the dragon takes off and the wind rushes across her face like the swiftest of stallions as the ground disappears below her, Irri whoops like her father the khal had done when he rode into battle, and she can feel the khaleesi's grin into her neck.

When the khaleesi is gone, Irri approaches the pyramids where her remaining children live without fear; it is not so different from a horse, and yet so much more than a horse, Irri thinks as the dragon takes her up into flight.

Star Wars

Original prompt: star wars, luke & leia, the force

Reaching through the Force is like wakening a limb long left numb, and even following Luke's guidance it comes close to overwhelming her with sensation, the pulse of living beings breathing and the sharp remains of creatures long dead and something that, for a fleeting and aching moment, almost feels like Alderaan.

When she opens her eyes, Luke is still holding onto her hand, his head cocked and an unspoken question between them.

"All right, I'll train," she says, "but I'm not calling you Master."

Original prompt: Star Wars, Han/Leia, as you wish

At first she thinks that Han's just trying to find another way under her skin, that "as you wish" is only a variation of his more typical yes ma'am, absolutely, if it please Your Worshipfulness whenever she asks him to do something.

She keeps finding ways to make him say it, for reasons she can't explain even to herself, even as the requests turn from I need you to set up the corral for the tauntauns to I need you to fly this mission, you're the only one who knows the sector to, finally, Han, don't leave yet, I need you to stay.

"As you wish," he says, and for the first time she thinks it might mean something different to them both.

Original prompt: any, any, bad ending (Luke, warning-major character death)

Afterward, while Vader and the Emperor are nothing more than cooling corpses and the battle still whirls among the stars outside the transparisteel windows, Luke sits down shakily on the steps; his heart pounds scarily fast, freezing and burning him with each beat as power (he can no longer tell if dark or light, and he wonders if his father had felt that way just before Luke killed him) thrums through his veins, fear and anger and sorrow running with it as if his skin could barely contain it all.

So this is the end of it, he thinks, no more Jedi and no more Sith, Ben, Yoda, I'm sorry.

Distantly, he thinks he can hear Leia screaming at him to run even above the sound of the warning klaxons, but still he sits with the dead and the Force even as the Death Star begins to buckle and burn, I'm sorry I'm sorry this is how it has to end I'm sorry Han Leia I love you I love-

Original prompt: Star Wars, Luke and/or Leia, remembering Padmé

Leia remembers her mother, but the memories are only wisps across her consciousness, a warm feeling of protection and a face she only sees as if through a misted window, and always gone before she can catch the woman's eyes.

It's more than what Luke has, though, and the first time Leia shares her memories in both their minds, the wonder that she can sense from him makes her heart feel full.

"That's her?" he whispers; Leia squeezes his hand, and in the shadow of memory Padmé smiles.

Hello, creator!

I'm really looking forward to this exchange, and I'm excited to see whatever you'll create! No matter what, I hope you have a lot of fun. Prompts are here if you want them, but I'm happy with anything that respects my likes and DNWs.

If you have any questions about this letter, please contact me through the mods.

General fic likes:
Worldbuilding (especially religious, cultural, and magical worldbuilding) in fantasy, sci-fi, and mythological canons
Maybe-magic-maybe-mundane events
Canon divergence
Solving mysteries
Friendly bickering
Slap-slap-kiss dynamics
Moments of quiet intimacy during breaks in the action (especially good for missing scenes in between what we see in canon)
Loyalty
Close friends/lovers charging into danger to save each other
Forced proximity (undercover together, trapped together, arranged marriage, etc.)
Elaborate plans that may or may not work out
Improvising new plans as you go along
Repressed characters learning to let go
Mutual pining
Slow burn
Hurt/comfort

General DNWs:
Character bashing
Canon-divergent death of any requested characters (canonical deaths are fine)
Non-canonical child death
Setting change AUs (ex. coffeeshop, high school, modern AU, etc.)
One or both/all sides of a requested pairing cheating on the other (exceptions noted in individual fandom requests)
Formalized dom/sub relationships
Ageplay
ABO/omegaverse
Mpreg
Watersports
Scat
Body horror
Explicit rape/noncon (dubcon - sex pollen with both/all characters dosed, sex in arranged marriages, fuck-or-die, etc. - are fine)
Underage under 15 and unrequested non-canonical ships with 15+ year age gaps (mentions of canon examples of both are acceptable, but please don't make them the focus of the fic)
Cross-gen incest
Animal abuse
Fic devoted primarily to examining real-world issues/-isms
Hopeless endings (endings can be dark, but not without any shred of hope)
In art - graphic depictions of violence above what you'd see in a PG-13 movie. For fic, just keep the depictions of violence at about the same level it is in canon.

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Ancient Greek Religion and Lore

Ariadne/Dionysus/Maenads/Satyrs

I'm fine with Ariadne/Dionysus as a 'primary' relationship with the Maenads and Satyrs being more casually involved or with one or more Maenads or Satyrs having a more serious relationship with Ariadne and/or Dionysus, however you prefer.

This is one of those relationships where things can get absolutely mindbending, in any meaning of the term. Feel free to go wild! If you want to involve specific Maenads and Satyrs too, that's good with me, or you can make OCs.

Prompts
-The cult of Dionysus offered freedom to its followers, and I love the idea of Ariadne coming into her power as the god's bride and/or a goddess in her own right, depending on what myth you read. What happened the first time Ariadne led rituals at the Bacchic or Eleusinian Mysteries?
-Ariadne and Dionysus had one of the very few functional relationships in Greek myth, and I'd love to see the early days for their marriage as Ariadne adjusts to this heady new world, as well as the sexual freedom that comes with it, with both of them taking Maenads and Satyrs for lovers.

Friends

Chandler Bing/Joey Tribbiani/Monica Geller

I enjoy this relationship as a full triad, although I also like it as a V-type relationship of your choice.

These three have some of the most solid relationships on Friends, with plenty of care to go around. They all get along so naturally it's easy to see them living like that for the rest of their lives.

Prompts
-All the tropey nonsense - fake dating! Sharing a bed for reasons (maybe during the beach vacation?)! The heating's busted and the obvious solution is to huddle for warmth. The more sitcom shenanigans the better!
-I'm really fascinated by the idea that, early on in the series, the showrunners planned for Monica/Joey to be the main pairing. How would that AU look - maybe Joey made a better impression during 'The One with the Flashback' and they started dating from there? How does Chandler join in?

Singin' in the Rain

Cosmo Brown/Don Lockwood/Kathy Selden

I enjoy this relationship as a full triad, although I also like it as a V-type relationship of your choice.

These three have such great affection for each other, and they all seem to have so much fun together. I also love references to silent and early sound-era Hollywood, whether real or fictional, as well as the business of making movies during that time period.

Prompts
-Slice-of-life stories work so well for these three, whether in the process of making a movie or just their day-to-day existence. (I always picture them living together in Don's gigantic house, barging in on each other with new ideas for songs or dances).
-Cosmo finally writes that symphony. How does the first performance go?
-The gossip columnists are absolutely baffled by these three. Bonus for fake articles trying to figure out just what their relationship is like.

A Song of Ice and Fire

Catelyn Tully Stark/Cersei Lannister/Jaime Lannister; Cersei Lannister/Jaime Lannister/Ned Stark; Catelyn Tully Stark/Jaime Lannister/Ned Stark; Catelyn Tully Stark/Cersei Lannister/Jaime Lannister/Ned Stark

I'm happy with these relationships as equilateral or as one or more Vs. In addition, if you have Ned/Catelyn as an established pairing (especially if they're married), I DNW infidelity between them. That said, infidelity with others in these groupings, including cheating on partners not mentioned in these requested pairings, is fair game.

These relationships just promise some fun dynamics. I love how intensely they can feel about each other, whether that's love or hatred, and would enjoy seeing those relationships could play out differently. It may be a trainwreck, but a spectacular one!

Prompts
-Pre-Rebellion teenage shenanigans! Maybe Cersei and Jaime visit Riverrun and have their own competition to see who can better seduce the eldest Tully girl, or Cersei gets jealous seeing Jaime and Ned get a little too close practicing sparring and wants to take her own turn with Ned.
-I really love canon divergence for this canon, and there's so many ways to take it. You could have a situation where Catelyn is married off to Jaime or Ned to Cersei (or both!), with all of them handling their post-Rebellion trauma.
-Jaime and Ned are really more alike than I think either of them would like to admit, and I love the idea of both of them serving together either on the Kingsguard or on the Wall. As for how Cersei and/or Catelyn are involved, anything goes! Maybe Queen Cersei feels that if her brother is taking a lover then she has every right to do the same with her lady-in-waiting Catelyn, or Night's Watch members Jaime and Ned start up a correspondence and later an affair with the Lady of Winterfell.

Ellaria Sand/Oberyn Martell/Willas Tyrell

I enjoy this relationship as a full triad, although I also like it as a V-type relationship of your choice.

In contrast to the other ASOIAF pairings in this letter, these three feel downright stable to me. Despite cultural differences and historical enmities between the Reach and Dorne, I really do see them as a relationship that all three take simple happiness from.

Prompts:
-Willas' first time visiting Oberyn and Ellaria in Dorne! Alternatively, the first time Ellaria comes to the Reach with Oberyn and meets Willas. Alternatively alternatively, all three of them head on a trip (for business and/or pleasure) to Essos.
-Oberyn and Willas' relationship canonically was built on letter correspondence. It'd be fun to see epistolary fic based on those letters, as well as letters to and from Ellaria.

Star Wars

Han Solo/Leia Organa/Luke Skywalker

I like this relationship as a full triad, although I also like it as a Han-centric V if you'd rather avoid the whole incest thing. Either is good!

I adore how all three of them have each other's backs basically from the start (even Han, not that he'd ever admit it). Most of the OT is one or more of them doing something incredibly stupid for the sake of saving the others, and it all adds up an incredibly strong mutual trust and affection. I'm familiar with all the movies, although I'm not as up to date on the EU, either Legends or Disney; that said, feel free to pull on any canon you want for this! I'd prefer that any works here are set before or around the time of the OT, and at the very latest be set before Ben falls.

Prompts:
-Canon divergence is a lot of fun in this canon - in particular, I never get tired of twin-switch AUs and one-or-both-twins-raised-by-Vader AUs.
-I always see Han as being just a little weirded out by the whole Force thing, no matter how long he knows Luke and Leia. How does he handle both of their growing powers, and how does it change their relationships?
-All three of them have to go undercover for Rebellion-related reasons. This can be them working together in an established relationship or an experience where the plan inevitably falling apart leads to them confessing feelings/getting together.

Bail Organa/Breha Organa/Padmé Amidala

I enjoy this relationship as a full triad, although I also like it as a V-type relationship of your choice.

Bail, Breha, and Padmé are all characters full of strength and devotion, and I appreciate their dedication to their political goals and to the people they love no matter what. I also just want the chance for them to have a happier ending than they did in canon!

Prompts
-I'd love to see how all three of them first come to know each other - Bail and Padmé's time serving together in the Senate, for example, and how one or both of them fell for Breha.
-I'm always here for Padmé-lives AUs, especially where she gets to raise the twins (possibly alongside Bail and Breha). Padmé would also be instrumental in working with Bail and Breha to create the Rebel Alliance, and I'd love to see more of all of their work as Rebels, including in AUs where all three live past the destruction of Alderaan.

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sincereously

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