silmaril
For the last few months @luminousalicorn and I have been writing Silmaril, a series of interconnected collaborative Silmarillion fanfics. Uh, if ‘Silmarillion fanfics’ is very loosely defined. There’s a space AU. There’s an Animorphs AU. There’s a Hogwarts AU (set in 1802!). There’s a grimdark Game-of-Thrones-parody AU. There’s a PMMM crossover and a genderswapped!MCU crossover and a small Fëanor who runs away from home and ends up in Star Trek (he’s the most well-adjusted Fëanor by a long shot.)
Writing Silmaril has been a ton of fun, and it has also been really clarifying about the way I think about, and write about, the Silmarillion in general.
In my fic here I like to take full advantage of all of the ambiguity Tolkien leaves in the text: he didn’t bother specifying when and how someone died? That’ll be an in-universe problem: it was politically contentious, witnesses had incentives to lie, historians couldn’t have interviewed anyone who was there. Where I can, I reconcile: I draw out how both versions of events which Tolkien considered could have taken hold as narratives. I leave the truth up in the air.
In collaborative fiction you can’t do that.
How does the oath work? What’s at the edge of the world? People will go and check, so I had to decide. Can nukes kill Melkor? I had to make up my mind about that too (but I’m not telling; it’d be a spoiler). I like to leave it super ambiguous whether Maedhros and Fingon are dating, because they’re rarely the central focus of my stories and it’s fun to draw a relationship that is convincing from whatever angle you bring to it. In Silmaril they’re on screen far too much for ambiguity to be the most interesting take on them. (They’re totally dating. It’s not totally healthy.)
LACE implies, but doesn’t technically say, that for Elves sex is marriage. Is that true? Usually I don’t need to know that. I need to know whether my characters believe it, but it almost doesn’t matter whether they’re right. But throw the world up against another one, and someone will certainly go check if that’s really how it works. (In Silmaril, Elf marriage is expectation-controlled; some societies believe that certain acts constitute marriage, and so in those societies they do, usually to destructive effect.)
The Silmarillion is deliberately a collection of myths, a historical work, unreliable on its own subject matter, a blurring of legend and truth. Landing on it and running some experiments demands a wholly different angle on it. It has been amazingly fun, and I’m going to keep doing it, but I don’t think I want to borrow all the pieces for my writing where I’m less constrained.
And there are some things that I get away with in Silmaril that I think would be bad writing without the crossover conceit; I’m more comfortable writing characters who are unreflectively racist, homophobic, sexist, gender essentialist, etc. (not to mention mass murderers) when there are other characters to call them out on it. I’m not confident enough in my ability as a writer to do that when there’s no one around in the story to disagree. And, like, I find the ‘sex is marriage’ thing gross and terrible, and have no interest in writing it except in contrast to societies that don’t have it. (But in that context it’s fascinating.)
Silmaril contains war and war crimes, occasional explicit content, and descriptions of Angband which some readers told me were even more horrifying than expected.