Like the Fellow Says (7425 words) by Selena
Fandom: The Americans (TV 2013)
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Relationships: Philip Jennings & Charles Duluth
Characters: Philip Jennings, Charles Duluth, Elizabeth Jennings
Additional Tags: Unresolved Emotional Tension, Backstory, Character Study, Non-Linear Narrative
He knew damn well that without these meetings with Philip, handing over information, trading sarcasm, his life now would be meaningless. He'd known that for a while. But what he hadn't known before was what Philip got out of it. Asset and handler: Charles and Philip through the years.( Some background rambling )
Saving Mrs. Fleming (10542 words) by Selena
Fandom: Mary Renault RPF, 20th Century CE RPF, Alfred Hitchcock RPF
Rating: General Audiences
Warnings: No Archive Warnings Apply
Relationships: Mary Renault/Julie Mullard, Alfred Hitchcock/Alma Reville, Mary Renault & Clementine Challans, Mary Renault & Alfred Hitchcock, Mary Renault & Alma Reville
Characters: Mary Renault - Character, Alfred Hitchcock, Alma Reville, Julie Mullard, Sidney Bernstein, Clementine Challans
Additional Tags: Mommy Issues, Character Study, Dark Comedy, Mother-Daughter Relationship
In 1947, Mary Renault's novel Return to Night won the MGM award. The director charged with filming it: Alfred Hitchcock. Where her book ended, their story began...
Aka the story I’ve been threatening to write for a while, and which Naraht kindly requested. It all started when Naraht hosted a discussion of Mary Renault’s novel Return to Night, and almost simultaneously the movie Saving Mr. Banks, aka the Disney take on Mary Poppins creator P.L. Travers clashing wit Walt Disney over his intended film version of her book, was released in Germany. In the discussion, someone brought up that Return to Night (today practically unknown compared with Renault’s other novels) had won the MGM award and so presumably at some point must have been intended as a basis for a film version. This made me wonder who the director would have been, and more specifically, which director would have been guaranteed to have the most entertaining clash of personalities with Mary Renault. And somehow, my mind produced Alfred Hitchcock.
The idea, cracky as it sounded, absolutely refused to let me go, especially when I started to brush up a bit on both Hitchcock’s and Renault’s lives. Not only were they both creative, interesting people with issues galore and very different attitudes towards creation, but they came each equipped with mother issues, and in Hitchcock’s case, with a partner who was just as interesting but would have been bound to clash with Mary Renault as well. (Sidenote: Julie Mullard, Mary’s partner, was an interesting person as well, but didn’t work with her on her books, and it was the life time collaboration that made the Hitchcock marriage so intriguing to me. So Julie gets a less prominent part than Alma in my story.) At first, I wanted to write an AU in which the film got made, but eventually decided with go with a more “missing interlude” approach.
There was the question of the setting. I gave up my original idea of letting Mary Renault go to Hollywood pretty soon, because once I had read Sweetman’s biography of her, I couldn’t imagine her spending money on such a trip, or the studio paying it for her. Fortunately, Hitchcock actually was in England for part of 1947, the year Renault’s novel won the MGM award (and the year before she left England and moved to South Africa) because of his last movie for David Selznick, The Paradine Case. (Otoh 1947 meant Naraht’s dream casting for Return to Night’s heroine, Hilary Mansell, would have been very unlikely, because Deborah Kerr was still too young then. This was her Black Narcissus era.)
Once I had determined the year and place, the Renault meets Hitchcock(s) ball started rolling. With such vivid characters, the story practically wrote itself. I hoped the result would work both for people who were somewhat familiar with them, and for people who’d never read a single Renault novel or seen a single Hitchcock film. It’s certainly one of the Yuletide stories I enjoyed most writing.