Title and link: Aftershocks Link goes to the first chapter.
Author:
Nominated by:
Summary: In the wake of the Tritter investigation, House deliberately distanced himself from Wilson and found himself owing a large gambling debt to a particularly vicious gangster. When House balked at paying, the retribution came down not on House, but on Wilson, who was kidnapped and assaulted within an inch of his life by the gangster's hired thugs. The leader of the thugs, we learn, knew House in his early adolescence. This story is what happens after Wilson is found alive and the long process of healing and forgiveness – with a certain amount of retribution -- begins.
Why does this fic belong in the Hall of Fame? There are many things that are difficult to write convincingly – chilling villains, a brutal assault, the experience of pain and emotional suffering, the expression of guilt, the complex emotional lives of men, the fracturing and healing of both a human being and a friendship – and this story does all that flawlessly. The accomplishment is all the greater when one realizes this was not the work of a single author but rather of four who have distinctive writing styles. For this project, though, they managed to create a separate personae with a style different from their own. It is virtually impossible to pick out who wrote which sections, even when one is familiar with the style of the authors. Despite the often violent nature of this story, the writers have skillfully woven in moments of great humor, of the sweetness of an enduring friendship, and the joy of a life regained. All the while, House and Wilson stay in character, and the quartet of writers create a cast of vivid original characters for them to interact with.
Because of the length and complexity of this fic, a little history of how it came to be is necessary: This novel-length (it prints out at over 300 pages) story had its beginning in "Bad Company." There are five sections titled "Interregnum," which were written by the Black Cigarette Collective. These delve into what happened during "Bad Company" and bring House and the core cast of original characters into the story. "Aftershocks" was unveiled on August 10, 2007, and concluded on December 24.
Links to every section of the story can found here.
Excerpt:
(This is from Aftershocks 3:1 – "Strange Angel." House has slipped into Wilson's hospital room after visiting hours, and these are his thoughts as he examines his unconscious friend by penlight.)
He had wanted Wilson to suffer, to understand. He was supposed to learn how it felt when you'd screwed up and then found that nothing you could do would ever be good enough to fix it. How it felt to be House.
So he talked to Wilson about patients, and about his fun new friends, and nothing else. He had loved watching the jabs hit home, seeing those subtle flickers of hurt in Wilson's eyes when he'd tell a joke he heard from someone in that shark pool. It was good to watch Wilson's posture crumble a little with every report of a winning hand of poker or an accurately called horse race. Good to see him cringe at the wallet full of cash, the winnings House would flaunt but never share.
It was good for a while to rebel against clean, shiny Wilson. None of Reno's guys cared how much House smoked or how many pills he took. The only time those men ever talked about a liver it was because they were ordering one, with grilled onions.
Once—and it was only once—Wilson huffed at him in that edgy voice of his, telling him it was a bad idea. Those are dangerous men, said Wilson. They're not your friends. You're going to get hurt.
He'd laughed in Wilson's face and walked away.
He wasn't going to get hurt. He was just about done with those morons anyhow; they kept telling the same jokes over and over. They didn't even get half the jokes House told in return. They ate liver and onions. They thought his name was funny, and they'd call him Hotel or Condo, laughing like it was the most original thing ever.
There was just that one more irresistible bet House wanted to make. He'd win that, he was sure of it, and then he'd saunter off and that would be the last those guys would see of him.
March 28 2008, 00:06:53 UTC 4 years ago
March 28 2008, 04:20:14 UTC 4 years ago
Those are some tough questions, Namaste. I'll try and answer as best I can, but I'm calling on my
co-conspiratorscollaborators to jump in with anything they might want to add (including correcting any errors I may make).... at what point did you as a collective realize that you had the potential to create this?
Well, we weren't really the collective until we decided we were really going to go all the way with this project and actually take the step of posting it to the comms. Until then we were just four writers playing off each other, enjoying the ride. When we decided we wanted to go ahead and post (I believe it was
Who was the person who first said: Hey, let's write a sequel?
Heh! No one. The first draft of Bad Company was written on March 9th, 2007. By the 11th,
... how did it feel to share your creation?
It was the best feeling in the world. The idea that other writers -- terrific writers -- were so intrigued by this ficverse that they wanted to add to it? It was ... humbling. I know that probably sounds very silly and perhaps disingenuous to a degree, but it's the truth.
... how fluid was the plotting of this?
Oh, God -- very. We had a "core set" of about ... 70? ... sections to start with, but it took a long time to integrate all the details and get them to fully mesh with each other. And then it started growing, even beyond that core set of chapters, and we had to integrate those, and make sure all the internal details fit together ... we were literally posting on the run more than once. It's entirely possible there's some horribly gaping plothole out there, yet to be discovered.
Did you know exactly where it would go?
Yes. I wrote a bare-bones outline of Win, Lose, or Draw on April 24th, 2007. At that time it was simply called "The End." It was intended as a focus point -- something we could see, and perhaps feel, as a logical conclusion to what I think all four of us instinctively knew was going to be a monster.
Or were there opportunities to write something when the muse bit?
And -- yes. There were times when one of us would react to something the other had written. A good case in point is The Firefly, which was written in direct response to
So -- were there moments of frustration? I think so. I don't think we fully realized what we were committing ourselves to, and there were a few times (not many, but a few) when we had to postpone a chapter because we were just mentally exhausted.
Would I do this again? I doubt it, not on this kind of schedule.
Am I glad I did it? Yes. Absolutely yes. This was a roller-coaster ride of the very best kind. As I said to
March 28 2008, 04:43:50 UTC 4 years ago
We were already amazed at how large the thing had grown. It just didn't stop; we kept getting struck by new ideas and writing new things to fill in the blanks. We wrote about forty chapters on the fly -- polishing up existing pieces to post immediately, and writing new pieces at the same time. We had no idea we'd end up doing that -- not forty chapters worth, anyway. If we'd known, we probably wouldn't have committed to the rigorous every-weekday posting schedule. That part made us a bit frantic sometimes, but otherwise? It was the most incredible writing experience I've ever had.
It began with the four of us (I think it was only the four of us) hanging out on Nightdog's journal discussing Bad Company and what the effects would be on the characters. There was a bit of talk about Wilson's wired jaw, and also about the effect of what Grey Eyes had done to him; I likened that to a "slow poison."
I was curious, so I went looking at medical websites for information about what, exactly, was entailed in having one's jaw wired shut. I found a strong warning for patients, that they should make sure there was always a way to cut the wires in case of an emergency, such as vomiting.
All at once I had a scene and I started writing. There was no plan and I never even expected what I wrote to get posted, but I showed Nightdog (by then I think it was around one in the morning) and she loved it. She began writing another part the next day. Perspi jumped in soon after, and by then we had enough gravitational pull to drag Dee in. We had to; she had such wonderful ideas!
I wouldn't put myself through the rigorous posting schedule again, either, but the entire experience was wonderful and I don't regret a minute of it.
March 28 2008, 11:16:37 UTC 4 years ago
For a long time, the epilogue(s) were all I thought I'd write (along with continuing to help with beta), and then something was needed about how Foreman was reacting. It snowballed for me from there. Happily.
March 28 2008, 23:58:52 UTC 4 years ago
I was also pretty impatient to start posting--I had a feeling we needed to write some additional pieces to fill in some parts, and I didn't think we'd ever do it without the inspiration that can come from readers' reactions. At least, for me--my muse seems to work better under pressure.
That said, I wouldn't do a posting schedule like that, ever again, although the experience of writing the thing was fantastic.
March 28 2008, 08:01:44 UTC 4 years ago
4 years ago
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March 28 2008, 02:14:55 UTC 4 years ago
March 28 2008, 02:30:28 UTC 4 years ago
Did you have Scrabulous death matches...
That's so funny! I don't know what a Scrabulous death match is, but no; we all naturally fell into writing the parts we wrote. If a scene was coming together in one of our minds, it wasn't coming together for any of the others at the same time, and there just wasn't any competition. There was only the delicious anticipation of seeing what part of the story got written next; we were constantly surprising one another.
We never fought or got offended with each other, either. We were having far too much fun.
We did lots and lots of internet medical site searches, yes. And we had a couple of first-readers with medical training, so we could run things by them and hopefully not make fools of ourselves.
Yes, we do have many deleted scenes on the cutting room floor. Not too many, I don't think -- but they're scattered around all of our individual journals.
March 28 2008, 11:38:18 UTC 4 years ago
There were also opportunities for writers to take on the same subject from different perspectives. Perspi and Nightdog showed us both sides of the coin for the critical scene in the park, for example. Or themes/topics brought up in one chapter were woven into other scenes and re-examined.
Any deleted scenes or bloopers on the cutting room floor?
There are definitely some "deleted scenes" -- mine are mostly in note-form, though. There's also a soundtrack that I don't think we ever posted.
March 29 2008, 00:01:25 UTC 4 years ago
We ended up naming the phenomenon the Mexican Radio (it was Blackmare's name for it, I think from a song...).
March 28 2008, 03:13:01 UTC 4 years ago
I understand the liver part but I'm sure what the onions mean except that onions have many layers and House hasn't really considered this as Wilson warns. House hasn't considered the degree of ugliness that could be exposed by peeling off each sucessive layer. I look forward to your comments.
And how soon can we expect to the new ficverse and will it incorporate any of the H/W dynamics of S4?
Anonymous
March 28 2008, 03:23:15 UTC 4 years ago
Is there going to be anything more from this ficverse? I've always wanted to read the scene where Tritter told Martin his story.
March 28 2008, 03:26:26 UTC 4 years ago
March 28 2008, 03:31:21 UTC 4 years ago
Our new project is wildly -- wildly -- AU, and that's all we're going to say for now. You'll see the first parts sometime in the second week of April, most likely.
March 28 2008, 05:31:47 UTC 4 years ago
Holding on tight for the second week of April.
I actually LIKE liver and onions; believe it or not. Yes, it's smelly. Onions are interesting to me on other levels than as food..have you ever looked at a section of onions under a microscope? The cells are layered, sectioned...laid out in lines and symmetry. Onions are sort of like House. You have to peel away the layers and deal with the smell and the tears before you see what really lies beneath. I'm not going to be able to make it to Mid-April, you know. I'm a very impatient soul. Except that it's been over two months now since I've mentioned how much, how deeply, how completely I hate Martin. If that man actually, existed, he would make a great cell mate for Hannibal Lechter. Poor Hannibal.Mick
4 years ago
March 28 2008, 12:41:42 UTC 4 years ago
Evil works best when it's attractive, and Martin is. I particularly liked how the writers gave very small glimpses into what makes Martin tick -- his possessiveness over Greg as his friend, his understanding of the delicate politics of dealing with gangsters -- without ever completely revealing everything about him. That's a tricky balancing act of writing, to make those quick flashes into what makes Martin behave as he has come together for a portrait of a character.
March 28 2008, 13:05:35 UTC 4 years ago
Our readers, it turned out, were every bit as creative in their violent imaginations as we ever were. Who knew? Hee! But it did tell us we'd done something right.
Martin is entirely the creation of Nightdog, of course, so anything that the rest of us wrote about him or from his point of view was subject first to review from her. We wanted to make sure we kept to the character as she wanted him to be.
What was really astounding was that I don't think she ever had to say to us, "No, Martin wouldn't do that." We were on the same page to an alarming extent -- and I do mean alarming, as it frequently was. It can be unsettling to discover that a character like Martin has taken up residence in your mind, to the point where he's 'talking' to you and the things he's telling you are accurate according to his creator.
March 28 2008, 22:53:00 UTC 4 years ago
Anybody want to talk a bit about the development and use of the original characters in this story?
March 29 2008, 03:16:54 UTC 4 years ago Edited: March 29 2008, 03:17:50 UTC
As a result, OCs and canon characters other than House and Wilson are vitally important because they bring in new personalities and perspectives, new life to the story.
March 29 2008, 03:32:46 UTC 4 years ago
Perspi created Jerry Watson, the linebacker nurse. Carla Jean Fowler was mine, a combination of a few women I've met and one to whom I am related; I chose the "Fowler" name as an homage to Nightdog (with her trademark bird imagery) and to reflect the character's squawky, mother-hen demeanor.
Nightdog created Adele at the bakery, but only gave her a name; I wrote the scene where House meets her.
I think that Perspi came up with most of the other doctors we meet. I can't recall who originally wrote Tomlinson, though.
Dee added greatly to the 'verse with her pieces from Foreman's POV. She was the only one of us who could get enough of a grip on the character to write him well, and we were profoundly grateful.
Then she took us into the world of Tim, ten years later, and created a real character out of what had been just another of Martin's monsters.
4 years ago
4 years ago
March 29 2008, 03:50:30 UTC 4 years ago
Generally, necessity was the mother of invention for the OCs. In real life there are so many people with whom we interact, to varying degrees. So there's no escaping that in fiction. You have to invent people.
Fortunately, the necessity of inventing people leads to the chance to open up new aspects of all the characters. Carla Jean gets to trigger the hidden snarky spitefulness in Wilson; Adele, at the bakery, offers such a small kindness and brings out House's desperate need for some kind of understanding. Jerry quietly reveals so much about Wilson's mental state and the extent of his injuries. Not to mention showing us how much House was willing to spend to give himself and Wilson a break, and make sure Wilson got what he needed.
My OCs -- and I don't write nearly as many as, say, Nightdog -- generally are based on people I've met, observed, or been friends with. They're not direct copies, but there's definitely a basis in reality.
One of the great things about the collaboration was that we got to play with one another's OCs if we wanted to. It really was a totally "communal" kind of process.
March 29 2008, 05:09:26 UTC 4 years ago
Jerry was indeed my creation, and I love him to pieces. I based him in large part off one of my brothers (the 'real Jerry' is a cuddly bear of a tattoo artist with ever-changing facial hair). In him, I think we found someone to balance out Martin--that we have someone so evil and then we find someone who's the exact opposite.
Tomlinson is stolen shamelessly from No Little Charity, and the rest of the doctors are there because Wilson needed a whole team of them. And House needed people to yell at. :)
I think my favorite, though, is Martin. He gives me the screaming meemies, but he's tremendously fascinating to write.
March 30 2008, 20:32:00 UTC 4 years ago Edited: March 30 2008, 20:34:27 UTC
It really was uncanny how all the authors' voices came together so harmoniously! Not a false note.
What I really love about long stories is the way the author(s) can plant all sort of recurring clues, imagery and themes; the punch in epics comes from subtlety in addition to drama. Each chapter of this story was like a puzzle piece, and it was satisfying to see them all fit together at the end.
I love the show dearly, but for obvious reasons the producers can't allow House to change too much, but this story showed how and why change can be possible for House. It's triumphant and cathartic.
But... I also have to admit that the black part of my heart loves the coda about House and Wilson and their, er, prey. I was reminded of Nietzche's ominous quote about how he who fights with monsters should look to it that he himself does not become a monster. It's a great glimpse into what House could have become if he hadn't resisted Martin's influence.
March 31 2008, 11:56:09 UTC 4 years ago
It's extremely interesting for me to learn about the writing process of such a complex fic, especially since it involved four different authors. I'm amazed by how easy you found interacting with each other, and how "in tune" you were - and I think it shows in the story, where everything is tightly connected, every word is there for a reason. This is part of what makes it such a great story.
Looking back now, another thing that I always associate to Aftershocks are the great images and metaphors that pervade the story. Yes, it may be mostly set in House's apartment, but you showed us their mind's life so vividly that I never felt any sense of claustrophobia.
This has reminded me that I've wanted to read Aftershocks again for a while now, and I'm probably going to do so in the next days. There's always time for good reads! :)
April 8 2008, 16:26:33 UTC 4 years ago
We loved it; we had so much fun bouncing ideas around, adding to each other's stuff, filling in the gaps for one another. Where one of us had weak spots, another could help. We relied very heavily on one another.
I don't think it would have worked if it had been planned. If one or two of us had said, "This needs four writers and x number of chapters" and tried to force it, it would have been a disaster. Fortunately, we're all far too
lazymellow to have done that, and we let it go where it would.If a fifth person, one of our first-readers perhaps, had written something that added to the tale and fit with Nightdog's vision of that universe, we'd have used it without hesitation. That was how the whole thing grew in the first place.