As Soon As Forever is Through
|Title:||As Soon As Forever is Through|
|Author(s):||Mary Louise Fisher|
|Fandom:||Starsky & Hutch|
|External Links:||online here|
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It was first published in In Your Eyes, and is now online.
"All Starsky wanted to do was enjoy forever with his wonderfully weird writer--not think about eternity. Eternity shouldn't have anything to do with forever, but what Hutch wanted, he sometimes got, and what he wanted now was an eternity plan. All Starsky wanted was forever and a lot of cookies."
Golden Boy Series
- Golden Boy
- Why I Live at the Best Western
- Bathrooms I Have Known
- How I Spent My Summer Vacation
- When I Was the Sheriff of Beavertooth County
- As Soon As Forever is Through
- It's All in the Game
Author's CommentsIn a 2012 interview, the author talked about her fiction:
As my skill sets developed, and I've been able to handle more material - it's very hard to go from being a poet to writing prose, I've felt. So I started with very, you know, mini-plots. The domestic plot. And within the domestic I could put in, a little, you know, they are working detectives, whatever time frame I might be working in. Okay, somebody's got to go to work! That's something that's always bothered me in longer works – nobody goes to work, no-one eats, nobody goes to the bathroom. [laughter] And they're always like, endlessly gazing at each other, and it's just the romance. And what's interesting is, I never read Harlequin or standard romance. So once I started reading that later, just because I was picking up really fun covers. And most of it, you know, is hetero romance, commercial. I realize where all these hooks, and the gazing at the sleeping person, and the jeopardy – so there is, you know, there's formats, and ways to do it. And I wasn't necessarily interested in that. So anything in terms of, already created characters, that were created by TV writers and other producers, how can I make that mine? How kind of plotting can I do? So I've done like, domestics and partnership, I've used older characters, and I've tried to use what's, as a, someone who can write dialogue well, to try to get how the characters sound, and to move the story along through dialog. And almost as a dramatist, and what I found I was able to do by making one of my characters a writer. He could write poetry and annoy the partner with it. [laughter] I can plug in a poem and then get on with the story. So what I like to do is to use, you know, the faces of drama. We have our tragedy, we have our comedy, and our laughter sets us free.