“Morning’s Echo”, End notes

[aadler]

[ Endnotes posted 07 Dec 2014 ]

Where did the idea for the story come from?

Honestly, I couldn’t say. The notion just sort of grew organically on its own. There might have been some minor structural influence from “Voices in the Dark”, but that would be about as far as it went. Adding Amanda Tucker at the end (did anyone recognize the character? I can get really obscure, as witness Whistler’s reference to “the kid Karasu”) was probably because I knew it would tickle my wife … except she was my ex-wife at that time, and we weren’t on good terms, so I suppose that part’s a mystery, too.

Some things just come to you.

Is there any particular significance to the title?

Yep. It’s from the line “… if morning’s echo says we’ve sinned …” from the song “Angel of the Morning”. (The Juice Newton version, sideways-referencing Joyce — who herself mentioned Juice Newton during “Band Candy” — and her hood-of-the-police-car shenanigans with Giles in that same episode.)

What do I like most about this story? like least, or about which I feel most doubtful?

Like most:

• The story-segment structure, where each segment lays out part of what will be the eventual point and theme, coming together at the end.
• The Giles/Joyce interaction. The show could have gone way wrong by trying to make a relationship there; when it didn’t, it left us wishing for one, which is another way of saying it didn’t mess up. This was a way I could give something, while at the same time leaving the non-involvement that remained canonical.
• Ethan. Anything with Ethan is a delight.
• Whistler. I’ve only used him once as a character (one time less than the Buffyverse did!), but his voice and his perspective were fun.
• The big surprise, of course. Giles as Buffy’s actual father, unknown to anyone except Whistler (and Drusilla, as I hinted in other stories)? that was one of those things that just seemed right.

Like least: Nothing I can think of. The only thing that comes close …

I love to write action scenes — okay, let’s go on and call them fight scenes — and take some pride in doing that well. This story didn’t have one … but, it didn’t really need one that I could see.

Is there anything I think I could have done better, or might do differently if I had it to do over?

I’ve been trying to be nitpicky and self-critical while I turn out these end-notes, but once again I can’t think of anything I would change. The story accomplished what I wanted, and I’m satisfied with it.

Do I have any plans to follow up on this story, or to use the character(s) or situation in a subsequent fic?

There have already been a couple of minor references (which functioned as in-jokes for those in the know, but would be minor puzzlements otherwise) in “All Ye Who Enter” and “Tip of My Tongue”. Both indicated that Drusilla was aware of who was Buffy’s actual father, but nothing really depended on that knowledge or the fact behind it. There may possibly be further reference in “Smoke and Mirrors”, if I EVER get around to writing it, but I don’t intend any big reveal where All Will Be Made Clear to Buffy, Giles, Scoobies, etc.

Any observations to add at the end?

This was still relatively early in my Buffyfic career — the seventh story I’d done — and continued to follow my desire to go at things from a  number of different directions. It also, though I continue in my Backstage stories to avoid contradicting canon, marked my first major addition to canon. (Possibly the second; the actual identity of Nika — the “pale woman” who first appeared in “Shadow and Substance” — could certainly be said to qualify.)

It wasn’t a major story, could easily be disregarded or even dismissed by anyone looking for the really good stuff. I remember it with some affection, though; it did what I wanted it to do, and you can’t really ask for more.