Categories
steampunk worldcon writing

[Worldcon] The Steampunk Genre

Friday (August 31) at 1330: The Steampunk Genre
Panelists listed in program: Sarah Hans, Jay Lake, Michael Coorlim, Chambers, Paul Genesse

Disclaimer: These are my notes from the panel and my own, later thoughts. I often was unable to attend the entire panel, and also chronically missed panelist introductions. When possible I try to note who said something, but often was unable to. Also, unless something is in double quotes it should be considered a summary and not a direct quotation.

Steampunk is unlike cyberpunk in that cyberpunk is primarily dystopian.

Steampunk is much more participatory; Costuming, film, music, not just literature. Much more participatory in that way than scifi/fantasy. At steampunk cons, most people are in costume. (WAY MORE than at Worldcon or anime cons.)

Recommended reading:

  • Log of the Flying Fish on Project Gutenberg – “steampunk” written during the Victorian era as scifi.
  • The Steampunk Bible – Jeff VanderMeer
  • Steampunk – Jeff and Ann VanderMeer (the essay at the end is a must-read)
  • Steampunk II – Jeff and Ann VanderMeer

Is steampunk sf/f or both?
“May I point out that the power to weight ratio for steam engines means… that all steampunk is fantasy.”
Dieselpunk is an offshoot of steampunk; it picks up where steampunk ends. WWI/WWII era.

Steampunk are fundamentally adventure stories.

ANACHRONISM is ESSENTIAL to steampunk.
“This is the last era where a true polymath could really exist and know everything about everything.”
“The last time a super villain could build his own base without minions.”

From audience – technology is positive, look at the decoration of it, they are putting their souls into it.
Panel – about reclaiming ability to interact and fix with machines. That’s part of the romance. Today when technology goes haywire we can’t really do anything. In steampunk, it can be fixed.

Sarah Hans – likes using magic in steampunk as the analog for the conservative/traditional values. Magic butting heads with technology because they’re seeing it as threatening those values.

If you want to write steampunk, number one rule is HAVE FUN.

  • Start in the steampunk universe and write from there. Do not write a story and spray cogs on it.
  • Research, particularly if you’re going to use real historical figures!
  • Invent only what you need to! This includes within the setting.
  • Don’t over explain your technology. You need to know how it works, but don’t go into too much details because the asshole scientists will eat your lunch.
  • DO NOT INFODUMP.
  • “Steampunk is generally a gonzo genre. Go gonzo.”

Multiculturalism in steampunk – Fantasy con someone pointed out that there were no black people in steampunk. This changed the future of steampunk. Come on, it’s not just all white people. Steamfunk and Pimp My Airship.

Consider that from the alternate history standpoint. It’s not just white people in the world!
Silver Goggles – multicultural trying to break out of the western world box. (Rajpunk!)
“Steampunk is people doing to the Victorian era what the Victorian era first did to them.”

This should not be about nostalgia or romance for the past. The uncomfortable social issues (misogyny, colonialism, racism, etc) need to be met head on if you’re dealing with that historical context.
LGBTQ are not real well-represented in Steampunk either. This will hopefully be in the next wave.

Oh, the question of if you need to be descended from the colonized in order to write about the oppression within colonialism.
“Why not?” “Otherwise we’d all be writing about nothing but boring white guys.”
No matter what you write, you’re going to offend someone, but you need to be respectful about it.
Also it’s alternate history, so how much does this actually matter?
“You cannot get permission to write. You have an obligation as a writer to treat your subject with serious respect… no one is the guardian of any group or ethnicity or gender or historical period…” “That’s called being sensible. That’s not called don’t write.”

#

I actually went to this panel because I wanted to hear about Steampunk from people who are much more in to it than I am. I’d like to go to a convention, for example, but I admit I’m pretty embarrassed by my complete lack of costuming. (Well, and I lack time which is far more important. I can get over feeling like the ugly duckling.) But often Steampunk is presented as just being about setting, the bells and whistles, cogs and steam, and I knew it had to be more than that. I just couldn’t articulate what since I’m just dipping my toe in at this point.

What struck me the most was the point about technology, about problem solving. The reason I wrote my story for Penumbra  was because I like writing stories about adventures, and Steampunk always seemed like a perfect genre for it. And not just that, but one where it’s all about technology being used smartly and problem solving. Steampunk has always felt very optimistic to me in that way, and that’s something I’ve been thirsting for in a time where you can’t throw a rock without hitting a dystopia.

I think I already knew this – that’s sure the way I wrote The Jade Tiger. It feels good to have people far more expert than me laying that out, however. Hopefully I can take all the interesting ideas from this panel and write even better when I launch into my novellas!

Categories
worldcon writing

[Worldcon] Violence in Fantasy

Friday (August 31) at 1030: Violence in Fantasy
Panelists listed in program: Scott Lynch, D. H. Aire, James Enge, Doug Hulick

Disclaimer: These are my notes from the panel and my own, later thoughts. I often was unable to attend the entire panel, and also chronically missed panelist introductions. When possible I try to note who said something, but often was unable to. Also, unless something is in double quotes it should be considered a summary and not a direct quotation. 

Scott Lynch: You can’t just set Doug Hulick on fire.
Me (from the crowd): Maybe you can’t.
Crowd: applause

The panel mostly focused on how much violence is too much, when is it gratuitous. The conclusion seemed to be that it’s not gratuitous if it’s necessary to the story, but you shouldn’t just be using it as a way to get yourself out of a corner you’ve written yourself into.

Also, violence acts as a symbol of agency for readers, so they can feel they can palpably affect events for the better within the world.

The question is when does emphasizing violence as agency become pathological? No good answers for that. People need to be able to know the difference between wish fulfillment violence and it being appropriate in the real life.

So should the bad guys be humanized or no? Split view there. Orcs should be gross and evil. (But this is something I never really liked because reality is not that black and white.)

Also, what about gross out? Well, horror is best, terror is next best, and if you can’t get either gross-out will work. (Stephen King paraphrase) Sometimes you just want to do that to your readers.

#
I don’t have a whole lot to say about this panel – it was mostly just very entertaining, and I got to heckle Scott Lynch from the crowd like an asshole. I regret nothing
I do think the idea that violence is a symbol of agency is an interesting one. Sf/f tends to have a lot of stories in it that do involve violence, particularly ones with quest plotlines. If nothing else, that means reading them takes us to a very different place beyond just the setting. Most of us will never participate in violence like that in our lives, and it is a very palpable symbol of acting directly upon the world and whatever problem is at hand. (Hell, if we ever come up against violence in our lives, there’s a good chance it will be as a victim of that violence.)
I’m not a fan of sf/f where things are extremely black and white. I like to see characters struggling with difficult decisions. And violence plays into that because it becomes a difficult, painful thing when the struggle isn’t black and white. That’s something I’ve really enjoyed about the Vorkosigan books so far, for example. 
Chandler’s Law got mentioned – “When in doubt, have a man come through the door with a gun in his hand.” There was some lively discussion around this, because it’s something that could really go well or poorly. Sometimes the man with the gun can open up all sorts of new plot possibilities – who is the man? Why is he coming after the characters? But there’s a major chance it’ll just scream hey I totally wrote myself into a corner
I’ve never had to resort to Chandler’s Law, myself. I’m really hoping that I never do. 
One thing I wondered (and maybe they covered this but I missed it) how much sf/f is actually being viewed as too violent. I can see this being an issue in video games and movies, since of course there’s a visual representation of that violence – and yeah, a lot of them just have action scenes for the sake of blowing shit up. But perhaps I’ve been lucky in my choice of books; I’ve yet to encounter one where I felt it was really overly violent or gory. (I’ve only encountered one book in my life that I found truly over the top, and that was American Psycho; that book actually made me physically ill. I also generally don’t read horror.) If nothing else, trying to have violence in the written word the way it exists in a movie would be… difficult to accomplish. And probably incredibly boring to read.
Categories
gender lgbt worldcon writing

[Worldcon] Writing Gender Roles in Science Fiction

Friday (August 31) at 0900: Writing Gender Roles in Science Fiction
Panelists listed in program: Joan D. Vinge, Julia Rios, Catherine Lundoff, Victor Raymond, Anne Lyle (Note: Joan D. Vinge was definitely not in attendance.)

Disclaimer: These are my notes from the panel and my own, later thoughts. I often was unable to attend the entire panel, and also chronically missed panelist introductions. When possible I try to note who said something, but often was unable to. Also, unless something is in double quotes it should be considered a summary and not a direct quotation. 

Works in which characters that are outside gender norms but not as a reaction to an oppressive government (incomplete list):

  • Diana Comet and Other Improbable Stories – Sandra McDonald
  • Bone Dance – Emma Bull
  • The Tawny Man trilogy and The Farseer trilogy – Robin Hobb. (Everyone tends to refer to the Fool as male but it clearly is not quite in the binary.)
  • The Einstein Intersection – Samuel R. Delaney
  • The Female Man – Joanna Russ
  • Fly Into Fire – Susan J. Bigelow (Transwoman protagonist)
  • Dragonsbane and Sisters of the Raven – Barbara Hambley

George R. R. Martin does a lot of good stuff particularly with his older women – as working within strictures of misogynistic society. Early books at least, Anne Lyle has issues with the later books it sounds like. Goes off the rails bit after the first book.

Writing characters of different genders; do you consciously decide to present them in ways you consider “good”?
Catherine Lundhoff: In sf/f there are very few female werewolves. There are very few middle-aged men already as protagonists, there are even fewer middle-aged women as protagonists. They tend to just be the evil queen.
Anne Lyle: I just write people and see how they turn out.

Mary Robinette Kowal – “Jane Austen with magic.” First book very traditional, second book (Glamour and Glass) has main character after she’s married, in Belgium at the point Napoleon comes out of exile. Goes into a war situation as a married woman who has strict social moors and must break out of it for reasons of plot.

Lois McMaster Bujold – Cordelia, working within the restrictive society to try to open minds while playing by their rules. The Vorkosigan saga “A Civil Campaign” is a comedy of manners set in scifi.

Audience question: Recommend stories that have alien cultures with something beyond the gender binary (e.g. 3 genders, etc)?
Source Decay in Strange Horizons

I asked for examples of transmen in sf/f since there had been several named for transwomen:

  • The Courier’s New Bicycle – Kim Westwood
  • A Civil Campaign – Lois McMaster Bujold
  • Steel Beach – John Varley
  • Recognizing Gabe – Alberto Yáñez (Strange Horizons)
  • Supervillainz – Alicia Goranson [ETA: Catherine Lundoff tweeted this one to me today]

Also, it was noted that transmen (and transwomen) are much more common in erotica than in sf/f. I very nearly stumped the panel with this question.

#

I thought this was a solid panel with good discussion, though I missed a significant portion of it. I actually ended up buying a copy of Catherine Lundoff’s Silver Moon in part because of this panel. There really aren’t older female protagonists very often, and I’m charmed by the idea of one being a werewolf.

The reason I asked the question about characters who are transmen is I’ve noticed generally that transwomen seem to be a bit more visible in pop culture and sf/f. Sometimes it’s very negative (eg: news stories about a transwoman being attacked are far more common than those about transmen) and on the more positive side I’ve seen more transwomen activists than transmen. When there are trans characters in the genres I read (and this happens rarely as it is) they’re almost always transwomen.

I wonder if this is partially because transwomen are to a certain extent more transgressive than transmen. From the viewpoint of a society where being white and male is still the “norm” it must seem more transgressive for a man to “wish to be” a woman than for a women to “wish to be” a man, because it’s a movement counter to the center of power.

Transmen also seem to have better luck “flying under the radar” than transwomen. (Transmen – nature’s ninja?) I wonder if this is connected to the way, say, drag queens tend to be far more culturally visible than drag kings. There’s the titillation factor, of course. But there’s also the fact that if you see someone your brain identifies as female, if they’re dressed in male clothes it doesn’t tend to really register in the same way someone who may be male in female clothes does. Women regularly wear men’s clothes, or clothes that are styled after those men wear.

Of course, this is on my mind because I’ve got a short story in which the main character is a transman. (And the plot for a novel as well, yikes.) Here’s hoping I can find a magazine that’ll want it at some point…

Anyway, I’m hoping we generally see more diversity in characters in the future, and not just in regards to gender. The fact that people are having conversations about this is definitely a step in the right direction. And of course, with more e-publishing and small presses springing up like wildflowers, I’m hoping to see more diversity as well.

ETA: Catherine Lundoff has a more complete reading list from the panel at her livejournal.

Categories
free read steampunk writing

Forthcoming Steampunk (and a bit free to read)

A couple of months ago, I signed a contract with Musa Publishing for my novella Murder on the Titania, which will be coming out in early 2013. It’s a story that involves the same characters and world as The Jade Tiger, my short story that appeared in Penumbra  vol 1 issue 6.

I’m excited (and slightly terrified – this is the first time in my life I’ve signed a contract for a story I haven’t yet written, let alone four of them!) to tell you that there are going to be even more stories about Captain Ramos and Mr. Simms!

Also coming in 2013 will be:
The Ugly Tin Orrery
The Curious Case of Miss Clementine Nimowitz (and Her Exceedingly Tiny Dog)
Blood in Peyote Creek
Do Shut Up, Mr. Simms

I shall give you more details as they come.

If you’re curious about Captain Ramos and Mr. Simms, there’s also a story that’s free to read! Last year I wrote this adventure for the Machine of Death 2 anthology. My story didn’t make the cut, unfortunately, but I’d rather it be available for the reading than languishing on my hard drive.

Story is below the jump. Enjoy!

INFECTION

Being outside the fence was a nerve-wracking, dangerous thing, and with each passing second as the sun sank toward the steep granite ridge of the mountains, it became more dangerous. Meriwether Octavian Simms – simply “Simms” to his colleagues – moved quietly along the perimeter, boot soles cushioned by a thick padding of green pine needles, only straying far enough to check his snares and the small piles of stones that acted as message drop points. Behind him, the fence was a living presence, emitting an unending hum that was felt in the air rather than heard, though every now and then a leaf or twig would touch on the wires and explode with a loud pop.

Every few steps, Simms paused and listened, holding his breath. The Infected rarely had the mental acuity necessary to stalk prey; if there were any nearby, he would hear them long before he saw them.

As he stopped to retrieve a luckless rabbit from a snare, movement accompanied by the crack of a twig caught his attention. He dropped the limp rabbit on the ground and drew his pistol, his other hand resting on the machete that Captain Ramos always insisted he carry despite the fact he was rubbish with blades.

But the sound didn’t move toward him, and didn’t carry the aimless quality of the Infected. Cautiously, he moved forward, ducking around a tree to catch sight of a young man in dirt-encrusted clothes leaning against a tree. He was pale, his hair smeared down across his head with sweat, but there was no visible sign of blood.

Simms, always a little too tenderhearted for his own good, hissed, “Oy! You, boy! What the hell are you doing out here?”

The young man jerked around to face Simms. His eyes, surrounded with bruised circles, were red as if he’d been crying. “Stay back!” he shouted.

“Quiet!” Simms hissed. “Or you’ll get us both killed. Come with me, boy. Evening’s coming and you don’t want to be caught outside.”

“It doesn’t matter. It’s too late for me anyway.” His shoulders began to shake, a curious mixture of laughter and sobs burbling from his throat. “Might as well get it over with.”

The young man broke into a run, diving into the pine trees. He was out of sight almost immediately, his crashing footsteps echoing through the valley.

Simms hissed a curse, lurching forward out of instinct but stopping himself before he broke into a run as well. Chasing someone out into the woods at any time was stupidity; with the sun a bare sliver topping the ridge, it would be suicide.

He noticed something fluttering on the ground where the young man had paused, and walked over to pick it up. It was a scrap of paper, dirt-stained and crumpled. In black ink and mechanical lettering, there was only one word: INFECTION.

#

The marquee, lit yellow-white by the steady flare of gas and sodium, read: WEDNESDAY – DR. BIRRENBAUM’S ENGINE OF MEDICAL MARVELS. The letters making up “medical” and “marvels” had been dusted with specially cut glass that caught the light and sparkled.

And, despite the fact that that had been the title on the marquee every Wednesday for nearly two months, the street outside the theater was packed, men and women in their Sunday best waiting impatiently to purchase five penny tickets.

“I’ll lay you a wager that this is simple fraud, and a waste of my time,” Marta Ramos murmured to her companion, leaning back to avoid the elbow of a rather portly man that smelled strongly of garlic.

“You didn’t have to come along, Cap–” Simms cut his words off with his teeth as Captain Ramos stepped very precisely on his foot. For all that her disguise had required she wear fashionable shoes, he was beginning to think that said shoes had been designed by a weaponsmith of some sort.

“I’d rather you not bring me to anyone’s attention if it’s all the same to you, Mr. Simms,” she hissed in his ear. “Giving the good Colonel’s pride a tweak by escaping his prison for the fourth time might be good for a lark, but it’s not the sort of entertainment I’m after tonight. So do be careful.”

“Yes, Miss Elizabeth, I’ll be more careful for that.” He didn’t think Marta looked much like an Elizabeth, but she also didn’t look much like herself at the moment. Blonde wig, white powder turning her brown skin fashionably pale, enough padding to make her aristocratically plump, and a carefully crafted slouch that made her a full half foot shorter than him despite the three inch heels on her shoes had turned the Captain into a completely different person. One that could pass unnoticed in such a crowd as this, which was really the point. “As I was saying, ’twas the work of your own curiosity.”

She didn’t answer, which meant that he had either won, or she was just ignoring him as normal.

Simms sighed quietly to himself. There were a lot of things he could have been doing with his night; he wasn’t precisely excited about being in the Grand Duchy of Denver, where he, too, was wanted by the law, if in a much vaguer and more disinterested way than the Captain. But the red, tear-wrung eyes and despairing laugh of that young man still haunted him. He’d made some inquiries on his own here and there, showing off that scrap of paper until someone mentioned the name ‘Dr. Birrenbaum’ to him. At which point he’d told Captain Ramos the entire story, because she’d been starting to get that look again, the one that said she was bored and terrible things were going to start happening if that condition wasn’t seen to soon. And fraud or no fraud, the Engine of Medical Marvels seemed like a diversion.

At the little ticket stand, a richly carved wooden structure that had since lost most of its paint, Marta carefully counted ten pennies from her ridiculous beaded purse and slipped them to Simms so that he could pay. The smoky, heated atmosphere inside smelled a little too much of the crowd, along with the scent of sausages and fried bread that some of their fellow audience members ate. That, in Simms’ experience, was simply how theaters were, a press of curious people warming up a large wooden box before the limelights were started and the heat really got going. But the sound of the crowd was off, a mix of laughter and gaiety with an almost hysterical edge to it, coupled with murmurings of sober worry. It was the sort of attitude that came with the Grand Duke making some sort of portentous announcement about the state of the fences or the possibility of an outbreak, not a presumably fun evening out with friends.

“Do you hear it?” he murmured in Marta’s ear.

“I do.” She made an impatient shushing movement with one hand, tilting her head ever so slightly toward the couple next to them.

“But my brother said the Engine told him the same thing, even after he quit his job at the foundry,” the woman of the pair said. She rested her hand, gloved in emerald green silk, on the sleeve of a man who was presumably her husband. “It may be better not to ask.”

The man shook his head. He had a long mouth, drawn into a frown, and the downcast expression was only accentuated by his muttonchops. “If I never go near the docks again, I can’t imagine how a crane will drop something on me. I will prove it to you, dearest.”

“But we can’t know…”

The rest of what the woman said was lost in a roar of applause as the limelights turned on with a crackling hiss. The purple velvet curtain that obscured the stage rose, revealing Dr. Birrenbaum, and what could only be his Engine of Medical Marvels.

The doctor was exactly what one might expect from his name; an older gentleman with iron-gray hair and an impeccable goatee and mustache. He wore a spotless black suit with tails and white gloves. The Engine itself was a monstrosity of engineering, gears and tubes and cranks, all done in shining brass and well-polished wood. It was as tall as the doctor, and twice as wide, levers and dials projecting out in all directions.

Simms glanced at Marta; the machine certainly had her attention, a contemplative frown pursing her lips and putting the faintest of wrinkles into her forehead. She drummed the fingers of one hand against her leg, something she did when deep in thought.

“My dear ladies and gentlemen, thank you for coming out tonight, thank you most kindly,” Dr. Birrenbaum said from the stage. “By now, I suspect most of you know of the Engine of Medical Marvels – that is why you’re here, after all, told by your friends and colleagues or whispered rumors of its mysterious powers. What would you know… of your future? Would you know how many children you will have? What sort of wealth you can accumulate? Are you truly brave enough to dare – to dare, gentlemen, for it may be too agonizing for the delicate sensibilities of your ladies – to find out how you will die? Who will dare?”

Half the crowd surged to their feet, men and women alike, hands waving frantically.

Dr. Birrenbaum laughed pleasantly. “Now, now… we have only limited time, and there is but one Engine of Medical Marvels. My assistants will move through the crowd, and we shall pick as many of you at random as we can, just please stay standing.”

Sober young men dressed in surgical frocks moved through the audience, picking a person here and there and then leading him or her to the stage. Marta and Simms watched intently as these various subjects were asked what they wished to know, and then told to pull this lever or step on that pressure plate or turn this wheel anti-clockwise for one purpose and clockwise for another.

Dr. Birrenbaum raised his hands. “Ladies and Gentlemen! We have a brave soul that does not fear his death, and wishes to know more about it! Will you give him your attention?” The audience went dead silent as the doctor turned to a nervous young man wearing a tweed jacket that had seen better days, frayed at the edges and patched on both elbows. He had a battered hat clutched in one hand, his light brown hair cropped short and standing out in all directions. “If you please, good sir, your hand,” the doctor said. He took the man’s wrist. “To calculate your fate, the Engine requires a bit of your essence, what is dearest to you – a few drops of blood. If you will allow me…” The young man murmured something affirmative, and the doctor produced a vial and a small razor from his pocket. One assistant rushed forward to help him; they pricked the man’s finger and filled the little vial part way before the assistant cleaned the wound and bound it up with a tiny white bandage.

A little murmur of discontent rippled through the crowd, a tinge of disgust coupled with excitement. Blood, as everyone knew, was the vector of Infection – seeing it so blatantly displayed on stage was both frightening and titillating.

“And now,” the doctor said, the vial now hidden in his hand, “let us ask the Engine what fate it will calculate!” He opened a little drawer in the device and tucked the vial in, then closed it. “Sir, if you will be so good as to pull this lever, then turn this wheel like so… yes, anti-clockwise… and all shall be revealed.”

At the lever pull, there was an odd feeling in the air, a hum that seemed almost subliminal. Simms hazarded a glance over at the Captain, wondering if she heard it – or, to be more accurate, felt it – but she gave no sign; the necessity of slouching momentarily forgotten, she sat up stiff and straight in her seat, attention fixed on the stage.

The young man turned the wheel, and a mechanical chatter began that would have been far too quiet to hear had the theater still not been silent. A strip of paper fed from a brass-lined slot just above the wheel. When the strip was a few inches long, the chatter of gears ceased, and Dr. Birrenbaum said, “There’s a good man, you can stop now. Let’s see what the Engine has to say for you…” He tore the strip off and examined it. “Ladies and gentlemen… I beg your indulgence for a little macabre amusement, but this young man’s fate has been calculated as… SILVER TEA SPOON AND TWO LUMPS.”

The audience erupted in hoots and cheers. Marta sat back with a quiet huff, then turned a narrow-eyed look on Simms. “This is quite ridiculous.”

“It may be a little, at that,” Simms said. “But we paid our pennies, might as well see what else there is.”

“Please, a round of applause for this brave soul… and here sir, your death, to keep as a souvenir. Who will be next?”

And with that first, seemingly silly death, there were indeed more brave souls to follow – many of them, Simms noted, so brave that they were willing to slip money into the hands of the ushers for the privilege. The deaths that followed were equally amusing, the audience so caught up in gaiety that they no longer fell silent for the taking of a blood sample, and there were even cat calls and teasing shouts directed at the men – for it was all men – who tried. There was FERRY BOAT and UNBUCKLED SHOE and UNDERDONE CHRISTMAS ROAST; there was even a BELOVED WIFE – that caused some rather rowdy cheering – and PEACEFUL SLEEP. The man who sat next to them even made it to stage, and had his death reaffirmed as CARGO CRANE WITH LADIES’ CLOTHES; despite the cheers that got, he was pale-faced as he left the stage. Then at last, a single woman made it to the front of the theater. She made a show of good cheer as her blood was taken, and she turned the Engine’s wheel with no delicate act of finding it difficult.

“And you, mistress… oh, I am sorry for this. And I am sorry to anyone with a delicate constitution in the audience. The fate the Engine has calculated for you is… INFECTION!”

Gasps, murmurs, and then the crowd went silent. The woman put a brave enough face on; she took her paper and folded it into her glove, then left the stage with her back straight and shoulders back, not a tear in sight. As she passed through the crowded theater, people parted before her, as if afraid that she might already bear the Infection and be ready to kill with a touch.

The show ended soon after that; no one had the sense of adventure necessary to try out the Engine’s morbid predictions after one that hit so close to home. There was one last round of applause, and then down the curtain came, the ushers beginning to shoo people from the theater.

Marta made no sign that she was prepared to move, her thumb resting firmly against her lips.

“Well?” Simms said, standing. “What do you think? Ca—Miss Elizabeth?”

She glanced up, then held out her hand so he could help her stand – not because she needed the help, of course, but because that was the sort of behavior expected from a lady. “I think that man is a charlatan, and that many people will suffer needlessly because of his fraud – like the young man you encountered. And I wish a private conversation with the Engine of Medical Marvels.”

Simms nodded. “I thought you’d say that. I’ve half a mind to just talk to the man, myself. Awful of him, to go scaring people like that.”

“Once we’ve had a look at his machine, then we may decide what justice ought to be dispensed.” Marta tapped her chin with one long finger. “I wish to understand the mechanism he uses, considering that there was provably one person who has received the exact same prediction twice. Mr. Simms, if you please, go mill about with the crowd, make your way to a few taverns and see what else is being said about this Engine.”

“And what’ll you be doing, while I’m off pretending to drink?” He grimaced; Marta knew that he hadn’t touched a drop in years. He was fairly certain she gave him tasks like this just to mess with his mind.

“I’ll be making other observations and preparations. I’ll meet you at the Blue Duck in… two hours. I think that will be sufficient time.”

He sighed and plopped his hat onto his head. “As you like, Miss.”

#

Simms found little new in the taverns, where he generously bought drinks and joined in some singing while he searched for conversations to eavesdrop in on. It was more of the same sort of stories he’d gotten when he first inquired about the paper scrap reading “INFECTION” – so-and-so had their death prediction confirmed two or three or even four times, someone’s Uncle had been predicted to die from “FLOWERS” and had indeed met his end when a large flower pot was dropped from a third story window and on to his head. The curious thing Simms found was that there were no stories to the contrary, no anecdote where a person could claim the prediction had been wrong – those who tried were corrected with a slight re-interpretation of the words, which were often vague to begin with.

Stomach churning from two hours spent surrounded in an almost overwhelming haze of beer, it was a disquieted Simms who went to the Blue Duck down by the air docks, and it was a much transformed Marta who met him there. She’d changed her outfit entirely, dressed now as a common laborer in a suit jacket that had obviously been handed down through a generation and likely hadn’t been washed in that time. Her mass of curly brown hair was hidden under a disreputable bowler hat, and, “I do wish you’d play your men clean shaven,” Simms said, staring in to his tea cup. The surface of the tea had a faintly oily sheen, and he wished he hadn’t. “It’s just disturbing.”

“Only because you don’t accept the role I play. It certainly fools everyone else well enough.” Marta sat, gently patting the scraggly goatee that decorated her chin. “Did you find anything of interest?”

“If the word on the street has any truth to it, the Engine’s the genuine article. Never changes a prediction no matter how many times you go back, and is never wrong even if it’s a bit vague.”

She snorted loudly. “People remember that which confirms and forget that which does not.”

“If you say so.” Simms gave her narrow-eyed look. “And did you spend your two hours well?”

“Well enough. They took the Engine from the theater as soon as the crowds had cleared off, and it went straight to the Grand Duke’s palace.”

Simms choked on his mouthful of tea.

“Which is interesting, since I hadn’t known a fellow like Dr. Birrenbaum would have friends in such high places. It lowers my opinion of the Duke, and I hadn’t really thought that possible.”

Beating a fist against his own chest helped clear his airway enough to ask, hoarsely, “So I guess we’ll be waiting until next week, when it’s taken out again?”

“Don’t be daft. We’ve got the supplies and the time. We’ll go in tonight.”

“You’re not joking.”

“I’m deadly serious. I haven’t broken in to the palace since the his royal stuffiness got rid of his last security chief. I’ll be interested to see if Colonel Douglas has improved things at all.”

“You’re mad.”

“I know.” Marta stood up. “Now come along, there’s a good chap.”

#

The enormous palace the Grand Duke occupied was surrounded by a massive wall, and street lamps that filled the area with white light, making the nearby streets almost bright as day and cutting the shadows deeply. It was into one of those shadows, a deep set doorway that afforded them a view of the front gates, that Marta took them. “The lights are new. They weren’t here the last time I passed through Denver.”

“It’s going to take more than just scaling a wall this time.”

“Perhaps the sewers, though I’d like to leave those as a last resort. They’re quite unpleasant, and I wouldn’t be surprised if the good Colonel has seen to the more obvious entry points anyway.” She frowned, then said, “Let’s go around to the west gate. I have an idea.”

The west gate was smaller and much less ostentatious, as the entrance for deliveries, servants, and other ordinary persons. It was not, however, any less well-guarded or well lit. The two sheltered in the doorway of a church. “Doesn’t look much more likely,” Simms observed.

“On the contrary. Direct your gaze past the lamps.”

The wide bottoms of the kitchen chimneys were visible, their tops retreating in to darkness. “Chimneys. And?”

“How far away do you think they are?”

“Not very. Three hundred feet, maybe?”

“A bit more than that, I think, but still well within range.”

“In range? Oh no. No, no. No, you are not making me do this.”

“I have no interest in making you do anything, Simms. You can stay behind in the belfry, if you like,” Marta said calmly.

That didn’t even bear consideration, knowing the sort of trouble she might cause without a steady hand at her back. “And then once we’re in, how do you propose we get out?” Simms demanded.

“It’s always easier to leave than it is to enter. We’ll just black up our faces with coal dust and leave by the west gate. Servants often keep irregular hours.”

“You’re mad.”

“And if you’re just going to repeat the obvious, Simms, you might as well save us both the time.”

#

The plan required a quick jaunt to a warehouse where Marta kept a cache of tools, clothing, and a myriad of gadgets. Simms was made to change into a more appropriate set of clothes, which smelled a bit of mildew and didn’t fit quite right, but would do perfectly for the role. Marta also used a tiny little steam engine, fueled with gas siphoned from the mains in the street, to pressurize a canister of air, which she loaded into something that looked like an elephant gun.

“Only one round?” Simms had asked.

“If we miss the first time, I don’t think we’ll get a chance for a second attempt.” She’d handed him a large grappling hook, surprisingly light for its size, and took up a coil of silk rope. “To that end, I think you’d better take the shot. You’re a much better marksman than I.”

“That, I won’t argue with.” Simms hefted the gun, trying to imagine shooting such a heavy missile from it. “Are the sights adjusted to compensate for this… projectile?”

“They should be.” She hesitated. “I’ll get another canister up to pressure. Take it out into the alley and fire it to get a feel.”

A broken window and a terrified drunkard later, they were on their way back to the church.

The belfry at the top of the church, redolent with droppings and a few dead birds, afforded a lovely view of the chimneys, though the tops were still a bit hard to make out. Not worried about his borrowed clothes, Simms knelt in the muck and steadied the heavy gun against the windowsill. “Feels like old times. Though I don’t think the Rangers would ever consider firing a gun this ugly.”

Marta laughed. “Can you make the shot?”

“Not too much of a breeze. So good a chance as any.” He took in a deep breath and let it out slowly. “Have a backup plan if this fails and we have to run for it?”

“At the moment, my backup plan is for you not to miss. I’ll think of something else if chance requires it.”

“Right.” Another deep breath, and he sank into that quiet center that he’d learned years ago as a marksman. Even a lifetime away from his youthful adventures, it was still habit. He sighted carefully on the closest of the chimneys, adjusted for the light breeze, and then let out his breath as he squeezed the trigger.

Even expecting it, the kick from the gun sent him flat, his shoulder throbbing. “I think,” he said, staring up at the feces-crusted bronze church bell, “that you must have put more pressure in this one.”

“I may have.” Marta busily reeled the rope back, then yanked on it when it stopped. The line sang with tension, but held even when she put her full weight against it. “But a good shot, Mr. Simms, a good shot indeed.” She pulled a sack from under her coat and retrieved two pulley assemblies, flicking them together around the rope and hanging a strap from each. “Ready?”

He set the gun down and gave his shoulder one last good rub. “As I’ll ever be.”

It was all Simms could do to keep his teeth clenched around a scream as he slid along the rope, far faster than he would have liked. He had the presence of mind to bring up his legs and stop himself with them before he actually ran in to the chimney; the shock set his back screaming in protest. From there, it was a perilous hang and shuffle around the top of the chimney until came to the rungs bolted to the side, there for the convenience of chimney sweeps. Marta followed him a few moments later, the grappling hook dangling from her belt. “We should be able to reel the rope up back at the belfry now. I’d rather the good Colonel not find out about this particular route any time soon.”

“Next time you take this route, feel free to leave me behind.”

Down the side of the chimney they went, breeze tugging at their hair and coats. From there it was easy enough to get in to the palace; what few doors were locked, Marta made short work of with the lock picks she always carried in her belt.

Once inside, they became more cautious, creeping along back hallways where only servants went, always listening for the sound of approaching footsteps. While they might pass as coal shovelers from the boiler room, they were a long way from that location, and explaining themselves would be awkward indeed, particularly since they were still both quite clean.

Away from the kitchens and into the dark expanse of the Grand Duke’s formal residence they crept. The lamps in the servant’s halls were dimmed, since it was unlikely for anyone to be active without a party going on. Simms simply followed Marta, trusting that she had an idea where she was going and knew the layout of the palace well enough to get there.

Though they may have crossed their own path a time or two, she eventually had them at a drawing room, the entrance to it in the plain back hallway marked with a little piece of card. Marta signaled Simms to turn the lamp on one side of the door down while she turned down the other.

Light shone in from under the door. Silently, Marta crouched, as close to the door crack as she could get, head tilted so her ear almost rested against the door. Simms followed suit, barely daring to breathe as he listened.

“—for waiting up for me, Dr. Birrenbaum.” A deep voice, familiar, though it sounded a bit odd when not being magnified by the acoustics of the grand balcony.

“My pleasure, your royal highness,” the doctor said.

“Let us be swift. I’ve an early morning tomorrow.”

“As you wish, highness. Though… I hesitate to say this, but the Engine has yet to change a prediction.”

“If it will change for anyone at all, it will change for me.” A pause, then the sound of the lever being pulled, the wheel being turned. The chatter of gears within the machine ceased quickly, and then the soft sound of paper tearing.

“Ah, I am sorry, highness…”

The Grand Duke laughed, the sound bitter. “Some day, the result will be different, my good doctor. I will not be laid low by such a common thing. Or I will know the reason why.”

“If only I could change it…”

“Save whatever you were going to say next. Your neck’s not at risk, so long as you keep your lips sealed.”

The doctor then delivered a most unctuous goodnight, which the Grand Duke barely acknowledged. The sound of a door closing, and Dr. Birrenbaum said quite distinctly, “At times I regret building you, you infernal machine.” Then the light from the room dropped to nothing and the other door open and shut again.

Simms opened his mouth to ask her a question and she only shook her head, taking her watch from her pocket. Only after five minutes had crawled by did she open the door into the dark drawing room. She pulled several pillows from the rich couches arranged about the room and stuffed them against the door, then signaled Simms to turn the lamps up enough for her to work by.

“That was interesting,” Simms commented quietly as Marta took a few tools from her little bag.

“Interesting indeed. I wonder what the machine had to say. You’d think its creator would have more care with the Duke.” Each movement efficient, she began to remove screws and bolts, laying them out on the floor in careful order. “From the duration of the sound, all I can really say is that the result was a prediction nine letters long.”

“Well, that narrows things down.”

She opened her mouth as if to laugh, but allowed no sound to escape. “Be my ears please, Simms. If I’m to get this done quickly, I must put all my concentration to it.”

Simms did as she asked, focusing mostly on the servant’s hall. Listening with all his might still left his eyes free, and he watched Marta rapidly remove all the outer coverings of the machine with great interest. Once the cogs and wheels that made the Engine’s innards were visible, she began gently working levers and turning wheels, examining every movement the machine made and nodding to herself. She waved Simms over. “These functions are as I suspected. A lever is pulled a wheel turned here… it uses a very simple principle to generate a number with something close to randomness. See this contraption here? It puts a variable spin on this wheel –” which was marked with the numbers one through twelve “–to ‘predict’ the number of children.” She smiled, pocketing a handful of screws. “They ought to malfunction quite spectacularly upon the next intended use.”

“So it is all a fraud,” Simms said. “What a horrible man. Is the engineering the same for the portion that predicts death?”

“I’m not quite done.” Marta turned her attention to the little slot that received the blood sample, following thin copper pipes deep into the Engine’s belly.

Simms retreated to his position by the door, though he was so fascinated by the random way Marta twitched her feet as she wormed deeper into the machine that he almost missed the faint sound of footsteps. He froze, whispering a quick, “All quiet!”

One foot pressed against the carpet for balance and the other at a strange angle, the Captain froze.

Out in the hall, the footsteps became louder, two sets, accompanied by merry voices, a man and a woman, the tone both drunk and flirtatious. They paused at the door, the man saying, “Oh, we can just use this room, no one’ll know…” then the sound of a hand fumbling against metal and wood.

Simms clenched his teeth around a curse, lurching forward as quietly as he could to grab the door handle, stretched out precariously like a runner frozen as he surged from the starting line. The handle jerked against his hand, but he’d trained himself to hold against the controls of steamships and engines, kicking guns, and one enthusiastic toddler. A drunk wasn’t going to move him.

The man gave up after an eternity that was in reality only a few seconds, muttering, “Oh, I guess it’s locked. Well, my room’s not too much farther…” The voices moved away.

Simms let go of the handle and sagged to the floor, fighting the urge to giggle. By the time he’d gotten himself back under control, Captain Ramos was once again in motion.

Contorting herself in a strange way to see around a large cog, she reached deep into the machine and unscrewed something. A moment later, she pulled out a strange blue crystal, its faces twinned in odd ways. She crept over to where he crouched by the door and showed it to him. “This was at the center of the death prediction mechanism. There were other devices around it, arranged to sample some sort of output from this crystal, and then I surmise to translate it into a written output using printing press letters mounted on a wheel.”

Simms stared at the crystal; he reached out to touch it, then pulled his hand back before he was within a few inches. “But what does it do?”

“Perhaps generate more randomness. Perhaps not. I admit I am intrigued.” She tucked it into her bag. “This, we will take home and test.” She returned to the machine and began to reassemble its outside.

#

As the Captain had said, leaving was far easier than arriving. They made a side trip to the enormous basement where the palace’s coal stores were kept, and blacked themselves up well by rolling around on the floor. After that, it was simple enough to leave by the west gate.

Simms had many things to take care of when he got home: a young daughter to see to, supplies that he’d acquired during their trip to distribute, and perhaps most importantly, a long bath followed by a longer night of sleep. By the time he’d finally gotten the last of the coal dust scrubbed from under his fingernails, the other residents of Devil’s Roost were beginning to mutter about Captain Ramos’ new obsession – blood samples. And while they dealt with her other little ways normally with a shrug and a, “Some people are just a bit odd,” blood was another matter entirely.

Deep in the remodeled silver mine, he knocked on the door to the Captain’s work room, then let himself in without waiting for an answer since she normally ignored knocks anyway. Marta spared him the briefest of glances before hunching back over her work table, one hand scratching busily away at a pad of paper with a pen. “You’re disturbing the normal folk, Captain,” Simms said.

“I’m doing nothing of the sort. I’ve been in my lab all day.”

“Blood samples?”

“Oh, that. It’s only blood, Simms. Nothing untoward.”

He sighed. “Even if there’s no vector about, it gives everyone a bad feeling. Please tell me you’ve gotten all you need?”

Marta sighed in perfect mockery of him. “If you insist. I think I’ve got the principle understood now anyway. Come over here and give me your hand.”

He did as he was told, and wasn’t as all surprised when she pricked his finger roughly with a pin and squeezed some blood out onto the blue crystal. It was hooked to a conical metal structure with a series of wires and tuning forks. Two things happened simultaneously: the blood drops seeped in to the crystal’s face, disappearing in an instant, and the crystal began to vibrate, a distinct series of musical chords feeding from the metal cone.

“Well, that’s interesting,” he said, prying his hand away. He yanked his handkerchief from his pocket and wrapped his finger up. “Sounds almost nice, doesn’t it? Soothing.”

“Most of the time. And I’ve tested every bit of blood I could get my hands on; it’s not different for every single person, but there is significant variation. And it does indeed emit the same series of vibrations when given the same blood sample.”

Simms glanced at her hand; there were several bits of tape on each of her fingers. “So it’s real.”

“Though I haven’t theorized the mechanism yet, it is indeed real. With enough study, I could do as Dr. Birrenbaum did and translate these frequencies into words.” She sat back in her seat; the musical sounds emanating from the crystal faded in to silence. “So I suppose I was a bit hasty in calling him a complete fraud.”

Simms crossed his arms and tilted his chin toward the crystal. “If it’s a real thing, then you ought to destroy that. Hell, we ought to go back to the city, find the man’s plans, and burn those too.”

“His machine has been disabled, Simms.”

“For now. But what if he’s got another crystal? Or makes one?”

“Then the Engine of Medical Marvels will make its return.”

“And you don’t see the problem with that?” Simms demanded. “Now that you know that it is somehow real, that it can predict deaths? There are–”

She thrust a finger at his face, drawing up to her full height. “Don’t. You. Dare,” she hissed. “You were about to say that there are things man isn’t meant to know, and don’t you dare even think those words in my presence again, Simms, if you value your health.”

Simms took a step back, bringing his hands up defensively. He’d never seen the Captain in such a state of anger before, her normally cold demeanor gone in a flash of rage. “But there are people killing themselves over this nonsense!”

“Yes, and I suspect others are taking it as permission to live their lives more fully!” She stabbed her finger at Simm’s chest as if it was a sword. “I have issue if people are doing anything over the lies of a charlatan, but as it appears to be in the realm of fact it is no longer my concern! Considering I left their society because it is built entirely upon polite lie after polite lie, I admit to finding myself refreshed that anyone is being influenced by a truth at all!”

He threw up his hands. “Fine then, why don’t you build your own little Engine and find out how you’ll die? Since it sounds so lovely!”

She sat back down on her stool and laughed at him, throwing in an unladylike snort for good measure. “Oh Simms… so little in life comes as a surprise to me that I should like it if my death at least were unexpected.” She let out a few more giggles, then waved him away. “I can tell you’re still quite cross with me. Do take it elsewhere. I may have stolen this little object fair and square, but I refuse to maliciously destroy someone’s research just to score some sort of… philosophical point.”

“You are impossible!” Simms hissed, then turned on his heel and stomped from the room.

“Nothing is impossible,” Marta remarked to the empty workshop, folding her thin hands over her stomach. “Though I suspect I am highly improbable at times.”

#

They never spoke of the matter again, though Simms did always ask around when he was in the city, just a surreptitious inquiry here and there about the Engine of Medical Marvels or Dr. Birrenbaum. Neither made a reappearance, and he had to satisfy himself with the thought that the blue crystal was one of a kind, and now out of reach of anyone but Captain Ramos.

As she had said, she had no interest in recreating the Engine or its methods of communication. Instead, she made a more sophisticated construction of metal forks and precisely tuned wires and fitted the crystal in to it. And sometimes, before she drifted off to sleep, she would feed the contraption a drop of blood and listen to the soft, strangely beautiful music of her impending demise.
Categories
writing writing advice

On rejection

Well, it sucks. Any questions?

To be more specific, I’m talking about the kind of rejection that is yours for the collecting if you do anything creative. My main experience is with writing, but I’ve gotten a solid impression from my friends who do other artistic things that if you want to create, and sell what you create, you have to be prepared to down a healthy bowl full of “no” salad every day.

I’m mostly thinking about this today because I sweated blood for six hours editing a story, which was subsequently rejected in less than twelve hours.

Ouch.

These are the times I go out for a margarita. Or in the case of tonight, thanks to a mysterious stomach bug that’s decided to make my life difficult, I stare glumly into my package of animal crackers.

The constant rejection never feels good. It’s not supposed to. You’re sending your story out there because (I should hope) you believe in it and think it deserves to be received by the cheering masses. Having an editor tell you no can sometimes feel very painful because it feels personal. That story’s a little bit of you.

It’s really not personal. I don’t think I could ever handle being an editor; they have the toughest job in the world. While I’m sure the slush pile is pretty hefty in stories that don’t meet standards, it sounds like they still get more good pieces than they could ever hope to publish. I’d drive myself to a nervous breakdown trying to make those decisions.

So it hurts. You have to just dust yourself off, eat your animal crackers, and keep going. And if you still believe in your story, you have to keep fighting for it.

Don’t let fear of rejection stop you from trying. You will eventually build up your rejection callouses, even if you still see those e-mails pile up and think Oof, I need that beer now. I’ve filled an entire bulldog clip with rejections and I’m well over halfway into my second. The sting never quite goes away, but you get stronger for it.

Rejections are like sweat. That’s what effort looks like, baby. It means I’m trying. I’m working hard. I’ve developed a weird, potentially unhealthy relationship with my rejection notices, where if I haven’t gotten one for a while I start feeling somehow less real, like I need the validation that I still exist as a writer. It keeps me playing story pingpong, sending them out as soon as they come back.

Because ultimately, even the biggest no sundae in the world still has a cherry on top.

Categories
writing

Twitter is not a chore.

If you haven’t read Justine Larbalestier’s blog post about social media self-promotion for writers, you should. Obviously, as a writer who has actually published novels and made money, she has much more cogent and useful things to say about the issue than I do.

But I would like to add my two cents as someone who is attempting to do writerly things, and more importantly, someone who uses Twitter.

At one point, I saw a submissions call and checked it out. The publisher that issued the call had a note on it that basically said if you did not have X number of followers on Twitter and X number of followers on Facebook, you were obviously not serious about this writing thing and they wanted nothing to do with you. I found that incredibly offensive for a multitude of reasons.

Obviously, I know that being serious about being a writer isn’t just about writing, as much as I wish it was. I’m not that naive. But this emphasis on social media, this requirement that you have to, by hook or by crook, have a minimum number of followers just pisses me off.

I use Twitter for fun.

I know some people acquire followers on Twitter by following people and hoping they get a follow back. That’s never been my style, mostly because I read my Twitter feed in its totality. I may have to start messing with lists sometime soon anyway for time management, but I still am not going to follow someone unless I am actually interested in what they have to say.

Let me lay this out as a generic Twitter user: people who do nothing but relentlessly self-promote are goddamn boring. The authors that I follow (Justine Larbelestier, John Scalzi, Jim Hines, Neil Gaiman, etc) are on my list because they’re interesting, not because I want to be updated daily on what they’re selling. I like the heads up on new things coming, but they have a hell of a lot more to say than just “buy my book.”

I have unfollowed people before because they rarely Tweeted anything that wasn’t about their products. I’ve also unfollowed people because they were boring. What this tells me, as someone who now might want to approach this from the other side, is that maybe being on Twitter just so you can tell everyone to buy your shit is not going to work that well.

I don’t like That Guy, you know, the one that only wants to talk to you so he can try to sell you something and tell you how awesome he is. I’d hazard that no one does. I refuse to be That Guy. You can’t make me.

Categories
writing

And there is a winner!

That’s right, the Clarion write-a-thon ended last week and I got all six of my short stories written. I also said that I would pick someone at random from my supporters to have naming rights to a character in one of my upcoming steampunk stories.

Thanks to Random.org for providing the RNG, we have a winner: Ivona Elenton!

I’ll poke you at some point Ivona so we can chat about the dubious prize you’ve received. Thank you to everyone who supported me in the Clarion write-a-thon!

Categories
feminism rants writing

You know what else is part of the beautiful spectrum of human experience?

Not having kids.

Articles like this one seem designed to piss me off and make me pound out ranty things on my keyboard.

Yet putting yourself last is one of the best things that can happen to a writer. I make no moral claims for motherhood ­— which can bring out the worst in a person, in the form of vicarious rivalry, bitchiness, envy and even mental illness — but going through the ring of fire does change you and bring about a deeper understanding of human nature.

Well, Mrs. Craig, I’d argue it hasn’t given you a deeper understanding of the human nature of people who aren’t particularly interested in having kids.

I arrived at the essay by way of one of Amanda Marcotte‘s tweets. She made the very excellent point that you don’t see concern trolling of this sort going on about Gore Vidal or any other male author that dies. I would hope that children are a similarly transformational experience for the men who are invested in them, and that does seem to be the case from my own personal observations. A little unfair to the men, hey?

Really, it’s unfair to everyone. From start to finish, once I got past the sound of blood rushing in my ears, the essay reads like a personal justification. Sure, Mrs. Craig has less time to write, but she’s traded it for a deeper understanding of human nature and therefore that choice is superior! Or something! Everyone should do it! Have babies, it makes you more awesome and a better writer!

I am not here to make fun of the choice to have children. It’s obviously been very meaningful for Mrs. Craig, as it is for many people who go that route in their lives. But I am going to challenge this implication of inherent superiority. Having children is one branch in the path a human life can take, a major direction. It leads to one set of unique experiences and feelings.

Not having children is just as major of a path, and diverges from itself even when you consider the question of if it was by choice or not. That leads to a whole different sort of life, a different array of feelings and experiences.

Neither is superior.

The whole point of art, whether it’s painting or writing or interpretive dance or covering yourself with pudding and being an installment piece on the sidewalk for an afternoon is that you are trying to communicate and imagine through the lens of human experience. Frankly, if we all had the same experiences, I think it’d be pretty goddamn dull. It’s about getting out there and living your life to the fullest extent you can and then sharing what you’ve learned and felt and loved and lost and hated with everyone else.

Because none of us are immortal. We can’t feel every feeling and experience everything that there is in this constantly expanding world of ours. It’s not possible. That’s why there’s art, because it’s one way to share, to help people taste a life they will never otherwise know.

For some of us, living life to the fullest is having children and watching them grow, feeling all that love and pain. For some of us, it’s using the extra time and money to ride a bike along the Great Wall of China and dance until three in the morning and kiss a stranger and then have the worst hangover ever. What matters is that we’re living and creating. Unless the person you’re squaring off with does nothing but pick their belly button and watch Real Housewives, your life path isn’t inherently superior. It’s just different.

And different is good, right? Because I don’t want to live your life, as fulfilling as you find it. I want to live mine.

Categories
write-a-thon writing

GOOOOOOOOOOOAAAAAAAAAAAAAL

With 19 hours to spare, I finished the last of my six short stories for the Clarion Write-a-thon. Woof, what a slog.

I had eight donors total. Thank you, all you lovely people! I’ll be drawing a name out of a hat (or, more likely, using an RNG) to pick who will be the lucky winner of naming a character in one of my steampunk stories. Expect that in a day or two. I just don’t even have the brainpower necessary to write names on bits of paper right now, I swear.

If you’d like to read an excerpt from this last story, you can check the blog for my write-a-thon team.

This has definitely been a learning experience for me.

Total, I wrote around 35,000 words over six weeks. Last year, I wrote 99,000 words over those same six weeks. And let me tell you, for all that’s over twice as much, those 99K words were a hell of a lot easier.

I have a rough time with short stories. I did a lot of staring at blank pages and trying to figure out what the hell I was doing. It’s way harder than just having a big plot and writing until it’s done. Of course, one of the mistakes I made this time around is that I didn’t have six stories planned out. I didn’t even have base ideas for them. Of the stories, two were planned in advance. Generating the other four ideas quickly and under pressure was a lot rougher than I expected it to be.

My brain is toast. I’m definitely short-storied out for a while, at least for new writing. Two of the stories I think I can submit for open calls that are due on August 31, so I’ll be doing some editing between now and then. The rest can percolate a while longer.

I still have plenty of work that needs doing. I owe my patient editor the first round from Murder on the Titania. I want to get this damn novel draft finished some time soon. I need to start outlining the next Captain Ramos story, since the first draft of that will be due by the end of the year and once I get back to school my writing time is going to be very limited.

I also came up with an idea that I’ve fallen in love with, just randomly as I was leaving work today. I’m letting it percolate, and we’ll see if I’m still in love with it when I can start working on something new that’s long. Because this feels big. But the working title for this project is The Bridge Over the Graveyard of Whales. I know, I know, my title fail. Right now my excuse is that my brain is just juiced. I’ll come up with a different excuse tomorrow.

Categories
writing

I write a horrible story (also known as: trunk stories, what are those?)

It happens sometimes. It kind of has to, if you think about it. Not everything you write is going to be wonderful. In fact, particularly when you’re starting out, more of it will suck than will not suck.

The difference for me is that normally, when I hit a story that I just start hating, I stop writing it. Then delete what little I have written, often while doing my best Bela Lugosi laugh. Unfortunately, since right now I’m the Clarion Write-a-thon’s bitch and I’m on a strict timetable, that wasn’t really an option. So even though I’d decided that this story and I weren’t going to be friends by about word 1500, I kept plugging away at it because I was past the point of no return. I needed to finish this thing or risk missing my goals.

Writing something awful that you hate is a uniquely bad experience, I think. I discovered all new levels of procrastination, trying to avoid engaging with this story. I eventually had to unplug my router so that I’d have to focus on the task of just ripping the bandaid off and getting it done.

This all, of course, segues nicely into the question what the heck a trunk story is. Since this thing I just finished is, without a doubt, a trunk story.

I was very confused by the term when I first started submitting stories to magazines. There are quite a few that say something to the effect of, “And don’t send us your trunk stories” actually in their guidelines. I figured that if I didn’t know what a trunk story actually was, I probably shouldn’t worry about it.

Well, yes and no.

My little writerlings, the definition isn’t really a set one, so here’s how I think of it. Trunk stories are stories you know aren’t good. Stories that don’t quite work and you can’t seem to fix. Stories you no longer believe in. Stories that taught you something valuable about the writing process but have no outer redeeming value. Stories that are effectively a waste of an editor’s time.

I know this is a weird place for us as writers. We are always and forever our own worst, nastiest critics. But at the same time, you still need to believe in the stories you’re trying to sell. You need to believe that they are the best you have to offer, and they are worth fighting for and taking rejection after rejection over. If you find yourself thinking, “Well this story is crap but maybe publication X will still give me a penny per word for it,” stop. It’s a trunk story.

There’s no shame in having trunk stories. I have a sub-folder in my writing file literally titled, “The Trunk of Awfulness.” That’s where all my bad stories go. It’s also the place for stories that I think are all right, but not something I believe in enough to keep throwing them at editors.

I think part of the process of writing and writing a lot is learning to recognize earlier when one of your stories is just not going to work. It sucks a bit when you’ve invested a lot of time in something and then realize that it’s terrible.

But also think of it this way – every story you write teaches you something. And if you’re writing terrible stories, it also means that you’re going to write good ones too. I suggest that, like your rejections, you consider your trunk stories a point of pride. It means you’re working damn hard.