Well, it’s 2017.
After the election I didn’t write much of anything until late December, and it’s only now, when this whole mess finally seems real and not like a terrible fever-dream that I’ve really gotten back in the saddle.
It’s also really weird to talk about how things are going well for you when the world at large is slowly burning down. In a few days, I’ll have my first published story come out, and several more over the next months. I finally have a full-time job with reasonable hours. I’ve moved to a town I love and I’ve got friends and a nice place.
And yet, there’s men in the White House who don’t want people like me to exist. Refugees are being sent back to countries where they will likely die and a Nazi-loving, maniacal racist is my country’s Chief Strategist. The fuck.
Today I also saw this tweet from Marissa Lingen and the thread that follows about talking art in frightening times:
So I’m starting this blog back up. I’m going to make a big effort to do at least one Dang Good Stories a month, because we need stories now, and I’m also going to talk about what I’m working on to remind myself it is worth something.
The good thing is I have been writing. I even bought myself a calendar and some motivation stickers.
The orange/yellow stickers are for 250 words written, the pink stickers are for 3 pages edited, and the green stickers are for 20 minutes of reading. The blue stars are submissions, the gold are acceptances (none so far, sigh) and the red are for when I put “the end” on a first draft. Words are happening. Slowly, but they’re happening.
Onward we go.
In the last month, I have:
Which is to say life is going mostly well, but this blog has fallen by the wayside. I’m aiming to fix that this month. I’ve got two half-finished Dang Good Stories and a movie review to go up, so stay tuned.
Yeah, I’m a little behind the times. But I just picked up DC Rebirth, and the Rebirth: Batman, Wonder Woman, and Justice League #1s, and boy do I have feelings on them. Originally this was going to be a structured post with actual paragraphs, but it turns out when you’ve been reading comics since you had object permanency it’s tough to keep on a single train of thought. (Also, Twitter has rotted my brain).
For context, I’ve read comics my entire life, and DC has always been my drug of choice. I stopped reading them during the whole New 52 debacle because the comics were no longer doing what I wanted them to, for a variety of reasons that no one wants to listen to me yammer on about. I’ve liked the press around Rebirth, so I’m giving DC another shot.
My totally subjective and emotional thoughts about Rebirth in no particular order:
1- Rebirth: Justice League is a team book where no two members of the team appear in the same panel except the Green Lanterns. In fact, I think the only interaction anybody has really is Batman and Cyborg talking over the comlink. This is always a bad sign for me. I read team books for the interactions–I’ve read enough “how the Justice League came together” stories for a lifetime, thanks. The concept is no longer new.
2- This whole exchange from Rebirth: Batman #1 fills me with joy:
I love it when writers can have a sense of humor about Batman and point out that Bruce is kind of a ridiculous human being, because he is.
3- I don’t have a fucking clue what’s going on with Superman and Lois Lane.
4- YES WALLY WEST 1 IS BACK. He was a great character to use to introduce Rebirth–Wally’s always exemplified the happy, well-adjusted side of the DC Universe. He’s also in my top 10 favorite DC characters and his obliteration from the timeline was a major part of why I quit reading. I’m interested to see his relationship with Wally West 2 play out, but I just know that every single DC book is going to have a “Wally West? Which Wally West?” joke in the next few months. RESIST THE LOW HANGING FRUIT, WRITERS.
5- I’m so glad they’re walking back the silly “Wonder Woman is Zeus’s daughter” origin that New 52 gave us. Wonder Woman’s suffered a lot over the years from inconsistent characterization, and I appreciate that this seems to be a return to the “warrior for peace and truth” take.
6- Rebirth suffers from some of the same continuity issues New 52 did, though to a lesser extent. The problem with incomplete reboots is that new readers are still confused while old readers don’t want the recap. For “intro” comics, these issues depended a lot on New 52 specific events: Diana as the God of War, Superman’s whole whatever, the gang of Robins, two relatively new Green Lanterns.
Interestingly, DC Rebirth suffered the least from this problem, as it did a pretty good job of recapping the relevant storylines. Rebirth: Batman #1 did the worst. I did not read We are Robin or the last few years of Batman and Detective Comics so I’ve got no idea who Duke is or what’s up with his parents. This could have been cleared up in a couple panels and I wish the creators had stuck that explanation in.
7- I don’t want Watchmen anywhere near my DC universe. Ugh.
8- I’m glad none of these books had a senseless superhero-against-superhero battle. Generally everyone was written as an adult capable of using their words, and honestly that’s all I ask of comics these days.
9- I realize it’s difficult to convincingly write characters who are smarter than you are, but it would be nice to see the World’s Greatest Detective actually detect something once in awhile. That said, I didn’t mind the lack of detective work in Rebirth: Batman as much as I minded it in some past series or in BVS.
10- I’m never going to buy a series that puts out two issues a month. It’s too expensive.
11- Hal Jordan has all the personality of a sad potato and I was so happy to see that he’s not the Justice League’s Green Lantern this time around. Fight me.
12- Overall I like the new costume designs. Classic without being throwbacks. I’m iffy on the yellow-outlined bat symbol, but I’m always iffy on yellow. I’m reminded of that one comic (a Frank Miller comic, I think?) where Bruce rationalized the bat symbol with “I put a target on my chest because I can’t armor my head” and everyone was like, IT’S CALLED A HELMET BRUCE.
So, were these the DC comics of my dreams? Nah, not completely. But I think it would take a sizable culture shift at DC and another reboot for their comics to line up with the characterization in my head. I did enjoy them all and I’ll be picking up Trinity and Supersons when they come out in September, so I’d say they did their job.
This week, three stories to keep you awake at night.
“each thing i show you is a piece of my death” by Stephen J. Barringer & Gemma Files (Apex Magazine September 2013)
The idea of infectious stories is an old one (and the basis for so many internet urban legends), but this piece dives right into the horrific possibilities of the concept. The story follows two filmmakers crowdsourcing their latest project. They receive a tape that appears to be of a man killing himself and reappearing, over and over. Things get worse when the man starts showing up in the background of other videos, and the filmmakers’ lives start going terribly wrong.
I am not, in general, a huge horror fan. My “freak yourself out” media of choice tends to be on the true crime side of things. But damn, this story is amazing. I think I’ve read it five or six times by this point. Barringer and Files tell the story through emails, press releases, and other ephemera to create a slow, slow build, so you don’t realize the true scope of what’s happened until the end. Go read this.
“The Food in the Basement” by Laura Davy (Apex Magazine July 2014)
Apex is not the first magazine that comes to mind when I think of horror, yet they’ve published some of my favorite dark tales. Like the story above, “The Food in the Basement” takes a common trope (here, vampires) and adds a new twist.
Sondra has been held captive, for months, by the vampire Kaden. He feeds off her but also cares for her the way one might care for a pet. The story follows her relationship with Kaden and her increasingly desperate attempts to leave, attempts that she knows are almost certainly doomed to fail.
For a story about vampires, there’s surprisingly little violence here. The real horror comes from the sense of dissonance, the ways in which Kaden tries to create a sense of normalcy for Sondra inside her cage. He buys her a chinchilla. He watches I Love Lucy with her. These mundane moments build the anticipation, because Sondra is waiting the entire time for Kaden to kill her. The whole story is built on these details, on what we can read between the lines of what looks, almost, like a normal life.
“Ten Things to Know About the Ten Questions” by Gwendolyn Kiste (Nightmare September 2015)
Unlike the prior two stories, this one doesn’t obviously approach a notable horror trope. But I see something like a portal fantasy in it–or at least, an attempt to peel back the happy portal fantasy to reveal the horror implicit in the premise.
This is a story about people disappearing. Not just one person, but hundreds. Thousands. Those people who feel like outsiders (like the typical protagonist of a portal fantasy) seem to be more likely to disappear. Panic grows, and someone develops a test for potential disappearers. The narrator is just a child, but when the test shows she’s likely to disappear she is put in a special classroom with other “dangerous” children, including Tally, who seems to long for disappearance. The story follows the two girls as they come of age in a world frenzied over the increasing disappearances.
On a more thematic level, it’s a story about paranoia. The people who seem to be in trouble are the ones being punished by ostracization and fear mongering. No one is really sure who is in charge of stopping the disappearances. A shadowy “they” develops the Ten Questions and takes away people who may be about to disappear. The world is clearly not safe for those who are different and not just because they risk disappearing. An excellent read.
This week I took a vacation to the east coast (Rhode Island, Connecticut, and Massachusetts mainly). Luckily–or unluckily–it was also the week when my increasingly-unreliable Macbook finally gave up the ghost. No writing got done, but I had a great time. Below are some of the stops I made along the way.
The Corning Museum of Glass has an exhibit going on right now featuring marine life done by the Blaschkas, a pair of German glass artists who produced replicas of biological specimens to fragile to be preserved in the mid-19th century. The specimens are utterly beautiful, and a little bit creepy in how accurate they are to the real thing.
(Images and more stops below the cut)
Folks, it has been a hell of a summer.
Short Fiction News
2016 is the first year where I’ve tried actually submitting things in any systemic way. In 2015, I finally hit a point where I could look at my finished writing and feel emotions other than frustration. There’s still a lot I’d like to improve on in my writing, but I felt like I’d reached a point where I’d be happy to see my stuff out in the wild.
And (drum roll please) I’ve sold two pieces!
My weird, second-person-POV monster hunter story “Extinctions” will be appearing in Shimmer, and my motherhood in multiple dimensions story “Seven Permutations of My Daughter” will be appearing in Lightspeed. I’ve been reading the stories in these magazines for a long time, and they’re both on my “dream markets” list. I’m honestly still in a bit of shock.
Anyway, watch for these pieces, which will be out sometime before the inevitable heat-death of the universe.
Numbers to Satisfy My Inner Rejectomancy Nerd*
So far in 2016, I’ve made 27 submissions. One of those is technically from December 2015, but since I didn’t hear back on it until well into 2016, I’m counting it as this year. I sent seven pieces out into the big wide world and got about an even split between encouraging personals and somewhat less encouraging form rejections.
Interestingly, the sales are my oldest piece and one of my newest. My word processor informs me that “Extinctions” was written in October 2014, while “Seven Permutations” was finished in May of this year. They’re also two of my longest pieces, which doesn’t tell me much beyond “fiction between 1000 and 2000 words is hard to sell” which I already knew.
In the interest of recording totally useless statistics, “Extinctions” was rejected four times before acceptance and “Seven Permutations” three times.
I am shamefully behind on novel writing. Novels for me take a kind of highly focused attention that I don’t have right now. I have written a bit on Untitled Project #1 (“lesbian knight YA epic fantasy”) but Project #2 (“detective solves mystery in post-magical-apocalypse Philadelphia”) really needs a full outline and god, I just hate outlining.
I’ve also got two longer projects in the very beginning stages, which means I mull them over in my brain occasionally.
In short fiction, I’ve got one old story I’d like to see if I can polish up, as my other stories are all out on submission right now. This seemed like a quick project, but as I got into it I realized that I’ll probably have to rewrite most of it. The bones are there, but I’ve grown a lot as a writer in the three years since the first draft.
Here’s hoping life stays interesting.
*I gotta say, I really like the numbers part of this business. The Submissions Grinder has really gamified the whole process for me. Every time I get a rejection I get all excited to update my counts.
This week, two stories about sadness because I’m in a melancholy mood today.
“A Flock of Grief” by Kat Howard (Lightspeed November 2014)
This story lingered in my TBR list for far too long because for awhile it seemed like every other story out there was about birds as a metaphor, and I kept clicking on it and going eh, birds again. But this story uses birds in a way I haven’t seen before. This is a world where birds appear after a death to burden the bereaved, literal specters of grief. In high society, men and women hire professional mourners to host their birds. That is, until the protagonist’s husband (who she didn’t love and didn’t want) dies and her complicated grief breaks the delicate system.
My favorite stories have multiple layers of meaning, and this one is no exception. On the surface it’s an interesting world with a neatly built economy of grief, but at deeper levels it’s also about the ways the rich use the poor, the constraints on women in this Victorian-esque society, and the social acceptability of public mourning.
“City of Salt” by Arkady Martine (Strange Horizons March 16th, 2015)
I love short stories that are concerned with the past. Usually we see only the immediate present, because of the limitations of length, but stories that address how the past haunts the present can work wonders.
“City of Salt” is all about aftermath. Ammar returns to the city he fled years ago, to see what became of his friend Sogcha who remained inside when the king they both loved used dark magic to try to win a war. The city is a dead place now, the ground entirely salt, and Sogcha has become a part of it.
This is a story not about regret, exactly, but about how past choices shape the future irreversibly. Ammar and Sogcha both made the only choices they could, neither right nor wrong, and now they can’t quite forgive each other. It’s also a story about death, and how grief endures. The dead are everywhere here–the undead army that the king Nilaq tried to raise, the illusions of the dead that Sogcha creates to keep Ammar away, the ever-haunting memory of Nilaq himself, the bodies that Ammar takes from the city for burial. I’ve reread this story several times, and each time I discover a new moment to savor in it.
This week we’ve got stories about boats and trains. (No planes, sorry.)
“Boat in Shadows, Crossing” by Tori Truslow (Beneath Ceaseless Skies January 2013)
I originally read this story in Heiresses of Russ 2014: The Year’s Best Lesbian Speculative Fiction which was a kickstarter reward for Lightspeed‘s Queers Destroy SF! project, but it was first published at Beneath Ceaseless Skies.
I do not read enough of BCS. Whenever I come across one of their stories, they knock my socks off. “Boat in Shadows, Crossing” takes BCS‘s usual emphasis on interesting worldbuilding and kicks it up a notch. There’s so much packed into this world. Death-magic and ghost houses; living, vengeful boats; a many-gendered god and the festival inspired by them; a town that eats people. It’s a remarkable accomplishment that all of this remains comprehensible and consistent.
The story follows Bue, who journeys from a village to the above-mentioned people-eating town to make a living with their death-magic. In the process they save a girl from the ghost-house that was once meant to protect her and is now a prison.
In other hands, this could have been a simple story, but in Truslow’s hands the plot becomes as layered as the world. There are stories-within-stories, marriage plots, questions that interrogate what we think of love and gender. And gender is also integral to this story–Bue is the daughter of a village, who takes on the guise of a son to go to the city, and who seems to take on different aspects of genders as they choose. This is a world that plays with gender unseriously, where identity is mutable. It’s a fascinating topic that’s often not deeply considered in fantasy.
I absolutely adored this story and I’m looking forward to finding more of Truslow’s fiction.
“Katabasis: Seraphic Trains” by Sarah Monette (Tales of the Unanticipated July 2006)
Sarah Monette might be my favorite short story writer. Her stories are incredibly varied in voice, subject, and style, but always beautiful. This story was republished in Monette’s collection Somewhere Beneath Those Waves, where I encountered it.
In this story, a young woman hopes her music will let her board one of the unnatural trains that circle the city, so she can find her lost love. But of course, such wishes don’t come without cost.
This is a story that showcases Monette’s gorgeous, almost-poetry writing, but it also has a depth of plot that a lot of “pretty” stories lack.
“The Strangers” by Anonymous (Creepypasta.org)
I’m not usually a creepypasta reader, but this story was linked in a discussion of the above Monette story and it is so good.
In this story, a man notices a person on the subway who is not quite…right and he follows the stranger to the end of the line. The true horror of the story isn’t what he finds there, but what it does to him.
One thing I like about this sort of internet story is how the form influences the reading experience. If this story were in an anthology, I don’t think I would have responded as strongly to it. The author’s anonymity and the ephemeral feel of the site gives the story, paradoxically, a sense of truth. This could be anyone, anywhere, posting this.
SFF author Alexandra Erin recently posted “De-Gendering Stories: A Challenge” on her website. In short, she challenges authors to pay attention to the ways we use gendered language and signal characters’ gender by writing a story in which at least two characters appear and neither character is explicitly gendered.
I’ve been thinking about gender in fiction a lot recently, especially in regards to one story that I just revised. I wrote it in the second person (not a popular choice, but I find that stories often come to me with a perspective already chosen, and I’ve never had much luck in changing them) and in the spring of 2015 workshopped it. The protagonist is female–there’s at least six points in the story where she’s explicitly gendered, and two of them are in the first pages–but half the workshop never realized this and complained that her gender had surprised them in the last few pages. Because she has a girlfriend, I assume.
I thought about changing the perspective, but ultimately left it as is. Ironically, that story just sold, but it left me thinking about how much of our interpretation of gender is tied up in sexist or heteronormative stereotypes.
As someone who writes primarily mostly characters, gendered language and signaling gender is always on my mind. I think its vital that writers learn to move beyond the male/female binary and the expectations that come along with gendering characters. I consider myself a feminist and someone pretty well-versed in gender issues, but I still find myself going that character’s a computer programmer, so they must be a he and falling back on old tropes.
I’m going to give this exercise a shot. I think it’ll be a real eye-opener to examine how I imagine my characters’ genders and how I use gendered language.
Alexandra Erin’s challenge continues until August 1st, and she’s offering a small prize for her favorite entries to encourage participation.
One of my goals this year is to read more short stories. Between my own writing, slush reading, and all of the awesome books in the world, I read woefully few last year. So I’m going to write about my favorites here, probably 3-4 every couple weeks, both because short fiction needs more recognition and because its a nice way of remembering what I’ve read. (Hence the optimistic #1 up there.) In particular I’m trying to read older stories, since new stories often get a burst of discussion anyway.
Also, my second goal was to put something on this blog whose domain I’ve claimed. Two birds, one stone, you get it.
I read this story because of a recommendation on someone’s Twitter feed (no idea whose, sorry) so I went in blind. Before reading it, I was only familiar with Adam-Troy Castro as the author of the middle-grade series Gustav Gloom so I was expecting something a bit lighter. Humorous, even.
This is not that story.
This story punches you right in the sternum. It begins with Rebecca’s husband–what’s left of him, that is–coming home from the war. And you think this is the horrifying part, right? The disembodied hands?
Wrong again. The horrifying part is what happens after, when Rebecca and her husband have to deal with the psychological effects of the war, how the lives they imagined are now in ruins. There’s one particular scene set in a support group meeting for veterans and their spouses that is possibly the scariest thing I’ve read in a short story in a long time, even though all the characters do is talk. I won’t spoil it, but suffice to say it will stick with me a long time.
“On Discovering a Ghost in the Five Star” by Peter M. Ball (Daily Science Fiction June 3rd, 2016)
The thing Daily Science Fiction does best is find stories that pack a hell of a punch in a tiny amount of space, and I love that approach. Publishing 365 stories a year does mean that the amount of attention each story gets is reduced though. This is one of the ones that deserves more discussion. I’m not usually a big fan of ghost stories–I find them overdone, and often reliant on tropes that are no longer frightening–but I’m still thinking about this one a week later.
In short, this piece is about a ghost in a laundromat, and how her death and reappearance reverberate through the community. To say more is hard because of the length, but it’s well worth your time.
I read this because of a tweet by Cassandra Khaw that called it “a powerful piece on anger, and being afraid to understand” and while I see that, I thought it spoke most powerfully about the lengths people will go to to ignore, to hide, the problems in their community. I found the ending a bit pessimistic (perhaps because of the current uproar over the Brock Turner rape case and how its made me think about women’s agency and justice) but powerful.
“Cafe Macondo” by Megan Arkenberg (Daily Science Fiction October 21st, 2014)
I’ve been on a bit of a DSF kick lately. A couple of years ago I would have said that flash fiction was my least favorite length, but these days I’m really digging how I can fit a bit of reading into my day and how through sites like DSF I can sample many different writers.
“Cafe Macondo” starts off goofy, with a customer at a grocery store trying to buy coffee from an alternate dimension, and then twists the premise to make it just a tad bittersweet. It’s a much lighter tale that the previous two but it makes a lot out of what could have been a one-note joke. It left me rooting for the protagonist, although she doesn’t even have a name.