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Raven

Raven, Emerging from a Box
Raven, Emerging from a Box
An early short story that originally appeared in Cat Tales in 2005.)

Ever since my husband installed a Vocobox â„¢ in our cat in a failed experiment, he (the cat, not my husband) stands outside the closed bedroom door in the mornings, calling. The intelligence update was partially successful, but the only word the cat has learned is its own name, Raven, which he uses to convey everything. I hear him when I wake up, the sound muted by the wooden door between us.

“Raven. Raven. Raven.”

Beside me, Lloyd murmurs something and turns over, tugging the sheet away, the cold whispering me further awake. When I go out to feed the cat, his voice lowers as he twines around my ankles, words lapsing into purrs. He butts against my legs with an insistent anxiousness, waiting for the dish to be filled. “Raven. Raven.” Kibble poured, I move to make our own breakfast, turning on the coffee maker and listening to its preparatory burble.

“I don’t know what I expected,” my husband mutters as he drinks his coffee in hasty gulps. “That cat was never very smart for a cat.” He glares at Raven as though blaming him for the failures of the world at large. The Vocobox is his own invention; his company hopes to market it this fall, and a promotion may hinge upon it. The last laurels my husband won are wearing thin; if the Vocobox is a success, he’ll be able to rest a while longer..

But when he first proposed installing it in the cat, he didn’t say it was still experimental. “The kids are gone, and you need some company,” he’d said. “The cat loves you best anyhow; now you can talk to him, and he’ll talk back.” He gave me a slight smirk and an eyebrow curve that implied that without him I’d be a dotty old cat lady, living in a studio apartment that smelled of pee and old newspapers.

“I’ll be late again tonight,” he tells me now. “And when I’m concentrating, I’ve found leaving my cell off helps. If you need something, just leave a message. Or call the service, that’s what we pay them for.” He’s out the front door before I can reply.

Every morning seems the same nowadays. My husband’s heels, exiting. The immaculate lawn outside. On Thursdays, the housekeeping service remotely activates the grass cutting robot. I see it out there, sweeping through the fresh spring grass that never grows high enough to hide it. A plastic sheep, six inches tall, sits atop its round metal case, someone’s idea of creative marketing. But the robot is done within the hour and then things are the same again. Back in the box.
I go into the living room, activate the wall viewer, and lose myself in reality television, where everyone has eventful lives. Soon Raven curls up on my lap. “Raven,” he murmurs, and begins to purr.

The mouths of the people on the screen move, but the words that come out are meaningless, so I hit the mute button. Now the figures collide and dance on the screen; every life is more interesting than my own.

At noon, I push the cat off my lap and have a sandwich; at dinner time a hot meal appears in the oven. I take it out myself, pour a glass of Chardonnay, take the bottle to the table with me. When did I become this boring person? At college, I studied music, was going to sing opera. I sang in a few productions, fell in love, became a trophy wife, and produced two perfect trophy children who are out there now, perpetuating the cycle. All those voice lessons wasted.

On the EBay channel that night I look for a hobby. There’s knitting, gardening, glass-blowing, quilling”¦ too many to choose from. I remember quilling from my daughter’s Bluebird days. We curled bits of paper, glued them down in decorative patterns on tiny wooden boxes. What was the point? I drink a little more wine before I go to sleep.

When he comes to bed, my husband snuggles up, strokes my arm. He murmurs something inaudible, the tone conveying affection. This only happens when he feels guilty. From the recently showered smell of him, I know what he feels guilty about. This must be an assistant I haven’t met yet.

When I don’t speak, he says “What’s the matter, cat got your voice box?” He chortles to himself at his clever joke before he lapses into sleep, not pursuing my silence. Out in the living room, I hear the cat wandering. “Raven.”

“You’re like a cliché,” my husband says at breakfast. “Desperate housewife. Can’t you find something to do?”

The cat’s attention swivels between us, his green eyes wide and pellucid with curiosity. “Raven?” he says in an interrogative tone.

I watch my husband’s heels, the door closing behind them, the deliberately good-humored but loud click, once again.

“Raven,” the cat says as it looks up at me, its voice shaded with defiance.

“Dora,” I say to the cat. I’m tired and sore as though I’d been beaten. The room wavers with warmth and weariness.

“Raven.”

“Dora.”

“Raven.”

“Dora.”

I can’t help but laugh as he watches my face, but he is not amused as I am; his tail lashes from side to side although every other inch of him is still.

Online, I look at the ads. Nannies, housekeepers, maids…I am a cliché. I embrace my inanity. Desperate housewife indeed, being cheated on by an aging husband who isn’t even clever enough to conceal it. This is my reality. But if I explain it, I start the avalanche down into divorce. I’ll end up living in a box on the street, while my husband will remarry, keep living in this expensive, well-tended compound. I’ve seen it happen to other women.

“Raven,” the cat says with tender grace, interposing himself in front of the monitor. Facing me, he puts his forehead against the top of my chest, pressing firmly. “Raven,” he whispers.

Sunday, while my husband’s out playing golf, the phone keeps ringing. “Caller’s name undisclosed,” the display says. And when I pick it up, there is only silence on the other end. The third time I say “He’s out playing golf and has his cell phone turned off, because it distracts him. Call back this evening.” and hang up.

He scuttles out in the evening after another of the calls, saying he needs to go into work, oversee a test run. Later that night, he curls against me, smelling of fresh soap. Outside the door, Raven is calling.

“Another cat would take the implant better,” my husband says. “I’ll get a kitten and we’ll try that.”

“No,” I tell him. “He’s too old to get used to a new kitten in the house. It will just upset him.”
“I’m trying to do something nice for you.”

“Buy the other woman a kitten,” I say, even as dire predictions scream through my mind, commanding me to silence. “Buy her dozens. I’m sticking with this one.”

He rolls over, stunned and quiet. For the rest of the night, I lie there. Outside, the night continues, limitless. I pass the time imagining what I will do. Nannying is, I hear, pleasant work. I’ll sing the babies lullabies.

He’s silent in the morning as well. In the light of day as we sit facing each other across the Formica table, I reach down to extend my hand to the cat, who arches his back and rubs against my fingertips.

“We need to talk,” Lloyd finally demands.

“Dora,” I say.

“What?”

“Dora. Dora, Dora.” I rise to my feet and stand glaring at him. If I had a tail, it would lash back and forth like an annoyed snake, but all my energy is focused on speaking to my husband.

“Is that supposed to be funny?”

“Dora. Dora. Dora.” I almost sob the words out, as emotions clutch at my throat with an insistent clutch, trying to mute me, but I force the words past the block, out into the open air. We stand like boxers, facing each other in the squareness of the ring.

Lloyd moves to the door, almost backing away. His eyes are fixed on my lips; every time I say my name,his expression flickers, as though the word has surprised him anew.

“We can talk about this later,” he says. The door closes behind him with a click of finality.

What can I do? I settle on the couch and the cat leaps up to claim my lap, butts his head against my chin. He lapses into loud purrs, so loud I can feel the vibration against my chest, quivering like unspoken words. He doesn’t say anything, but I know exactly what he means.

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Social Media: Pinterest Analytics and Links for 3/18/2013

August 8, 2015 edit: Hey folks, Pinterest has changed their analytics. Here’s the resource I used to update mine: https://help.pinterest.com/en/articles/pinterest-analytics. And for what it’s worth, I realized a lot of you were looking for info and stumbling across this through using them so they’re worth paying attention to!

Pinterest has rolled out Pinterest Analytics. To add it to your site in order to see what’s getting pinned, you need to verify your site. Here’s the instructions for doing so.

Pinterest Analytics

Some notes: even after I’d verified, Analytics wasn’t appearing in the upper right-hand corner as specified. I logged out and back in, and then chose the “Switch to the New Look” option. At that point, I went back and read the instructions and realized Analytics will not work until you have switched over to the new look, which to me seems pretty similar to the old look.

I didn’t see any data on there at first, just the message, “We don’t have any data yet! Please wait for us to calculate it for you,” but I could see the options: Site Metrics, Most Recent, Most Repinned, and Most Clicked, as well as an Export button (always so handy). A day later, the same message was still displaying, but when I drilled down to look at the past seven days, I found I did have some data for the time since I’d validated my website. Pinterest Analytics aren’t semi-real time, the way Google Analytics are. Today’s data is not available until tomorrow.


Site metrics Pinterest will show you, along with my scores for the first few days:

Pins/Pinners:
Pins is the number of times people have pinned from your site, i.e. bookmarked a particular page by pinning an image from it. Pinners is the number of people who have done this. So these are people who are not accessing your site through Pinterest (at least they don’t have to be), but who are using Pinterest to save bookmarks. I a single individual pinned five pages from your site, pins would be five, pinners would be one.

  • Day one: 1 pin from 1 pinner
  • Day two: 0 pins, 0 pinners
  • Day three: 0 pins, 0 pinners
  • Day four: 0 pins, 0 pinners
  • Day five: 5 pins, 3 pinners

Repins/Repinners:
Repins is the number of times your content was repinned, meaning someone saw a page that had already been pinned on Pinterest and decided to save it to one of their boards. Repinners is the number of people who did this. So if someone pinned two pages, and one person repinned both of them, repins would be two while repinners would be one.

  • Day one: 0 repins, 0 repinners
  • Day two: 10 repins, 10 repinners
  • Day three: 2 repins, 2 repinners
  • Day four: 2 repins, 1 repinner
  • Day five: 3 repins, 3 repinners

Impressions/Reach:
Impressions is the number of times your image(s) appeared to someone on Pinterest, either in the main feed or through viewing a board or search results. Reach is the number of people who saw one or more of your image. I’ve bolded day five’s result, which surprised and pleased me.

  • Day one: 247 people saw 474 total images
  • Day two: 324 people saw 1063 total images
  • Day three: 242 people saw 1347 total images
  • Day four: 159 people saw 247 total images
  • Day five: 856 people saw 2957 total images.

Clicks/Visitors:
Clicks is the number of times people clicked on an image and viewed your site. Visitors is the overall number of people who did so.

  • Day one: Three images were clicked on, each time by a different person. As a note of interest, Google Analytics claims only one visitor from Pinterest that day.
  • Day two: Eight images, eight different visitors. (Google Analytics reports 6.)
  • Day three: Twelve images, one visitor. (Google Analytics reports 4.)
  • Day four: Two images, two visitors. (Google Analytics reports 2.)
  • Day five: Three clicks, three visitors. (Google Analytics reports 3 as well.)

Factors that might have affected those numbers:

  • Day three: I re-organized my boards so one with a lot of links pointing back to my site was in the top row. I submitted that board as a StumbleUpon bookmark. And I made one of my boards, fabulous female protagonists, a group board and invited some other people to pin to it.
  • Day four: I was completely absent from Pinterest activity.
  • Day five: I pinned a new piece from my site onto a personal board that collects similar pieces from my site.

The most repinned images are images attached to pieces with interesting content. The most repinned one is also one of the most popular pages on my site, 5 Things to Do in Your First 3 Paragraphs. This emphasizes one of the most important points for anyone working with SEO and web traffic stuff: good content is the most crucial thing.

And it’s also interesting to note the discrepancies between what Pinterest and Google Analytics is reporting, which emphasizes something about this sort of investigation: the numbers may be fuzzier than you think they are.

So why would you want to know any of this? Mainly to know if Pinterest is a successful way to drive traffic. It looks to me, based on this, that it’s quite capable of driving traffic and I really like those (relatively) high Impressions/Figure. Beyond that, it’ll let me know if some images are consistently getting pinned more often (or less often) so I can try to figure out why in order to use that knowledge when employing images in the future.

Why be interested in Pinterest as a social medium overall? Well, the jury’s still out in some ways. But it offers a chance to organize information in a new way. I’ve been planning to write up all my class descriptions on the blog and add them here, for example. There’s also some weird gender stuff going on around popular perceptions of it that someone needs to take apart (imo). Here’s an infographic about who’s using Pinterest.

Are you using Pinterest? If so, how do you use it?

Recent Social Media Links of Interest:

WordPress is looking to the future and will be doing more content curation. A lot of folks are hosting their blogs on WordPress and may want to look and see what has a chance of affecting them.

Facebook Changes: Facebook’s redesigned their news feeds. What are they and how do they affect reaching readers? Facebook’s also acquired storytelling social network Storylane.

Twitter: A guide to some Twitterspeak, some instances of which I’m not convinced are actually used by anyone.

On the tools side of things, I’ve been messing with Followerwonk. I’ll write that up next week.

...

More From Moving from Idea to Draft

Photograph of a discarded dolphin toy.
Discovered in San Francisco on morning.
Having finished up the big April projects, one of the main things I want to get accomplished this month is getting the on-demand version of the Moving From Idea to Draft online writing class up along with the existing on-demand classes.

This has proven a somewhat monumental task, because the needs of the on-demand version are very different than those of the live class. In the live workshops, which are limited to eight students, everyone comes in with a two-three sentence description of their idea, and we work from there, adapting the material to what they’ve brought into class.

For the on-demand version, I started by trying to identify all the different ways there are into a story, a number that fluctuates in the realm of two dozen, depending on how finely I want to draw distinctions.

What I’ve done with each possible path is identify what it is, what it gives you as a starting point, things you will want to consider, possible pitfalls, next steps for fleshing it out, and a set of exercises (with basic and overachievers’ versions) to help explore the starting point. I finish, in what I am still worried may be an excessively egotistic move, by providing a story of mine that started in that way and some notes on its development from the starting point.

Here’s a recently finished example from the section on beginning with various fragments, specifically where to go when all you have is a scene and you’re not sure where it goes in the story (as opposed to knowing the beginning or ending of the story, which I cover separately).

What it is:

A scene is usually a moment in time that has come to you. It usually has strong visual elements, and something is usually happening, such as a battle, or has just happened in it (a battlefield after the fighting is done). It is probably something that would appear at a significant moment of a story and not be peripheral to it.

What it gives you:

  • Everything but the plot. But actually, that’s not true. What is the main source of tension in the scene, what is the conflict that is driving things? That is probably a version of the overall plot.
  • A scene gives you a strong slice of the world and all that is implicit in that, including history and culture.
  • If characters are included in your scene, they are usually doing or have just done something more purposeful than just milling about. You have some sense of their occupation, their economic circumstances, and often some nuances of their relationship.

What you need to think about:

  • Why would this scene matter? As noted earlier, it’s something that is significant to the story. Does it appear near the beginning and spark things into motion, or does it appear at the end and sum up the action of the story?
  • What are the circumstances behind the scene? If it’s a visual splendor, there is usually some technology or magic underlying it and creating it.
  • What is the context in which it’s being viewed? Who is seeing it and why are they there?
  • What is striking about the image to you and how can you best convey that to a reader?

photo of a beachPossible pitfalls:

  • Is your scene just some sort of natural vista? That’s going to be hard to develop something from. In that case, think about what might make that vista unusual or unexpected.
  • Make it more than just a pretty picture. Something has to happen in a story and moments where there is just description slow narrative down drastically. If the camera is lingering on something, make it something riveting. Use interesting and lively verbs as well as paying attention to sentence length and paragraphing in order to counteract the slowing of the motion.

Possible next steps:

  • Consider the viewpoint. Who is seeing the scene? What is their relationship to it? What do they know about it and what questions do they have about it?
  • Write the accompanying dialogue. What’s being said in the scene, and why does it matter? Who is speaking and why?
  • The moment may be brief or extended; generally the longer it lasts, the more it gives you. Think about what happens immediately before and after the scene that you have; should some of that be included in the story?

Exercises:

  1. Sometimes it’s helpful to expand the idea of the visual. How might you convey this scene in a graphic novel? Write it out as though it were a script. Overachievers: Write the entire story this way.
  2. Describe same scene with two different moods, preferably ones as different from each other as they can be, such as a joyous description of the scene versus a saddened or enraged one. Overachievers: Expand to 3-4 moods and/or combine several moods in a single description.
  3. Construct a mirror scene, a second scene in which many elements of the first are repeated, but different actions take place. Overachievers: Figure out where in the story your scene takes place and put your scene in a spot that would balance it in the story. For example, if your story is at the beginning, create one at the end, or vice versa. (If it falls in the middle, create something at either the beginning or end, but contemplate making the task even more complicated by doing both.)

Case study: Magnificent Pigs

For me the story “Magnificent Pigs” began with an image of its final scene, with the pigs flying away bearing Jilly’s bed into the night. Once I had that, I knew she was important, but also that she was not the protagonist. That would be whoever was watching her fly away into the night, which turned out to be her brother.

“Magnificent Pigs” is a good example of how, once you have a scene, you can begin to accrete details that flesh the story out. I had read about a recent art project that involved tattooing pigs; this became the way that they acquire their wings. A trip to the tattoo parlor with my friend Kris, who was getting a tattoo, lent some details for verisimilitude, and on the way back as we were discussing the story, she told me the anecdote about her mother telling her Charlotte was always alive in the book in order to console her (and gave me permission to use it in the story). To me, that’s a lovely little note, because of course it has a parallel — Jilly will also always be alive in the story.

This is an early story, which appeared in Strange Horizons, and was one of my SFWA qualifying sales. It appeared in audio form on Podcastle and inspired one of my favorite reviews, in which the reviewer talks about driving along with tears streaming down their face because they were listening to this story. That’s a heady thing for a writer and remains something I cherish.

Later edit: the class is now done and available online! Find it here.

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