Had a FABULOUS time at Norwescon. My fellow panelists were great, and it was terrific seeing everyone, including (but not restricted to): Alma Alexander, Michael Alexander and his lovely wife Sheila, K.C. Ball, Nathan Crowder, Janet Freeman Davis, Caren Gussoff, Mary Robinette Kowal, Nancy Kress, Nick Mamatas, Mary Rosenblum, Michael Swanwick, Stephanie Weippart, whose surname I think I have misspelled, and Duane Wilkins. Particularly loved the Beneath Ceaseless Skies reading, which featured so much very good stuff that it was alarming.
Your prose needs a good editor. The below is your opening on a story posted at Clarkesworld:
I glance in the glass wall’s reflection. [Why give a plural possessive to an inanimate object? And, are you really glancing in the Wall’s reflection, or are you glancing at your own reflection?]
I glance at my reflection in the glass wall. It faces me twenty feet away as I walk up the stairs [;] marble slab steps, showing grainy pink underneath my red sneakers. My fingers clutch the [again] chrome railing. I’m feeling shaky, that internal quiver where your body announces that it may not be up to this.
What any competent writer needs is a good editor. Unfortunately, you will probably not get to where you want to go by publishing in semi-pro zines; they don’t have the resources to make your work better””tighter””more publishers friendly.
Fellow writers might help, but nothing takes the place of a good editor.
Good luck with your secondary career. Or, if you would like to take a flyer””I can be bought! A penny a word and then perhaps your work might be expanded into professional magazines. Content counts for about half of what an editor considers.
Best-
Mike
P.S. Comma after the word “that” is never a good idea, and placing two “that’s” in the same sentence is a no-no. That said, that’s a shame.
Hi Mike, good luck with the editing career! I’d suggest that if you really want to use the web to drum up business, you might want to rethink your approach, which comes off more like an attempt to troll than a genuine effort to be helpful and thus ends up looking less than professional. You might also want to acquaint yourself with the list of what’s considered pro and what’s not when dealing with SF writers – I’ve found the Science Fiction and Fantasy Writers of America site very helpful and I often point people new to the field at that site.: http://www.sfwa.org I hope that’s helpful!
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"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."
How Gorgeous is This Cover for A Seed On The Wind?
Look! Mats Minnhagen has finished the cover for A SEED ON THE WIND, the Fathomless Abyss novella I’ve got covering out this October. The scene’s one that occurs early in the book and gets referenced again and again throughout, so this cover, which comes so close to what was in my head, delights me with the way it conveys the space of the story.
If you don’t know what the Fathomless Abyss is, it’s a shared world project created by Philip Athans involving myself, Jay Lake, Joe McDermott, Mel Odom, Mike Resnick, and Brad Torgersen. Books out in the series already include Philip Athans’ DEVILS OF THE ENDLESS DEEP and J.M. McDermott’s NIRVANA GATES. I had a lot of fun writing “A Querulous Flute of Bone” for the TALES FROM THE FATHOMLESS ABYSS anthology and just as much fun writing this novella, which is the first half of a pair, to be finished in A CAVERN RIPE WITH DREAMS. Charles A. Tan recently talked with me about it for S.F. Signal.
Tiny things floated through the air all around him. He stretched out his palm and kept it motionless long enough that one drifted to be trapped in his palm. A seed, a brown seed. Attached to one end a tuft of hairs, fine and feathery, to carry it along. Carefully he raised his hand, examined it more closely. So small. As it neared his eye, it became no longer brown, ridges and swirls marked its surface in grays and greens and reds that somehow blended together to create the impression of brown from just a few inches farther away.
Here’s something from the first chapter:
One morning his father woke him from a nightmare. He was still young, perhaps six or eight. His father squatted on his heels besides Bill’s bedroll and shook his shoulder. When he woke, shuddering and gasping from dreams of strangle-fingered demons, feeling his breath still in jeopardy, his father didn’t say anything, just beckoned to him.
He followed at his father’s heels, towards the world and the great tube that the village of Poit clung to. At the end of each tunnel the space widened considerably, leaving places where shelves and ladders and catwalks could be stretched. And beyond them all you could see the abyss itself, stretching downward and upward into darkness.
The air was full of something. What was it?
Bill moved to the railing to see what was happening. His father said, “Sometimes the world opens and things fall in. This far down, we rarely see them. This is something you will remember all your life.”
Tiny things floated through the air all around him. He stretched out his palm and kept it motionless long enough that one drifted to be trapped in his palm. A seed, a brown seed. Attached to one end a tuft of hairs, fine and feathery, to carry it along. Carefully he raised his hand, examined it more closely. So small. As it neared his eye, it became no longer brown, ridges and swirls marked its surface in grays and greens and reds that somehow blended together to create the impression of brown from just a few inches farther away.
He closed his fingers around it, meaning to keep it. But it was so small that it wafted away even as his fingers moved.
He’d only seen things fall into the abyss. But these, so light, sometimes moved upward or downward, sometimes tugged sideways as though snatched by invisible hands. Thousands and thousands, swirling through the air.
He picked several from the ground around his feet. Gingerly, he put one between his teeth, crunching down.
The seed gave way, falling into woody shreds, tasting like nothing he’d ever tasted, a sweet roundness mixed with sharper, angrier notes. Not unpleasant, but awake. He swallowed the fragments, feeling them rough in his throat.
He gathered a painstaking handful, picking them from crevices. Other people were doing the same. How often did you get something like that without cost, like a gift from the universe?
He and his father stood for hours on the platform, hands resting on the stone balustrade, watching it. Almost everyone in the city came to see the phenomenon, even if their children had to carry them. People did not speak much, simply watched, as though storing it up.
3 Responses
Dear Cat,
Your prose needs a good editor. The below is your opening on a story posted at Clarkesworld:
I glance in the glass wall’s reflection. [Why give a plural possessive to an inanimate object? And, are you really glancing in the Wall’s reflection, or are you glancing at your own reflection?]
I glance at my reflection in the glass wall. It faces me twenty feet away as I walk up the stairs [;] marble slab steps, showing grainy pink underneath my red sneakers. My fingers clutch the [again] chrome railing. I’m feeling shaky, that internal quiver where your body announces that it may not be up to this.
What any competent writer needs is a good editor. Unfortunately, you will probably not get to where you want to go by publishing in semi-pro zines; they don’t have the resources to make your work better””tighter””more publishers friendly.
Fellow writers might help, but nothing takes the place of a good editor.
Good luck with your secondary career. Or, if you would like to take a flyer””I can be bought! A penny a word and then perhaps your work might be expanded into professional magazines. Content counts for about half of what an editor considers.
Best-
Mike
P.S. Comma after the word “that” is never a good idea, and placing two “that’s” in the same sentence is a no-no. That said, that’s a shame.
Hi Mike, good luck with the editing career! I’d suggest that if you really want to use the web to drum up business, you might want to rethink your approach, which comes off more like an attempt to troll than a genuine effort to be helpful and thus ends up looking less than professional. You might also want to acquaint yourself with the list of what’s considered pro and what’s not when dealing with SF writers – I’ve found the Science Fiction and Fantasy Writers of America site very helpful and I often point people new to the field at that site.: http://www.sfwa.org I hope that’s helpful!