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From the Fathomless Abyss novella in progress

Cover for Tales From The Fathomless Abyss, stories by Mike Resnick & Brad R. Torgersen, Jay Lake, Mel Odom, J.M. McDermott, Cat Rambo, and Philip Athans.
Cover for Tales From The Fathomless Abyss, stories by Mike Resnick & Brad R. Torgersen, Jay Lake, Mel Odom, J.M. McDermott, Cat Rambo, and Philip Athans.
I’m working on a novella set in the world of The Fathomless Abyss, a shared universe project with authors Mike Resnick, Brad R. Torgersen, Jay Lake, Mel Odom, J.M. McDermott, Philip Athans, and myself. We’ve all done stories set in it, and each of us will be producing novellas set there over the course of this year.

If you’re interested in finding more about the oddities of the Fathomless Abyss world, check out the From the Fathomless Abyss anthology, which contains a story of mine that I like very much called “A Querulous Flute of Bone,” a somewhat odd retelling of O. Henry’s short story, “The Pimaloosa Pancakes.”

This project, which will appear as a stand-alone, is a mash-up of William S. Burrough’s Junky and H.P. Lovecraft’s “Dreams in The Witch House,” a story which terrified me as a child. Here’s how it begins:

His earliest memory was fearing the nightmares. He never slept well, all his life, even in that first moment, so long ago he remembered remembering it more than actually remembering it.

Knowing that if he slept, they’d come crawling out from underneath his cot, or spawn in the cavern shadows outside their hut only to come creeping in.

He didn’t remember what the nightmares were. Were they what they would be later, that room, over and over again? Or were they more childish ones, a ghost chasing him around a table, its breath rot-damp, or a fiery lizard curled in the stove’s belly?
The second earliest memory was the couple. Or rather, first the light on his face. They were going Outside, out to the walls of the world and he could see the light ahead of them.

Then, in the shadows, movement, squirming like a worm in a mushroom box, but much larger. Flesh twined with flesh, limbs sliding together slick and naked against the weed-choked rock.

What was that in the woman’s stringy blonde hair? A tiny rat of shadow. Its face was human, pugnacious jaw slung forward, brow pronounced. It looked at him and he nearly pissed himself.

His mother yanking his hand along so he stumbled, nearly fell. He tried to stop her, tried to ask, but she wouldn’t meet his eyes or acknowledge his tugging hand. Her face red in the light as they went onward towards the market Outside.

Later, she said to his father, when she thought him out of earshot, “Shameful junkers! Rutting there beside the path with their dreams frolicking on them where any passerby could see!”

“There ought to be a law,” his father said in a mechanical tone.

Or was that his mind interpreting the memory, ascribing the tone his father always used, the tenor his mother, a thwarted councilwoman, habitually took?

It was the first time he’d seen a junker.

Not even close to the last.

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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."

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Let's Retain ALL the Rights!

Picture of a handwritten pageOne of the questions being raised repeatedly on a discussion board I participate on is the question of electronic rights. Should a magazine be able to buy a story and display it on their website in perpetuity without additional payment? Does it make a different whether or not it’s behind a paywall? If there’s no additional payment, when should rights revert? What happens with something like an anthology that is in electronic form and hence won’t go out of print the way a hard-copy edition does?

I’m presuming that most people reading this know that normally when you “sell” a story to a publication, what they’re actually buying is the right to publish it in a particular form. You, the author, retain any rights not spelled out in the contract. You can (and I encourage you to) sell the story again as a reprint, and you may want to look at forms like audio or in another language.

This is something that’s still very new, and it’s not something that’s been factored in when lists like SFWA-qualifying markets were put together. It’s not mentioned on sites like Ralan.com or the Submission Grinder. As a writer, though, you need to be aware of what you’re selling.

Take some time to skim through the contract and find out what the publication is buying. What’s the “exclusive period,” the period where they are the only ones that can print it? What forms are they planning to release your work in? Here’s a Columbia Law School resource that may be helpful in trying to decipher legalese.

If you’re publishing, how do you feel about perpetual rights? Is the horse already well out of the barn as far as that goes, or can writers push back on the practice of acquiring perpetual rights without payment?

Enjoy this writing advice and want more content like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

Prefer to opt for weekly interaction, advice, opportunities to ask questions, and access to the Chez Rambo Discord community and critique group? Check out Cat’s Patreon. Or sample her writing here.

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Teaser from "Laurel Finch, Laurel Finch, Where Do You Wander?" (steampunk short story)

Historical photograph of young women dressed as cowgirls
I haven't written these young women into the story yet, but they are lurking in the wings.

Another teaser from a steampunk short story I’ve been working. My codename for this world is Altered America, and this is the fifth short story I’ve placed in it.

Each time they stepped on the swaying platform between the cars, Laurel paused. Jemina couldn’t blame her. There was an exhilaration to the travel when you could feel the buffet of the passing air that was lacking when you were inside the actual cars.
They stopped outright on the last one. Laurel clenched the railing, shoulder-height for her, with both hands and looked out. Her hair lashed in the wind like an uncontrollable Medusa’s tangle.

“Will we see Indians?” she said.

“Quite probably,” Jemina said.

“And buffalo?”

“Undoubtedly.” Jemina had, as was her way, researched the trip well before embarking on it. She knew the distances between cities, and had the route plotted out on the map of the United States that hung in her head, colored with elementary school dyes, unfaded over the years.

Laurel took a deep breath of the wild air, sweet grass mingled with coal smoke, before reluctantly moving to the door.

Jemina stepped after her. They both nearly collided with the passenger coming out, who scowled at both of them, dividing the look between both and them and pronouncing them equally unsatisfactory. He was dressed in the Western style, with high-heeled boots, but with a tuft of lace at his untanned neck, a dandy’s puff that somehow set Jemina instantly against him.

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