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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."

~K. Richardson

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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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Writing-Related Link Roundup from November 2014

Image of a feline mermaid.
If you're looking for an interesting online writing class to keep productive during December, I've got both a flash fiction and a "Moving Your Story from Idea to Draft" workshop coming up on the 20th and 21st.
Maybe not as timely as it could be, since everyone’s finishing up Nano novels, but just in case: 8 Ways to Outline a Novel on Litreactor

Some of you have two weeks left to sub to She Walks in Shadows. All woman Lovecraft antho, pays 6 cents a word (pro rate). Guidelines.

Good piece about science-fiction writer Nnedi Okarafor on BookRiot. “I came to her work at a time when the debate about a woman’s place in the world of science fiction, fantasy, and speculative fiction was getting a lot of buzz. I realized that I’d read a few of the women who’d made their mark in that realm ““ Ursula K. LeGuin, Octavia Butler, Margaret Atwood, Jo Walton- but I felt as though I hadn’t gone far enough. Okorafor’s stories have encouraged me to travel further down that path.”

Interested in a writer’s retreat? Here’s a pretty good list of them.

Ray Bradbury talks about creativity and how our motives shape our writing. On the same site, Umberto Eco talks about the pleasures of maps of imaginary places.

What happens in your head while you’re reading? Your brain on stories.

David Cronenburg is interviewed about his process of novel writing, as well as finding beauty in unlikely corners. “There are many realities we need to ignore in order to function. Whenever we’re reminded of that, however obliquely, it is very disturbing””there’s a real dissonance that’s happening there. But of course it’s part of the function of art to keep that dissonance happening.”

An article with a lot of resonance for the self-pub versus traditional publishing argument about day jobs, found via M.C.A. Hogarth.

In The Atlantic, Jeff VanderMeer talks about the uncanny power of weird fiction.

Great piece about writers and their real influences, the things that shape their writing.. “I have a theory: the thing that makes you a unique writer hasn’t got so much to do with your influences as it does with how you became a writer in the first place. I think your preferences””your obsessions””come just as much from the first sorts of things you consumed and were passionate about. Whether that’s pop music, comics, “lowbrow” fiction, soap operas, or anything else, the thing that matters most is what started you writing stories.”

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