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Teaser from The Threadbare Magician

Picture of a tree to illustrate "The Threadbare Magician"Nearly done with this, it’s hovering somewhere between novelette and novella length. Thank you to Mary Robinette Kowal for suggesting the title.

Friendly Village loops and winds, tiny roads scattered among the trailers. Every patch of landscaping is different ““ cacti surrounded one mobile home, followed by a forest of rhododendrons, then dahlias that might have originated in my own garden.

Up along the creek ran a little road, unlined with homes. It led to a trailer of a peculiar pearly hue that might have been mistaken for grime at first. It was a Nordic style, almost, simulated white pine beams, rough wrought ironwork on the walls. Its landscaping was bare: a line of rocks, two tiny fir trees, one slightly larger than the other.

Outside, a massive rock crouched beside the mailbox.

In Greek mythology, such stones were sacred to Aphrodite. But I didn’t think a Greek God lurked within.

I’d taken the time to change into a shirt with a pattern of sunglasses. Not the most subtle enchantment, but that was deceptive. It hung a little oddly due to the lining I inserted, fashioned entirely from a different shirt, one patterned with shells, and it helped that the artist had depicted them as fragile things made of spines and arcs, but thick white clam shells. There was enough protection that shirt that it felt as heavy as a full suit of plate mail, even altered my gate a little, made it more of a shuffle.

A man stood on the front porch, watching me approach. His attitude was expectant, perhaps even a little impatient, as though my visit was overdue. His gray beard hung down to his belly, woolly as a blanket. His eyes were blue and a few golden strands showed among the silver on his scalp to attest to his Nordic heritage.

I stopped a few feet away, looking at him.

“You’ve come of your own accord,” he said. “It would’ve been easier if you just let them bring you.”

I acted unsurprised, and maybe I was. Occam’s razor again. One) move to a new place. Two) be attacked by a powerful magical adversary. More than time connected that chain.

“I’m Forseti,” he said.

I searched through crumbs of mythology. My knowledge might have only the depth of a Wikipedia article, but it was wide. You learn the names of all the gods, once you realize most still exist and are acting out their own plans, few of which are constructed to advance humanity. Or even take it into account, really.

“Justice, right?” I said.

He dropped a slow nod.

“What justice is there in killing me?” I asked.

He said, “Perhaps you should come inside for tea.”

One Response

  1. Love this snippet! Being invited to tea b the deity planning to kill you is s nice hook. I am looking forward to reading the rest when it comes out. The imagery of the crouching rock stuck with me, but I was confused by the description of the shell shirt – is it of delicate, spiny shells or clams?

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Response Times and Professional Magazines

Yesterday I withdrew a story from a market because we were starting to near the one year mark, and the couple of queries I’d made all got the usual “It’s in the queue, we’re swamped, just a little longer” reply. I don’t mind waiting a little longer, but I do mind when it gets used to keep you going for months.

So that’s cool, and no hard feelings over them having sat on it a while. I end up withdrawing a story for similar reasons once every couple of years. But here’s the reply I got regarding the withdrawal:

Thanks for the note. Your story is officially withdrawn from our reading queue. One thing you might want to consider in the future is that pro markets take a lot of time. So I’d tailor a story for a certain market and then move on while you wait. That’s what Bradbury and Matheson and all those guys do. Some pro markets such as Cemetery Dance take up to two years. So that’s why I say. But the credit one receives when they break pro is worth everything. I hope this helps you future endeavors. You can send along something else in the future when we reopen for subs in [identifying information redacted]. Just make sure it’s a different story as I don’t accept stories that have previously been withdrawn.

Some pro markets do take up to two years, but it’s darn few of them. Most of the professional magazines are professional; they get stuff back to you fast. Even without e-submissions, Gordon Van Gelder manages to wade through swamps of rejections and still return them in a timely manner. Sure, Tor.com is slow, but given that they pay five times as much as most, I’m willing to give them five times as much time in which to reply. Asimov’s, Analog, Lightspeed, Clarkesworld, Fantasy Magazine, Beneath Ceaseless Skies, and Strange Horizons all pay professional rates and yet manage what is apparently a highly unprofessional rapid reply rate.

We got 550-600 subs a month towards the end of my tenure with Fantasy, and I would have felt terrible making people wait over a month, let alone more. And I’m going to say, this particular rejection is a great argument for form rejections, because the patronizing tone here really put me off, plus this is TERRIBLE advice for a new writer. Write what you want to write, not what you think a magazine wants to see.

I dunno. Maybe the editor is working off a different definition of professional than I use.

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Looking at Description: Dorothy Dunnett

Detail From a Sculpture Outside the Redmond Public Library
Description captures so much nuance, and the structure of the sentence can prove integral to its effect, as frequently happens in Dunnett's writing.
A series that I come back to repeatedly is Dorothy Dunnett’s marvelous six-volume series The Lymond Chronicles. Dunnett has two strengths: dialogue and its accompanying actions as well as a descriptive gift that I am bitterly envious of. Right now I’m working my way through the books for a third or fourth time, and I’m midway through Book 3, The Disorderly Knights.

In this chapter Lymond and Oonagh are escaping the Turkish camp, and it’s just marvelous.

At the edge of the still, dark pool that was the sea, at the brimming edge of freedom where no boat was to be seen, she spoke the first words of the few they were to exchange. ‘I cannot swim. You know it?”

The sea is the still dark pool, the brimming edge of freedom and we know that it’s still perilous and questionable because they can’t even see the boat. It’s a passage where words are scarce and breath is conserved, and Dunnett deftly raises the stakes here with that six word exchange.

In the dark she saw the flash of his smile. ‘Trust me.’ And he drew her with a strong hand until the green phosphorescence beaded her ankles, and deeper, and deeper, until the thick milk-warm water, almost unfelt, was up to her waist. She heard him swear feelingly to himself as the salt water searched out, discovered his burns. Then with a rustle she saw his pale head sink back into the quiet sea and at the same moment she was gripped and drawn after him, her face to the stars, drawn through the tides with the sea lapping like her lost hair at her cheeks, the drive of his body beneath her pulling them both from the shore. They were launched on the long journey towards the slim shape, black against glossy black, which was the brigantine, with Thompson on board.

Right off the bat, the first moment of the paragraph, the terse tense nature of the dialogue is maintained, along with a single detail reminding us of the lack of lighting. And because it’s Lymond, brilliant ephemeral Lymond, that detail backs up the dazzle of his character with its verb masquerading as a noun: flash. The moment where he draws her into the water, first to the lovely image of the phosphorescence around her ankles, then and deeper, and deeper, as though each comma was a wave, is one of those that bludgeons me with despair whenever I read Dunnett, because I don’t think I’ll ever come close to the precision and brilliant construction of that sentence, and she does it line after line after line for six fricking books, plus the eight book Niccolo series and the MacBeth one. HOLY COW. And then she delivers the final stroke with the temperature of the silky water combined with the information that now she’s up to her waist. We’re reminded that Lymond is not in the best physical shape because Dunnett never resists a chance to ratchet up the tension.

After that a long sentence conveys the sense of the journey, starting with the sound and visual of his pale head. Something about the way the sentence is constructed mimics the physical blocking of the scene, with Oonagh being drawn over and through the water with the drive of his body submerged beneath, pulling them both forward. Followed by more journey, and even more sense of the lighting, with the ship black against glossy black.

She never knew how long a swim that was, for she had one task: to make his work possible. Her body limp, her limbs brushing the surface of the sea, she took air at the top of his thrust; learned after the first gagging mistake to close every channel to the sudden dip, the molesting wave that slapped suddenly over one cheek. The hard grip under her armpits never altered, nor did Lymond’s own breathing for a long time vary at all.

That paragraph has a lot of sexual, physical terms (her body limp, her limbs brushing the surface of the sea, she took air at the top of his thrust) that turn violent (learned after the first gagging mistake to close every channel to the sudden dip, the molesting wave that slapped suddenly over her cheek), which echoes Oonagh’s experiences in the book, having been beaten many times by her former lover Cormac MacCarthy. But interestingly, the next sentence shows us that Lymond is steady where the violence is sporadic; he is drawing her forward through it. I’ve noticed Dunnett repeating figures like this over and over before — in Queens’ Play, it’s eyes, for example, so I’ll be curious to see whether this keeps getting repeated — or I may go back to earlier chapters to look at their interactions again.

I urge my writing students to copy out passages like this, to test them sentence by sentence, looking to see how the effects are created. Sometimes it’s just an exercise in angst, when you’re working with a writer that’s much better than you are, but I can’t help but think you always learn something from the practice.

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