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What I'm Working On

Abstract Image by Cat RamboI have a couple of stories that were requested, so I’m picking away at those. One’s a military fantasy piece that I’m setting at Hadrian’s Wall, right around the time it was built. Another’s for the Glitter and Madness anthology, and it’s a fun structure I’m playing with, through which a murder gets told, revolving around a lesbian were-seal. Im finishing the revision of “The Threadbare Magician,” which is a novelette I’d like to get sent off this week. I’ve also got some nonfiction stuff.

I’m also finishing up (hopefully today) the dark mermaid story. Here’s an excerpt:

When she got home, she went to the tanks, curious to see what progress had occurred. She’d put the coral seeds in them late last night. The seeds were globes now, made of a glossy gray material, almost two and a half inches in diameter. She could see something moving inside the globe. Its sides flexed and bulged as the thing inside it shifted. Even as she watched, it shuddered and wobbled. Whatever inside — presumably a mermaid — was eager to escape. Should she help it, perhaps poke a small hole in the side so it had something to work at? She consulted the pamphlet but it said nothing about the hatching process.

But by the time she came back to the tank, the question had resolved itself. A rent in the side was rapidly widening. Through it Petra glimpsed orange scales and pale flesh.

She checked the second tank. There the same thing was happening, although the scales were turquoise rather than reddish orange.

The globe convulsed and collapsed. In a flurry of scales the turquoise mermaid emerged.

Petra stared. She had expected Sea Monkeys.

This was very different.

The mermaid was tiny and perfect as one of the elaborate little fish that school in coral reefs, colored parrot bright. Her upper half was a tiny woman, complete with blue sea shell bra hiding the faint swells of her torso.

She called Leonid. “What are these? Are they intelligent?”

“Of course not!” he crowed, pleased at his creation having deceived her sharp eye.

“But it’s wearing clothing.”

“Look closer,” he said. “All natural coloration. Or engineered, to be more precise.”

Her fingers were tight on the cell phone as she leaned down to look into the tank. The mermaid coiled, long tail writhing in the water. It nosed among the plastic seaweed in the tank, perched atop an arch of rocks and groomed itself, running fingers through its long blonde hair.

“You’re sure?”

“They’re not even animals, really,” he said. “Think of them as little flesh machines.”

The flesh machines floated in their tanks. Petra pulled her eyes away from them.

“Very well,” she said.

That night she set two more seeds into their starting buds, one white, the other purple. It amused her to think that these were Suffragist colors, the same colors banner wearers of the 19th century had sported. She wondered what a suffragist mermaid would look like.

(As a side note, if you’re interested in the editing class that starts today, 4-6 PM PST and runs today and two additional Sundays, drop me an e-mail or a comment, because I’ve still got openings. It’s a class that’s useful not just to editors, but to writers wanting to enhance their own self-editing skills.)

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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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How to Critique: Best Practices for Workshopping

Abstract image to accompany blog post about critiquing stories by speculative fiction writer Cat Rambo.
If you're interested in getting your stories workshopped, click on this picture in order to find out more about My Writing Fantasy & Science Fiction Stories online class. There's also an Advanced Workshop, as well as classes focusing on individual aspects of writing, like description, characters, and fleshing out stories.
Both my Writing F&SF Stories and Advanced workshops offer students a chance to critique and be critiqued. To my mind, the latter is actually more useful, because being forced to articulate one’s position on an aspect of writing can be enlightening and instructive. With that in mind, here’s some best practices for such workshops.

Overall:

  1. Start with what works. Let the writer know what you see as the story’s strengths and how they might capitalize on them.
  2. What keeps you from connecting with the story? What don’t you understand? Sometimes the most useful thing you can give someone is a brief synopsis of what you think is going on in the story, because it may not match their intent.
  3. Critique big ticket items, not little nitpicks.
  4. It’s more important to point out what’s broken than to make suggestions how to fix it, because that fix will differ radically from writer to writer.
  5. How do the beginning and ending work together to create a satisfying story? Is the story that’s provided the one the one promised in the beginning? Is the ending set up in a satisfying way? Is it the result of character actions?
  6. What’s missing? What don’t you understand?
  7. What seems extraneous, unneeded or distracting?
  8. What’s the pacing like? Where does the story drag and where does it skip too quickly through details?
  9. Where are the info-dumps and how can that information be spread out?
  10. How well does the title work? If not well, what possible better titles can be drawn from the story?

Characters:

  1. Are the characters likeable?
  2. Are the characters acting or reacting?
  3. Does the character have a point of identification with the reader, such as a problem, situation or want that both of them hold?
  4. Where can we go deeper into the character’s head? Does the reader know what the character wants? Where don’t we understand what the character is doing?
  5. Are there too many characters? Can any be combined?
  6. Is the dialogue interesting and informative of character?
  7. Is the point of view consistent?

World:

  1. Is the world clear? Does the reader know where they are?
  2. Does it feel generic? (Is it?) How can it be made more specific and evocative?
  3. Does it make sense?
  4. How important is the science of it? Are the facts right?
  5. Where should we know more?
  6. Where can the world come forward more?
  7. Where can more sensory detail be worked in?
  8. Is the culture interesting and also make sense?

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 The Threadbare Magician (WIP, short story)

Detail from a Hawaiian shirt(Feeling good and energized after WorldCon, ready to finish up a piece that’s been floating around in my head for a while. Story elements include Hawaiian shirts, a retirement community called Friendly Village, an old love affair, a smart-alecky fortune teller, rabbits, and centaurs. Here’s the current beginning.)

Old fabric holds smells better than the kinds come about in the most recent decade. The new stuff is all chemicals, rubbing the roof of your mouth like steel wool if you sniff too hard, can bite like a spell’s sting. Older silks, cottons hold household odors: cedar or cinnamon, tumeric and garlic, perfumes you can no longer find like L’Origan or Quelques Fleurs, camphorated moth balls or talcum powder. Rarely, the whiff of a person, a smell lingering long after every scrap of their DNA has vanished.

Most often just the lilac assault left by a hasty dry-clean. But the other times make it worth it.

I pulled the green XL circle aside with my thumb and kept going widdershins, into the Ls. So far the Value Village’s rack had yielded only two possibilities: an XXL black with a subtle bamboo-patterned weave, cream-colored dragons curled and coiled like sunridden clouds and an XL crimson rayon whose flame-pattern suited it to throw-away magic, a protective cloak perfect for what I was after: a trip through hostile territory with no one to watch my back.

It was a pretty day outside, the last days before summer would slant to the other side of the clock and the days begin shrinking into the grey days of fall. A day for turning up the radio and blasting “Dani California” until the sound came up through your bones.

My shirt was umbrellas, parasols really, pinwheeled against cerulean sky and white cumulus clouds. Protection, and even though it was newer and untested, I trusted it to ward off anything, magic protective gloves, more supple than lead-lined canvas but surely at least that solid.

The spell struck up from a black background, red serpents, scales lined with scallops as blue as the sky outside. Slashing bites along the outside of my left hand, locking on, tails sticking straight out as they attached themselves.

I lurched sideways.

The floor crashed up into my face, thunked against my forehead in painful collision.

Then I was gone.

Enjoy this sample of Cat’s writing and want more of it on a weekly basis, along with insights into process, recipes, photos of Taco Cat, chances to ask Cat (or Taco) questions, discounts on and news of new classes, and more? Support her on Patreon.

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