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From WIP - Queen of the Fireflies

Photo of trees in Leeper Park, South Bend, Indiana. Was fiddling this for a writing retreat I’m doing in September. This is from the beginning.

June, 1976, Indiana

On Indiana summer evenings, the fireflies begin their dance as dusk creeps over the landscape, reducing green to gray and black and brown. Their lights are yellow as sunlight or neon; they blink among the hedges and maneuver a few inches above the tall grass. There are five varieties of fireflies native to the Northern Indiana region. Each signals prospective mates with specific timing, and no four second interval firefly would approach a six second interval one.

On the same summer evenings, the mosquitoes whine, though only the female ones, hovering before landing on unsuspecting arms and ankles, draining as much as they can before either taking off, heavy and bloated with their sanguine plunder, or else are splattered and exploded by their victim when he or she notices not the sting of the needlelike proboscis being inserted, but the tickle of their feet among the fine, downy hair arms.

Other creatures come out later: soft-nosed rabbits and the tiny bats that flitter around lampposts, devouring the night insects swarming there. Possums drag their heavy bodies along, investigating garbage cans and quarreling with the raccoons come to plunder. There are even rats, in some places along the St. Joseph River, water rats that move through the green-brown water, searching among the slimy weeds that coat the bottom. But the fireflies are already there: they have marked the coming of the night, lighting as though protesting the approaching darkness.

Michigan Street crosses down from the state of Michigan, comes through Northern Indiana and splits one of its larger cities, South Bend, like a splayed bird. Corn fields and alfalfa lie further out but here the street slashes the city’s belly, unfolds layers like the dark verge of Notre Dame University, the struggling downtown, the unsavory brew further south of town as you headed down to the smaller towns: Lakeville, Lapaz, Plymouth. Far to the south it reaches Kokomo, later Indianapolis, then the nether region of the state, which hosted the revival of the Ku Klux Klan in the twenties.

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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"(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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Free Ebooks for Women's History Month

Elizabeth Cady Stanton (sitting) and Susan B. Anthony
One of my favorite pictures of Elizabeth Cady Stanton (sitting) and Susan B. Anthony, late in their lives.
It’s Women’s History Month, and while I don’t usually pay much attention to that sort of thing, it’s a topic that’s certainly worthy. I didn’t know a lot about the women’s suffrage movement in America until I was hired to teach an Intro to Women’s Studies class at Towson State University one year, having seen a flyer up at JHU where I was in grad school at the time. I frantically crammed a whole lot of reading in that summer, prepping to teach a class that covered what seemed to be everything: linguistics, biology, anthropology, literature, and more than anything else, history, history, history.

And in it I met one of the great loves of my life: a movement whose history continues to fascinate and inspire me, the American suffrage movement and the fascinating characters that moved it forward: Susan B. Anthony, Carrie Chapman Catt, Matilda Joslyn Gage, Charlotte Perkins Gilman, Lucretia Mott, Elizabeth Cady Stanton, Lucy Stone, Victoria Woodhull…and more, a cast of hundreds in a period that was turbulent and changeable and crammed full of social movements, including abolition, free love, spiritualism, temperance, women’s suffrage and a myriad others.

If you’re interested in it, a great place to start is Stanton’s own memoir, EIGHTY YEARS AND MORE: REMINISCENCES 1815-1897, which is free on the Kindle as well as on Project Gutenberg (as is everything I mention for free on the Kindle). Or the books she, Susan B. Anthony and Matilda Joslyn Gage authored, also available free on the Kindle, Volumes I, II, and III of HISTORY OF WOMAN SUFFRAGE as well as the three later volumes penned by Ida Husted Harper, Volumes IV, V, and VI. Harper also wrote THE LIFE AND WORK OF SUSAN B. ANTHONY, Volumes I and II. (Note: I don’t see Volume II in a free version on the Kindle; if you don’t want to pay, I suggest going to look on Project Gutenberg and maybe kicking them a buck or two as a thank you.)

Or go to one of the documents that started it all, Mary Wollstonecraft’s VINDICATION OF THE RIGHTS OF WOMAN or her lesser known book MARIA, OR THE WRONGS OF WOMAN. Other Wollstonecraft available, should you cultivate a taste for her, includes LETTERS ON SWEDEN, NORWAY, AND DENMARK, her short stories, and her novel MARY.

Skip ahead one generation to what Wollstonecraft’s daughter writes (and the wonder of e-books is that all of this is out there for free, which frankly to me makes the Internet the marvel that it is) and you’ll find FRANKENSTEIN, THE LAST MAN, MATILDA, and PROSERPINE AND MIDAS.

I’ll try to post some more of these throughout the month – there’s a TON of free reading out there in this area and the only problem is its discoverability. I welcome recommendations!

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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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