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Teaser From Cathay of Chaos

Abstract image to accompany a fantasy story snippet from speculative fiction writer Cat Rambo.
If you're interested in finding out how to create effective, engaging characters, check out my "Building Characters" class or the Dialogue mini-class. Click "Take an online class with Cat" to find out more about the class.
Lately a couple of stories have arrived in the form of characters. One is Laurel Finch, the little girl in this steampunk snippet, which is tentatively titled “Laurel Finch, Laurel Finch, Where Do You Wander?”. The other is this one, Cathay the Chaos Mage, who is wandering through a city that’s been in my head for a while now, Serendib.

Cathay was a Chaos Mage and didn’t care who knew it. Fear and envy were fine emotions to set someone spinning into a roil, and Cathay could sip from that cup as easily as any other. She dressed sometimes in blue and other times in green or silver or any other color except black. Her sleeves were sewn with opals and moonstones and within their glitter here and there another precious stone, set in no particular order, random as the stars.

A love of gambling was part of Cathay’s definition, and so she often wandered through the doorways of Serendib’s gaming houses, whether they were the high-tech machines of the Southern Quarter or the games of chance and piskie magic played in the alleys across town, in one of the neighborhoods where magic reigned.

Cathay stumbled into Serendib through a one-time doorway, like so many others. She was walking in a wood one moment, and then her foot came down and she was in a city. It made her laugh with delight, the unpredictability of it all, and she soon learned that she had come to the best possible place for a Chaos mage, the city of Serendib, which was made up of odd pockets and uncomfortable niches from other dimensions, a collision of cultures and technologies and economies like no other anywhere.

When she arrived in the city, she had three seeds in her pocket, and so she found an empty lot, precisely between a street where water magic ruled, in constant collision with the road made of fire and iron, so daily fierce sheets of steam arose, driving the delicate indoors and hissing furiously so it sounded as though a swarm of serpents was battling. She dug a hole with her little finger, and then one with her thumb, and a third by staring at the dirt until it moved. Into each she dropped a seed, and covered it up, and sat down to wait.

It was not long till the first inquisitive sprout poked through the dirt, followed by a second. She waited for the third, but it was, by all appearances, uninterested in making an appearance. She shrugged; two were enough for now.

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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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First Editing Class: Notes and Observations

Photo of a black cat named Raven
The cats remain fascinated by the classes. They can't figure out who I'm talking to.
The Editing class is split into three sections. In this first session, we focused on developmental, or “big picture,” editing.

Some people are taking the class in order to edit their own stuff, others to edit for other folks, a couple for a combination of that. We talked about what a developmental edit is intended to do, and how it’s different from a copy-edit. In fact, you want to avoid copy-editing (other than a couple of cases which I’ll get to in a minute) because often that sentence you’re tinkering with will end up discarded or substantially revised in the final version.

Honing your editing ability to where you can trust it is one way to free yourself up when writing. Instead of listening to the internal editor telling you that sentence isn’t perfect or that you need to check that name on Wikipedia before using it, you can assure that editor it will get its chance during the revision process and go on writing.


Developing a process also helps you know when to stop rewriting. I work from the big picture stuff in, moving to small sentence level details in a second or third draft. Usually my process goes like this:

  1. Bang out a first draft. It may have parenthetical directions like (expand on this) or (transition here) or (describe), but it is a complete story.
  2. (Optional but encouraged) Let it sit for a week or two. This is where procrastination can really bite you in the ass.
  3. Print out the draft and write all over it. This is my developmental edit, in which structures may get changes, sections moved (or eliminated), point of view or tense changed, etc. It’s also where all those parenthetical directions get fulfilled.
  4. Entering these changes onto the computer may involve some more tinkering as I do so, but generally I’m working towards another draft that I can print out.
  5. That draft gets printed out and edited again. This stage is where I read aloud and tinker at the sentence and paragraph level. I may changes names at this point, and I’ll do things like look for adverbs (as discussed in The 10% Solution).
  6. I will probably do another read aloud pass after that’s entered into the computer, depending on how hard a deadline is pressing.

More on developmental editing, what it is, how I do it, and how one needs to adapt editing to genres such as hard SF, dark fantasy, horror, etc, in another post.

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Exploring Near + Far's Interior Art: Row 4 (Giveaway Day Four)
Art by Mark W. Tripp for Cat Rambo's Near + Far interior
Row 4

Day Four of the giveaway and row four of the art! This week has seen some nice press for the book, including a nice Tor.com review by Stephen Raets. If you’re looking for other places to possibly score a piece of the jewelry, try David Steffen’s blog, Far Beyond Reality, or the Goodreads giveaway for Near + Far. As always, comment here to be entered in this particular giveaway!

Image #1 appears on both the title page of Far and the story “Five Ways to Fall in Love On Planet Porcelain.” Christmas tree, one-eyed triffid, and rocket ship all in one.

Image #2 accompanies the flash piece, “Space Elevator Music”. I picked it for its upward line, which made me think of a rising elevator.

Image #3 is a favorite of mine because it always makes me think of the submarine in Yellow Submarine. I picked it to go with a story that’s light and funny and silly accordingly, “Zeppelin Follies.”

Image #4 is a lovely piece that, if I look long enough, becomes a woman wearing an elaborate headdress. As always, your mileage may vary there. It goes with the story, “A Querulous Flute of Bone,” which appeared in the anthology TALES FROM THE FATHOMLESS ABYSS and features the philosopher-king Nackle.

Image #5 actually doesn’t seem to appear in my copy of the book, but it’s a proof, so things may have changed somewhere along the line. Bonus!

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