Five Ways
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WIP: Teaser from The Bloodwarm Rain (YA SF)

Picture of an abstract sculpture.I’d been feeling queazy for miles “” too much fresh fruit last town, trying to pack in as much as I could “” so finally I tapped Roto on the shoulder and we left the bus during a stretch and pee break. Big Fredo was driving the tents truck and he had a sweet spot for Roto, so he let us climb up into the sheltered spot just behind the cab, where we were sheltered from the wind but still could feel the bite of the air and where, if I needed to, I could lean out and vomit into the sandy gravel of the road.

It made me feel better almost immediately and my mood, which had been gloomy and self pitying (or so Roto kept informing me), lifted, as though the high blue sky overhead were pulling it upwards.

Okay, maybe I had been being kind of a bitch. I shrugged at Roto in apology and he shrugged back. That was one of the nice things about Roto. Once a fight was over, it was done with. It was a quality I envied, and couldn’t begin to claim. I was capable of holding a grudge for years, and had all my life, even though that was only fifteen years so far.

He grinned sideways at me, whiskers twitching, and leaned back to let his upper torso, bare except for the stripes of dun for, smolder golden in the sun. I settled back myself, though I stayed in the shade.

On my right, past Roto, was the steep downward slope of the cliff, covered with slides of shale and wiry brown bushes and past that, a blaze of sunlight on the ocean, dazzling and headache inducing. I looked away and up the mountainside. We were swinging out and around a curve before going inward and Sieg, who was the pace setter up front in his jeep, was, in my opinion, taking it a little fast.

That’s how I saw it. Flash flash. Two blinks of light from far up the mountain ahead of us. Then again. Flash flash.

I squinted up the mountain but didn’t see it again. But I crawled forward, clinging to the netting that held the ranks of tents in place, and tapped my knuckles hard on the cab’s back window. Kali was riding shotgun, her own window open and dreads flying back in the wind. She twisted around to slide the window open.

“I saw someone signaling up ahead,” I shouted.

“We’re on it,” she shouted back. Big Fredo tapped the bead in his ear. Someone else must’ve seen it as well, and gotten to our radio network faster than I had. That was always the story. I was never the hero. My spirits sagged again.

Kali slammed the window shut and turned back to watching the road ahead. I made my slow return to Roto. It seemed to me we had sped up a little but I couldn’t be sure. Maybe it was just my own anxiety.

Roto gave me a questioning look.

“They’re on it, she said.” I shrugged. Not like we could do much about anything. Better to move forward with our eyes open than let them know we had spotted them and they should open fire.

A faded blue sign flickered past. “Rest stop 1 mile Gas Services”

“You know that’s where they’re going to try to hit us,” Roto said. He stopped lounging and leaned forward.

“Yeah, but what else can they do? There’s no other place to turn around.”

We both wriggled back as far as we could, putting furled canvas between ourselves and possible missiles. The smart-canvas of the main tent might stop a bullet but the thick rolls of more ordinary heavy fabric would still foil arrows or darts.

My stomach wasn’t queasy anymore at all. Instead, hot bile chewed at the back of my throat and worry threaded all my bones. We hadn’t brought weapons with us from the bus; June doesn’t like us carrying them around, but when we’re traveling, we’re supposed to have something with us.

Roto had claws and teeth. I had nothing but my own blunt fists and wits.

Gravel hissed under the wheels as we swung left and slowed. I tried to peer out.

Roto put his palm on the top of my head and shoved downward. “Don’t be an asshole, Meg.”

We held still. I could hear the other cars and trucks pulling in, slowing. The turnaround must have been blocked, otherwise Sieg would have used it to lead the whole convoy to circle back as quickly as he could while Vera had our backs. But stopping there meant there was some sort of blockade.

A voice from up ahead. A man’s voice, and one that had meanness in it despite the pleasantness of the words. “And a good afternoon to you folks!”

Car door slamming and then the crunch crunch of footsteps, barely audible over the sound of the last few stragglers pulling in. I knew that if I looked back people would be fanning out as best they could. We all drilled aon what to do on occasions like this, but I’d only been in a few fights. And not since I had become, technically, an adult.

But surely an adult would have known enough to carry at least a knife with them. I glanced over at Roto and was relieved to see that he looked as anxious as I felt.

June’s deep voice, carefully modulated and empty of emotion. “Afternoon, gentlemen.”

I angled my line of sight upward, hoping to catch a glance of Vera. So much depended on what these bandits were carrying. Hopefully, just a few guns, but probably a bit more than that.

“We were just discussing how it looked as though your trucks were too heavily loaded,” the voice said. “We thought maybe we could help you out, maybe take some of the livestock. That way you’ve got less to feed, we’ve got more to feed ourselves with.” He laughed, the sort of laugh where you could easily imagine the sneer that came with it.

June’ voice, so polite. “I’m afraid that the livestock are members of the troupe as well.”

The man mimicked her. “I’m afraid that you don’t have a choice.”

“That’s a point of debate,” June said. “Vera, now.”

Not many people have seen any of the old war machines. Some were disabled, others disabled themselves. We don’t know what side Vera was on back then. Just that she was on ours now.

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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More From Moving from Idea to Draft

Photograph of a discarded dolphin toy.
Discovered in San Francisco on morning.
Having finished up the big April projects, one of the main things I want to get accomplished this month is getting the on-demand version of the Moving From Idea to Draft online writing class up along with the existing on-demand classes.

This has proven a somewhat monumental task, because the needs of the on-demand version are very different than those of the live class. In the live workshops, which are limited to eight students, everyone comes in with a two-three sentence description of their idea, and we work from there, adapting the material to what they’ve brought into class.

For the on-demand version, I started by trying to identify all the different ways there are into a story, a number that fluctuates in the realm of two dozen, depending on how finely I want to draw distinctions.

What I’ve done with each possible path is identify what it is, what it gives you as a starting point, things you will want to consider, possible pitfalls, next steps for fleshing it out, and a set of exercises (with basic and overachievers’ versions) to help explore the starting point. I finish, in what I am still worried may be an excessively egotistic move, by providing a story of mine that started in that way and some notes on its development from the starting point.

Here’s a recently finished example from the section on beginning with various fragments, specifically where to go when all you have is a scene and you’re not sure where it goes in the story (as opposed to knowing the beginning or ending of the story, which I cover separately).

What it is:

A scene is usually a moment in time that has come to you. It usually has strong visual elements, and something is usually happening, such as a battle, or has just happened in it (a battlefield after the fighting is done). It is probably something that would appear at a significant moment of a story and not be peripheral to it.

What it gives you:

  • Everything but the plot. But actually, that’s not true. What is the main source of tension in the scene, what is the conflict that is driving things? That is probably a version of the overall plot.
  • A scene gives you a strong slice of the world and all that is implicit in that, including history and culture.
  • If characters are included in your scene, they are usually doing or have just done something more purposeful than just milling about. You have some sense of their occupation, their economic circumstances, and often some nuances of their relationship.

What you need to think about:

  • Why would this scene matter? As noted earlier, it’s something that is significant to the story. Does it appear near the beginning and spark things into motion, or does it appear at the end and sum up the action of the story?
  • What are the circumstances behind the scene? If it’s a visual splendor, there is usually some technology or magic underlying it and creating it.
  • What is the context in which it’s being viewed? Who is seeing it and why are they there?
  • What is striking about the image to you and how can you best convey that to a reader?

photo of a beachPossible pitfalls:

  • Is your scene just some sort of natural vista? That’s going to be hard to develop something from. In that case, think about what might make that vista unusual or unexpected.
  • Make it more than just a pretty picture. Something has to happen in a story and moments where there is just description slow narrative down drastically. If the camera is lingering on something, make it something riveting. Use interesting and lively verbs as well as paying attention to sentence length and paragraphing in order to counteract the slowing of the motion.

Possible next steps:

  • Consider the viewpoint. Who is seeing the scene? What is their relationship to it? What do they know about it and what questions do they have about it?
  • Write the accompanying dialogue. What’s being said in the scene, and why does it matter? Who is speaking and why?
  • The moment may be brief or extended; generally the longer it lasts, the more it gives you. Think about what happens immediately before and after the scene that you have; should some of that be included in the story?

Exercises:

  1. Sometimes it’s helpful to expand the idea of the visual. How might you convey this scene in a graphic novel? Write it out as though it were a script. Overachievers: Write the entire story this way.
  2. Describe same scene with two different moods, preferably ones as different from each other as they can be, such as a joyous description of the scene versus a saddened or enraged one. Overachievers: Expand to 3-4 moods and/or combine several moods in a single description.
  3. Construct a mirror scene, a second scene in which many elements of the first are repeated, but different actions take place. Overachievers: Figure out where in the story your scene takes place and put your scene in a spot that would balance it in the story. For example, if your story is at the beginning, create one at the end, or vice versa. (If it falls in the middle, create something at either the beginning or end, but contemplate making the task even more complicated by doing both.)

Case study: Magnificent Pigs

For me the story “Magnificent Pigs” began with an image of its final scene, with the pigs flying away bearing Jilly’s bed into the night. Once I had that, I knew she was important, but also that she was not the protagonist. That would be whoever was watching her fly away into the night, which turned out to be her brother.

“Magnificent Pigs” is a good example of how, once you have a scene, you can begin to accrete details that flesh the story out. I had read about a recent art project that involved tattooing pigs; this became the way that they acquire their wings. A trip to the tattoo parlor with my friend Kris, who was getting a tattoo, lent some details for verisimilitude, and on the way back as we were discussing the story, she told me the anecdote about her mother telling her Charlotte was always alive in the book in order to console her (and gave me permission to use it in the story). To me, that’s a lovely little note, because of course it has a parallel — Jilly will also always be alive in the story.

This is an early story, which appeared in Strange Horizons, and was one of my SFWA qualifying sales. It appeared in audio form on Podcastle and inspired one of my favorite reviews, in which the reviewer talks about driving along with tears streaming down their face because they were listening to this story. That’s a heady thing for a writer and remains something I cherish.

Later edit: the class is now done and available online! Find it here.

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Recent Newsletter Stuff

Hello!

It’s full-on spring here in Seattle. Trees are in bloom, and construction projects have shifted into high gear, so the sidewalks are full of pylons and freshly poured concrete.

I’m looking forward to comparing this weather to other places in a few days. First South Bend, Indiana, where I’ll be speaking at the University of Notre Dame, and then Tempe, Arizona, for a two-day workshop working with scientists to write a story about solar power.

Then home for a while, where I’ll have a chance to talk with people at Crypticon here in Seattle at the end of the month (https://www.crypticonseattle.com/attend/crypticon-2018-tickets/) . Come to the Saturday writing workshop with me! I’ve secured the awesome Kay Kenyon as a co-teacher.

This newsletter marks some changes in the structure of my Patreon campaign (https://www.patreon.com/catrambo) , and its linkage into the Rambo Academy for Wayward Writers. Even if you’re not a Patreon supporter, you’ll want to bookmark the page, because I’ll be providing some free stuff there each month, courtesy of the supporters.

Everyone, signed up or not, gets the following on the Patreon page:
* 1-2 writing snippets each week from Cat’s current work and the chance to ask questions and offer feedback about them
* Access to the first Ask-Me-Anything Friday session of each month. Check out the post and ask whatever you like. Past questions have included career advice, recommended reading, insider SFWA news, writing feedback, and more.
* Occasional random stuff

All Patreon supporters get the above plus:
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* More random things at whim

$2 supporters get the above plus:
* 1-3 market news or advice posts per week
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$5 supporters get the above plus:
* All ebooks as they are released
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$10 supporters get the above plus:
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$25 supporters get the above plus:
* Monthly story prompts post
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* *Rolls a dice* Something random

$50 supporters get the above plus:
* 1 live or on-demand class each month (non-cumulative)
* Even more

$100 supporters get the above plus:
* Monthly 15-30 minute coaching session, live class, or on-demand class

If you’re curious what Patreon is and how it works, there’sa two minute video of me explaining it here (https://www.patreon.com/catrambo) . We’ve been really enjoying the Discord community so far, and using it for writing sprints as well as chatter and questions.
Look what arrived literally moments ago! Yay! So excited to see all my hard work in tangible form. The electronic version is available for pre-order here (https://amzn.to/2qQuhEW) ; the hardcopy preorder should be available again sometime this week.

** Class News
————————————————————
The next class coming up is Cassandra Khaw’s Writing Better Food (http://www.kittywumpus.net/blog/how-to-write-better-food-with-cassandra-khaw/) on Saturday, May 12, followed by Ideas are Everywhere with Rachel Swirsky (http://www.kittywumpus.net/blog/ideas-are-everywhere-with-rachel-swirsky/) the following day on Sunday, May 13.

Scott H. Andrews has kindly agreed to give his Short Story Openings workshop (http://www.kittywumpus.net/blog/short-story-openings/) again for people who missed the first version, this time on June 16. A recent addition is a workshop with Doug Smith on July 14 on story rights and reprints. Keep an eye out for it or drop me a drop to go ahead and preregister; usual price.

Find out about all current classes here (http://www.kittywumpus.net/blog/academy/) .
If you enjoy gaming, check out Cat in Esper Genesis (https://www.twitch.tv/videos/252653827) – D&D5E in space — in which Cat runs Petra Cinis, a woman with a Very Large Hammer.

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