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WIP: Carpe Glitter

Today I have been writing! Costa Rica is fabulous, and we’re enjoying Jaco. Walked out for breakfast this morning and later on to the super mercado for groceries. My high school Spanish is, luckily, coming back in leaps and bounds.

I’ve been working not on a story set here, though, but one in Vegas. Here’s the beginning of what is looking like it will hit novelette length at least, “Carpe Glitter.”

Carpe glitter, my grandmother always said. Seize the glitter.

And that was what I remembered best about her: the glitter. A dazzle of rhinestone, a waft of Patou Joy, lipstick like a red banner across her mouth. Underneath all that, a worry little old lay with silver hair and vampire-pale skin.

Not that she was one, of course. But grandmother hung with everyone during her days in the Vegas crowd. Celebrities, presidents, they all came to her show at the Sparkle Dome, watched her strut her stuff in a black top hat and fishnet stockings, conjuring flames and doves (never card tricks, which she hated), making ghosts speak to loved ones in the audience and when she stepped off the stage, she left in a scintillating dazzle, like a fairy queen stepping off her throne.

All that shine. And at home?

She hoarded.

I mopped sweat off my forehead with the hem of my t-shirt and attacked another pile of magazines. No cat pee – I’d been spared that in these back rooms, closed off for at least a couple of decades. Grandmother had bought the house when she was at the height of her first fortune, just burst onto the stage magician scene, a woman from Brooklyn who’d trained herself in sleight of hand and studied under the most famous female stage of her time.

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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."

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Teaser: More from Laurel Finch

Illustration to accompany steampunk snippet by speculative fiction writer Cat Rambo
Interested in learning how to get opportunities to interview writers and publish the results as well as has to conduct yourself in an interview? I've got a one hour class coming up on just that, on February 19, 7-8 PM PST.
This is the steampunk world (Altered America) I’ve been writing in lately, and I’m pleased to say Beneath Ceaseless Skies just took another of the stories set in it, “So Little Comfort.” The title of this story is “Laurel Finch, Laurel Finch, Where Do You Wander?”

She was awake. She jolted upright, disturbing Laurel, who said something drowsily. Jemina stroked her hair with her right hand, settled the child back into her lap. Her heart still hammered uncomfortably.

She looked out the window into the darkness and could see only the reflection of the car’s interior for a moment. Then as her eyes picked out detail, she saw the stars hanging far overhead, the blaze of the Milky Way, a curdle of starlight spilling over the plains that rolled out as far as the eye could see.

Chuggadrum, chuggadrum, the sound of the wheels underfoot, the everpresent vibration working its way through her body as they hurtled through the night towards Seattle.

They’d promised her a laboratory of her own. A budget. Assistants.

Things she could do without interference. That was worth a lot, for a woman in a field that held so few other of her sex.

“I have nightmares sometimes too,” Laurel said.

Jemina’s hand sleeked over the curve of Laurel’s skull, cloth sliding over glossy hair.
“We all do.”

“What are yours about?”

“The war. What about yours?”

Laurel lay silent so long that Jemina thought she had gone back to sleep. But finally she said, “How my parents died.”

Jemina’s fingers stilled as though frozen. She waited.

“We were in the house and they came,” Laurel said. “My uncle said they were supposed to stay on the battlefield and no one knew they went the wrong way.”

Her voice was subdued, thoughtful.

“It would have been all right, but papa heard them at the door and he went and opened it. That was how they got in.”

Jemina saw in her mind’s eye, despite her attempt to force it away, the scene: the man mowed down, devoured with that frightening completeness that zombies had, before they moved on to the rest of the house…

“How did you get away?” she asked.

“I jumped out the window and ran away. I tried to get my brother first, but it was too late, so I ran.”

“Your brother?”

“He was just a baby. He couldn’t run.” Laurel moved her head in slow negation. “Too late.”

Jemina closed her eyes, feeling the story wrenching at her heart.

These things happened in war. They were sad, yes, but unavoidable.

The wheels screeched as the train unexpectedly slowed. Both of them sat up to look out the window.

“Whose are those men?” Laurel asked.

“I don’t know.” But she suspected the worst, given the fact that the group had their bandanas tugged up around their faces, that many had pistols or Springfield rifles in their hands.

“They’re bandits!” Laurel’s voice was excited.

“Yes,” Jemina admitted.

They waited. Around them, everyone was abuzz, but stayed in their seats.

The front door of the car swung open and two men entered, both holding pistols, red cloth masking everything except their eyes. Both were hatless, their stringy hair matted with dust and sweat.

“We’re looking for a fellow name of J. Iarainn,” one called to the car at large. “You here, Mr. Iarainn? If not, I’m going to start shooting people one by one, cause according to the manifest, you’re in this car.”

Jeminia held up a hand. “I am Jemina Iarainn.”

Her gender astonished them. They squinted at her before exchanging glances.

“You’re headed to Seattle and the War Institute to work? Some kinda necromancery?”

“Yes to Seattle, yes to the War Institute. No to necromancy. I hold joint degrees in medicine and engineering, specializing in artificial limbs.”

Exasperation kept her calm. Why should these dunces not believe a female scientist could exist? And necromancy — she was, by far, tired of that label. She worked with devices for the products of such technology, but she wielded the forces of science, of steam and electricity and phlogiston.

...

Folly Blaine reads "Zeppelin Follies" from Near + Far

Aerial Battleship (aka Zeppelin)
This steampunk zeppelin comes from "Robur the Conquerer" by Jules Verne.
The excellent Folly Blaine reads one of the stories from Near + Far, “Zeppelin Follies.” I’m hoping that link works; WP is being recalcitrant about hosting large files.

Here’s the afternote for the story:

This story was written for Clarion West, during the week that L. Timmel DuChamp was our instructor, and is my attempt at a screwball comedy, combined with the idea of the Bodys, which was inspired by a long walk in which my foot began to hurt, making me think about what it would be like to be able to switch body parts easily.

The story appeared in the final issue of Crossed Genres, a magazine which I was pleased to support during its existence and which went away far too quickly (although at the time I’m writing this, a Kickstarter projector looks as though it may succeed in reviving the magazine.) “Long Enough and Just So Long,” which appears in the Near volume of this collection, was originally written for a contest of theirs, but got purchased before I could send it to them.

“Zeppelin Follies” remains a story I’m fond of, particularly since I can remember the three am, story-due-tomorrow moment that led to the line, “Look, is that a zeppelin?”

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