Five Ways
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WIP: Teaser from Carpe Glitter

Knocked out a good 2200 words on this, which is rapidly stretching towards novelette length, plus a flash piece, and another 500 words on something that may go anywhere, not sure at all with it. Hurray for productivity! Anyhow, here you go.

There was nothing else to do but tackle what I’d put off for so long: Grandmother’s suite. It occupied a good half of the Tudor house’s second floor ““ bedroom, lavishly appointed bath, sitting room. The high ceilings might have been lovely but they also allowed her to stack the boxes even higher there.

I’d avoided this spot even though it made no sense. If there were valuables, this was the logical place for them. No, it was something else that deterred me. Elsewhere in the house I could explore and pretend that my grandmother had just stepped out for a moment. To invade her bedroom, that was a different thing.

That was to acknowledge that she was dead.

I don’t believe in glorifying the dead. I will not pretend that my grandmother was a nice woman. I will not pretend that she was a kind woman. In truth, she was self-absorbed, strong-minded to the point of being a force of nature.
But she loved me. I was her only grandchild and when I was smaller, I could have done no wrong in her eyes. That was, perhaps, one of the things that divided my mother and I. She’d tried so hard all her life for her mother’s approval while I’d gotten it without even asking.

When someone loves you like that, deeply and unconditionally, it’s very hard not to love them back. My grandmother may have coerced me into the college of her choosing, but we’d both known the truth: while she’d do plenty to hurt my mother in the long and complicated game they’d been playing all their lives, she might have threatened to keep me hostage, but it was a strategy that would have worked for either side. My mother had not used it, but I wasn’t sure through unawareness or some moral scruple. I’d never understood all the currents of emotion that ran between them.

I paused in front of the oak double doors. They weren’t original to the house ““ she’d brought them back from somewhere in Bavaria and they were carved with willow trees and Rhine maidens. The handles were brass swans. I laid my fingers on one’s neck and tried the handle: locked. I sighed and began trying keys from the vast loop of unmarked ones I’d found in the kitchen. After ten minutes of trial and error, the lock clicked and I swung the door open.

I flipped the light switch on one side back and forth, but the bulb had long ago burned out. You couldn’t see the room for all the boxes. A narrow passageway led between the stacks of cardboard cartons ““ some old liquor boxes, others from thetrical supplies. The one at eye level to my right read: White Feathers: 1 Gross. White tendrils still clung to the tape along one edge.

I pushed my way forward through that cardboard corridor, so narrow that my shoulders brushed it on either side. It went straight for a few steps then branched, one side leading towards the window and (I presumed) the bed area, the other snaking towards her sitting room.

I opted for the latter.

At the threshold between the two rooms, I sought another light switch, but it was just as fruitless. The air smelled of dust and perfume and ancient cat pee. There had always been a cat around when I was a child, but in later years, Grandmother had renounced them and turned her nurturing side to the succulents out in the courtyard.

I was using my cell phone as a flashlight by now, holding it out between my fingertips. It startled me when it rang.

I glanced at the screen. My mother. I answered, standing there in the dusty darkness that smelled like Grandmother.

“Yes?”

“I need you to pick me up at the airport at 3:23,” my mother said.

“Today?”

“Of course today! I’m about to get on the plane. I’m flying on United, flight 171. Do you need me to repeat all that so you can write it down?”

“Why are you coming?”

“So I can help you, of course.”

Suspicion seized me. “Where are you staying?”

A pause, as though my question were in some foreign language that required translation before it could be processed. “With you, of course. Aren’t you staying there at the house?”

I imagined my mother “helping” me. It made my throat tight. All my life I’d watched the two of them do battle. Now my mother had come to crow over a victory that consisted of simply having outlived the other. Or, worse, like the others ““ the agents, Eterno ““ she wanted something here but would not tell me what.

I steeled myself and said, “No, you can’t do that. I’ll find you a hotel.”

“Don’t be ridiculous. Why on earth can’t I stay there?”

My mind cast about for excuses. There must be some reason.

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Post WorldCon: Happy Daze

It’s the day after the last day of Chicon 7, and I have caught up a little on sleep. I had one of the best times I’ve ever had at a convention, and the book launch party went (IMO) swimmingly. Lots of people showed up, people really loved the jewelry and the stickers, and everyone seems to think the book design almost as cool as I do.

Some people who helped make it the most awesome of cons were: Al Bogdan, who’s provided some lovely party pics; the enigmatic Folly Blaine/Christy Johnson, who is always good con company; Randy Henderson, who pitched in when needed and also kept everyone from taking things too seriously; Stina Leicht, whose book And Blue Skies From Pain was also being promoted at the party and who was an excellent co-host as well as providing a vicarious experience of being on the ballot 😉 ; Vicki Saunders, who trekked and fiddled and above all, kept me from stressing (too much); Dallas Taylor, bartender extraordinaire and always, always, always Tod McCoy for being one of the prime instigators of all this madness.

Various highlights:

  1. Watching the Hugo Awards from the bar with Folly Blaine, Gio Clairval, and Tod McCoy and supplying what John Scalzi was saying since we didn’t have any sound.
  2. Lovely lunch with Kay Kenyon and all too brief Louise Marley time.
  3. Several people thanking me for personalized rejections from Fantasy, and one young man saying that rejection was one of the reasons why he was still writing.
  4. As always, meeting many people I knew from correspondence or social networking and getting a chance to put faces and voices to the icons and screen names. Two I was particularly excited to meet were Gio Clairval and Jay Caselberg.
  5. Getting to squee like a fangirl upon meeting Sharon Shinn.
  6. A stint at the SFWA table and getting to stroke Catherine Lundoff’s lovely book cover for Silver Moon, which is a kickass novel about menopausal women turning into werewolves, which I’m downloading onto my Kindle asap.
  7. The Broud Universe Rapidfire Reading, which was jampacked with great stuff, including a closing filk song, which was about the nicest way to end a reading that I’ve seen or heard in a long time.
  8. Getting to see Rachel Swirsky in full and beautiful glitter.
  9. A lot more which is still full of happy, giddy blur, so if I’m overlooking you, it is because my memory is still aswirl. 😉

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Looking at Description: Dorothy Dunnett

Detail From a Sculpture Outside the Redmond Public Library
Description captures so much nuance, and the structure of the sentence can prove integral to its effect, as frequently happens in Dunnett's writing.
A series that I come back to repeatedly is Dorothy Dunnett’s marvelous six-volume series The Lymond Chronicles. Dunnett has two strengths: dialogue and its accompanying actions as well as a descriptive gift that I am bitterly envious of. Right now I’m working my way through the books for a third or fourth time, and I’m midway through Book 3, The Disorderly Knights.

In this chapter Lymond and Oonagh are escaping the Turkish camp, and it’s just marvelous.

At the edge of the still, dark pool that was the sea, at the brimming edge of freedom where no boat was to be seen, she spoke the first words of the few they were to exchange. ‘I cannot swim. You know it?”

The sea is the still dark pool, the brimming edge of freedom and we know that it’s still perilous and questionable because they can’t even see the boat. It’s a passage where words are scarce and breath is conserved, and Dunnett deftly raises the stakes here with that six word exchange.

In the dark she saw the flash of his smile. ‘Trust me.’ And he drew her with a strong hand until the green phosphorescence beaded her ankles, and deeper, and deeper, until the thick milk-warm water, almost unfelt, was up to her waist. She heard him swear feelingly to himself as the salt water searched out, discovered his burns. Then with a rustle she saw his pale head sink back into the quiet sea and at the same moment she was gripped and drawn after him, her face to the stars, drawn through the tides with the sea lapping like her lost hair at her cheeks, the drive of his body beneath her pulling them both from the shore. They were launched on the long journey towards the slim shape, black against glossy black, which was the brigantine, with Thompson on board.

Right off the bat, the first moment of the paragraph, the terse tense nature of the dialogue is maintained, along with a single detail reminding us of the lack of lighting. And because it’s Lymond, brilliant ephemeral Lymond, that detail backs up the dazzle of his character with its verb masquerading as a noun: flash. The moment where he draws her into the water, first to the lovely image of the phosphorescence around her ankles, then and deeper, and deeper, as though each comma was a wave, is one of those that bludgeons me with despair whenever I read Dunnett, because I don’t think I’ll ever come close to the precision and brilliant construction of that sentence, and she does it line after line after line for six fricking books, plus the eight book Niccolo series and the MacBeth one. HOLY COW. And then she delivers the final stroke with the temperature of the silky water combined with the information that now she’s up to her waist. We’re reminded that Lymond is not in the best physical shape because Dunnett never resists a chance to ratchet up the tension.

After that a long sentence conveys the sense of the journey, starting with the sound and visual of his pale head. Something about the way the sentence is constructed mimics the physical blocking of the scene, with Oonagh being drawn over and through the water with the drive of his body submerged beneath, pulling them both forward. Followed by more journey, and even more sense of the lighting, with the ship black against glossy black.

She never knew how long a swim that was, for she had one task: to make his work possible. Her body limp, her limbs brushing the surface of the sea, she took air at the top of his thrust; learned after the first gagging mistake to close every channel to the sudden dip, the molesting wave that slapped suddenly over one cheek. The hard grip under her armpits never altered, nor did Lymond’s own breathing for a long time vary at all.

That paragraph has a lot of sexual, physical terms (her body limp, her limbs brushing the surface of the sea, she took air at the top of his thrust) that turn violent (learned after the first gagging mistake to close every channel to the sudden dip, the molesting wave that slapped suddenly over her cheek), which echoes Oonagh’s experiences in the book, having been beaten many times by her former lover Cormac MacCarthy. But interestingly, the next sentence shows us that Lymond is steady where the violence is sporadic; he is drawing her forward through it. I’ve noticed Dunnett repeating figures like this over and over before — in Queens’ Play, it’s eyes, for example, so I’ll be curious to see whether this keeps getting repeated — or I may go back to earlier chapters to look at their interactions again.

I urge my writing students to copy out passages like this, to test them sentence by sentence, looking to see how the effects are created. Sometimes it’s just an exercise in angst, when you’re working with a writer that’s much better than you are, but I can’t help but think you always learn something from the practice.

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