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WIP: No Clue What the Title Is Yet

Photograph of a diagram showing the different kinds of starting points for a story.
A story in very rough form.
Working on a far future space story that is getting very complicated with its gender stuff. This is one of the things that annoys me sometimes about future space stuff — that it superimposes early 21st century (sometimes earlier) gender patterns in a way that I know is hard to avoid but which infuriates me when it’s unquestioned. I just reread The Pride of Chanur (OMG how is that out of print in hardcopy??) yesterday and love the way Cherryh handles the question.

Hence this story of two cultures clashing, and both the gender norms and the norms around the sex act are getting tangled up in interesting ways.

Anyhow, this is currently the story’s beginning (and is a good candidate to remain the beginning):

“It can’t be avoided, Tom,” Gayathri said to her spouse. “I know it’s Age-Come for Suzette and Bit, but they must deal with an outsider visiting. To keep Grace, they must be taken in by one of the Lines, and everyone else is dealing with emergencies right now. i can’t create a diplomatic incident over the feelings of two family members. They must learn to adapt.”

“It’s not the quarters that’s a problem,” they grumbled. “Since Bethany and Besa moved over to their new Line, we’ve had extra. But Gaya, this means adjusting all my meal planning.”

“A few more servings here and there”¦”

“Individualized cakes with names on them for the party, for one,” they said. “And the centerpiece was a fondant scene of the family. Now how will I incorporate them?”

“I’ll send you a couple of images from her press kit. Dress her in scarlet, that’s the Corps color for women.”

They frowned at her. “They dress in different colors? What do they do about in-betweeners or asexuals?”

“The Corps doesn’t allow them.”

They rolled their eyes. “One of those.” They eyed her. Her own insistence on keeping the same gender without ever attempting other forms or sexualities was a sore point in the relationship. While not unknown, it was eccentric enough that Tom found it embarrassing.

“A wealthy one of those, with money to invest on the behalf of her coalition. You will be nice.”

In the end the tiny fondant image of the Gräfin was easy enough. A little twiddling let Tom print a sugar face, which they affixed with a dab of icing. They’d been working on faces for the family members for a month: seven generations would be represented, which they privately thought a poor showing, but Gaya’s family was so much newer than the one they’d married out of. And cooking for that family on such an occasion had been making food for several hundred. Tom might have had more help in their family of origin, but there would have been considerably more work.

Still, the loss of Bethany, the most interested in kitchen work, had grated on them. Bethany had known how to help, how to clean up after Tom as they moved through the kitchen as well as how to supply whatever it was that was needed, prepping the mutual mise en place to perfection. And the pair known each other’s depth of perception, could tease each other with tastes, ask advice on building a sauce that reached past acid and sweet to take on other notes and textures.

They tapped air bubbles out and tamped the face down with a toothpick, then set it in the diorama to one side, clearly an onlooker. They relented and moved it a few inches further in. The poor woman couldn’t help it that she came at an odd time.

The diorama sprawled, a meter in diameter, on the kitchen’s center counter. They circled it, looking it over in the lime-tinted sunlight cast through the rear windows that overlooked slopes of garden leading down to the lake, an expanse that would have swallowed the massive house entire without a thought, its surface glutted with water-lilies.

In a week the swollen cream-colored heads would burst into blossoms, soft explosions that would happen as dusk settled, while the nightbirds sang, and the children would have an Age-Come that let them step into new roles and responsibilities if they chose. Sometimes children decided they did not want it yet and retreated. Tom didn’t think Bi would. They had borne the baby, carried it within their body till birthing time, and that gave the two of them a special knowledge of each other. Suzette had come into the family as a baby when one of their parents had married in, and the affection Tom held for them was the same as that towards most of the two dozen children: pride and affection, but perhaps not to the same fierce degree they experienced when teaching Bit “” not cooking skills, to their chagrin, since the child expressed no interest, but other basics, like how to tie a knot or do daily chores.

Tom had been expecting them for a while, but they came late to breakfast and inspected the diorama dutifully, without focus or remark, before sitting down.

Turning from the heat counter, Tom slid a plate of pancakes in front of the child, who inspected it with the same lack of interest the diorama had evoked.

Jitters. “Having second thoughts? Should I move your figure to the sidelines? You wouldn’t be the first.”

A headshake in reply. You try not to press them, let them grow at their own pace, but they do it to themselves. “It’s only one change, one of plenty in your life. Take it at your own pace, however you like.”

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6 Responses

  1. Cat, this seems more like Lois McMaster Bujold than C.J. Cherryh (faves of mine either way). But I’m about to reread PRIDE OF CHANUR myself, more for how she keeps that intense narrative drive going than for gender issues. But I’ll have to read for both now.

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The Most Recent SFWA Kerfuffle

picture of graffiti depicting an image from The Crying of Lot 49“Hey, how about that SFWA mess?” my brother asked in an e-mail.

I winced, because I knew exactly what he meant. In my capacity as the lead of the moderating team on the SFWA internal forums, I’d been reading about it for the past few days – and working to keep the discussion — on those boards, at least — somewhat sane. There was a whole lot of shouting going on. And some of it, I think, could be avoided if some of the shouters had actually taken the time to listen to (by which I mean read) what was being said.

That’s a problem happening on both sides (and honestly, there aren’t really “two sides”. There’s a lot of possible takes on this and part of the problem is this idea of “us vs. them”.) “OMG they are attacking Mike Resnick!” screams one group. “OMG old white dudes telling us what to do!” shouts another.* There’s assumptions being made that’s there’s no room for the organization for both sides and that each is trying to somehow oust the other.


So…I’d urge you to actually read what’s under discussion, as well as how it’s being discussed. The article in question was third in a series of what seem like bad moves on the SFWA Bulletin’s part. First there was a cover that many felt was inappropriate for a professional magazine. This was accompanied by an article in the same Bulletin written by Barry Malzberg and Mike Resnick that, while doing an admirable job of trying to document the role women have played in the early days of SF, also applied appearance standards to those women in a way that did not seem congruent with how they’re applied to men, as well as emphasizing how anomalous these creatures were by appending “lady” to editor, so we have editors and lady editors. Since very few of us lady editors actually manipulate the keyboard or pen with our vulvas**, the need to specify gender seems a little unnecessary, but okay. That was followed by an issue with a column in which the writer used Barbie as an example in what seems like a misguided rhetorical strategy. (I am trying to be somewhat neutral about all this, but you can no doubt tell that my sympathies do lie more on one side than another.)

And then came a third issue, containing a rebuttal to the criticisms by Malzberg and Resnick, which did exactly what I’m talking about. I’m forced to believe that since they identify the criticisms as “anonymous,” they didn’t bother to go read any of them, in which case they would have noticed that they weren’t anonymous but that people were quite willing to attach their names to them and had been doing so from the start. And the reply — well, go read it and decide for yourself whether or not you think of it a reasoned response to criticism.

Since then tempers have continued to flare, some people have resigned from SFWA while others decided to stay, a task force has been formed to try and figure out how to make the Bulletin more professional, and on and on, including lots of shouting about “PC” and censorship. So what I’d like to say is, if you decide to weigh in, exercise a little due diligence and do your homework beforehand. That means read the pieces as well as some of the discussion. Don’t rely on how someone else is interpreting or framing the debate, because that’s just lazy. Don’t rely on someone else’s summation of events (including this one!) but decide for yourself. Jim Hines has put together a list of some of the commentary. If you’re a SFWA member, come on over to the forums and take a look. If you don’t understand some of the objections, take the time to figure out what’s underlying them. Because ain’t nobody shouting just for shouting’s sake.

And remember – SFWA’s not a monolithic entity. There’s close to two thousand members, and that’s a whole lot of different points of view.

One of the great things about this is that there are useful, informative, and interesting discussions going on. There are changes being made, there’s awareness being raised. In the past I’ve sometimes ranted to my spouse about the odd forms of Luddism that sometimes appear on the part of some people writing about the future, and it seems to me this convulsion is helping drag SFWA into the 21st century as well as a more professional form. I look forward to seeing what’s to come.

* I should note that this is a rough paraphrase of a couple of the shouts and not an encapsulation of everything that’s been said.
** Feel free, fellow “lady editors,” to correct me on that if I’m wrong.

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Exploring Near + Far's Interior Art: Row 5

Last day of the giveaway! Remember that you can comment five times (one per giveaway post) in order to be entered five times in the jewelry giveaway. Here’s another shot of that jewelry, just because it’s so pretty. 🙂

Near + Far jewelry
Near + Far jewelry, based on interior art by Mark W. Tripp.

The book launch has been going well. If you’re one of the people who’ve finished the book already, Amazon reviews are most welcome if you feel so inclined. (Yeah, I know that’s shameless, but I’d really like this book to do well because I love it so much.) Lots of people have signed up for the Goodreads give-away and 165 people have added it on there.

Some of the interviews, reviews, and guest blog posts:

Art by Mark W. Tripp for Cat Rambo's Near + Far interior
Row 5

So here’s the last five of our images, left to right.

Image #1 accompanies the story “Angry Rose’s Lament.” It’s another of the images that remind me of a submarine, if you had one carved by Aztecs.
Image #2 was chosen to go with the story, “Long Enough and Just So Long.” I like this image to the point where I’m considering another tattoo, featuring this. I don’t know why it appeals to me so much.
Image #3 was chosen for its swordlike aspect to illustrate the superhero story, “Ms. Liberty Gets A Haircut.”
Image #4 is set with the story “Seeking Nothing.” This one’s half submarine, half brass musical instrument.
Image #5 illustrates the story “Surrogates,” because it often looks to me like a laughing jester’s face, of the sort that perfectly illustrates that story.

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