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WIP: Written in Cinnamon Foam (working title)

nhntfrontHere’s something from the current piece. For fellow West Seattleites, the coffee shop in question is indeed the Admiral Bird. This is a sequel to “The Wizards of West Seattle,” which is available in Neither Here Nor There, just out this week!

“You need to stop holding a grudge about it,” Penny said.

Albert snorted. “You tried to kill me!”

“I’m a demon. That’s my nature. And it was one of the old lady’s tests. You don’t need to worry about me any more.”

Albert didn’t say anything, but he was unconvinced. In the months since he’d become apprentice to May Huang, one of the wizards of West Seattle, he’d faced several tests, but none as harrowing as that long chase down Alaska Way towards Alki with a long-faced and eager Penny on his heels. Only his encounter and subsequent alliance with Mr. Gray had put a stop to that, and Albert was still unsure what the consequences of that would be.

Penny mocked him. She manifested as a bright-eyed woman of indeterminate age, her face sharp-featured. “Oh, Penny, you’re so scary, oh Penny I can never unsee what I have seen, oh Penny please don’t eat my soul.”

“I’m unclear why don’t eat my soul is an unreasonable demand.”

“I’m just saying, you don’t need to worry about it. Anyhow, Huang wants me to teach you about oracles.”

They were walking down California Ave, passing the Admiral Theater. They both saluted the Little Free Library there, Penny with a graceful curtsey, Albert’s bow slightly more awkward, as they passed.

“I know how oracles work,” Albert said smugly. “That’s how I knew you were something other than human. I found the Oracle, left a crayon in his path.”

“He’s powerful because of the limitations on his magic,” Penny said. “Being able to use only found objects is pretty severe. But there are other routes.” She pointed. “We’re headed to the Bird. I need coffee.”

“Isn’t that a flower shop?”

“And here you have a principle of oracles. Anywhere boundaries blur, they can manifest.”

He’d passed the store a hundred times on walks and seen the flower shop sign, but closer inspection proved the front was a coffee shop, shifting into flowers in the back as seamlessly as two interior shots Photoshopped together.

At the counter Penny ordered coffee but Albert shook his head when she glanced at him. She shrugged. He looked around: dinette tables and chairs, an old truck serving as coffee table, pictures on the wall, the frames the size of his hand, enclosing stamp-sized pictures. He went closer to look.

Each was a scene from West Seattle: the shore at Lincoln Park, the overlook near Huang’s house, the playground at Hiawatha, drawn in fine-nibbed pen and colored in jewel-colored inks that made each one, a summer’s day, come alive. They were as bright and lovely as the day outside, and he craved one of them instantly.

A little label by the cluster said, “Enquire at the register about the price.” He went back to where Penny was counting out her bills.

He waited till she was done and asked the woman at the counter, “Excuse me, how much are the pictures?”

She tilted her head, considering him. He was suddenly conscious of the smear of yogurt from this morning’s breakfast on the knee of his jeans, the fact that he hadn’t bothered to shave, and his “Uncle Ike’s Pot Shop” t-shirt.

Let me know what you think! Patreon supporters, you get to be the first ones to see the finished version. 😉

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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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People watching is one of the best ways to come up with new characters. Watch (and listen) to the people around you and jot the things they inspire down in a notebook.
We talked last week about story shapes and arcs as well as what gets set up in the beginning of a story. This week we talked about characters and dialogue, and how the first shapes the story. One of the points made was that a character is not something you stick in a slot of a story – the character shapes the entire story. For example, the story of someone encountering a werewolf is very different if your protagonist is a little old lady who hates dogs because they’re messy than if that protagonist is an emo-teen determined to become a werewolf in order to get revenge on someone that wronged them.

The main character usually changes in some way over the course of the story, but that change must feel organic and natural. You can set up a big change of mind with foreshadowing and having them change on some smaller matter, showing that such change is possible, so it doesn’t throw the reader out of the story when it occurs.

We discussed approaches to learning more about your characters. I recommended the book Writing The Other by Nisi Shawl and Cynthia Ward, which talks about writing characters who are a different sex, race, or class background than yourself. I also recommended people-watching and reading pop psychology (or even more sciencey stuff, which will provide all sorts of story ideas.

One of the quickest ways to turn an editor off is with improperly punctuated dialogue, so learn the rules and use them. We went over things like speech tags, how to punctuate internal dialogue, why you don’t need to come up with a bunch of synonyms for “said,” and how to make voices distinctive. I suggested that people watch the wonderful adaptation of Terry Bisson’s “They’re Made Out of Meat” – here is the original text, and here is the film made from it.

If you really want to focus on dialogue, read good plays, which are pure dialogue. If you want to write in a particular historical voice, one of the best ways is to read deeply in that period so you absorb it. Doing so may make you aware how much what we read and watch creeps into our writing – that’s one very good reason to read some high quality stuff now and again.

Enjoy this writing advice and want more like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

Prefer to opt for weekly interaction, advice, opportunities to ask questions, and access to the Chez Rambo Discord community and critique group? Check out Cat’s Patreon. Or sample her writing here.

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