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Guest Post: Kathy L. Brown on Miss Lutra's Squirrel Stew from "Water of Life"

Cabin photo by Kathy L Brown.In my prohibition-era, urban fantasy novelette, Water of Life, investigator Sean Joye searches the Southern Illinois hill country for Caleb, a missing moonshiner. His trek, beyond a flooded river and through a forest bristling with ice and fae ill intent, leads him to a strange old mountain woman. Miss Lutra would just as soon shoot him as feed him squirrel stew; but feed him she does, and the meal is delicious.

Dinner with Miss Lutra

Letting old ladies feed me hasn’t failed me yet. The stew and bread smelled great. My stomach growled as I sat down at the oak-plank dining table, and I realized I hadn’t eaten all day.

Miss Lutra invited me to say grace over our meal, but apparently found my “For these thy gifts make us truly thankful” a poor effort and jazzed up the prayer with a blessing on the squirrel, the forest, the other animals of the forest, the creek, the farmland, Caleb”””who is lost from us but will be delivered whole and sound, if not now, at the final trumpet,” me, my people, her people, and herself. Although mostly focused on my rumbling stomach, at the final “amen” I remembered not to cross myself, the Church of Rome not so very popular in these parts.

Miss Lutra had filled out the scant meat from a single squirrel with potatoes and turnips, and the meal was quite tasty. Between mouthfuls of hot stew, only marred by the occasional buckshot pellet, I said, “I don’t mean to be abrupt, ma’am, but was Caleb here today or not?”

The old lady cut off a hunk of hot bread with her enormous knife and wiped her bowl with it, sopping up the peppery gravy. “You ain’t from around here, are you, Mr. Sean Joye? Sound like you could even be from over the waters.”

“Do I now? Does that make a matter where Caleb went?” Through the tiny window, I could see dark clouds full of snow gathering low over the woods. “Or does it make a matter of what you’ll tell me?”

Squirrel Stew For Two

While Miss Lutra has a long lifetime of putting together a bit of this and a pinch of that to keep her household fed, I need recipes. She’s not one to share her secrets, of course, but hinted at the following squirrel stew instructions:

  • A squirrel or two, cleaned and cut into pieces (or, 1 pound of chicken thighs with skins and bones)
  • 1 teaspoon salt, divided
  • ¼ teaspoon black pepper, divided
  • ¼ teaspoon red pepper, divided
  • 1-3 Tablespoon bacon fat, as needed
  • A handful of mushrooms (if you got “˜em)
  • 2-3 Tablespoons flour (Depends on how much fat the meat renders. You need equal portions fat and flour.)
  • ¼ cup moonshine (Irish whiskey works OK.)
  • 2-3 Cups chicken broth (divided)
  • 2-3 cloves garlic, chopped well
  • Several sprigs of rosemary
  • Several leaves of sage
  • An onion, chopped well
  • 2-3 potatoes, peeled and chopped into bite-sized pieces
  • 2-3 turnips, peeled and chopped into bite-sized pieces
  • A carrot, peeled and chopped into bite-sized pieces
Squirrel photo by Yinan Chen from Pixabay.
Squirrel photo by Yinan Chen from Pixabay.

Melt two tablespoons of the bacon fat in a cast-iron stew pot or Dutch oven. Salt and pepper the squirrel (or chicken thighs, if you can’t get one) with about half the seasonings and then brown for five to ten minutes in the bacon fat.

Remove the meat and brown the mushrooms, if you’re using them.

Next, brown the chopped onion.

Now use the bacon fat and rendered grease to make a gravy. (You need equal amounts of fat and flour for the roux””the gravy base. Add more bacon fat, if needed””depends on how much fat was soaked up by the mushrooms. Dissolve the flour in the fat and brown it””about as dark as a pecan or an acorn””over low heat. Keep stirring the roux, scraping up any bits of meat stuck to the pan. This might take a while, depending on how dark you like the roux. Don’t rush it. Then stir in the moonshine and two cups of the broth. It’s gravy!)

Warm the herbs and garlic in the gravy until they smell good, then add the vegetables, half a teaspoon or so of salt and red and black pepper if you like it, and more broth to cover. Stir it a bit. Nestle the browned meat among the vegetables.

Bring the stew to a boil, then lower heat to simmer, covered, for an hour or so.

After about an hour, uncover and fish out the meat to cool a bit (ten minutes or so) on a cutting board.

Add the cooked mushrooms to the stew and continue to simmer, uncovered if it seems a bit too thin.

After the meat cools, cut it away from the bones, chop, and put back in the stew. Adjust the seasonings as needed.

Serve with hot, crusty bread and apple pie for dessert.


Author Photo of Kathy L Brown by Daniel Brown.BIO: Kathy L. Brown lives and writes in St. Louis, Missouri, USA. Her hometown and its history inspire her fiction. When she’s not thinking about how haunted everything is, she enjoys hiking, crafts, and cooking for her family. Her novella The Resurrectionist and novelette Water of Life are available as paperback and e-books from Amazon.com. The Resurrectionist is also available from Ingram. Kathy’s short fiction has appeared in the Bards and Sages Anthology Great Tome of Forgotten Relics and Artifacts (The Great Tomes Series, Volume One), with earlier works in Bards and Sages Quarterly, Golden Visions Magazine, and Mused Literary Journal. Hippocrene has published several poems. Follow her on Instagram at kathylbrownwrites, Facebook at kbKathylbrown, and Twitter at KL_Brown. Kathy’s blog, Kathy L. Brown Writes The Storytelling Blog, lives at kathylbrown.com.


If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

This was a guest blog post.
Interested in blogging here?

Assembling an itinerary for a blog tour? Promoting a book, game, or other creative effort that’s related to fantasy, horror, or science fiction and want to write a guest post for me?

Alas, I cannot pay, but if that does not dissuade you, here’s the guidelines.

Guest posts are publicized on Twitter, several Facebook pages and groups, my newsletter, and in my weekly link round-ups; you are welcome to link to your site, social media, and other related material.

Send a 2-3 sentence description of the proposed piece along with relevant dates (if, for example, you want to time things with a book release) to cat AT kittywumpus.net. If it sounds good, I’ll let you know.

I prefer essays fall into one of the following areas but I’m open to interesting pitches:

  • Interesting and not much explored areas of writing
  • Writers or other individuals you have been inspired by
  • Your favorite kitchen and a recipe to cook in it
  • A recipe or description of a meal from your upcoming book
  • Women, PoC, LGBT, or otherwise disadvantaged creators in the history of speculative fiction, ranging from very early figures such as Margaret Cavendish and Mary Wollstonecraft up to the present day.
  • Women, PoC, LGBT, or other wise disadvantaged creators in the history of gaming, ranging from very early times up to the present day.
  • F&SF volunteer efforts you work with

Length is 500 words on up, but if you’ve got something stretching beyond 1500 words, you might consider splitting it up into a series.

When submitting the approved piece, please paste the text of the piece into the email. Please include 1-3 images, including a headshot or other representation of you, that can be used with the piece and a 100-150 word bio that includes a pointer to your website and social media presences. (You’re welcome to include other related links.)

Or, if video is more your thing, let me know if you’d like to do a 10-15 minute videochat for my YouTube channel. I’m happy to handle filming and adding subtitles, so if you want a video without that hassle, this is a reasonable way to get one created. ???? Send 2-3 possible topics along with information about what you’re promoting and its timeline.

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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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Guest Post: Michael R. Underwood on Five Tips for Cultural Worldbuilding Without Building a World Bible

Cover of science fiction novel ARIA by Underwood.Worldbuilding can be an intimidating part of writing science fiction/fantasy, whether it’s an epic fantasy or a distant far-future space opera.

There are many ways focusing on worldbuilding first can go awry, chief among them the possibility that worldbuilding becomes such a focus that the writer never moves on to the writing.

If you want to strike a balance between strong worldbuilding and not getting bogged down, here are some tips from my decade of experience writing novels and degrees in Folklore and Mythology before that.

1) Do I Have to Start with Mythology?

Culture is made out of small pieces and big pieces. And most of the big pieces are made out of small pieces. How people greet one another is a part of power dynamics. Formality, gendered language, social context, and more.

Thinking about everyday life can be a great way to start creating the small pieces that will make up the big piece OR small pieces that reinforce the big ideas you’ve already created. If you have a culture that worships a benevolent sun god, think about how little things in daily life reflects that practice. They’re likely to see the daytime as the time of goodness. Which may mean that breakfast and lunch are framed as more important meals because they’re done under the watchful eye of the sun. Or maybe weddings are always conducted in the morning to represent rebirth alongside the sunrise.

2) How Does the Tale of Prometheus Relate to Greek Conceptions of the Nature of Humanity?

Few cultural elements are created in a vacuum. Folklore about medical practice likely developed alongside folklore about agricultural practice. How are they interconnected? How do the hero legends of the culture reflect its ideas about what heroism means and what important technologies/blessings the culture needed to become who they are?

The Greeks tell the story of Prometheus stealing fire from the gods and giving it to humanity””an essential blessing. But they also tell of Prometheus facing eternal punishment for that theft. What does that say about how the ancient Greeks viewed humanity’s relationship with the gods?

Thinking about what elements of culture should resonate with one another and which elements make sense to be in tension can help develop a world that feels real.

3) How Do Different Forms of Power Intersect?

One of the best pieces of advice about worldbuilding that I can give you is to think about power. Who has power, who doesn’t, how people navigate the systems of power to achieve what they want when they have access to power and especially when they do not.

Cover o BORN TO THE BLADE by Underwood.It makes sense when worldbuilding to think about what groups within a nation or culture have greater access to power and which are excluded from holding or wielding power. And there’s a good chance that not all of the types of power are wielded by the exact same group. So sometimes you’ll have a character that has access to some power but is disempowered along another axis. An influential member of a minority/marginalized religion. A superhuman on the run from the law in a society where superpowers are outlawed. A male anti-imperial freedom fighter in a patriarchal society.

Characters like these can display the tangled, interesting, and scary interconnectedness and tensions between systems of power, and a story can show how these interactions play out in material ways””how people can and cannot navigate through social systems and access to resources (material, social, etc.).

4) Do I Have to Get It Right the First Time?

I think it’s okay for a first draft to be really messy, to include contradictions and continuity errors. Editing is a really good time to put all your worldbuilding affairs in order. It’s possible to bake in a fundamental flaw to a work if you make a big enough mistake in the first draft, but for the textual worldbuilding””names of places, material culture that doesn’t serve as the backbone of the plot, the local festival going on while the characters visit the city””all of that is well within the range of things that can be reconciled and corrected in the editing stages of working on a novel.

5) What Else Can I Do?

When in doubt, set yourself up with more tools before you even begin. Read fiction set in real-world cultures written from an insider’s point of view or from that of a well-researched, respectful outsider. Read histories and books on mythology, folklore, linguistics, architecture, and more. Learn to see the choices made in fictional worldbuilding that would otherwise go unnoticed as “the default.”

The more you grew up with your identity centered by majority culture (in the USA that’s white, Christian, straight, cisgender, middle or upper class, etc.), the more important it is to cast your attention more widely and to escape the default thinking that presents the USA or the UK or other global colonial powers as the protagonists of history.

Another way to put this””if you’re designing an element of worldbuilding, it’s easier to do so when you already know ten different cultures’ analog of that element than if you only know three.

The wider your view of the world and the myriad ways that people live in it, the better-prepared you’ll be to apply that pattern recognition through extrapolation and interpolation with your own work. This is the work of a lifetime, but it’s worth doing, and not just to improve your writing.

Final Notes

As someone who studied world cultures and how to study cultures, I definitely get the impulse to spend a lot of time rounding out a bunch of details and laying a ton of groundwork.

But I’ve found that my desire to write and finish books has pushed me toward less exhaustive prep and more toward improvising in the moment, relying on my training and my judgment, and in the fact that I can come back and make sense of things later if I really need to.

Everyone’s process is different, but if you find yourself wishing you could spend a bit less time on worldbuilding before you start your draft, I hope these tips will be of use.


Author photo of Michael R. Underwood.Bio: Michael R. Underwood is the author of over a dozen books across several series. His latest book is Annihilation Aria. Mike lives in Baltimore with his wife and their dog. He is a co-host on the actual play show Speculate and a guest host on The Skiffy & Fanty Show.

Find him online on his website, Twitter, and Patreon.

Buy Links for Aria:


If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

...

Guest Post: Deby Fredericks on What Are We Fighting For?

I joked recently that it seems like every story has to end with some gigantic battle. That’s how we know it’s the end, right?

Think about it. Which of the world’s great legends tell us that our problems should be addressed through something OTHER than violence?

Hercules, Beowulf and Gilgamesh all killed monsters. King Arthur’s knights in shining armor maintained the peace by fighting monsters. If no monster was about, they would fight each other to catch a lady’s eye. Lord of the Rings featured massive battles for the fate of the world. Military SF, of course, features more technologically advanced weaponry in exotic settings, but the role of the warriors remains the same. It seems the only way to “save” anything is through battle.

Then you get to other forms, like comic books. Superheroes level cities to bring in the bad guys. For this, we admire them. In gaming, the only way to get XP and level up is by killing things. Very few games award XP for clever solutions that avoid combat. Then there are movies, where we may move from combat to combat without time to think. The more explosions, the better!

It’s true that the world can be violent. Depicting violence in stories could be seen as mere honesty. Although, it’s hard to believe that most of us experience that much violence personally, in our daily lives. Not in proportion to the amount of violence we consume as entertainment.

Or perhaps the violence in storytelling is a form of wish fulfilment. As a teacher, I’m well aware of how much time we spend teaching kids NOT to solve their problems with their fists. Watching an animated fight could be viewed as a safe release for dark impulses.

Nevertheless, I was startled to realize how often I, myself, built in a gigantic battle to settle things at the ends of my stories. It wasn’t something I had really thought about. In the accepted frameworks, that’s the way it’s supposed to be done.

Still, it became my personal challenge to write stories where characters solve their problems in some other way than through battle.

For the past two years, I’ve been working on a novella series, Minstrels of Skaythe, where the protagonists try to live peacefully in a dark and dangerous world. In Skaythe, the evil mage Dar-Gothul is an absolute ruler who has twisted the world in his image. Mages are the ruling class, whose magical power gives them the right to do whatever they wish. Selfishness and betrayal are “good.” Showing concern for others is “bad.” My good mages quietly move through the land, disguised as minstrels. They share moments of peace and harmony through their arts. For this, they are branded as renegades.

In the first novella, The Tower in the Mist, one of the minstrels is arrested for the crime of singing a love song. Keilos doesn’t fight back, but instead reacts with basic courtesy. The hunter-guards, led by Sergeant Zathi, are genuinely freaked out by his strange behavior. Captors and captive have adventures that require them to work together, but not all of the hunter-guards can let go of their assumptions about what’s “good” and “bad.”

Cover of "Dancer in the Grove of Ghosts"

In the second novella, Dancer in the Grove of Ghosts, Tisha is a gifted healer. She’s decided to undo a curse cast by Dar-Gothull himself. On the way there, she encounters a gravely wounded guardsman. Common sense would say Cylass is her enemy. It’s sheer folly to help him, but Tisha follows her own moral code. Devoted to peace, she tries to show Cylass a different path “” and risks betrayal by the one she saved.

While writing it, I played with the idea that comrades on a quest always have a strong bond of friendship and are working for a common goal. Setting them so much at odds brought a deeper tension to the tale.

Currently I’m in revisions of a third novella, The Ice Witch of Fang Marsh. Here I directly countered the idea that the tale has to end in a gigantic battle. I built the story toward that typical climax, but then the two antagonists talked, instead.

I have to say, the ending as written feels… weird. Like the conflict isn’t really over. My beta readers both said the same. Not that the ending was bad, or felt forced, just that they hadn’t seen that approach before.

Unsettled as it is, this outcome is what’s true to the characters. They had a previous relationship that allowed them to talk things out. Or maybe it’s that they were two women, with an instinct toward collaboration rather than combat.

Will this ending satisfy anyone besides me? Good question! I’m having a great time with Minstrels of Skaythe, exploring alternatives to the nagging prevalence of violence in storytelling. If you’re up for the challenge of a slightly strange outcome, I hope you’ll check out my novellas, The Tower in the Mist and Dancer in the Grove of Ghosts.


Headshot of Deby Fredericks. BIO: Deby Fredericks has been a writer all her life, but thought of it as just a fun hobby until the late 1990s. She made her first sale, a children’s poem, in 2000.

Fredericks has six fantasy novels out through two small presses. More recently, she self-publishes her fantasy novellas and novelettes, bringing her to 13 books in all. Her latest is The Tower in the Mist. Her short work has been published in Andromeda Spaceways and selected anthologies.

In addition, she writes for children as Lucy D. Ford. Her children’s stories and poems have appeared in magazines such as Boys’ Life, Babybug, Ladybug, and a few anthologies. In the past, she served as Regional Advisor for the Inland Northwest Region of the Society of Children’s Book Writers and Illustrators, International (SCBWI).

You can find out more on her website or follow her on Twitter. Here’s a teaser for her novella Dancer in the Grove of Ghosts, available at Amazon and other retailers:

“He’s dead. He just doesn’t know it yet.”

Mortally wounded, Cylass is abandoned on the battlefield by comrades who would just as soon have him out of the way. But as he waits for death, a strange savior appears. The dancer, Tisha, heals him with her forbidden magic, but also draws the wrath of his cruel former lord.

Soon guardsman and renegade mage are on the run. Will Cylass help Tisha, as she helped him? Or will he do the smart thing, and turn her over to the vicious Count Ar-Dayne?


If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

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