worm within

I’ve been very absent from the blog of late, and I apologize for that. I’m actually in the process of radically trimming down our belongings, packing up Chez Rambo, moving us into temporary housing, and then getting this place ready to sell. Then Wayne and I are going to travel a bit while we figure out what we want to do. There will be plenty on that to come, but it’s why I won’t be teaching in the latter half of 2014 and will generally be unreceptive to anything other than requests for stories or reprints during that period as well. I do plan to write steadily while on the road, which should be a new and interesting experience. Advice from other road-warriors is welcome.

For people wondering how that’ll affect my tenure as SFWA’s vice president, which seems increasingly likely barring the eruption of a singularly well-organized write-in campaign: not too much. That’s one reason I’ve cut a lot of other responsibilities. As before, I’ll be stepping down as head moderator of the SFWA boards, which takes a good slice of stuff off my plate. I did commit to driving the third iteration of a SFWA cookbook (more on that to come as well), but I’ve got the capable Fran Wilde co-leading that effort as well as a nice long deadline, so all’s good there.

Various publishing news: Just turned in the last edits for “Rappacini’s Crow”, which will appear in Beneath Ceaseless Skies. There’s another story going through edits there right now, “Call and Answer, Plant and Harvest,” which features a city, Serendib, that I sense will become a working part of my mental universe as far as story production goes. “English Muffin, Devotion on the Side” will be popping up in Daily Science Fiction. “The Raiders” (formerly “In Andersonville”) will pillage in the pages of Fiction River’s Past Crimes issue, edited by Kristine Kathyrn Rusch and “Marvelous Contrivances of the Heart” will unfold in Fiction River’s Recycled Pulp issue, edited by John Helfers. “Elections at Villa Encantada” will appear in Unidentified Funny Objects 3.

Christy Varonfakis Johnson, aka Folly Blaine, will be narrating both of my collections and is currently working on Eyes Like Sky and Coal and Moonlight. PseudoPod will include “The Worm Within” in an upcoming podcast.

I will pick up the “You Should Read This” posts again soon! I’m finishing up a review of two new Jo Walton books for Cascadia Subduction Zone right now, but once that’s done, I’ve got a number of old as well as recent reads I want to talk about.

So…plenty to do. And plenty more to come.

So I have a story coming out next month in Clarkesworld Magazine, “Tortoiseshell Cats are Not Refundable.” I’m very pleased to appear again in Clarkesworld (past stories are I’ll Gnaw Your Bones, the Manticore Said, Whose Face This Is, I Do Not Know, The Mermaids Singing Each to Each, and Worm Within) and it’s a story that I like because it’s got some humor and some seriousness all blended together in a way that I think is less of a downer than some past stories have been.

I have seen the cover for the March issue of Asimov’s, which contains my novelette, “All the Pretty Little Mermaids,” and which even features an illustration drawn from the story, although I don’t know the artist yet. Hurray! That’s the second time I’ve appeared in Asimov’s, and I’m very excited about it. I also have a non-fiction piece appearing in the March Analog, an interview with Bud Webster about his new book, Past Masters and Other Bookish Natterings.

Other stories that should see print in 2014 are: Memphis Barbecue, a southern steampunk story (AIRSHIPS AND AUTOMATONS); dark fantasy story A Brooch of Bone, A Hint of Tooth (BY FAERIE LIGHT); Summer Night in Durham, which involves a tattoo artist, a vampire, and a parking lot confrontation (STAMPS, VAMPS, and TRAMPS); and Hoofsore and Weary, a fantasy story set in a new part of Tabat’s world, the Rose Kingdom (SHATTERED SHIELDS).

Once you’ve mastered the basics of getting words on a page and moving characters around through situations, there’s some things that (in my experience) the majority of writers need to focus on. Examples are narrative grammar, paragraphing strategies, trimming excess from sentences, and getting inside a character’s head. Here, I’m going to discuss the last of those.

A lot of this is taken from correspondence with my student Hasnain. He’d asked about story structures, particularly Freitag’s Triangle, and we’d discussed where the triangle occurs in Junot Diaz’s story, Fiesta 1980. In looking at his most recent story, I’d said I thought he needed to get inside his main character’s head more.

Hasnain asked: You mentioned today that going into the narrator’s head is a good thing since it helps the reader seat more firmly with the narrator. However, here’s where I am a bit confused. I read somewhere that what people think and feel should be shown in a sensory way through their actions and interactions with others. If I go into the narrator’s head, wouldn’t I be telling? In my story, this would be if the narrator thinks about how he wants to put Sal’s love to the test.

My reply:

Let’s go back to Fiesta. Here’s some places where I think we’re particularly inside the narrator’s head and seeing his thoughts.

• We were all dressed by then, which was a smart move on our part. If Papi had walked in and caught us lounging around in our underwear, he would have kicked our asses something serious.
• Rafa gave me the look and I gave it back to him; we both knew Papi had been with that Puerto Rican woman he was seeing and wanted to wash off the evidence quick.
• Not that me or Rafa loved baseball; we just liked playing with the local kids, thrashing them at anything they were doing. By the sounds of the shouting, we both knew the game was close, either of us could have made a difference.
• But even that little bit of recognition made me feel better.
• This was how all our trips began, the words that followed me every time I left the house.