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News From the Fathomless Abyss

Cover for NIRVANA GATES by J.M. McDermott
Another great cover by Mats MInnhagen
J.M. McDermott’s Nirvana Gates, a novella set in the world of the Fathomless Abyss, is now available for the Kindle and the Nook. If you enjoyed Tales from the Fathomless Abyss, you’ll be happy to find more set in that world.

One of the things I’ve really enjoyed about the project so far is the way different people use the same material. I’m working on finishing up the next novella in the series, A Cavern Ripe With Dreams. I think I’ve mentioned it before; it’s heavily influenced by H.P. Lovecraft’s “Dreams in the Witch House,” William S. Burroughs’ Junky, and Joe Lansdale’s The Drive-in Chronicles. Here’s the teaser from the beginning of it, which went out with Nirvana Gates.

An early memory. Was it his earliest memory or simply the earliest thing he remembered remembering? He wasn’t sure.

One morning his father woke him from a nightmare. He was still young, perhaps eight. His father squatted on his heels besides Bill’s bedroll and shook his shoulder. When he woke, shuddering and gasping from dreams of strangle-fingered demons, feeling his breath still in jeopardy, his father didn’t say anything, just beckoned to him.

He followed at his father’s heels, towards the world and the great tube that the city clung to. At the end of each tunnel the space widened considerably, leaving places where shelves and ladders and catwalks could be stretched. And beyond them all you could see the abyss itself, stretching downward and upward into darkness.

The air was full of something. What was it?

His father said, as Bill moved to the railing to see what was happening, “Sometimes the world opens and things fall in. Rarely do you see them. This is something you will remember all your life.”

The air was full of tiny, floating things. He stretched out his palm and kept it motionless long enough that one drifted to be trapped in his palm. A seed, a brown seed, and attached to one end a tuft of hairs, fine and feathery, carrying it along. Carefully he raised his hand, examined it more closely. The seed was so small, but ridges and swirls marked its surface and up close, it was no longer brown, but shades and gray and green and red that somehow blended together to create the impression of brown from just a few inches farther away.

He closed his fingers around it, meaning to keep it, but it was so small that it wafted away even as his fingers moved.

He’d only seen things fall into the abyss. But these, so light, sometimes moved upward or downward, sometimes tugged sideways as though snatched by invisible hands. Thousands and thousands of these, swirling through the air.

He and his father gathered a painstaking handful, picking them from crevices. Other people were doing the same. How often did you get something like that without cost, like a gift from the universe?

They picked up seeds, but they also stood for hours, watching it. Almost everyone in the city came to see it, even if their children had to carry them. People did not speak much, simply watched, as though storing it up. He grew bored and watched their faces. None of them looked at him. Even the other children seemed too self-absorbed to return his gaze, to notice that he was watching them. His mother arrived and paid them little attention, instead going to speak to the city council and offer her opinion of the event. Bill and his father stayed where they were and paid her no mind.

At last he saw the cloud beginning to thin and his father stirred. “You may never see another thing like that,” he said, regretfully. “Some people live lifetimes between Openings. Others see dozens, maybe more. You never know.” He took Bill for breakfast from a vendor, bitter tea and roasted bulbs that tasted of smoke. As they ate, fewer and fewer of the seeds fell but there were still some, hanging in the air.

He slept dreamlessly that night.

When he went to the edge again, the seeds were gone and the air was blank. Not a trace of them remained, even the tiniest fragment had been taken. For the next year everyone tried to grow the seeds into plants. They tried different levels of moisture, or heat, or light from the sunstrip, but nothing worked and the seeds remained inert. He wondered what they would have produced. He wondered how they had come here. What decided when the world would open up and take something in? What lay outside the closed opening?

What decided when it would open and close? It implied some sort of conscious force, he thought, but then again there were random things in the world, things that developed without purpose.

What was Bill’s purpose? Did he have one?

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Writing: Description, Details, and Delivering Information

I haven't written here yet.
I haven’t written here yet.
I’m working on converting the Description and Delivering Information class to the on-demand version, along the same lines as the Character Building Workshop and the Literary Techniques for Genre Writers workshop, and hoping to finish it up over the next couple of days, which may be overly ambitious, because a) I am doing NaNoWriMo, b) life is complicated by Orycon and then a Thanksgiving trip on the 20th and c) this is my birthday weekend and I like to slack a little.

So, what’s the difference between taking one of my live online writing classes and the on-demand versions? Let’s look at the cons first:

  1. No live interaction, which is a little sad. You can comment on the class material, though, which you have access to in perpetuity, or at least as long as it’s up.
  2. No chance to hear other people’s work with the exercises or get a chance to chat with them.

Pros, on the other hand?

  1. A bit more lasting. As I said, you do get permanent access, including when the material updates.
  2. Work at your own pace. Want to do an exercise more than once? Go for it. Want to stretch things out or take a break for that trip to Bermuda? You’re fine.
  3. Considerably cheaper than the live version — half the price, usually.
  4. Considerably expanded material and more exercises. The character building workshop ended up being close to 20,000 words; this one will match and probably surpass that.

Want a preview? Here’s an early page, Description as Collaboration:

The Writer/Reader Relationship
Description is a collaboration between writer and reader. You provide a handful of details; from them your reader constructs a three-dimensional experience. You build the funhouse ride, but so does your reader, an experience that will differ — sometimes radically — from reader to reader, depending on their experiences and depth of imagination.

It begins the minute you supply a detail. The author says “red” and immediately a red — perhaps a bright candy apple red, maybe something murkier — appears in the reader’s mental vision. Add “wheelbarrow,” and they supply a wheelbarrow based on the ones they’re most familiar with. Add “glazed with rain” and the possibilities splinter even further.

And that’s fine. It is an inescapable fact and nothing you can do will change it. It is impossible for you to include the depth and range of detailed description that would be necessary to unquestionably determine every nuance for the reader.

Choices Matter
As soon as an author introduces a detail, it begins to grow in the reader’s mind. And unspoken behind every detail is an authorial I selected this detail rather than any other for a reason that will matter to the reader. That is perhaps one way of looking at writing: the art of selecting and conveying details in an order that creates a complete experience for a reader.

How the author presents details — which details are mentioned, the things that are included about them, and the wording and syntax in which they are presented — is one of the major factors that creates style and tone.

Style might be defined as the overall way in which the story is told. It is different than the content of a story, but usually content and style are linked and work together.

Tone is the overall emotion or mood of a story, and is created primarily but not solely by the style and word choice.

Recently spotted in Value Village. I believe this is the god of pumpkin spice.
Recently spotted in Value Village. I believe this is the god of pumpkin spice.
Here’s a photo of a thrift shop object described in two different styles, then two different tones*.

  • Style example #1: There it stood, the proud ceramic, small in stature but twice as splendid. The corn god glared out, positioned, poised, ready to bring autumn to the land.
  • Style example #2: Paul glanced down at the statue. Small. Yellow and orange. Glazed. Corncob-extured body. Why this, he wondered.
  • Tone example #1: The little statue was a welcome find, smiling at her from the shelf, colored like the first autumn leaf. It was solid in her fingers, still smiling up at her as she tilted it to see if there was any marking on the weathered bottom and with a thrill of pleasure saw the mark, right where she had hoped.
  • Tone example #2: Shadows gathered in the corners of the curiosity and her scalp prickled, as though in warning, as she picked up the little yellow statue. It felt ominously solid in her fingers as she tilted it to look at the base. The sight of the marking struck her like a blow.

Same object, four different stories. Stop now and do a five minute timed writing with your own description of the object.

Don’t Jar Your Reader
Because of a reader’s inclination to create what’s happening in a story in their head, experiencing it in something like a dream, or at least that state of fierce inattention to anything else in which a spouse, child, or friend can speak repeatedly before being perceived. That’s the delicious immersion that is part of the joy of reading and part of it is making the reader comfortable enough to forget that they are reading.

An author must lull a reader into trusting them, by letting them know that they will deliver that immersion, in part by not ever reminding the reader that they are reading. Anything that reminds a reader of this fact generally should be avoided, unless you’re doing something funky and metafictional.

And the thing that reminds a reader that they are reading more than anything else is the author supplying a detail that the reader has already firmly fixed in their head. This is a moment which for a reader is like having the GPS in your car suddenly go “Recalculating” because you took a wrong turn. It should be avoided at all costs. Paying attention to the collaboration and what expectations you are creating in your reader is important. Get the hang of that and you can even play with and subvert those expectations.

*I make no claim any of this is good writing, simply a good example.

If you’d like to get more information about classes as they appear, including upcoming special holiday gift certificates, fill out the following:

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To Write Short Stories, Read Short Stories

Roadside Sculpture
It's hard to pick favorites, but I did in this post.
I find that when I read short stories, more short stories of my own come to me and I believe Delany when he says that you can’t write anything better than the best stuff you’re reading. Here’s ten of my most accessible favorites, mostly speculative fiction, but with a few lit writers in there as well.

Kurt Vonnegut, Jr. – Vonnegut is the best of the best, and I don’t just say that because he’s a fellow Hoosier. Welcome to the Monkey House is a great collection to start with and one that I read over and over in high school, but I’m also fond of Look At the Birdie, published posthumously.

Carol Emshwiller – Also amazing, also doing things so skillfully that plain language manages to become part of such a lovely construction that the grain of the words seems ornamental as well as story material. I just love Emshwiller, and getting to publish one of her short stories during my time at Fantasy Magazine was a highlight. I particularly recommend I Live With You and Report to The Men’s Club.

James Tiptree Jr. – For some of the most wonderful titles around, for some of the most subversive and interesting spec fic ever, look no further than Tiptree, aka Alice Sheldon, who shaped the field to the point where they named an award after her. Her Smoke Rose Up Forever and Brightness Falls From Air are both good starting points. (Julie Phillip’s biography, James Tiptree, Jr.: The Double Life of Alice B. Sheldon, is a fascinating read that brings even more to the stories.) And the award anthologies are FULL of good stuff that shows some of the best in the field.

Philip K. Dick – Dick does ideas, and amazing ones, but he’s also a really solid writer. Start with the volume edited by Jonathan Lethem, Selected Stories of Philip K. Dick. Like Tiptree, this is one of the people who didn’t just subtly shape the field of spec fic but banged their name into the side of it with a sledgehammer.

Donald Barthelme is one of the writers that falls into the literary side of things, but spec fic readers that like slipstream will find him well suited to their tastes. Sixty Stories should be sitting on your shelf.

Grace Paley is also literary, but holy cow, just go buy her three slim little books of fiction (which is all we have, sadly) and read them. Enormous Changes At the Last Minute, The Little Disturbances of Man, and Later the Same Day are the titles. Having Grace at my dinner table asking for a second helping of the pumpkin cheesecake and warning us all that at some point of the meal her false teeth might fly out of her mouth and that if that happened, the last thing she wanted was for anyone to pretend it hadn’t happened, was one of the greatest moments of my time at Hopkins.

O. Henry is a classic, prolific short story writer. Some stories have aged better than others, but going through his collected works is a good use of time for a short story writer. Three things he’s good at: plot construction, pulling on the heart strings, and dialogue.

Joan Aiken did more than write some great YA fiction. She’s also got a ton of good short stories. Many are adult, but The Serial Garden, which contains all her Armitage family stories, is full of good fantasy.

Theodore Sturgeon was prolific and has done some amazing speculative stories t. The nice thing if you’re a bibliophile is that North Atlantic Press does a complete edition of his short stories (which I covet and wouldn’t mind for Christmas if any spouses named Wayne are reading this), starting with Volume I, The Ultimate Egoist.

James Thurber is another writer that I hit in high school and who I read over and over. His letters are actually one of the books that shaped my life: his good humor in the face of adversity shines in them. Flash fiction admirers should check out Fables for My Time.

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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