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On Awards: To Be Pushy Or Not To Be Pushy

Sometimes putting something up for award consideration feels uncomfortable, but if you're not going to toot your own horn, who is?
Amal El-Mohtar has a great blog post up right now about writers and posts where they list what’s eligible for awards. I get as squicky about writing my own as anyone else, I’ve got to admit, and I thought this was a terrific reminder that it’s okay to toot your own horn a bit.

So in that light, if you’re reading for the Hugo, Locus, Nebula, Tiptree, or World Fantasy Award, here you go.

I had twenty original pieces published in 2013. Of those, I’m pushing two, one SF short story and one fantasy story. The first is “Elsewhere, Within, Elsewhen,” which originally appeared in BEYOND THE SUN, edited by Bryan Thomas Schmidt, which I am happy to mail a copy of to people interested in considering it. The fantasy story is “Superhero Art,” which appeared in DAILY SCIENCE FICTION. If you’d like to see the full list of 2013 pieces with links to the online ones, you can find it in my 2013 wrap-up post.

I myself am reading for the Hugo, Locus and Nebula and am not sure yet about WFC. I am also on the Norton jury this year, so if you’ve got a YA or MG novel that came out in 2013, I’m very interested. Feel free to leave pointers in the comments on this piece; I pledge to make sure I read any listed there. If you want to mail me something, please send it in mobi or pdf format.

Enjoy this writing advice and want more content 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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"(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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Watch Out for Parasitic Fairy Bites

A scene from early on, illustrating one of the dangers of the wilds near Tabat: parasitic fairy bites.

The next morning, Teo did not like the priest’s look. His hands were clammy but his face was red as though with blushes. His forehead under Teo’s hand was scorching hot. After a few minutes of hesitation, Teo examined the spot he thought might be a Fairy bite.

His suspicions were confirmed by the lump that lay under the surface. He’d seen the alta treat such injuries. That would be best if she did it, but he didn’t think there was time enough for that. The parasite would grow and begin to control its host’s nervous system, making it little more than an empty shell, moving about to suit the creature’s needs, until the fairy was finally born. It would not emerge from the wound that shifted under Teo’s fingers. No, it would burrow deep, then upward, till it found itself in its host’s brain, which it would devour until sated. Once it was ready, it would eat its way out through his eyes or the soft tissues of his mouth. No, it would have to be removed now, before it burrowed any deeper.

He built the fire as high as it would go, and put the wineskin from the priest’s pack to the side near it, where it could warm without burning. He took the tiny kettle and filled it with water before sifting in the mixture of dried fish and tea that was the last of the priest’s chal; this far on the journey, he’d nearly run out, and he’d confided in Teo that he was saving it for some special occasion, but it was the most sustaining and easily fed to a patient thing that Teo could find in the pack. For what he had in mind would definitely require sustaining.

He had not seen it done, but he had listened to stories. Everyone was taught the signs of a fairy bite early on, and what to do if caught away from the village with one.

He prayed the priest would stay asleep during the operation. That would make things easier. But as his knife poised above the mark, Grave’s eyes opened.

“I have to do this,” Teo said to him, afraid that the priest would take this as some attempt to escape. “You have a Fairy egg in you, and I need to take it out before it hatches and starts eating inward.”

Grave’s lids fluttered, but he said nothing. His forehead was red with fever, and Teo wondered if the man even saw him. How would he react when he felt the cut of the knife? Would he thrash around, or think himself attacked and attack Teo in turn? He hesitated, not sure what he should do.

The words were barely audible, like a breath of breeze escaping the priest’s dry lips. “Give me something to bite on, first,” he whispered. “I do not wish to crack a tooth as well.”

Teo took a piece of leather and rolled it into a tight cigar, putting it sideways between the priest’s lips. “This will hurt,” he warned, and felt the words’ foolishness as soon as they left his mouth. Of course the priest knew that this would hurt, otherwise he would not have asked for something to bite down on during the operation. Teo took his own deep breath, steeling himself, and cut.

It was not a simple job. Blood welled up in the cut, obscuring the flesh, and Teo had to keep pouring water over it to clear it, eliciting a hiss of pain from the priest each time. But otherwise he remained silent, jaws clenched around the piece of leather.

Gently Teo sluiced the wound again as he peered into it. There. As gently as he could, he eased the knife’s tip into the dark spot he could see. The flesh resisted for a moment “” he should have sharpened the knife even more beforehand “” before giving way with a tiny, delicate pop. The priest inhaled raggedly.

That would kill the egg, perhaps, but it was not enough. Left inside, the creature would rot and the flesh around it would follow its example until the priest would have to face the same choice Futu once had: to have the limb cut away or die.

Carefully, carefully, he used the thin tip to open the egg. Clear fluid drained out, and then there was something struggling at the end of the knife blade, bumble-bee big, fighting to preserve itself and burrow further.

He jammed the tip into it. Muscles spasmed in the priest’s face but he remained rigidly still. Teo hooked the loathsome thing out and took no time to contemplate it as it hung mewling and wailing on the end. He flung it into the fire as quick as thought and with a last whimper it curled into ash.

He washed the wound once more with water, checking to make sure there were no more traces of the creature. Then, taking the wineskin from where it lay near the fire, he directed the hot wine across the flesh to keep it from putrefaction. Tendons of agony twisted in Grave’s face; when Teo took the leather from between his lips, he saw that it had been bitten almost entirely through.

He took needle and thread from the priest’s kit and took four careful stitches in the skin, tying it back together to close that painful looking mouth of flesh. All the time the priest was silent and still.

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Documents of Tabat: Gardens of Tabat
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What are the documents of Tabat? In an early version of the book, I had a number of interstitial pieces, each a document produced by the city: playbills, advertisements, guide book entries. They had to be cut but I kept them for web-use. I hope you enjoy this installment, but you’ll have to read Beasts of Tabat to get the full significance. -Cat

An Instructive Listing of the Major Gardens of Tabat, being Pamphlet #4 of the second series of “A Visitor’s Guide to Tabat,” Spinner Press, author unknown.

Despite the city’s fierce weather, the cliffs that shelter it on the northwest and western side create pockets of weather that allow its gardeners to coax fruit and flower that normally would not be found here. Additionally, the presence of the College of Mages ensures a perennial crop of young mages ready to earn their coin by turning it to a patron’s use, creating marvels like a moonlight garden whose flowers change aspect according to the positions of the three moons in the sky, as is rumored to be located in the center of the Moon Temples’ complex, unknown to any but their priests.

Accordingly those interested in the botanic, the scenic, or the complete experience of Tabat should allot time in their schedule for the following.

The Duke’s Gardens: Appended to the Ducal castle, the grounds are open to the public on even-numbered days and feast days but are always closed during the Games. Often select Beasts and animals from the Ducal menagerie are brought out for display. Cost is a silver ship per adult visitor, with children at five per ship. Hours are dawn till the seventh evening bell.

Tabat’s Heart: These vast gardens stretch through the middle of Tabat, cutting across all but the top and bottom terraces. Tram lines and staircases line the western edge, allowing access to the paths across as well as the many sub-gardens and fountains. Admission is free and the parks are always open, but are patrolled by mechanicals after midnight until the first morning bell.

The Sea Garden: Built into the western cliffs at the water’s edge is the Sea Garden, full of corals and in the summer tanks of sea creatures and Beasts, including singing Whales and Dolphins, and a display of venomous sea serpents. Admission is free in the winter and a copper ship throughout the rest of the year, with a discount for schools and educational groups. Hours are from the last night bell through the first evening bell. Open all days except Games.

The Gardens at the College of Mages: Filled with plants, animals, and Beasts collected from across the world, these gardens are renowned in scholarly and academic circles. Points of interest include the Fairy hive in their central hall, which also acts as museum, the caged Mandrakes, their Sphinx amid its xeric landscape, and the Hypnotic Garden, which features narcotic and soporific plants and animals and which can only be entered with a guide, who wears a white silk mask and is prepared to wake the visitor if he or she succumbs. Admission is a silver merchant for two, and includes chal in the Dancing Cup across the way from the College’s grounds.

Famous for their aromatic and ornamental plantings, the grounds of the Nettlepurse estate are open every Fifteenth Day. Cost is a Nettlepurse nought. Hours are the third morning bell through the midnight bell. Go in the spring in the evening to see the humming moths that are an all too brief yearly phenomenon or visit the Cypress Maze in order to view the reflecting pool in its center.

If you have additional time, we recommend the flowering tree groves of the Piskie Wood (to be visited only in the daylight hours, and wear bright clothing to avoid the Piskie hunters who practice their livelihood there.)

***
Love the world of Tabat and want to spend longer in it? Check out Hearts of Tabat, the latest Tabat novel! Or get sneak peeks, behind the scenes looks, snippets of work in progres, and more via Cat’s Patreon.

#sfwapro

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