Five Ways
Subscribe to my newsletter and get a free story!
Share this:

Retreat, Day 2

Photograph of a cat and lemons.
Lemons. Cat provided for scale
I’m holing up and working hard on the sequel to Beasts of Tabat. I let myself have July 1 off because that was a travel day, but yesterday I managed 5k words, though that last half was like pulling teeth. This morning I got up and sat down without checking e-mail and got 1000 out of the way. My goal is 25k each week until the middle of August, which should see me with Hearts of Tabat in a decent final draft, several stories I’ve promised to people completed, the YA novel further along down the road, and perhaps even some more of Exiles of Tabat (book 3) drafted. I will be teaching while here — tomorrow is the first section of Writing Your Way into Your Novel.

To keep myself honest, I’ll be posting word count and WIP excerpts.

So, yesterday:
Word count – 5k
Hearts of Tabat current word count – 82184
SFWA time – hour and a half on call plus e-mail plus skim thru discussion boards

From Hearts of Tabat, an early chapter, still in rough draft form.

This is what a riot looked like. Pink velvet darkened to plum by spilled punch, and flickers of angry firelight glistening on the sticky surface. Two shattered windows, broken glass spiderwbs in reverse, light from the aetheric lamps hanging over the street outside washing in, acitinic blue white over the parquet floor that had been Benarda’s pride, two hundred and thirty different kinds of wood, each dedicated to a different Trade God, zebra-striped bits of southern wood like dappled petals around her boots, as though she trod on clots of dirt-streaked snow, chips of mammoth ivory salting the petals in tiny white freckles.

A punch bowl, shattered by the first brick that had come in, landing soundly in the middle beside the overturned table, sending punch and bits of curved luster-glass everywhere, a great puddle of liquid changing the colors of the woods beneath them, tinting them dark and rose.

Two paintings askew on the walls, others lying on the floor in a jumble that drew the eye as much as their subject matter, impious and arresting, the torches that had set the rioters outside afire. Someone must have known what the paintings would be like, must have tipped people off, organized the crowd.

There. Marta’s eyes, glittering hate at Adelina across the room. Gods, even now the woman would rather hold her grudge against Bella rather than worry about keeping herself alive.

This is what a riot sounded like: angry shouts coming in through the windows, drowning out the frightened whispers all around Adelina (“Was that Bella Kanto who just went out? Of course I knew she’d be here.) Benarda somewhere behind the scenes, ordering someone else to do something, it was unclear what. The woman’s best chances of keeping her gallery further intact had just walked out the door in order to stand down the crowd, which had grown from the few dozen that had been here when she and Bella had first arrived, immediately after the now-absent Duke’s speech

This is what a riot smelled like: smoke and sweat and alcohol and all the mingled pomades and perfumes ““ who was still wearing vetiver, that went out last season? And what was that intriguing cinnamon and musk blend, was that an actual edge of rum in it or some remnant of the punch?

That was what a riot felt like: Leona’s small fingers in Adelina’s own, Bella’s tiny cousin and the center of all this clamor breathing hard, the gasps and gulps of air she took in when stressed.

Adelina’s own pulse beat fists against the hollow of her throat, pressed tight fingers behind her brows every time the streetlight struck her eyes, hammered at the pit of her belly, unnerving her.

2 Responses

Leave a Reply

Your email address will not be published. Required fields are marked *

Get Fiction in Your Mailbox Each Month

Want access to a lively community of writers and readers, free writing classes, co-working sessions, special speakers, weekly writing games, random pictures and MORE for as little as $2? Check out Cat’s Patreon campaign.

Want to get some new fiction? Support my Patreon campaign.
Want to get some new fiction? Support my Patreon campaign.

 

"(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

You may also like...

A Frame of Mother of Pearl

North Carolina, by the sea
The idea of women waiting beside the sea is a haunting one, particularly when we look at 19th century housekeeping manuals and the litany of tasks with which those women busied themselves.
The art for Issue 21 of Orson Scott Card’s Intergalactic Medicine Show has appeared on the excellent blog Sideshow Freaks of its most excellent editor, Edmund R. Schubert. The story’s title was originally Starling’s Wing – for what reason I’m not sure other than it was a phrase that occurred to me and which I liked for its 19th century flavor. I managed to work the title into the story in a somewhat laborious and contrived fashion with this passage towards the end:

When they reached the glade, they saw the twins playing beside the creek, catching minnows in the shallows. Madeleine sat on the bank on a quilt she had spread out. Hattie noticed with annoyance that it was one of her best, the one that usually sat atop her own bed, a pattern she’d invented herself called Starling’s Wing.

This story was rewritten several times in the course of the back and forth between me and Edmund, changing a) from a happy story to a sad one and b) changing villains. At one point Edmund confessed that his head was about to explode, but we straightened it all out.

The story started with a flourish of language and imagery that looks to Joyce Carol Oates’ The Bellefleur Mysteries.

On her fifteenth birthday, Hattie Fender contracted a fever that led to the loss of her hair, which until that point had been long and glossy and black as licorice. Her mother nursed her through the illness, then died herself of a fish aspic that had gone off.

Upon recovery, Hattie mourned her mother and resorted to patent hair restoratives, full of poisonous sugar of lead, sulphur, and copperas. The medicines forced a relapse, driving her back to fevered bed rest for three months more.

At seventeen and a half, she had become bantam egg bald and just as hard-shelled. At twenty-two, she daily polished her scalp with bay rum and bergamot oil, which left a perfumed trail behind her, so you could track her by smell up the stairs and out along the walk that watched the gun-metal waves lick at the clouds above the sea.

On her twenty-fifth birthday, two days after her true love’s disappearance, Hattie had her scalp tattooed with the twelve celestial houses. They marked off her head in long pie-shaped wedges, Scorpio over her left ear and Taurus over the right. When she stood still, no matter the location, she chose to stand in alignment with the sky, so the spidery black demarcations reflected the patterns of the stars.

Edmund, rightly so, made me move this from the place I had front-loaded it in to a place further in down the line in the story. He also made me chose a better title, which was fine, but more difficult that I had thought it would be. No title sprang out at me as perfect, alas, and so I went with using one of the significant objects, the mother of pearl frame around Jemmy’s picture.

I’ll be talking more about the process behind the story (and where the name Hattie Fender came from!) in an upcoming entry for Sideshow Freaks.

...

Recent Reading: Wolves, Wives, Knives, Curses, A Hospital, and a Henchgirl

The works read but yet to be reviewed are piling up, so here’s a new roundup to clear away part of the deluge.

The Mere Wife by Maria Dahvana Headley is a retelling of Beowulf from the monster’s point of view, set in a possibly not-so-future world where the rich live in protected enclaves. Stark and beautifully told, the story raises the question of who the actual monsters are and whether they haven’t been residing in us all along. (Farrar, Straus and Giroux; release date 17 July 2018)

A Treacherous Curse by Deanna Raybourn is the second in what feels very much like a series, following A Perilous Undertaking. It reads a lot like Elizabeth Peters’ Amelia Peabody series but with a much more sexually outspoken protagonist named Veronica Speedwell and a dose of fantasy. I initially thought Speedwell’s love interest was Bram Stoker, which actually turned out not to be the case. A fun, light read. (Berkeley Original, 2018)

The Year of the Knife by G.D. Penman is entertaining urban fantasy in the police procedural tradition, and will remind the reader of a Ben Aaronovitch novel with a slightly smaller cast. Meerkat has been putting out some very solid stuff, and this is another example of that. (Meerkat Press, 2017)

Two graphic novels, very different from each other, round out the list. The first is Freedom Hospital: A Syrian Story by Hamid Sulaiman, winner of the English PEN Award. This book is graphic, a brutal and heart-wrenching introduction to conditions in Syria in 2012. The art is simple, sometimes with the quality of a slogan stenciled on a wall: I could image image after image from the book used in that way. Recommended but not light reading. (Interlink Publishing Inc., 2018 American Edition)

Henchgirl, by Kristen Gudsnuk, comes from Dark Horse Books and is a fun exploration of the economics of supervillainy, particularly for the minions and henchfolk just trying to make an honest living. Clear and charming drawing with a nice sense of whimsy. (Dark Horse Books, 2017)

You can read this at http://thegreenmanreview.com/books/recent-reading-wolves-wives-knives-curses-a-hospital-and-a-henchgirl/

...

Skip to content