bud webster

This came up in the advanced workshop – how does one grab a reader and have an impact on them? Because surely this sort of emotional identification that makes a reader experience a story as though it were a blow aimed directly at their heart is crucial to the best storytelling. The student pointed at an interview with Yoon Ha Lee in Clarkeworld magazine where she says:

The whole point of a short story is to assassinate the reader. You don’t have the time or the space to go to war or do large maneuvers, you can’t do chapters of elaborate setup, there’s much less room for character development””a good writer can get more character development in, but that isn’t my particular strength. Anyway, everything in the short story has to drive toward a short sharp point, whatever it is you’re trying to leave the reader with at the end of the story.

I say “assassinate” and it sounds hostile, because it is. I work better when I can think in terms of opponents. The thing is that I don’t want the reader to see the short sharp point clearly from the beginning, but I want it to make sense afterward as the angle of attack. Tactical sense, I guess, in the context of the story’s setup.

Most of the time I write didactically, as if a short story were a proof. There is some object lesson, or ethical question, I want to leave the reader with. “Ghostweight” is a good example of this; it doesn’t pretend not to be didactic. So when I build the character and their strengths and weaknesses and motivations, when I build the setting, the majority of it needs to be in support of that point. With a proof, you want to include all the necessary axioms and arguments, but leave out the extraneous. A short story is very similar. I am not sure my math professors would approve of the use I am making of my college education, but there it is.

To me this is connected to something Michael Swanwick told my Clarion West class: in a short story, pick your antelope out of the herd and chase it whole-heartedly. If you change course midstream because that other antelope is limping or that other one comes with a garnish, you are likely to have no antelope at all.

So you must determine your antelope, by which I mean, you must figure out what’s the emotional core of the story, what’s its heart? What does it say about the state of existence? And once you know that, you can construct a narrative that grabs the reader through devices like sensory engagement, identification with the main character, and other beguilements until you have them trapped, at which point you force them to confront some fact of existence that may be normally unseen or even actively avoided.

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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).