clarkesworld magazine

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.

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.

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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).

One of the things I’ve decided to do over the next six months is release a number of my stories in small mini-collections in electronic form. Each of these will consist of 2-3 already published stories, with 1-2 ones original to the collection. The first is Halloween Quartet, which contains “Whose Face This Is I Do Not Know” (appeared originally in Clarkesworld), “Niobe in the Rain” (appeared originally in Serpentarius), “So Glad We Had This Time Together” (appeared originally in Apex Digest), and “Pumpkin Knight,” which is original to the collection.

The next one will be Desert Quartet, which will contain “Aquila’s Ring,” (originally appeared in Light and Shadow II), “Karaluvian Fale” (appeared originally in Giganotasaurus), “Her Eyes Like Sky and Coal and Moonlight” (the title story from my second collection), and “Mirabai the Twice-Lived,” which is original to that collection. It’ll also contain an essay about the world in which all of those stories are set, that of Armageddon MUD, and my experience working with it.

Other e-projects in the works: a mini-collection of flash, a mini-collection of superhero stories, and something collecting blog musings about fiction.

Why do this? Because I do think electronic publishing is clearly the way the industry is going. I’m curious about the power to sell one’s work that it promises the author and I’d like to get in on what seems to be at least the first or second, if not ground, floor of the movement.

I’m lucky in that I have a little bit of a name, acquired through publishing short stories. I don’t know that this would work for someone with no already established platform. And I don’t expect to make a vast sum of money from them. But I do expect there to be a slow trickle. At least – that’s my hope.

How will I spread the word of them? I’ve learned a little from publicizing Near + Far, but I’m not sure how relentless I want to be about pushing these. I’ll certainly talk about the experience of putting them together on here, and will be mentioning them on social networks as well as on my mailing list. Suggestions are welcome, as always 😉

If you want to sign up for that mailing list, by the way, which will come no more than once a month and mention new publications and classes, fill it out here:

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So I got up this morning and discovered five bajillion Facebook notifications, so I figured SOMETHING must have happened. And, to my surprise, I found out the something was that I’m on the WFC award ballot for my work with Fantasy Magazine. I really loved my time with the magazine, and so that was a huge and lovely validation.

Many, many congrats to everyone on the ballot, and particularly Clarkesworld Magazine, whose amazing staff better deserves to win the category I’m in, as does Charles Tan, who’s done an awesome job with the Bibliophile Stalker website. There’s lots and lots of names whose presence is well-deserved, but particular shouts out to Lily Yu, the inimitable Ann & Jeff VanderMeer, Karen Joy Fowler, and Ken Liu. 🙂

I hadn’t been planning on attending WFC this year, but now I’m thinking Wayne and I will be there.

The Million Writers Award, which is a cool award for online fiction created by Jason Sanford, is open for nominations until April 9.

If you’ve got a favorite story that appeared online this year — yours or someone else’s — go nominate it!

(And if you’re wondering what stories of mine are eligible, they include Long Enough and Just So Long, Swallowing Ghosts, Pippa’s Smiles, Love, Resurrected, Bots d’Amor, Whose Face This Is, I Do Not Know, The Immortality Game, and Zeppelin Follies.

I have been noticing a lot of these over the last couple of months, and I was going to skip it, but then I was totting up the publications from last year, and I’m proud of the fact that I had 19 stories published.

They are all either short story or flash (Swallowing Ghosts, Futures, Lost in Drowsy Dreams, The Forbidden Stitch) and are eligible for various short story awards. There’s some favorites from last one (marked with *), but the one I’m hoping will get some notice is “Long Enough and Just So Long” which appeared in Lightspeed in February, 2011.

Here are links to the online stuff:

Long Enough and Just So Long – Lightspeed, SF

Love, Resurrected – Beneath Ceaseless Skies, fantasy
Pippa’s Smiles, Swallowing Ghosts – Daily Science Fiction, fantasy
Bots d’Amor – Abyss & Apex, SF
Karaluvian Fale – Giganotasaurus, fantasy
Whose Face This Is I Do Not Know – Clarkesworld, horror? sf? fantasy?
The Immortality Game – Fantasy Magazine, fantasy
TimeSnip – Basement Stories, sf
Lost in Drowsy Dreams and The Forbidden Stitch -10 Flash , fantasy
Futures – The Dream People, sf? fantasy?
Zeppelin Follies – last issue Crossed Genres, sf

I am happy to send the stories not available online to anyone reading for Hugos, Nebulas, Tiptree etc. They are:
Close Your Eyes – Apex Magazine, horror
A Frame of Mother-of-Pearl – Intergalactic Medicine Show, fantasy
A Querulous Flute of Bone – Tales From the Fathomless Abyss, sf
Flicka – Subversions, sf
The Coffeemaker’s Passion – Bull Spec, fantasy
Aquila – Shadows and Light II, sf