Friday Cat Blogging

Red Bug!*

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Kill the red bug!

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They have a red bug and I don’t…:-(

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You’re not really that pathetic, are you?

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Of course she is. Red bug! I have you not, red bug. Oh, ennui, take me now.

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What the hell are you all on about this time?

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I’m a frog!

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Mmm, frogs. I like frogs. They go crunch.

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Get off my damn lawn! All of you!

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*Special appearances today include the fabulous new cats of our friends Kim & Jonny,

the hustler cat from our Jamaican resort, and a tree frog from Castle Gaiman.

Dear Feline Collective

Re: Proposed change to feline barfing schedule/cancellation of the 4:00 a.m. bathroom hallway express.

Conceded: Religious/cultural significance of barfing for feline household members. Fish gotta swim. Birds gotta fly. Cats gotta barf.

Points of ongoing dispute unrelated to current negotiations: Comparative authority/ownership of all household assets (including human and feline members). Timing and availability of treats and other food items.

Proposed alternatives: Double barfing privileges at other times, increased snack flow, reduced death threats.

Relationship to writing: Decreased 4:00 a.m. barfing should result in increased sleeping and greater literary production, which will in turn lead to more funds available for indulgence of feline needs.

In closing: We are eagerly awaiting your response.

Thanks,
Kelly

(Originally published on the Wyrdsmiths blog Dec 20 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project)

Cat Answers (In Translation)

Human: *Wakes up, listens* “Cat, what are you doing?”

Cat: “Cat things.”

Cat: “Why do you ask?”

Cat: “Nothing. No Reason. I never laid a claw on that rug, I mean…meow?”

Cat: “Screw you thumb-monkey!”

Cat: “I am doing the traditional dance of my people and you’re oppressing me!”

Cat: *ominous silence*

Cat: “If I tell you I’m going to have to kill you. Do you still want to know?”

Cat: “Whose asking, copper?”

Cat: “I’m afraid fluffy is not at home right now, if you’d like to leave a message please fuck off after the ‘meow.'”

Cat: “Teaching this bat how to sing.”

Cat: “Have you ever really looked at your jingle ball?”

Cat: “Duuuuuude, I totally found the catnip.” *giggles*

Cat: “Ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh!”

Story Submissions and Anxiety

So, I’ve been corresponding this week with a writer who is about to make her very first story submission. It’s something that is far enough in my past that I’d essentially forgotten how it feels, and it’s been educational to see it again through fresh eyes.

There are two prototypical writer responses to the idea of submitting a story, particularly a first story.

1) OMG, OMG, OMG, does this suck? Do I suck? Should I give this all up? This story is never going to be read? What’s the point? Why did I ever set out to do this? Etc.

2) I am a writing god and they would be fools not to accept my story.

Neither of these is particularly sane, but then of course neither is the average writer.

#1 is probably going to serve the writer better in the short run as it lends itself very naturally to working to improve one’s craft. On the other hand, it also makes it easier to crash into depression and ruin when a rejection arrives, and lets face it, everybody gets rejected sometimes, and most of us see far more rejections than we do acceptances.

#2 has its pluses and minuses as well. It can lead to a stubborn insistence that all editors are either evil or idiots and can cause a pretty hard crash too, if the writer is forced by repeated rejection to reassess their confidence. On the other hand, belief in yourself can carry you through hard times if it is tempered with an understanding that even though you already rock, you could rock more with practice.

In the end, neither is the best frame of mind for submitting stories. That would be: This story meets my current standards as a writer. I will send it out and see if it meets editors’ standards for what they are currently looking for. If it does, hooray. If it doesn’t, that’s simply a reflection of the wrong story for the given editor on the given day, I will send it to the next market. Of course, even the most experienced pros hit this mental state only some of the time, and spend most days much closer to 1 or 2.

Ultimately all we can do as writers is trust the process:

A-Start the story.
B-Finish the story.
C-Polish the story to a reasonable degree.
D-Send the story out.
E-Start the next story.

That’s all that you control as the writer. Everything else is a roll of the dice. This is terrifying. It can also be empowering.

Look at the process again. Writing is all about the story. Your story. Publishing is the medium. Your story is the message. Remember that. Believe it. If you can do that, it will see you through all the anxieties and dark times.

In the meantime, breathe, relax, send the story in. Lather, rinse, repeat.

(Originally published on the Wyrdsmiths blog Dec 12 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project)

Real, Really Real, Realesque

Sometimes I think that we as writers get too hung up on making things real. By that, I mean really real, or in near perfect correspondence with the way a thing is in outside reality.

Now, don’t get me wrong, I’m a stickler for things like physicality and staying within the laws of physics (or at least having a good in-story explanation of why something behaves outside our reality). Anyone who’s ever been in a writers group with me will vouch for that.

The reason for that is that people have a really thorough grounding in our physical reality. A reader may not spend much time thinking about the way stuff falls, but they will sure as hell notice if things fall wrong, and this will distance the reader from the story.

However, I don’t believe that this grounding in physical reality always carries over to social, economic, or psychological realities. In fact, we often have impressions of these things that are distorted or simply wrong, due to any number of cultural or personal factors. This is so strong that sometimes, making something really real actually takes you away from the way that the reader understands things to such a degree that getting it right produces much the same distancing effect that getting a physical detail wrong will have.

This makes for a tricky balancing act between getting it right (making it really real) which most writers want to do most of the time and getting it to feel right (making it realesque, or story real).

If the really real thing is something that is central to the story or to the writer then, of course, it will often be necessary to make it so, and to give the reader the context they need to understand that this is the way it really and truly works. If however, the really real detail is peripheral, or too far from reader understanding of how it works, then it is often simpler and a stronger choice to go with realesque.

I come at this from the point of view of someone who started out by trying to put some really real stuff into stories about dealing with someone with a mental illness. I grew up in a house with a paranoid schizophrenic, and have spent 40+ years dealing with the really real of being forever tied to someone who is mentally ill. It’s a topic that is important to me.

It’s also one where I have found that really real doesn’t work nearly as well as realesque. I can’t tell you how many times I have had a reader simply flat out disbelieve something that actually happened could have happened that way. And, in response, I have had to go back and reshape the really real into a significantly fictionalized but much more reader-believable realesque. Importantly—very importantly—I think that I have given more people a better understanding of the actual situation that way than I would have if I’d stuck to my guns and insisted on going for the really real.

Because of this, I tend to pick up a grain or two of salt whenever I read someone–usually another writer, but occasionally a reader–obsessing about writers who don’t make the details of their pet obsession really real. In fiction at least, the really real is sometimes less true and less effective than the realesque.

(Originally published on the Wyrdsmiths blog Dec 07 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project)

Don’t Be Afraid To Change Your Mind.

As anyone who reads my status updates or blog posts knows, I’m an outliner. I tend to know how the whole book is going to go by the time I start writing. I write an outline, fill in the details and then follow it.

Except…when I don’t.

Yesterday* I got almost nothing done because I didn’t like the way a scene I’d written the day before tasted. It felt like there was something structurally wrong. So, before going to sleep I spent some time mentally going over the scene and looking for different ways to deal with it.

I ended up completely removing a major character from the scene and that has a series of cascading ramifications for the next two chapters. The new version is better. So, I changed the outline for those chapters and everything else that hinges off them. Then I went in and reset the foreshadowing to give the new stuff a better lead in.

If something isn’t working, don’t be afraid to change your mind and do something else that does. An outline is just a tool. So is any method you might use to envision the story in advance. Don’t get too tied to your tools.

(Originally published on the Wyrdsmiths blog Dec 05 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project)

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*Dec 4th 2008

 

Good Writing Trumps Everything

The purpose of the Wyrdsmiths blog is to share what we as writers have learned with those who are interested and might benefit. Since we’ve got a pretty good publishing record collectively it’s safe to assume that we’ve learned a bit that’s worth sharing.

This often takes the form of things that sound a lot like rules or commandments, and at some time I’m even going to write a Kelly’s rules of writing post. But an important note from that is that rule one is to do whatever it takes to get you writing. If that means violating every single bit of advice we give, do it, without hesitation or concern. The writing is what it’s all about, everything else is garnish.

This includes the things we have to say about what will and won’t sell. Collectively, we’ve learned quite a lot about the business of writing. The F&SF community is a small world and one where agents and editors mingle pretty freely with writers. The tropes and conventions of the genre are often discussed (go figure).

I can say with some authority that a present tense book is going to be a harder sell than a past tense book. That in-scene POV switches will be an issue. That 150,000 words is much harder to sell than 95,000. That a book with seven protagonists will be tougher sledding than one with a single protagonist. That its easier for someone with a big name to get away with any of the above. But none of that matters as much as A) getting words on paper, and B) the quality of those words.

If writing a 150,000 word, 7 protagonist, present tense, in-scene POV switching, time-travel, cyborg, political, Southern Gothic is what really gets you to put words on the page, then get out there and start writing it. Will it be hell to sell? Absolutely. Will it sell anyway if it’s good enough? Likewise, absolutely.

Good writing trumps every marketing rule. And it trumps every other writing rule but one: Write.

Write. Write well. The rest will follow.

(Originally published on the Wyrdsmiths blog Dec 04 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project)

Notes for …And a Bottle of Rum (Aqua Vitae)

So, I thought it might be fun for my readers to get a view of the inside of my head. I’ve been working on and off on a project tentatively titled Aqua Vitae. It’s a contemporary fantasy series with six books loosely plotted out so far. I hope it will be my next group of books for adults following the Fallen Blade series which would would put it on shelves sometime around 2017. I just got back from Jamaica (setting for book six) and these are my raw notes for the book. Very little here in terms of story since that’s all established in the notes for the previous volumes. This is all about atmosphere.

Title: “…And a Bottle of Rum”

Notes on Jamaica for Aqua Vitae series

Pirates and rum runners and ganja, oh my.

August: ~90 Relentlessly hot out of the wind but not bad with sea breeze or on the beach where you can wander down and float for a bit to cool off. Bikinis everywhere. Tourists standing in the water drinking rum and pretending they’re not smoking weed. Roasted breadfruit, delicious and starchy like a natural pretzel, but pale and veined like a yellow sweet potato.

Gareth the bartender. Crystobel the desk clerk.

Old men with young girlfriends.

2010s portion of story. Ya Mon has a soft y emphasis on the A—yA Mon. Ask the bartender for whatever’s fun to make—neverending variety of different rum drinks. Hazey-dazey beach scene soaks up ambition. Hustling vendors march the beach—dressed laid back with a mellow attitude, but soaking in sweat and working their hustles hard:

“Ciiiiiigarettes—Ciiiiiigarettes—Ciiiiiigarettes!” Plastic bag of cigs

“Saahvoneers—Saahvoneers (souvenirs)” Big plastic tray—conchs

“Lobsters mon!” A couple of lobsters dipped in the ocean periodically

Quieter, friendly, “Hey Mon, need some ganja, I set you up.”

Bright colored little open boats with rods on the rails down at the edge of the resort where security can pretend to ignore them. “Fishing Mon?”

A man roars up to the edge of the sand: “Jet ski?”

Beach musicians, guitar and banjo, using an empty VHS rental container as a tip jar. Good voices, mostly old men with dreadlocks and smiles like the musicians in Mighty Quinn.

Tour guide, chatty see the real Jamaica, Appleton, Black River—certified by the tourist board. Got me a taxi with a cooler full of red stripe. Got me some skunk weed too if you want smoke. Not up for a tour? I can still get you the stink, Mon.

This gentle version is at the resort with guards and staff to police the beach. The sales are harder, pushier where there are no such watchers.

Sun so bright that you can burn in the shade just from bounce light. Hairy chest and legs SPF 10+. Sunscreen wears off and you cook, but not where the hair is, not in the shade at least. Lay on the beach, move with the shade, drink rum, wander down to waves when the shade get too hot.

All kinds of rum, sweet, spicy, sharp. White, brown, blended with coconut or banana. White rum, pineapple juice, splash of lime-deadly refreshing on a hot afternoon.

Steel drum band. Men and women. Three tops rigs with two drums each. One set of big complete oil drums (four). One regular old drum kit. Dancers doing headspins and all the stuff we eighties children think of as breakdancing, but a tropical beat.

Beach party, dancing to drums and electric guitar on the edge of the waves. Splash out to knee deep when the sweat runs too thick from dancing. Scottish step dancing surprisingly appropriate.

Walking along the interface between water and sand at sunset, waves less than ankle height, rum buzzing in your head.

The rains coming with thunder and lightning every day between 3-5 in the afternoon. Usually quick and cooling, then off, but every so often with the hint of monsoon. The boatmen stand under the tiny shelter of the the fish sanctuary sign, and bail when the rain has passed.

Feral cats live on the edge of resortland begging scraps from the tourists. The cautious hiding on the edges, the more successful, playing the loving house cat-hustling every bit as hard as the beach vendors. Compact cats—7lbs or so. Content to wait in the rain if it means they get some jerk chicken or grilled fish.

Smokers everywhere, and more black tourists than white. White folks often from Italy or Spain or points east. Lots of slavic accents. Only redhead on the beach is with me. Men with shaved heads and weightbench muscles abound. Tattoos are everywhere. The most obnoxious tourists are American, same as everywhere else.

Most tourists have a light buzz on, rum or ganja. Though some are gone by noon, really drunk drunks are rare. Maybe because the culture encourages the light buzz and demystifies alcohol and weed.

In resortland its rare to go half an hour without smelling someone light up. The weed smokers are neither furtive nor brazen, and the smell is what tells you they’re there more than behavior does.

The staff and the locals all laid back smiles. Some of that’s the job, some of it’s the culture. They work hard, but don’t rush. Handclasp or fist bump to say hello and goodbye. Everyone seems to have good teeth, often flashed in smile. When they speak amongst themselves it’s patois, fast and impossible for this outsider to parse. Braids and dyes are popular for the women—long hair mostly. Men mostly wear it short, in tiny dreads, high and tights, or low afros. Quite a few shaved heads though, and the longer dreads can be seen here and there, mostly on musicians.

Rehearsals for Jamaican dance show. Walkthrough to adjust the dance to the available space. Tights and legwarmers for heat even when its eighty out.

Sitting in the ocean during really heavy rain cold on shore, warm in the water. Rain so hard you can barely see, like spatters of sleet on my bald head. Marvelous as it was. Glorious in book form with a bottle of passed back and forth in the warm surf. Run ashore to fetch a bottle, feels like stepping into a hot bath when you splash back into the waves. Lightning overhead so loud and so close you can feel it vibrate your chest cavity like a skin and bone drum.

Tropical wedding. Groomsmen in whit linen shirts and sand pants. Groom in a sand suit. Bride in a white and sand silk mermaid that somehow works. Bridesmaids in teal, one, two, or no straps. Caribbean rock band with a teal guitar that matches the dresses. Loud obnoxious Americans who smoked and drank the week away, ruining other folks fancy dinners suddenly and briefly transformed into something  marvelous as they sway down the hall to steel drums on the way to a beautiful moment. After the recessional, once the wedding party has walked out of easy hearing, the band breaks into an instrumental Hotel California with the steel drums going sinister and eerie, and you suddenly wonder what fate awaits the wedding crowd once they revert to the “ugly American” stereotype. The story turns again, transformed into a prelude to horror…perhaps the dark sorcerer of Aqua Vitae did not like having his fancy dinner interrupted.

Speaking of which, the author would like to note that in combination with the water pouring out of the ceiling of the fancy Sir Andrew restaurant, the loud American crowd transformed a romance story first to disaster, and then to charming absurdist farce.

Friday Cat Blogging

In a previous life I was a marmoset.

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I was a kangaroo.

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Walrus!

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Cirque Du Soleil Contortionist.

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Rumpot.

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Friday Cat Blogging

My cat has no nose!

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How does she smell?

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Terrible!

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That’s supposed to be funny, right?

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Yeah, pretty sure that was the plan, but even the woodchuck isn’t laughing.

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See.

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