Put the Outline Out

Outlines are something of a controversial subject among writers. Some just don’t like doing it – if they’re going to write, they should just write, right? Some think it constrains them too much. Some think it’s impossible to write anything without at least a thesis statement and a dozen bullet points. Some writers without an outline are constantly on the verge of crippling panic attacks. And on and on it goes.

As I mentioned before, I’m working on the outline for Water Fall, the second book chronicling the activities of the U.S. Government’s secret agency that handles talented individuals (read: superpowers).  This has been a therapeutic exercise for me, because I love outlining. It lets me get all my ideas out somewhere I can look at them and mess with them in a physical (or at least digital) medium.

See, I don’t like to just write and run with it, because whenever I do it I wind up leaving something out. On the other hand, when I’m outlining it’s often a frenzied exercise where things just pour out in a rush. For example, on my first pass at the Water Fall outline there were at least two dozen points where I just wrote, “So-and-so does things.”

Sometimes I included a note as to the tone of the things being done, like, “Tension!” or “Foreshadowing” or, my personal favorite, “CD” which of course stands for “character development.”

Not every part of my outline is that vague, some scenes I have a very clear picture for, they just don’t all string together nicely and I frequently have to fill in the gaps between major events during second and even third passes on the outline. Of course, to keep my mind fresh, I usually let the outline sit for a week or two between passes, which is how I come to “still” be working on it. (Because it’s not like I’ve been writing anything else…)

One reason I like having an outline is because it lets me quickly run through the pacing of my story and see how I like it. It’s at this point that I spend the most time moving things around and tweaking what characters a scene might call for. But this isn’t the be all and end all of what I’m going to need, frequently in the process of writing details that I hadn’t anticipated come up and the outline can get changed on the fly. While I like having it, I try not to let it become diktat, that alone can kill a story.

It’s important to keep your outline and the length of your story in perspective. For example, Heat Wave had an outline with 80 to 90 points to begin with. However, Trial by Winter had a ten point outline. Obviously, Trial by Winter was not 1/8th the length of Heat Wave. Rather, each “point” represented a smaller chunk of the story. (Exactly what kind of outlines I tend to use and how they tend to translate into story is probably a subject for another post.)

On the whole, outlining is something authors can do to help them get a handle on their story and keep the broad strokes of it in mind, and easily at hand, so that when they are buried in the minutia of the story in progress they don’t have to stop and run through everything again in their mind to get a handle on where they are. Whether it’s something that they haven’t written yet or something that has already been put down in digital print, a glance at the outline brings it to mind much faster than relying on memory or having to page through pages and pages of what’s already written.

So, an exercise! (I know, I’ve never done writing exercises before. If you don’t like them I promise they won’t become a regular thing.) Find your favorite book and put together an outline for it. Then, find a story you’ve written and do an outline for that. And lastly, create the outline for a story you’d like to read from scratch. You don’t have to finish it, just rough out the ideas. Most importantly, enjoy!

The Laundry Files

So. Cosmic horror. It’s a dark genre, but one that exerts surprising amounts of influence in fiction today. Most people agree that the man who codified much of it, H.P. Lovecraft, was also one of it’s greatest voices. Unfortunately, Lovecraft’s work is also full of truly unpalatable things. I’m not talking about the meaningless of life or the cold hostility of the cosmos, I’m referring to the racist overtones of many of his stories, as well as a seeming emphasis on eugenics and blatant Anglophilia.

Of course, in a universe that is devoid of meaning, where human ideas are laughable deviations from the norm anyway, it shouldn’t matter if Lovecraft’s other unfortunate overtones are present or not. But, if you’re interested in learning more about the genre, if for no other reason to get a better grasp on it’s influence on modern entertainment, and you want to see a modern take on the genre, I recommend Charles Stross‘ The Laundry Files.

The protagonist of this truly unique little jaunt into the mind-numbing darkness is Bob Howard, who works for a super secret British agency called the Laundry, which deals with all those nasty, mind numbing horrors. According to the cover of (at least one edition) of the series opener, The Atrocity Archives, Bob’s job is to save the world (it involves a surprising number of meetings.) The basic premise, that Bob has to simultaneously fight eldritch horrors and deal with bad management, unclear org charts and ludicrous mountains of paperwork, is both interesting and funny. And so are the characters we meet along the way.

Most of the early action revolves around Bob finding new ways to “optimize” magic, which is basically properly applied math, and getting himself into field work as a result of it. In particular, the constantly evolving nature of the Laundry’s “basilisk guns” is a nifty running gag. It also serves to remind us of the always immanent nature of CASE NIGHTMARE GREEN, which is both a case of the stars aligning and spelling our doom and an example of the lovely codenames the Laundry is always throwing about. How anyone manages to keep secrets when they name them in all caps with phrases that might as well just be “nifty code name” is beyond me.

In short, the basic window dressing of the series is sound. In fact, some of my inspiration for Project Sumter came after I read The Atrocity Archives. Unfortunately, just as cosmic horror is about our slow and inevitable decline, so that premise slowly leeches away at the fun of the books.

Now I can live with the idea that there are incredibly powerful and intelligent beings out there. I question how smart they can really be when the seem to always be shooting themselves in the foot (see the horror from The Atrocity Archives) or somehow getting themselves locked away to starve to death (Stross’ take on Nylarathotep) but sometimes you just have to go with the flow. No, what bothers me is the way everything basically ends up ringing hollow.

The characters live in a world with no hope or joy, nothing of lasting meaning, and spend half their time declaring that fact and how they intend to ignore it today. Then they go to sleep at night and pray their dreams don’t come alive and eat them. This is their fate, and they are sure of it.

Fiction really isn’t a good medium for certainties. It’s a medium for beginnings, for possibilities, for growth, but not well suited for done deals. It’s why protagonists are pretty much always seekers and rarely finders.

Of course, part of the point of cosmic horror is to present a done deal. But if you still want to check it out, at least the deal Stross offers you will be more entertaining than most.

Trial By Winter

When the pipes in the house froze they started to get really nervous. The snowstorm in the New Mexico had surprised them a little, more because it rattled the thin walls of the house like a ghost rattled chains than anything. The sense of high flying altitude had been unsettling too, but after a while they got used to it. But when they got thirsty and realized they couldn’t get any water out of the pipes, that’s when they started to get really nervous.

They had just made their third complete round of all the faucets in the house and come back to the kitchen sink to try and think up something to unfreeze it when they noticed someone was coming.

It wasn’t like they heard footsteps or anything. But there, on the edges of their minds, like a small weight, something pushed down on the edge of the cold. It was getting warmer in a small area. That usually happened when people wandered into an area they had frozen, usually attracted by the snow. But if they weren’t prepared for the cold, and in New Mexico who would be, they tended to leave pretty quickly. But this warm spot was making it’s way in to the house and towards the door.

The two girls exchanged a glance. “Do you think Frau Nagel is back?”

Her sister shook her head. “She can’t move the cold. She wouldn’t come here alone.”

“When she finds out that we made cold without her permission she’ll be mad enough it won’t matter,” the first girl said.

They shared a knowing nod and started to move towards the laundry room at the back of the house. They hadn’t gone far when the door to the house rattled. The girls stopped and exchanged another glance. Both Frau Nagel and Herr Schmidt had keys, had the only keys to the house. Anyone who didn’t have a key wasn’t supposed to come in.

Reluctantly, the sisters stepped back to the kitchen counter and set their water glasses there. They were still thirsty, how could they not be after so long in the cold? But robbers breaking into the house couldn’t be tolerated. Herr Schmidt had been quite clear on that. It was one of the few things he and Frau Nagel agreed on.

The girls had gone half way to the door when the sound of the lock clicking brought them up short. They didn’t have time for anything else before the door swung open. It wasn’t Frau Nagel, which made things a little easier.

Things like lock picks were beyond the two of them, so they simply assumed that the two men at the door had gotten a key from somewhere – most likely, Frau Nagel, as she had gone out to “look in on someone” before the cold. One of them was fairly short, only a few inches taller than they were. He was saying, “How often do you have to do that, anyway?”

The taller man tucked something into his jacket pocket and then shrugged. “Often enough that it’s better not to talk about it.”

Once again the sisters exchanged a dubious glance. If these were the people Frau Nagel had gone to look in on they were certainly a strange pair. The taller man was plain, except for his goatee. The shorter man had light brown hair and blue eyes, except for his height he looked every bit the good German, so that was something at least. But they were both speaking English. With a silent nod, one of the sisters stepped forward.

“Excuse me, sir,” she said. “May I ask why you are here?”

The shorter man jerked, as if surprised. On closer inspection, the girl decided he couldn’t be that much older than they were. He didn’t have lines on his face like Frau Nagel or Herr Schmidt did and, of course, he was not that tall. Surely he must be young then.

The plain man murmured, “Field work means being on your toes, Double Helix.” Then he knelt on one knee and rested his hands on the other and gave the two sisters an evaluating stare. “Now what do we have here?”

“Has Frau Nagel sent you for the eugenics test?” The same girl asked.

“Eugenics?” An eyebrow went up on that plain face. “I’m not sure. I’ve never met Frau Nagel, is she around here?”

“Oh.” The other sister shrank back behind the one who had been talking up until then. “Frau Nagel and Herr Schmidt are very insistent that we not talk to strangers.”

The shorter man rested his hands on his hips and nodded. “That’s really good advice, ladies.” The girls blushed slightly at being called ladies. “I don’t suppose Herr Schmidt is here either?”

There was a short pause for a whispered conference between them, then the girls nodded solemnly. The older sister swallowed once and said, “He’s in the back room. Do you want me to take you to him?”

“That’s all right, honey,” the plain man said. “Why don’t you just ask him to come out here? We can wait.”

“I will take you to him,” the older sister said firmly. Then she wavered a bit. “Unless one of you would rather remain here?”

The plain man stroked his goatee once and looked at her thoughtfully. He seemed to be wondering why she was suggesting that rather than seriously considering staying behind. “No,” he said finally. “I’m afraid that without my friend close by it would be a chilly here for me.”

“You can push the cold?” The younger sister asked. Both girls gave the shorter man an expectant look.

“Well…” The young man wavered for a second, and it was time for the two men to exchange a glance. But his older companion just gave a quick shrug, leaving him to figure out an answer on his own. The girls leaned forward a bit, eager to hear the answer. “I guess it’s something similar. Close enough that it doesn’t make much difference, probably.”

“Did Frau Nagel really not send you?” The older sister asked.

“Never met her,” he said. “I’d like to, though.”

It was a hint and the girls knew it. The sighed and started towards the back of the house. The younger hesitated as they reached the kitchen, and her sister stopped and gave her a gentle nudge towards a chair, saying, “Wait here.”

“We’re not getting you into trouble, are we?” The young man absently cracked his knuckles as they walked, although it seemed more like a nervous habit than anticipation.

“We are already in trouble,” she answered.

“Well, maybe when we talk to Herr Schmidt…” His voice trailed off when the girl opened the door.

Herr Schmidt stood there, his skin a pale blue, two fingers snapped of the brittle end of his hand. The girl looked back at the two men and said, “We are not supposed to move the cold unless someone is here to supervise us. My sister is worried that Herr Schmidt won’t recover. We’re keeping him cold until Frau Nagel can tell us what to do.”

The older man swallowed hard. “Uh. I don’t think that’s going to help any.”

“Agent Templeton,” the younger man said, resting a hand on his shoulder. “Can I talk to you for a second? Outside?”

——–

“Double Helix, you’re in over your head.” Darryl Templeton folded his arms and gave the kid a hard look over. “Maybe you should head back to the van.”

“Aren’t you the one who just told those girls you’d freeze without me around?” The kid planted his hands on his hips, a posture he used whenever he was feeling stubborn. Darryl had only known Double Helix a few days, but he’d spent a lot of that time being stubborn. “I’m not going to wander off and let you freeze. And I’m worried about those girls.”

Darryl sighed. “And it’s not a bad thing that you are. But do you even have any idea what’s going on here?”

“My best guess is they’re related to Jack Frost.” Helix glanced over his shoulder, back at the house, where the two blonde girls were waiting, huddled in the doorway. “The names of their guardians and their German accents, along with their talking about eugenics, all make them-“

“Wait.” Darryl held up a hand. “You’ve lost me. Who’s Jack Frost? Outside of fairy tales, I mean.”

Helix looked back, seeming a bit surprised. “You’ve never heard of him? Do you know anything about Sergeant Wake or Operation Underworld?”

“I’d never heard of Sergeant Wake until I read about him in your file. I suppose this has something to do with the founding of Project Sumter during the Second World War?”

“Yeah.” Helix grew more animated. “He was assigned to-“

“Hold up.” He wasn’t glad to cut the kid off, it was the most positive expression he’d seen out of Helix since they met. The kid seemed to brood a lot, although that might not be surprising given all the scrutiny he was under at the moment. But rules were rules. “You probably shouldn’t tell me anything more about the Sergeant or his activities. I’m not cleared to know it and you’re not even a part of the Project, so you might get in trouble for even thinking about it.”

“Whatever.” Helix snorted and chewed his lip for a second. “This is bad stuff, Agent Templeton. These girls are so brainwashed and out of it they think keeping Schmidtsicles in the back room is a good idea. The kids need help-“

“Kids!” Darryl laughed. “They’re maybe twelve. That’s what, five years younger than you?”

“Not the point.” Helix fumed for a minute. “Look, they’re identical twins with talent and-“

“They both do?” Darryl’s jaw sagged a bit. “That’s… the file only has one codeword…”

“You’re worried about your paperwork at a time like this?”

“No, it’s just…” Templeton hesitated. “Identical twins, with the same talent? The eggheads will have a holdiay with this.”

“That’s part of what I’m worried about.” Helix folded his arms. “These girls have been a commodity all their lives. If my grandfather was right, the remains of the Nazi talent management program have been trying to get talents to pass from parent to child for nearly a hundred years. These kids are brainwashed and they plan to use them like they just won the National Dog Show. Breeding, or something. What they need is to learn to use their abilities from someone with a conscience.”

“Did you have someone in mind?”
“Clear Skies taught me the ropes.” Helix spread his hands. “I figure she’ll do for these two, as well. Cold spikers and heat sinkers are close enough in nature that at least she won’t get herself the liquid nitrogen treatment.” He gave a quick glance at the dusting of snow around them. “And Project Sumter won’t have to try and explain why winter has shown up in the middle of the desert.”

Templeton thought about that. Clear Skies may have been able to handle a young and rambunctious Double Helix, but she’d been younger then. He’d never met Helix’s grandmother, but he was willing to bet she wasn’t as spry as she used to be. And there was the whole disturbing question of what had happened to Herr Schmidt in the first place. At least there, the girl’s conditioning was likely to play in their favor.

Darryl walked back to the door of the house and motioned for the girls to come out and join them. After a moment’s hesitation, they did. He dropped into a crouch to get a little closer to their eye level, hoping to engender a little trust, and said, “Okay. My name is Darryl Templeton, and my friend here is Double Helix.”

The girls nodded solemnly but didn’t say anything, so he pressed on. “We’re going to take care of Herr Schmidt.” True, although ‘taking care’ would probably involve a plain coffin and quiet burial. “Then I’m going to go and try and find Frau Nagel. Double Helix is going to go with you somewhere, but where depends on your giving me a truthful answer to one question.”

“Of course. Anna and-“

“No names,” Helix said quickly. “Agent Templeton is going to give you new names, and we need you to use those as much as possible.”

“Oh.” The girls nodded sagely. “Yes, we always get new names when we move.”

That made Darryl feel a little queasy, but he did his best to ignore it. He pointed to the girl on the left and said, “From now on you’ll be Frostburn.” He turned to her sister and wavered. There had only been one new code name for a talent opened. “You can be…”

“Coldsnap,” Helix suggested.

“Coldsnap,” Darryl repeated. “Okay?”

“Those are funny names,” Coldsnap said, wrinkling her nose.

“You could be stuck with Double Helix,” Darryl pointed out. Helix grumbled something but Darryl ignored it. “Now, I need you two to tell me what happened to Herr Schmidt.”

There was a moment of embarrassed silence from the girls, then Coldsnap said, “It’s because of the eugenics.”

“Huh?” Helix’s question wasn’t the most intelligent, but it did kind of summarize Darryl’s reaction as well.

“You see, Frau Nagel and Herr Schmidt say we are some of the best Germans there are,” Frostburn said, sounding a little proud of the fact. “So we must be very careful not to look at men who aren’t also of good Aryan blood.”

“That was why, last year Frau Nagel told us very strictly not to go into a room with Herr Schmidt if she was not there,” Coldsnap added, sounding a bit apologetic. Darryl realized she was probably referring to the fact that, from what he’d seen, Herr Schmidt had dark, curly hair that didn’t really mesh with the Aryan ideal.

“So when Herr Schmidt came into her room,” Frostburn nudged her sister, “we were surprised. And…”

“It was an accident,” Coldsnap hastened to add. “We were surprised, and rushed out and he grabbed at me and…”

The girls trailed into silence and Darryl sighed. The worst part was, he couldn’t tell if this was just some kind of simple misunderstanding or if the man had actually been some kind of pervert or if it had been some kind of combination of the two. Probably the latter, with the idealized position the girls held in Schmidt’s twisted ideology not helping matters at all. “All right. If the two of you will turn down your cold and let the desert go back to normal, Double Helix will take the two of you to meet his grandmother.”

“Really?” Coldsnap seemed surprised. “Will that be all right?”

“Relax,” Helix said. “If there’s one thing Clear Skies has always wanted and never gotten, it’s more grandchildren. She’s only got me, and I think she always wanted a granddaughter or two.”

Darryl took his arm and led Helix off a few paces, then lowered his voice. “Look, kid, I know this is a big deal for you, but seriously, in my book you’re already qualified for field work. If you want to work for the Project I think it’s just a matter of finishing the paperwork. You’ve made it past the Senate Committee and kept a level head in the field. The deal isn’t going to fall apart if this doesn’t work out, so don’t put too much pressure on your grandma, okay?”

Helix just gave a wicked smile. “Agent Templeton, all I can say is you’ve never met Clear Skies.”

The girls flanked Helix as he led them back towards the waiting vans, which had to park half a block away to stay outside the worst of the girl’s unnatural cold. Of course, with the girl’s cold spikes gone, the temperature was rapidly climbing back up to desert norms. Frostburn was saying, “Your Grandmother must have very good German blood as well, if you could make it through the cold. It’s too bad Frau Nagel couldn’t give you the eugenics test. I think you’d have good, German children.”

Helix gave a nervous chuckle. “Listen girls, let’s not mention eugenics tests or children around Clear Skies, okay?”

“Why not?” Coldsnap asked.

“Because if there’s one thing Clear Skies wants and hopes to have in the near future, it’s great-grandkids.”

Darryl just shook his head and started back into the house. There was still a lot of clean-up to do, and the mysterious Frau Nagel to look for. One thing he was certain of, if Double Helix did come to work for Project Sumter, whoever his supervisor wound up being would have a lot more paperwork than normal to deal with. Not an appealing prospect, that. Not appealing at all.

Fiction Index

Genrely Speaking: Cosmic Horror

Many genres of fiction focus on unanswered questions. However, the allegory is rather used to create stories that vividly illustrate great truths in a clear and forceful way. I use the term “great truths” to refer to those ideas that are central to the way the author looks at the universe, many of these ideas have been hotly contested since the beginning of time.

Cosmic horror is the allegorical fiction of a particular brand of hard core Rationalism, most forcefully pioneered by H.P. Lovecraft. It attempts to illustrate the emptiness of human existence and the meaningless, indifferent nature of the cosmos, not using math, logic or philosophy but rather through the careful application of pure dread. Whether that is because dread was what Lovecraft felt was the most enlightening human emotion or simply because Lovecraft thought it was most likely to produce the desired reaction in his intended audience is unclear.

A few quick notes before we go on. First, like all brands of mythology, cosmic horror has gained a great deal of popular acceptance over the years, although it’s still much more obscure than many other flavors. However, just as the movie Clash of the Titans had little in common with Greek mythology, most aspects of cosmic horror that are used in pop culture today have little to nothing in common with cosmic horror. Don’t be surprised if what I describe sounds nothing like the stories about squidheaded Old Ones you’ve heard before. If you’ve no clue what that even means and/or you’ve never read any Lovecraft, Nylarthotep is a decent primer.

Second, like all brands of fundamentalist religion, cosmic horror is not representative of the whole or even the majority of Rationalist thought. However, also like most brands of fundamentalism, it does show what core ideas look like in their most undiluted form.

Third, debating the validity of core ideas is not what the Internet is best for. While I am going to point out what look, to me, like weaknesses in cosmic horror as a storytelling platform, deconstructing an analyzing the systems of thought behind the genre is not my purpose here. It’s way outside the scope of a single blog post. That said, I’m sure one of the reasons I dislike cosmic horror as a genre so much is that I also find the ideas it’s founded on to be… lacking. I do have a bias when writing this, so keep it in mind.

So what defines this obviously very difficult genre of fiction?

1. A strong emphasis on the insignificance, helplessness and doomed nature of mankind. Lovecraft didn’t think much of humanity, looked on them as something of a cosmic accident. They had stumbled onto Earth with their bizarre ideas of reason, purpose and civilization and proceeded to muck everything up. Fortunately, they were constrained by their nature and doomed to an inevitable fall back into what they had originally come from – primal instinct and savagery. These instincts are programmed into man, and he cannot escape them no matter how he tries.

2. Powerful, incomprehensible, amoral and uncaring beings, usually aliens, that exist and sometimes tinker with humanity in some way. Probably Lovecraft’s most enduring creation, the great Old Ones were what he considered the nearest thing to gods to exist, in fact they were often portrayed as at the center of cults and possibly even as the inspiration for major world religions now and in the past. These creatures don’t care anything about what their activities do to mankind, they may not even realize we exist, and if they did we are so different that there is no way we could relate to one another. Humanity is helpless before them, we survive only because the stars have aligned in such a way as to thwart their activities and lock them away. (How such incredibly powerful beings could fail to predict and allow for the mathematically logical movements of stellar bodies is unclear.) So powerful and strange are these creatures that just encountering them drives people insane.

3. An emphasis on occult knowledge. Which is to say, the “truth” of the universe is known only to a select few. These people have delved “too deeply” into some field of knowledge, gone exploring where they should not or studied some arcane, forgotten document and thus been exposed to the truth. These truths will ultimately destroy those who know them, but ignorance is no defense, offering only a false sense of security. Characters are predestined for destruction whether they know the truth or not.

What are the weaknesses of cosmic horror? Well, if I got going we’d be here all day, so I’ll try and just hit what I feel are the top three.

Poor characters. While the protagonists in cosmic horror are usually well educated, articulate or at least worldly men, the emphasis on their total inability to accomplish anything of note really cuts them off at the knees. Ultimately they’re unimportant, so why bother getting to know them? Whether because of the nature of the genre or simply because cosmic horror authors rarely learn to develop good characters, there’s rarely anyone you can relate to in a cosmic horror story. This stems, at least in part, from the constraints the genre puts on human characters.

Poor conflict. The greatest threat to humanity is often the Old Ones, beings so immense in potential that they are to humanity as we are to microbes – they are totally beyond our ability to trouble in any way.

ASIDE: I’m not sure if this analogy is original to Lovecraft, I haven’t read his full body of work, but just about every other cosmic horror writer uses it, so I suspect it is. Regardless it’s a bad one, considering viruses, the smallest of microbes, have probably killed more human beings than war and famine combined… END ASIDE 

Back to the conflict part. Since part of the conceit is that Old Ones drive people insane, just being around them effectively ends the story.  Cultists are sometimes used as proxies, but in the end they’re just as big dupes as the main characters are. The Old Ones are inscrutable, with aims supposedly beyond human knowing, and totally indifferent to humanity. So, by the same token, clever manipulation or direct hostility on the part of the Old One is out the window as a source of conflict.

Most conflict in cosmic horror consists of the main character(s) trying to escape his fate and finding he can’t. This usually takes the form of the environment reshaping itself to prevent it or the character simply being restrained by inexplicable forces. When the character’s reason or the advice of others plays any part in moving him towards his doom he usually repents of it later, only to find he was trapped by predestination, his birth or the wonderful invisible hand all along.

With all these forgone conclusions built into the genre, there’s very little in the way of doubt about the ending. You just sort of sit there and wait for the hammer to fall. It might be kind of entertaining the first time or two, but it doesn’t really hold up well.

Poor analogies. You would think, after nearly a century of existence, the genre would have come up with some new ways to describe the influence of its prime characters.

But no. There are some phrases the genre simply cannot seem to get away from. Unnatural or non-Euclidean geometries. Fleshy tentacles. A feeling of immense presence or intellect. These analogies are evocative, if vague. Lovecraft himself coined a number of other very nice phrases to explain specific instances. A color out of space is probably the best. However, the genre’s very insistence on experiences that defy reason and rely on occult understanding make it a very poor genre for explaining things. You must either experience it and be equipped to understand, the cosmic writer seems to insist, or you will merely be another one of those deluded fools who can’t handle the truth.

Now it may sound like I’ve just said that the very things that define the genre are part of what make it a weak form of fiction. In fact, that’s exactly what I’m saying. The tropes and devices of the genre actually work to undermine it’s storytelling potential – just one of many reasons I dislike it.

What are the strength of cosmic horror? If done correctly, and the reason most people mention Lovecraft as their example first, last and always is that he’s one of the few people to have done it correctly, cosmic horror is really, really scary. Not in the, “something jumps out of the closet and yells boo” kind of a way, nor in the, “look, there are zombies everywhere” kind of a way. Rather, in the, “something under the bed is drooling” kind of a way. You know it’s out there, and that it’s coming for you. But what are you going to do about it? Nothing! HAH! Because there’s nothing you can do!

Ultimately, there’s not much to recommend cosmic horror. Sure, existential dread is great if you’re an angsty teen or an overly intelligent author who never seems to have developed sympathy for your fellow, less intelligent man, but in the end, even if the allegories it presents us with are true, thinking about it overmuch doesn’t get us anywhere any more than worrying about our gray hairs will make them go away or stop them from coming. I have better uses for my time, and you probably do, too.

Cool Things: The Thieftaker

Thieftaker, a novel by D.B. Jackson, focuses on one of the less glamorous aspects of the history of law enforcement. A thieftaker was a kind of bounty hunter, hired to find and retrieve or negotiate for stolen property. They didn’t exist for very long, as it seems to have been a rather corrupt line of work, and they were eventually replaced by something much closer to modern policing with the appearance of the Bow Street Runners.

However, like most other kinds of bounty hunters there’s something that perks human interest in the idea of seeing wrongs set right, and the idea of someone who will step in and help do that is doubly appealing. Throw in the many reasons a bounty hunter might have to be jaded and searching for his humanity and you have a great recipe for conflict, internal and external.

Of course, we’ve seen all that before. So Jackson goes for broke by adding not one but two twists. The first is fairly unsurprising. Thieftaker is a historical fantasy, meaning that protagonist Ethan Kaille is not only a bounty hunter, he’s a speller, using a dash of magic to augment his street smarts and help him catch his man. Ethan keeps his secret using the usual blend of caution and intimidation that readers of most urban fantasy will be familiar with –

Wait, scratch that, no he doesn’t. While Ethan is cautious with his magic, he has to contend with the novel’s other major conceit: It’s set in Boston, Massachusetts, in the year A.D. 1765. People still heartily believe in magic, and, while conjurors like Ethan are still talked about in hushed tones, that doesn’t mean a good lynching is outside the realm of possibility. Fortunately, there’s new taxes from Britain and riots in the streets to keep people from paying too much attention to one little ol’ theiftaker.

That is, until a young woman is murdered by magic, and her jewelery is stolen. Her father hires Ethan to find the stolen jewelery and the murderer in the process. Unfortunately, Ethan is hired in part because of his magical savvy, proving his secret is not quite as secret as he might like.  Before the day is done, he’ll cross paths with another theiftaker who isn’t glad for his competition, a number of conjurors much more powerful than he is, and luminaries no less bright than Sam Adams and the Sons of Liberty.

Not that Ethan has much use for people who incite riot and ruin…

Thieftaker is an interesting book that gives a rather revealing look at what getting a crime solved might have been like before police forces came into being. It was a much more personal kind of a thing, but also much more difficult to see done, for reasons of expense if nothing else. Ethan Kaille is an interesting character who stands out from the crowd in some noticeable ways, not the least being nearly forty as opposed to his mid twenties like most other characters at the beginning of an detective/adventure series. But probably the best part about the book is it’s sense of place and time.

The many details of Eighteenth century Boston have been lovingly recorded, and Sam Adams is by no means the only historical figure to get screen time. The details of the people and places have been recreated with a historian’s love for detail and a fantasy author’s love for the fantastic.

If you love historical fiction of just about any type, I recommend Thieftaker to you wholeheartedly.

The Doyen and The Dragon

“You know, Mons, you would think that, as a society that has discovered a way to fling the thousands of tonnes of gold and silver in a Terra Front from one fold of the world to another-“

“To say nothing of all the copper, steel and rockmelt.”

“To say nothing of them. In short, a society that can move buildings from world to world should be able to make a man a pair of boots he can use to climb a mountain without chafing his feet raw.”

Mons paused for a moment as they trudged up the side of the mountain in question. “You are still young, my doyen. They might no longer fit. Do you wish to stop for a rest?”

“What I want is a reevaluation of our priorities,” the doyen said, waving Mons on ahead of him. “We have magic enough to travel from one face of Terra to another, but we cannot solve the simple problem of cramped shoes.”

Mons resumed his hike and affected a lofty tone. “Perhaps you should apply yourself to that problem next. I’m sure the agenda of Terra Eternal shall suffer not a whit as it is put aside so that Doyen Dmitri Dostoevsky might pause and invent the Magic Boot – the universally acknowledged foundation of any civilized society.”

“Ha! That attitude is why I’m the doyen and not you,” Dmitri responded, allowing himself a slight limp now that Mons’ attention was once again focused forward.

“I remind you that many people don’t consider being a doyen a privilege.” Mons suddenly whipped around in time to catch his younger charge in mid limp. “A case in point: You frequently find yourself hiking all over unknown worlds in boots that no longer fit. We should pause for a bit.”

Mons didn’t wait for an acknowledgment, he just moved to the side of the narrow path they had been following and took a seat on a smallish boulder. Rather than squeeze in with him, Dmitri took a seat on a log that looked to be wedged in place by a pair of smaller rocks, pulled off his calf high boots and admitted, “That does feel much better.”

“Perhaps after this assignment you should look into the problem of keeping yourself supplied with the appropriate footgear,” Mons said, trying but not quite succeeding at hiding a smirk.

“Logistics is not my strong point,” Dmitri said with a shrug. “The fact that I have to draw out any teleport or sky folding matrix myself, rather than carry a pre-etched charm, is a real discouragement from learning anything in that school of magic.”

“A doyen shall not move himself from world to world,” Mons murmured, “nor take more with him than he may carry. I have to confess, even after watching you in action for over a year, I don’t understand the prohibition.”

“Can’t say as I do, either, but it’s one of the few things Locke and Goltermann agreed on, so I guess we can assume it makes sense.” He sighed and leaned back, resting his back against a larger stone behind the log. As he did, his elbow bumped into something and he turned to pick it up.

“Find something, my doyen?”

Dmitri turned the length of wood over in his hands. “Looks like part of the handle off a pickaxe.”

He passed it over to Mons, who gave the stick a glance and nodded. “We must be getting close to the mine.”

“You’re probably right. It looks like the magic is…” Dmitri pushed his sleeve up to let the bracelet on his wrist dangle freely. The copper disks there swung back and forth as if in a strong wind. He let the long sleeve slide back down and cover the bracelet again. “About half sail. The briefing said we can’t expect much more than that under this sky.”

“We should try to get there before the sun sets and the magic weakens,” Mons pointed out.

Dmitri pulled his boots back on. “Just as well. Short rests are fine, but once we’re done here we’ll actually get some relaxation in. Let’s go see what makes this mine so interesting to a herd of dragons, shall we?”

——–

Kor’aj Thrinnaeveous snapped his head around when his seeg stepped into the tent of meeting unannounced. The talk had gone so well that Thrinnaeveous had hoped to finish the day without crisis, but he should have known better. His own kor’aj had warned him that life was one continuing crisis, and the one who did not hear the crisis of the moment was simply not listening hard enough.

Still, the interruption was frustrating. Thrinnaeveous set the small silver trinket he’d been examining down and gave Seeg Rallaj his full attention. The seeg’s posture and nervous sway spoke of discomfort, and not, he suspected, because he had interrupted his kor’aj. Thrinnaeveous pulled himself up to his full height. “I listen.”

Rallaj dipped his head once in acknowledgment. “A group of humans is climbing the mountain. Their methods speak of caution, but not open hostility.”

“How many?”

“Four in all. And…” The seeg’s tail swept across the ground nervously. “Some of them are quite strange.”

To Thrinnaeveous, such a careless choice of words was strange. The differences between humans and the tribes were many and obvious. Why speak of them at all? “Strange how?”

Rallaj dipped his head once again, this time in apology. “Perhaps it is best if you saw for yourself, Kor’aj.”

With a quick bob of his head and sweep of his tail, Thrinnaeveous asked his guest to excuse him. On his way out of the tent he paused to gently bump his seeg with his shoulder, sending the younger one out first in a mild reproof. Then he stepped out into the cold mountain air and followed his seeg down the side of the peak.

——–

It turned out that they were even closer to the mine than Mons had originally suspected.

Not more than five minutes after they resumed the trek up the mountainside they were stopped short by a sound vaguely like a hunting horn, only much deeper and richer, that seemed to roll down the mountain like an avalanche. In fact, for a brief moment that’s exactly what Dmitri though was happening. The note sounded as they approached a narrow pass through a much steeper wall of rock, and as soon as it rang out the air was full of the sounds of breaking stone.

Except no rock came rolling down the mountainside. Instead, the narrow pass disappeared as the rock on either side seemed to bend inward and seal off the path entirely. As soon as that was accomplished the note faded from the air and, once the echoes had died away, the mountain seemed quiet again.

Dmitri stared at the solid rock wall for a moment, slowly relaxing his guarded stance as it became clear there wasn’t any immediate danger. “Mons.”

“My doyen?”

“I think the natives are getting restless.”

He quickly ducked the swipe Mons took at the back of his head and moved to a safer distance. “Is this really the time for that?”

Rather than rise to the bait, Mons was focusing his attention on the top of the newly formed stone wall. And why not? There was definitely something worth seeing there.

The first dragon recorded in the history of Terra Eternal was chanced upon by Veronica Locke, who took very detailed notes on how not to be eaten by one and included them in her Bestiary of Two Worlds, the revised and expanded version of which was still required reading in many institutions of higher learning. Since then, many different things had been discovered on other worlds which were at least somewhat similar, and generally classified as a dragon (although scholarly debate on that grouping continued.)

Although dragons tended to be much more different than one another than, say, dogs or horses or even humans, they all shared a few basic characteristics. They tended to be built like reptiles, although some had feathers instead of scales, they had voracious appetites and they were big.

Really, really big.

So big, early versions of Locke’s Bestiary actually devoted a page to sketches that showed a dragon with various other animals to press home just how big they were. (Later versions used the Great Clock Tower on the Throneworlds instead of animals.) When Dmitri had been told the locals were complaining of a herd of dragons he had laughed. Whether they were intelligent or stupid, it was common knowledge that dragons were too big and hungry to be able to move in groups. A herd of dragons would strip continents of food in a matter of days.

Of course, what Dmitri had forgotten in that moment, but remembered once he got out on the mountainside, was the first rule every person who crossed the horizon into a new world learned: Never laugh at the natives.

There was a trio of creatures crouching on the top of the stone wall and staring down at the two of them. The best word for them was long. Long, snakelike necks, long, powerful arms, long, sleek torsos and a long, restless tail. Almost hidden behind the rest of their bodies were short but well muscled legs. When two of them rose off their haunches and moved along the ledge of rock, spreading out in either direction, Dmitri realized they walked as much with their arms as with their legs, almost like a gorilla. From the tip of their tails to the end of their nose, Dmitri guess they couldn’t be more than ten to twelve feet long.

Dmitri tapped his chin absently and said, “Mons. I think we’ve found that herd of dragons.”

——–

The spare scrub grasses slid past Thrinnaeveous in a constant susurrus, the whispers of late autumn. If not for Rallaj’s nervousness the entire mountain would seem to be at peace. Still, a seeg did not come to his station for nothing, and Rallaj’s caution was a powerful warning and Thrinnaeveous reminded himself that he would be wise to heed it.

The tribe was already gathering at the low wall, it’s strongest voices watching over the side of the stone barrier and quietly harmonizing with the songs of the earth. Thrinnaeveous paused to rear back and dip his head to them in acknowledgement. Humans had been coming to the mountain for the last two seasons of the moon, ever since his people had arrived, this batch could very well wait long enough for him to acknowledge his kin.

With propriety observed, Thrinnaeveous loped out to the edge of the ridge to look down and see what had so excited his seeg. At first glance they were nothing more than four humans, as Rallaj had said. The size and face of one spoke of youth, not yet come into its full strength or wisdom. But young or no, he stood with a stillness and watchfulness that Thrinnaeveous knew humans often considered a mark of a listening ear and thoughtful words. He carried no weapon and wore a long cloak or coat. In fact, the garment was so long it nearly touched the tops of his boots and the sleeves covered his hands, as if saying that the man who wore the coat had no need to use his own hands.

As for the other three… Thrinaeveous looked from one to another, then back across the three again. They were dressed much like the younger man, except their sleeves were not as long. Beyond that, he saw few differences. Even their appearance… He looked once more, this time stretching his knowledge of humanity to its limits. It was hard to be entirely sure. “Their faces are identical?”

“It seemed so to me,” Rallaj answered immediately. “And every other who has seen them. I do not know what it says of them.”

Thrinnaeveous narrowed his eyes and drew a deep lungful of air, tasting the skies nervously and stretching his senses to the utmost. But no new revelation came to him. Defeated, he let the breath out in a rush. “Neither do I.”

“I listen.” Rallaj slid a half pace back and waited to follow his kor’aj’s lead.

Unfortunately, Thrinnaeveous wasn’t quite sure where they were going to go. The other humans who had come up the mountain had come under arms or making angry demands. These were simply waiting.

Then again, they were so few, and lightly armed. Two of the three identical humans carried weapons, one a spear the other a pair of odd looking swords, but it wouldn’t be enough to fight a small chorus, to say nothing of a full tribe. Hardly the approach of thinking creatures who had come looking for a fight. He pulled his head back over the ridge and looked up at Rallaj. “We shall go and hear them.”

——–

“Why do you think they’re humming?” Mons asked softly.

Dmitri wasn’t sure he would call it humming, but the deep, bone rattling sound that the dragons had been making for the last two or three minutes certainly had something in common with that kind of music. With over a dozen dragons in sight, all apparently making noise together, it was hard not to wind up thinking about it. “I think it’s a kind of magic. Except, instead of placing a sail to catch magic and syphon it storage, the sounds make a pattern that can hold the magic ready at hand.”

Mons did a double take. “You mean like power words?”

“Except I’m willing to bet they have more than a half a dozen of them. And they probably don’t have to work for years to get the pronunciation just right.” He waved a hand at the line of dragons who were singing, pacing and keeping watch all without apparent strain on their faculties. “Look at that, Mons. These dragons must have a natural affinity for sound and-“

He was cut off when two dragons suddenly dropped down the ridge in a single graceful and seemingly effortless leap. It was easily a twenty foot drop, if not more, but neither creature seemed the least put off by it as they flowed towards the two humans like some strange dun and green liquid. That alone wouldn’t have prompted Dmitri to stop, but Mons had quickly pushed him back a few steps and taken up a position between the dragons and the doyen. Dmitri suppressed a huff and watched what the dragons would do next.

What they chose to do was come to a stop about ten feet away and pull themselves up on their hind legs. With them so close at hand Dmitri was forced to increase his estimate of their size by another foot or two. Or perhaps these were just unusually large specimens. Both dragons dipped their heads down on their long, sinuous necks until they dropped lower than their shoulders, then snapped them back up again, almost like a snake preparing to strike.

Except instead of lunging forward the dragon with scales of a darker green started to talk. At first Dmitri didn’t realize that was what was happening. It wasn’t until the dragon made it’s second attempt that he recognized that the dragon was speaking a human language. The first time around the dragon had chosen a language from some phoneme he wasn’t familiar enough with to identify on hearing it. But the second time he could identify obvious shades of the twelfth phoneme, Mons’ native tongue. The third attempt was a recognizable greeting in the fourth phoneme. The dragon was apparently determined to run through languages until it found something they both spoke.

Highly unusual but not necessarily a bad thing. Dmitri waited until the dragon paused for a response, then said, “Do you speak the language of the Throneworlds?”

The creature stopped for a moment and canted its head to one side. “Little.”

Dmitri stifled a sigh and switched to his native language. “Then how about Cyrillic?”

“That is a more comfortable language for us to speak in,” the dragon said. “I am Thrinnaeveous, the Kor’aj of this tribe. I will listen to your words and speak on our behalf.”

Dmitri easily recognized a ritual greeting when he heard one. Since it seemed the polite thing to do, he did his best to match the dragon’s earlier nod with a bow and said, “I am Dmitri Dostoevsky, a Doyen of Terra Eternal. I greet you on behalf of myself and my brothers, and my father and his brothers.”

——–

Thrinnaeveous tried to pick apart the human’s greeting. He knew that humans naturally respected family, although they did not go so far as to band together into tribes as dragons did. But he wasn’t sure what this human’s father or brothers had to do with the situation at hand, if anything. By the same token, any fool could see that the earth would last forever, but what a doyen was or what it had to do with that was not something he could fathom.

Worse, it was the younger human who was speaking. Not only would a younger dragon never think of speaking before his elders, at least in matters such as these, until that moment Thrinnaeveous had assumed that the same was true for humans. Now, he was not so sure. And Dmitri had made no move to explain his strange trio of companions as of yet.

“I welcome you to this dragon’s mount,” Thrinnaeveous said, shifting his feet slightly to display his desire to get to the point. “And ask what brings you to it.”

“Simply this: It is not your mountain.” The doyen gestured to encompass the path they stood on and everything above it. “This territory belongs to the city of Lienz, in the nation of Ligare, who’s king and nobles have sworn loyalty to the Throne. You are trespassing here, and preventing the people from working the mines and enriching the kingdom.”

Thrinnaeveous shifted back a step, surprised. “No humans lived here when we arrived.”

“Of course not,” the young human replied. “They work here, but live at the foot of the mountain.”

“How can you claim land you do not live on?” Thrinnaeveous demanded.

“Whether you acknowledge our claim or not, the fact is we have made it.” He gestured back down the mountain. “I admit the Ligarans were not exactly diplomatic when they initially approached you. Perhaps if they had explained the situation before you became settled here there would have been less of a conflict.”

Thrinnaeveous dropped his hands to the ground and rested on all fours, prompting the doyen’s two armed companions to bring their weapons up, showing a surprising degree of synchronization. Rallaj slid forward and bared his teeth but Thrinnaeveous waved him back. “Dmitri Dostoevsky. My people have traveled long and hard. We have come to this mountain, who’s stone does not sing the song of our home, and now you wish us to continue on our way?” Behind them, the voices of the tribe rose in unison, their objection adding force to his words. “Where are we to find rest and a welcoming voice from the earth if not here?”

For a moment the doyen was silent, although whether he was considering what Thrinnaeveous had said or simply marveling at the chorus of dragons was not clear. “Kor’aj Thrinaeveous. I cannot say where you will find a home, or if it will be soon or far in the future. But this cannot be your home. I have a duty to the people of Lienz, to restore their livelihood to them before they are forced to leave their homes. You will not allow them to return to their mines?”

“You know as well as I that such work weakens the mountain and makes it unsafe.” The chorus shifted key and matched his derisive tone. “To allow you to undermine the mountain is to allow you to undermine our homes.”

“Then I’m sorry.” For the first time the doyen took notice of his companions, gesturing for them to lower their own weapons and line up to his left. Once they had done so, Dmitri turned his attention back to Thrinnaeveous and said, “This is Solomon ben-Gideon.”

Thrinnaeveous waited for a moment, expecting to hear the names of the rest. When the young human said nothing more he swept his neck to include all three. “Which?”

“Yes.” The three men answered as one. Thrinnaeveous jerked away as if confronted by a wolf, but the three ignored his reaction. “I am Solomon ben-Gideon. A soul of One. Thrice I have been born under different skies but now I walk the worlds as one.”

“I am impressed with what your people are capable of,” Dmitri said, once again encompassing the mountaintop with one hand, the sleeve that covered it flapping in the breeze. “But I assure you that the souls of One are capable of much more. Mons has prepared a demonstration for you, I believe.”

The doyen drew a small pendant from inside his coat and did something with it. A second later the sound of the earth and the air changed, as if a a storm had flown up the side of the mountain and was now about to break. Though Thrinnaeveous felt no wind, the cloth of their coats seemed to fill and drift as if the earth itself was exhaling beneath them. The three identical men, no, perhaps it was better to say the man who was in three places, swept an intricate pattern through the air before them, deftly avoiding one another and completing the movements in less than two full heartbeats.

The one with a spear touched it’s point to the ground and the side of the mountain shook. A great crack formed across the path, separating the humans and the dragons, and from the depths of it Thrinnaeveous could hear the sound of liquid earth roaring. As the tremors faded away the doyen called across the chasm. “Know that a threefold soul is not the greatest of the souls of One, nor are they the most dangerous weapons in our arsenal. In two weeks time, Terra Eternal will come and seal this gap. If we still find you beyond it, we will cast you from these mountains by force. Until then, Kor’aj Thrinnaeveous.”

The young human tucked away his pendant and the air fell still again. Then both he and his companion turned and walked back down the path they had come by.

Rallaj and Thrinnaeveous watched them go, then Rallaj went to the crevasse and peered into it. “This is beyond even our stone songs, Kor’aj.”

“Well said, Rallaj.” Thrinnaeveous went to stand by his seeg, joining him in his grim contemplation for a moment. Then he gently dripped his head down to be level with Rallaj’s and nudged him away from the gap. “Come. We have much to do, it seems.”

The guest from the tent of meeting was waiting for them at the top of the ridge. Like the other two, he was human, but he carried no weapons, but rather a heavy sack of trade goods. He had already packed it away, perhaps having sensed that there would be little market for what he brought now. “Quite a difficult choice your people face now, Thrinnaeveous.”

“And we must make it on our own,” he replied. “We will take no more of your time. Perhaps the people of Lienz will be more interested in your wares.”

The man set aside his heavy sack, carefully holding his long hair to one side so as to ensure it would not get tangled in the strap. Then he straightened up and fished around in the pockets of his coat until he produced a scroll. “You may be right, old dragon. But before I go, let me ask you one last thing. Have you ever heard of the Jovian League?”

——–

“You know, if they stick around they might cause more problems for whoever’s sent to evict them.” Mons looked up from the matrix he was carefully monitoring. “It’s not like the Throneworlds are likely to dispatch a group that includes a soul of One to deal with them.” He nodded his heads towards the pendant at the center of the spellwork. “To say nothing of a full blown Coretap.”

“Maybe not,” Dmitri said with a shrug. “But overestimating the opposition is just as crippling as underestimating them. In the mean time, our side will have a decent idea what to expect. I mean, a race that can create power words out of music? Can you imagine the panic that would cause if it caught you by surprise?”

“What really gets me is the way the back up was harmonizing with the lead dragon.” Mons’ heads shook in sequence, one of the weirdest gestures in his admittedly weird repertoire. “They either work on it from birth or do it intuitively. I’m not sure which possibility scares me more. They may not be able to match me for precision, but there’s far more raw power there than I’d ever like to see up close.”

Dmitri sighed and got up from the log where he’d been happily resting his feet just before their confrontation with the dragons and started pacing the path. He was fairly sure the tribe wouldn’t follow them down the mountain, but if this was going to take much longer they’d need to move further along. He wasn’t sure if the dragons were native to this face of Terra or not, but if they were there was no point revealing how they traveled from one point on the horizon to the next. “Are you still not ready, Mons?”

“Properly calibrating to the beacons can take time,” he said. “But I prefer to take that then to wildly jump to an unexplored Terra. Why, are you in a hurry?”

Dmitri shrugged. “It just wasn’t a very difficult problem. I’m ready to move on.”

“And let the other shoe drop in someone else’s lap?” Mons asked teasingly.

“If your worries become a problem, I deal with it then.” Dmitri shrugged. “In the mean time, there’s fifty two worlds that offer fealty to the Throne, and only five doyen to smooth out the problems that come with all that implies. There’s still plenty for us to do.”

“Always so serious,” Mons said. But it was gentle and good natured, not teasing or sarcastic. “Well, then I suppose we should move on.”

The spell he had been holding collapsed in on itself, and the horizon line bent until it seemed it would swallow them. Then, as soon as it had happened it all snapped back into place. And with that, they were gone.

Fiction Index

Portfolio Diversity

A week from next Monday marks the end of the Nate Chen Summer Short Story Extravaganza, that wacky event where I write short stories until all our eyeballs bleed and hope somebody reads them (and I know from my stats and likes that some of you are, for which you have my thanks.) The first and last of these stories are Project Sumter tales, beginning with #63 at the end of June and ending with Trial By Winter, coming week after next.

But in between I’ve chosen to highlight three other flavors of story that I’ve had bouncing around in my head.

Stories of the Divided Future and the Weavers of the Heartland are based on things I’ve written before I started on Project Sumter, which was actually something of a whim that occurred to me last Spring after I finished reading most of Mark Waid’s Irredeemable. In fact, my first full length novel focused on the Weavers of the Heartland. Maybe someday I’ll get that published in some format…

Endless Horizons is of more recent vintage, like Project Sumter. In fact, they arose just about the same time and, just like Sumter, incorporated aspects of other stories that I had not found a good use for yet. Hopefully all that will come to light in due time.

So why go to all this trouble to get exposure for all these different stories? Don’t authors usually stick to one or two kinds of stories once they get started?

Well, for one thing, I’m not really “started” yet. I have a small readership on a blog in a busy section of the Internet. It’s not like I have a hard, fast profile to keep to yet. Branding is important to a writer, but right now I’m still looking for something that will give enough exposure that branding matters.

But more than that, once I do have a large readership I’d like to have the reputation of writer who writes lots of different kinds of stories. I like writing about Circuit, Helix and the strange slew of people that you could theoretically call their friends, but I’ve also loved sci-fi and fantasy since I was a kid, and most of all, as a writer, there are a lot of different genres out there that I’ve enjoyed reading and would like to write in.

So I hope to keep writing a lot of different stuff, and I hope you’ll keep reading it. I’m still feeling all this out, as you’ll quickly witness next Monday. I had originally intended to introduce Endless Horizons with a couple of short stories from what I like to call The Legend of Veronica Locke. Unfortunately, I made a common mistake and started the story at the beginning. This is because I wanted to produce two short stories that could stand alone and also make sense together, kind of like the many short stories in I, Robot. After a lot of work, I decided this week that it’s just not working. The Valley of the Shadow of Dagon turns out to be a chunk of a larger story, but something that’s not quite a novel. Consider it a teaser for a project that will hopefully be continued at some point in the future. In the mean time, on Monday we’re going to hop around the time stream a bit and look at something entirely different, but still under the same sky.

I also hope you’ll check back in a few weeks for the beginning of Water Fall, the next Project Sumter novel. I say a few weeks, as I currently plan to take a week off between Trial by Winter and the first chapter of Water Fall, to work ahead a little and hopefully finish a manuscript that I’ll be marketing for publication. The kind that comes with actual payment. (*gasp*) More on that as it plays out! See you next week.

Cool Things: Twelve Angry Men

One of the benchmarks for art is it’s ability to remain relevant to changing times. Twelve Angry Men is one such film (at least, the 1957 version, I haven’t seen the remake.)

The premise: A murder has been committed. The victim: A man from the wrong side of the tracks. The accused: The victim’s 18 year old son, who was heard shouting at his father only hours before the murder. This… is not their story. Rather, this is the story of the twelve men who must convict or acquit the accused. Is there enough evidence to say with certainty that the man killed his father? If so, he will go to the chair. Is there doubt in their minds? They must let him free. Do they even feel the need to take the time to debate what seems to be an airtight case? After all, this is one of those people from that neighborhood.

As it turns out, only one juror, Number 8 (Henry Fonda), feels the need to say anything at all. But sometimes, that’s all it takes.

Twelve Angry Men is not a film about justice in the way we usually understand them. It doesn’t focus on the person who was wronged or the person who did the wronging. Rather, it sits down and takes a hard look at how we deal with both groups of people. It’s a film about truth and shades of gray, but at the same time it doesn’t say there is no truth but rather that we have to acknowledge both the truth and our difficulties in finding it by doing something we don’t like to talk about today – judging. Through out the film, the jurors carefully judge evidence, witnesses, the accused, the victim and even each other in order to arrive at their final verdict.

Many films (both today and even in the era of black and white) act as if there are only two groups of people in the world: People who see the world in black and white and look for right and wrong everywhere, and people who see the world as shades of gray with no right or wrong anywhere. Twelve Angry Men is a film about people who think there’s probably something like right and wrong, but have to deal with sifting through all the gray to get there. And the gray is more than just rather tenuous, morally questionable situations. This is real stuff.

What obscures justice isn’t contrived situations of philosophical arguments. It’s punishing heat. It’s grating people in the seat next to you. It’s a pair of tickets to the next big ballgame, which you’d rather be watching then being here (or really, most other places.) It’s personal prejudices, grudges or just a desire to see the immediate surroundings in harmony. It’s not like the jurors don’t think there’s a right or wrong, they just don’t see what it has to do with this situation here.

But in the end, a young man’s life hangs in the balance.

In the end, the integrity of twelve men rests on judging the case rightly. And, in turn, they will determine whether their society will do justice by that young man and his father, who is now dead and buried. When they leave that courthouse, there will be no cheering crowds, no newspaper headlines and, from the looks of things, no unshakable, life long friendships.

What there will be is a sense that justice might not be so far away after all.

The Valley of the Shadow of Dagon

The Valley of Dagon’s Disapproval was not exactly what Veronica had been expecting. Of course, no one under the age of fifteen had ever been there, supposedly, although some of the older children talked about sneaking out there at night, but just enough failed to come back from such expeditions to make such trips, and the stories that went with them, very rare. What Veronica found there didn’t resemble any of those stories anyway. Even in her addled state, she could see enough to realize most of those stories were told by people who had never been to the place in person.

There weren’t rolling banks of fog oozing over the edge of the Valley, nor did jagged stone line the cliffs on the northern side like the teeth of a great beast. The ground did not rumble with the hunger of the god that dwelt within. It looked just like any other valley around the province, a strip of dry, low laying land full of scrub that clung to the sides of cliffs for dear life.

It looked totally innocuous. Even standing on the cliff’s edge and looking down at the stony floor of the Valley, Veronica could see no sign of its long history as the seat of Dagon. They did not give her long to look over the Valley before they threw her over the edge. When she figured that when she reached the bottom  what the Valley looked like wouldn’t matter so much anymore.

But the Valley wasn’t out of surprises for her yet. Almost as soon as the hands had left her back and her feet had left the cliff she felt the change. For just a moment the sky seemed to flex and bend, Veronica felt like she was being turned inside out. Then, as quickly as it came, it was gone. After that, she would have been hard pressed to say what exactly happened next. There was a brief glimpse of a vast expanse of bright blue, very different from the gray overcast skies a moment before, then something solid whacked her in the back of the legs and sent her tumbling.

Veronica went spinning through the air for a heart stopping second, then slammed roughly onto a a steep, grassy slope and rolled, scrabbling frantically for purchase. She had just enough time to realize that a river had somehow managed sneak into the bottom of the Valley where it hadn’t been two seconds ago before she rolled into it.

In three seconds the biggest problem in her life had gone from being unable to fly to being unable to swim.

The current of the river probably would have swept her away entirely if it hadn’t first slammed her into the pylon holding up the bridge. By this point, Veronica was well and truly sick of slamming into things but, since she had expected her life to end with a much more violent encounter with the ground five seconds ago, in many ways it was a step up. Of course, she didn’t have much time to be philosophical about it just then. What she did manage to do was grab hold of the rough wood and clung to it for dear life.

For just a moment she held perfectly still and tried to gather her wits. She was, unsurprisingly, at the bottom of a valley. But instead of the dry desert floor, scoured by the passing of many rains, the ground was covered in thick, green grass that ran down to the river. She was clinging to the side of a strange, patchwork bridge that looked like it had been sewn together by giants and dropped into the river from the sky. The idea made her giggle.

She was laughing so hard that she didn’t realize people were running across the bridge until one of them had shimmied down the column next to her and started yelling at her. “Oi, lass! Don’t just stare, grab me broom!”

At that moment the words didn’t mean much to her, but the intent behind his pushing a long pole with bristles at one end was clear. Veronica shifted her grip on the beam she was clinging to and grabbed clumsily for broom. The morning’s several falls, plus whatever was in that drink she’d been given before being taken to the Valley that morning, had left her quite dizzy and a little giddy. She did manage to grab hold eventually, and the man dragged her over and looped a rope around her waist. In a matter of moments she had been hoisted out of the water and into a crowd of half a dozen men of various ages, who all looked at her and muttered to one another incomprehensibly.

The man with the broom came climbing up the side of the bridge and threw himself over the railing with a final huff. For a moment he just stood there, brushing water out of his clothes and tsking. For some reason, instead of just splashing water around and leaving his clothes wrinkled, the action actually sent sheets of water running from them until, a few seconds later he was quite dry. The image was so funny Veronica found herself giggling again.

The men on the bridge, and Veronica noticed that they were all men and they were almost all armed with hammers, saws and other tools of the carpentry trade, clustered around her and started to babble at her incoherently. The man who had climbed down the bridge earlier waved them back, saying, “Break it up, boys. No call to all be hovering over her like a flock of vultures. Now,” he knelt down and gave her a quick lookover. “Who are you, lass?”

For the first time, Veronica noticed a few things. First, he didn’t have his broom thing anymore. Guiltily, she wondered if he had dropped it in the river trying to save her. She had no idea what such a thing might be used for, or if it was valuable. Second, if she listened closely, she could tell that this man was speaking the same language as everyone else, but for some reason he made sense when the other men didn’t. Third, everyone was dressed strangely but his clothes were strangest of all.

All the men were wearing loose fitting pants, a kind of clothing she’d thought only the wealthy wore – and she’d never met any wealthy carpenters. And their tunics were worn tucked into the pants, which struck her as a very hot way to dress. Her rescuer looked even more overloaded with clothes. His pants were cut off at knee length and some sort of close fitting cloth tubes were pulled over his feet and calves. He wore something that looked like sandals with closed toes and heels on his feet, just like everyone else, but he also wore what looked to be a leather cloak over it all except, instead of simple holes for his arms it had sleeves like a tunic. A weird kind of bag with a stiff brim slouched on his head. She would have though he would sweat to death except she was beginning to realize that it was actually much colder here than she had expected it to be. And she was beginning to suspect that wherever she was, she was a very long way from the Valley of Dagon’s Disapproval.

One of the carpenters said something to the now-broomless man, the only person on the bridge other than Veronica who wasn’t carrying something that looked vaguely carpenteresque. He took the strange bag off of his head and scratched his hair. “I don’t know. It looks like she’s been drugged.”

More strange talk, although Veronica knew enough to recognize a question when she heard one. Then the man said, “I can see she can’t be more than ten. Just because I can tell she’s been drugged doesn’t mean I know why, or what to do about it. Maybe-”

“Who are you?” Veronica asked, swaying dangerously as took a step closer to him. “Why is it so cold?”

He stared at Veronica for a minute, then slumped. He had great round cheeks that looked something like a pomegranate and even they seemed to wilt a bit. “Great. She’s not from around here, is she? Did anyone understand that?” No is recognizable in any language, and it was the first local word Veronica picked up. After hearing it a half a dozen times it would be hard not to. The man turned back to her. “Sorry, lass. I can’t understand you.”

She shook her head in dismay. “That’s not how talking works!” For a moment she planted her hands on her hips and braced her feet, just like she’d seen her mother do a dozen times and like she had often done with her younger brothers and sisters. She quickly regretted it because the wind stole the warmth from her like a greedy dog after meat. She quickly wrapped her arms around her middle and hunched against the cold, muttering, “If you can say the words you can understand the words.”

He sighed and said, “That’s not the way the gift works.”

This time, Veronica did her best to listen to what he was saying. The words weren’t familiar but somehow she was understanding them. That made picking out one to repeat fairly easy. “Gift?”

One of the other men said something and the leader, since that was what her rescuer looked to be, turned and irritably said, “Thank you, Franz. Why don’t you boys get back to work and let me handle this? She can’t understand what you’re saying anyway.” For all his chubby cheeks and slight build, the burly carpenters were apparently willing to take his orders because they went back to one end of the bridge with little protest and started to work. The leader sighed and reached into his coat, pulling out a folded blanket that looked like it had seen better days. Veronica had no idea where he had been keeping it. “Here,” he said, shaking it loose, “Wrap yourself up or the cold will be the death of you.”

Veronica eyed the blanket and backed away a step. So far she had been given over to Dagon, thrown off a cliff, nearly drowned in a river that hadn’t been there the day before and dragged out by strange men who couldn’t understand her. She wasn’t going to be brushed off by someone who thought getting dressed meant pulling a bag over your ears! Taking extra care to make sure it was pronounced right, she slowly said, “Gift?”

“That’s right. It’s one of me gifts, always being understood no matter where I go or who I talk to.” He held the blanket out for another moment, then sighed and folded it over one knee and looked her in the eye. “But I can’t understand other people the same way. When I was given the gifts, the Queen told me it was to make sure I was paying attention to the people I served. You see, I’m what you call a dustman. And that’s me name.”

“Dustman,” she said slowly, rolling the word over her tongue and trying it out.

“That’s right. I’ve got me broom.” He reached into a kind of pouch sewn into the side of his cloak and, even though the stitching that held the pouch in place barely looked big enough to hold his hand, he managed to pull the long bristled pole out of it in a single fluid motion. Veronica stared in disbelief, but the Dustman apparently didn’t notice. Or, it would occur to her later, he was used to it. “Of course, a broom ain’t much good without a dustbin, is it guv?” He stood and reached back to whack a round metal can with a fitted lid, setting it rattling. “Take it all together and what do you get? Your humble servant, the Dustman, here to cart off those things you no longer want.”

Veronica couldn’t quite suppress a grimace at the thought that his being there was particularly apt, in that case. Fortunately, he misinterpreted the gesture and quickly swept a few steps closer. “Why, it don’t even matter what it is you’re stuck with. Water?” He brushed a hand across one shoulder and, just like before, the water seemed to flee from his touch, running out of her clothes and onto the bridge in small streams. “Let old Dusty take care of it for you. Dirt on your clothes?”

He backed up a step and somehow produced a strange looking and admittedly filthy tunic from somewhere inside his cloak. The edges looked tasseled, except the threads of the tassel were woven into intricate designs. The Dustman fingered the strange tassels along the left sleeve. “Why, just look at this lace! A dozen washings and it will never come clean! Your dustman takes just such refuse away!”

He snapped the garment once and it released a cloud of dirt which, instead of settling on the ground, drifted over and seemed to melt into his leather cloak. The tunic now looked completely clean and, with a flourish, the Dustman slipped it up his sleeve with no regard for the fact that it really shouldn’t fit there. “It doesn’t matter the kind of mess you have on your hands. To be a dustman is to serve. And to serve, we’re given the gifts. Oh, there’s more than just a few of them.” He shrugged. “But they all help us do our job.” A flicker of something sad flashed across his face. “They help me, I suppose. And they keep me honest. So you can understand me, but I have to work to understand you, see?”

He thumped one hand on the railing of the bridge. “I can carry any kind of junk as far as I need to, however I like, and it will never make me tired, no matter how big it is.” The lid of his metal can lifted slightly and Veronica caught a glimpse of three heads, a goat, a lion and a lizard, all poking out from under it, before the Dustman quickly stretched his other hand out and hammered the lid back down. “Or how contrary it feels about it. But,” he picked the blanket up from the ground where he’d set it, “I cannot take anything a person actually needs.”

Then he held the blanket out to her again. “And I can’t keep it if I find someone else who does.”

Veronica took the blanket hesitantly and wrapped it around her shoulders. It wasn’t much but, now that she was dry, it was an improvement. She looked up at him and thought about what he had just said, and what his gift had told her it meant. She wasn’t sure she trusted it. The only other people who she’d seen capable of things like what he did were the priests of Dagon. At least, she had heard them speaking in other tongues, she didn’t know if they could stick long poles into their belt pouches. It didn’t seem like something priests would need much.

And the priests of Dagon were not people she loved overmuch. On the other hand, if these people didn’t speak her language, what were the chances they knew who Dagon was, or would care that she was under his censure? And what’s more, the priests never gave anything away. That, more than anything else, made up her mind. Once again she did her best to repeat the word correctly. “Honest.”

The Dustman grinned and patted her on the shoulder. “Glad to hear it. Now, maybe we should get you into town and some food in your stomach. You don’t look like you’ve eaten properly in a long time.”

Veronica just shrugged. Six mouths to feed was a lot, no one in her family had eaten well in some time. She was a bit suspicious of this Dustman still, but she figured she could work for her food as well as anyone else, and what more could they really want from her? At the very least, it had to be better than being sent to-

A commotion at the end of the bridge distracted her. A new man had arrived. Like the Dustman, he wore a long, brown cloak with sleeves, but it looked more ornate. At least, it had a belt and a few other strange attachments to it that the Dustman’s did not. But any ideas Veronica had about their being related vanished as soon as the man started across the bridge. He was saying something in a loud voice that carried without crossing the line into shouting, but he clearly didn’t have the Dustman’s gifts because Veronica had no idea what he was saying.

At least, not until he got closer and the last sentence in his speech included one word Veronica had hoped to never hear again.

“Dagon.”

Fiction Index

The Fantastic

It’s a strange word, no?

When you first hear it you probably think of it as a compliment. It means a performance that someone loved, and would want to see again. Something that sets you above the crowd, something that you absolutely loved.

Or at least, that’s one of the meanings. However, according to Merriam Webster, at it’s core it refers to something grounded in pure fantasy or something so extreme as to beggar belief. Something so eccentric that no one would ever expect to find it in their lifetime, or the lifetime of anyone else.

In genre terms, fantasy is a part of science fiction. I don’t agree with that (and sooner or later we’ll cover why, genrely speaking) but there is definitely some overlap.

However, if science fiction serves to illustrate the nature, weaknesses and strengths of human ideas, fantasy serves to illustrate the nature, weaknesses and strengths of humanity itself. There’s all kinds of subgenres in fantasy. High fantasy, low fantasy, political fantasy, urban fantasy, Harry Potteresque, most webcomics, most of the offerings of DC and Marvel publishing, the list goes on. However, one thing unites them:

Once you’ve finished a truly outstanding specimen you will sit back, totally sated, and think to yourself, “That was fantastic.”

There is nothing so extreme, so eccentric, so drenched in personality as the fantasy story. It’s no wonder David Eddings claims that fantasy writers crank out better stories, everything about fantasy is about pushing the limits to bring you the sharpest, best defined stories possible. Fantasy stories sometimes take the trappings of sci-fi, as in James Cameron’s Avatar, one of the things that contributes to the confusion between the two so-called genres. (The opposite can happen as well, sci-fi sometimes hides in the disguise of a fantasy tale.) But at their core, they’re about different things.

So if you’re going to write a fantasy story it has to have, at its core, something truly fantastic. And it can’t be something that market research shows is going to get a fantastic reception from the public, it has to be something you find fantastic or the story just isn’t going to come together. As an example, no matter how popular they are no vampire story I write is going to sell well. I just don’t like them for far too many reasons to go into in here. While vampires are hot stuff right now, no one is going to want to read a story I write featuring one because it’ll be halfhearted, and that will show.

(Note: It’s far more likely that you’ll find a random vampire getting steamrolled by my main characters. After all, the early accounts of vampiresque creatures suggest they were actually a lot more like zombies. Not that I like them either. In fact, don’t look for the undead in my stories period, save for perhaps the occasional ghost…)

Instead of trying to find some idea that everyone seems to love, find something that appeals to you and then push it and push it until it’s so great, so brilliant, so right that others can’t help but love it too. You’ll never get a 100% success rate, of course, but at least you’ll be creating something you love and enjoying it with other people.

The most fantastic image I have ever come across was from C.S. Lewis’ The Magician’s Nephew. In that book, he introduced the Wood Between the Worlds and showed them a passage between the myriad incredible possibilities that existed beyond the two worlds his stories were focused on. With those possibilities came questions. Why couldn’t Jardis turn things to dust outside of her own world? What other ways besides the magic rings could one jump from place to place? With time flowing separately, how different could technology levels become?

Of course, many of these questions were firmly outside the scope of The Chronicles of Narnia. But still, I wondered. And over many years, the idea of a wood eventually turned into a sky. A single, unbroken expanse that stretched across countless worlds. If a person could just walk far enough or fly high enough, perhaps you could find a totally different world just beyond that endless horizon.

Worlds upon worlds to explore, full of interesting people, who knows what state of development, what could be more fantastic than that?

If you can’t think of anything better either, or even if you can, I hope you’ll join me on Monday to take that first step over the edge of the earth…