Finding the Angle in Short Fiction

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I’ve been making a concerted effort to write more—and better—short fiction and send it out to markets. This is partly because I want to be a better writer and because I would love to see my name on the covers of magazines I adore reading. I can’t subscribe to every magazine but I do read LightspeedUncanny and BCS religiously (thank you Kickstarter credits, regularly updated websites of free fiction goodness and Weightless Books).

I’ve spent the last couple of days devouring an Advanced Reader Copy (ARC) of my friend Kim’s Mosaics: Volume 1 and it’s a beautiful tome, not just physically but compositionally. That’s what struck me, the positioning of the stories, poems and essays was particularly well done and I’ve not yet found one entry in the anthology I don’t like whereas I normally find anthologies are very much like albums; you love a couple of songs and the rest are kinda meh. That book has a soul which is a very hard thing to do and is seldom ever seen in magazines, no matter how well they’re curated.

I suppose a lot of that is down to the fact the anthology was curated with chosen pieces rather than a compendium of on-spec stories (which is how the anthologies I write for normally seem to be done). It makes for a nice change but it also got me thinking about my short stories, the ones I’m sending out to magazines, those are all on-spec (meaning I’m writing and sending them out without being asked for them). This makes it much harder as you’re basically writing stories in the hope that one of the slush editors/the EiC are going to like them enough to buy them.

But these on-spec stories, they’re also me; my ideas and composition. I have four stories out right now, with one more to follow after my crit group later today. Each story has focused on different ideas, styles and tenses. One is urban fantasy, another sci fi with notes of magical realism and fantasy, the third is historical, alternate fiction and the fourth an origin story. The latest story is epic fantasy with a secondary world based on ancient China which is just about ready to go out into the world for a round of rejectomancy. The last is a second person sci fi story about an author whose stint in a mental hospital activates psychic abilities which allow her see other worlds and dimensions, eventually evolving to a point where she is almost able to alter reality.

Each story is stand-alone and unique, part of the act of selling stuff is knowing which markets to try and that, in my opinion, is the problem or, at least, the challenge of submitting to market. You’re basically sending stuff out with no idea how it will be received, though if you’re lucky then you get rejections (called personals) with a note on what the editor liked or didn’t which can help guide future submissions, albeit to other markets.

Of course then you have that great question: to re-edit or not re-edit. A single editor doesn’t speak for the whole collective and one change might turn another editor off a story entirely. Being a slush editor for is one of those things which should help, except I did it for two issues and never had one of the stories I sent up go anywhere. Plus, with new magazines, it’s much harder to find a soul than with once that have been going for years. It’s almost like a brand and those, regardless of whether it’s a person or a magazine, take time to form. But, boy, is it fun to watch.

Every time I get a personal, I want to re-edit. This is my character flaw: I’m impatient and I latch onto what people say as if it’s gospel. It’s also why I’m in a crit group, surrounded by people whose opinions I trust, especially when it comes to my attempts at short fiction. Like journalism, it’s all about the angle except it’s this amorphous thing which changes depending on the editor.

I started a file last night, a folder on my browser called ‘Short Stories I Love’, mostly composed of entries from Lightspeed and Uncanny of short fiction which has really moved me. It delights me when I see the authors of my favourite stories with new ones in magazines I wait for with baited breath each month. I’d love to be able to to subscribe to every magazine but I can’t so I rely on the biweekly updates where fiction unlocks for free on publishers’ sites. Doing this, it’s helped me with my own writing but has also helped me, with my short attention span, to find a medium I really do love to read.

And if I read it, one day, I’ll sell just the right story.

Until then I’m going to play the probability game.

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New Short Story: “Irezumi”

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“Irezumi” started out with a simple idea: a mysterious tattoo appearing on a woman’s skin. I wanted to try something historical and if you’re going to write about tattoos then you want Japan, specifically in this case the Meiji Era when Japan decided to try to ban the practise. Even today there’s a heavy stigma around it, assuming that if you’re Japanese and have tattoos then you must be yakuza (members of the Japanese mafia). Most onsen and bathhouses, for example, ban people with tattoos though foreigners often get a little more slack, especially if their tattoos are covered over.

You can see my planning post on this story here.

So tattoos … that meant my narrator needed to be an artisan, a tattooist practising his craft underground during a period where it was illegal to just go out and get inked. Oh and there needed to be a customer, a poet’s daughter, afflicted with a tattoo that she doesn’t remember being inked with and appears to be growing larger with every passing day. As the setting for this was in Kyoto, I made the tattoos those of bamboo saplings (and later trees) found in the groves of Arashiyama.

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Seriously, Arashiyama is a beautiful place.

The crux of the story is the narrator’s attempt to save the tattooed woman, it’s also about how the kami are possessing unaware humans and overwriting their consciousness, their reasons for doing so as well as Master Hori—’s attempt to find a middle line.

I have a market in mind for this story though it doesn’t open up again for submissions for another week, which gives the story time to rest as well as for me to rewrite bits. The sub-plot about the kami and their reasons for invading humans needs to be louder, stronger.

But the first draft, for once, it feel like a strong one. Watertight, though a fresh pair of eyes will probably help. It’s not a mystery but it’s definately closer to urban Japanese fantasy than it is traditional sci fi or speculative fiction. I’m quite excited about this one, actually. I hope it sells but it’s another arrow in my quiver, another story to send out into the world and see how it’s recieved.

Wish me luck!

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The Liner Notes: “Irezumi”, Shinto and Failure

 

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I wanted to start writing about my processes when writing a short story, notes about ideas or links to things which inspired me to do the writing. I’m calling this series The Liner Notes in homage to the booklets which came in CDs with the lyrics and, now and again, notes from the composers/bands about what inspired the album in the first place.

I’m in the middle of writing a short story called “Irezumi” (刺青 which is used as a word for Japanese tattooing but actually translations as ‘stay’, referring to the way the ink used lingers permanently under the skin). The title is a double entendre and the story is one related by a master tattooist about the time he met a woman whose tattoo, of a bamboo forest, mysteriously began appearing one night.

I started off this story knowing several things:

  1. It was narrated by a tattooist in Meji era-Kyoto (who refuses to give his name but is third in his lineage and took the first character for his artistic name, Hori—, from his own master) in the middle of a country-wide the clamp down on his art.
  2. A woman comes to him with a mysterious tattoo (in her case a grove of bamboo saplings on her ankle) that appears to be getting bigger by the day. She says it’s not something she had done but rather appeared one morning and has been growing since.
  3. The reason why had something to do with the period of modernisation known as the Meiji Restoration (or Meiji Ishin) when Japan thought modernisation was cool and so tried to catch up to Europe as far as possible, banning samurai from carrying their swords (in effect: taking from them their souls), clamping down on irezumi and wearing European clothing rather than Japanese dress.
  4. The narrator visits a blind seeress, an itako, in some obscure village who explains what’s going on.
  5. The narrator fails in his task to help the woman with the mysterious tattoo.
  6. The world is irrevocally changed but the change also forces a new status quo.

I know the theme of this story is sacredness and the narrator’s failure in his task. The image above is a torii gate made of stone which I snapped while in Japan, that rope represents the start of sacred space (it’s called a shimenawa or 七五三縄). Anything can be sacred from shrines to rocks and trees (called yorishiro/依り代), you can tell because there is typically shimenawa surrounding the object. But what if a person is sacred?

Of course, Shinto has a concept for this which works beautifully for the story: yorimashi (憑坐) (the second of which is the same character as the one in miko (shrine maiden/巫女) BTW. Yorimashi are basically kami vessels or god-stolen/occupied bodies and this is the crux of the story, as is the concept of purity and divinity.

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The thing about writing this kind of fiction, I’ve discovered, is no one is going to shout at you for writing historical fiction. I’ve always shied away from this genre, convinced someone was going to decry my fiction for errors. It’s not about getting every detail correct, more about creating a convincing world and Japan I know enough about (from going there and nearly a decade specialising in all things to do with the culture) that I can do that.

Some of my favourite parts of Japan involved randomly wandering around Shinto shrines, washing my hands and mouth in the fountain like the one here, mostly while cherry blossom fell around me. Shinto is a religion of purity and sacredness but both can be found and adopted, anything can become a kami and anyone can see the spirits existing in nature around us. I figure, though tattooing involves blood (something normally verboten due to the impurity) the art itself, the healed product, that can be a sacred thing, a meditation on life and a lifelong reminder of something important to the person being tattooed.

Now that is sacredness right there.

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Happy Book Birthday: Alt.History 102

 

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Alt.History 102 is now live on Amazon and you can purchase it for just 99¢/£0.99!

“The Elissiad” is my first foray into alternate fiction and my second Future Chronicles title (even if it’s my first under my new persona). Having never written this genre before it’s inspired me to write more historical fiction in the form of a short stort set in Meiji-era Japan called “Irezumi” (though whether this story becomes alternate remains to be seen).

But this story of love and death in Carthage, it couldn’t have been written without three years of emersion in ancient Greece and Rome, or my degree in Theology and Religious Studies. It’s my eulogy to my previous self and the opening gambit in my new career.

Oh and I did an interview about the story for Will Swardstrom which you can read here.

So come and explore ancient Carthage during it’s impossible Golden Age. I’d love to know what you think of it!

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