I did a class with Seanan McGuire and Cat Rambo (I’m a long-time member of the Rambo Academy of Wayward Writers) last week which left me thinking.
I want to make a promise to my readers: I’m working on a series and I want to finish it. I’m trying to flesh out how many books we’re looking at (I’m thinking five plus short stories). Also, I seem to be writing from the end first, rather than the beginning.
But I want to make a promise to you. To all of you. I am writing and I will finish this series.
First off, a note on my year out (as we’re into May and well into the mid-year), this doesn’t mean I’m not writing. Far from it. It just means I’m not publishing, mainly because I just can’t financially or psychologically do it right now. I also have nothing I’m ready to let go yet, much less get professionally edited. I’ve not even sent out a short story yet, despite writing quite a few. This is basically just me being a little fragile at the moment so I’m focusing my sights on what I feel like writing, as opposed to a schedule which will just put pressure and stress on me.
Remember: stress + pressure = mania.
Oh and I’m horrible to myself as well, in terms of the pressure I put on myself, the limits I aim for. So I need the time.
So far, so good.
You’re probably wondering: Asha, why is there a pic of Moleskines on your post header? I found the shop in Covent Garden and was very good but stationary is my thing, my one joy. But, they’re actually here to segue nicely into the Liner Notes for my current WiP which is all about a bookbinder living in a segregated and very technologically focused society.
Currently called “Bindings, Seen and Not” it refers both to the bindings in books, artfully hidden by endpapers, skill and straight lines, but also the state of things in Taborin, the city where this story is set. Ironically, due to the fact Maxov is biologically an intersex/third gender Ubani, a progenitor, he’s effectively a member of an enslaved minority. Society uses ‘it’, the Ubani use ‘they but some, like Maxov, actually identify as one gender or another, hence his pronouns. Anyway, as he notes in the text, he can see his bindings the Directorate has placed on his people which gives him infinitely more power than most would think:
Technology could change words on the page, you could with print as well, it was just a lot more obvious and harder to ignore. Even the Ubani pretended to be blind, sometimes, to keep themselves and their culture’s existence, safe.
They were all bound in knots, except the Ubani—chattel to sterile families, passed like pieces in a game—who saw and felt theirs every day. Rough against their skin, too tight. He pitted the others, the remnants of old Atridia, because their bindings were ribbons so fine, so soft, they didn’t notice the hangman’s noose around their throats.
I do actually know how to book bind, I learnt the basics a few years ago and, thanks to YouTube, have been learning more advanced techniques. This is mainly due to my stationary fetish and my on-going love of Midori (most notebooks are staddle-stitched and easy enough to make). The story itself is triggered when Maxov’s days running a ramshackle emporium of old and mostly illegal books is interrupted.
The story itself is triggered when Maxov’s (who’s in his late seventies at this point and very gruff expect for those he likes) ‘adopted’ daughter, Usaki, comes in and asks him to spirit away some incriminating letters and journals left to her son by his mother (Juran and Reshi Elaspe of The Fractured Era) by sending them on the Ghost Road, the progenitor-only escape route off-world and seeing them placed within the Ubani Archives. He accepts because the letters, from Juran’s biological male and female grandparents, are pre-Singularity, but also because Usaki asks and offers to pay the toll herself: by writing down her life story for preservation in the Archives. Eventually, someone else will add in the rest, how she lived, how she died, who will remember her.
So he makes her a book in which to record her story and, as he does, finds himself remembering his own past as well. He was born before the Singularity and given male gender after the pogroms and the nationalisation of Ubani and the introduction of a licensed lottery that saw the Ubani become surrogates to fertile, well-adjusted and connected, families. Good genes were welcomed, undesirables denied children and so weeded out. The Ubani themselves, referred to as ‘progenitors’ by the state, are forced into rotation, have their first child (always a progenitor) stolen from them as a life lesson and are moved from family to family, birthing sons and daughters before being dragged to another posting. Eventually, they just end up on the societal scrap heap. Just as Maxov found himself and decided to look opportunity in the face and rely on his community and himself.
Right now the story is a combination of a historical worldbuilding info dump and bookbinding porn (as in writing very descriptively about how to make a book, not literal porn). From endpapers, bone folders and signatures to binding and materials. I’m trying to evoke the emotion of a different kind of creation and it’s refreshing, actually, to focus on the enduring quality of a well made book, not just the words inside it.
As a bonus, this is the video which inspired the story: