First of all, there is no one more horrified by that blog title than the editors and authors at the small press I run. They may well organize a mutiny as soon as this is posted. So aim your vitriol at me, not at World Weaver Press. Most of our books do employ the good ol' Oxford comma.
Second, the Oxford comma is often a Band-Aid that covers up other structural problems within a sentence. Just... hear me out, okay? Ever since the Oxford Style Guide dropped the serial comma in 2011, there have been entertaining memes floating around the internet "proving" you need the Oxford comma to avoid ridiculous confusion. Here are two of the most common examples:
The argument here is that without the Oxford comma, the second and third items in this list can be mistaken for a descriptive clause of the first. But consider this: what actually creates the confusion in both of these sentences is the position of a plural noun followed by two singular nouns. Rearrange the sentence so the plural isn't first, and suddenly it doesn't matter whether that comma is there or not.
We invited JFK, the strippers and Stalin. We invited JFK, Stalin and the strippers. To Ayn Rand, God and my parents. To Ayn Rand, my parents and God. But not all Oxford comma usage can be solved with that One Weird Trick. Here's a different Oxford comma meme, with a different issue.
Ah, my good friend the direct address comma, made famous with the "Let's eat Grandma" vs. "Let's eat, Grandma" example. Sure, lack of an Oxford comma can create the impression the speaker is addressing the people (or objects) that appear after the first comma. Except, maybe a little context and common sense is necessary? Is it likely, from the context of the sentence, that the person is actually talking to a sentient toast-and-juice monster? I mean, I work in the field of fantasy and science fiction, so it's certainly possible. However, if the speaker of this sentence is addressing a literal toast-and-juice monster, that better be established and described in the narrative leading up to this sentence. Also, the writer should probably come up with a better and more creative name for it than "toast and orange juice." At the very least, it should be capitalized. "I had eggs, Toast and Orange Juice" would signal that "Toast and Orange Juice" is a proper noun.
If it is clear from context that the speaker is not addressing sentient toast and orange juice, does the Oxford comma make this a better sentence? The truth is, with or without the comma, it's just a lazy sentence. "Had" is a weak and vague verb—it merely tells us the food existed and was in your possession. Revise it to something like "I devoured the eggs and toast, and drank three glasses of orange juice," or "I picked at the eggs and toast, and only drank half of the orange juice," and not only are the verbs more active, but we also know a lot more about what's going on. Little ol' "had" could have meant either of these scenarios, but there was no way to tell which. The Oxford comma can't fix that. How about this one?
Let's assume this sentence does not appear in a Haralambi Markov horror story. Obviously, you need a comma after "cooking." But what about that sneaky Oxford—does a second comma actually clarify the meaning? Here it is without: "I like cooking, my family and pets." Here it is with: "I like cooking, my family, and pets." I suppose it does eliminate the impression of a direct address comma: the speaker telling their family and pets that they like cooking (which would need to be rewritten anyway because it would sound stilted and awkward). As with the previous example, context can probably eliminate that possibility better than a comma can.
The real confusion for me in this sentence is whether the speaker likes "pets" in general, or their own pets. Change it to "I like cooking, my family and my pets" and the meaning is more obvious. Better yet, rearrange it to "I like my family, my pets and cooking," and there's suddenly a lot less room for misinterpretation, with or without an Oxford comma. Okay, okay, enough of these silly meme examples. Here's one from real life.
I used parentheses and a plus sign in that tweet because this is what I wrote first:
"Win a paperback copy of COVALENT BONDS, an anthology of geek romance, and a serotonin necklace." Is the winner being promised three things or two? It's unclear whether "an anthology of geek romance" is a descriptive clause for "COVALENT BONDS" or a separate object. The commas create ambiguity that can't be fixed by rearranging the sentence or adding or subtracting commas. Different punctuation must be used. If, however, the Oxford comma were not in common usage, my original sentence would have been clear. Look, there may very well be times when the Oxford comma is absolutely necessary. As entertaining as a lot of these examples and memes are, I remain unconvinced. I'm not here to take your Oxford commas from you, though. Keep using them, if you like them. Maybe the sentence just looks wrong to you without it. Fine! It's a style choice, after all, not a grammar rule. But each time you use an Oxford comma, consider: Do you need it? Do you really need it, or can you write a better sentence?
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Okay, "soon" may be an overstatement, but in any case, I'm happy to report two new stories that should be out later this year. "A Chorus of Voices," a Lovecraftian secondary-world fantasy about an ambitious monk who realizes not all the vibrations they're chanting are for the good of the world, will appear in the November issue of Weirdbook Magazine.
Also, my solarpunk story "Riding in Place" is part of the Biketopia anthology from Microcosm Publishing. It's the fourth in their "Bikes in Space" series, and that's exactly what my story's about: a woman and a humanoid robot bond over stationary bikes on an asteroid mine. There's a Kickstarter running to fund the anthology (and I get paid for the story based on how well the Kickstarter does), so please go check it out, maybe order a copy or show it to some friends. Below are some images from my Pinterest boards for these two stories. I hope the images below will pique your interest enough to give the stories a read when they're released. I'll be sure to let you know when that happens. "A Chorus of Voices"
See the whole Pinterest Board by clicking here: "A Chorus of Voices"
Forthcoming in Weirdbook Magazine, November 2017 "Riding in Place"
See the whole Pinterest board by clicking here: "Riding in Place"
Forthcoming in Biketopia: Feminist Bicycle Science Fiction Stories, edited by Elly Blue I encountered author and editor Danielle Ackley-McPhail via Broad Universe, an organization for women working in speculative fiction, and was immediately intrigued by her "Bad-Ass Faeries" project. So she wrangled together a few of her authors and let me ask them just how bad-ass those faeries are. The authors below are all contributors to eSpec Books’ upcoming anthology The Best of Bad-Ass Faeries, which is currently funding on Kickstarter. The book is a reprint anthology featuring the highlights of the award-winning Bad-Ass Faeries anthology series, which just celebrated ten years in print. The first four anthologies are now out of print, but the Best Of is the editors’ way of preserving the series and hopefully continuing it. See what the authors have to say about their Bad-Ass Faeries, and then check out the Kickstarter here. Kelly A. Harmon, author of “Selkskin Deep” What’s bad-ass about your faeries? Cade Owen, the faerie in my story, “Selkskin Deep”, is a selkie (a seal who can shed his skin and become a man) and a Navy SEAL. You don’t get more bad-ass than a Navy SEAL! This character has both mythical powers, and is in tip-top physical shape—but in all the years he’s lived, he’s never quite understood his “human” side. It’s that curiosity about how humans live their lives that brings him to be on board the USS Livingstone at the height of the Vietnam War. Did you write your story (or stories) specifically for the Bad-Ass Faeries anthology, or had you already written a story about a bad-ass faerie that just happened to be a perfect fit? This story was written specifically for the Bad Ass Faeries series. It started off with a brief email conversation with the editor along the lines of, “wouldn’t it be cool to have a selkie who was also a Navy SEAL?” I ran with the challenge. But the story is much deeper than that. What are you working on now, and where can readers find you? I’m currently working on the fourth book in my Charm City Darkness series—an urban fantasy that takes place in Baltimore. You know that old saying, ‘No good deed goes unpunished.’? Case in point for Assumpta Mary-Margaret O’Connor. Her good deed gets her demon-marked, making her fair game for any passing demon (and a few specific ones). But she’s managed to survive—with help from angels, ghosts, and witches—through three books so far: Stoned in Charm City, A Favor for a Fiend, and A Blue Collar Proposition. The fourth book--In the Eye of the Beholder--is about Assumpta’s best friend Jo, and should be available in May. For folks who love short stories, I’ve co-edited two dark fiction anthologies with Vonnie Winslow Crist: Hides the Dark Tower and In a Cat’s Eye. We’ll be reading for a third anthology in March, Dark Luminous Wings, which should be available in October. Find Kelly A. Harmon Online: Facebook I Twitter I Amazon I Website Jody Lynn Nye, author of “Fifteen Percent” What’s bad-ass about your faeries? My faerie is not afraid to get seriously physical to get her author back to his keyboard and writing. Did you write your story (or stories) specifically for the Bad-Ass Faeries anthology, or had you already written a story about a bad-ass faerie that just happened to be a perfect fit? My story is original to the Bad-Ass Faeries anthology. What are you working on now, and where can readers find you? I'm working on three different novel collaborations, four short story assignments, a new SF series, and a new fantasy series. Find Jody Lynn Nye Online: Facebook I Twitter I Goodreads I Website L. Jagi Lamplighter, series editor and author of “A Not-So-Silent Night” What’s bad-ass about your faeries? Tom-O-Thunder is the guardian for an Irish-American family. This gives him the sort of attitude that only a Leprechaun whose charge is in danger can have. Did you write your story (or stories) specifically for the Bad-Ass Faeries anthology, or had you already written a story about a bad-ass faerie that just happened to be a perfect fit? Just for the B-A Faeries anthology. What are you working on now, and where can readers find you? The Awful Truth about Forgetting, book four of the Books of Unexpected Enlightenment. Find L. Jagi Lamplighter Online: Website John French, author of “Too Many Deaths” What’s bad-ass about your faeries? There are several kinds of bad ass fairies in my story "So many deaths." There are those who despite being tortured can still turn and attack those they believe to be their captors There's a member of the Watch who despite politics and circumstance still manages to achieve some sort of justice And there's a faerie SWAT team. It doesn’t get more bad-ass than that Did you write your story (or stories) specifically for the Bad-Ass Faeries anthology, or had you already written a story about a bad-ass faerie that just happened to be a perfect fit? I wrote my stories, there were two of them which were combined into one, at the request of Danielle who specifically asked me for a "Faerie Swat team." What are you working on now, and where can readers find you? Along with Patrick Thomas, I’m currently editing Camelot 13, due out in 2018 from Padwolf Publishing and Monsters Among Us, a new collection featuring the Baltimore Police Department Monster Hunter Bianca Jones, should be out this spring. As for finding me, I'm on Facebook, and readers are free to email me at jfrenchfam@aol.com Danielle Ackley-McPhail, series editor and author of “Within the Guardian Bell” What’s bad-ass about your faeries?
I have two sets of faeries in my story. The first is Lance Cosain, leader of a biker gang called The Wild Hunt MC. Lance is half fae, half human, and all bad-ass. He is also an ongoing character for me in all my BAF stories. The other faerie in this particular story is a road gremlin who is literally the embodiment of the road. This is relevant to the story because they say there is a love/hate relationship between bikers and the road that is kept in balance by respect. This story is about when something comes in the way of that usual respect…blood is involved. Did you write your story (or stories) specifically for the Bad-Ass Faeries anthology, or had you already written a story about a bad-ass faerie that just happened to be a perfect fit? My stories were all written specifically for the series, but they have also grown beyond the series into novels. There are two so far, The Halfling’s Court and The Redcaps’ Queen. Both are the tale of Lance Cosain and how he came to challenge the High King of Faerie without even knowing it. Needless to say there are power struggles. What are you working on now, and where can readers find you? Goodness... too many things to list here, but primary of which is Eternal Wanderings, a spin-off novella that is based on my Eternal Cycle trilogy about a whole other kind of bad-ass fae. And the third book featuring Lance and his gang, The High King’s Fool. You can find out about me at www.sidhenadaire.com and www.especbooks.com, plus on social media. I tend to stand out. I first met Matthew Burnside a massive Facebook group called MFA Draft when we were both applying to MFA programs. The group was set up so applicants to the many creative writing grad programs could share support and anxiety while they waited for those acceptance calls or rejection notices. Matthew was one of the many memorable personalities in that group. I, certainly, was not, but many of them friended me anyway, and I love seeing where their paths have taken them now that we've all finished our programs. Matthew Burnside's Facebook feed alternates between the most ridiculous, awkward memes and the most inspirational, heartfelt manifestos about writing and art. See the interview below and you'll get a taste of what I mean. Matthew's first full-length story collection, Postludes, is out today from Kernpunkt Press. Sarena Ulibarri: The most important question first: is that a corgi on the cover? Is there a corgi in this book?! I must know. Matthew Burnside: There are at least two dogs in Postludes, but I never specify that either is a corgi. I actually asked the cover artist to just “envision your most precious pet” and a corgi was the result. Pets are inextricably linked to childhood, nostalgia, and most notably our early conceptions of loss I think, so they definitely had important roles to play. SU: In a nutshell, what was the path from manuscript to publication for Postludes? MB: Postludes is a jigsaw of mostly formal experiments I did over the years, some preceding my MFA but many of them completed while I was in my program. Finding a home for the collection was difficult because they aren’t traditional pieces, some have more in common with poetry than prose, and a cohesive theme proved elusive for the longest time. In short, it was a monster to market. I feel like much of my work feels like B-sides, not in quality hopefully but in tone and variety. Prose that feels more like poetry at times (or vice versa) can be really alienating to readers, but it’s how I write for better or worse. Plot or narrative doesn’t interest me nearly as much as conveying a feltness or visceral emotion through landscapes of language. SU: You earned an MFA from the prestigious Iowa Writers Workshop—what advice do you have for young (or not so young) writers struggling through the MFA application process? MB: I know when I first started trying to crack the MFA code (I was rejected by 50+ programs before Iowa finally said Sure, come on in) I was doing it for the wrong reasons: I needed validation. To feel like a writer. I needed people who had already been successful to pat me on the head and go, Yes, little one you have my permission to write your little things. And then, of course, you look around at all the other really talented writers and do your best to follow their example. To publish where they’ve published and how they’ve published. You try to sound like them and maybe look like them and think like them, too. This is the mistake I think, because it means latching on to a path that’s been tread a thousand times already instead of maybe footing it and exploring your own path, which can be scary and lonely but may lead you to yourself---your own unique identity as an artist. At a certain point when I was at Iowa, I remember some of my peer’s words ringing in my ears, regarding this weird new media project I had made: “How in the HELL are you ever going to sell this?” And I remember thinking I HAVE NO IDEA and then promptly thinking, How Exciting is That? Maybe it doesn’t matter if I sell it at all? Maybe it shouldn’t? That doesn’t mean it’s not a worthy investment of time and craft. That doesn’t negate its value as an artful endeavor. That acceptance changed a lot for me. Since then, I’ve just sort of been exploring and writing what’s interesting to me. Some things have been successful, most haven’t, but it’s all one big exploration now. So, I guess my advice to younger writers would be Forget Trying To Make It Into the Cool Writers Club. Forget carving a fail-proof career out of art. Forget perfectly padded CVs whispering the promise of tenure and wide-eyed admiration from little versions of you. Accept Loneliness Now. Invite Failure Now, the more ambitious the riskier the better. Accept being an outlier, an outsider, an under-the-radar obscure no-name Nobody. Because there’s tremendous creative freedom in that, to work on what you want how you want for your own pure-as-ice joy. If you want rabid fans, if you’re desperate for attention, go start a cult. Writing is not a way to get love from others, or at least it shouldn’t be. It’s about finding a key to unlock rooms you never knew you had inside of you. SU: Much of your work can be classified under that fuzzy label of “Experimental Writing.” What does “experimental” mean to you, and how has your understanding of it morphed over your writing career? MB: It used to mean WRITER WHO WILL NEVER MAKE MONEY EVER. It still means that, mostly. But it also means being a Serpentine Disciple of Yes in a narrow valley of mediocrity. It means a willingness to die again and again through your work for the off chance to be reborn as something better. It means restlessness and motion sickness and a stubborn refusal to wear the same hat even if it is the prettiest and most comfortable of hats. SU: What books, authors, or films most influenced you while writing Postludes? MB: I’ve already spoken of the influence Akira Kurosawa’s DREAMS had on the book in another interview, but there are others too: Chris Van Allsburg’s The Mysteries of Harris Burdick, the dream fog logic of David Lynch, Paul Thomas Anderson’s Magnolia, the dancing of Martha Graham, the science of Stephen Hawking, cartoons, video games, even the comedy of Mr. Bean. SU: Do you have any readings or signings coming up? Where can readers find you? MB: None scheduled. I find that my work doesn’t really lend itself to performativity. I mostly prefer to leave it as a thing that exists on the page or screen, but in 2017 that may be something I try to change. I’d welcome the opportunity, especially if it involves working with young writers, as the classroom is where I feel most comfortable. Until then, I live on the internet at http://matthewkburnside.wixsite.com/2017 and currently teach fiction and creative writing for new media at Wesleyan University. Matthew Burnside’s work has appeared in Best American Experimental Writing, DIAGRAM, Ninth Letter, Kill Author, PANK, and Pear Noir! among others. He is the author of several chapbooks and numerous digital works. He currently teaches at Wesleyan University and is a graduate of the Iowa Writers’ Workshop.
Find your copy of Postludes: Amazon KERNPUNKT Press Small Press Distribution
My story "Astra, the Falling Star," a surreal sci-fi about two astronauts whose ship is destroyed while in orbit around an alien planet, has been published online by KasmaSF Magazine. KasmaSF publishes a new story each month, and I have the privilege of being their February author. They were nice enough to publish my apocalyptic Cassandra retelling "As Dust Rolls Toward the Mountains" a few years ago, and I'm thrilled they liked "Astra" as well. KasmaSF commissions original artwork by José Baetas for each story, which makes publication there extra special.
Here's the story's opening paragraph, and below that, the wonderful artwork José created after reading it. I freefall, plummeting through an alien sky. Clouds obscure my vision. Tears and mucus smear across my helmet to obscure it even more. I shut my eyes—such fickle and sensitive sensory organs—and imagine the equations of the forces acting on my body. I try to rearrange their values: my version of praying, I suppose. But the laws of physics will not bend just to save my life.
Speaking of artwork, I've recently joined Pinterest, and created a few boards that represent imagery from some of my forthcoming stories. I hope the images below will pique your interest enough to give the story a read. You can do that by clicking here. It's a short one, only about 3,000 words. And with luck, maybe I'll have a few more boards and a few more stories to share soon.
See the whole Pinterest Board by clicking here: "Astra, the Falling Star" Husband, leaving for work: "I'm off to save the world." The Dog: *whines* Me: "This dog appreciates it. He doesn't want to be a post-apocalyptic dog." Husband: "Yeah, he doesn't look good in spikes. He's not tough enough to hang with the other post-apocalyptic dogs." Me: "It's true. All the dogs you ever see in post-apocalyptic stories are, like, Pit Bulls and German Shepherds. You never hear about post-apocalyptic poodles." And so he went off to work, the dog eventually stopped whining, and I wrote "Post Apocalyptic Poodle." Charles Christian, the editor at Grievous Angel, bought the story because, as he says in his introduction to it, "I've a dachshund who came from a rescue charity but who I suspect is actually an alien in an unfortunate disguise." Everyone needs mirrors in fiction, even alien-eyed shorty dogs. I started to say just now that I try not to write apocalyptic stories, but my own publication list belies that claim. There's "The Bolt Tightener," where a seawall is the only thing keeping the monsters from their final victory; there's "Natural Selection," a maybe-it's-a-virus, maybe-it's-zombies survival struggle; there's "As Dust Rolls Toward the Mountain," a contemporary Cassandra retelling about an asteroid strike, there's "Breath Over the Mouth of a Bottle," where an unnatural snowstorm has engulfed the whole planet. So. I guess I do write the occasional apocalyptic story. But I'm a little tired of them, to be honest, which is why it was easy to for me to satirize the genre in "Post Apocalyptic Poodle." It seems to be impossible these days for writers to imagine a future that isn't an apocalypse or a dystopia. I'm very interested in the nascent Solarpunk subgenre, which challenges writers to imagine an optimistic future. Even most supposed solarpunk I've read is still dystopic or post-apocalyptic in nature. It's like the crash is so inevitable at this point that we can't even conceptualize of it not happening. Anyway. "Post Apocalyptic Poodle" is just over 500 words, and it's online to read for free. Give it a read, and then click through to see the other fun stories Grievous Angel has published. Post-apocalyptic Poodle has no master. She runs free in the ruins of her former master’s city. She ravages the Dumpsters, the roadside recycling, the industrial bins. Other survivors skulk around the alleyways and snarl at her. She rolls in mud until it cakes her hypoallergenic locks, positions sticks along her back like spikes, and snarls back. If you enjoy this story, check out my other "dog story," "Working Like a Dog," published in Bartleby Snopes.
I first came across Tara Campbell's writing when we both had stories in the Dear Robot anthology (see my "Story Behind the Story" post about that anthology here). Her epistolary Dear Robot story, "Nickerson Interstellar Student Exchange Behavioral Contract," is brilliant, so I'm sure her newly released novel, TreeVolution will be brilliant as well. It's about genetically modified trees who start attacking people in what the book's description calls "a little eco-payback."
In this week's interview, Tara Campbell talks with me about her path to publication, eco-sci-fi, and asking "what if?" questions.
Sarena Ulibarri: In a nutshell, what was the path from manuscript to publication for TreeVolution?
Tara Campbell: It was a little over three years between the initial idea for TreeVolution and having the book in my hands. I wrote for a year and edited for another year. I thought it was ready after that round of edits and started shopping it around to agents. Turns out it wasn't ready, so I did an additional round of edits the third year and widened the query net from just agents to small presses as well. Then Carrol Fix, my editor from Lillicat Publishers, got what I was doing and took the project on! SU: What advice do you have for young writers struggling through the first draft of a science fiction novel? TC: I started with short stories before I ever thought of writing a novel. I found that writing stories was a way to keep myself motivated with while slogging away on the longer-term project. With stories, you have a sense of accomplishment finishing them, and you can workshop a discrete project, which informs your writing on the larger project. And you have the relatively instant gratification of publishing stories in journals while you're still working on the novel. Additionally, taking a break from the longer work always helped me to go back and see it more objectively, to cut what I needed to cut and, more importantly, to show me that it wasn't really the disaster I thought it was when I got frustrated with it. SU: I know writers (especially those in the “literary” or “cross-genre” camp) don’t always like to put labels on their work, but how do you feel TreeVolution fits into recent ecologically-aware subgenres such as Solarpunk (i.e. the Sunvault anthology), Eco-Weird (i.e. Jeff Vandermeer’s Southern Reach trilogy) or Cli Fi (i.e. The Water Knife by Paolo Bacigalupi)? TC: I tend to read across genres, and to be honest, have only recently come back to science fiction after a long hiatus. I didn't set out to write in a specific genre, I really just followed questions that intrigued me. In terms of TreeVolution, the impetus was a radio segment about a team of French scientists who had devised a way to listen in on the circulatory system of trees, and could detect when a tree was not getting enough water before any visible signs of distress appeared. I started wondering what else the trees would tell us if we could understand them, and the research into plants and trees was so fascinating, I had to write about it. I guess if one had to label it, one could call it near-future eco-sci-fi. The focus is not so much on the future, but on the point at which we decide what kind of future we're going to have. Will the environment be our antagonist or our ally? SU: You’ve published quite a lot of short fiction! How does the writing process differ for you when you’re writing short versus when you’re writing long? TC: I think short stories are more forgiving of my writing process, which is usually to start with a "what if?" and spin out all of the ways that thing could have happened, as well as the pros and cons now that it has happened. Like what if flowers could talk? Or what if humans found a way to get nutrients from chlorophyll instead of food? Or what if the last Gashlycrumb Tiny lived? Many writers start with an outline, especially with novels, but I'm more of a "pantser." I like to take that voice or phrase that pops into my mind, like "Death sure changes a person," and think about what that could actually mean. I can just let go and follow the breadcrumbs when I'm writing something short, but writing a novel requires a larger question and a lot more planning. SU: What books, authors, or films influenced you while writing TreeVolution? TC: You know, I actually looked for books that were similar to what I was doing, but many of them featured dystopian wastelands or were written from a scientist's point of view, or went into the fantasy realm of Tolkein's Ents. I wanted to imagine how a transformation in the way humans interact with the environment would impact every day people. Of course there are scientists in my book, because my characters are looking for fact-based answers, but they are discovering them along with the general public rather than being the experts with all the answers. I like the idea that a relative layperson is having to get up to speed on these complex issues in the face of a looming crisis, because we all are. In that spirit, I've included a list of resources in the back of the book, lists of some of the articles I used to try to get a handle on the topic of communication between plants and trees, genetic modification and other experimentation with plants and trees. It was sometimes hard to get out of the articles and keep writing! SU: Do you have any readings or signings coming up? Where can readers find you? TC: Yes, thank you for asking, I have a few appearances coming up in the Washington, DC area over the next few months. I have about one reading a month on the calendar, and I'm thrilled that TreeVolution has been selected as the featured novel for Barrelhouse's Conversations and Connections conference in April. In fact, I've finally gotten organized enough to list my appearances on my website.
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With a BA in English and an MA in German, Tara Campbell has a demonstrated aversion to money and power. Originally from Anchorage, Alaska, she has also lived in Oregon, Ohio, New York, Germany and Austria. She currently lives in Washington, D.C. where she volunteers with 826DC and the Washington Writers Conference/Books Alive. She was the grateful recipient of two awards from the DC Commission on the Arts and Humanities in 2016: the 33rd Annual Larry Neal Writers' Award in Adult Fiction, and the 31st Annual Mayor's Arts Award for Outstanding New Artist.
In case you missed my post last week, Adventures in Zookeeping is the newest MileHiCon fundraiser anthology, edited by Sam Knight and published by Villainous Press. They were nice enough to include my story "The Fourth Lemur." I asked some of the other authors about their stories, their writing, and their favorite memory of the zoo. My answers are at the bottom!
C S Peterson, "The Jeweled Black Quaver"
Describe your Adventures in Zookeeping story in one sentence.
In "The Jeweled Black Quaver" Ranger Callie Orpheo walks a thin line between paradise and hellfire to preserve a creature that prefers a post apocalyptic habitat. What's your favorite zoo-related memory? When my daughter, Keziah, was six years old she climbed into a 'bubble' window in the beluga whales exhibit at Mystic Aquarium in CT and put her forehead against the glass. Aurora, one of the whales, swam over and pressed her head against the other side of the glass. They stayed like that for several minutes, then Keziah said good-bye, crawled out of the bubble and Aurora swam away. Sadly, Aurora the whale passed away quite suddenly a few months later from a ruptured aorta. We will never forget that moment they shared. What are you working on now? Where can readers find you? Readers can find me at cspetersonauthor.com and as a contributor at fictionunbound.com, a speculative fiction blog. Right now I am working on a YA historical fantasy about a girl named Scralig who has one golden eye and one blue eye: Once, by her blue eye, she swore she saw the ravens laughing before they flew off to whisper into Odin's ear. Once, through her golden eye, she saw a thunder creature land in the upper pasture. Black smoke rolled off its wings and nets of lightning flickered along its arms. That was when she was small. Perhaps it was just her grandmother’s stories that put the visions in her head. Now Scralig is older and she knows better than to trust visions. Besides, in a Viking village, a dark-skinned girl with an evil eye has other things to worry about. Alicia Cay, "Monsters of Yesterday"
Describe your Adventures in Zookeeping story in one sentence.
"Monsters of Yesterday" takes you to where the monsters, creatures, and myths of imagination end up when they are no longer remembered. What's your favorite zoo-related memory? When I was much younger I got to visit the zoo on a school field trip. Two things about that trip remain memorable for me. I got to ride on an elephant, which by the way, is super uncomfortable. Seriously, those pachyderms have spines like butter knives. The second was having an animal toy made for me in one of those machines where you put in a dollar or two and get to watch a plastic animal molded right before your eyes. I had seen some girls use the machine on our way into the zoo, and I had to wait the entire day when we were leaving, to pass the same machine and have one of my own made. I wanted one of those things so badly! And in fact, I ended up keeping that plastic, yellow lion for years afterwards. But do I remember seeing the actual animals? No. It's hilarious the stuff that sticks with us. What are you working on now? Where can readers find you? I continue to hone my abilities by writing short stories, then for fun I enter them in contests. All of my entered stories have 'placed', but none have yet won. Our legion of adoring fans can find me on my blogsite: aliciacay.com. Links to my Facebook, Twitter, and a few other places can be found there. Carolyn Kay, "The Corpse Flower"
Describe your Adventures in Zookeeping story in one sentence.
In "The Corpse Flower", a rare African flower breaks out of its enclosure, causing mayhem at the Steam City Zoo, and it's only a matter of time before it eats someone. What's your favorite zoo-related memory? I got to see Shamu at Sea World when I was 7. It started me on the path to a science career. What are you working on now? Where can readers find you? I'm currently working on a steampunk/fantasy novella that should be out in early 2017. People can find me at www.bewitchinghips.com Ashley Vasquez, "Bound by Death"
Describe your Adventures in Zookeeping story in one sentence.
In "Bound by Death", havoc ensues when the newest attraction in a zoo in the afterlife realizes that she's dead, and the rules of the zoo (like enclosures) don't apply. What's your favorite zoo-related memory? My favorite zoo trip was in Belize, where the zoo is made up of local animals from the country. Because it's a small country, and a lot of the animals are hunted for food, I spent part of my time horrifying tourists by talking loudly about the creatures in the zoo that I had eaten during my time there, such as deer, picary, gibnut, and iguana. What are you working on now? Where can readers find you? I'm currently working on a Steampunk Noir novel set in the 1940's. People can find me at facebook.com/ashleyvasquezauthor Susan Adams, "Sanctuary"
Describe your Adventures in Zookeeping story in one sentence.
"Sanctuary" is a safe haven to outcasts from all walks of life, but that safety is threatened when some one starts sabotaging the sanctuary's protective spells. What's your favorite zoo-related memory? My Uncle Denny, to whom this story dedicated, was an enthusiastic conservationist and had a small, private zoo, specializing in large cats. He obtained a Siberian tiger, named Boomer, when Boomer was just a cub and trained him to accept commands. In spite of Boomer's obedience, he was not my uncle's pet. Uncle Denny kept Boomer in an enclosure surrounded by a double fence. When I was about fifteen, Uncle Denny let my younger sisters and me into the outer fence; Boomer laid down against the inner one. And that's how I got to pet a tiger. What are you working on now? Where can readers find you? My current work in progress is a mainstream fiction novel, much of which takes place in a zoo. I can be found on Facebook at: Facebook.com/Scadamsauthor and on Twitter at: @adams226sc. Sarena Ulibarri, "The Fourth Lemur"
Describe your Adventures in Zookeeping story in one sentence.
A disgruntled zookeeper thinks she's turning into a were-lemur, but the truth is even weirder than that. What's your favorite zoo-related memory? During the 2014 Clarion Workshop, several of us took a break from the non-stop writing and critiquing to go explore the labyrinthine San Diego Zoo. We wandered until our feet were sore, and then it took us another hour to actually find our way out. I was sure all the workshop stories for the coming week would be about being lost in a Gothic menagerie. My friend Vida Cruz blogged about this zoo trip in much more depth here. What are you working on now? Where can readers find you? You've found me! I hope you'll poke around, read some other blog entries, and, of course, grab your copy of ADVENTURES IN ZOOKEEPING from the link below!
Last weekend was MileHiCon, one of my favorite local SFF conventions. I was on a couple of panels this year, but the real highlight of the convention was the release party and reading for ADVENTURES IN ZOOKEEPING, an anthology that includes my story "The Fourth Lemur." This is the second of the charity anthologies (all proceeds go back to MileHiCon) put together by Sam Knight that I was lucky enough to be included in. In fact, last year after releasing SIDEKICKS, Sam Knight asked for suggestions for the next anthology, and I was the one who suggested the title/theme "Adventures in Zookeeping."
On Saturday, we gathered in the ConSuite for a dual release party along with the contributors of another anthology, DOMESTICATED VELOCIRAPTORS, and then we ventured downstairs to one of the panel rooms where we had the chance to read our stories to the room. For many of the authors, this was their first time doing a public reading, but everyone did a fantastic job. I tried to break the tension a little bit by standing up on my chair to read, rather than going up to the front like everyone else. Ever wonder how much fun it would be to be a zoo keeper if your wards included the strange, the supernatural, the not-of-this-earth? This collection of speculative fiction ranges from were-lemurs to a breeding program for a Lovecraftian horror. Edited by Sam Knight. This anthology evolved from a panel at MileHiCon in Denver, Colorado, titled "So You Want To Be in an Anthology?" The stories contained within were contributed by attendees of that panel. All net proceeds are donated to support MileHiCon.
So those "were-lemurs" mentioned in the book description? Yeah, that's my story. Except, maybe it's not that simple. Maybe there's more to that weird, somewhat human-looking lemur that shows up in the zoo, maybe that bite the zookeeper got isn't doing exactly what she fears it's doing.
Next week I plan to interview some of the other authors from this fun anthology, so please stop by to learn more about their stories, and pick up a copy of ADVENTURES IN ZOOKEEPING when you have the chance. It has some very fun stories in it, and it helps support an excellent science fiction and fantasy convention that has always made me feel at home.
S.D. Grimm is another of the amazing writers I know from PitchWars, a mentorship and agent-pitching program I participated in a couple of years ago. She managed to snag a publishing deal with Gilead Publishing for her young adult fantasy novel Scarlet Moon, which was just released. She's stopping by my blog today to talk about her book and her path to publication.
Sarena Ulibarri: What was your inspiration for writing Scarlet Moon? S.D. Grimm: I love animals. The novel I wrote prior to this one (which sits in a proverbial dark, secret drawer) was about animals. All the characters were animals. And one day I decided to get serious about publishing. Then I decided I was going to write about people. I still wanted animals to be a big part of the story so I chose to write about a race of people who can commune with nature. These people basically get certain talents or abilities from animals—and they reciprocate, giving animals certain abilities too. Then I researched some really cool animals, including mythological ones, and the story world really grew from there. SU: What has your journey to finding an agent and the road to publication been like? SDG: Hard. Crazy. The thing about this business is it’s not for the faint of heart. You better your craft all the time. You build your social media presence. You try to send the right work at the right time to the right people. You attempt to stay ahead of the curve without knowing where the curve is. You survive getting your heart broken again and again and again. You don’t give up. You make connections. Friends. Partners in writing who help and encourage you. You have fun. You learn a lot about writing and about yourself. And when something good happens and you take another step forward down this path, all those people celebrate with you. You find community. You work your heart out and wear it on the pages of your work. People will crumple it up, step on it, and some will even use it wipe the snot off their own faces. And then there will be those who feel what you’re trying to say. They’ll cherish it, and they’ll recommend that others read it. Some will misunderstand it. Others will get it. And still that journey—probably on the road less traveled—is just beginning. SU: How many books did you write before being published? SDG: Three. They’re each part of a trilogy I started when I was in middle school. It’s about a dog of magical heritage who’s supposed to save the world, except he got hit by a car and now has amnesia. They live in a proverbial drawer and who knows, maybe someday they’ll see the light of day, but I’m not holding my breath.
SU: What kind of things did you learn from your PitchWars mentor when you were getting your PitchWars manuscript ready to query?
SDG: So much. Molly Lee was my awesome mentor, and she was amazing with big-picture edits. She took knowledge from her critiques with agency sibling writers and applied those tips to my story so I could see what was working and what wasn't. She was fabulous at brainstorming and always let me bounce ideas off of her. I loved that not only was she willing to help me fix what wasn't working, she was also quick to tell me what was working and why. The why part was invaluable. I actually learned a lot about my strengths as a writer from her. I would say the most helpful thing I took away from her advice will be applied to all my future stories is don't try to force something into the story that's not working. I had this relationship planned between these two characters and it just ended up being uncomfortable. On paper, for my plot outline, it worked. But once those characters actually had personality and were interacting, it flopped. So be flexible and willing to change what's not working in the story instead of trying to force it because it looks good on paper. SU: I loved seeing the video by your cover artist about all the work that went into creating the cover art! Did you have any input on the cover design, or did you just see it in its beautiful final form? SDG: It was amazing wasn't it? My cover artist, the amazing Kirk DouPonce, actually read the story so he could get a feel for the cover and characters. He then talked with me about the idea he had. I was over-the-scarlet-moon excited because I wanted Jayden (my main character) to be in the woods with daggers and a wolf. And that was exactly his vision. And then he said he was going to make the dagger glow with the blue mist and I was jumping up and down, because it was so perfect. So he asked me what Jayden looked like and I sent him some awesome photos (taken by my dad) of my sister wearing a costume my mom made that portrayed my character. He loved the costume and asked me to mail it to him for a photo shoot! So the costume the girl on my cover is wearing? Yeah, my awesome mom made it. Cool right? I was really excited to have that much brainstorming input into the cover. And guys, I've seen the cover for book two already. And can I just say SQUEAL! That is all.
S. D. Grimm’s first love in writing is young adult speculative fiction. She is represented by Julie Gwinn of the Seymour Agency and her debut novel, Scarlet Moon, is slated to be published in October 2016. When she’s not writing or editing, Sarah enjoys reading (of course!), making clay dragons for her Grimmlies store on Etsy, practicing kickboxing and Brazilian jiu jitsu, training dogs, and doing anything outdoorsy with the family. Her office is anywhere she can curl up with her laptop and at least one large-sized dog.
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