
What’s the buzz, you ask? The summer issue of Window Cat Press is out, and in it are four of my poems, accompanied by photography by the ever-delightful Michele Morris. Check them out, and all the other goodies within here!

What’s the buzz, you ask? The summer issue of Window Cat Press is out, and in it are four of my poems, accompanied by photography by the ever-delightful Michele Morris. Check them out, and all the other goodies within here!
2014 is off to a good start!
For those of you who actually click through to my whole blog, you’ll have noticed that we have a spruced up theme for the new year, complete with a breathtaking family photo from Cape Breton’s Cabot Trail for inspiration.
It’s also been a good year for progress on assorted writing projects. Aside from the 30ish letters sent this past month which included progress on my collaborative Modern Epistolary Novel Project, I’ve workshopped 20ish pages of Dragon’s Midwife with my writers’ group, and got some useful feedback that I’m eager to get back to, as soon as I finish those last few tricky climactic scenes in the first draft. (Does anyone else have trouble beating up on their favorite characters? I do!)
And finally, I also submitted a flash fiction piece to Three Minute Futures, which was good fun. Brevity is not my natural inclination, so a story in under 600 words was a great exercise. Results come out in early April.
Plans for March include finishing the Dragon’s Midwife draft and starting revisions. Hoping to have a nice thick binder of material to scribble all over on the plane to Florida!
For those who are curious, I’m running a little below the target for total wordcount, but it’s been a good writing day: 1,710 words today. The project I’m working on isn’t a new one, but one I’ve been really gunning to finish, so whatever the wordcount ends up being by the end of the month, fingers crossed the story draft will be entirely wrapped.
Curious?
The project is Dragon’s Midwife, working synopsis:
“Erin walks through a cavern and ends up in 18th century Wales, with a dragon egg, a dangerously perceptive blacksmith, and an industrial-minded English overlord to complicate her way home.”
Excerpt from the first few pages:
There is no way to be prepared adequately for the experience of raising a dragon. I can say this definitively, because I’ve read about raising dragons, and I’ve raised a dragon, and there is absolutely no way that one prepared me for the other, except possibly by encouraging me to think it could be done.
But I’m getting far ahead of myself.
At the point where my life took a precipitate turn into the ridiculous and simultaneously sublime, I was a twenty-year-old Ivy League student and a self-professed dragon geek. I had historical prints of medieval and Asian dragons in my dorm room. I read all the versions of other people’s dragons I could find—all the Yolens, McKinleys, McCaffreys, you name it. It wasn’t what you’d call an obsession—I did other stuff too—but it was more like an underlying principle in my life. An openness, if you will, to the idea that such marvelous creatures could exist, as more than just a collective unconscious memory of dinosaurs from our teeny ratlike mammalian ancestors.
Like I said, a dragon geek. I made no apologies then, I certainly won’t now. Not after everything that’s happened.
No matter what my unrepentance costs.
= = = = = = =
So there I was, spending the summer after my junior year interning at a historical society in an unpronounceable town in Wales. Sure, I could have done something similar a hell of a lot closer to home. But can you name a single US state flag with a dragon on it?
That’s what I thought.
I loved Wales exactly as much as I thought I would. It was tiny, it was rocky, it was stuffed to the gills with music and legend, and it so far had better weather than the tour books had warned me to expect. I was learning to drive on the wrong side of the road in a ridiculously small blue car, making an unhurried study of the ales and ciders of the area, and climbing dilapidated castle towers in sheep pastures with my free moments.
And on this particular day, just before it all changed, I had given up on castles for a trip to the uncompromisingly wild Welsh seaside. It was heavenly. I had a sweater, a sketchbook, a picnic, and a towel in my backpack, and a flashlight, because my host family had told me there were some safe shallow caves to explore at the foot of the cliff.
You don’t go spelunking alone. I knew it as well as I knew all those other rules—no swimming alone, no hiking alone, unless someone knows your itinerary and how long you plan to be gone. So I should not have taken my hosts’ word for it that the caves were safe, having never been there myself. But I’ve already refused to apologize—and if the fact that I hauled myself into those caves with cheerful unconcern makes me look like the idiot that gets eaten by the monster in the opening scene, so be it. I make no excuses, but I will try to explain.
The caves called to me. The whole country did—I’d been feeling surprisingly at home here all month—but now it was like having ants crawl all over my skin, but in a good way. Like being bathed in electricity but without the imminent threat of a shock. Laugh if you want, but my skin was humming when I got into that cave. I couldn’t have turned back if you’d dragged me.
So I took my flashlight, shouldered my pack, and clambered through a cave that had many more intriguing nooks and crannies than promised, stacking pebbles when passages branched so that I would know if I were going in circles—and so I’d know my way out. When I smelled and felt the fresh air blowing on my face, I grinned. I’d found a way through to the next bay in the cliff! And if I noticed the slight shimmer to the air or the chiming noise as I broke through into the sunlight again, it was only subconsciously—I remember it now only because it haunts my dreams.
I’d like to say that the clues were obvious, that I knew immediately what had happened—but other than a vague memory of that chiming in my head, I noticed nothing.
Of course, the fact that she was lying there on the edge of where the forest met the beach sort of distracted me from everything else.
She was a dragon.
I believe this rewrite has worked out the worst weaknesses of the previous draft. I’ve got a list of places to send it, along with my other ocean story, “Shimmers and Sea Stars,” so that’s part of my plan for tomorrow. I’m working the weekend so Thursday is going to be writing/marketing day, with a break to sand my new (old!) desk. I’m looking forward to having my new (antique) writing space, and promise to take a picture of it when it’s all set up in front of the window.
Below, an excerpt from the rewritten first scene of “Fish Girl and the Kapok Spirits.”
Continue reading “Fish Girl Take 2”
The second draft of “Fish Girl and the Kapok Spirits” is going well, thanks to some very thoughtful comments from my raft of first-draft readers. Apparently I need to get rid of some ‘and’s, some exposition, and punch up some of the drama in the key moments. This is all extremely doable, so I’m feeling pretty good about it. Editing is really tough for me, as I suspect it is for most authors. I fall in love with a story the way it stands, and some of my favorite passages don’t neccessarily translate well out of my head and onto the paper, so I’m working on telling myself that the more I treat my short stories like my poetry, where each word has to carry more weight than its body size, the less it hurts to get rid of the ones that don’t carry their load. “Fish Girl” was already a short work for me, so finding the excess and filling out the thin spots is a definite learning experience.
Also exciting news on the modern epistolary project with the delightful exDevlin. I love collaborating with authors/friends whose style and creativity I admire, and I think this one is going to be a fascinating endeavor and hopefully a fairly unique concept. Her Clara and my Ren have the skeletons of some wonderful characters, and it’s going to be a blast working with her to flesh them out, along with the world in which they live. (I’m half-hoping to convince her to incorporate a little art into this project too, though that’s definitely a conversation for much further into the planning process.) But the good news is that this project is getting off the ground, and looking like immense fun, so stay tuned.
The first draft of “Fish Girl and the Kapok Spirits” is done and passed along to a few friendly but critical eyes for a look-see. I am in that curiously optimistic state where I actually hope they have a lot to say about how it could be improved. It is possible I have contracted some form of brain damage, but there it is.
For those of you at all curious about the setting of this short story, it’s set on St. John in the USVI, and there’s a great description of one of the central pieces of the story here, along with some great pictures.
Excerpt, “Fish Girl and the Kapok Spirits,” first draft completed by M.Winikates 12/16/08
Short Projects:
1 children’s story ready to send to publications, “Shimmers and Sea Stars”
1 ya/adult dark fairy tale 7/8 written, “Fish Girl and the Kapok Spirits”
1 near-novella, complete and in editing, “Of the Green World”
Novels:
16 chapters of Dragon in the Hourglass written, end of the novel in storyboarding
DitH sequel, Worldcrossers, and Regency comedy of manners on the backburner, planning stages
Orphans (are they short? Long? We’ll see):
“Plain Jane”
The Modern Epistolary Romance Project – a joint project with the talented Nancy S.
The Fairy Tale Project (already including “Fish Girl” and several poems)
“Mr. Longfellow’s Chair” (children’s non-fiction)