Empty Sky Chapter 1 – The Cabin (28 Aug 2020, Audio)

The version of the chapter presented here is a far cry from the version currently in print (and I have a standing offer regarding the current version; Buy a copy, leave a review, I’ll send you a signed copy of the rewrite when it’s published). For that matter, the version presented here is a stretch from the previous versions posted on this blog (most recent here).

The version here is my reading at a Read ’em and Weep online workshop I recently attended.

Fascinating experience.

Creator and above level members can listen to the reading here.


Chapter 1 – The Cabin

Jamie reached for Shem’s tail. The big golden sat on Jamie’s bed staring out the cabin window. His coat glistened in the moonlight, his tail thumped with excitement. Peepers and crickets chirped outside. Raccoons chittered. Opossum and skunk barked. Owls hooted. Loons called. Far off a wolf howled. Another answered in the distance.

Jamie caught Shem’s tail and held it motionless. “What is it, boy?”

Shem looked back at Jamie and whined softly.

Jamie ran a delicate hand through his ginger hair. He looked past Shem to the oak, elm, and pine of the northern Michigan forest. The Moon, full and bright, illuminated the trees and the small, one-room cabin at their center.

“Do you have to pee?”

Shem jumped off the bed and scratched at the door to go out.

“Shh.” Jamie glanced at his parents, Ellie and Tom, asleep on the other side of the cabin. “You want to wake mom and dad?” He crawled out from under the covers and tip-toed to the door. Standing on a chair, he drew back the bolt and lifted the latch.

Cool winds changed rustling treetops into brooms sweeping low-hung clouds from late September skies. Dust devils spun mists where night air met day-warmed rocks. Trees bowed to the rising Moon.

Shem walked into the night. Jamie followed.

The Moon continued her ascent. The woods fell silent.

Silent.

Ellie sat up in bed, her hands clenching the blanket, holding it tight against her. A cold, dank wind swirled through the cabin, lifting things slightly, inspecting them, putting them down, drawing a musk of old earths in its wake.

Moonlight entered the cabin’s single room.

Her eyes fixed on Jamie’s empty bed.

“Jamie! Shem!”

Tom rose and put his boots on in one motion. “Where are they?”

Ellie pointed at the open door.

Tom threw Ellie her coat. “They must be together. Shem won’t let Jamie out of his sight.”

“Something’s got them. Some wild animal.”

“There’s no blood anywhere, Ellie. Shem’d raise hell if something got in the cabin or near Jamie.” He grabbed an iron poker from the woodstove.

Ellie stopped at the door, a silhouette against the night. “Shh.”

Tom came up beside her. “What the…?”

“Shh!”

“What are they doing?”

“It looks like they’re playing.”

“With whom?”


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World-Building – Process

What goes into creating a world and sharing it with the reader?

Aside from blood and sweat?

Research
Research everything. You may not use everything you’ve learned, but your increased subject matter expertise will come through in your writing and (probably) you’ll have more confidence in what you’re writing. One of my greatest joys is having veterans and specifically helicopter gunship captains contact me after reading The Augmented Man to ask where I served and/or where I learned to fly. Anthropologists and other social scientists constantly read my work and ask if I worked with one culture or another. Such questions let me know my research paid off; when experts talk with you as if you’re an expert, you’ve done your job convincing the reader they’re in good hands reading your work.

On the other side of this, I’ve heard authors say that when they get to a point in their writing where something occurs they don’t understand or know or aren’t sure how something happens, they write “[XXX]” (or something similar) and move on, looking things up later.

Such writing shows (in my opinion).

I’m told that my work is so tightly written that it’s tough to remove stuff without throwing everything else out of whack. It’s like Story-DNA. Sure, you can switch a genome here or there, but that one genome and its placement affect the entire story. You may change hair color from chestnut to dark brown but now you’ve got three fingers that look like toes and a penis growing out of the middle of your forehead.

I stop writing when there’s a piece of something – tech, location, language, culture, anything! – in which I feel my knowledge is lacking.

And I always feel my knowledge is lacking.

Revealing the Story’s World
Reveal as the story requires. That’s the author’s job. Don’t front load, don’t back load, definitely don’t waste the reader’s time or stretch their patience, and always keep them moving forward through the story. This is something I wrote about in World-Building – Getting Readers Interested in Your World.


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Performing a Video Read (for Liz)

Friend Liz Tuckwell asked me for some pointers on reading her work on video for an audience.

Wanting to be helpful, I made a video for her.

She said I should share it on my blog.

Here it is.


Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post. Protected posts in the My Work, Marketing, and StoryCrafting categories require a subscription (starting at 1$US/month) to access. Protected posts outside those categories require a General (free) membership.
Members and Subscribers can LogIn. Non members can join. Non-protected posts (there are several) are available to everyone.
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Great Opening Lines – and Why! (Aug 2020’s Great Opening Lines)

I wrote in Great Opening Lines – and Why! (Part 3 – Some Great Opening Lines) that I’d share more great opening lines as I found them.

This month’s great opening lines deal with two damsels in distress.

“I lay on a metal surface, unable to move, in a dark room except for a single light bulb swinging in a far corner.” – Steve Searls’ My Travels With a Dead Man
Kinesthetic and visual sensory information, a sense of isolation, and threat in twenty-four words. Bravo!
Continue reading “Great Opening Lines – and Why! (Aug 2020’s Great Opening Lines)”