An Anthological Appeal!

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Happy New Year, gentle readers!

As many of you know, my work will be coming out in three anthologies over the next few months: Rich Horton’s The Year’s Best Science Fiction and Fantasy and Gardner Dozois’ The Year’s Best Science Fiction; both of them are anthologizing my story “The Daughters of John Demetrius.”

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The third of the anthologies is a different case: in honor of its 20 year publishing history, Eclectica magazine is publishing an anthology of the best speculative fiction to appear there–including my story “Better than Google.”

Eclectica’s publisher, Tom Dooley, is hoping to move beyond the print-on-demand market and actually place the book in bookstores. To that end, he has a Kickstarter campaign to gin up support. If you are a fan or a generous well-wisher, please consider contributing!

The part that blows my mind is that Eclectica is a magazine that has been published online since 1996. I was getting on the internet using a 14,400 baud modem back in those days. Eclectica was some of the best literature around, all at 14.4 kilobytes (yes, kb) per second.

I’ve still been sitting through a dry spell with my new material–it’s been several months since I’ve had a new story picked up. But keep watching the skies–I’ll have more stories out soon.

 

The Year in Reading

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Because it was one of my 2015 New Year’s resolutions to read more books, I paid some mind to my reading habits this year. This resolution was a real softball pitch to myself, since in all of 2014 I read only eight books. At that paltry rate, even if I am lucky enough to live another 40 years, I will only read 320 more books in life.

(In my defense, 2014 was the year I finished up graduate school and got remarried, so the first half of 2014 didn’t leave me a lot of reading time. Still, eight books. It’s hard to call yourself a writer if you only read eight books a year).

This year I did somewhat better: 15 books (not counting re-reads of books that I was teaching this year). How did I fare with these? What follows is a brief review of each title in my motley 2015 bookshelf:

Apollinaire, Guillame: The Heresiarch + Co. This was a gift from Gloria on her return from France. I found these stories charming—hilarious, sweet-natured, wry, odd, just a bit surreal. Sometimes the plotting seemed a little artless, but there were other touches of language that seemed masterful, like the poet with “the gift of ubiquity” and the cigar with the plea for help written inside. Apollinaire is a favorite poet of mine, so I was predisposed to love his fiction.

Austen, Jane. Emma. The second Austen novel I’ve read, I found this book a perfectly delightful comedy of manners and a sly (perhaps over-subtle) critique of the British class system and the limits placed upon English women. Emma’s character is almost thoroughly unsympathetic for the first half of the book or so, but she acquits herself admirably. Austen’s humor is gentle, understated, and yet at the same time absolutely electric. The characters were generally types—something like the types of Shakespearean comedy—rather than fully fleshed out bundles of complication. But that’s Austen’s style.

Bailey, Thomas R., Shanna Smith Jaggars, and Davis Jenkins. Redesigning America’s Community Colleges. This was a wonky read, but a very good one. While I was already convinced of our need to develop guided pathways for community college students, this book provides both evidence supporting the argument as well as some suggestions for further research and colleges to watch. I have a feeling I’ll be consulting  this book a good deal in the coming years.

Dyson, Freeman: Disturbing the Universe. One of the best books of essays I’ve read. Freeman is very much like Loren Eisley as a writer—somewhat less sublime but also funnier. Some of these essays have lasted better than others, but I am quite taken with Dyson’s powerful and utterly unique moral vision.

Le Guin, Ursula K. The Lathe of Heaven. I reviewed this earlier in the year. It’s a gripping read, one of those stories which breaks a cardinal rule of writing (in this case, no “it was all a dream” stories) but which Le Guin gets away with because, hey, she’s Ursula Le Guin. I don’t know that this novel held together at the end quite as well as some others of hers—like Left Hand of Darkness—but I was taken with the humor and horror of this story, as well as with Le Guin’s of-the-era argument for the quieter, wiser ways of Taoism as a corrective to the evangelical Judeo-Christian Western Rationalism that brought us the Vietnam War and global warming and the DSM.

Link, Kelly. Stranger Things Happen. I loved these stories overall. The best of them were truly chilling and surreal, like Twin Peaks on the page. Link is masterful at, well, linking disparate, subterranean connections in her work, and the best stories—like the first three in the book—do things that I couldn’t imagine doing as a writer. At times the writing is a little precious or too eager to crack a joke, but Link is the real deal.

Newport, Cal: So Good They Can’t Ignore You. The best career advice book I’ve read. This quick read annoyed me in a few places—Newport mostly interviews the beneficiaries of privilege, like himself, and he has a lot to say about what being a faculty member at Georgetown will be like before he’s even started the job—but the career advice Newport gives here is sound and a valuable corrective to the conventional wisdom of “following your passion.” I bought this book for my oldest daughter and will pass it along to the younger girls when the time is ripe.

Peake, Mervyn: Titus Groan. The first of the Ghormenghast Novels. This was a remarkably slow read, oddly and loosely plotted (in some ways almost without plot), full of demanding and self-indulgent writing. But I’ve also never read anything like it: Peake has a gift for arresting imagery and wordplay. His work is like a novel-length set of Edward Gorey drawings.

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Art credit: Michelle Duckworth

 

Peake, Mervyn: Gormenghast.  The second Gormenghast Novel. I think that in most ways I preferred Titus Groan, even though Gormenghast has more action. Peake’s work is by turns inspiring and maddening: he will turn a phrase or describe a scene in such an arresting way that I can’t imagine how he managed it; then, he’ll try to squeeze out of a plot difficulty with a hamfisted and frustrating plot twist, coincidence, or ad hoc explanation. While there’s plenty that frustrated me about this book and its predecessor, I probably have enough momentum here to finish the Gormenghast novels next year.

Penn, Rob: It’s All About the Bike. This was an enchanting little history of the bicycle. I’m not certain how accurate it is on every point, but I loved the stories of the bike’s early days, interspersed with Penn’s quest for his own “lifetime bike.” It makes me want to assemble a bike myself.

Romano, Tom. Write What Matters. This book was dedicated to my dad and contained some sweet moments from his life (as well as from the life of another beloved and departed writing teacher of mine, Ken Brewer). While I didn’t always follow Tom’s organization, I loved Tom’s voice and his fierce love as a writing teacher. His words about rough drafts have helped me during this tough slog through the sloppiest rough draft I’ve ever attempted: Pacifica.

Schwarz, Barry. The Paradox of Choice: Why More Is Less. I picked up this easy, engaging read in my research into structured pathways at my community college. The book is funny, humanistic, and it digests a lot of psychological and economic research into a reader-friendly form. I may want to pass this book along to my daughter to help her with her career-picking struggles.

Sterner, Robert and James Elser: Ecological Stoichiometry. This book took me several attempts, but when I really sat down to deal with it, I got through it in about 8 months of two-pages-a-day reading. It really is a remarkable scientific work, and I came away convinced that phosphorous is the most ecologically important chemical on Earth (because of its role making up RNA). I’d love to do science like this! I realize, though, that it’s not the kind of science that most people do in their spare time. I’ve definitely decided to keep reading in the biological sciences, though, and perhaps a cool home project will present itself.

Wilde, Oscar. The Picture of Dorian Gray.  I’d been meaning to read this since taking a long ago grad school class on the symbolists and decadents. Overall, this seemed like a Poe-esque gothic tale peppered with Lord Henry’s bon mots and aphorisms. Plot-wise, it dragged a bit—it seemed highly influenced by Huysman’s Against Nature—and there were few truly sympathetic characters besides Basil. At the end, it struck me as a much more conventional morality play than I had been led to believe it would be—maybe that’s why I came away a bit disappointed. The art for art’s sake motto of the aestheticists ultimately seemed to give way to a somewhat conventional Victorian morality, less daring in its conclusions than Hardy or George Eliot or Flaubert or Dostoevsky.

Wilson, David Sloan: Darwin’s Cathedral. This book really affected me powerfully–I wrote about it in my previous blog post. The idea that religious behavior is adaptive and selected for through multi-level group selection is revolutionary (though maybe it shouldn’t be). I can see how this book is influencing my approach to writing Pacifica: Jude wants to build the next religion that will expand our moral circle to include all humanity and be compatible with science.

I hope that 2015 was a good reading year for you, perhaps so good that it would be impossible to fit your thoughts into a single blog post. I’ll see you in the new year!

Glad Solstitial Tidings

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Tomorrow I’ll be ringing in the winter solstice with my wife at Breitenbush Hot Springs. There will be poetry, yoga, maybe some ecstatic dancing of some kind–who knows? I’ve never been to a Breitenbush solstice, but I loved spending some time there last year and I think it’s extremely likely I’ll have a good time.

One thing I bet I won’t hear, given the circles I travel in, is many references to the birth of Jesus or other Christmas-related greetings. That’s not a problem for me–in fact, I far prefer it. I consider Christmas the most debased festival in the liturgical calendar (and anyway, as a Quaker, I feel a scruple about observing any religious holidays at all).

My friends’ silence might seem curious at first blush, given that practically all of my close friends are culturally Christian if not nominally Christian. Most today would not consider themselves Christians of any stripe: my friends are atheists, agnostics, spiritual tourists, a’la carte Buddho-Hindu-Taoists, Sufi-curious, and neopagans. But, aside from the Friends in my Quaker meeting, I can’t think of many who regard Christianity sympathetically today.

Frankly, the Christian movement–which has been an accomplice of oppression and intolerance at least as often as it has worked to bring peace and justice to the world–deserves plenty of opprobrium. To say it in Christian language, The Church has been so soiled by the world that it has departed from Christ. So I’m not surprised to have friends who may have been raised in a Christian church who today distance themselves from what they regard as a fountainhead of exploitation.

But what I do find curious is how often my friends and acquaintances–even many of those who consider themselves atheists–engage in behaviors that might be considered reverent or even spiritual. While I know a few people whose atheism is so deeply held that they are able to see all ceremony as ridiculous, more often people seem to gravitate towards reverence even if they reject the particular rituals they grew up with.

One of the most important books I read this year explores this phenomenon: David Sloan Wilson’s Darwin’s Cathedral. Wilson’s thesis is that religious behavior is evolutionarily adaptive, that our urge to find sacredness in the world is a way of enforcing group cohesion and eliciting altruistic behavior. This thesis is radical in biology circles, partly because it depends on a concept of natural selection that acts on groups as well as on individuals. It’s beyond the scope of this post to unpack the reasons this idea is derided by most biologists (nor why I believe it is correct); for now I’ll just offer a quote from David Sloan Wilson and his co-author E.O Wilson (no relation) that summarizes the entire argument behind group level selection: “Selfishness beats altruism within groups. Altruistic groups beat selfish groups. Everything else is commentary”.

Friends, I wish you well this holiday season. If you believe that altruism exists, I urge you to practice it. If you believe that altruism does not exist, I urge you to look harder. May you one day find yourself practicing altruism unawares. I wish you happiness in this season, not on account of the solstice, nor on account of the birth of Jesus (who was very unlikely to have celebrated his birthday on December 25), but on account of the biology of our species, on account of the deep urge to be kind to one another, in spite of the ways I fall short.

The Zeroth Draft

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I finished the roughest draft of a novel I’ve ever roughed out in a rough world. It is so rough that I couldn’t bring myself to write Pacifica: first draft at the beginning of the notebook–instead I titled it Pacifica notes. It’s a ridiculous mix of fatuous underwriting and deep purple gasbaggery. But, if you don’t mind characters appearing,  disappearing, and changing gender midway through, it’s also a finished draft.

So far as I can tell, I wrote about 60,000 words–shorter than Stranger Bird, but still a novel. I would guess there are 15,000 words I’ll toss out immediately and maybe that many new words to add. And it’s still too early to tell whether it will ever amount to anything.

But, while I feel more exhausted than excited, it does feel at least a little good to have a story of that scope and sweep, and with a beginning, middle, and end on paper.

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Photo Credit: Miheco

I Fall to Pieces

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I’ve written flash fiction (i.e. a story of less than 1000 words) only a couple of times in my life. It’s not a genre I’m comfortable with. But I liked this attempt at flash fiction–I hope you will too. Readers who have seen my story “Lamp of the Body” will recognize the name of the bar. I am no lover of astrology (more accurately, I’m an astrology loather), but I always thought “Mercury Retrograde” would be a cool name for a bar. Anyway, I hope you like it: “I Fall to Pieces.”

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Photo credit: Rob Swatski

I Fall to Pieces

Wil has just enough room at the end of the text to address the girl by the pet name he used with her: Soph. He would have liked to write out the full Sophia. But apparently even breakups, like relationships, are about compromise.

Wil feels a jolt of energy move through him when he finishes pecking out the message on his phone. It feels like a flash of purpose; he is old enough to know that such a jolt often spells trouble. But it is hard to walk away from such a flush of energy. He presses the Send button.

He downs the rest of the pint in front of him and wonders whether his tone had been appropriately dignified. 150 characters is not a lot to work with when establishing a tone. Probably that is one reason not to break up with someone via text messaging.

He imagines her out with someone else, someone who looks like Ethan Hawke. Or maybe a huge black swan. What does it matter? She is in the Rose Garden where Wil had walked with her on their first date. Only now, instead of walking beside her, taken in by her, Wil inhabits each rose bush like a troll as she walks by.

Which leads him to wonder whether he was in fact breaking up with her. Or had his message simply shown her, at last, that he understood that she was ignoring him? You send a text. Ok, maybe she didn’t receive it. You leave a voice mail, you leave a Facebook message. She doesn’t answer them. You send up smoke signals and a poem tied to the leg of a homing pigeon. You blink to her in Morse Code. She ignores every overture, explicit and implied, written and spoken and telepathic. Who is breaking up with whom, really?

The waitress comes back and he orders without looking up. Instead he gazes around the bar at the couples and singles. Half of them—half of the couples, even—are pecking away at smart phones, taking pictures of their beers, announcing to Facebook acquaintances that they are sitting @ Mercury Retrograde, perhaps summoning a real friend from his house in the glorious sunset. Would it have been better to have sent her a Facebook message instead of a text? In addition to a text? Wil dismisses the latter possibility as soon as it occurs to him: have some dignity, you sorry bastard, he tells himself.

He is tired of dissecting the last word she said to him (before she said goodbye):yes. Do you want to see Obscure Object of Desire at the Laurelhurst, he had asked her. What she said was yes. Had it been a yes of unalloyed, infatuated enthusiasm, as he had assumed when he first heard her say it? Or was there a subtext, an undercurrent of sarcasm or cruelty or carelessness or lack of resolve? He is exhausted from running over the contours of that yes in his mind, but he cannot help himself from worrying over it the way one picks at a festering sliver in the palm of the hand.

The bar stereo is playing Patsy Cline’s greatest hits. “I Fall to Pieces,” Wil’s favorite. You walk by, and I, fall to pieces, she sings. That’s a song that only makes sense in a small town in the fifties. When and where would Wil just see her walking by? You ignore my texts and I fall to pieces, he thinks.

Wil realizes that he should not have ordered another pint as soon as the waitress brings it. He contemplates the full glass morosely, watches the foam spread over the top of the nut-brown ale as though it is a map of lost continents spread over a dark ocean. Perhaps an entire civilization of yeast had burgeoned and died in this glass, unmourned by all except Wil in his drunkenness.

A cheer goes up throughout the bar. On the muted bar televisions a news program is reporting the first holographic marriages to be ceremonialized in New York. Wil looks up from his beer at the pair of slender, aged holographs in tuxedos exchanging vows on the screen, and at the dozens of patrons rejoicing that everyone is free now to love whoever they want.

Building Worlds

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When I was  in sixth grade, I made a map out of my imagination. I drew it in colored pencils on six pieces of graph paper which I connected with masking tape, so that I could fold it like a codex or some mystical road map. While I’ve largely forgotten what it looked like, I remember that I had drawn a continent which clustered around an inner sea, a dragon-infested Mediterranean. The land was divided into kingdoms and empires, a crazy-quilt of realms filled with Dungeons and Dragons creatures, which is to say filled with a Lord of the Rings-fanboy descendants of Tolkien’s elves and dwarves and orcs.

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A Map of Earthsea, by Liam Davis, after Ursula Le Guin

 

What first drew me to fantasy and science fiction as a reader, and as a gamer and as a writer, was the world building. I’m reminded of the words of a friend’s son who said that you can tell if a book is going to be good if there’s a map at the beginning of it. When I read fantasy as a kid, I could put up with a lot of weak writing–poor characterization, wooden dialogue, tedious exposition–if there was a map in the book that represented a world that I would want to exist.

And yet, a map is also judged by its verisimilitude. Middle Earth, Earthsea, The Hyborian Age all drew me in with their plausibility: however oddly shaped the continents, those drawings seemed like maps of the actual world from a much earlier time, or a map of what might be the world. A map with no connection to a world that the reader does know is a useless map.

That’s the tricky thing about world building. There is no building a truly new world, untethered from any human world. Every map we draw, every pantheon of ancient deities we imagine for a game world or a novel, is a variation on a theme that was laid down in the real world. The Shire looks a lot like rural England. Earthsea is an imagined Bronze Age for the San Juan Islands. Gormenghast is the drama of a noble English house played out in Beijing’s Forbidden City. The City in Little, Big is New York City. The challenge with such world-building is to arrange these oddly-lensed realities into a world which seems totally distinct.

There’s a tension in fantasy and science fiction–as there is with all art–between the craving for the new and the comfort of the familiar. Audiences long for the new world, that giddy disorientation that comes from reading of an unfamiliar hero or a far country and knowing that these people and places fit into a coherent world that the book is slowly uncovering. But readers also crave the comfort of recognition, in the original sense of the word recognize: to know again. That is, readers are still happy to pay for something that reminds them of Lord of the Rings or Alice in Wonderland, no matter how many others complain about how much derivative fiction is out there. A book with a map that looks something like the real world is far likelier to appeal to readers than a book with a map of a totally new place, a place so different as to be unrecognizable. But some, thank goodness, can’t rest until they find the totally new place.

 

 

Whence The Subway Test

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The Subway Test is the name of this blog. I didn’t feel right calling it JoePitkin.com or anything else with my name in it. When I was cooking up the soup bones of the blog, I stirred through different ideas in my stories for a blog name. The Subway Test seemed like a decent provisional name, and the longer I post here the better the name feels.

But what does it mean? It comes from one of my favorite stories, an early one called “So-Sz,” which explores the musings of Sasquatch after he has learned to read and write by studying the encyclopedia. The narrator references “the subway test,” which I read about 20 years ago in Scientific American, as a thought experiment about how much like modern Homo sapiens were the Neanderthal. Take a Neanderthal man, dress him in a three-piece suit, give him a briefcase and a haircut, and put him on the subway. Will anyone notice that he is not like the others? If not, then he has passed the subway test.

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Photo Credit: Matt Celeskey

(As an aside, this article and the concept of the subway test came out long before Svante Pääbo’s work showing that all Eurasians carry a significant number of Neanderthal genes. I suspect Neanderthal would pass the subway test because a lot of people on the subway are at least part Neanderthal themselves.)

Anyway, the idea appealed to me because, as I’ve said before, the function of all art is to explain to ourselves what it means to be a human being. One of the things I most love about science fiction and fantasy is that these genres spend a lot of time working with creatures that are clearly non-human, as well as creatures that are almost human, half human, or human only on first inspection. Scratch the surface, and many sci fi characters are actually gods or demons or monsters of some kind.

But, scratch the surface a little further and you will find that those gods, demons, aliens, dragons, sentient planets, etc. are really humans in alien masks, like the characters of an ancient Greek play. As Stanislaw Lem says in his amazing novel Solaris, “We have no need of other worlds. We need mirrors. We don’t know what to do with other worlds. A single world, our own, suffices us; but we can’t accept it for what it is.” All that traveling, all those robots sent sojourning across the cosmos, all that scanning of distant stars for Dyson Spheres: all we are really looking for is a mirror. Put on a suit and board the subway. Will anyone notice who you really are?

Anthologies to Watch For

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I may be having trouble getting my new work picked up for publication, but I got news yesterday that my already-published work will be coming out in two different anthologies. Gardner Dozois has decided to pick up “The Daughters of John Demetrius” for The Year’s Best Science Fiction #33, and Tom Dooley will be using “Better than Google” in Eclectica Magazine’s 20th anniversary speculative fiction anthology. Seriously, there’s an online magazine celebrating its 20th anniversary next year.

I’ll post more particulars as the dates approach–thanks for reading!

Who Is John Demetrius?

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Photo Credit: Tina Negus

The last thing I had published–the last thing I’ve had published in a very long time, it feels like to me–is a story called “The Daughters of John Demetrius” in the October issue of Analog. (I know that October was only a month ago, but I usually date my publications by the date an editor accepts them, rather than when the story actually appears in print, and I haven’t had anything accepted for publication since April). I was trying something new with this story, working to reduce the infodump and the throat-clearing that I think can be a weakness of my work. So, while there’s quite a backstory to the characters and the setting (near-future northern Mexico), I deliberately left a lot unsaid or only hinted at.

And, while quite a few people seem to like the story, the reviews I’ve gotten often complain of the backstory and setting being not fleshed out enough. As Greg Hullender at Rocket Stack Rank charitably puts it, “There seems to be a well-developed world behind this little story, and it definitely leaves you wanting to know more about it.”

I feel a bit as though I failed to hit the sweet spot with this story–while reminding myself, as always, that no story is to everybody’s taste. But Hullender and other reviewers are right: there is a world behind the story. Last month’s Analog piece is one of four stories I’ve written that I refer to as “John Demetrius Stories.” They don’t fit into a single narrative–I’m not planning to make them into a single narrative, anyway–and the first two I wrote are not intended for publication, but I do think that I have a story cycle growing in my mind that centers around the character of John Demetrius.

Who is John Demetrius? Well, I’m not entirely sure myself. The character came to me after the death of my brother Dave, and I  wrote the first story with the idea of John Demetrius as a loose fictionalization of my brother. The loose fictionalization has gotten looser and looser over time, to the point that John Demetrius is my brother as he might visit me in dreams today.

I will say this: John Demetrius was a brilliant genetic engineer from a few generations before the story cycle takes place. He experimented on his own genome, he became an utter pacifist, and he wandered out of America into the south, siring children and coming to be regarded after his disappearance as some kind of spiritual master. He is, for the characters in the stories, a legendary figure whose real identity has been obscured by years of cultural accretions and appropriations of his name for all kinds of political purposes. Mythologically, he’s a reworking of the Green Man myth, a cousin of Tom Bombadil and Osiris and Jesus.

And that’s all I will say. “The Daughters of John Demetrius” is available in October’s Analog. I have another John Demetrius story, “Proteus,” which I hope to refine as soon as the current draft of Pacifica is finished. I have more ideas after that. If I can get a few of them published, I might even try to stitch them together into a single cycle: The John Demetrius Stories.

The Pacifica Process

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I’ve always regarded NaNoWriMo participants with a mixture of admiration and skepticism: I love the can-do spirit of the movement, but I’m also curious about what kinds of novels come out of the experience. I remember when I was first considering NaNoWriMo for myself, I read an article by founder Chris Baty that “Slow writers find they can write about 800 words of novel per hour; a speedy writer (and good typist) can easily do twice that.” I knew then that I was not the droid Chris Baty was looking for.

Whatever the merits of NaNoWriMo, someone writing 800 words per hour is not a slow writer in my book. When I was writing Stranger Bird, I rarely wrote faster than 250 words per hour, I would guess–and that was on days that I was focused and serious. And that worked for me–Stranger Bird turned out well, I think, and while it may never get picked up for publication, it’s not a badly written novel at all.

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So why do I even care how fast Chris Baty thinks a slow writer can write? Well, for a number of reasons, I don’t have the luxury of writing time that I had when I was working on Stranger Bird: long empty summer months when writing a novel was really the only thing I was doing. One of the main reasons I turned to writing short fiction since then has been that a slowpoke like me can cobble a good story together with the dribs and drabs of time that are available to me: a half hour here, a few minutes before bed there, maybe a couple of uninterrupted hours on the weekend.

Pacifica is the working title of my second novel. Often I’ve felt foolish for taking a run at it: I feel so starved for time on most days that I’ve no idea how the whole draft will come together. As I work on it, I have to calm myself down daily, get clear with myself that this draft will be sloppy, come to accept that it will be full of dead ends and plot holes. All first drafts are loose, but I am consciously giving myself permission to write something truly horrible in the rough draft, in the hopes that somewhere in the slop of it there will be a story I can draw out. Otherwise the book will never come together; I just don’t have the time to write a tighter rough draft. This isn’t a NaNoWriMo project–I’ve been working on this draft since July and have at least another month or two to go–but I feel as though I’ve absorbed something of the NaNoWriMo ethic.

It’s been an uncomfortable process, almost painful some days. And it may turn out to be a flaming disaster of an experiment. But if anything good comes of it, it will be because I got over my control freakery long enough to allow 50,000 words to erupt on to the page.