Behind the Scenes on "The Crimson Sands of Huo Xing"

I recently had the pleasure of having one of my short stories published by the great people at Evil Girlfriend Media. Jennifer Brozek is a wonderful, sympathetic editor, and I'm delighted to be a part of the kick-@$$ery being promoted at EGM.

My story "The Crimson Sands of Huo Xing" appears as part of their ongoing EGM shorts series. As I've mentioned before, I'm the sort of person who loves DVD extras and the like, so here are a few thoughts on my story.

First of all, the title. Huo Xing is the Chinese name for the planet Mars. My story is meant to be an homage of sorts to Edgar Rice Burroughs, though with some Cordwainer Smith and perhaps Chris Roberson thrown in. My one major difficulty with Roberson's otherwise excellent Celestial Empire series is that the series doesn't feel Chinese enough to me.

I hope I respond to that criticism of Roberson in my own story by drawing from the wuxia genre in "Crimson Sands," and especially the proto-wuxia novel Water Margins. Water Margins is also the inspiration for the opening quatrain. As happens in many early Chinese novels, the quatrain is meant to summarize the story we're about to read.

"The Crimson Sands of Huo Xing" is haiku fiction not only because of the role the quatrain plays but also in the use of suggestion. Names like Tai Shan Station and the cursed blade Yaomi Chi are meant to evoke a story world greater than the short text of the story. I'll leave it up to you to determine how well I succeeded.

Take the time to read "Crimson Sands" and let me know what you think. And support the great folks at EGM!!

The Power of the Right Word

Recently, a friend on Twitter paid me a high compliment. Here’s what Jon Jones wrote:

Few writers I know of have mastered the art of linguistic precision quite as deftly as @HaikuFictionDJU.

Of course I was extremely flattered by what Jon said. Choosing the right word for the right narrative effect is one of the fundamentals of haiku fiction. The more limited the scale of a story, the more you have to make every word matter. Flash fiction and especially drabbles focus one’s vocabulary intensely. I've had the good fortune to have some success in that field.

But Jon’s comment also caused me to reflect on why “linguistic precision” matters so much to me. How did I get to be this way? I realized that part of the reason stems from my surname.

It can be both a blessing and a curse to have such a unique surname as Uitvlugt. The name comes from two Dutch words meaning literally “out flight,” or more idiomatically, “subterfuge,” or even “excuse.” (“The dog ate my homework” is an uitvlugt.) The story my family tells is that the first person to use the surname was a deserter of the French Foreign Legion around the time of Napoleon. He “fled out” of the FFL to the Netherlands where he hid out under an assumed name. How’s that for a “subterfuge”?

My surname essentially means “pseudonym.” (More on Dutch surnames here...)

Jon helped me realize that I learned at a very early age that behind every word is a story. I’ve been interested etymologies for a long, long time. Jon helped me realize why. While the meanings of words change over time -- sometimes quite significantly -- words carry the weight of their meanings with them.

That’s true in an especially strong way with haiku. When Basho composes a haiku based on a certain season word, he’s very well aware of the centuries of history that lie behind that word in the history of Japanese poetry. Sometimes his poem depends directly on that history. Sometimes he subverts that history. The “hai” in his haiku depends on knowing the history of the words he uses. (More on the cultural significance of kigo in Basho's poetics here.)

This conscious use of words is definitely a feature of traditional haiku I try to carry over into what I call haiku fiction. Being more aware of the stories behind the words we use can add extra levels of meaning to the stories that we write. That’s what I try to do, sometimes on a subconscious level, but when I’m on my game, sometimes more deliberately. Weighty words, the right word at the right time, have more meaning.

Thank you, Jon Jones, for reminding me of that fact and for helping me realize why I do what I do!

The Writer's Arena, Redux.

I have the extreme pleasure of regularly serving at one of the judges at the weekly one-on-one writing contest at TheWritersArena.com. Shortly after the site was founded, I also competed. A few weeks ago I was asked to compete again, this time against the formidable Joseph Devon.

Since I’m the sort of person who loves DVD extras, so in that spirit, I thought I’d offer a couple of thoughts on how I wrote my story “Rites of Spring.”

Unlike the first time I competed in The Writer’s Arena, this time I had worked before in the subgenre of the challenge. I had the following 100 word story (drabble) win an online contest:

The Deal

  Leaves rustle.
   “Most unusual.” Northrop touches the knot. “The sap looks like…blood.”
   The bark-covered pustule oozes, coating Northrop’s fingers. He can’t pull them away.
   “Denis, a little help.”
   The sap burns. The knot sucks down his hand to the wrist.
   “Denis!”
   “Sorry, professor. Had to get a shovel.”
   As Northrop turns, Denis bashes his head in. It takes him the rest of the afternoon to dismember the body and bury it at the base of the tree. He wipes his brow and looks up to the topmost branches.
   “One more and you let my brother go, right?”
   Leaves rustle.

 

I also have a carnivorous plant story that I am trying to get published. For a millisecond, I contemplated turning in that story. But of course that would be contrary to the spirit of the Arena. I would write something new in the allotted time.

 

But what? I’m a definite fan of the Carnivorous Plants subgenre. I first fell in love with the trope -- not counting learning about carnivorous plants in nature -- by reading H. G. Wells’s delightful “The Flowering of the Strange Orchid.” In my thinking about what to write, I also had John Wyndham’s The Day of the Triffids and Warren Fahey’s Fragment in the back of my mind. Also in my personal mix were things like the Tom Baker Doctor Who episode The Seeds of Doom and Alan Moore’s take on Swamp Thing.

 

As all this suggests, I had the problem of too many ideas! That’s when I hit upon the thought of using a series of quotations. I could incorporate several of these different ways of viewing carnivorous plants into a single story. The goal was to make the Sefer Etz Hayim a kind of botanical Necronomicon.

 

“Rites of Spring” is an example of haiku fiction in several ways. The title alludes to Stravinsky, and his musical treatment of pagan sacrifices. The quotes from the fictitious book are meant to do more than just set the tone; rather, they provide further information about the behind-the-scenes world of the story. My hope is that, by seeing events both from Stephen’s point of view and from Brit’s, the reader can triangulate a deeper understanding of the story.

 

Oh, and just for fun, I used the Medieval Alchemist Name Generator tweeted out by the Arena to come up with the name “Zacharias Glass.” I combined a couple of results to do so, but I did use the generator.

 

I alternated between writing the scenes with Brit and composing the passages from Stephen’s book until I had a complete draft. It took a while to wrestle the story into shape in my longhand draft. Then I typed up and printed out a copy of the story to work on the edits. A surprisingly fun ten days.

 

I hope that you enjoy the results!

Old Udek (A Trashling Tale)

The first snowfall is always a festal night in Fill. Great drifts blanket the mountains a pure white.

Every year, when the first flake is sighted, Old Udek dons his winter robes. He makes his way to the top of the tallest mountain, ignoring aching bones and his frostbit nose.

Once there, he opens the flask around his neck. He catches a single snowflake within it, stoppers the flask, and makes his laborious climb back home.

When the revelers ask why he does this, knowing the flake will melt, he always replies, "I'm storing up hope, against the dry season."

Kiara's Quest, Part I (A Trashling Tale)

Deklan the healer shakes his head. Kiara's pet bird is sick and there's nothing more that he can do.

Mistress Verta says the Makers will the beginning and end of all things. Master Ember says that such is the way of all flesh, to be calcinated and perish.

The Cogger 53211 promises her a clockwork bird that will sing and never tire. Barilla the Tinker promises a hand-carved grave maker in bronze that never tarnishes.

Her parents—cruelest of all—tell her it's just a bird.

After they leave, she takes her pack and sets out to find a cure.

A Dialogue Between Mistress Verta and Master Ember (A Trashling Tale)

"I cannot let you preach what you preach."

           

"We are the physicians of Fill. We must tell the truth when no one else will."

"You want to set the world on fire."

"Yet you destroy what you don't understand."

"I could never understand your view of life."

"You are naïve children. Your name reveals everything."

"You are prophets of gloom and destruction in a world hungering for hope."

"You forget the point of it all. The meaning of existence."

"We must build. We must bring order from chaos. That's why we're here."

"Everything must end in fire, even the Makers."

            

Burge, the Mouse-Herder's Son (A Trashling Tale)

The songs of Giatolo called out to him in the tavern. Sick to death of mice, he wanted adventure.

He kissed his mother and left before his father came home from the pens. Brigands took his bread and cheese before the end of the first day, outlaws his staff and pack before the end of the next.

He grew stronger. He learned to fight with the sword and the pike, with the axe and the mace. He defeated fierce monsters and saved many maidens fair.

But to the end of his days, his fingernails still smelled to him like mouse-dung.