Tag: literary

Gold Standard

As a new writer, still in my original packaging and waiting to be put out on the shelves for people to buy (or not), I am at a weird and enviable stage in my career. Weird, because while I’ve sold a book (or three) my work has yet to be made public, so I’m still Nobody. Enviable, because I’ve successfully leapt the hurdles FINISH THE BOOK, GET AN AGENT and SELL THE BOOK, so I’m kinda Somebody, as well. Enough of a Somebody that I find myself fielding the “how-did-you” questions, enough of a Nobody that I’m easily approachable and still have a few minutes’ free time to spare for giving advice of dubious merit.

One question that is often asked but difficult to articulate, even for writers–perhaps especially for writers, and I imagine other artists as well–is: “How did you DO it?”

Q: “What is the meaning of Life, the Universe, and Everything?”

A: (That one’s easy): 42.

Q: “How did you DO it?”

A: That one’s a bit more difficult…

“How did you DO it?” You ask. Do you mean ‘How did you get an agent’,  or ‘How did you choose a point of view’, or ‘How did you get past editing Chapter One till you’d worn the letters off your keyboard and gave up to go play mini golf’?

All of those and more, of course.

“What writing tools do you use? What is your revision process? How did you decide on POV characters?” The aspiring author sees that first impossible hurdle–FINISH THE BOOK–and asks, “How did you DO it?” When she is really asking, “Can I do it?”

The answer she fears, echoing deep in the dank and slimy pit of her soul, is “No, you can’t.”

That was the answer I always got, anyway. And then my demon would laugh as I shut down Word and logged onto Facebook instead. Because that bitch wants nothing more than for you to give up, so that she may remain in the shadows and nibble at the edges of your soul without interruption.

So, what changed? How did I go from someone who desperately longed to be an author to someone who has written THE BOOK and shepherded it all the way to a sale? How did I elude the ubiquitous lack of self-confidence that hunts artists and eats them for breakfast?

How did I do it? Was it Scrivener? A workshop? A critique group?

Did I sacrifice a goat???

Nope. No goats were harmed in the creation of this book.

I found a superhero, someone who believed in me and my work, someone who cheered me on and freaked out in a good way with every new chapter and wheedled and cajoled and kicked my ass every step of the journey. Someone who believed in me even though I never did. I found my #1 fan.

The Author and her #1 Fan

The Author and her #1 Fan

If you are an artist of any color, the world is going to judge you and find you unworthy. It is likely you will judge yourself unworthy; I know I did. But if you have one person lighting a candle in the darkness for you, one person who hangs your painting on the wall or taps her foot in time to your singing or stays up till two in the morning reading your latest chapter and then threatens to break your arm if their favorite character stays dead…

That’s the good stuff, man. That’s the gold standard.

This one’s for you, Kristine. I couldn’t have done it without you.

I'm writing as fast as I can!

I’m writing as fast as I can!

At a recent visit to the insane asylum. We fit right in.

At a recent visit to the insane asylum. We fit right in.

Is there a book in you?

Many of the people I know, or meet, are aspiring writers. A lot of them are working on their book, or thinking about it, or dreaming about it, or cleaning house in a desperate attempt to avoid THE BOOK. Seriously, everyone I meet seems to think they have a book in them. And some of them really do:

Do you have a book in you? This guy did!

Do you have a book in you? This guy did!

When these folks find out that I found the holy grail signed with a literary agent–and not just any literary agent, mind you, but a SFF rock star–I am immediately inundated with questions. Which I do not mind at all; I’m so new to this game that my first book (sold by said rock star agent) won’t be released till next year. A very short while ago, I was one of those round-eyed aspiring writers. I’d drive down the road practicing my “Yes, I would be delighted to have you represent my book” phone conversation.

It was a good thing I did that, by the way; when I first spoke to my agent by phone, I was calm and professional. The moment I hung up, however, I lost my shit. Seriously, I called my first reader to tell her the news and she didn’t even recognize my voice.

Most of the questions I hear are along the lines of:

Question #1:  “Are you rich yet?”

Question #2:  “How do I get an agent and sell my book?”

Answer #1:  Hahahahahahahahahahahahahaaaaaa *gasp* hahahahahahahahaaaa. snort. giggle. heh. Nope. I’m pleased with the advance I received from Titan Books; it was enough to replace the clutch in my old car, replace the appliances that quit working because I had money coming in, pay some bills, and buy a bottle of good whiskey. Median advances for a debut fantasy novel are in the $7k range, folks; that’s not going to buy a castle in Scotland. But it does show that my publisher has faith in my book’s potential, which makes me happy, and pays a bit of rent, which makes my landlord happy.

Answer #2:  Have you finished writing your book? I know, because I’ve been you, that this is not the non-answer you really want to hear. And you’re not alone:

‘Some writers enjoy writing, I am told. Not me. I enjoy having written.’

~George R.R. Martin

You want to pick up the phone, describe your awesome story to the world’s greatest agent, who was sitting by the phone hoping you’d call so he could send the gold-plated contract that’s been sitting on his desk forever just waiting for your signature. Oh, and he’s got a dozen Big 5 editors ready to bid against one another for the chance to publish your book in a special gold-plated edition bound in human skin.

I feel your pain, I really do. But that’s not how this works. No agent is going to want to represent that book if it’s still in you, covered in your guts and mucus and DNA goo. You’re going to have to get that bitch out into the fresh air, and clean the slime off so it’s all shiny and pretty. It’s going to hurt, it’s going to drive you crazy, and it’s going to take more effort and commitment and sheer cussedness than you think you can take. I gave birth four times, without drugs, to babies who weighed in at just under ten pounds each. And that was nothing compared to writing my first book.

I didn’t think I could do it.

I did it.

And you can do it, too.

Now, I have some good news for you: writing a book isn’t all talent and inspiration and serendipity. As a matter of fact, if I were to make a pie chart called Writing a Book and demonstrate the percentages of talent/inspiration/dreamy shit versus time spent banging your head on a brick wall, tenacity, tendonitis, and building your skill set as a writer, the happy-skippy-muse stuff would be a smear of whipped cream on the bottom of the pie plate. Talent and inspiration and all that are wonderful if and when you have them, but most of the work of writing a book can be accomplished by SITTING YOUR ASS DOWN AND WRITING. And your writing skills can be acquired, built upon, and honed.

The bad news? Bullshit excuses won’t get your book written, and frankly nobody wants to hear them.

RECAP:

1: If you’re human, there’s a good possibility that you want to write a book.

2: You’re not going to get an agent or sell your book until you write the damn thing.

3: You’re probably not going to get rich selling your book, but what the hell, it’s still awesome.

4: It’s possible for you to write that book you’ve been dreaming of and get it published–or publish it yourself.

5: I don’t want to hear your bullshit excuses for not finishing your book, and neither does anyone else.

For those of you who keep your ass in the chair long enough to get this thing done, I’ll be writing about how I went about finding my rock star agent, and why he agreed to work with me.

Also…as great as you think it might be to finish that book, get an agent, and get published? You’re wrong. It’s so much better than that.

 

Jai tu wai,

 

Debi

Wake the Bear!

So, the other day I was asked by a nice young writer whether and how a group might sneak past a hibernating bear in its den without waking it. He wanted to write a believable scene and wanted to ask a real barbarian how such a thing might be accomplished.

Can’t fault him for that, I suppose, but I was horrified.

I mean, what a waste of a perfectly good bear.

I get it, I really do. You love your character and don’t want anything bad to happen to her. You’ve probably got an end scene already in mind, complete with explosions and disemboweled villains and teeth-rattling Epic Victory guitar solos. As she takes the path from Innocent Farmgirl to Cyborg Pirate Queen, you want to wrap her in cotton and bubble wrap and Northern Quilted Bathroom Tissue. The first time Sulema ever rode through the Valley of Death, she was able to sneak through without much of anything happening to her. Phew!  Made it!

And then I thought, wait a minute…I’ve got this perfectly good Valley of Death, and she just SNEAKS THROUGH UNSCATHED? Why would I do that? Do I hate my readers? I promised them the Valley of Death and gave them the Valley of Nothing Ever Happens.

So, yeah, spoiler alert: nobody rides through the Valley of Death unscathed, not anymore.

If you’ve got a cave with a bear in it, for fuck’s sake, wake the bear! Let it chase your characters, maul a couple, maybe eat one. If your cave doesn’t have a bear, throw one in there. Give her babies to protect and take away her coffee. And maybe an earthquake too for good measure.

Make your characters pay for daring to be in your story, because the payoff for your story–and for your readers–will be sweet as honey eaten from the skull of an enemy.

Jai tu wai,

Debi

Most Auspicious News

I am delighted to announce the sale of the first three books in my saga, THE DRAGON’S LEGACY, to Titan Books.

Congratulations to Deborah A. Wolf on the new book deal:

Deborah Wolf’s THE DRAGON’S LEGACY (Books 1-3), pitched in the tradition of Guy Gavriel Kay’s THE SARANTINE MOSAIC and the darker folkloric tales of ARABIAN NIGHTS: set in a desert world of sand and honey, the series balances and contrasts the grim with the wondrous, the heartbreaking with the humorous, and takes an unflinching look at real-world issues such as the plight of indigenous peoples in a world mad for power, to Alice Nightingale at Titan, by Mark Gottlieb at Trident Media Group.

Worldbuilding: Geek Love

Sharing a short excerpt from today’s worldbuilding exercise: I’m writing a concise history of Atualon.

The Wyvern’s Rebellion

Solarus ap Serpentus ne Atu, during a visit to the capital city of Khanbul, abducts the young Imperial Princess Zhaolin and installs her as his Consort. Emperor Pu Yet Sin seds his fifteen-year-old son Ghanzhi as an Imperial envoy to Atualon to secure her release or, failing that, demand an Imperial dowry and instatement of Zhaolin as Sa Atu. Ghangi, against his father’s explicit orders, demands his sister’s immediate and unconditional return, but Serpentus laughs in his face and tosses the Imperial Prince into the dungeons of Atukos.

When the Emperor learns of his son’s disobedience he disowns the boy and refuse to pursue the matter further. Imperial Prince Tiachu is named Heir and immediately challenges his father to mortal combat, which he wins. Emperor Tiachu then raises an army and sends it west to Atualon.

The Matreons of Atualon, fearing war, demand that the Imperial Prince and Princess be returned immediately to Sindan, and reparations paid as well.  But Solarus has already defiled the girl and it is reported that the boy prince has taken wetlung and is not expected to live.  The Matreons are divided in their responses to this outrage; some demand that Solarus be stricken from the line of succession, others that he be allowed to succeed his father but required to install the girl as Issa Atu and pay reparations to the new Emperor.  When Serpentus refuses to negotiate with the Matreons, the Matreons return to their Houses and take up the matter with their Patreons.

Several of the Houses issue a Denuntiatio, or formal intent to remove House Serpentus from the throne.  Serpentus declares all titles and lands belonging to the families whose Patreons have signed the Denuntiatio forfeit.  Houses Ursos, Equos, Corvos, and Wyvernos raise the standard of rebellion.

And that’s all I’m going to tell you, for now.

 

Jai tu wai!

Debi

The Hero’s Journey: Call to Adventure (or: Get The Hell Out of My Pantry!)

Most of you who are writers have probably already heard about the Hero’s Journey.  Described by Joseph Campbell in The Hero With a Thousand Faces (1949), The Hero’s Journey—or monomyth—is a basic pattern that can be found in stories and legends around the world:

The Hero's Journey

The Hero’s Journey

The Journey can be broken down into four stages.  In Stage 1, the Hero leaves the familiar world behind.  In Stage 2, the Hero learns to survive in a strange new world.  In Stage 3, the Hero uses this new knowledge to master the unknown world, and in Stage 4 the Hero returns to the familiar world, having gained some necessary bit of knowledge or shiny object.

This is an oversimplification of a very complex and fascinating topic.  I would encourage you, especially if you are a writer, to read further here:

http://tvtropes.org/pmwiki/pmwiki.php/Main/TheHerosJourney

And here:

http://www.jcf.org/new/index.php

And here:

http://www.thewritersjourney.com/hero’s_journey.htm

Consider this your Call to Adventure.

I’ve spent a lot of time geeking out about the Hero’s Journey, because storytelling is kind of my thing.  If writing is an adventure—and believe me, writing is an adventure—I feel like I’m at stage 2.5.  I’ve almost got the hang of this strange new world and I’m getting to the point where I don’t cut myself with my own sword too often.  And I’d like to share some thoughts on the Hero’s Journey in storytelling.

I sat down one day and made a Hero’s Journey spreadsheet, and broke down parts of the story lines of JRR Tolkien’s Lord of the Rings, Robert Jordan’s Eye of the World, and George RR Martin’s Game of Thrones.

This is what I do in my spare time.  Don’t judge me.

When I did this, I noticed something interesting.

In each story, the Call to Adventure was precipitated by an unlooked-for and somewhat unwanted visitor.  Here we have a protagonist, our will-be Hero, happily smoking a pipe, helping Dad with farmboy chores, or lopping off the head of a deserter—Familiar World stuff—when along comes a Sage with some bit of news.  Grab your boots and walking-stick, it’s time for an adventure.

What I found interesting was the thought that this Sage—who may become a mentor or helper character in the not too distant future—is an unwelcome visitor.  Of course the Call to Adventure is often resisted at first, because who wants to leave a nice Hobbit-hole and a larder full of cheese and bacon?  But the Hero’s initial reaction to the person initiating the call is worth examining further.  This visitor is often seen as a helper or mentor character, but I would argue that this is also an antagonist.

I began to call this character the Fey Visitor.  There’s something otherworldly, powerful, and vaguely frightening about this person.  This visitor is viewed with suspicion and unease, and a general wish that they would just go away and leave the Hero in peace.

Of course, the Fey Visitor is a herald to another character or group of characters—Nazgul, Myrdraal, or Lannisters—and this visitor is a direct threat to our Hero’s safety, to the extent that the Hero will be forced to embark upon the journey, and may also be forced to rely upon the Fey Visitor’s strange powers for survival.

I call this second visitor the Fell Visitor, and see it as a dark-mirror image of the Fey Visitor.  It seems to me that a story may be enhanced and deepened if the storyteller keeps these two Visitors in mind, plays them off against one another, and has fun comparing and contrasting them as two sides of the same coin.  Moiraine and the Myrddraal, King Robert Bareatheon and Cersei Lannister, Gandalf and the Nazgul.  Someone who wants you to move and change, and someone else who will kill you if you don’t.

As the Hero continues into the strange new world, eventually lessons will be learned and skills gained that will enable the Hero to overpower either of these antagonists, but for now I will leave Frodo trembling in fear as he agrees to this impossible task, when all he really wants to do is go home, have a smoke, and sit down to a nice little dinner.

 

Jai to wai,

Debi

Yes, We Wanna Read a Prologue

Okay, I put the question out on social media… “Do you wanna read a prologue?”

Thank goodness, there were enough immediate “yes” responses that I didn’t have to tuck my tail and slink back under my rock.

So here you go, folks.  The entire prologue of The Heart of Atualon in all its first-draft glory:

A Lonely Wind

 

The wind was born of a shepherd-girl, playing her lonely flute. Nimble fingers dancing across smooth bone, lost to memory now, sweet young breath long gone to dust and war and the tattered cloth of an old and unreliable memory. But the sunlight was still the same, pouring across the Zeera thick and sweet and rich as avra poured from a pitcher of gold.

Born of song and longing and the magic of young girls, the wind danced in pain and beauty across the soft yellow dunes, caressing them into song, raising an army of wistful little sand-dae that died before they could become much of anything. They understood this in their thin and sandy hearts and danced away what time was given to them, dying here and there without so much as a sigh of regret.

The wind rattled and knacked through the desiccated branches of a blackthorn, startling a hare so that she dashed from cover against her own best judgment. Pale sands still cool from the long night, stained red with the first blush of morning, now here and there were painted red with a brush of hawk’s feathers dipped in hare’s blood, terrifying and beautiful and true. The hawk rose triumphant from her masterpiece, screaming with life.

The wind was rank with night’s dying, and hare’s breath, and the song of silenced girls. And though the old woman was past caring about omens, though it did not matter this day whether she rode toward the shadows or toward the light or down the throat of a dragon, the hawk’’s scream raised a chill in her blood and caused her breath to catch, and this in turn caused her left leg to twitch (the wounds of a careless youth had long since caught up with her) and so her faithful old mare shuffled and stumbled a bit to the right. Sun Dragon unfurled her great wings at just that moment, filling the sky with life and death and everything in between, and the old woman smiled and changed her course. When all paths lead to death, she supposed, one might as well ride towards morning.

The rolled blankets dug uncomfortably into her bony old backside; Zakkia’s beautiful saddle had been gifted back to the people, and she allowed herself a moment of regret. Perhaps she would stop and make more dream-milk tea; pain was a thing she might choose not to endure. But her sweet mare, the best of mares, true friend of her heart, ambled on at a comfortable pace and so she decided to wait. If one of them was to suffer some discomfort, let it be her.

And then the wind changed.

Zakkia tossed her fine head, sucked in a lungful of air, and let it out again in a long and thoughtful snort. Years past, she would have pranced and danced and fought for her head at the smell of fire and blood and anger. Years past, the woman would have laughed and roared a challenge and plunged them both into the heart of whatever trouble lay ahead.

It was a wonder either of them had lived so long. The old woman smiled, though a stranger would have missed the ghost as it skittered across the dry old dunes of her face, and turned to her true companion, her one love, her breath-and-blood. And the waking dream of her loss staggered her, stilled her, filled her to overflowing.

Her soul reached out towards that still place, the dead center of her heart. Warriors who had lost limbs would grope towards their missing parts just so, she had seen it, the disbelief as they tried to touch that part of them that was no longer there.

Saffra’ai…

And waited, till the grief she had tossed into the air came crashing down upon her again, shattered her anew.

Zakkia stumbled again, and wandered a bit, head nodding low. Soon, now.

This was the second day of their three-day journey; the pair had drunk deep from the sweet well and the bitter, had served pride and kin and herd; there was none living who could say this was their fight, or breathe a word of reproach if they turned away at the last. But one may as well bid the stars in the night sky to cease their shining, as well bid the hawk not take the hare, as ask an old warrior to turn aside from excitement. Even on the last day of her life.

Or perhaps, she thought with a bitter smile, and urged her mare to an easy canter. Perhaps especially on this day. She had never planned to nap her way into the Great Song.

Zakkia’s stride shortened as she stiffened her neck and shoulders; she tossed her head and snorted a soft little horse-roar. They were coming up on the Bones of Eth, a place of shadows and ambush and wicked repute, and so the old warrior was not surprised to see carrion-birds. Would have seen them earlier, damn the veils drawn over her eyes, damn the weakness that trembled in her hand as she clutched her short bow at the ready. And damn whatever danger lie ahead if it thought to feed on her stringy carcass. Zakkia stumbled a little as they slowed to a walk, and sparked the embers of an old warrior’s heart to flame, a hot spark of anger that her mare should be made to suffer any discomfort, any indignity on this their last day. She asked for a halt, and stroked the sweat-slick shoulder of her best friend in all the world, and sucked in a hissing breath between her teeth. She still had enough teeth to chew her own meat, thank you very much, and sands be cold the day any of the pride’s younglings could ever outshoot her. Where there was life, she was fond of telling the cubs, there was room for foolishness; her heart, still beating, urged her to folly.

Zakkia tossed her nose forward, insistent, and together they walked between the red-and-black banded pillars of stone that thrust up from the sands like the twisted and tormented legs of a dying spider. The chill that caressed her spine had little to do with passing through the scant shade; murder and worse had been done here, long ago and long ago and not so long ago. This sand, these rocks had drunk deep of rage and blood and they were thirsty for more, she could feel it. Smell it in the air, hear it in the thick and malicious chuckles of wind as it hissed through the rocks like a dying breath.

The wind, and the pock-pock-pock of Zakkia’s hooves on stone, and…something else. A hopeless sound, thin and lost, no more substantial than the last wisp of smoke from a dying campfire.

There are things in the world, predators of the soul, that will mimic the cry of a human child and so draw in their prey. The old warrior knew to the marrow of her oft-mended bones that this was not such a sound. Zakkia, truest friend, cleverest of mares, shrieked her outrage and let fly a kick, and then they plunged into the clearing as if they were charging down the very maw of a dragon.

Za fik, why not? As well die today as tomorrow.

The Bones of Eth was a lonely place, a shadow-stone set in gold. Nestled in the burning sands, it offered respite from the sun, a place to rest one’s weary bones, have a sip of wine, perhaps let the pack-animals chew their cud before dragging your weary, sweaty self back towards whatever destination was so desperately important that a journey across the Zeera had seemed like a good idea at the time. The traveler might wonder whether there had once been a city here, what structure or service the dark stone sentinels had been intended for, in the long ago when this land was cool and verdant. And they would wonder why, when rest was so close and so longed-for, their travel-weary animals would fill with life at the sight and smell of the place, balk and scream and bolt, and suffer the lash rather than be led into the shadows beneath the Bones. A wise traveler would listen to the wisdom of her animal companions and skirt the area entirely, breathing a sigh of relief once she had passed, without ever knowing why.

But wise travelers, like old warriors, were rare as rain. The wise stayed home and grew old; the foolish became travelers, or soldiers, and died young.

Zakkia trusted her old warrior, and so the good mare did not balk, or bolt, or so much as hesitate as they charged down the steep and narrow path. The footing was treacherous, but she was nimble as a filly, and the dream-milk tea had filled her with high spirits; the bright flame of false youth, enough perhaps for one last act of high folly.

The air between the Bones was not simply cool; it was…thick…the rocks seemed to shimmer and dance before them as a mirage on the horizon, so that when they broke through the veil and into the heart of Eth, the old mare stumbled and the old warrior very nearly lost her seat. The thought of a warrior such as herself coming off her horse, on this day…on this day!…had her grinding her teeth and looking for someone to shoot, even as Zakkia tucked her haunches under and they slid to a halt.

Not bad for a pair of old ladies. Now they had only to find an enemy to kill, and end this life on a glorious note. It was not the death she had planned for them, but death can be funny like that.

And just like that, as if her thoughts of blood and glory and an interesting death had broken a spell, something snapped back into place, and the air was still and thin, and the sunlight was ordinary sunlight beating down on the heads of yesterday’s warrior and her old horse, all wound up with nothing to kill. She looked around, wary, but feeling in her bones that whatever danger had been here, they had missed by a hairsbreadth. Zakkia agreed: her ears swiveled this way, and that way, and then flattened as she reached back to nip reproachfully at her rider’s foot.

The old warrior nudged her horse’s teeth away and scowled; some days it seemed that she had spent her youth chasing the perfect lover, and her maturity chasing the perfect death, and she was beginning to suspect that the latter was as elusive as the former. Then again, she had caught some fine men in her day—she most certainly had—and one or two had been worth the effort.

She shaded her eyes against the sun as it rose above the Bones of Eth. There, in the far and darkest corner of the clearing, was a huddle of large, boxy shapes. Wagons of some type, no doubt, settlers or merchants or some other brainless wanderers, and scattered here and there, like a spoiled child’s forgotten toys, the still and rounded forms of pack animals. Damn her dim eyes, that was as much as she could make out. One of the carrion birds lit, wings outstretched and screaming with glee.

The wind picked up like a traveler’s lute, singing a song of woe. It cradled in its song the cries of a child, pulling the warrior and her horse along with a kiss of regret, a caress of heartbreak, a slap of sand in the face. Whatever had happened here, had happened, the meat of the story was gone and all that was left for them to chew on were hide and bones, gristle and entrails, and a bitter draught to wash it down.

But she was a warrior, used-up or no she was still a warrior, and a warrior will always do what needs doing. If you cannot save the living, Youthmistress Hapuata had once counseled, soothe the dying. Send the dead off with a drink and a song and the smoke of sweet grasses. And never forget to loot the bodies.

Youthmistress Hapuata had gone down the gullet of a lionsnake and had gutted it from the inside out before dying of her wounds. The old woman sighed, and lifted a stiff old leg over the back of her stiff old horse, and slid to the ground, wincing at the hot little needles in her knees. She had so hoped to make it to Nar Kabdaan by the end of this day, and let the red of a dying sun blossom before them as they shared the last cup. She had always wanted to see the sea, to smell it and hear the waves. They said it sang a sweet song. They said it stretched farther than your eyes could see. It would have been glorious.

The old woman stopped as they drew near the wagons and left her mare to poke about—no need to force her horse to look at dead things, too—and flapped her bony arms at the carrion bird, a fat red ghully-vulture that hissed and spread his wings at her as he claimed his prize.

She sucked her teeth, shook her head, and sighed; the vulture’s meal had, until recently, been a fine brace of churrim, spotted and sleek and fit. Such as those would have been a fine thing to bring to her Pride, and now they were meat. The scent of blood was as yet stronger than the stench of death. Not long, then. She had almost……

No, none of that. That path led nowhere. She turned from the dead churrim with another sigh, leaving the vulture to his ill-deserved meal, and startled so that she almost dropped her bow. The wagons—there were four of them—were of a design she had seen once, a drawing in a rare book that had caught her fancy as a child. Small, bright houses they were, all of wood and with little doors and oiled-hide windows, red lacquered three-tiered roofs that had reminded her of the jiinberry farmers’ broad, pointed hats. Narrow wooden wheels made for hard-packed roads, not for the soft singing and ever-changing sands of the Zeera. It was an impossibility, like a dream upon waking, like rain on a summer day.

Tempting luck, the old warrior glanced back over her shoulder; yes, her mare was still here, standing a little ways off with one hind leg cocked and her lower lip drooping. The air was still hot and dry as air should be, and the vultures were fighting over the bodies, as vultures should. And yet, here were these wagons, heavy things made of wood, charming to look at but impossible to drive across the sands.

And where were the bodies? The smell of fresh death was heavy, and here she could see a thick splattering of blood and hair and other bits, as if someone had had his head smashed open on the side of the nearest wagon, she was warrior enough to hear the songs of the newly dead, but there were no bodies.

As soon as that thought blew across her mind, the old woman felt the hair at her nape prickle, her breath catch. Her nostrils flared, and as she drew closer could see that damage had been done to the beautiful wagons. Gashes, gouges—a lionsnake’s claws, perhaps, or some breed of wyvern—one of the wagons had had its roof smashed in, and all but one of the slender wooden wheels had been crushed to bits as well. There was an odd metal-and-sulfur smell that reminded her of the Araki hot springs, and one of the wagons, the least damaged, was burning.

No, perhaps it was not burning, but a thin trickle of smoke breathed forth from a rent in the window, and it was from this wagon that the noise came.

The old woman did not fear death, but she had never liked magic.

She stilled herself body and mind, closed her eyes, dug her toes into the sand through the worn, soft leather of her favorite boots. Let her aethra, her animal-spirit, open and unfurl like a lotus blossom, like the supple stretch of a waking cat, like the kiss of dawn on the last long day. She opened herself to the feel of things: the vultures, filling their bellies with sweet hot meat, gorging on fatty entrails, heavy-bellied already in the rising heat of the day. Zakkia, sweet, beloved, familiar, redgold flame tinged with blue now flaring with false life, now spluttering like a campfire burned down to its last embers.

She could see her own spirit, crippled and broken, bleeding from that wound which would never heal. Half a soul bleeding out into the dark. Oh, sweet Saffra’ai, better by far to drink the night’s last song than live with such grief. Such pain.

Saffra’ai, my love, I cannot do this alone…

She tore herself away from her grief; it could not be survived, this wound, but it could be set aside for a little while, and there was work yet to be done.

In the sky above, she felt nothing. In the sands about her, nothing. In and around the three crushed wagons, half a score of new ghosts, angry but impotent. And in the fourth…

In the fourth wagon, a small and bright life. Human. Wounded…

No, there were two lives. No, one. And then again, two.

She opened her eyes and grunted as the vertigo hit, staggered a short step before shaking it off and heading towards the smoking wagon, where a child lay weeping in terror and grief because her mama would not wake up.