Upstart Gods of War
Baen Books December 1992
ISBN: 0-671-72146-1
In the life is strange department ... I'm not a short story person. Simple,
honest, straight-forward statement. While I have a great respect for those who write true
short stories well, and while I do enjoy the occasional foray into the realm,
short-stories are just not the direction my preferences have generally inclined. I
certainly never seriously imagined myself writing them. (But then, before GROUNDTIES, I
never imagined myself writing anything, so I guess that's not saying much.)
However, as I'd been asked several times over the years to read and react to
friends' short stories, I'd sort of developed my own notions of what constituted the
difference (in my own mind) between a short-story and a novel. It is ... an eclectic
definition. (See a future Soapbox.) Once I began writing myself, and as I worked my way
through the increasingly intricate plot threads of the GROUNDTIES series, I began to
wonder whether or not I had the ability to meet my own definition.
Predictably, fate stepped in with a challenge. I was literally in the final days
of the final edit of HARMONIES OF THE 'NET, with all the various plot threads of all three
books booted up and running, trying to make sure I'd tied off everything I meant to tie
off --- when I got a call from Bill Fawcett telling me about this anthology he was putting
together, and how he had a spot that had come open and would I be interested, etc. etc.
etc. Wicked person that I am, I let him explain all about it, make the offer, and then
pointed out to him, as kindly as I could, that, (a) I was interested, and (b) I'd never
written a short story, and (c) if he cared to withdraw the offer, I wouldn't hold it
against him.
Loooong (understandable) silence. Do Bill credit, he let the offer stand.
Translated that meant I had to put my computer where my opinions were! I had a two
week deadline, but was immensely relieved to discover that miracles do happen! I made
both deadline and word count. It's not the best short story ever written, (miracles have
to draw the line somewhere) but it's far from the worst. More importantly,
it's a piece that I had fun writing and in the process
proved to myself (also to my great relief) that I could actually control content and
information flow at least well enough to make a story fit my personal definition of a
short story.
The basic "shared" premise revolves around a new god coming into the
universal pantheon in the 20th Century who is being "shown the ropes" by
observing the extant gods in action. The idea was to have a story where the ancient gods
were interacting with 20th Century events/people.
"Upstart" is, in very short short, about yuppie gunrunners in Turkey in
the early to mid-sixties. Mammon is busy tweaking appropriate stock markets and
international greed, while Diana (in her earth-goddess aspect) is pursuing the allegiance
of a young tour guide. Ultimately, the story is a study of the difference between who
starts a war, what drives the participants, and at least a suggestion of who ultimately
wins the war---any war.
It was an interesting project with unexpected highlights ... like the time C.J.
Cherryh and I were sitting in one of those funky restaurants where the prices are too
high, the tables too small and too close together, and the sandwiches too ... sprouty,
talking about the blackmarket price of Uzies and relative firepower and usefulness of
various arsenal-inmates. One does have to wonder what the three-piece-suiters sitting next
to us, slowly inching their table away, were thinking.
Pot of Dreams
Marion Zimmer Bradley's FANTASY Magazine
Issue #27 Spring 1995
"Pot of Dreams" is another panic-driven short story. It is actually a
collaboration with C.J. Cherryh. CJ was to be Guest of Honor at MZB's Fantasy Worlds
Convention in March of 1995, and they thought it would be nice to have a CJ story in the
magazine due out at that time.
But CJ was on a tight deadline; I was co-GoH at the same convention and my
deadline wasn't quite as tight. So ... to make a not very long story even shorter, I
inherited another short story to add to my bibliography, and my first collaboration. (I
don't count the Gate of Ivrel graphics as a collab, but as a secondary interpretation ...
very different, in my mind. GoI is all CJ's idea. I actually had creative input
on the story and structure of PoD.)
Anyway, CJ presented me with three GREAT ideas ... for 150,000 word novels! But
PoD immediately stood out --- it had both a wonderful concept and (for me, at any rate) a
readily accessible unifying theme. I can't remember exactly what she gave me; if you read
it, I think it was pretty much the first two pages --- about up to the first three star
line break. I do recall thinking, in a bit of a panic ... There's no dialogue!
and Who is it about?!? ... And then, it just came to me what the story had to be.
A little editing to focus the concept down, and the next few pages to make it a story, and
we were finished.
Based on this vast experience, I think I can see at least one reason for the
rising popularity of collaborative stories --- for the writers at any rate. I found myself
quite delightfully scewed off down paths just different enough from my own mental biases
to give me totally new things to think about. In addition, I can see where, at those
moments when a story bogs down, a new perspective could step in, just that needed bit
clearer-headed, and point out that "obvious" solution you just knew was
there but couldn't quite see.
In this case, the problem was less plot than it was finding that singularity of
focus a short story requires. I think that a writer who by nature writes novels (as CJ and
I both do) has a difficult time finding a short story within a seminal idea under the best
of circumstances. In those earliest moments of a concept, when the creative possibilities
are endless, it's positively painful to settle on just one and let the others flit away
into nothingnesss. I suspect it's easier for a collaborator to come in from outside the
... conceptual germination, so to speak, to find a single unifying focus, because their
brain isn't distracted by all those pesky options. Or perhaps, they're just more ruthless!
Please note, I said "a" focus. One of the beauties of a good concept is
its flexibility. CJ and I have never discussed whether or not the story we ended up with
was remotely like any of the possibilities she had in mind when she handed me that concept
sketch. One part of me is curious ... another isn't sure it wants the answer to that
question--- PoD is what it is and (at least for me) the first line now leads inevitably to
the last.
On the other hand ...
I'm quite certain the magazine is still available. It has a lovely David Cherry
cover, and James Balkovek did several interior illos for the story, a couple of which are
(in my opinion) well worth the price of the magazine just in themselves! The concept is
fairly well contained in the opening line: Would you buy a dream? It's a story
about who dreams and who doesn't, what would drive someone to sell that most private, most
precious possession, and what happens when the bottom drops out of the market.
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