As I post this, Anthrocon is wrapping up for another year. I wish I could have attended, but I was there in spirit — through my two short stories included in FurPlanet‘s new releases! My work appears in ROAR 7 and Gods With Fur.
So here’s a sample for ya. Repast ( A Story of Aligare) is meant to stand alone, although if you’ve read Remedy you’ll recognise a few faces. And if you’re new to my human-free world of Aligare, you might want to check out the Aligare Lore section of this blog.
(A Story of Aligare)
by Heidi C. Vlach
Mama said there was a legend about the gods giving out names. Long ago, when the land was new and the first trees were stretching toward the dome of the Great Barrier, the mortal peoples were nameless. That was unfitting for gods’ children. The Great Ones discussed and disagreed, and in the end used their vast power to poke dimples into the peoplekind’s inner essence. Not enough to hurt, only enough to make people want to prod that spot inside themselves. Smooth it over. Maybe fill it with something.
That something, Mama said, was a name. It was different for each peoplekind. The aemets — the betweenkind folk, both furkind and insect — got one given name, and held their family name close so they always had company. The korvi — dragons of the skies — got one given name, and kept their clan name, too, for something to be proud of. And then, Mama said, came their own ferrin race. Some ferrin were happy with one given name. One didn’t always fill them up, though. So Mama’s mother gave her two names so she could pick between them once she was grown, and Mama did the same for her own kits.
Choosing one’s name was a summoning of strength and levity, a sure way to feel right in one’s own fur. Mama smiled, her whiskers folding up fond, and said she was eager to see which names her kits would pick. Or maybe they would find a third name. Wasn’t that right, Vivia Ava?
The twinkling in Mama’s eyes was a thunderbolt through Vivia Ava’s chest. A patch of longer fur — adult fur — was spreading wide across her shoulders and she still had no earthly idea whether she was Vivia or Ava. Neither sat right in her mouth. Neither pretty name, selected by her love-strong parents, felt like the one she should ask folk to call her by. But if even great Ambri thought she should pick for herself, then there couldn’t be any shame in it. Gods, supposedly, knew best.
When Vivia Ava started exploring the oak forest by herself — though always within smelling distance of home — she took the solitude as a chance to mumble sounds. She listened to her own tongue smashing her names into new shapes. And soon enough, she began telling folk that she was Vivia Ava, call her Vee.
Vee left home soon after her adult fur filled in. She put on the scarf Papa gave her — the gold- patterned one that brought out the green in her eyes — and she left the oak forest behind, following the trade roads and their trace scents of travellers, until the oak trees gave way to plains grass and eventually, cornfields ushered a town into view.
This place was Greenway, a large village made up of mostly aemet people. Aemets were as green as their plantcasting magic and every two-legged step came smooth. They gathered together just like the corn they grew, slender and angular, and they smiled down at Vee like they could sense promise wafting off of her.
It was a fine enough town to live in. Vee chose a maple tree on the outskirts of town to make her nest in, after promising her aemet neighbours she would do no harm to this child of the plant goddess. No sap drawn, and no wood broken away unless it was diseased or dead. That was a reasonable allowance to make for folk of another kind; Vee would be uneasy, too, she supposed, if her goddess’s storm clouds were able to burn or bleed. And more importantly, great Verdana didn’t mind people or creatures eating her seeds. There would be meals of maple keys in Vee’s future.
As much as Vee’s neighbours guarded the trees, they still needed wood for their hearths, to cook food and ward the night’s chill away. Vee gathered fallen branches, at first, and she traded them for juicy cobs of roasted corn. As months passed, her foraging took her farther and father afield, out past the farmers’ plots and into the forest so she couldn’t smell the town’s latrines or woodsmoke anymore.
The maple forest had a greener tang to its scent than the oak forest back home. Fewer whiffs of basilisk and cavebird’s scents. Fallen leaves becoming pungent earth. More thrushes’ and jays’ cries and a more robust voice to the wind. After an hour’s quick journeying, the ground sloped upward into the rocky foothills of Hotrock Volcano.
And with each trip, Vee found things. Trinkets more interesting than firewood or seeds: she found treefruit, and pebbles glittering with minerals, and wood bent by the wind’s persistent presence. She even found a rock-clinging lichen that looked like musty leather scraps but was actually worth an eightday of hot meals.
“What can you make of that lichen?” Vee asked the town seamstress, around a mouthful of scalding but delicious pigeon stew.
“Oh, wait until you see it,” the seamstress enthused. “It makes a truly striking shade of pink dye. If you find me more of this, there’ll be more stew for you — wager on that.”
And that was when Vee realized that she had a line of work: she found herself a name and she could find other things, too.
She dug more intently under leaf litter, and climbed higher up the Volcano. Each day, her scarf filled with mushrooms and pebbles as she bore wind-carved sticks between her teeth, and there was never a day Vee didn’t look forward to the search. After all, why would gods put so many things into the world if peoplekind weren’t meant to find it?
“My, but you’ve got a talent for this,” one merchant told her. He was Syril, a red-feathered chatterbox of a korvi, part of some far-spread family who had made their mark in the land — and more importantly Syril was always delighted to see what Vee had found. “Wager four apples on it, the gods have given you a gift, friend!”
Vee tilted her head up at him. “You think it?”
“Do you know anyone who’s looking for forest goods right now?”
Syril chattered off a list of names — a long list, seemingly folk who had asked for herbs at any point within the last eightyear. But just as irritation was making Vee’s tail flick, Syril’s eyes bugged wide. “Oh, and I nearly lost this bit of news in my dustbin of a head! There’s a fellow right here in Greenway looking for inkwork supplies.”
“What sort of supplies?” Like any trade, inkworking had more nuances than Vee had strands of fur.
Shrugging, waving his arms so his bangles clattered, Syril said, “Oh, different things, by the sound of it. The fellow is Welsken — old aemet man, married into the Tennel family? Not quite a hermit but certainly a rarer sight than a rainstorm. I came upon his daughter, Clematis—”
Whom Vee already knew: Clematis kept an eclectic vegetable garden and she was happy to buy all the herb and shrub seeds Vee could find.
“—and do you know what my dear friend Clematis told me? That Welsken is looking for some particular bones.” Syril squinted, his voice lowering slight. “Grazing creatures’ bones — and only wild ones, no farmed horses or any such thing! I keep a goodly stock of trinkets and rabble in my pouches, gods see that I speak the truth about that, but I had nothing within a shade of what Welsken wanted. He wouldn’t even take a bargain on pigeon bones!”
People that discerning usually had the barter goods to back up their tastes. With her ears folding thoughtful, Vee nodded. “I cover a lot of forest when I’m foraging, I’m sure I can find what he needs. Where can I find this fellow?”
The next day, with a scarf full of new treasures, Vee began following Syril’s suggestions. She went first to find Clematis, lolloping on four quick feet down the town’s main road. Daybright winked through the tall maples; neighbours walked between houses, made with the aemet technique of boards tied gently around tree trunks. As the leaf canopy thickened, the path led to the Middling circle, that sacred aemet place full of pungent stacks of rotting plant trimmings. Clematis wasn’t there — just three farmhand ferrin dumping a bucket of vegetable peels — and so Vee headed for the next most likely place. Clematis kept Greenway’s Middling circle and oftentimes, she guided folk to the Garden.
Vee had visited the Garden once. It was a gathering of large, etched stones propped up tall, each one kept company by flower-speckled patches of daisies and yellow gelsemiums. The stone etchings were pictures of the gods — flat depictions of the stories Vee knew, cool and motionless rock that was nothing like a storyteller’s voice.
But that was why Clematis spent time here, telling the stones’ tales. Today, she was explaining a stone to two other aemets Vee had never seen nor smelled before.
“And after the rain stopped, great Ambri came down from the thunderclouds to see the result of her work.” Clematis was fiddling with her braids as she usually did, smoothing them around her antennae’s bases in a way that never satisfied her. “Her mighty lightning had filled the quartz stone with electric magic, so she had electricstones to bury for later. But there had been a tree too close to the strike point. One of Verdana’s children, now blackened and smoldering.”
Blunt-barbed aemet fingers gestured to the stone, to its chiselled sketch of a bird-like Ambri with her head bowed before a stick of a tree.
“So,” Clematis went on, “Ambri sought out her mighty sister. She fluttered through every treetop until she was in the calmest heart of the forest, and there she found Verdana, our mother of green.”
Vee stifled a sigh: this part of the legend always dragged on when aemets told it. But after long moments talking about the lush-leafed haven Verdana lived in and the clean air filtering through the leaves, Clematis got to the point.
“Ambri and Verdana talked for four weeks, though more like the wink of an eye to the gods. Verdana said that her flora were fragile; that was the beauty of them. Sometimes the other elements would harm plants, but that only made ash and charcoal and, eventually, new soil to nourish new life. Lightning was no enemy of plant life. Why, not even Fyrian’s ever-hungry fire was truly an enemy.
It was then that Ambri called out to her same-element children, the larks and swallows in the sky and the lizards creeping under rocks. Birds came and alighted in the trees, and lizards lined the clearing — and ferrin people came, too, peering out from leafy branches.
Let the land know that lightning might do harm, Ambri said. Folk needed to mind thunder’s rumbling warning, and seek shelter. But though it could wreak destruction, Ambri’s element tried always to do good, as well.
The birds took off, chattering the message to all who would hear it. The ferrin nodded to their High One, and took the message into their hearts. So it has been, ever since.”
The visitor aemets touched their palms together in quiet applause, like they might break the atmosphere of the Garden. Clematis looked bright-eyed with her own storytelling, but thankfully she turned a glance to Vee; the visitors drifted away toward the next story stone.
“Good day, neighbour,” Clematis told Vee. “You need something?”
“Your father is Welsken Tennel — is that right?”
Her tone carried a heavy but; Vee’s fur prickled with possible unwelcome.
“I don’t want to bother him for no reason,” Vee added, “but I’m told that he’s a calligrapher? I found some plantkind bones he might like to trade for.”
“Oh,” Clematis relented, “that’s a different matter. I’ll take you to him!”
Every town had its hermits. Folk who decided that their best friends were quiet and solitude. Folk who hid themselves like moles. Welsken wasn’t quite one of those — but Vee wouldn’t have known his face or his scent if she had to find him on her own. All she knew was the kind-tongued gossip about him, and the seamstress’s set of ink-painted clay dishes that she said were Welsken’s handiwork.
Clematis led her along a narrow path at the back of the Garden, through rustling boxwood and sumac. They came to a house surrounded tight by hazel bushes, its wooden walls hardly visible through the meshed leaves.
Clematis rapped her blunt-spined knuckles on the door pole. “Father? There’s a forager to see you, with some bones for trade.”
Silence answered. Nervousness sparked electricity under Vee’s skin and she reined it in: her ears fanned forward at the faint scuffling of movement within the home. Welsken’s footfalls approached and stopped before the door curtain. Hesitating, maybe. Or considering. Vee had always wondered what aemet people’s airsense could actually show them, other than a mound of fur and whiskers.
Finally, the door curtain was whisked aside — by the shortest adult aemet Vee had ever seen, his posture so stooped that his tunic hung like an empty sack. Faded brown eyes mirrored his tacked-on smile. He seemed rusty at meeting guests.
“Suppose we can talk for a moment,” Welsken said.
Clematis hummed a satisfied note. “I can’t stay, is that well with you? Travellers are viewing the Garden right now.”
“Go,” Welsken grumbled mild.
Then Clematis was gone and he was lifting the door curtain, waving Vee inside.
The close-walled home smelled like its waxy-skinned resident, and burned cornstalks and dust. Beside the central hearth pit, there was plenty of room and Welsken and Vee to sit — but any other visitors would have had to sit on his bed and he didn’t seem like the sort to offer it.
“Ah, humph. Something to eat?”
For half a heartbeat, Welsken smirked. “Good. I’d rather see to business, if you don’t mind.”
Vee and Welsken’s story continues in the Gods With Fur anthology, available through Furplanet.com
Boy, it sure has been a while since I posted! I’ve been quietly working at a lot of things.
But, yeah. You’ll see some new work from me in the coming months — work such as:
- Reason (A Story of Aligare) will appear in the ROAR 7 anthology. The ROAR series is an ongoing production of FurPlanet, and this year’s theme is “legend” — a perfect fit for the Aligare races and their storytelling traditions. ROAR 7 will release this July.
- Repast (A Story of Aligare) will appear in Gods With Fur. Another Furplanet production, this anthology is helmed by long-time furry historian Fred Patten, and it explores animal/anthropomorphic gods in their many forms. Another solid fit for the Aligare series and its non-human peoples!
- I’ll be attending What The Fur? 2016 in Montreal, Quebec this coming weekend. I’ll be selling paperbacks of all my books, plus some one-of-a-kind paper maché sculptures. I also contributed a furry spy story to the conbook.
- This June, I’ll also be selling my books at Graphic-con,which is Sudbury, Ontario’s new SFF convention. The con was a huge success its first year, with attendance outstripping the venue’s size and causing long wait times to get in. I’m looking forward to being a part of it this year, in its much roomier location.
That’s all I’ve got for now. Photos and release dates will be forthcoming!
One of the more enduring ideas of Western-style dragons is that they hoard things. Gold and treasure, most typically. It’s a mental image I have from childhood, where I read The Hobbit in 4th grade and attempted to redraw the cover art of Smaug coiled around his mountainous heap of gold.
More recently, Smaug’s hoard was brought grandly to life in the Hobbit movies, where the coins in Smaug’s hoard were painstakingly computer animated to spill across his scales. Fans are trying to estimate the worth of Smaug’s hoard, and it seems like no one can agree on the dollar value except to say that it’s astronomically high.
Why did this traditional idea of gold piles come about, though? Why do dragons hoard treasure?
In a basic historical sense, dragons were found alongside gold. Or, at least, that’s what our ancestors would have assumed when they dug up precious minerals and ended up finding dinosaur fossils. We’re a species compelled by stories, so people would have made up stories about these ancient, reptile-like beasts who were always found deep in the earth, near gold.
It’s logical enough that dragon hoards are meant to represent greed. Western dragons are classically portrayed as greedy beings of pure evil. They’re thought to have hoards just because that’s what dragons do: dragons simply sit on their treasure and revel their ownership of it, as opposed to a rich human who could use their wealth to build things, provide for the poor, or otherwise improve society.
In stories where a dragon hoards treasure, that treasure can doubles as a reward for the human hero. Anyone brave enough to slay the evil beast can claim its hoard as their own — although Norse and Germanic stories often specify that a dragon’s treasure is cursed, dooming any human tempted to be as greedy as the dragon. Maybe the curse would be dispelled by giving the gold away to needy people, or similar acts of charity? That would make narrative sense.
Okay, so the greed metaphor works when dragons are depicted as evil monsters. What about more benevolent dragons, though? More recent fantasy stories acknowledge that dragons are interesting creatures and they might make good allies to humans — so why then would a dragon covet gold and treasure? What motivation would they have to collect it?
I grew up watching The Flight of Dragons, in which dragons need a soft bedding material that can’t be accidentally set on fire. Gold serves this purpose well.
Other franchises suggest that dragons are just fond of shiny, pretty objects, or they like the idea of owning valuables to impress others with. And why not? That’s why we humans wear pretty jewelry or expensive watches. It’s why we consider a golden crown to be headgear for an important, royal person. It’s not such a stretch to think that other intelligent beings would feel the same way about rare, precious metals.
I tend to think that lifespan is a factor, too. Dragons are generally imagined as long-lived beings, able to watch human dynasties come and go like the tides. They have more than enough time to build up a collection of money and valuables. Maybe dragons want savings for the same reason human beings want savings: to look after themselves and their loved ones in the inevitable hard times to come. Whereas short-lived creatures wouldn’t be as concerned about what the world will be like 50 years from now. I’ve never made this idea explicit in my Stories of Aligare, but the dragon-like korvi people have the longest lifespans of the three peoplekinds and they’re also most interested in the earth’s mineral riches, and they’re most likely to have a stash of metals and gems in their homes just in case. That’s not a coincidence.
Peregrine liked to think he could endure a little work. He had tempered himself in the mines, hauling rock until his body balked at the thought of more, until he felt like spent ashes all over and he still needed to cross the plains home. Fyrian hadn’t intended his sky-child korvi to break rock, but they did it anyhow. Someone needed to provide.
-Remedy (A Story of Aligare), Chapter 9
And the whole reason I wrote the Serpents of Sky collection was to spin lots of different dragon scenarios. Dragons guarding gold to save humans from their own greed. Dragons who physically manifest the concepts of greed and chaos and destruction. Dragons whose close-guarded treasures let them bend time and space. Even a dragon whose precious stash is just cream and sugar to put in their coffee.
In short, there are lots of reasons dragons might hoard gold. It’s one of many traits we can get creative with, and reinterpret as we see fit. If you haven’t seen the Unusual Dragon Hoards artworks by Iguanamouth, I highly suggest taking a look — it’s a cute series where dragons sit possessively on piles of stuffed animals, spoons, comic books and other unexpected treasures. Golden hoards are just one more way for dragons to capture our imaginations.
Today’s post is a guest post by Claudie Arsenault, editor of the upcoming anthology Wings Of Renewal. It’s a collection of solarpunk dragon stories — and hey, any interesting spin on dragons has my full attention! But what was the inspiration to combine eco-positive science fiction and dragons? Take it away, Claudie!
The Inspiration Behind Wings of Renewal
Ever seen an image so stunning you just had to write something about it? Read about a new technology that sent your mind spinning with possibilities? I think most writers have felt the thrill of sudden inspiration at one point or another, the solid desire to produce fiction, right there and then, based on something heard or seen.
Solarpunk does this to me all the time. Might be why I love it so much! There’s something about the Art Nouveau aesthetics, the incredible sustainable techs, and the marvelous gardens attached to it I just can’t get enough of.
So today I wanted to present three of the inspirations that went into Wings of Renewal, a solarpunk dragon anthology I curated with my friend and co-editor, Brenda J. Pierson.
- The Great Green Wall
Let’s start with a cool, currently-occurring African initiative, shall we? The Great Green Wall is a project to plant a long and wide line of trees all along the Sahara’s southern edge. Its goal is to prevent further desertification, and to help communities in the area. The initiative goes well beyond planting trees and includes programs on ecosystem management and the protection of local heritage. As a whole, it seeks to mitigate climate change and improve food security for the local communities. The picture is of China’s very similar initiative, called the Great Green Wall of China.
And I mean, when you look at it, the Great Green Wall is huge undertaking by eleven African countries (Burkina Faso, Djibouti, Eritrea, Ethiopia, Mali, Mauritania, Niger, Nigeria, Senegal, Sudan, and Chad), aiming to create a more sustainable and stable world for the communities involved. You hardly get more solarpunk than that! It’s no surprise, then, that defending the Wall against a terrible forest fire is at the center of Fighting Fire with Fire.
- Darkling Beetles and water condensation
Did you know some beetles can condense dew onto their body and get their daily hydration from it? That’s how the darkling beetles manage to live in the desert! Now give this to a creative writer, and suddenly it’s not a tiny beetle with this ability, but a huge dragon! How much water could one create? Seven? A dozen? Enough for sparkling oasis with a thriving ecosystem? Why yes! That’s the setting in Lost and Found.
Solarpunk isn’t all about adding greenery to the desert. A lot of it revolves around making cities sustainable and accessible living places. 3D printing is a huge part of ‘accessible’ as it allows prosthetics to be created at low costs and high speed. And nothing says these can’t be beautiful and badass! So as a personal fan of everything 3D-printing can bring to a solarpunk universe, I was thrilled when the protagonist from Summer Project not only had prosthetics, but worked in a shop building some.
If you haven’t heard of E-Nable, watch this video! It explains how the organization uses volunteers with 3D printers all over the world to bring cheap (as in, low-cost) prosthetics to people who couldn’t afford it otherwise.
- Dragonsight, by Donato Giancola
The last is not so much solarpunk inspiration as a painting at the center of Wanderer’s Dream, one of the last short stories featured in Wings of Renewal. But it’s a perfect example of what I mentioned at the beginning: sometime an image has a story, or a setting is too charming to refuse. And that’s what happened with Dragonsight and Maura Lydon.
So those are some of the inspirations that went into Wings of Renewal, but there are way too many for me to fit all today! I mean, what about vertical gardens? Beekeeping? Tree-shaped solar panels? Everything else I’m forgetting? Between, stunning aesthetics, world-changing goals, and sweeping technologies, solarpunk has all the inspiration you need.
In case you hadn’t heard the news, a new species of octopus was discovered this summer — and it’s really cute.
Just look at that squishy little guy! The webbing between its tentacles gives it a bouncy swimming pattern, and the flappy little fins on its head are for steering. One of the scientists studying this new species has proposed calling it Opisthoteuthis adorabilis because of its adorable appearance. (At the time of posting, I couldn’t find word on whether the name is official.)
Mostly, I just thought my blog readers should see this octopus. Octopuses are neat! But adorabilis is also an interesting contrast to otherworldly-looking oceanic creatures, like nudibranchs and anglerfish. The sheer variety of life on our Earth should never be forgotten.
First things first: a personal update! Yeah, I’ve been quiet these past few months, mostly because my job situation went belly-up while I was finishing Tinder Stricken. When I say that, I mean the boss thought it was fine to give me zero hours per week.
I quit with extreme prejudice and focused solely on Tinder Stricken. After the book launch at What The Fur? 2015 — and a few merciful days of sleep — I got job hunting and found another prep cook position, one with plenty of working hours and lots of physical demands that leave me tired after work. I haven’t had much energy left over for freeform essays. That, and I simply didn’t feel like I had anything to say on this blog. I’m a big advocate of not talking just for the sake of it.
But anyway, here I am with a blog post! Because I read a metaphor today that stuck in my throat like an awkward segue, or perhaps a rock.
We Don’t All Need To Be Diamonds
I subscribe to some book bargain mailouts and today, this testimonial caught my eye:
Not because I have any particular interest in Robin Hobb or G.R.R. Martin, but because a series of fantasy novels was described as “diamonds in a sea of zircons”. That turn of phrase saddens me.
We use diamonds as a metaphor for greatness and they are pretty remarkable stones (if not as rare as we often think). But it’s all too easy to keep barrelling past a love of greatness, right into the thought that only the #1 greatest things ever matter. Only the blockbusters and runaway hits are worth noticing. Only the hardest gemstone on Earth is worth wearing or considering beautiful.
It ties into my thought that “typical fantasy” should be an oxymoron. Sure, it’s sad to be a zircon, a material with nowhere near as much merit as the stone it mimicks. There are few things more disappointing than a fantasy story that’s clumsily imitating a better book. But when we’re considering minerals, we have more to choose from than just diamonds and zircons, just as there’s more to the fantasy genre than who writes the grittiest political coup. We’re not limited to winners and losers — why, just look at the variety out there.
There are minerals for every purpose. Mountains of them, both literally and figuratively. There are quartz crystals for your watch components, and granite that’ll look great as a polished countertop. Quartz and granite are common, humble minerals that will never measure up to a diamond — and why should they? Olivine isn’t the most glamorous stone group around, but if you like how your peridot earrings look when they catch the light, then who cares?
This metaphor is particularly personal for me because I associate Remedy, my first-published novel, with amethysts. At the beginning of the story, Peregrine is a miner who brings home mostly amethysts. These stones aren’t ideal for common useage (clear quartz is preferred, since it’ll take any and all magical charges), but amethyst has its place in Aligare society. It’s perfect for darkcasters. Brightcasters can’t use it and that’s fine; it doesn’t mean that there’s anything wrong with either the caster or the stone. We all have our tastes and alignments, that’s all. Remedy is my own handful of natural amethyst — amethyst that a New York editor once told me would never be a diamond, so I should rewrite it. No, thanks. I happen to like quartz formations.
It’s great to write a classic-styled epic fantasy, or wear a diamond. But as with all things, the world needs variety. I tell myself this every time I read or write a story. There’s plenty of room in the fantasy genre for jasper and amber, and even room for an old piece of petrified wood if it manages to shine.
First thing: Tinder Stricken is now available in print-on-demand paperback form. The books are 6 inches wide by 9 inches high, a wide, thin book that’s easier to hold open than the pocket-sized bricks Stories of Aligare novels. You can buy a copy from my Createspace storefront or from Amazon proper.
Second thing: All of my works are now available from Openbooks.com. It’s a new ebook site that features pay-what-you-want pricing, not necessarily paid up front — so you can read an book before deciding how much to pay for it. It’s a model I like for its inclusivity. Don’t have a lot of money and don’t want to waste it on a book you might hate? No problem!
Openbooks also allows sharing ebook files — so that you can share with your friends the same way you’d lend them your purchased paper books. I encourage sharing! Piracy worries are, if you ask me, an excessively neurotic fear of the inevitable.
The titular thing: I’ve recorded myself reading an excerpt of Tinder Stricken! Sort of like a casual book-reading event that everyone in the world can attend. Here’s Chapter 1 (and I hope to do some more chapters later):
Got thoughts on any of the above things? Share in the comments!
Launch day has come and gone. Which means that my Nepal-inspired story full of phoenixes, magic and other surprises can be purchased and read by you — yes, you!
At the moment, Tinder Stricken is only available in ebook form through Amazon and Smashwords. That’ll change as I get the ebook ont other retailers, as well as do the formatting work for the Createspace paperback version. Check back here in a few days: I’ll update this blogsite as Tinder Stricken gets more buying options.
Right now, I’m busy with pre-release work for Tinder Stricken. Racing to the finish is pretty much always how I do things. But hey, before I dive back in, let me show you Tinder Stricken‘s cover!
On Tselaya Mountain, all humans transform into animals as a consequence of age — but for fieldwoman Esha, goat horns began growing in when she was just a child. Now in her forties, unmarried and alone, Esha scrambles to pay for her own retirement before she is more goat than person.
But when Esha stumbles into the wrong patch of forest, a wild phoenix steals her heirloom khukuri knife. Unwilling to lose her treasure before she can sell it, Esha forges a deal with Atarangi, a back-alley diplomat who speaks to animals. Together, the two women climb mountain plateaus to reach the wild phoenix’s territory. With enough tact and translation magic, the bird might be convinced to give Esha’s retirement fund back.
But the question remains: why did the phoenix steal an heirloom in the first place? What debt could a wild, free creature possibly need to pay?
Tinder Stricken releases this Friday, May 22nd (barring technical difficulties in uploading). And I’ll be at my annual furry convention hangout — What The Fur? in Montreal, Quebec — to throw a launch party! Can’t wait to share this new book of mine with the world!
Some hours ago, a magnitude 7.8 earthquake struck Nepal near the capital city of Kathmandu. Information is still incoming but a state of emergency has been declared and the death toll at this time is over 2 500 people.
If you’ve talked to me in the past year, you’ve probably heard about my in-progress novel Tinder Stricken, a fantasy story set in a Nepal-inspired mountain society. And I haven’t mentioned this before, but seismic activity plays a major role in Tinder Stricken’s story. An earthquake in Chapter 2 cause Esha to lose a close friend and alters the course of her life. Further into the plot, earthquakes turn out to be a significant threat to Esha’s new non-human allies. A particularly large earthquake near the end of the story does a lot of damage to humans and non-humans alike, and Tselaya Mountain’s society is changed forever.
My story is fiction with phoenixes and magic in it. But still, I’ve been drawing influence from Nepal’s real people and history, and I regret that my book will release at a time when Nepali people are trying to rebuild their lives. Tinder Stricken not an attempt to cash in on current events and I hope it won’t be perceived that way. Removing the earthquakes from Tinder Stricken would mean completely remaking Esha’s story — and despite unfortunate timing, I don’t think censoring fiction is an appropriate way to deal with difficult issues. If anything, fiction helps us rationalize the real world.
As a writer trying to encourage broader minds, I should try to do the real Nepal some good in this difficult time. I think the best thing I can do with my upcoming book is to help the fundraising efforts for the Nepal earthquake relief efforts.
Therefore, if you donate money to a Nepal relief fund before May 22nd, I’ll give you a free ebook copy of Tinder Stricken on that May 22nd release day.
–There’s no minimum donation for this event. Any amount helps.
–You can choose Global Giving, the Red Cross, or any other charity organization you’d like. Just be careful that it’s a legitimate charity and not some scammer, okay?
–To claim your free Tinder Stricken copy, email me at firstname.lastname@example.org and attach a picture of your donation receipt (with personal information blanked out, if you’d prefer). I’ll note your email address and get in touch with you once Tinder Stricken is ready.
Please share this post and tell your friends. I hope I can help send some pocket money to a good cause — and give you folks a thought-provoking story to read, too.