How to Tell When Your Pacing Is Broken

A friend asked me for this blog post, and I really haven’t been feeling the blogging lately, so here we go, a way into it by talking to a specific person.

A lot of people do pacing instinctively, sometimes synaesthetically. This is why you’ll hear metaphors like an unbalanced washing machine, a car with a flat tire–things where the rhythm is off, things where the story is going THUMPa THUMPa THUMPa. If you have that feeling for it, if you have that instinct, hurrah! Lucky you. If not, here are some other ways to spot broken pacing.

Ask an external reader. If they are bored in some sections, the pacing is probably breaking down. (Also boredom, who wants it.) Also, if they can spot the scenes that are the most important to the writer, that’s no good–obviously there will be things like the climax of the piece that are important scenes, but you don’t want to have a lot of scenes that are obviously un-important. If the reader feels like a scene doesn’t matter to you and they’re right, take it out and find another way to do the thing it’s doing. If they’re wrong and it really is important to you? Probably a pacing problem.

Track things! Track all the things. Okay, not all. But any of the things. Figure out what elements are showing up in each scene, what each scene is doing. You can do this with characters. You can do it with things like description/action/dialog balance. You can do it with objects that are touchstones to your plot. You can do it with locations. Anything you are wanting to pull through the book and balance, you can track, sometimes with color. Put it on notecards, print it out in tiny font and highlight it, just do a chapter list in a different file: who is in Chapter 1 with the protag(s). Who is in Chapter 2. Or: where does the Axe of Awesomeness show up first, where does it show up again, how long is it between spottings of the Major Macguffin. Has the reader had time to forget about it or think it is no longer important or get distracted by the Minor Macguffin. Has the Shiny Red Herring come up often enough? Track it in red to see where it is swimming. Is there a love story? If there is supposed to be a love story but you are not seeing Captain Swoonypants between Chapter 2 and Chapter 13, the pants: they will not be swooning. That is what we call a major sag in the pacing. (And/or in the pants.) Negative relationship stuff, too: that distance between a fight and the next appearance of the person fought with will mean that that relationship is not carrying a lot of tension. The pacing on it will sag. The reader will forget that they are supposed to care.

A thing that I said in the previous paragraph: figure out what each scene is doing. Not just one thing. If it’s just one thing, the pacing will sag and fall over. Do more. But also: when you revise, sometimes one of the things a scene used to be doing will change. If you rip out a subplot, remember to look at the scenes around the stuff you removed. It’s not just that you have to check to get the information redistributed. It’s that the beats also have to be redistributed. If that subplot contained the moments to breathe, your new pacing will be too frenetic. If that subplot contained mostly action and excitement, a hint of that needs to creep back into the new pacing. Pacing, sadly, is not just something you can do once and be done.

Stylistic and length changes. Word length, sentence length, paragraph length, chapter length. You can change these deliberately if you want to, but if you find you have subconsciously changed them without meaning to, you may be rushing a section or meandering through a section that will not feel integrated with the rest of the book and will nag at the reader–sometimes without them being able to spot why.

Note that you do not have to do length analysis on every element of every book every time. This is more a diagnostic for when something seems to not be working or if you consistently have problems than something every writer should do at every moment. In fact, all of this is in that category. If you’re finding that people are saying things you don’t really get about pacing, that something is not working and you don’t understand why, you can poke at these things (or at ideas people will offer in the comments, maybe!). But no writing tool is universal, this is not universal, and you should feel utterly free to not do any of this if you don’t need to and don’t feel like it.

I feel like I can’t stress enough in process posts that everybody works differently, because I hear enough conversation about “I heard one piece of advice and I thought I had to,” and seriously, no, you do not have to, you never have to. Do what works for you. Discard things that sound horrifying until/unless nothing else is working and you feel like it’s worth a shot. Try things that are exciting or weird, try things that feel like they’re fixing the problems you actually have, and don’t listen to me when you don’t feel like it. Okay? Okay.

Books read, early June

Robert Jackson Bennett, City of Miracles. Gods are apparently like ants in a California apartment complex in this Bennett trilogy: you think you’ve killed them all and there’s always one or two coming back again, so put your miracles in sealed containers. This is definitely a third book of a trilogy, not a stand-alone; I do not at all recommend starting here, but it does end things nicely. (The first book is City of Stairs – ed)

C.J. Cherryh, Convergence. This, on the other hand, is a sawed-off chunk of an ongoing thing. I wrote to another friend who has also read all twenty books of this series with a character’s name in all caps followed by “???” after reading this book. There is plot again, it is not like the trilogy within this series that was essentially focused on Bren getting his apartment back and furnishing it. Is it better for that? I’m not sure. I’m still reading as of book twenty, which tells you something, but for the love of Pete, do not do not DO NOT start here, it will be confusing and boring and generally awful, which it is not when you have read the other nineteen. On the other hand: will you want to read nineteen of these to get to this? I don’t know. It is very much science fiction about alien interactions, and it is very psychologically medieval in ways that I appreciate, and there are moments (like the name in all caps with the ???) where I feel like this is a very long game she has been planning in intricate detail all along and other moments where I am fairly sure it is the equivalent of going out for a morning nature walk with Auntie Carolyn and having her point out which tiny flowers and mushrooms grow under that big leaf and which ones are poisonous (most of them). On the other other hand, I do like nature walks.

Kathryn Evans, More of Me. Discussed elsewhere.

John M. Ford, The Scholars of Night. Reread. I picked this up for my Cold War Fantasy panel, and it is made of love for Christopher Marlowe and Anthony Price and intricacy. It is exactly what this panel is all about, but I reread it not that long ago; I just wanted the excuse.

Natalie Goldberg, Writing Down the Bones. Reread. This is the last of my old Natalie Goldberg books, and honestly it is the one to get if you’re getting a Natalie Goldberg book for a new writer. It is straightforward and cheerful and does not self-aggrandize particularly; it quotes her teachers without acting like they hung the moon, it has ideas for what to do but sort of shrugs through them like, yep, try these and if they don’t work try something else, just try stuff. I am no longer at a point where I think it’s a good use of shelf space for me to keep this book, so I will set it free for some newer writer to enjoy, but it did not make me snippy with Batman the way the others did. (…if you didn’t read that blog post, maybe we should just draw a veil over it.)

Paul Gruchow, Letters to a Young Madman: A Memoir. Gruchow is a Minnesota nature writer and observer of the land, farming, people…he overlaps with my interests enough that I have been reading his books in an essentially random order from the library, and then I came to this one and it blindsided me. Because the present tense in that first sentence is inaccurate. Paul Gruchow. Oh God. Paul Gruchow did not survive his last bout with depression more than a decade ago. I had been darting merrily through feeling so much kinship with this man, and he was gone the whole time I was reading him, painfully and horribly gone, and he suffered so much before he went, and this is the memoir of how. I recommend it under only two circumstances: 1) If you have not read a memoir of depression and mental health treatment and hospitalization in this country. This is a keenly observed and fiercely intelligent example of its genre. It is not heartening. It is not uplifting. It is not the work of a person who managed to find his way out, to see brighter days ahead, to kick at the darkness, as the man said, until it bled daylight. The man I was starting to think of metaphorically as “cousin Paul,” struggled and fought with himself and hurt himself and his family and was hurt by himself and the world, and then he died. This is that book. If you are not yourself depressed and/or have not otherwise experienced the mental health system up close and have not read anyone’s detailed modern account of it, I think you should read at least one, and you could do far worse than letting it be Paul Gruchow’s. You also owe it to yourself to choose very carefully when you subject yourself to it. It does not have to be today, tomorrow, next week. You can look with deliberation when you must look. 2) If you have read such a book before but have come to love the other works of Paul Gruchow, you can choose to look again even if you know the facts and figures of modern mental health care. That would be me. You can see how some of his other stories are changed, cast in different lights, by these stories. By the stories of his illness. You may decide that you don’t want that of a writer whose work you love. And you may decide that you owe it to a writer whose work you love to have his whole work, not to look away. If it was me, I would want some of my readers to look away, to only have the brilliant and lovely things I said about frogs and rocks and farming. And I would want some of my readers not to look away, to read all my work, even the hardest and darkest. It is not me. But we come from the same places and the same people. It could have been. I am glad I didn’t look away. It has been a very long time since I cried so hard over a book as I did over the opening and closing pages of this book, and also many, many times over the middle, and it was not a very long book. Proceed with caution if at all.

Marvin Kaye, ed. The Fair Folk. Reread. Vividly told tales, most of which did not hit me particularly personally. The opening story from Tanith Lee is a really great example of a story that feels like it is going to be a wonderful story for someone else, a story that will go right to someone else’s heart and stay there. I think it’s easier to recognize those with experience.

Donald Keene, ed., Anthology of Japanese Literature from the Earliest Era to the Mid-Nineteenth Century. Reread. This is something I purchased for a college class and kept. It is not the very last word in Japanese lit, but with twenty years’ experience it turns out to still be a quite decent first word and well worth keeping; there were things I was happy to quote and discuss with friends. I haven’t done a survey of survey anthologies, so I don’t know if this would be the one I would recommend above all others, but as the one I already have on my shelf, it had many things worth reading in it and I am glad to keep giving it space, which is a quite nice feeling. There were several place where I rolled my eyes at Donald Keene himself and his notes–his handling of notes on periods where there were predominantly women authors were not, shall we say, deft and sensitive–but most of the material was the material and could just be enjoyed for that. Good mix of poems, stories, diary excerpts, novel excerpts, play treatments.

Naomi Mitchison, Sea-Green Ribbons. This is a strangely spare novel of a young woman printer during Cromwell’s time. I enjoyed it except for the ending, which I found unsatisfying in its handling of Quakers and slavery, and I spent much of the experience cocking my head and squinting sideways at it and thinking of Gillian Bradshaw’s London in Chains and A Corruptible Crown. They are really, really, really, really similar. Young woman printer, era of Cromwell, sexual trauma, various details…I don’t think that one is cribbed from the other, their style is quite, quite different, and their endings are, and there is something like four times as much of the Bradshaw. It was just very strange. I want more novels of the Interregnum, but it’s okay if the others are not specifically about young women printers with sexual trauma, variety being the spice etc.

Toni Morrison, Jazz. Lots of people failing to make their relationships work, but the language is rich and improvisationally jazzy, very successfully evocative of the ’20s urban setting and newly urbanized Black American culture of the Great Diaspora. If someone other than Toni Morrison had been writing this, the petty, angry despair of the major characters might well have put me off, but Morrison’s writing is so beautiful it was worthwhile for me.

Jim Northrup, Marcie R. Rendon, Linda LeGarde Grover, and Denise Sweet, Nitaawichige: Selected Poetry and Prose by Four Anishinaabe Writers. Highly varied voices and forms, but the traditions they’re drawing on are very recognizably Anishinaabe in their own ways. A very short chapbook, definitely worth the time if you can find it. Hilarity and anger and pathos and beauty all represented here.

Terry Pratchett, I Shall Wear Midnight and The Shepherd’s Crown. Rereads. After long hiatus, I have finished the Tiffany Aching series. Last first: The Shepherd’s Crown is Pratchett’s last book, and you can see that he was not quite done with it, that it is the bones of the book he meant to write rather than the full book, with its gestures toward third-wave feminism and a love letter to the geezerhood the author himself would never achieve. It has some great things to nod at. It makes me wistful. As for I Shall Wear Midnight…I find myself ambivalent about books with the “they persecute us for our virtues because they are stinky jerks” plots right now, and this is one. And yet it is a pretty good one, and sometimes “they” do. And the virtue in particular in this one is being willing to step up and help where help is needed, and I want more of that in fiction and in life.

Frederick Taylor, The Downfall of Money: Germany’s Hyperinflation and the Destruction of the Middle Class. This sounds a bit dry but is very, very human–it’s very much about how the German people experienced the interwar hyperinflationary period, what played into it and what it created. Interesting and a much quicker read than one might expect.

Catherynne M. Valente, Deathless. Reread. This is far and away my favorite Valente novel for adults. I picked it up because I misremembered the time frame–I had thought, for some reason, that the ending was long after it was, deep in the Stalinist period, instead of 1942–and so I thought it might be of interest to my Cold War Fantasy panel at 4th St. Well, this is why we do panel prep, and of course 1942 is the exact right year to end this book. It is so vivid, so food-oriented and so full of myth and relationship and history. It is not for my panel. I still don’t regret the reread.

Martha Wells, All Systems Red. Murderbot! I was one of the last on the Murderbot train, but I do like Murderbot. All Murderbot wants is to be let by to figure things out and watch videos, is this too much to ask? Apparently so because humans, ugh. We are with you, Murderbot! We are with you through the rest of your adventures among humans, ugh, and whoever else you may encounter. Intimate voice far future SF, hurrah, more please.

More of Me, by Kathryn Evans

Review copy provided by Amulet Books.

Some spoilers are our friends, although I will not visit them upon you unsought. This is the first time I remember in ages flipping to the last few pages of a book to make sure that a particular concept was not how a book ended, because if it was, I did not want to be there for that experience. It wasn’t. I kept reading. In fact, I turned the pages compulsively.

The science fiction concept of this YA novel makes a better special effect than actual science: the cells of an entire person reproducing themselves and pulling apart fully formed, so that an entirely new version can step out and also leave the old version intact. Teva has been doing this annually, so that there is herself, age 16, but also her previous selves, known by their ages: Fifteen, Fourteen, and so on. Her mother, for reasons later made clear, has decided that it isn’t safe for this to be known, so once the split happens, the earlier version has to stay in the house all the time, and no one else is allowed in.

This is not, as you might well imagine, a long-term tenable situation.

I will not want to reread this book, because it is emotionally well-done. The claustrophobia of the well-meant captives, the panicked family turned in on themselves, the girl(s) taught to distrust the school friends and teachers who are part of her/their daily life…and inevitably led to doubt her/their own sanity. It was all incredibly evocative. There were times when I writhed reading it. The speculative conceit was not realistic. The teenage psychology was. And it was very clear that you do not have to intend to be a monster to wind up treating your loved ones monstrously, and you do not have to intend to be a jailer to put them in a prison they need to escape.

Those who have issues with reading about self-harm will probably also find this book really, really difficult. Like, you would need a serious good reason to read this book if you are a person in this category because there are substantial amounts of very vivid description of self-harm. This is for plot reasons due to the speculative conceit, but I’m not sure that will make the experience less difficult to read and may well make it more so. Beyond that I cannot honestly tell whether people whose families were less loving and healthy than mine will find this book cathartic or personally horrifying or some of each. You should tread with caution not because this is badly done but because it is well and lovingly done. This is not a hopeless book. Its ending is a substantially positive one. But I think it will be a wall-climbing experience for many readers.

Please consider using our link to buy More of Me from Amazon.

Fourth Street panel schedule

Saturday 9:30 a.m. Dreaming Under Darkening Skies: The Cold War Fantastic A discussion of living and creating in the decades when the world was presumed to be an atomic tinderbox waiting for someone to push the button. Many writers cheerfully assumed we’d skip right past the whole mess, and an equal number assumed we’d all be served broiled on toast. While some wrote apocalypses or recoveries, others (including Tim Powers and John M. Ford) wrote intricately paranoiac tales of Cold War magic. What did those decades give our fantasy, what did they take from it, and how much of that time is still haunting our thoughts/works?

Saturday 11:00 a.m. Plotting Agency: From Resistance to Responsibility With great power comes a wall on every side, or so it seems. Much of our fiction can be described along an axis running from Resistance to Responsibility. At one end, characters have little or no control over their circumstances, such as Frodo and Samwise barely avoiding starvation on what increasingly feels like a suicide mission. At the other end lie books like Katherine Addison’s The Goblin Emperor, where protagonists grapple with so much power that their real struggle is to break as little of the world as possible. Many stories seek to provoke or inspire by having characters travel this axis, including Lord of Light, The Broken Earth series, the works of John Christopher, and The Traitor Baru Cormorant. What do stories along this spectrum offer us? In the end, how can power become as much of a prison as deprivation?

For those who don’t know, Fourth Street is a single-track convention, so there’s no need to give room numbers. It’s all in the programming room. Wake up Saturday morning, stick your head under the shower, come down to the programming room and listen to my dulcet tones soothing and cheering you on these soothing and cheering topics.

Books read, late May

Svetlana Alexievich, Secondhand Time: The Last of the Soviets. Alexievich won the Nobel Prize for Literature, and this style of book is apparently a signature of hers: a set of interviews about a period, but not from famous people, from dozens or hundreds of ordinary people, many of them identified only by first name and last initial or not even that, when the commentary was captured in a stream of chatter at a public event. This one is focused on the experience of the late Soviet period and the fall of communism, especially from the point of view of the last people to really identify themselves as Soviets rather than Russians. It is not a cheerful book and talks a lot about people who were suicidal in this period, people whose lives were shattered and never rebuilt–but also, since it is filtered through a very ordinary-person-on-the-ground lens, about salami and kitchens other details that would be difficult to pull out of thin air as important unless you were part of that culture and that time. I’m glad I read this, and I’m glad I’m done reading it.

Elizabeth Bowen, The House in Paris. A literary novel of the thirties, with two small children who have never met before, running into each other in the house of strangers who are more to one of them than he knows, and then the gradual discovery of what they are to him and why. Bowen does child perspective very well indeed. I have some issues with the ending, but I’m not sorry I read it. This was one of the books I read this fortnight that treated reading a novel as though no one could possibly want to do it for fun: specifically, it came with introductory material that not only spoiled the plot/characterization considerably, it discussed some of the unfolding of the prose in a way that I found extremely annoying, as I would far rather have come to those particular turns of language and observation organically, in the text, because that’s what novels are, dammit. And the person who was writing this flattened and weird introduction was A.S. Byatt, who should have known better. I really need to remember to skip the intros. (She loved this book. I think I put it on my wish list because I read her gushing about it elsewhere in not nearly such an insensitive way.)

Bryan Cartledge, The Will to Survive: A History of Hungary. This is a mostly good general history of Hungary, briskly written. You may be surprised to find that Maria Theresa is the only woman to ever have any effect on Hungarian history, but welp, here we are, apparently.

Geoffrey Cowan, Let the People Rule: Theodore Roosevelt and the Birth of the Presidential Primary. An examination of how the selection of presidential candidates has changed over the years, with a focus not only on Roosevelt himself but on how we sometimes let our desire to win something overcome our stated ideals. None of the several books I’ve read on Theodore Roosevelt have wanted to go into any detail on his decisions and the Progressive Party’s decisions under him to throw Black/anti-racist Southern Progressive under the bus to attempt to win the white Southern vote. The desired narrative is so thoroughly “they split the Republican party” that the fact that they split that party and made the anti-racist progressives not sure why they should vote Progressive somehow gets elided. Funny thing that.

Natalie Goldberg, Thunder and Lightning and Wild Mind. Rereads. I have become aware that our habit of acquiring new books will not result in our bookshelves expanding infinitely to accommodate, so I’ve been culling some parts of the collection. I culled the “stories should have a beginning, middle, and end” level of writing books some years ago, but I kept the more essay-style personal ones at the time. Now I’m revisiting them to see what they have to offer at this stage of my career and personality type. In this case, not a lot: Goldberg talks endlessly about her one mediocre novel but has made her career of being a writing-about-writing person. She is ceaselessly enthusiastic about her own freewriting and how she shouldn’t censor it but, I see with more experience, a great deal more judgmental about other people’s results. They, apparently, need to censor themselves into being more like Natalie Goldberg. Hmm. No thanks. (There was one point where she was proudly displaying a freewrite where she wrote, “My home is the night,” and I muttered, “Oh, shut up, Batman.” I think this is a sign I’m done here. I am usually nicer to Batman.)

Paul Gruchow, Grass Roots. This is a memoir of growing up on a farm outside Montevideo, Minnesota, in the late forties and early fifties. Gruchow is thoughtful about his father’s methods of farming and about his own childhood; I don’t agree with everything he says, but I agree with a lot of it, and I know his land, I know his people. I think there is beauty here for those for whom it is less familiar, less loved, but if you’re from these parts, there’s a home note to this.

A.E. Housman, Last Poems. Kindle. When I read A Shropshire Lad last fortnight, Larry said it was more of a concept album and this was more of a regular sort of cluster of songs, and I think that’s fair. Quite often the songs from a concept album don’t stand as well alone, don’t get played as often, and the opposite happened here. While these are less a unit, less doing a suite of a thing, they are not as inspired, not as thoroughly quoted and taught, less familiar. Still interesting, but very brief, and I spent the whole time being sad for the poor man, who said in the introduction that he could pretty completely tell at this point in his life that there would be no more, but he wasn’t dead yet. He was alive but had no more poems in him. Oof.

Shirley Jackson, The Lottery and Other Stories. Hot takes from Marissa: this Jackson woman can write a story. I had read some of these in different locations, but the ones I hadn’t wowed me too. The opening story, “The Intoxicated,” was just such a sharp portrayal of a teenage girl and the disconnect between her and her parents’ party guest, her worldview and his, amazing, blew me away and then just kept going. Funny and creepy and temporally rooted and in spots universal.

Tove Jansson, The True Deceiver. This is the other novel with an introduction that I wish just had not. Just please don’t. It’s about trust and innocence and small towns and relationships, insiders and outsiders. It’s very brief and very cutting, and if you’re thinking, oh, the Moomins are so much fun, this will be a nice book, no, it is not at all a nice book.

Anne Lamott, Bird by Bird. Reread. This was also not particularly useful for me at this point in my writing process, but I think for the opposite reason to the Natalie Goldberg books. Anne Lamott has written several things that are not how-to-write books, she is not at all in love with the sound of her own navel clapping, but I really don’t find the level of hostility that she nurtures (under the pretense of not nurturing it) at all useful at this stage of life, and the little bits of writing advice are not for me any more. So that can also go in the bag to take to the used bookstore.

Dinaw Mengestu, How to Read the Air. This was the story of two marriages failing, thirty years apart. It was beautifully written. One was the marriage of two Ethiopian immigrants, the other their son’s marriage. It was people failing to connect and failing to communicate, over and over again, with gorgeous detail, for the entire book. You will need quite a lot of tolerance for sadness if you read this book, and I picked it up at a time when I did not perhaps have as much as it wanted me to. I kept reading it, because it was very well done. But know what you’re getting into, time it carefully, if you and this book are going to have a time together.

Laura Secor, Children of Paradise: The Struggle for the Soul of Iran. This is the book I needed a break from when I picked up the Mengestu, above. It is a history of Iran from roughly 1970 on. It goes into detail about the political parties but also the prison system, the wars with Iraq. The people who kept hoping they were going to make things better in one direction or another. It is worth knowing more about Iran, but maybe have something more cheerful than the Mengestu on hand to liven the intervals. Take breaks. Pace yourself. Breathe.

Johanna Sinisalo, The Core of the Sun. This book did not work for me. It is a satire, and I see what it is trying to do, but this is where being a science fiction writer vs. a literary writer can sometimes very much come into play: when someone’s metaphor does not take into account biological reality, I balk hard. I have a long rant about gender and genetics here, available to them as wants it, but basically: this book treats women as a separable sub-species from men, and even in the kind of hideous dystopia that it depicts, even with the horrible treatment of people who do not fit a predetermined gender box (that it puts basically offstage and hoo boy do I have issues there as well), nope, that is not how hormones or chromosomes work, the X chromosome goes really in all the humans, you literally cannot mess with “women’s genes” and not “men’s genes,” what even, this is so very wrong. I tried to just go with the capsaicin stuff, but once I was thrown out of the satire by the main body of the work, it was hard to really groove with the over-the-top elements there. Sigh.

E.P. Thompson, The Romantics: England in a Revolutionary Age. A collection of essays on poetry (and other art theory) and politics. Thompson is solid, but this is not peak Thompson, it’s posthumously published. I like Thompson, so still worth reading. And I like the direction of poetry/polemics it explores.

Gerald Vizenor, Blue Ravens. Vizenor is always doing something different with every book, and also always touching on some beloved themes, Native life, tricksters, teasing. I am so impressed with him and always greet each of his books with joy. I wish he was better known among speculative fiction readers, but not all of his work is speculative. This isn’t. It’s an historical novel centered around WWI, some Anishinaabe boys from the White Earth Reservation who go to war and survive and paint and write poems, their lives before the war and after in the north of Minnesota and in Paris. I was enchanted.

Richard M. Watt, Bitter Glory: Poland and Its Fate, 1918-1939. Logistics. This book had logistics. It went into things like “what does it take to put together an army from scratch when you are suddenly a country and the bigger country you were carved from resents losing you.” I like logistics. Fascinating details about this. So glad I read it.

Ben H. Winters, Countdown City. The sequel to The Last Policeman, a series about trying to keep the world going when it’s about to end. I was hoping that he would have more to say about hope and its deliberate cultivation, and ultimately I didn’t find his insistence on forms to be satisfying. Maybe neither did he–there’s a third book, and this book leans heavily on its existence–but it does so in a way that makes me less inclined to go find it. Meh. The previous book is probably enough to stick with.

Stories I liked this time around

It’s time again for another batch of: short stories I liked since the last time I posted about some short stories! As always, this makes no pretense of being exhaustive. The appearance on this list of a story does not mean that I’ve read everything else a magazine puts out–so feel free to recommend your own favorites in the comments. Sharing around good stories is the entire point.

The Cold, Lonely Waters, by Aimee Ogden (Shimmer)

The Scholast in the Low Waters Kingdom, by Max Gladstone (Tor.com) (Is there a bonus for using “water” or “waters” in your title? Well. In your story, yes, so in your title, probably. Why be coy about this? Water. It’s a family thing.)

The Robot Who Liked to Tell Tall Tales, by Fei Dao (Clarkesworld) (Translated by Ken Liu)

Some Remarks on the Reproductive Strategy of the Common Octopus, by Bogi Takacs (Clarkesworld)

2067: Transcript of Found Audio Interview, by Adrienne Maree Brown (Riverwise)

A Burden Shared, by Jo Walton (Tor.com)

That Lingering Sweetness, by Tony Pi (Beneath Ceaseless Skies)

They Will Take You From You, by Brandon O’Brien (Strange Horizons)