Tag Archives: writing

Managing Expectations

Last week was pretty exciting, for several reasons. One was that a fellow writer I had met at a conference contacted me to ask if she could submit my novel, Undead Rising, to a publisher for consideration. I was over the moon!

She had only heard me talk about it–I’d given my standard description: a zombie novel for adults where the reader could “Decide Your Destiny” by making choices along the way, a gamebook (a genre best known by the Choose Your Own Adventure novels). She thought that sounded awesome, but I had sent her my sample pages just to be sure she really wanted to submit it; I didn’t want her to submit something she couldn’t really vouch for.

She looked over the sample… and it was not what she had expected.

She said:

It wasn’t quite what I was expecting from an adult version of CYA. (sic)  It was fun because it reminded me of the books I used to read when I was younger but I think that is my roadblock; it’s too much like the young books (except for the work references and swearing, it feels written for a pre-teen audience).  … I liked the story and I still LOVE the concept – I just don’t think this would fit with [publisher].

Ouch.

But it was actually okay. I felt a little over my head with the whole situation, so while it was exciting and a good experience, I think she was right to turn it down if she didn’t feel like it wasn’t the right fit. Better to get out of it quickly, before I got my hopes too high.

The thing is, I don’t necessarily disagree with any of her comments. In fact, some of what she said is exactly why I think my story is great. It relies heavily on nostalgia from the original Choose-Your-Own-Adventure novels (which were originally published in the 1970s). It would be appropriate for readers from about 15-up (but I still think it’s “adult”). It’s not horror; it’s humor.

It’s left me wondering if I need to tweak my pitch a little. How can I get across a sense of what this book really is? I still think most people would love it and that it would do well as a print book (I’m less certain about how a choice-based book would do on a ereader. More research to do).

Sometimes, looking at the list of genres, it’s very challenging to pick exactly where your book fits (particularly for one like this, that has some crossover elements). How did you find your category?

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Lessons in Companionship

I’ve been playing BioShock: Infinite since it came out last Tuesday, and it is phenomenal. It is beautiful, challenging, has a great story, excellent mechanics, and pretty much makes me want to spend all my time there.

For non-gamers, BioShock Infinite is the third in a series of dystopian first-person shooter (or FPS) games, where you play as the shooter–basically, you are the main character. (Here’s my quick explanation from before the game came out). In this story, you are a mysterious guy sent to retrieve a girl, Elizabeth, from a sky-city. It’s 1912 and everything has a bit of a steampunk vibe. You get guns to shoot bad guys with and superpowers to help you interact with this city.

I’m only about halfway through, so I’m not sure how it’s going to end, but this game is already standing out for me, all because of Elizabeth.

Elizabeth is a sassy character who is NOT afraid to beat you over the head with a heavy physics book.

She is hands-down the BEST companion I have ever seen in a video game. And maybe in a TV show. And she’s one of the best I’ve ever seen in a book, too, (excepting maybe The Lord of the Rings, because hobbits).

Compared to the other media, video games have a few extra challenges with their companions: they have to not get killed in combat; they have to have a bunch of replies/interactions depending on what the player does; and they have to be able to keep up (any gamer can tell you horror stories about glitches where they have “lost” a companion character because the game warped them ahead or behind, and they had to go back and start from a save point to try to recover them. It’s not fun).

Not only does Elizabeth manage to do all of these things well, she’s got serious personality. And she’s genuinely helpful. And, above all, she is not a damsel in distress (though she does start out locked in a tower and you have to rescue her). Check out that video if you want to see the problems with ladies trapped in towers: it can get ugly.

But no; though you do start out as Elizabeth’s rescuer, she later chooses to stay with you. (She might later choose to stab the player in the back, for all I know. We’ll find out!) This completely changes the dynamic! Now she’s not just a helpless girl following her big, heavily armed hero around because she has to: she made a choice.

Woah.

And then here’s where she really starts to be cooler than many TV companion characters (I’m looking at you, Doctor Who)–she’s not helpless. She has at least three sets of abilities that help you BOTH get through the game. Unlike other games where the companion character is really just something for the character to lug around from place to place (*ahem* Rose Tyler***; *ahem*Princess Peach; *ahem* 007 Goldeneye’s Natalya), you could not survive this game without Elizabeth.

Sure, she needs you; but you need her, too.

I’m not going to go too much into her powers (because, spoilers!), but Elizabeth provides a potent lesson for other game designers and writers in general: your supporting characters need to be fully developed characters in their own right.

Things I can tell you about Elizabeth:

  • She has three extremely helpful abilities.
  • She’s missing part of her little finger on her right hand. (Mysterious!)
  • She wants to go to Paris, France.
  • She enjoys painting and reading.
  • She was locked in a tower for most of her life.
  • She has a joie de vive about her, but can be a little naive.
  • She’s certainly intelligent, like, quantum physics intelligent.
  • She can fight back.
  • If you leave her alone, she’ll explore and interact with her environment, showcasing her creativity.
  • She doesn’t very much approve of your character’s morality, but she’s willing to go along with you if it’ll benefit her.

Wow. I’m only maybe halfway through the game! There’s a lot more I can learn, plus some of her abilities are growing to change with the flow of the game. I think I know more about Elizabeth than I know about my playable character.

She’s incredible. Props to 2K for creating such a fantastic character.

Other people: Be more like this. It makes me more interested in the story and more invested in your creation.

***I’ve only watched about half of the Rose Tyler episodes. Yes, I know, I’m behind. So I admit she might get better, but so far? She doesn’t really contribute much.

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Filed under Feminism, video games

Secrets to Hugh Howey’s Success

As I read the “Wool Omnibus,” I couldn’t help but wonder: why this book? What magic made this series the breakout self-publishing success that is redefining what it means to be a self-published author? What is generating all this crazy buzz?

This may upset some readers, but I don’t think it was anything actually about the book. In fact, I thought the book was just OK. Maybe it’s just that I’ve read a lot of dystopian fiction, but nothing about “Wool” seemed inherently revolutionary. The first novella was good, but the stories in the “Wastelands” anthology were just as good or better. (If you like dystopias but haven’t read “Wastelands,” go. Do it. It’ll knock your socks off and give you chills.)

The covers of his books aren’t that great, despite all the advice on the internet telling you that it’s vital.

He seems like a pretty likable guy, but I’m sure there are lots of likeable authors that haven’t smashed all the records.

So what gives? How did Hugh Howey do it?

I don’t know for sure, having not met the guy–I read his blog and I have read several articles about him (including this one from the Wall Street Journal, where the graphic artist clearly did not bother actually reading the book)–but this is the impression I get:

  1. Story Raises Questions

    The  first story in what came to be the “Wool Omnibus” is a tightly written short story set in a world tantalizingly like our own. It inspires a lot of questions: How did they get there? Why all the mystery? Why did his wife die? Is the world really poisonous? Why would they do this to their people? What’s it like? How long have they been there?
    That’s a lot of questions for a first story, and it is very engaging. You’re hungry for more.

  2. It’s a Novella

    All those questions called out for answering, and, luckily, Howey didn’t write a whole novel: he just wrote a novella. So he decided to write other novellas to answer some of these questions (judging by the rest of the stories, he wasn’t all that sure what the answers were at first, either).
    But this novella model made it very easy for Howey to break his sales into different markets. Here, have the first story free. Want more? Oh, that’s $2.99. More again? Another $2.99, please. It’s very savvy marketing. Plus, because they were short, he could churn out more stories quickly, while he was still on the readers’ minds. Now he can continue selling or giving away the short stories AND can sell the Omnibus version–with a higher price tag (AND devoted fans can now buy it in print form, too!).
    (To be fair to Mr. Howey: I think his pricing structure is exceedingly fair to the reader. $2.99 isn’t a painful price point at all: he could have jacked the price up much higher. But he didn’t. And, I think, that turned out to be a great marketing move for him as well).

  3. eBooks

    All his stories were originally online-only. I can’t be sure, but I think he was predominantly selling via Amazon, too. This allowed his price point to be set so crazy low; have a very fast publishing turn-around time (less than 24 hours after he’d completed a book, it could be sold); he could skip all the traditional publishing steps; and it allowed him to interact with his fans directly.

  4. Blog

    I’ve only been following Mr. Howey’s success for a short time, but he is very active on his blog. He posts videos of his book launches. He engages directly with his readers, so they feel like they are part of the process. In fact, he credits readers with the reason there is more than one book at all. That’s pretty clever; now the reader is part of the process, he has partial ownership of the result. (Of course, this could have horribly backfired if the result was really poor, but as long as it was modestly good, Howey was golden here. And it is, so he is.)

  5. This Wasn’t His First Rodeo

    Howey had been through the publishing and self-publishing ranks before, so he knew what to expect. I think this made him more prepared when “Wool” started blowing up, because he’d been selling books online for awhile. This is also good for him now, because readers who liked “Wool” but had to wait for another section of the story could buy and read something else he had written in the meantime.

  6. NaNoWriMo

    Howey is a NaNoWriMo competitor, and that practice helped: all of his stories are penned very quickly, in marathon writing sessions. I think that agility is part of his success, and he couldn’t have attained that if he hadn’t been practiced in it already.

  7. He’s Got a Nice Wife

    The Wall Street Journal article up there notes that Howey’s wife is a psychologist. I’m gonna go out on a limb here and assume she makes decent, if not great, money, enough they can live on her income alone; for awhile, Howey was unemployed. When he did take a job, it was a 30-hour-a-week gig at a bookstore that allowed him more time to write. His wife is a nice lady; she tolerated and encouraged his writing addiction. Without the flexibility his wife (and her income) provided, I guarantee Howey could not have published his books and therefore been a success. She deserves some of the credit.

  8. He Got Lucky

    Honestly, luck and timing can’t be discounted. Howey started publishing “Wool” after “The Hunger Games” was a huge success and had whetted readers’ appetites for dystopias (some of us like dystopias all the time, but I realize I’m the minority here). Dystopias are a pretty small niche, too, so it was probably easier for randomly searching readers to find it (compared to, say, romance, which is a flooded genre). He was able to publish via Amazon, a format that is still evolving but flat-out didn’t exist even 5 years ago. He couldn’t have done it without the platform; I highly doubt his book would have been published at all, much less as a huge success, if he had had to go through the traditional publishing gauntlet.

Not everything on this list is replicable; I wouldn’t suggest trying to imitate Howey in hopes of seeing the same success. But it is helpful to keep an eye on the high-fliers as we develop our own paths.

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What makes a good editor

What makes a good editor.

Great list to help you sort out a quality editor from a poseur. Love her advice, and (as I’m a copy editor, too), it’s exactly what I hope to offer every single time I work with an author. I can’t imagine that there would be an editor alive who would refuse to use Track Changes!

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12 Months of Experimental Tales

This month, inspired by one of my absolute favorite authors, I set out to write 12 short stories, using prompts selected by Neil Gaiman. I later found out that this kind of short, quickly written fiction is known as “flash fiction.” (Look at that! I was part of a thing and I didn’t even know it!) I’ve never participated in this kind of writing exercise: the last time I wrote fiction in response to a prompt was in the one creative writing class I’ve ever had, which was in high school and acted mostly like a therapy group for teenage angst.

Twelve stories. It took me nearly a month to complete the challenge (though I never went over an hour in writing each one, so mission accomplished. Technically my writing time was the same as Gaiman’s, though I didn’t have the luxury of three consecutive days of writing–thank goodness I also didn’t have the camera crew). While I loved it, I’m also glad I don’t have these unfinished prompts hanging over my head anymore!

What I’ve Learned from the Calendar of Tales

  1. Prompts are great
    Like I said, I haven’t written from a prompt with any regularity in awhile. I don’t remember liking prompts, but these were nice and juicy and open-ended. I enjoyed having something percolating in the back of my mind. In fact, I often chose to work on the Calendar Tales because of the intriguing prompts..meaning I sometimes neglected my longer fiction pieces (I still love you guys, promise!)
  2. Short fiction can be liberating
    Maybe I’m just a little backwards, but I’ve heretofore preferred longer fiction. I just didn’t see the point in sitting down to write something I knew was going to be short; better to use that energy on a longer project that can pack more punch. But the short word count on these was great: I could say whatever I wanted! I didn’t have to bother explaining where everything came from or making sure each little loose bit was tied together. I just needed to say enough to establish the scene and the problem, and get out of the way. In a lot of the stories, I’m imagining a lot more that just didn’t fit, and I’m okay with that. I hope the reader enjoys filling in the broad strokes, too.
  3. Accents are hard
    For the August tale, I knew I wanted a twangy Texas grandma as the narrator. It’s an accent I thought I could fake pretty well, but I ended up spending the most time on that story out of all of them as I struggled to figure out how to spell the words the way they should be pronounced. I wanted her to be twangy and kind of like Gertrude Beasley, a plain-speaking sassy-as-hell real woman from the barren 1920s of west Texas (My First Thirty Years is a tough read sometimes, but it’s now available to download on Kindle, if you’re interested). I had the hardest time figuring out how you might say “child” with that accent! I think I got it, but it took a lot of trial and error. I have a lot more appreciation for those who write accents frequently.
  4. Ducks Can be Scary
    I don’t watch horror movies. I don’t read horror novels either (except for when I’ve started a book without realizing it’s horror but can’t stop because I have to know what happens), and I struggled to make it through 75% of Joe Hill’s excellent Horns on audiobook before I couldn’t take it anymore. So I didn’t really think I was going to be writing horror. But the April story–I just knew it needed to be terrifying, because the idea of scary ducks was both absurd and believable to me. I think it did a decent job at it, but I think the better lesson is that it’s good to try things even if you think it’s beyond your abilities.
  5. Beta readers are good people
    I fit the writer-as-hermit stereotype pretty well, but it’s something I know I need to work on. Just before starting this venture, I met some great folks at ConDFW, one of whom was just foolish enough to say he’d be a beta reader for me. (Hey there Bryan!) After I wrote each piece, I sent it over to him, giggling like a fiend and hoping he found it just as funny/clever/scary/whatever. And biting my nails when I didn’t get an email back instantly. I’ve been leery of sharing my work before, but this project was different. Bryan caught some dumb mistakes and I’m really grateful for his help. Lesson learned: Beta readers = good.

I’m glad I took on this challenge, and I think it produced some fun and interesting results. I hope readers enjoyed them, too! Read all of the calendar tales.

What writing challenges have you participated in lately? What do you learn from them?

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Filed under Short Stories, writing

A Calendar of Tales: December

(Prompt: Who would you want to see again?)
“My 18 yo-runaway-self so I can show her that I find someone to love & own a home of my own – it did get better.”

This side of town is darker than I remembered, grungier. I remembered it as an artistic, safe-ish place, full of fun and interesting people; seeing it now, I wonder how this ever seemed appealing. I don’t go to areas like this, not at night.

But it’s December 1987, and I know I have a hard year behind and ahead of me. I’ve thought about it for a long time—these visits don’t come cheap—and this seems like the best time for me to come, to offer myself another chance. I’ll have another tough year after this, but I remember how terrible this winter was for me. I hope that coming now will mean I’m happier.

I pull my coat closer and step through the portal onto the street, remembering to close it behind me as I go. My younger self will be within 6 blocks of here; I never did travel far, those days.

I checked the store room of the Indian restaurant on 9th first; it’s warm there, and the owners sometimes gave me some rice at the end of the night. But the servers are still bustling, so I move down the block, in the sheltered alcove next to the Dumpster overlooking the park.

I see my boots first, two sizes too big and unlaced most of the way. How did I ever walk in those, anyway? I shake my head and make a noise in my throat, “ahem,” and stare down at my 18-year-old self.

Gawd was I a scrawny thing.

“I don’t know what you heard”—it’s shocking how pale I look—“but I don’t do that no more,” my young twin says diffidently.

“I’m not interested in anything you have to offer, Sam. I’m here to offer you something,” I say, extending a hand.

Young Sam glares up at me from under that beat-up old hat. I thought I looked killer in that hat; I still have it. “Who are you?” I sneer.

“I’m you, in the future. You’re me, in my past. I know, it’s hard to explain, but trust me on this. Time travel is invented in 2047, and it’s 2056 in my time now. I’ve—we’ve—led a good life, and I wanted to come tell you it’s going to be okay,” I say. I offer my hand again, hoping my younger self will take it and walk with me.

He disappoints me, mistrustful, but I understand. “Gawd I don’t age well,” he grimaces, disgusted.

“I thought I might show you how things are going to turn out,” I offer. “If you’ll come with me just here…”

I gesture toward the open wall. Young Sam stays out of arm’s reach, but gets up and follows me. Good enough for me. Fumbling with the switch, I activate the portal.

“That’s going to be your home, Sam. See? It’s beautiful, isn’t it? It’s got 5 bedrooms—five! I think sometimes I should sleep in all of them, just because I can…” I turn and look at my younger self, practically feeling the desperation in him. “You have a family; better than you’ve ever dreamed. You even get a respectable job, and it pays for two top-of-the-line hovercars, and vacations in Bermuda and Taipei and all over the world.”

He’s leaning in, as if he wants to grab the house right out of the portal. I can feel his longing; I remember its echoes in my own heart. “That’s my future, huh?” Young Sam says.

“Yes, Sam,” I say. “It’s all going to be alright.”

“So you’re telling me you came all the way from the future to show off all the cool stuff you’ve got?” He opens his arms, angry. “You came here to goddamn brag, old man?!”

“What? No,” I say, flabbergasted. “I remember how bad this year was, how bad the next was, and I thought if you saw that things were going to work out, you’d feel better and it wouldn’t be so hard.”

My younger self snorted. I don’t remember being so rude. “Man, I get stupid when I’m dumb. You think I want some crazy asshole to come up, tell me he’s from the future and show me a bunch of shit I can’t have? Well, no thanks. I’m not waitin’ around for no punk-ass future.” Out of nowhere, young Sam slams his open palm on my hat, pulling it down over my eyes. While I’m blinded, he yanks the portal fob from my hand and knocks me to the ground.

I look up just in time to see those stupid unlaced boots disappearing into the portal.

“Well, that didn’t go exactly as planned,” I say to the Dumpster, dusting off my hat and sighing. “Thank goodness I bought the time travel insurance.” I walked back to the sidewalk to wait for the time governors to pick me up and dump my stupid younger self back in 1987.

Kids in these days; no respect for their future elders.

Read more of the calendar tales.

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Now with: Editing!

I added something new to my blog. You might have noticed it, but then, perhaps not. It’s discreet and coy, sitting up there on the navigation bar, swizzling its straw in a drink with an umbrella in it, hoping you’ll notice.

Yes, that’s it. Editing.

MEK-edits-logoI’m proud to announce that I now, in addition to my writing and general blogging, am offering editing services.

The truth is out: I can’t hide my infatuation with commas any longer. No more will I hide my affection for clean syntax! I shall no longer cower behind my dictionary!

No, I shall take up my red pen (or Track Changes in Word) and use my powers for good!

In all seriousness, I have worked as a copyeditor and proofreader for 6 years, in newspapers, magazines, and private companies. As I have gotten acquainted with more writers online, I’ve noticed the gap between writers and quality editors; there are a lot of complaints about high prices, a difficulty of access, and unqualified folks.

In contrast, I’m offering reasonable prices (and am open to negotiation, if need be), you’ve already found me and I’m available by email, and I’ve got experience. You can check out my samples on my editing page, or, if you need further convincing, send me a message and I’ll do a few sample pages for you to let you decide for yourself.

I believe an editor can help all of us and, particularly as self-publishing and indie publishing continue to flourish, I’d like to help other authors overcome some of the obstacles to a completed work.

Please drop me a line at mekedits(at)gmail.com if you’re interested. I’m also listed on http://www.writer.ly, which is in beta release. I’d love to work with you.

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Interactive Writing: Reaction to “A Book is a Start-Up”

Step right up, ladies and gents, and buy this load of crap! Photo credit: Sumi-l / Foter.com / CC BY-NC-SA

Step right up, ladies and gents, and buy this load of crap!
Photo credit: Sumi-l / Foter.com / CC BY-NC-SA

Last week, The New Yorker published “A Book Is a Start-Up: Lessons from Leanpub, NetMinds, and Other Publishing Hustlers.

Basically, the article contends that the e-publishing phenomenon is changing the author/reader relationship–but not in the way we often hear (the “cutting out the middleman publishers” way, that is). No, this article cites several new-wave publishers who want the reader to be able to directly interact with the writer as the writing is happening.

Woah, what?

The idea is that a writer should let readers–with all their interests, editing abilities, and potential future buying power–get involved from day one. No more should the writer complete his first draft “behind closed doors” (as Stephen King suggests); no, let the reader get all up in your biz-nas, because it’s good for business.

“We believe a writer is not necessarily a writer,” Sanders, the Net Minds C.E.O., said. “They are content containers.” At the Net Minds website, freelancers can sign up as writers or ghostwriters, as well as editors, copyreaders, designers, and publicists. The writer, then, arrives with a thought, for manufacture. The mechanics of book start-ups suggest an assembly line at times…

Good for you, I guess, if that appeals to you, but I think it is dead wrong. I am more than just a “container,” thankyouverymuch. Crowd-sourcing has produced some great things–look at Wikipedia, for example!–but it also creates a lot of horrible things–look at Wikipedia, for example! I mean, you only need to glance at Yahoo!Answers to get a sense that a whole lotta people don’t have sufficient grasp of the English language to reliably call others out on their mistakes.

Maybe special-interest books like business guides can be crowdsourced in that way (the business/marketing books for industry that I’ve read are all pretty much interchangeable anyway), but I think this kind of writing/editing fusion is pure snake oil. It can’t be good.

I’ll be with Mr. King, writing privately with the door closed, thanks.

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I’m Writing the Wrong Genre

I’ve seen two kinds of scuttlebutt online about “what to write.”

A: Write what you love and what you want to read!
or
B: Research the genres that are selling and fit your writing to that mold.

One of my personal rules is to maintain my own integrity, so I’ve been following advice A (which is how I ended up writing a 63,000 zombie apocalypse gamebook/CYOA). And yet I have fits of anxiety when I see things like this:

agent_categories_list

This is an edited version of a list of agents who will be at DFW Writer’s Con and what genres they have a particular interest in. (I added the highlighting and cropped out the agents’ names. You can find the full list here.)

The yellow areas are Middle Grade and Young Adult respectively. Look at all those delightful excited happy faces!

The blue area is science fiction. Only 3 happy faces and one big ugly poison Do Not Talk To Me About This.

Hm.. Zombie apocalypse. Gee, where does that fit?  Blue column of sadness. Maybe horror (it’s not really that scary, though) or humor (because being a zombie is funny!). Well crap. Those columns are pretty depressing, too, 2 and 4 happy faces respectively.

The agent pitch sessions are one of the most exciting parts of DFW Con, but dangit, I don’t think I’m going to have a lot of success this year. I’m in all the wrong categories. (Though I feel a certainty in my bones that just about every adult would get a real kick out of determining their own path in a zombie uprising book. I was talking about it with a friend in a restaurant and a passerby interrupted to say “excuse me, did you just say zombie apocalypse CYOA? Cool!”)

And my prior novel that I’m not actively pitching? Squarely sci-fi dystopia. *sigh*

I have no real interest in writing YA or MG (aside from a dalliance with The Boxcar Kids, as a kid I never even read books that would fit those categories!), but seeing this kind of heavy-loaded listing is depressing and has made me wonder if I should be trying something different. It’s hard to do while continuing that whole “to thine own self be true” stuff, though.

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A Calendar of Tales: November

“My medical records, but only if that would make it all go away.”

Roslin fiddled anxiously with her datapad. She’d been waiting for this meeting for nearly three years; so much hung in the balance. It was odd to be wishing she was sick enough, the sickest person they’d seen, really, but that was what she had to do, had to be, if she wanted priority placement in the program.

She breathed rapid, shallow breaths through her oxygen tube. Of course, Roslin always breathed poorly, limited by her faulty, broken, accursed lungs, but this was worse than usual. She flicked the regulator to increase the flow of the life-giving supply, and tried to slow her breathing. Too nervous. Had to calm down.

A nurse appeared at the door. “Roslin?” he called, mispronouncing her name.

“Here,” she answered, her voice hardly a whisper. “Here I am.”

Roslin guided her chair forward, careful on the hard turns that could disrupt her stabilizers. The nurse nodded and held the door open. “Follow me, please.”

He led her back into a sparse conference room. At the table placed perpendicularly to the entrance sat five people: the program representatives. The people who would determine her fate. Roslin could find no smiles, no reassuring looks. She sucked air nervously into her failing lungs.

“Ms. Roslin Miller?” A woman on the far right flicked through a datapad. “Cystic fibrosis patient, already rejected one set of donor lungs; also incompatible with all known synthetic lungs?”

“Yes, ma’am,” Roslin wheezed. “I’ve had a number of challenges.”

“That seems like an understatement.” The speaker this time was a man on the left. Roslin didn’t know how to respond, so just sat silently.

The man in the middle folded his fingers into a tent. “Do you understand the implications of what we are offering with this experimental program, Ms. Miller?”

“Yes,” Roslin said. She breathed deeply, trying to compensate for the difficulty of speech.

“And why should you be selected, Ms. Miller?” The man, this whole group that was weighing the fate of her life, seemed so indifferent. If her broken, disabled body was not enough, weren’t the detailed medical records they each read with such detachment?

“My only hope – left is to be – admitted. Please — accept my application. — I have already – more than – outlived – doctors’ expectations.” She panted for a moment, struggling. “I don’t know – how much more time – I have.”

“Thank you for your time, Ms. Miller,” said a new speaker, a petite woman sitting toward the left. “Please give us a few minutes to confer and we will have our response as soon as possible.”

With that, the five people stood and stepped out of the room.

The next five minutes were the longest of Roslin’s life. What if they said no? What was left for her then? She blinked her eyes closed against the depression lurking, and said a prayer. To anybody, anyone who would listen; God, the hospital, this panel. Please. Please let it work out this time.

When the door clicked open, Roslin froze with terror. The faces of the panelists were unreadable. Oh god—

“Ms. Miller,” the center man said, “We believe you are an excellent candidate for the process.”

Elation. Pure ecstatic elation.

The next hour was a blur. Fingerprinting datapads, releasing indemnity, contacting her mother, her emergency contacts, preparing for the procedure, settling in the chair in the shining metal hospital room.

“You understand all risks and possible side-effects from this procedure? You voluntarily agree to this experimental process?” the nurse asked the questions for what felt like the 10th time.

“Yes, yes,” Roslin said eagerly.

“Then the process will begin in a few moments.” He left the room, and Roslin heard the door behind her click closed.

The air filled with a buzzing hum, the temperature growing warmer, a too-hot coat worn in summer. Roslin sucked air into her impaired lungs, frightened of the heat, of the building pressure. The machine above her clicked on, and a blue light scanned her from head to foot and back again.

The mix of air in her breathing tube changed: the nanobots released into her system to reprogram her genetic code—to repair her body from the inside out.

Roslin screamed.

Every cell in her body burned with an internal fire, erasing the record of damage done, of every attempted and failed medical procedure, of each tortured breath.

Roslin burned as the Phoenix process remade her anew.

—–

“Roslin? Roslin, baby, wake up. Roslin?”

Roslin blinked slowly, eyes heavy. “Hello?”  She stretched and yawned, rolling toward the voice.

“Hey baby.” The woman smiling down at her looked kind, the wrinkles around her eyes relaxing at Roslin faced her.

“Hello,” Roslin said again. She took a deep breath and sat up, and the woman at the side of her bed gasped in surprise and covered her mouth with her hands. “Are… are you my mother?” Roslin said uncertainly.

“You can breathe!” The woman who might be her mother said. “Oh my god, baby, you can breathe!”

Roslin considered for a moment. “Yes, I can. Is that unusual?”

“The procedure worked! It’s a miracle!” The woman rushed forward, arms extended. Roslin balked, and the woman stopped. “Don’t you remember? You went through the Phoenix process? Just yesterday. You have—had!—cystic fibrosis, but they’ve cured you, baby!”

Roslin stared back. “I—I don’t remember.”

A nurse in green scrubs came in. “Mrs. Miller, come with me, please,” he said, and took the older woman aside.

“Mrs. Miller,” he said when they were out of the room with the door closed. “We’re finding that retrograde amnesia is associated with this kind of procedure. Roslin may not remember anything from her life before yesterday’s surgery. It seems…” he paused, pursing his lips. “It seems that her genetic deformity may have been interrelated with her memories of the illness. We cured the genetic mutation; it’s possible that we also rewrote her memories from the time of her illness.”

“What?” Roslin’s mother said. “My daughter has had cystic fibrosis her whole life. What does that mean? What will she remember?”

The nurse looked away. “She agreed to the Phoenix procedure. We have all the documents…She may not remember anything. It may all be gone.”

The elder Miller stared in shock. The nurse tried for a bright side: “It is possible, with time, that she will remember parts of her old life. But I recommend you focus on her rejuvenated future.”

Mrs. Miller wiped the tears from her eyes and walked back into the room that held her daughter, new-born at 43 years old.

Read more of the calendar tales.

(This story inspired by my friend David Miller, who has cystic fibrosis and as I was writing this was getting his new lung transplant after three years on the waiting list! Please consider being an organ donor to help people like David.)

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