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Celine sits on the station platform, waiting for her train to York. She fiddles with her hair and taps an irregular rhythm with her feet. The announcements board says the train is on time but it cannot come soon enough for Celine. Her Boyfriend promised her a day out in York, a city she has not visited in years, and she has not seen him in almost a month.
Her phone jangles in her pocket and she fishes it out, pulling free an assortment of tissues and old bus tickets as she does so. She sits among the detritus of her everyday life and opens a text from the Boyfriend.
"Hi C, sorry 2 do this, have been thinkin a lot lately & i don't think this is workin 4 either of us. Probs best u don't come 2 york".
Celine stares at the screen. Moments crawl by before her fingers shake themselves free of their stupor.
"But I'm already waiting for the train." She presses send.
"Sorry C. Really am. Just don't think we're rite 4 each other. Hope to stay friends, ur a gr8 girl."
Celine peers at the phone through a film of salt water. Her train pulls into the station but she doesn't see it. She wipes away the tears and re-reads the texts, hoping she made a mistake, or that he was joking. She starts to type four or five different replies, each time deleting the message in case another comes in explaining it all.
A station guard comes over after half an hour. He asks her if she needs help, and leads her out of the station. He looks at her kindly, like a grandfather indulging a child with a scabby knee. It only occurs to her later that she is probably not the first dumpee he has encountered at work. He even buys her a cup of coffee after a hatchet-faced woman in the station office refuses to refund her now-useless train ticket.
Her friends rally around, and try to take her mind off it. They do a reasonable job, and after a few months, Celine deletes the texts from her phone. She deletes all of his texts, both good and bad. She cannot stand to be reminded of the wonderful things he said before he became so cruel. She gets a new haircut and uploads the photo to Facebook. The Now-Ex-Boyfriend 'likes' it almost immediately, but she un-friends him as quickly, and clears out her cache of photographs. He ceases to exist in her life, both online and off. A nasty streak, buried deep within Celine, hopes that she has erased him from existence altogether. She never hears from him again - it could be true.
Two days later, Celine takes all of the feelings she ever had about him and packs them into a cardboard box. She writes 'Rainy Day' on the front in black marker, and stores it at the back of a closet. She doesn't know when, or if, she'll ever need them again. She pushes other boxes, containing clothes or books, in front of them, and vows to get on with her life.
It doesn't take long for the box to start rattling. Something inside it wants to break out.
Friday, 15 February 2013
Monday, 11 February 2013
NaNoReMo update
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At the end of January, I announced that I'd be reading Horace Walpole's The Castle of Otranto for NaNoReMo. I'd chosen it due to its privileged position within the canon of Gothic literature, and because many of its themes and motifs appear in later novels, and by extension, within the gothic mode of filmmaking.
It's not a long book - my copy is only 115 pages long - and I can only thank my lucky stars for that. I'm already about a third of the way through but it has not been a pleasure to get even that far. I know that storytelling has changed an awful lot in the 249 years since it was published but the novel feels more like a documentary than a work of fiction. Walpole almost exclusively 'tells' the story, rigorously ignoring any opportunities to 'show' what's going on, and the characters are almost entirely devoid of any depth.
In the story so far, the Prince of Otranto, a fairly odious and one-dimensional man named Manfred, has been anticipating the forthcoming wedding of his son, Conrad, to a princess named Isabella. Manfred is desperate to continue the family line to avoid a fatal prophecy, but before the marriage can take place, a giant helmet falls from the sky (yeah...what?!) and crushes Conrad. Manfred then decides to divorce his wife, Hippolita (a simpering woman continually described as being a paragon of virtue, who is so weak and pathetic you just want to slap her) in order to marry Isabella himself and thus produce more heirs. Isabella is having none of it, and escapes to a nearby convent through a rather convenient subterranean passage. All of this takes place within chapter one, and it's difficult to care what's going on when so much content is crammed into the story before you even know who anyone is.
It takes a lot for me to abandon a book, and I'd quite happily set this aside if a) it wasn't such a seminal text, meaning I feel like I have to read it, and b) it wasn't so short. I'm pretty sure I can whizz through the rest of it before the end of the month, and if I do...well I'll be switching to Edgar Allen Poe instead...
It's not a long book - my copy is only 115 pages long - and I can only thank my lucky stars for that. I'm already about a third of the way through but it has not been a pleasure to get even that far. I know that storytelling has changed an awful lot in the 249 years since it was published but the novel feels more like a documentary than a work of fiction. Walpole almost exclusively 'tells' the story, rigorously ignoring any opportunities to 'show' what's going on, and the characters are almost entirely devoid of any depth.
In the story so far, the Prince of Otranto, a fairly odious and one-dimensional man named Manfred, has been anticipating the forthcoming wedding of his son, Conrad, to a princess named Isabella. Manfred is desperate to continue the family line to avoid a fatal prophecy, but before the marriage can take place, a giant helmet falls from the sky (yeah...what?!) and crushes Conrad. Manfred then decides to divorce his wife, Hippolita (a simpering woman continually described as being a paragon of virtue, who is so weak and pathetic you just want to slap her) in order to marry Isabella himself and thus produce more heirs. Isabella is having none of it, and escapes to a nearby convent through a rather convenient subterranean passage. All of this takes place within chapter one, and it's difficult to care what's going on when so much content is crammed into the story before you even know who anyone is.
It takes a lot for me to abandon a book, and I'd quite happily set this aside if a) it wasn't such a seminal text, meaning I feel like I have to read it, and b) it wasn't so short. I'm pretty sure I can whizz through the rest of it before the end of the month, and if I do...well I'll be switching to Edgar Allen Poe instead...
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the castle of otranto
Friday, 8 February 2013
#FridayFlash - We Could Be Heroes
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"Ere, Simon, how do you know you can die?"
"What?"
"I said, how do you know you'll die? Or that you even can?"
"What are you on about now?"
"I was just thinking. You could have superpowers or something, so how do you know you even can die unless you try it?"
"Don't be stupid, everyone can die. It's a given."
"Yeah man, that's what they want you to think."
"Oh don't start with all your conspiracy theory rubbish. It's too early in the day for that."
"It's not a conspiracy theory. What if it turned out you'd gotten superpowers during the night and you were now invincible - how would you even know?"
"That's ridiculous."
"So come at it another way - we all reckon we can die because people keep doing it, but how do you know you actually will?"
"It's the natural law."
"But how do you know?"
"I don't, but I'm certainly not going to try it to check either way."
"You've got no vision, have you?"
"Well you do it then."
"Fine. I will."
"No! Don't! Don't jump out the-"
THUMP
"Eric? Eric?!"
"It's okay, I'm alright! I told you I couldn't die!"
"Oh don't be stupid. I just looked out - you landed in a dumpster!"
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Friday, 1 February 2013
#FridayFlash - Broken Bracelet
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In the days following The End, a lot of people learned the value of what they'd lost. Law, order, social niceties, even electricity - all gone. Those disenfranchised by the old system turned feral, and formed the Riot Boys. The police, overrun and overworked, just gave up. It got worse. Even death offered no eternal peace, as the dead began to rise. It wasn't radiation, or a virus, just some quirk of reality that reversed some of the natural laws. Some of the revenants retained their previous selves, and went home. Some of them...well, they copied whatever behaviour they saw, and a lot of them saw nothing but Riot Boys. Humanity was beset on all sides - for the first time in my life, I was glad not to be human.
Oh I looked human. Most of the time. For three days out of the month, we were something else entirely. My family were Wulfen, and given there haven't been wolves in England for centuries, we'd become adept at avoiding detection. Being smaller and lighter than my brothers, I trained as a Tracker, and I was good at it. Very good. My brothers could have been jealous, but they had no other sisters, and protected me as the Warriors they were.
So it was that I came to be skirting the remains of an old village, late one spring evening. Some of those places avoided much trouble, being so far out of the way, and the inhabitants continued on much as they did before, growing their own food and bartering goods. They were always happy to see me, bringing with me news of the 'outside world'. Not all villages escaped, and the burnt out buildings of Woldendale put me on my guard. Riot Boys had been here - and might still be around.
I found myself in a pub car park on the edge of the village. The pub wasn't gutted by fire, but the windows were full of broken glass, the walls coated by thick graffiti. The Riot Boys probably drank it dry before they moved on. I lifted my head and let the scents of the air wash over me. Nothing - human or undead. I didn't think there was anything worth salvaging in Woldendale but I had to check.
I picked my way across the car park, and something shiny caught my eye. I padded closer, and saw the remains of a bracelet lying on the ground. Several cracked beads still clung to the nylon thread, although most of them had scattered across the tarmac. I picked up the fragile remains and sniffed, but heavy rain had washed away any traces of its owner. Now the bracelet just smelled of bad weather and petrol. I didn't have to be clairvoyant to see how it ended up here. Some hapless girl, perhaps eager to meet a boyfriend, ignored curfew and crossed the car park. With both revenants and Riot Boys in the area, she stood no chance. She encountered one or the other - or in a worst case scenario, both - and in the ensuing scuffle, the bracelet broke, and spilled its beads on the ground. I sighed. Nothing I could do for her now.
A scent caught my nose. Rotting flesh and hair gel – particularly cheap hair gel, considering its pungent aroma. I froze, trying to gauge the direction. Someone shambled out of an ancient lean-to at the back of the pub. He cut a strange figure, with his disintegrating skin, bloodshot eyes, and hair thick with styling product. He sported the typical spiky crop favoured by the Riot Boys, and was even clad in their tracksuit and trainers uniform. I could see acne scars among the patches of rot on his face – he couldn’t have been more than fifteen when he died.
He uttered a single moan and lurched towards me. I cursed myself for not keeping a weapon to hand, and scrabbled at the buckles on my bag. I backed away across the car park as the revenant ambled closer – not quite hurrying, but not taking his time either. I fumbled with the strap and the buckle finally gave. My foot caught on a pothole in the tarmac, sending me sprawling backwards. The flap of my satchel opened and scattered the contents of my bag across the car park.
The revenant smiled, a horrifying sight of missing teeth and misshapen lips, and bore down on me. I scrambled backwards, and my hand found smooth wood. My fingers curled around a handle and I swung upwards with all my strength as the revenant pounced. The head of my hammer collided with the revenant’s skull in an explosion of bone and blood. My would-be attacker keeled over, the hammer still buried in his brain.
I pulled the hammer free and wiped it clean on the revenant’s tracksuit top. I gathered the rest of my things and dumped them back in the satchel, ever mindful that where there was one revenant, there would no doubt be more.
A low moaning erupted within the lean-to. I recognised the sound – humans might think it a sound of mourning, but the moan, interrupted by snarls, was a revenant argument. They likely didn’t know I was there, but if they came outside, they would. My brothers would storm the building, slaughtering all the revenants they found, and they’d celebrate later with a feast of venison and ale.
But that was my brothers. I was on my own. I may be Wulfen but I wasn’t stupid. The revenants of Woldendale could wait. So I did the only thing I could. I ran.
Bracelet by L1l1th, tarmac by Blackcatm, edits by me. Concept of a broken bracelet in a car park from Nerine Dorman.
In the days following The End, a lot of people learned the value of what they'd lost. Law, order, social niceties, even electricity - all gone. Those disenfranchised by the old system turned feral, and formed the Riot Boys. The police, overrun and overworked, just gave up. It got worse. Even death offered no eternal peace, as the dead began to rise. It wasn't radiation, or a virus, just some quirk of reality that reversed some of the natural laws. Some of the revenants retained their previous selves, and went home. Some of them...well, they copied whatever behaviour they saw, and a lot of them saw nothing but Riot Boys. Humanity was beset on all sides - for the first time in my life, I was glad not to be human.
Oh I looked human. Most of the time. For three days out of the month, we were something else entirely. My family were Wulfen, and given there haven't been wolves in England for centuries, we'd become adept at avoiding detection. Being smaller and lighter than my brothers, I trained as a Tracker, and I was good at it. Very good. My brothers could have been jealous, but they had no other sisters, and protected me as the Warriors they were.
So it was that I came to be skirting the remains of an old village, late one spring evening. Some of those places avoided much trouble, being so far out of the way, and the inhabitants continued on much as they did before, growing their own food and bartering goods. They were always happy to see me, bringing with me news of the 'outside world'. Not all villages escaped, and the burnt out buildings of Woldendale put me on my guard. Riot Boys had been here - and might still be around.
I found myself in a pub car park on the edge of the village. The pub wasn't gutted by fire, but the windows were full of broken glass, the walls coated by thick graffiti. The Riot Boys probably drank it dry before they moved on. I lifted my head and let the scents of the air wash over me. Nothing - human or undead. I didn't think there was anything worth salvaging in Woldendale but I had to check.
I picked my way across the car park, and something shiny caught my eye. I padded closer, and saw the remains of a bracelet lying on the ground. Several cracked beads still clung to the nylon thread, although most of them had scattered across the tarmac. I picked up the fragile remains and sniffed, but heavy rain had washed away any traces of its owner. Now the bracelet just smelled of bad weather and petrol. I didn't have to be clairvoyant to see how it ended up here. Some hapless girl, perhaps eager to meet a boyfriend, ignored curfew and crossed the car park. With both revenants and Riot Boys in the area, she stood no chance. She encountered one or the other - or in a worst case scenario, both - and in the ensuing scuffle, the bracelet broke, and spilled its beads on the ground. I sighed. Nothing I could do for her now.
A scent caught my nose. Rotting flesh and hair gel – particularly cheap hair gel, considering its pungent aroma. I froze, trying to gauge the direction. Someone shambled out of an ancient lean-to at the back of the pub. He cut a strange figure, with his disintegrating skin, bloodshot eyes, and hair thick with styling product. He sported the typical spiky crop favoured by the Riot Boys, and was even clad in their tracksuit and trainers uniform. I could see acne scars among the patches of rot on his face – he couldn’t have been more than fifteen when he died.
He uttered a single moan and lurched towards me. I cursed myself for not keeping a weapon to hand, and scrabbled at the buckles on my bag. I backed away across the car park as the revenant ambled closer – not quite hurrying, but not taking his time either. I fumbled with the strap and the buckle finally gave. My foot caught on a pothole in the tarmac, sending me sprawling backwards. The flap of my satchel opened and scattered the contents of my bag across the car park.
The revenant smiled, a horrifying sight of missing teeth and misshapen lips, and bore down on me. I scrambled backwards, and my hand found smooth wood. My fingers curled around a handle and I swung upwards with all my strength as the revenant pounced. The head of my hammer collided with the revenant’s skull in an explosion of bone and blood. My would-be attacker keeled over, the hammer still buried in his brain.
I pulled the hammer free and wiped it clean on the revenant’s tracksuit top. I gathered the rest of my things and dumped them back in the satchel, ever mindful that where there was one revenant, there would no doubt be more.
A low moaning erupted within the lean-to. I recognised the sound – humans might think it a sound of mourning, but the moan, interrupted by snarls, was a revenant argument. They likely didn’t know I was there, but if they came outside, they would. My brothers would storm the building, slaughtering all the revenants they found, and they’d celebrate later with a feast of venison and ale.
But that was my brothers. I was on my own. I may be Wulfen but I wasn’t stupid. The revenants of Woldendale could wait. So I did the only thing I could. I ran.
* * *
Bracelet by L1l1th, tarmac by Blackcatm, edits by me. Concept of a broken bracelet in a car park from Nerine Dorman.
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creative writing,
flash fiction,
friday flash
Wednesday, 30 January 2013
What writers can take from Django Unchained
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I finally got to see Django Unchained at the weekend, a film I'd been looking forward to for a long time since a) I love Westerns, b) I like Tarantino and c) I love Leo DiCaprio. My review is over on my film blog, but I had a few thoughts about what writers could take away from the movie.
1) Do your research.
The world of Django Unchained felt very plausible, and very real. At no point did I look at anything and think it was anachronistic, although while checking things for this post, I discovered that Tarantino has included dynamite some eight years before it was invented. Still, fiction is allowed to take some liberties, as long as they're within the bounds of possibility. The costumes were fabulous, the set design had a real attention to detail that period pieces always need, and Tarantino had clearly researched the social situation of 1858. No matter whether you're setting your story in 2087 or 1887, it needs to feel real to a reader. Even futuristic pieces need research to extrapolate the likelihood of possible inventions becoming reality.
2) Don't be afraid of controversy.
Don't feel you have to court controversy - for every person who reads your work out of genuine interest, you'll have another who reads it for its reputation, and that's a Pandora's box you don't want to open as you scrabble to top each controversial outing. Having said that, don't shy away from a topic because you feel it is, or might be, controversial. Fiction will always need brave authors willing to talk about things that no one else will discuss, and if you have an original, fair, or unique take on a subject, why not try it out? Tarantino certainly did. Whether he was right or wrong to do tackle the subject of slavery using the generic conventions of both the Western and the Revenge film so is not for me to decide, but kudos to him for having the balls to raise the topic in the first place.
3) Know when to end a scene.
There were more than a few scenes where I found myself mentally screaming "CUT! FOR THE LOVE OF ALL THAT IS HOLY, CUUUUUUT!" Tarantino's often had the tendency to ramble, letting scenes go on far longer than they need to, while the additional running time does nothing to further the story (although it may increase your need to duck out to the bathroom). As a reader, if you feel that a scene is going on too long you might just skip to the next one - or worse, you might put the book down altogether. Writers need to know when to stop a scene, or cut it entirely. If it doesn't further the plot or illuminate something important, lose it. If it feels like it's running out of steam, cut and get on with it.
4) Using up your big finish too early.
It wasn't one of his biggest hits but Death Proof got it just right when the climactic set piece, that epic car chase, was at the very end of the film. Likewise the fight sequence between the Bride and O-Ren Ishii in Kill Bill Pt I. Trouble is, I felt like Django Unchained's big shoot-out was the big set piece, as opposed to the actual climactic ending...meaning that the film after said shoot-out sagged a little. That would be like Luke destroying the Death Star and spending another forty five minutes wandering around. Keep your big finish for the end.
5) Give your hero flaws...but don't make him easy to dislike.
I think my biggest problem with Django Unchained is that I warmed to King Schultz very easily, and I really liked the character, but I found it nigh on impossible to root for Django himself. If your sole presented reason for me rooting for someone is how badly they've been treated by someone else then you're not exactly presenting a rounded character. Likewise, making the guy a natural shot so he's a better gunslinger than Wyatt Earp without any practice just makes me too incredulous. His motivations were understandable, and possibly even commendable, but as a character, I just didn't like Django. I know that, in places, Django himself was playing a character in order to further his own ends, but it didn't feel like Django was stretching himself too much to play a bastard. Schultz had flaws, but they were there to make him human. By contrast, Django's flaws just made him into a cartoon character. So by all means give your protagonist flaws - after all, we don't want yet another Mary Sue - but don't make them unlikeable in the process. Even anti-heroes like Snake Plisskin are likeable.
What do you think?
1) Do your research.
The world of Django Unchained felt very plausible, and very real. At no point did I look at anything and think it was anachronistic, although while checking things for this post, I discovered that Tarantino has included dynamite some eight years before it was invented. Still, fiction is allowed to take some liberties, as long as they're within the bounds of possibility. The costumes were fabulous, the set design had a real attention to detail that period pieces always need, and Tarantino had clearly researched the social situation of 1858. No matter whether you're setting your story in 2087 or 1887, it needs to feel real to a reader. Even futuristic pieces need research to extrapolate the likelihood of possible inventions becoming reality.
2) Don't be afraid of controversy.
Don't feel you have to court controversy - for every person who reads your work out of genuine interest, you'll have another who reads it for its reputation, and that's a Pandora's box you don't want to open as you scrabble to top each controversial outing. Having said that, don't shy away from a topic because you feel it is, or might be, controversial. Fiction will always need brave authors willing to talk about things that no one else will discuss, and if you have an original, fair, or unique take on a subject, why not try it out? Tarantino certainly did. Whether he was right or wrong to do tackle the subject of slavery using the generic conventions of both the Western and the Revenge film so is not for me to decide, but kudos to him for having the balls to raise the topic in the first place.
3) Know when to end a scene.
There were more than a few scenes where I found myself mentally screaming "CUT! FOR THE LOVE OF ALL THAT IS HOLY, CUUUUUUT!" Tarantino's often had the tendency to ramble, letting scenes go on far longer than they need to, while the additional running time does nothing to further the story (although it may increase your need to duck out to the bathroom). As a reader, if you feel that a scene is going on too long you might just skip to the next one - or worse, you might put the book down altogether. Writers need to know when to stop a scene, or cut it entirely. If it doesn't further the plot or illuminate something important, lose it. If it feels like it's running out of steam, cut and get on with it.
4) Using up your big finish too early.
It wasn't one of his biggest hits but Death Proof got it just right when the climactic set piece, that epic car chase, was at the very end of the film. Likewise the fight sequence between the Bride and O-Ren Ishii in Kill Bill Pt I. Trouble is, I felt like Django Unchained's big shoot-out was the big set piece, as opposed to the actual climactic ending...meaning that the film after said shoot-out sagged a little. That would be like Luke destroying the Death Star and spending another forty five minutes wandering around. Keep your big finish for the end.
5) Give your hero flaws...but don't make him easy to dislike.
I think my biggest problem with Django Unchained is that I warmed to King Schultz very easily, and I really liked the character, but I found it nigh on impossible to root for Django himself. If your sole presented reason for me rooting for someone is how badly they've been treated by someone else then you're not exactly presenting a rounded character. Likewise, making the guy a natural shot so he's a better gunslinger than Wyatt Earp without any practice just makes me too incredulous. His motivations were understandable, and possibly even commendable, but as a character, I just didn't like Django. I know that, in places, Django himself was playing a character in order to further his own ends, but it didn't feel like Django was stretching himself too much to play a bastard. Schultz had flaws, but they were there to make him human. By contrast, Django's flaws just made him into a cartoon character. So by all means give your protagonist flaws - after all, we don't want yet another Mary Sue - but don't make them unlikeable in the process. Even anti-heroes like Snake Plisskin are likeable.
What do you think?
Labels:
becoming a writer,
cinema,
how to,
writing,
writing advice
Monday, 28 January 2013
National Novel Reading Month
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John Wiswell has reminded me that National Novel Reading Month begins on February 1st. It's quite simple - you choose a classic you've never read, read it in February, and then talk about it.
As I'm looking at the Gothic as part of my PhD thesis, I think it only right that I choose a book related to my topic. I've chosen Horace Walpole's The Castle of Otranto. I've been meaning to read it for months now, but this has given me a very good excuse!
The Castle of Otranto is largely considered the first Gothic text, and was originally published in 1764 as an alleged translation of an ancient text. Walpole eventually acknowledged authorship by the time the second edition came out. It's available for the Kindle for free through Project Gutenberg but I'll be reading the paperback version, a book I bought at an art exhibition about his rather stunning house at Strawberry Hill.
John Wiswell has reminded me that National Novel Reading Month begins on February 1st. It's quite simple - you choose a classic you've never read, read it in February, and then talk about it.
As I'm looking at the Gothic as part of my PhD thesis, I think it only right that I choose a book related to my topic. I've chosen Horace Walpole's The Castle of Otranto. I've been meaning to read it for months now, but this has given me a very good excuse!
The Castle of Otranto is largely considered the first Gothic text, and was originally published in 1764 as an alleged translation of an ancient text. Walpole eventually acknowledged authorship by the time the second edition came out. It's available for the Kindle for free through Project Gutenberg but I'll be reading the paperback version, a book I bought at an art exhibition about his rather stunning house at Strawberry Hill.
Friday, 25 January 2013
#FridayFlash - The Dreamcatcher
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Theophilius Hopgood sat at his desk, the quill in his hand poised above a parchment strip. He peered through his glasses at the small glass bottle on the shelf of the desk. Tiny blue particles drifted to and fro, disturbing the pale green mist inside the vial. Hopgood dipped the quill into the ink and scrawled ‘Eternium’ on the parchment. When the ink dried, he’d stick the label onto the bottle, and it would leave his workshop, destined for sale in one of the emporia far below his attic.
Three ornate cages stood near the open window. Two of the cages were empty, their occupants out working in the City Above. The third cage contained a large grey bird that slept with its head tucked beneath one wing.
A fluttering of wings at the window announced the return of one of the birds. Midway between a vulture and an owl, it squeezed through the narrow opening and landed on Hopgood’s vast work surface. Its ruby talons gripped a net of woven cobweb and silk thread. Clouds of coloured mist clung to the net, sparkling in the gloom of the workshop.
“Ah, Medusa, you have been busy!”
Hopgood petted the bird, and she raised one leg to allow him to remove the net. He picked up his tweezers and teased each of the clouds free, depositing them into small glass bottles. He counted six in total. He shook out the net and hung it from a peg on the wall to dry.
Hopgood examined the bottles. Two of them contained pale green clouds studded with floating blue particles. Hopgood smiled – he’d need to write more Eternium labels, and dreams of immortality always sold well.
The bird fluttered up to one of the empty cages and clambered inside, far less graceful on foot than she was in the air. Her ruby talons gripped the bar of the cage and she settled down to sleep, tucking her head beneath her wing to mirror the pose of her avian neighbour. Hopgood marvelled at those talons; right now, they kept the bird upright through sleep, but those same talons could also prise free the dreams of slumbering Citizens.
Hopgood settled down in the chair to write more labels for the bottles. He counted two dreams of immortality, one of love, one of success, and two of enduring friendship. Ettamora would be pleased; her dreams emporium was the favoured destination of slum-dwellers hoping to share the dreams of the rich Citizens in the City Above.
The third bird clattered through the window, landing on the desk in a heap. Its talons were tangled in the silken net, and Hopgood spent ten minutes working the bird free. The net held a single cloud, heavy and black, studded with red beads that glowered like baleful eyes.
“Sandor, how often must I tell you? You must harvest only good dreams, not bad ones!” Hopgood admonished the bird as it flew up to the cage, hiding in its shadows.
Hopgood wrung out the net, squeezing the black cloud into a larger jar, its glass thicker than that of the other bottles. He forced in the stopper before the cloud could escape, but the particles hammered against the cork for several moments.
“You see, Sandor? That’s why bad dreams are dangerous. They’re always trying to get out and affect everything they touch. I’ll have to send it down to the forge so they can melt it down for nightmare parts.”
A loud knock echoed around the workshop. Hopgood shuffled across the room, squeezing between desks and display cases. He opened the door to a thin girl carrying a basket. She wore a threadbare shawl around her narrow shoulders, and her pinched features bore an expression of wearied resignation.
“Good evening, Pola. I have some new product for you.”
“Why do you ‘ave to live right up ‘ere? Takes me ages to climb them stairs,” said Pola, stepping into the workshop.
“The birds need to be above the smog to find their way out.”
Hopgood’s stomach roiled to think of the smog that clung to the Underground City. What he wouldn’t give to escape, to find a small attic in the City Above where he could enjoy fresh air and open skies. Not once had his birds brought home that dream. That was his own dream – definitely not for sale.
Pola grimaced, and moved no further into the workshop. Hopgood rolled his eyes and returned to his desk to fetch the finished bottles from their shelf. He wrapped them into a large handkerchief so he could carry them back to Pola. She tucked them into her basket, and handed him fourteen small copper pieces, one for each bottle. Ettamora would sell them on for three coppers each.
“Be seein’ you, Theo.”
Pola turned and left, her wheezing filling the stairwell as she descended into darkness. Hopgood closed the door and returned to his desk. Sandor still didn’t sleep, instead peering out of his cage at his master. Hopgood held out his arm and Sandor clambered free, fluttering down to rest on Hopgood’s forearm.
“I want fresh air, Sandor, and I’m sure you do too. But I can’t afford a workshop Above.”
Sandor pecked at Hopgood’s chest and stared up at him, an idea burning in his grey eyes. Hopgood smiled.
“Sandor, you’re a genius. Why don’t I just sell the dreams myself?”
The bird nuzzled against his master, and Hopgood moved across the workshop to the grate to enjoy its meagre warmth. He settled in his old chair, Sandor roosting on his shoulder. Soon Hopgood’s eyes closed and his mind drifted, skipping through the open boulevards of a city whose sky stretched for eternity.
This story is set in the Underground City, part of the universe for my dark fantasy/horror novella, The Necromancer's Apprentice. Three of the other stories so far are The Supplicant, The Vault of Lost Voices, and The Fishwives.
Three ornate cages stood near the open window. Two of the cages were empty, their occupants out working in the City Above. The third cage contained a large grey bird that slept with its head tucked beneath one wing.
A fluttering of wings at the window announced the return of one of the birds. Midway between a vulture and an owl, it squeezed through the narrow opening and landed on Hopgood’s vast work surface. Its ruby talons gripped a net of woven cobweb and silk thread. Clouds of coloured mist clung to the net, sparkling in the gloom of the workshop.
“Ah, Medusa, you have been busy!”
Hopgood petted the bird, and she raised one leg to allow him to remove the net. He picked up his tweezers and teased each of the clouds free, depositing them into small glass bottles. He counted six in total. He shook out the net and hung it from a peg on the wall to dry.
Hopgood examined the bottles. Two of them contained pale green clouds studded with floating blue particles. Hopgood smiled – he’d need to write more Eternium labels, and dreams of immortality always sold well.
The bird fluttered up to one of the empty cages and clambered inside, far less graceful on foot than she was in the air. Her ruby talons gripped the bar of the cage and she settled down to sleep, tucking her head beneath her wing to mirror the pose of her avian neighbour. Hopgood marvelled at those talons; right now, they kept the bird upright through sleep, but those same talons could also prise free the dreams of slumbering Citizens.
Hopgood settled down in the chair to write more labels for the bottles. He counted two dreams of immortality, one of love, one of success, and two of enduring friendship. Ettamora would be pleased; her dreams emporium was the favoured destination of slum-dwellers hoping to share the dreams of the rich Citizens in the City Above.
The third bird clattered through the window, landing on the desk in a heap. Its talons were tangled in the silken net, and Hopgood spent ten minutes working the bird free. The net held a single cloud, heavy and black, studded with red beads that glowered like baleful eyes.
“Sandor, how often must I tell you? You must harvest only good dreams, not bad ones!” Hopgood admonished the bird as it flew up to the cage, hiding in its shadows.
Hopgood wrung out the net, squeezing the black cloud into a larger jar, its glass thicker than that of the other bottles. He forced in the stopper before the cloud could escape, but the particles hammered against the cork for several moments.
“You see, Sandor? That’s why bad dreams are dangerous. They’re always trying to get out and affect everything they touch. I’ll have to send it down to the forge so they can melt it down for nightmare parts.”
A loud knock echoed around the workshop. Hopgood shuffled across the room, squeezing between desks and display cases. He opened the door to a thin girl carrying a basket. She wore a threadbare shawl around her narrow shoulders, and her pinched features bore an expression of wearied resignation.
“Good evening, Pola. I have some new product for you.”
“Why do you ‘ave to live right up ‘ere? Takes me ages to climb them stairs,” said Pola, stepping into the workshop.
“The birds need to be above the smog to find their way out.”
Hopgood’s stomach roiled to think of the smog that clung to the Underground City. What he wouldn’t give to escape, to find a small attic in the City Above where he could enjoy fresh air and open skies. Not once had his birds brought home that dream. That was his own dream – definitely not for sale.
Pola grimaced, and moved no further into the workshop. Hopgood rolled his eyes and returned to his desk to fetch the finished bottles from their shelf. He wrapped them into a large handkerchief so he could carry them back to Pola. She tucked them into her basket, and handed him fourteen small copper pieces, one for each bottle. Ettamora would sell them on for three coppers each.
“Be seein’ you, Theo.”
Pola turned and left, her wheezing filling the stairwell as she descended into darkness. Hopgood closed the door and returned to his desk. Sandor still didn’t sleep, instead peering out of his cage at his master. Hopgood held out his arm and Sandor clambered free, fluttering down to rest on Hopgood’s forearm.
“I want fresh air, Sandor, and I’m sure you do too. But I can’t afford a workshop Above.”
Sandor pecked at Hopgood’s chest and stared up at him, an idea burning in his grey eyes. Hopgood smiled.
“Sandor, you’re a genius. Why don’t I just sell the dreams myself?”
The bird nuzzled against his master, and Hopgood moved across the workshop to the grate to enjoy its meagre warmth. He settled in his old chair, Sandor roosting on his shoulder. Soon Hopgood’s eyes closed and his mind drifted, skipping through the open boulevards of a city whose sky stretched for eternity.
* * *
This story is set in the Underground City, part of the universe for my dark fantasy/horror novella, The Necromancer's Apprentice. Three of the other stories so far are The Supplicant, The Vault of Lost Voices, and The Fishwives.






