2026 is another year of short stories. In this weekly series, I talk about short story writing, from idea and draft to submission.
This is week six: Feb. 8 – Feb. 15
Stats
Stories Finished: 1
Submissions Currently Out: 2
Submissions Total: 1
Rejections: 3
Acceptances: 0
Goals and Results
My goals from last week were:
Finish revising Red Eyes.
Start the first draft of a new story.
Although I’ve been generally keeping up with my self-imposed quotas for writing and editing, this week marks the first time where I’ve gotten ahead on both.
I started a new story with a working title of Out of Towner. I hate this title and it will change. I’m not sure how I feel about the story itself. I’ll give it another week to see how it shapes up.
I made a couple of breakthroughs with Red Eyes revisions this week. First, I found a motivation for my main character that connects several aspects of the story and helps to explain why he finds himself in his current predicament. This also gave me a reason to make a change to the ending—not really changing the outcome of the story, but replacing some dialogue between two characters that I always felt was not up to snuff.
In the past couple weeks, I’ve addressed about two pages of bullet point notes, with some content migrating across several scenes. I believe I’ve reached the point where I added and clarified everything I wanted to. Unfortunately, that process added 600-700 words to a fairly long story. I’m refusing to call it done until it gets another one or two editing passes, mainly to trim, trim, trim.
As I finally wrap up this story, it’s really apparent that I’m just not as good at editing as I’d like to be. It’s slow, painful work to slog through. The writing is breezy in comparison. I’ve been able to get away with it, to some extent, by writing shorter stories that don’t have as many complicated, moving parts.
This isn’t a point of shame, but it does reinforce my determination to do a lot of editing this year so I can get better at it.
Critiques
It will be a relief to have Red Eyes done, because I’ve got another story coming down the pipe. Taco Cat Employee Manual v.7.1 went out for critique this week. The Critters week runs Wednesday to Wednesday, so it still has a couple days to go. I’ve gotten seven responses, which is not bad, but I’m hoping to get a few more.
Taco Cat currently stands at 1150 words, and a couple people have noted that it’s probably worth trying to get that down to an even 1000, the common cutoff for flash fiction. I expect the editing pass to be much shorter and less intensive on this one. Soon, I should have two more stories ready to submit.
As a speculative fiction writer, I tend to stay in the zones of sci-fi and fantasy. I don’t go across the tracks to horrorville very often. However, I’m currently writing a horror story featuring a monster who appears human. That got me thinking about monsters and how to write them effectively.
Despite my limited horror writing experience, I do read a good amount of horror and have analyzed a fair number of short stories through Critters critiques. As authors, we inevitably read far more work than we produce, so it’s important to learn not just from our own mistakes, but from others’ mistakes (and successes) as well.
In my opinion, horror is reliant on pacing and rising tension more than any other genre. While “conflict” and “tension” are sometimes used interchangeably, the difference is important here. Physical violence is common in horror (although it’s hardly the only form of conflict available). But too much violence runs the risk of verging into absurdity or action/thriller and losing those “creeping dread” horror vibes.
To feel like horror, there should be rising tension throughout, and outright conflict only at key “peaks” of the story.
Save the Reveal
Any connoisseur of monster movies knows that revealing the monster too early is a mortal sin. Mystery, uncertainty, and fear all build tension. So long as the reader and the characters don’t have a complete understanding of the antagonist, there’s always the possibility of something new and unexpected happening.
To this end, it’s important to slow roll the reveal. Dribble out information and understanding. The characters might think they have a chance against the monster when they discover that it’s blind. They’ll learn how wrong they are when they discover it has superhuman hearing and sense of smell.
The unknown is always more spooky. This goes for all aspects of the horrific. When describing the monster, give the characters and the reader glimpses, not straight on views. Show us a stray tentacle, a slime trail, a bloodshot eye through the crack in the door, or the sound of sharp claws scraping on the window.
If there has to be a full reveal, it should come close to the end. However, there doesn’t always have to be a reveal. Sometimes the story can resolve, and the characters can even win, without ever completely understanding the monster. Cosmic horror especially relishes the unknowable, and often outright refuses to fully explain its biggest bad guys. They are too horrific or mind-bending for mere humans to comprehend while staying sane.
Use All of Your Senses
Vision is the sense that able-bodied humans use most, and it’s usually the first mode of description authors reach for. Hearing is a distant second place. The rest of the senses are a lap behind on the track.
In any fiction it’s a good idea to shake this up. Hearing, touch, smell and taste can all add verisimilitude and depth to a story. For horror, this is even more important. Since mystery and the unknown are vital to creating tension, preventing characters from seeing the danger will ramp up that tension.
Since a lot of horror lives in the realm of speculative fiction, there may even be opportunities to include “extraordinary” senses beyond the standard five. Characters might get the feeling that they’re being watched, or the extrasensory certainty that something horrible is about to happen.
Using the full array of senses is an opportunity to make associations with things that cause discomfort—the feeling of bugs crawling over skin, dripping slime in an unexpected place, the smell or taste of rot, the sound of crunching bones. These kinds of sensory discomforts are another key way to ramp up the tension in a story.
Be aware that you may lose certain readers when you get into phobia territory. This is par for the course with horror, and audiences should expect a certain amount of discomfort, but you’re still going to encounter certain readers who absolutely can’t get enough axe murder and will still throw a book across the room when they get to the bit with the spiders under a character’s skin or the clown in the sewer.
Metaphor and Synecdoche
Another important way to maintain mystery and reveal without revealing is to use layers of indirection. Metaphor and simile can give a sense of what the monster is like, without providing the whole picture. Synecdoche substitutes a part of the thing for the whole.
We know the creature has a snout that snuffles like a pig when it seeks out its victims. We know that it has a slimy hide with bristly, needle-like hair. We know that when it was feeding on that old man in the shadows, it was all sharp claws and red-tinged fangs.
Twisted or False Innocence
Another tactic for introducing mystery and uncertainty is to start with something safe and known, and systematically show that this surface-level simplicity hides sinister depths.
The classic examples of this tend toward typical innocence and innocuousness: children, dolls, nuns, clowns. These cheerful, delightful, or inherently good things and people slowly reveal aspects that do not match what they’re supposed to be.
The feeling of understanding something, only to have to revise that initial impression naturally brings some level of discomfort and tension with it. It speaks to the primal parts of the human brain that are responsible for studying the dark jungle around us and noticing on the third or fourth pass that the ordinary shadow under that tree is really a tiger.
Reveal Through Reaction
Effective fiction requires a level of empathy between the reader and the characters. Luckily, most humans are natural empathy machines—when we see something happen to somebody else, we tend to think about how that makes the other person feel, and we can even generate a sympathetic response that makes us feel the same feelings we perceive in someone else.
In all fiction, and especially in horror, it’s the author’s job to help the reader activate that sympathetic response. Sensory descriptions are a great way to do this. Again, as a culture that’s immersed in TV and movies, we tend to think very visually, but other senses often are even better at eliciting this empathy in the reader.
Importantly, fiction offers an avenue that isn’t entirely possible to replicate in TV and movies: the inner thoughts and emotions of the characters. Of course, the POV of the story may be a limiting factor, but in first person, second person, and “close” third person points of view it should be possible to delve into the thoughts and emotions of at least one character.
Reveals are Climaxes
With mysteries and uncertainties providing vital sources of tension in horror stories, it’s only natural that reveals should be moments of excitement or relief. Major revelations should come at a point of maximum tension. This can be used as a pressure release valve before moving into a new part of the story and ratcheting up a new source of tension. However, the reveal is often closely coupled with a moment of violence, pain, or trauma, turning that inherent excitement toward terror.
Reveals are also sometimes opportunities to raise the stakes. What started as “I don’t want to die,” may become “I can’t let this evil be unleashed onto the world.” One of my favorite takeaways from Chuck Wendig’s Damn Fine Story is that the character’s personal story should tie into the broader external action. What this means is that good stories have personal stakes for key characters, but those stakes are tied to the bigger events.
In Stranger Things, a group of kids has to fight monsters to save their friends, but those monsters also have bigger plans to wreak havoc on their small town and the world. In The Omen, fear of a monstrous child is heightened by the possibility that he may be the Antichrist. The Alien movies aren’t just about avoiding the Xenomorph, but about preventing it from spreading.
Most horror—or at least horror with monsters in it—ends in defeat, or victory snatched from the jaws of defeat. The climactic reveal may be the piece of information that is needed to fully understand the monster, and thus discover a weakness that can be used to defeat it.
The final opportunity for tension comes at the end of the story, just beyond the climax. The monster was finally defeated…or was it? Did that mangled corpse twitch? Did the eye open? Or is there a clutch of eggs somewhere cool and moist, waiting to hatch? Was the demon really banished, or is there a strange glint of red in that side character’s eye?
One of the hallmarks of horror is leaving the reader with an unsettled feeling even after the final sentence, and a great way to do that is to leave some tension unresolved.
Here we are, in the thick of a new year of short stories. It’s the perfect time to direct you to one of my favorite short-story-writing bloggers, Aeryn Rudel.
Rudel writes and submits short fiction in numbers that I can only aspire to. In fact, the title of this post apparently understates his case—he mentions that he’s had 120 stories published over the past 12 years! That much experience brings a lot of perspective on short story writing, and we’re lucky that Rudel shares it regularly.
Check out the post over on his site, Rejectomancy.
2026 is another year of short stories. In this weekly series, I talk about short story writing, from idea and draft to submission.
This is week five: Jan. 31 – Feb. 6.
Stats
Stories Finished: 0
Submissions Currently Out: 2
Submissions Total: 1
Rejections: 3
Acceptances: 0
A New Kind of Rejection
I received one rejection this week. Sort of.
At first I thought it was going to be one of those rejections where the publication is so worried about offending anyone that they don’t even clearly say that the story is rejected. (For the record, these are my least favorite kind of rejection. Don’t treat writers as fragile little babies, even if we occasionally act that way.)
Around the fifth paragraph it became apparent what was actually going on. The publication was unable to keep up with the number of submissions, so they gave up, rejected everything, and changed their format to be flash fiction only.
My submission wasn’t flash, hence the non-rejection rejection.
Goals and Results
The goals I set out for this week were:
Finish or get close to finishing Red Eyes revisions.
Catch up on writing word count.
I have to admit I got distracted this week, but it was productive distraction. I ended up working on several blog posts, which should be a longer-term benefit when I have less work to do for the remainder of my February posting schedule.
I didn’t finish my revisions on Red Eyes, but I did make good progress. I’m now ahead on my self-imposed revision quota for the first time this year. I still have one more week to wrap up Red Eyes before critiques for another story, Taco Cat, start coming in from Critters.
I didn’t quite catch up to my word count quota this week, although I am within spitting distance. Those words were spent on finishing the first draft of the horror story I’ve been working on, currently titled Estate Sale. (I’ll be looking for a more interesting name when I come back to it for revisions.)
It’s a common misconception that a great idea makes a great story. The truth is that most great stories come down to execution. A great idea with poor execution rarely works, but a great writer can breathe new life into even the most tired tropes.
Like any writer, I have my own treasure trove of ideas that might end up in a story…someday. But why horde them? Instead, I’m opening the vault and setting them free.
Use these ideas as a writing prompt, or come up with your own twist and reply in the comments.
Computational Literature
Early on, computer programming was valued for its practical uses. It overturned industry and transformed society. It was deemed a science, even if computer science wasn’t as rigorous as physics or chemistry.
There were always those who saw the artistry in programming, the code golfers, makers of esoteric languages, and high-minded software architects. But what does artistry matter in the face of trillion-dollar industries and socioeconomic upheaval?
That was before Gustav Nacht, classical painter turned web designer. In retrospect, it’s clear that his genius was on par with greats like Mozart, Nabokov, or Van Gogh. At the time, nobody took his School for Computational Literature seriously.
Nacht pioneered programming languages that were as expressive for humans as they were for computers. Ernest was a language as terse and evocative as the writing of Hemingway, while Faulkner was a language as verbose, complex, and non-linear as the stories of its namesake.
It took decades, but by the time of Nacht’s death, non-programmers reading computational literature had become commonplace, and the ability to program finally seemed destined to become ubiquitous, as more and more people discovered these accessible gateways into the practice.
Nacht’s best students carried on his work, and while some fans might suggest that nobody would ever attain the same artistic heights as Nacht himself, most readers found subsequent generations even more enjoyable.
2026 is another year of short stories. In this weekly series, I talk about short story writing, from idea and draft to submission.
This is week four: Jan. 24 – Jan. 30
Stats
Stories Finished: 0
Submissions Currently Out: 2
Submissions Total: 1
Rejections: 2
Acceptances: 0
Goals and Results
The goals I set for this week were:
Clean up another story (F-TIB) for Critters
Revise a story (Red Eyes)
Do just enough new writing to meet my self-imposed quota
My first goal went very smoothly. I usually don’t do a lot of heavy editing on a story initially, unless I get seriously negative feedback from my first readers or I feel like it has big structural problems. This particular story is fairly short—about 2300 words—and feels pretty good after some light cleanup.
My biggest concern isn’t a story structure thing, it’s the fact that one of the two main characters is trans, and their transition is an important plot point. I’m not trans, and I want to do right by the character and by that community. I haven’t worked with a sensitivity reader (formal or informal), but that’s something I might explore for this piece.
Goal number two is a work in progress. I won’t talk too much more about it. I’ve already mentioned that Red Eyes is a fairly long story (6600 words) that does need some structural adjustments, and that’s ongoing. I think this is an interesting example of the editorial process, so I may publish a longer post-mortem when I’m done.
Goal three was an abject failure. I barely wrote anything new this week. That doesn’t bother me, since I’m making progress on my revisions and that’s what I need to do to get more stories ready for submission. My word count goals are very reasonable, and I can still easily make up those words in a few hours of solid work.
Looking Back on the First Month
It’s hard to believe that January is over. One month down, eleven to go. I’m happy to report that I feel like I’ve struck a good equilibrium with my goals. I don’t feel overwhelmed, but I am getting things done.
So far, that isn’t reflected much in the stats at the top of these posts. I’ve been working on several stories, but haven’t yet pushed one over the line to be ready for submission. If we go by my goals for the year, I should be finishing one story per month. So I will necessarily have to ramp that up.
The number of submissions is also slightly low, if we go by the raw math of splitting 50 submissions over 12 months. This flows from completing stories, so it makes sense. Naturally, as I finish more stories I will be able to submit more, so I expect this to ramp up throughout the year.
My final goal for the year was orthogonal to writing short fiction: essentially keeping the blog active by posting 100 times. Conveniently, this works out to roughly two posts per week. So far I’ve remained comfortably on track.
I was struck by multiple ideas for the blog this week, which was a small distraction from writing fiction, but a welcome one. I was able to build up a small backlog of posts over my holiday vacation, and I’m happy to be able to maintain a healthy buffer for those inevitable times when the well of ideas runs dry. It’s a nice way to keep the writing muscles in shape while taking a break from fiction, and a good excuse to think about and discuss process.
Next Week
For the upcoming week, my goals are:
Finish or get close to finishing Red Eyes revisions.
Catch up on writing word count.
Taco Cat Employee Manual still has roughly two weeks in the Critters queue before I start to get feedback, and I now have F-TIB ready to submit for critique immediately after that. Red Eyes progress has been slow, so I’m mostly clearing my week to work on that. I’d really like to have it done by the time the critiques start rolling in so I can move on to addressing those.
Catching up on word count is a secondary goal, and one that will be fairly easy to achieve if I get in the right mood for it, but I’ll be happy to let it slide if I can make significant progress on revisions instead.
I received CBR+PNK (“cyber plus punk”) as a holiday gift, and while I haven’t had a chance to play it yet, half the fun of TTRPGs is in leafing through the materials, enjoying the art, and trying to figure out how the rules fit together and how it will actually play.
CBR+PNK bills itself as “Cyberpunk one-shots forged in the dark.” It gets its story DNA from its namesake, Cyberpunk, the gritty dystopic future setting that has recently found fresh life in the popular Cyberpunk 2077 video game and Cyberpunk RED core rules update. However, its rules are based on a stripped-down version of Blades in the Dark, a fiction-first, fast and simple ruleset with a core mechanic of rolling d6 pools.
The Package
CBR+PNK is clearly broadcasting its goal of being a light, low-prep, pick-up-and-go game. The form factor is less than half the bulk of a typical core rule book; a slick little fold-out box filled with laminated pamphlets, all held together by a sturdy sleeve.
The lamination means these should stand up well to the typical abuses of game nights, including spilled drinks. It also allows players and GM to mark up their pamphlets with whiteboard markers and reuse them across sessions.
The left fold of the packet contains includes a “GM protocols” pamphlet and 5x player “runner files”—a combination character sheet and mini instruction manual. The right half contains a variety of odds and ends: optional mechanics, settings and runs.
The Framework
The players play as criminal or semi-criminal agents, mercenaries with specialized skill sets who might come together for assassinations, heists, sabotage, or other high-stakes operations at the behest of shadowy contacts promising huge payouts.
Unlike games that cater more to long campaigns where player characters can grow over months or years, the characters in CBR+PNK are veterans on their last mission, hoping to finish the run and get out of the game alive.
There are some optional rules for running CBR+PNK campaigns over multiple sessions (and supplements to that effect on Itch.io), but it’s tailored for one-shots, and I suspect the rules might feel thin in places for a long story across many missions.
As part of initial setup, each character has an “angle.” Are they out for revenge? Trying to buy a luxury flat to get their family out of the slums? Paying off a bookie? Searching for a missing friend?
At the end of the run, each player decides how they will leverage the results of the mission to try to satisfy this broader character goal, then rolls a special skill check with various bonuses. This is the final payoff or disaster.
Setup
The game is designed to be low-stress for the GM. That’s achieved in three ways—few rules, spreading some load to players, and minimizing prep.
It’s suggested that the GM figure out the mission objective, a couple locations and assets (people, data, vehicles, etc.), and 3-6 obstacles that players may have to overcome.
Players come up with their character’s name, look and “angle,” then assign points to the four “approaches” (broad attributes like Aggressive and Smart) and the 11 “skills” (narrow attributes like Close Combat and Coding). All of these attributes max out at 2, keeping bookkeeping simple.
Players also pick a cybernetic augmentation and a Load of Small (3), Medium (5), or Heavy (7), which impacts how much they can carry, but also how fast, conspicuous, and stealthy they are.
That’s about all that’s needed to start the game.
Play
Play revolves around three primary mechanics: Action Rolls, Stress, and Harm.
When a player tries to do something risky or difficult, they make an action roll. The GM decides the threat (risk) level, consequences of failure, and effect of success. Players can try to shift this equation to their advantage with gear or tactics, and the GM can increase the difficulty by doing the same for the bad guys. The player can also choose to simultaneously boost both risk and reward.
The roll uses a pool of d6s based on the sum of the Approach and Skill used and takes the highest roll(s). Rolling multiple 6s is a critical success, a single 6 is regular success, 4-5 is partial success with negative consequences, and 1-3 is outright failure. This basic system should feel very familiar to anyone who has played Forged in the Dark or Powered by the Apocalypse games.
Stress is a penalty pool that players can fill (up to 7) to get a variety of benefits. They can Push their own action or Assist another player’s action to add dice for an action or improve the effect. They can activate a cybernetic augmentation. Or they can perform a Flashback.
Flashbacks are a fun mechanism for coming up with new fiction on the spot. The player gets to describe something that happened before the mission that impacts the current action or predicament (and presumably helps them). The GM decides the Stress cost based on how outlandish this gamified retcon is.
Gear works similarly, but without the stress cost. Players decide they packed an item when they need it. The only caveat is that you can’t produce more gear from your pack than your Load number allows.
Harm is what often (but not always) happens when the characters fail an action, and it’s a replacement for more common hit point systems in other games. It’s a three-level system where L1 is superficial damage, L2 is serious injury, and L3 is severe. Stacking multiple lower-level harms results in an injury the next level up. L4 kills the character.
The Extras
The FRAMEWORK pamphlet is an odd combination of rules clarifications, quick lists for GMs, and rules for an odd campaign mode built around a series of session-long flashbacks. It feels like this really wanted to be part of the GM pamphlet and ran into the limitations of the form factor.
The HUNTERS pamphlet provides optional mechanics for what amounts to boss enemies, and seems like a pretty cool thing to add to a run once you’ve got the hang of the basics.
The +WEIRD pamphlet is a build-your-own Shadowrun, adding some light fiction to bring magic into the world, meta-human backgrounds, and magical abilities that slot into the character sheet just like cybernetic augments. It’s another set of optional rules, but trying to do a lot more than HUNTERS. It feels a little slim for what it’s trying to do, which is a lot.
The PRDTR pamphlet provides a setting—a base on Ganymede where a worker insurgency fights against corporate overlords. The colony is falling apart, infested with out-of-control mutant jungle and an engineered living weapon (definitely not the trademarked alien from Predator). It includes several starting points and missions, NPCs, a simple graph-map of locations on the base, and random events. All in all, a nice selection of components to build a mission from. A team synergy mechanic is also included, but this didn’t seem to add much, and I’d consider not bothering if I was running it.
The Mona Rise Megalopolis pamphlet is a very different take on a setting, with random tables for just about everything randomizable in this simple game, packed with what I assume are references to characters and locations from William Gibson’s Sprawl trilogy. Unfortunately I haven’t read those books, and this falls pretty flat as a stand-alone artifact without that context.
Finally, the Mind the Gap pamphlet is a complete example run, with a fun bubble-story setting, a simple three-act structure, and a twist. My biggest pet peeve for TTRPGs is when they don’t provide examples of play to help understand the game flow and rules, and this goes a long way in that regard.
Final Thoughts
This package is cool and slick, but also limiting. They’ve crammed every millimeter of these quad-fold pamphlets with text, and in some cases it feels like another page or two would have been beneficial.
As a prospective GM, I had to jump between all the pamphlets and do some internet searching to understand threat/effect and harm. Harm is the one case where the game makes a choice that I think adds significant complexity over other common mechanics like HP and well-defined status effects.
Like many, I cut my teeth on D&D. These days, I really like the FitD/PbtA style of fast, low-rules, fiction-first play. It’s so much less intimidating than running something like a D&D campaign whether that be from a book or homebrew.
That said, they also have limitations. I haven’t run a longer campaign in one of these systems, but I expect it would feel very different from something crunchier.
I’ve been looking for something relatively easy to play with the kids, so I expect I’ll find time to play this sometime in 2026. I’ll post a follow-up when I do.
2026 is another year of short stories. In this weekly series, I talk about short story writing, from idea and draft to submission.
This is week three: Jan. 17 – Jan. 23.
Stats
Stories Finished: 0
Submissions Currently Out: 2
Submissions Total: 1
Rejections: 2
Acceptances: 0
Keeping up the Pace
These first few weeks of the year have been about setting up a scaffold for the work yet to come. I’m now feeling like I’m in a comfortable place.
Each week I have some “standard” work: completing a Critters critique, meeting my first draft writing quota and my revision quota, and writing something for the blog. I like having some checklist items that I can work on without too much thought at the end of a long day. Beyond that, I can choose my own adventure.
I’m also getting back into the habit of scouring Duotrope’s upcoming themed submissions calendar. This is something I like to do pretty regularly when I’m writing short stories. Occasionally, a theme will inspire an idea for a new story, and if I already happen to have a story that fits a theme, those are great places to submit.
I didn’t find anything in the near future, but there were a couple themes opening in the next month or two that fit the stories I’m already shopping around.
Goals and Results
My goals from last week were to submit a story to Critters, revise another story, and keep up with my self-imposed quotas.
First, I spent some time cleaning up my newest and shortest story in progress, Taco Cat Employee Manual v7.1. As is typical, these are pretty light revisions based on feedback from my in-house beta readers (my wife and daughter) and anything that stands out to me after letting the story sit for a week or two. With that done, I sent it off to the Critters queue, and it should go out for feedback in early February. I’ll be curious to see how many responses it gets as a flash fiction piece that will only count for half credit.
In addition to those revisions, I dug into Red Eyes, a much longer story with a laundry list of improvements that need to be made. I made some progress, but there’s a long way to go.
The work I put into those two stories just about got me caught up on my revisions quota. Most of my writing quota was knocked out by working on a little horror story I’m calling Estate Sale, which I did partly while waiting at the DMV on a Friday afternoon. Once again, having a story in progress on my phone has paid off, even if I have to type with my thumbs. (Yeah, I probably could have brought the laptop. But I didn’t want to.)
Next Week
My first goal for next week is to work on Red Eyes revisions. I’m going to try to get the story done in the next two weeks. My second goal is to do some light cleanup on one of my stories that’s still in need of critique. That way, I will have Red Eyes ready to submit to publications by the time the Critters feedback for Taco Cat comes rolling in. I can immediately submit the next piece to Critters and work on the Taco Cat revisions while it works its way through the queue. Like a short story assembly line.
With any multi-author work like that, I always wonder how I’ll feel about the things that come later. Much like a great song with a featured artist, you never quite know if it’s the band, the guest, or some unreproducible magic in the collaboration itself.
However, I’m pleased to report that even though it is very different, I enjoyed El-Mohtar’s The River Has Roots just as much as that previous book.
Audio Considerations
There’s no question that different formats can have an impact on the experience of a book. I first “read” Jeff Vandermeer’s Area X trilogy as an audiobook, and recently re-read the first book, Annihilation, in paper. It’s a dense and challenging book in places, and I found the ability to easily re-read and compare previous pages allowed me to take in more of the information on the page. On the other hand, the audiobook forced my attention and lent a certain claustrophobic feeling to parts of the story that was in many ways complimentary to the text.
I also “read” The River Has Roots as an audiobook. It’s worth noting that this audiobook includes set-dressing in the form of gentle background noise: a burbling river, a bustling market, a whispering forest. This background audio is done well, and suits the story nicely. After my initial surprise, I never found it overbearing or distracting.
Songs are an important theme of the story, and these are fully sung. I was delighted to find out after the fact that the music was actually performed by the author and her sister, including harp and flute parts. These elements put it somewhere between audiobook and radio play.
Finally, I’ll note that the narrator has a strong accent — my uninformed guess was Irish, although one of the book’s blurbs suggests that it’s “rural English.” As an American, I found myself needing to pay a little more attention than usual at the beginning of the story. By the end, I had no problem following whatsoever. The narrator, Gem Carmella, convinced me that the audiobook wouldn’t have been quite so effective without her voice.
The River Has Roots isn’t a long book. It’s listed at 144 pages. My audio edition claims a length of 3:53, but a full hour of that is actually a preview of El-Mohtar’s upcoming book of short stories.
I’ve said before that I appreciate the trend toward more acceptance of novellas in recent years, although I’d confess that I have a tough time justifying the purchase of a hardback book of that length for the $24 list price. Luckily, the audiobook was a steal on end-of-year holiday sales, and is still less than half the price of the hardcover.
A Modern Fairy Tale
The fantasy genre has come a long way. Even for those who still ape Tolkien, a significant amount of codification and shorthanding has occurred. And in backlash against that, all sorts of sub-genres and new offshoots have emerged. For the most part, modern fantasy feels quite different from ancient myths and folk stories that have been handed down more or less intact across centuries. Even if they do share certain key features.
The River Has Roots is very much trying to evoke the feeling of fairy stories, and I think it succeeds. Part of that is having the right kinds of imagery and road markers: a world just like our world, where magic is accepted as real. Sisters living in close proximity to a Faerie land. Songs with power. Witches and secret lovers and villainous suitors who are really just after the family fortune.
Beyond those many surface-level things that are easily recognizable as “things that fit into fairy stories,” there is a certain mode of speech, a certain way of unfurling the story that also contributes to this feeling. In The River Has Roots, magic is called grammar, and wizards are grammarians. El-Mohtar has found the magical grammar of the fairy story and deployed it perfectly here.
It is a common trope to suggest that fairy stories are required to have a happy ending where all the wrongs are put to rights. It’s one of those truisms we accept without thought, and it’s also not true. It’s well-known that many of the Disney versions of classic stories were changed, their dark and horrible endings often considered too depressing or gruesome. I won’t spoil the ending here, except to say that it treads that knife edge well, and could perhaps be best described as melancholic.
If you’re in the mood for something short and sweet, modern and well-crafted with the feel of something older and wiser, The River Has Roots is an excellent choice.
2026 is another year of short stories. In this weekly series, I talk about the stories I’m working on, from idea and draft to submission.
This is week two: Jan. 10 – Jan. 16.
Stats
Stories Finished: 0
Submissions Currently Out: 2
Submissions Total: 0
Rejections: 2
Acceptances: 0
Finding a Groove
I’m still getting back into the rhythm of short story writing, but it’s less daunting than it was in 2024. I’ve done this before, and now it’s just a matter of doing it better.
I’m going to have a standard block of stats at the top of these posts. I haven’t decided exactly what those will be yet. I’ll finalize it when I feel more settled into a process.
Last week, I thought about splitting out the weekly stats from the yearly stats, but now I’m second-guessing that. The numbers just don’t change very much from week to week, and I don’t think it would be very interesting. Last week I also included a “stories in progress” count, but it’s hard to decide what that means. I have quite a few half-finished stories and first drafts in need of revision. Whether a story is “in progress” mostly comes down to whether I’m spending time thinking about it or actively rearranging the words.
What really matters is stories that are done done, and stories submitted to publishers. So I’m sticking to that for now.
This is also an appropriate time to note that for some people (like myself), there’s an allure to this kind of unnecessary bookkeeping. It can make you feel productive. It can also be an excuse to procrastinate by poking around the outskirts of writing-related activities without getting the core work done.
Goals and Results
Last week, I said that I had three goals.
#1 – The Rewrite
One of my stories had come back from the publisher with a rewrite request. The story centers on two characters who are friends, and it lightly hints at a bit more than that. The problem was that I submitted to a themed issue around relationships. The rewrite request, logically enough, suggested that I put the hinted relationship clearly on the page.
I have to admit, I had a hard time getting started on that rewrite. I’m not sure if it was because I had to dive back into a story that I’ve considered “done” for a while, or some other mental block. However, when I actually sat down to do it, the rewrite was fairly straightforward. It was easy to identify a handful of places that needed to change.
The story is better now. It makes sense: the characters have stronger feelings toward each other, and that only increases the tension when they find themselves at odds. Even if the publisher ends up rejecting the rewritten story, this is a good result. Their suggestion helped me improve it in a way that I wouldn’t have gotten to on my own.
#2 – Critiques
I knew going into the new year that I was going to be doing another year of short stories. While I continued doing some writing in 2025, I had not done any critiques on Critters. So I reset my count around the start of the year, but I had to complete three critiques to get caught up to the point where I could submit my own work to the queue.
I completed my three critiques across two weekly batches—Critters runs on a Wednesday to Wednesday schedule—and then discovered that I only got 2.5 credits. Now half-credits are normal for critiques of stories under 2000 words, as a way to encourage people to look at the longer stories. But the story was well over 2000. So I completed one more just to ensure I was fully caught up, and sent a message to Andrew Burt, who runs the site.
Burt responded very quickly and fixed the issue. So now I’ve got credit to spare. (That guy should be canonized a Saint of the Writing Internet for the time, energy, and money he has dedicated to that site over the years!)
Critters is a standard part of my process when I’m writing short stories. Now that I’m caught up, I’ll be doing roughly a critique per week for the rest of the year, and I always run my stories through Critters in the rewrite process.
#3 – More Revision
My final goal was to find more time for revisions. At the end of 2025 I found myself in the unusual (for me) position of having three short story first drafts written and waiting for edits. I want to start the year by polishing up those stories. If I’m going to hit my goal of 50 submissions this year, I need more stories to submit.
So far, I’m finding the writing spreadsheet helpful for this. My writing goal is an average of 100 words of new writing per day, and 10 minutes of revision time. The spreadsheet tracks that and tells me how ahead or behind I am for the year so far. As of Week 2, I’m about an hour and a half behind on my revisions, but seeing that number does actually work as a motivator, and I’m catching up.
Thanks to that rewrite request and Critters critiques, I found myself naturally in a revising state of mind. However, I didn’t revise one of those 2025 stories. I revised a completely new story. Which brings me to…
Taco Cat
I wrote yet another story. I exacerbated my too-many-first-drafts problem. But it’s okay. I’m pretty happy about it.
I mentioned in Week 1 that I was going to keep a story in progress stashed on my phone, so I could write in little bits of down time throughout the day. The result was that I wrote an 1100-word flash fiction piece over the course of the week. It’s currently titled Taco Cat Employee Manual 7.1, and it’s a strange little story in the form of a hacked fast food employee manual from a cyberpunk dystopian future.
So even though it still feels a little weird to write fiction on my phone, it feels like a resounding success two weeks in. It’s a great alternative to social media or mindless mobile games. I’ve already started a new phone story and put a few hundred words into that one.
Revising on the tiny screen, however, does not feel so good. My revision process involves copying and pasting, making notes and referring back to those notes repeatedly. I end up changing things that can thread throughout a story. None of this works very well on the small screen. I’m going to keep trying to figure out ways to make it work, even if that ends up being something like jotting ideas and notes during the day and doing the brunt of the editing work in front of the computer at night and on the weekends.
Goals for Next Week
Submit a story to Critters
Revise a story—Red Eyes
Do just enough new writing
Critters limits the number of stories that go out to the group each week, to ensure that they all get a decent number of critiques. Usually, it takes a couple of weeks for a story to percolate up through the queue. So this week I want to do some cursory cleanup on one of my stories—probably Taco Cat—and submit it to Critters for additional feedback. It’ll likely go out in early February.
Next, I’m going to work on revisions for a story that went through Critters over a year ago: Red Eyes. Unfortunately, I think these edits are going to be significant and complicated, and it’s a long story.
Finally, I plan to do just enough new writing to keep up with the very modest quota I set for myself in my spreadsheet. The bottleneck in my process is clearly revision at this point, but hey, writing new things is fun.
Words Deferred 