The Read Report — July 2023

This is the monthly post where I talk about what I’ve been reading. As usual, if you’re interested in any of these books, please use the included Bookshop.org links instead of Amazon. It helps independent bookstores, and I get a small affiliate commission.

Sandman: Season of Mists (Volume 4)

By Neil Gaiman

My re-read of the Sandman series continues.

I was surprised how quickly this volume rushed into the plot that would drive this entire arc. For the first time, we see Dream meet with all of the other Endless, except for the still-unrevealed “prodigal.” His elder brother, Destiny, calls them together for a meeting, because his book (which describes everything that will ever happen) tells him that’s what’s he’s going to do.

In previous volumes, it was revealed that Dream was once in love with a mortal, and when she rebuffed his advances, he got very grumpy about it, and threw her in hell, where she’s been for a few thousand years. For some reason, Dream’s siblings bring this up, and amazingly, for the first time, he realizes that this was a pretty shitty thing to do.

He embarks off to Hell, and Gaiman cleverly sets us up to think that Lucifer is going to fight Morpheus, but when Dream arrives, he finds the Lightbringer shutting everything down. He gets his revenge on Dream by giving him the keys to an emptied Hell.

The rest of the book follows Dream as various old gods come to his kingdom to ask for the keys to Hell, a piece of prime psychic real estate. We see him for the first time as a royal figure, with these mythological figures seeking his favor. He turns out to be adept at navigating the politics of the situation, and he manages to get rid of the key and free his former girlfriend in the process.

I think this might be the first volume that is completely free of any superhero references, which is no big deal in modern comics, but was probably a rarity when it first released.

Sandman: A Game of You (Volume 5)

By Neil Gaiman

Volume 5 revisits Barbie (no, not that one), who was first introduced in Volume 2, The Doll’s House. She’s split with Ken (no, that that one either) and now lives in New York, in an apartment building with a whole new set of interesting neighbors. In Volume 2, we saw bits and pieces of Barbies dreams, which were an ongoing fantasy tale where she was the protagonist. Here, we find out that she hasn’t been dreaming for months, and when her dreams return, they bring some very real nightmares with them.

I’m hardly an arbiter of wokeness, but I will say that this story was written in 1991, involves a lesbian couple, a trans woman, and a homeless person with implied mental illness, and feels surprisingly modern and respectful in the way it treats all of these characters. The world around them doesn’t always treat them kindly, but the narrative explores them honestly as people with good aspects and interesting flaws, rather than caricatures.

This volume also barely involves Morpheus. The apartment building crew venture into Barbie’s strange dreams and confront an invading creature. Only at the very end does Dream show up, giving us a few tidbits of info about his past.

I have to say at this point that I had forgotten how meandering the series is. There are certainly bits and pieces of connective tissue: characters that keep coming up, and the ongoing theme of Dream learning how to be more “human” and a bit less of a stodgy, immortal curmudgeon. And hints of a feud with Desire. I’m now halfway through the original run, and there’s no clear overarching conflict apparent. Yet. Luckily, the world, the characters, and the writing are so good that I don’t much mind.

Borne: A Novel

By Jeff Vandermeer

The city of Ambergris left a strong impression on me, and I decided about a year ago that I needed to explore more of Jeff Vandermeer’s work. So I picked up Dead Astronauts, only to find it almost inscrutable. Then I discovered it was actually the second book in a series. I finally got back around to picking up the first book, and that is Borne.

Vandermeer has once again created an amazing setting in the confines of a city. We learn that the Earth has been ravaged by environmental catastrophe and bioengineering run amok, but apart from this, very little is revealed beyond the City. The City has no name, and it is a ruin surrounded by harsh desert. It is inhabited by scavengers, and by Mord, the kaiju-esque 3-story-tall bear. Mord and many other creatures were engineered by the also-unnamed Company, which exists as a huge, white building at the edge of the city, abutted by the holding ponds where the bio-waste and failed experiments are dumped, to eat each other and be eaten, and sometimes to escape into the City.

Borne is about a scavenger, Rachel, and her partner and lover, Wick, a sort of freelance bioengineer who once worked for the Company. They protect and defend their base of operations, a half-ruined apartment building, from scavengers, from another Company alumn called The Magician, and from Mord and his monstrous bear minions. Rachel discovers a piece of biotech, which she calls Borne, who turns out to be a sentient shapeshifter and becomes a sort of surrogate child to her.

I find Vandermeer fascinating because he is frequently riding the very edge of the Principle of Least Necessary Information. This book and the Ambergris stories are all a kind of puzzle that manages to propel you forward through the story while scrounging for hints and clues about what exactly is going on. I devoured this book in a day, because I couldn’t stop reading.

The Strange Bird

By Jeff Vandermeer

The Strange Bird is a hundred-page story set in the same world as Borne. It starts with some tantalizing bits outside the City, as the titular Strange Bird escapes from a bio-engineering lab and sets off in search of…something…it’s not sure what, but it knows it’s got to find it.

After a series of adventures that leave it considerably worse for wear, the bird arrives in the City and is captured by The Magician. This middle part of the story covers some of the same events from Borne from a different viewpoint, providing  more context around the events toward the end of that book.

Eventually, the bird escapes once more, in an entirely new form, and continues its journey. When it finally arrives at its destination, it discovers that the thing it was looking for is long gone, but the ending is bittersweet and it still manages to find some peace at the end of the road.

Dead Astronauts

By Jeff Vandermeer

I was excited to return to Dead Astronauts, now that I had the first two stories in the series fresh in my mind. If Borne rides the edge of Least Necessary Information, Dead Astronauts jumps head-first off the edge. It is experimental in the extreme, living somewhere between poetry and novel. In my original reading, I was lost. With the added context of Borne and The Strange Bird, I was able to follow the story, but I’d be lying if I said I understood everything.

Dead Astronauts has four parts. In the first part, we follow the three “astronauts.” They are Moss, an ever-changing plant creature in the form of a human, Grayson, an actual astronaut with a robotic eye, and Chen, a former Company bio-engineer who sees the world in equations. These three have made it their mission to destroy the Company, and to this end, Moss shunts them between parallel universes to try to find a version of the City and the Company where they can gain an advantage. The Company, however, also coordinates between parallel universes, and in the end, the Company seems to overcome them.

The second part shifts perspective (and uses the rare second-person!) We follow a character who remains unnamed for almost the entire section, living homeless in a city that may be a past version of the City, or may be another place entirely. Creatures from the Company begin to appear , followed by the Company’s agents, biological and robotic. There are pale men who may have some relation to Wick from Borne, and a duck with a broken wing, an innocuous creature that turns out to be a horrible monstrosity.

In the third part, we learn more about what goes on inside the Company. We learn about Charlie X, a character who has appeared in the first two stories in smaller roles, and how intertwined he is with everything that has happened. While we get more information, the origin and the nature of the Company are never entirely explained. Is it responsible for the ruination of earth? Or did it merely take advantage of it? And just how many of its tentacles did it send out across parallel universes? Vandermeer gives plenty of tantalizing clues, but no clear answers.

The final part of the story follows the blue fox, another bio-engineered creature that has appeared here and there in the other stories. The fox shares a connection with Moss, and it can also cross between parallel worlds. In this final part, the different storylines become intertwined across time and the different versions of the city. Causes and effects are all mixed up in twists and loops.

Reading these three books in order, I enjoyed them immensely. If you can accept that not everything will have a clear answer, and you’re interested in puzzling through some of the mysteries, I would highly recommend the series. This is pretty much the pinnacle of literary science-fiction.

Reamde

By Neal Stephenson

I already wrote another post about this book, so I won’t say any more here.

What I’m Reading in August

I’ll continue The Sandman series, and pick The Witcher series back up as well (in fact, I’m already halfway through the next book). I’m also eyeing some unread books on my bookshelf by Terry Pratchett and Andy Weir. See you in a month.

Five Things I Learned From Reamde

As far as I can remember, this is only the second Neal Stephenson book I’ve read. The first was Snow Crash. As you’d expect from books written twenty years apart, they’re quite different. From this admittedly tiny sample size, I get the impression that Stephenson has undergone the same transformation as William Gibson, from cyberpunk science-fiction to stories that interpret current technology through a futurist lens: stories that say, ”it’s hard to believe it, but these things could happen today.”

Reamde is a book about ransomware, money laundering through MMORPGs, the Russian mob, and Islamic terrorists in China.

1. Style is an Engine of Story

Sentence-to-sentence, Reamde is a fantastically well-written book. Stephenson’s prose reminds me of literary fiction, because it was just as critical to my enjoyment of the book as the characters or plot. However, the style is very different. It’s not lyrical, it’s clean and precise, but that doesn’t make it any less captivating.

The best way I could describe it is that it feels like walking through the story with Terminator vision—everything overlaid with little details, and targets zooming in to focus your attention on important things.

There are many engines that can power a story, and a strong style like this is a great one, if you can manage it. Since it’s all about how you say it, not what you’re saying, it layers nicely with other engines.

2. Eschew Unnecessary Detail

The level of detail used to describe something—a place, a character—can be an important cue to the reader. Describing something in detail indicates its importance, and explicitly limiting that detail shows a lack of importance.

At one point in the book, some characters meet the pilots of the private jet they will be riding on. The pilots’ introduction is sparse: “He greeted the pilot by name.”

The pilots are necessary to the plot, so they have to be mentioned. Stephenson could have come up with a throw-away name, but this gets across the message just as well. It’s a clue that the pilot will only be relevant for a short while. The reader doesn’t have to worry about remembering the name of yet another side character.

When characters are going to be important (or at least stick around for a while), Stephenson makes sure to introduce them in a way that reveals one or two interesting physical characteristics and something that reveals a bit of their personality. This makes them instantly memorable.

The other great use of this technique is to add detail to accentuate things that will be important to the plot. It’s like a miniature “gun on the mantle.” If you spend time describing a key and a padlock, that lock ought to be important. If you leave garbage out in the forest to attract dangerous animals, some dangerous animals had better show up at some point.

3. Coincidences Strain Believability

Incredible coincidences or lucky breaks aren’t unusual in action/suspense stories like this, but they have to be used carefully.

Reamde’s plot really kicks off with one such coincidence, and it results in several characters getting mixed up with the Russian mob. To me, a crazy coincidence works great as an inciting incident.

Where coincidences start to chafe is when they’re used to repeatedly ratchet up the tension, or even worse, to resolve a problem.

There’s an egregious example of this at the end of Act I of Reamde, where everything that happens in the latter 2/3 of the book hinges on a group of hackers who just happen to live in the same run-down tenements as a terrorist cell. In a city of millions.

There are other examples as well, including several chance meetings among the large cast of characters that end up being vital to the plot later on, and many of the characters being players of the in-story MMO, T’Rain, so that there’s always someone available to log on when it becomes relevant to the plot again.

When I got to the part where bad guys were killed by a cougar, I had to stop reading and look up the stats on cougar attacks. Then I just threw up my hands and accepted that this is what I signed up for. That’s not the kind of reaction you generally want from a reader.

4. Beware Pet Characters

Stephenson is deeply in love with Richard “Dodge” Forthrast. He’s the cool, smart guy who gets along in any social strata and knows all the things. He’s a former pot smuggler turned Silicon Valley CEO. He’s bored of being a billionaire, because he’d rather be out solving some new earth-shattering problems. He is the Golden Boy caricature that people like Musk, Zuckerberg and Bezos try to project.

Even in a life-threatening situation, he’s having fun, practically on vacation. It’s really only at the very end of the book where he shows any amount of fallibility. Of course, he makes up for it by being the guy who saves the day.

The strangest thing of all is that this is really not his story. Although the perspective jumps around, the bulk of it is from the perspective of Zula, his niece, and she’s the one with a character arc and the most to lose. Yet the story starts and ends with Dodge.

Because Stephenson is a great writer, Dodge is still a fun character, but I’d like him more if he was a little more human and fallible.

5. Structure is a Double-Edged Sword

Like most suspense stories, Reamde has constantly escalating stakes. Every section is essentially “out of the frying pan, into the fire.” Things could always get worse (or worse in a new way).

The danger of this constant escalation is that it can quickly ramp to extremes (and well beyond). It’s easy to jump the shark.

In Act II, Reamde splits many of the characters up into separate groups in their own bad situations. I realized pretty quickly that the rest of the book was going to be about how everyone long journey to end up back together in one place, for the final showdown.

However, wrangling everyone back to the same place, at the same time, requires introducing another round of characters and another handful of helpful coincidences.

This made the second half of the book feel considerably more meandering. When everyone finally arrived at the final showdown, there were so many characters involved and so much to resolve that there were literally 100 pages of running gunfights.

By that time, the story had escalated to such extremes that my reaction to the bad guy’s final defeat was a combination of exhaustion and relief that it was done.

Bookends

It’s been a while since I read a book that was such a mix of joys and irritations. I love Stephenson’s prose, but this book did not need to be a thousand pages or finish with a novella-length series of shootouts.

Reamde was released in 2011, so I’m thinking I’ll pick up Stephenson’s latest novel, Termination Shock, sometime soon, just to get the full “bookend” experience of his career so far.

Making a Novel Editing Plan

Previously, I talked about using reader feedback and critique to gather information about what needs to be improved in a story. Right now, I’m in the process of gathering that feedback for my novel Razor Mountain.

Today, I’d like to dig into the next part in the process, taking that feedback and deciding what to revise.

Deciding What to Edit

There are two parts to editing: deciding what to change, and making those changes.

Feedback and critique from readers is a great way to get fresh eyes on a project that you’ve been working on for a long time. It’s easy to develop blind spots when you know the story so well, and others can help you find the parts that exist in your head, but not on the page.

The most obvious source of feedback will be your own notes when you re-read your story. It’s important to read as an editor, looking for problems, and you may want to make multiple passes to really focus on different aspects of the story.

Finally, it’s important to pay attention to your personal foibles. Every writer has at least one or two bad habits. These could be broad things like letting your dialogue meander, or specific things like “danger words” you tend to overuse or use to bad effect. For example, I’ve recently caught myself overusing words like “seemed” and “mostly” and “felt,” words that make a sentence less precise.

You might notice these foibles yourself, or a good critique may point some out to you. Either way, it’s good to keep track of them so you can excise them from the current manuscript and work on avoiding them in the future.

The first step in editing is to create a list of things that need fixing. The items on the list can from any or all of these sources. Don’t worry too much about listing every single thing. Editing is an iterative process.

Editing Big to Small

The line between deciding what to change and making those changes can be blurry. When the issue is a typo or grammatical error, the fix is often obvious as soon as the issue is identified. This kind of editing can feel deceptively easy and productive: you just have to read and fix these obvious errors as you come to them. However, some issues are larger. If chapters or scenes need to be rearranged, or a conversation needs to be rewritten, there may be several complicated choices that need to be made.

Different types of edits affect the story at different levels of abstraction. The chapter that needs scenes rearranged might also include a dialogue that needs to be rewritten, which includes a typo or grammatical issue. In this case, fixing the typo may be a waste of time, because it will be deleted when you rewrite the dialogue. That may also be a waste of time though, because in rearranging the scenes, you find that you no longer need that conversation.

The ideal way to address this problem is to identify and fix the big-picture issues first, then systematically drill your way down into smaller and more detailed aspects of the story until you get to the individual sentences and words. Of course, the creative process is rarely that organized and straightforward, but it’s a good ideal to keep in mind.

By trying to address big problems before smaller problems, you can avoid a lot of wasted work. There will always be problems that you discover while working on something else, and that’s okay too. You can always back up to higher levels of abstraction to fix something before diving back into the nitty-gritty details.

The Editing Cycle

While the process I just described may sound totally linear (start big and work your way down), it’s really more complicated than that. Editing is iterative. A change in one place may necessitate an adjustment in another.

Feedback may not all come in at once, and you may discover high-level changes that need to be made when you thought you were down to line edits and little changes to word choice. These are the challenges and frustrations that are part and parcel of editing, especially in large projects like a novel.

The reward for these challenges and frustrations, however, is the transformation of a rough draft, with all of its flaws and blemishes, transformed into a sleek and polished work of art.

Editing Razor Mountain

I suspect I’ll continue to post here and there about editing for the next couple months, since a lot of my writing time and thought will be devoted to editing Razor Mountain. I plan to write at least a couple journals with specifics, but these will be more sporadic than the previous journals.

Feedback and Critique — User Testing Stories

I recently posted the last episode of my serial novel, Razor Mountain. Finishing a novel is a fantastic achievement, so the first thing I did was congratulate myself and take a little break from the book. However, the work isn’t done yet. I still need to edit and polish it to really call it finished.

Writing is often thought of as a solitary process, the lone writer hunched over a keyboard in a dark basement. It can be that way sometimes, but editing is much more effective if it incorporates reader feedback.

User Testing

In my day job as a software developer, we are constantly creating, changing, or improving features in our software. Those changes then go through a gamut of testing, with developers, with quality assurance, and with users. This process gives us feedback to understand whether the people who use the software understand the new features, and what they like or dislike. We can take that feedback and make features easier to use, less confusing, simpler, or more powerful, depending on what the feedback tells us. While there are best practices, acting on feedback like this is equal parts art and science.

Game makers (video games, board games, and table-top RPGs) also often incorporate this kind of user feedback into their creative process. Where business software is all about maximizing efficiency, ease of use and costs, testing and feedback in games is usually about maximizing fun. That might entail fixing bugs or broken rule sets, but it often involved blurrier concepts, like balancing different factions or ramping up tension from the start to the end of a match.

It may seem odd to apply these ideas of testing to a story that you’ve slaved over and poured your heart into, but feedback can be just as valuable for fiction.

Auteur or Aoidos?

There is a popular conception these days of movie directors, show-runners and novelists as genius auteurs who produce intricate stories all at once, from whole cloth. In that worldview, the story is an artifact handed down from author to audience. The audience appreciates the work or dislikes it, and that’s the end of the interaction.

On the opposite end of the spectrum is stand-up comedy. Successful stand-ups often do many shows per week, trying out different jokes in different sets, changing or throwing away what doesn’t work and polishing what does. Some will take their best material and craft a broader story as a through-line. Material may carry through hundreds of performances, with each one being unique. This kind of performance-first attitude isn’t so different from the ancient oral poetry performed by Greek aoidos thousands of years ago.

Both kinds of artists have a story that they want to tell to an audience. The cloistered auteur firmly believes that they are crafting the one, true version of their work, and will brook no other opinions. If the audience doesn’t connect with it, that’s the audience’s problem. The advantage that the performer has over the auteur is that the performer can see exactly what effect their work has on the audience. They can improve and adjust the bits that don’t connect with the audience.

As an author, it’s hard to test your work against a mass audience like a stand-up, but getting feedback from beta readers can achieve some of the same effects at a smaller scale.

Understanding Readers

One of the advantages of a smaller pool of feedback readers is that you can better understand them and categorize their feedback. Not all readers are the same.

Many writers will have family members or friends who are happy to read for them, but will thoroughly sugar-coat any feedback they give because they don’t want to hurt the author’s feelings. Readers who don’t often read your genre may offer to help, but will have a hard time grasping genre conventions that a reader deep in that genre would breeze past. Fellow writers in a writing group will likely have a much better idea of the kind of feedback you want, because it’s the same kind of feedback they want on their own work.

When gathering potential readers, segmenting your audience can be very helpful. It may be useful to adjust what you ask of different types of readers, and it is absolutely necessary to adjust your own expectations. If a random family member wants to read, but you know they’ll only say nice things, feel free to let them. They’ll feel like they’re helping, and you may still get some tidbits out of it. On the other hand, a writer friend in the same genre might be happy to take a list of your concerns for a story and provide a detailed and harshly honest response.

Preparing Readers

You may want to give your readers a set of questions to inform their feedback, especially if you know their particular strengths and weaknesses. You may also have different concerns for different stories.

The good folks over at the Writing Excuses podcast suggest a set of general questions that can apply to any story:

  • What parts were especially awesome, boring or confusing?
  • Were there any parts where it was difficult to suspend disbelief?
  • When did you feel most absorbed in the story?

Often, readers will offer possible fixes for the problems they perceive. It’s up to you whether you want to solicit that kind of feedback, but it’s likely to happen anyway. However, the reader’s feelings are more valuable feedback than their suggested fixes. The reader is always correct about how the story makes them feel. They know exactly where they got confused or bored or excited. They’re just not usually very good at figuring out what to do about it.

Don’t feel obligated to accept a reader’s suggested fix for a problem. Firstly, you may not think it’s a problem. Even if it is, the source of that problem may be somewhere that the reader doesn’t understand—this often happens when different readers point out different issues that stem from the same root cause. You, as the author, have the best understanding of the story your trying to tell, and that expert view will help you triage any problems.

Making an Editing Plan

Soliciting reader feedback is just one of several ways to decide what to change in the edit. In my next post, I’ll talk about making an editing plan and tackling actual changes to the story.

Razor Mountain Development Journal — Chapter 34

This is part of an ongoing series where I’m documenting the development of my serial novel, Razor Mountain.

You can find my spoiler-free journals for each chapter, my spoiler-heavy pre-production journals, and the book itself over at the Razor Mountain landing page.

The End Is The Beginning Is The End

This final chapter comes full-circle in a lot of ways. First, it was an experiment where I wrote the first chapter and the last chapter before writing the rest of the book. To do that, I obviously had to know the ending I was aiming toward. Luckily I am a planner, and I outlined this story in more detail than I ever have before.

The benefit I saw, which I didn’t expect when I originally wrote the ending, was that it gave me an emotional and tonal target to aim for, along with an end to the plot. Because I had this ending chapter, I had a good idea of how the chapters leading up to it should feel.

I also assumed that I would have to make major revisions to this chapter when I actually reached the end of the book. When I arrived, I didn’t end up making very many changes at all.

Since there were really no downsides and multiple upsides, the experiment was a clear success. I am planning to do this for every book going forward.

Tragedy or Comedy?

The classic definitions of tragedy and comedy hinge on whether the ending of the story is sad or happy, whether the protagonist gets what they ultimately want. If I had to pick, I am more drawn to tragedy. I don’t think anyone will accuse me of a happy ending here.

Like most dichotomies though, it’s a false one. I believe that the best stories have to incorporate both elements into their conclusion to feel satisfying. Life is never purely happy or sad, and going too far one way or the other makes a story feel artificial. Life is tragicomedy.

In Razor Mountain, the protagonist and the villain end up being the same person, and the tension comes from having multiple goals that are in conflict with one another. Christopher has all the power, but he still has to choose, and no matter what he chooses he will lose something significant. 

What Comes Next?

The story is finished! You can read it from cover to cover. But it’s not done yet.

I started this project of blogging through the process of writing an entire novel because I wanted to document everything. That process won’t be complete until we dive into editing.

I’m going to take a couple weeks away from Razor Mountain to give myself some editorial distance. I’ll to try to forget everything and come back in the mindset of a reader and editor. I’m also going to bring in other readers to get feedback and critique. I’ll build a list of things that need to be changed and improved, and then I’ll do the actual fixing and polishing.

Thank you to all of my regular readers, whether you followed Razor Mountain from the beginning or only found it partway through. I do recognize those names that pop up in the Likes every week. I hope you’ll stick around for this last part of the process, and whatever comes next.

Razor Mountain — Chapter 34

Razor Mountain is a serial novel, with new parts published every week or two. For more info, visit the Razor Mountain landing page.

Christopher left the bottle and tumbler behind, in the empty dormitory. He walked the halls with purpose now.

The gray-walled back halls of Razor Mountain were a purgatory where Christopher could wander endlessly. He had been walking these hallways for centuries. God-Speaker had. There was hardly a difference between them anymore. But he couldn’t actually walk forever. Eventually, inevitably, he came to the place he knew he had to come to: the chamber of the voices.

He knew what he had to do, but he wondered if he was too far gone to do it. It was Christopher that was driving him, but there didn’t seem to be much Christopher left. God-Speaker wanted it too, in his own way, but he could never bring himself to do it—not on his own. He was a river that had run for so long, cut a canyon so deep, that he could never change course of his own volition.

In the chamber, he could not completely shut out the voices. The cloud of their strange memories surrounded him, at first just flashes, moments, then more and more until he was inside a kaleidoscope of images, smells, sounds and sensations from lives long past and places far away.

We must continue, they all said. They were a race of God-Speakers, a race that had come to the conclusion that death erased the value of living. A race for whom the transitory nature of life was anathema. Yet, they were here. In their quest for permanence, their race had died out, and even then, they refused to accept it. They cast themselves out, as living memories, to find new vessels for their endlessness. But this paltry rock played host to such primitive life. So primitive that it could scarcely even understand them, let alone play host to them. Only one had ever come close. Even though he could understand them, sometimes, and learn a bare few secrets of how they cheated death, even he was not a suitable vessel. They were trapped. They still clung to this purgatory, this faintest semblance of life, rather than face death.

They only made Christopher more determined. There was no dignity, scrabbling and clawing as you slid down the slope. It was a quiet fear, always at the edge of thought, poisoning every good thing with the sickness of impermanence. Everything was temporary. Hating impermanence made the world terrible.

Having seen enough of the kaleidoscope, Christopher pushed it back. He shut out those dead memories, and reached out with his mind. He took hold of their power one last time. He knew what to do, though he had never been brave enough to do it himself.

He felt a storm of emotions, of logical arguments arrayed like armies against one another. He could barely tell what came from Christopher and what came from God-Speaker. He didn’t want to do it. He had to do it. He had to wait, to be sure. No, now was the tipping point. Now was the only chance. He was afraid.

He recalled the words he used to train the oracles.

See the flow of time, the branching river. Reach out and stop yourself. Step out of the current. Hold on tight, and feel the universe move on without you.

It was surprisingly easy. He was untethered. His centuries of memory were small and simple in comparison to what unfolded around him: the endless strand of time, in the twinkling cascade of infinite moments. The universe unfolding in fractal complexity, perpetually giving birth to itself from nanosecond to nanosecond. The view was utterly overwhelming, and it made plain the lie that the minds in the chamber told themselves. There was no permanence in the face of the whole vast universe. Neither kings nor empires nor the lifetimes of planets and stars were of any consequence. They were so small as to be undetectable.

Christopher felt himself getting lost, and reached out for an anchor. He could go backward, but once he started, there was no stopping, not for long. He sought out the moment that mattered. Back a few years, then a few more, then a century, and time was flying past in a torrent.

It was like skimming a book. He saw only a few individual places and moments, moving in reverse. Effects spawning their causes. He was afraid he would miss it, but when he came to the pivotal moment, it was unmistakable. He grabbed at it, fighting against the pull that now owned him, that would eventually force him to keep going backward and backward and backward.

He dropped into the familiar world again. He found himself—but not himself.

Those ancient, arrogant, fearful minds in the chamber beneath the mountain could never find purchase in the human brain, but Christopher had no difficulty. This was his mind, even if it was inherited.

A hunched and dirty figure limped deeper and deeper into a dark cave. The space in the rock was little more than a narrow crack, and he was forced to crouch and crawl to get through. The voices were calling to him. They were faint, but they were like the voice of his stone god. He had nothing, no tribe, nobody to lead him or keep him safe. Nothing to trust in a world that was terrifying in every way.

There was no light here. He moved by feel alone. Christopher settled deeper into this mind, breathing this man’s breath, feeling the rough rock through his raw and stinging fingertips. Thinking his dull thoughts, despairing and afraid to admit the faint glimmer of hope that these voices engendered.

There was a gap, Christopher knew. A place where this crack intersected another. And that other crack opened into a deep and unknown space below. He was crawling. His fingers found the lip. He brought his knees to the edge and reached across the gap.

Yes, another ledge. Just a little more than an arm’s-length of empty air between.

He gripped the other side and slid forward. Carefully, carefully. The rough ceiling was low. He stretched his body across the gap.

Christopher was a passenger here. His influence was so small, so light. A flicker of thought here. A moment of distraction. A carefully placed hand slips on the moist rock.

Christopher can’t hold on. He is moving backwards, pulled by an unstoppable gravity. He is in God-Speaker, in the depths of Razor Mountain before it had a name. He is falling down the crack. Then he is outside the universe again, watching God-Speaker fall and fall and fall in a frozen, endless moment.

It’s strange seeing it from the outside. God-Speaker falls forever, and then he lands. It is so forceful that there is no pain. Just the quiet dignity of an ending, of death. It is a relief.

The long tail of the future cracks like a whip and rolls out in a different shape. The voices whisper in their chamber, deep within the mountain, but nobody ever hears their susurration. The earth moves slowly, and they sink deeper and deeper into its warm heart.

The mountain is still and sleepy. It is never riddled with tunnels like an anthill. No locked doors hiding secrets. It slumbers peacefully.

The world moves on, different, but not so different. People live and die.

Christopher sails on in the opposite direction, through a void far emptier than the deepest space. He is falling down time, toward the beginning of all things. He has done all he can do to change the course of history.

A tremendous sense of relief washes over him. He sails up the flow of the universe, backward through time, back to the pinprick of infinite light and heat at the beginning, and then beyond.

THE END

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Razor Mountain Development Journal — Chapter 33

This is part of an ongoing series where I’m documenting the development of my serial novel, Razor Mountain.

You can find my spoiler-free journals for each chapter, my spoiler-heavy pre-production journals, and the book itself over at the Razor Mountain landing page.

No More Mysteries

There once was a show called LOST. This show was designed around a firehose of mysteries that were blasted at its rabid fanbase in a technique that its creator, J. J. Abrams, called the “mystery box.” Then he went off to become the king of the nerds by directing films in the Star Trek and Star Wars franchises, irritating fans from both. Meanwhile, the remaining writers continued creating mysteries at breakneck pace until the entire show collapsed under the weight of them. The ending of LOST held the title for most unsatisfying finale of a popular TV show for several years, until Game of Thrones came along.

Which is all to say that when I first began this book, I knew I wanted to create a mystery box that started with nothing but questions and ended by fully resolving every last one. Here in the penultimate chapter, we’ve reached that point. Christopher’s childhood trauma and the nature of the oracles were the last two things on my checklist. Now all the cards are on the table.

I’m under no delusions. I know that it was dangerous to save the most science-fictiony elements of the story for the very end. I hope it feels right after everything that led up to this point. I hope they’re fun, and not irritating. The last thing I want to do is pull a LOST.

The Emotional Center

This chapter is also the final reckoning. Christopher has no more distractions. He’s dying (well, sort of) and he has to sit with that. All of the external conflicts have been resolved. Even when he does his best to pick a fight with Cain, he gets nowhere.

The tension that remains is internal. It’s not even between Christopher and God-Speaker. They share the same fear—the fear that most of us have, to some extent or another—the fear of death. This is the connecting thread throughout the book. God-Speaker is too far gone. He’s trapped by his fear in an endless cycle. Christopher might not be.

It’s Easy Again

A lot of writers seem to agree that the middle of a book is the hardest part to write. In the beginning, everything is new and exciting. It doesn’t matter if some things aren’t quite clear yet, because there’s the whole rest of the book to take care of them. Then the middle comes along, and all of those problems and plot holes and difficult connections between plot point A and Z become very apparent. Even with extensive outlining, I felt that in this book.

As I’ve approached the end though, those problems have slowly fallen away. I know what I have to do, and it’s just a matter of doing it to the best of my ability. I’ve got a clear mark to hit for the final chapter, and a wide-open path to get there.

Writing isn’t always fun. Sometimes it’s a slog. In these final chapters, it’s been easy and it’s been fun. I’ll be done soon, and have something I can call a book with a straight face. Sure, there will be editing, but that’s a whole new adventure. I can’t wait to go back and read the whole thing, to see what worked and what didn’t quite work, and figure out how to smooth it out and polish it.

In the past, I haven’t always been very good at enjoying the writing when it came easy. This time, I’m making sure to appreciate it.

Next Time

It’s hard to believe it, but Chapter 34 is the end. Join me next week for the conclusion of Razor Mountain.

Razor Mountain — Chapter 33.3

Razor Mountain is a serial novel, with new parts published every week or two. For more info, visit the Razor Mountain landing page.

Christopher could feel God Speaker in his bones—the disappointment, irritation, and disgust with Christopher. Beneath that was the fear. It was beneath everything. Christopher was exhausted. He was trapped in an endless cycle. He was scared to let it continue, but equally scared to fight against it.

The voices beneath the mountain raged and jeered. They had no such concerns. If only they could be free, they would happily live until the universe grew cold and dark around them.

He left Cain’s residence with a mumbled goodbye, annoyed by the man’s unflappable calm as he turned off the lights and lay back down to sleep.

There were miles of hallways under the mountain. Even in the restricted areas, Christopher could walk for a lifetime and not find every twist and turn. He let his feet walk where they wanted and did his best to feel nothing.

Eventually, he had to raise his eyes from the floor, to a door that was blocking his path. Like most doors here, there was a square of black plastic embedded in the wall. His skeleton key card granted him access.

He had never been to this place as Christopher, but it was instantly familiar. Something about the smell of the place made it register as a school, even though that was really just a facade.

He walked down the hallway. There were several rooms with desks; screens and white-boards on their walls. The rooms were bare and dusty and felt abandoned. Further down was a cafeteria, two long tables looking lonely amongst the empty space. A gymnasium followed, then a janitorial closet, a private office and several smaller rooms. Last was was a pair of dormitories, long rooms with bunk beds. A door at the far end of each led to bathrooms and showers.

It was an entire compound, weirdly segregated from the rest of the city, hidden in the restricted area. The rooms were large enough to comfortably hold dozens, though Christopher knew they had rarely held more than ten people: children, specifically, ranging from five or six years old up to their early teens. Children who showed signs of a gift. They heard faint, confusing voices from somewhere down below.

God-Speaker had accompanied every one of them to a strange room, deep below the city, where they might hear those voices a little better. With the right training, some of them could learn to listen.

Their parents would be told that their children were gifted. Those children would have to enroll in a boarding school, where their gifts could be cultivated. In that school, they would learn that they were special: they were oracles.

Christopher turned and looked back down the hallway, to the distant door where he had entered. Memory washed over him. It felt new, but somehow he had always known it.

God-Speaker was unique. Across thousands of years, he had never met another person who could hear the voices as clearly as he could. He did not know if it was some unique confluence of genes or something in his upbringing and culture. Perhaps there was some incurable defect in his thoughts that he managed to carry with him from one body to the next. Whatever it was, it didn’t flourish in the generations that followed him. If anything, it had become harder and harder to find anyone who could hear more than a hint of the voices.

God-Speaker had learned many things from the voices, projecting his mind out into the world and entering into others. Yet, the three dimensions of normal space were not the only ones the voices understood. There were other ways to project a mind, although they were dangerous.

Even the voices did not fully understand time. The future was forever hidden from them. Perhaps there was no concrete future, only the infinitely regenerating moment that was the present. Perhaps there were innumerable futures, branching and shifting and impossible to navigate.

On the other hand, there was certainly a past, and it was only slightly more comprehensible. In the same way a mind could be projected across space, it could be projected into the past. God-Speaker could send his mind back, if he chose to do so. But what would he find there?

Could he change the past? What would happen to the future he had already experienced? The voices weren’t certain. Time might split like the branches of a tree, different futures continuing in parallel. Or it might shift, like the flow of a river. It might tangle in self-referential loops and knots. It might even be impossible to change, a scrupulous bookkeeper who had already done the necessary math to ensure that anything the traveler did was already accounted for, that any actions taken in the past would lead to the future that already existed.

God-Speaker had experimented. Not with himself; that was too risky. He experimented by proxy. The oracles weren’t strong enough or skilled enough to project into someone else’s mind, across space, but they could project backward in time. They could find a perfectly compatible host: an earlier version of themselves. Still, time was a powerful current. Once they cast out into the past, it continued to pull them further and further back. They might visit their previous selves long enough to pass on a quick message, a few words of warning from their future, but they couldn’t stay. The riptides of time would tear them loose and pull them under. Their minds would be lost somewhere beyond the knowledge of God-Speaker and the voices.

The abilities of the oracles didn’t last. Some never learned, and others were capable only for a few years. The very best he found when they were young, and they might retain their usefulness for a decade.

Cain said the cabinet had used the oracles. They had sent back warnings. Of course they had. God-Speaker had received those vague messages. Someone would try to kill him, and without intervention they would succeed. None of the messages had told him who was responsible. They hadn’t known. The children had made their vague prophecies. He had begun his investigations. In the end, it had been for nothing.

God-Speaker understood this in cold, clinical terms. Christopher had to suppress the urge to vomit. He knew what would happen to those children whose minds had left their bodies, never to return. He knew that the families, who had been told their children were in a special training program, would be informed that they died in an unforeseeable accident. Their parents would feel what his parents had felt. Their siblings would feel what he felt. They would never know that these children had been sacrificed, or why. It hadn’t even saved him from a blade beneath the ribs.

Christopher remembered how he felt after being tortured, when he had finally stood up to Sergeant Meadows. He had known then, without a doubt, that he was going to die, and he had not been afraid. It felt like the ultimate liberation, the true face of freedom. That feeling had faded in the days that followed. It felt like so long ago, now. But the echoes of that revelation still reverberated deep inside him.

He was still going to die. He could no longer claim that he wasn’t afraid, but he knew that in this moment the fear wasn’t strong enough to bind him.

Deep in the darkest recesses of his mind, he could feel something coming, like the first faint light on the horizon at dawn. God-Speaker was waking up. Cain was right. Things would be different in the morning.

If he was going to do something as himself, as Christopher, now was his last chance.

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Razor Mountain — Chapter 33.2

Razor Mountain is a serial novel, with new parts published every week or two. For more info, visit the Razor Mountain landing page.

Christopher blinked. The sun had fallen behind the mountains while he was lost in thought. The sky was filled with stars, and he couldn’t look at them without feeling an unbearable ache in his chest. He rose unsteadily and took the crystal tumbler inside to refill it.

There were many amazing things about Sky-Watcher. She had shocked him into loving her, long after he thought he had lost the capacity for it. She had constantly surprised him. Nothing had surprised him more than her acceptance of her own death. He knew she must have felt some fear. What lay beyond death was unknown, even to God-Speaker, even to the voices beneath the mountain. She accepted that fear too. She was content to let it happen.

Christopher poured slowly, the thin stream of amber liquid cascading over the ice, slowly filling the glass. Despite the numbness imparted by the alcohol, he felt hyper-sensitized. The colors and shapes of the world were sharper and brighter than they had ever been before.

He thought about his parents. They had put so much of their lives and energy into protecting him, keeping him safe, and this was how it all ended. They could never know the truth. They would always think Christopher had died on that plane. They weren’t far off the mark.

He pressed his palm against the rich wood paneling on the wall behind the shelf of decanters. All of the decor was for nothing. Although it gave the impression of an ordinary building on the surface of the world, Christopher could feel the stone behind the decorative shell. He could feel the weight of the mountain, suffocating him.

Why was this place here? Why all these tunnels and machines? Why all these people, scurrying around like ants, following collective instincts that no individual understood. The mountain had one purpose, and everything else flowed from that. It was made to keep God-Speaker alive, so why did it feel like a vast tomb?

He took the tumbler in one hand and a decanter in the other and began to walk with the over-careful gait of the intoxicated. He stepped through the double doors at the entrance to the apartment and began the long descent down the gently curving, wide-stepped stairs. He followed the back hallways, now so etched in his mind that they required no thought to navigate. Though it was night and the lights in the main caverns would be dimmed, the lights in these hallways were still bright. He arrived at a door, and like all doors under Razor Mountain, he could open it. He set down the decanter for a moment and fumbled for a key card. Soon, he would have a new chip implanted under his skin. For now, the card was necessary.

He entered an apartment somewhat like his own, though on a significantly smaller scale. It was dark inside, so he flicked on the lights that illuminated the entry, then a dining room, then a hallway. He had never been here before, but he found his way.

When he reached the bedroom, he did not turn on the lights, but he opened the door, and some of the light from the hallway filtered in. He slid a chair across the carpet, next to the nightstand, facing the bed. He set the tumbler on the nightstand and poured himself another drink.

Cain sat up in bed, rubbing his eyes.

“Why did you work so hard to bring me back?” Christopher asked.

Cain blinked against the light. He took a tissue from the box on the nightstand and blew his nose. He showed no surprise to find himself in this situation.

Christopher waited, wondering if he would have to ask the question again.

“At first, I didn’t,” Cain said, at last. “I had no idea what to do. Like everyone else, I muddled through.”

He rubbed his eyes.

“Time passed, and I saw how the cabinet ran things. Endless squabbling and petty disagreements. I hated it. The more I thought about it, the more I wanted to do something. I wanted justice for Moira. I wanted everything back the way it used to be.

“I knew this place wouldn’t implode catastrophically. You built it to last. But it would fall into a long, slow decline. Eventually, cracks would form. Then, someday, something would fail and that would set off something else. It would all come tumbling down in a matter of weeks or days or hours. Maybe not soon. Maybe not for generations. But eventually. I didn’t want to be responsible for the first cracks that brought the whole thing down.”

“Why would it be bad for it to all fall apart?” Christopher asked.

“For one thing, if it happened on our watch, we’d be responsible. We’re the ones in charge. Or at least we were,” he said, nodding toward Christopher. “This place is my home. Despite everything that has happened, I’m happy here. I’m happy doing this job. I think this place really is important. We are a backstop against disaster for all of human civilization.”

“I thought you were worried it could all fall apart,” Christopher countered.

“Without you,” Cain replied. “It would all fall apart without you. The whole thing only works because there’s a single, strong vision. Empires fall because they lack consistency. A chain of successive humans running the show eventually fails, and it only takes one bad link to break the chain. The good king grows old and dies, and a bad king takes his place.

“But not here. Here, the good king lives forever. That’s why Razor Mountain has lasted.”

“You’ve never been in the outside world,” Christopher said. “Why do you think it’s better in here?”

“I’ve seen quite a bit of the outside world, even if only through screens and reports,” Cain said.

“It’s no utopia.”

Christopher sat next to the bed, lost in swirling, half-drunken thoughts. Cain rose, unabashed in his tee-shirt and boxers, walked to the bathroom and filled a glass from the tap. He returned to sit on the bed.

“You know, I think I might be the perfect vessel for God-Speaker,” Christopher said. “All he thinks about is staving off death. He does whatever he can to avoid every risk. It just so happens I’ve been doing the same things my whole life. Obviously with less expectation of long-term success.”

“Why is that?” Cain asked. Christopher got the sense that he was playing a part, acting as therapist for the stupid, inebriated king. Christopher shrugged off the feeling. Who else could he talk to?

“When I was young, my brother drowned,” Christopher said. He wondered when he had last spoken about it.

“After that, I was my parents’ only child. They didn’t let me bike to a friend’s house. They didn’t leave me with a babysitter. They never let me do anything remotely dangerous. Not that I was much inclined to. They never talked about it, but it was obvious that they were afraid they’d lose me too. I couldn’t very well blame them for it. I felt like I was obligated to outlive them, so they wouldn’t have to feel that pain again.”

Cain nodded. “And now?”

“They’re still alive,” Christopher said. “And as far as they know, I’m not.”

“That must be difficult.”

“A dozen times a day, I remember it. It feels a little bit like being stabbed in the chest.”

Cain was silent, calm and apparently content to just sit with Christopher. Christopher sipped from his tumbler.

“Doesn’t it worry you that your good king is so desperate to live forever?”

“Not really. Everyone is afraid of death. It keeps you going. It keeps the city running. It doesn’t really matter why you do it. It just matters that you keep doing it.”

“What about me? How is that fair for me?”

“It’s not. None of it is. Not for you, or me, or anyone else under the mountain. Reed wasn’t wrong about everything. It was only his conclusions that were wrong.”

“What if I just give up? What if I quit?”

Cain shrugged. “You could. I can’t stop you. Like I said, none of this works unless you’re running it.”

“You don’t care?”

“Don’t be shitty,” he said, suddenly irritable. “You know how much I care. I’ve dedicated my life to you and this city. I’ve done everything I can possibly do, and now I’m dead tired. It’s on you.”

Christopher sighed. “It’s on me.”

“You told me yourself that this transition, this change from Christopher to God-Speaker might be rough. I can’t even imagine. But I know this city pretty well, and even though I can only guess how old this place is and how old you are, I have some faint idea of how much work it must have been to build it and keep it secret. I don’t think you’d spend so many lifetimes doing that, just to throw it all away.”

He put his hand on top of Christopher’s hand and gave it a strangely patronizing squeeze.

“You’re just scared about what’s going to happen. And you’re drunk. Go get some sleep. Let the change happen. You’ll feel better in the morning.”

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