Razor Mountain — Chapter 9.2

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

Christopher let out the breath he realized he had been holding and sat in the quiet place among the birches. He drank his water and nibbled from yet another weird jerky bar. He tried not to fall into the gaping chasm of hopelessness that he felt opening behind his sternum. Why did it feel like the world was playing some terrible trick on him, like he was trapped in this limbo while the real world, the world that he remembered, was constantly lurking just out of sight, constantly retreating just beyond his senses?

“What am I doing?” he asked himself. The footprints were right there, if that’s what they were. They might not be entirely lost to the blowing snow. The longer he waited, the more they would fade. If he followed quickly, he might have a chance of finding something before the trail was lost.

He stood up with some effort, took another swig of water, and checked the map and compass. He suspected that he was well over halfway to the dot on the map, but it was only a guess without being able to assess his wider surroundings. According to the compass, the footprints ran at approximately a forty-five degree angle to the direction he wanted to go: north instead of north-east as he had been traveling. He would be going off-course.

The footsteps faded into nothing about ten feet from the protection of the cluster of trees, but Christopher continued in that direction across the clearing. When he reached the woods again, he paused to scout around. The wind had been blowing from the east, leaving drifts on one side of the trees and protected spaces on the opposite side where less snow accumulated. Sure enough, after a couple minutes he found a few more faint prints on the protected side of a larger tree, south of where he had begun his search.

He consulted the compass, adjusted his trajectory, and went further into the forest. Soon, he came across the tracks again. The wind lessened as he moved deeper into the trees, and the snowfall seemed to be slackening. The trail was better defined as he went, giving him the feeling that he was catching up.

He never lost the tracks for more than a few seconds now. They were still featureless, with no clear boot tread, but they were definitely fresh.

There was a crackling sound in the forest ahead of him. He looked up from the ground and froze, remembering the moose he had nearly stumbled into. With a moment to process it, he decided the sound was probably a tree branch cracking under the weight of the fresh snow.

The snowfall had nearly stopped now, and visibility was much better, although the light was starting to fade into evening. Christopher realized he hadn’t been eating or drinking. How long had he been following the tracks? His careful progress, his reasoned system had all been thrown out in the pursuit of the footprints.

He took out his water bottle and drank.

There was a flash of movement, ahead and slightly to his left. It was distant enough that he wasn’t sure he had actually seen it. He took off anyway, capping his bottle as he ran, not taking the time to put it into his pack.

“Hey! Hello? Is someone out there?”

The trail of footprints led to the place where he had seen the movement. They wove between the trunks, deep furrows showing where their maker had slid here or there, longer strides showing that whoever it was, they were moving fast. Faster than Christopher in his snow shoes, he was sure. He wondered if he ought to have kept quiet instead of shouting. If someone was out here, why were they running from him.

His left foot caught a tree root, and his right slid into a divot, his ankle twisting. He nearly fell and his water bottle went flying, but he caught himself and stood, scooping the bottle off the ground as he went.

The footprints led to an area where the trees were dense. Then they stopped, right in front of a huge pine. It was gnarled and thick with old, dead branches that reached out to the neighboring trees. Christopher looked up. There was a layered canopy of branches above. It would have taken a good jump to reach the first few branches, but a good climber would have little trouble climbing from there. They could even conceivably have moved among the other nearby trees.

Christopher meandered around the area, studying the ground for footprints, then looking up for any signs of movement in the branches above. Minutes passed. The adrenaline faded, leaving behind a residue of disappointment and frustration. He unstrapped his snow shoes and kicked a nearby tree, shouting wordlessly. His heavy boots protected his toes, but he noticed now that his freshly twisted right ankle was beginning to ache again.

He took a deep breath. “I don’t know who you are, or why you’re hiding!” he shouted up into the branches. “I just want to go home.”

He slid to a sitting position on a dry patch of ground and drank from his water bottle. He expected no response from the forest, and he got none.

He opened his pack and took out the carved wooden figure. He stared at it, mind blank for a time.

Nothing made sense. Was there something wrong with him? He wondered what it was like to hallucinate. Wondered if he could even trust his own senses. Maybe he had been traumatized more than he realized. Maybe he was seeing things. Hearing things. He realized he had always thought of hallucinations as something a bit like waking dreams, with the same haziness that dreams always had upon waking. But dreams never felt hazy while you were in them. Most people couldn’t identify the dream from within it.

His sweat cooled on his body, leaving him shivering even without the wind to chill him. He stood despondently and felt a twinge in his ankle as he put weight on it. The light was fading. He had no idea how long he had sat among the trees.

He forced himself to look at the compass and the map again. He had to guess how far he had gone off course, and adjust his heading to counteract it. If the snow would cooperate, he only needed to get out of the trees and get an idea of the surrounding landscape, so he could compare his guesses against the map.

He began to trudge through the snow on his new heading, with the simple goal of finding a good place to set up camp well before dark. He found a place that satisfied him well-enough within a half hour. It was decently shielded by trees, and only lightly dusted with snow.

He set up the tent, doing his best to straighten the damaged poles. It still leaned noticeably to one side when he was done, so he ran a rope through the crossed roof poles and tied each end to nearby trees. He would have to hope that it was enough to secure the tent against whatever the wilderness decided to throw at him before morning.

He used his collapsible shovel to scrape an area clear of snow a short ways from the tent. He collected dead branches and started a fire, using the flame of the camp stove to light it with less effort than the flint and steel. He found a good drift where he could collect clean snow and cooked his rice and beans. He ate, barely tasting the food.

Robotically, he melted more snow to refill his bottles. He cleaned his pot and packed it up.

With nothing else to do, he sat and stared at the fire. The dampness of his sweat in his clothes was slowly drying, although his socks were still wet around the ankles. His face felt wind-burned. His ankle throbbed. His mind was blank, as though it had given up on forming any thoughts more complex than dull disappointment.

Some amount of time passed. No stars in the overcast night sky. No wind. The world was still and silent.

Christopher doused the fire and climbed into the tent. He sealed himself inside, swaddled himself in the sleeping bag.

If he had done well in guessing his trajectory across the map, he might reach the dot sometime around noon on the following day. What he would find there, he no longer cared to guess.

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Razor Mountain — Chapter 9.1

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

Morning came, slow and dreary. There wasn’t so much a sunrise as a faint brightening of the tent fabric. Christopher had given up on sleeping, but he thought it would still be best to wait in the tent until morning and whatever warmth it brought. As soon as he opened the tent, his trapped body heat would be lost.

He had time to think and assess his situation. One of the poles that crossed the tent roof had bent significantly. He would have to see if he could bend it back into reasonable shape, but it would be permanently weakened. He also realized that he should not have completely closed the zippered mesh vents at the front door and along the walls. The tent had been keeping him warm enough. He could afford to lose a little heat, and he suspected it was the lack of circulating air that had caused condensation to accumulate: that and the snow that had gotten in and melted.

He had two sleep pads. The bottom one would be wet no matter what he did now. The top one was relatively dry, so he carefully rolled it up and put it back into its bag. He put it into his pack and put the pack in a corner of the tent that was slightly elevated and dry. When he was as prepared as he could be for morning, he sat and planned what he would do when the sun was up. Mostly, there was nothing to do but wait.

When he exited, there was no way to keep out the snow. It was still coming down, although it seemed to have slackened. He guessed there had been at least six inches of accumulation overnight. The real problem, though, was the piles that sloughed off the branches above, and the wind-blown drift that had nearly buried one side of the tent.

Christopher changed into dry clothes and suited up before exiting. All the wet things went into the second sleep mat bag, loosely tied and strapped to the outside of his pack. They would likely freeze, but he could thaw and hopefully dry them by the fire once he was out of the blizzard. With the ground covered in inches of heavy, wet snow, it didn’t seem worth trying to start a fire. He ate a breakfast jerky bar, strapped on his snow shoes and began hiking.

It was immediately clear that his pace would be much slower. The snowshoes helped, but it was still more effort for less distance. The cloud cover and falling snow made for poor visibility as well. He continued to pause regularly to tie ribbons on the trees and drink, but navigation was much more difficult. He had to rely on his compass.

“The safest thing to do would be to go back,” he mumbled to himself. “Of course, the safest thing to do was to not go out in the first place.”

There was always going to be an element of risk. He knew he couldn’t expect the weather to cooperate. Knew that the world around him was inching over the edge of autumn and into winter. The only question was how much risk he thought he was in, and how much he was willing to tolerate. Going back in the face of the snow felt like giving up at the first sign of difficulty. He wasn’t sure how often it snowed in Alaska, but he assumed it was at least as much as it had back home in Minnesota, and probably much more.

He had enough food to travel for at least one more day and still be able to get back to the bunker. He had a good amount of water, and the means for melting more. Hell, he could suck on snow if he had to.

He realized what was really bothering him was his destination, or lack of one. He hoped, desperately hoped, that there was something at the dot on the map. But what did he even hope for? Some park ranger station? Another mystery compound like the bunker he had just come from? What would that even tell him, if these places were scattered across a swath of Alaskan wilderness? His best hope was so vague as to be meaningless, and he couldn’t connect the dots into a believable story that ended with him getting home safe.

Still, if he did nothing, then he was even less likely to get anywhere. The risk was still worth it. He had to keep going, to feel as though he had made an effort to save himself. He would still have more opportunities to turn back toward safety.

He hiked on, up the forested miles of gradual incline. He saw nothing but dense pines, occasional boulders, and blowing snow. He existed in a small bubble of forest, contained within murky whiteness. The trees gave him some cover from the sharp wind, although occasional gusts still chilled him. He took care to keep as much skin covered as possible, and took his water and food breaks sheltered against the largest trees, or behind rocks and escarpments when he could find them.

He continued his careful strategy of frequent breaks with food and water, and still tied ribbons on branches as he went. Now though, the ribbons were lost in the snow after only a dozen paces, and he kept his mittens on against the wind, which made tying them that much harder.

The ground began to level out, and he wondered if he was finally coming out of the forested area he had seen from the cliff. He wasn’t sure whether he should hope for more forest, and the protection that it offered, or for open spaces where he might get his bearings if only the wind and snow would let up.

He came to a clearing, or at least a less dense patch of forest. There was a bowl-like depression with a hill next to it, almost as though some giant had dug out a huge scoop of earth and plopped it, upside down, nearby. Between the depression and the hill was a tight cluster of thick birch trunks. They were rooted so close together, Christopher wondered if they weren’t all trunks of the same tree. They formed a perfect sort of semi-circle to protect him from the wind.

He walked around the perimeter of the depression and approached the cluster with his back to the wind. It did, in fact, have a large drift piled against one side, while the other was so protected that there was scarcely more than a dusting of snow. Within the half-circle was a nest of browned leaves and other forest detritus.

There was also a series of faint depressions in the light snow, leading out from the shelter. Two rows, alternating, fading as they went into the deeper, more windblown snow. Footprints. Human-sized footprints.

Christopher approached slowly, almost creeping, as though he might scare them away. He crouched and examined them. They weren’t clearly footprints. They had no pattern like he would expect from ordinary boots, but they might have been made by something smooth, like a moccasin. He wondered if it would even be possible to make moccasins that were warm enough to protect feet in this kind of weather. He supposed there were native people in Alaska who must have been able to do it. Maybe the footprints were made by boots like his own, and they had just been subjected to enough blowing snow to be partly filled in.

He tried scooping out the snow to look at the ground underneath. There were no natural features below to explain the sequence of divots. The size, the shape, the spacing—they all fit human footprints. Somewhat smaller than his own feet.

He looked around, staring into the blowing snow, looking for shadows out beyond where the visibility faded to shades of white.

“Is somebody out there?” he shouted. The wind and the snow stole away the sound of his voice.

He screamed louder, “Hello? Anyone?”

There was nothing but the wind and the sound-dampening snow.

“Help!” he roared, straining to project his voice. He thought he just might be able to hear a faint echo of his voice from some unseen geography out beyond the veil of snow. No person, no indistinct shadow showed itself. No other voice sounded in the surreal, half-visible forest.

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The Read/Write Report

This week, instead of the usual storytelling class that I have with my daughter, we just set aside some time to write together. It was nice to have that time set aside, and I think we may switch to a schedule where we have our “class” every other week, and just have a scheduled writing time for the weeks in-between.

However, one of the things I’ve really enjoyed about our writing class (and documenting it on the blog) is the opportunity to review what I read and wrote over the past week. I figured I can continue to do that even if I don’t have a separate topic to discuss as well.

What I Read

I continued to work my way through The Unwritten, finishing volumes 5, 6 and 7. This series is my favorite read of the year so far, and quickly becoming one of my favorite graphic novel series of all time.

One of the tricks that The Unwritten pulls off amazingly well is the constant expansion of the story. It’s a mystery at its heart, with the main characters trying to figure out the motivations and powers of their enemies, and even trying to understand how the world around them actually works. In each volume, our understanding expands. We learn more about the world, which reveals more questions and raises the stakes.

I’m already thinking about a dedicated post talking about the series once I’ve finished, so I won’t dig too deep now, but I’m thoroughly enjoying it.

I’m continuing to read Dune aloud at bedtime with my oldest son. It has been years since I last read Dune, so I get to come at it with fairly fresh eyes.

I’ve been struck by Herbert’s style, which is equal parts florid and terse. He seems almost allergic to conjunctions, and is happy to connect multiple sentences with nothing more than commas. He frequently has paragraphs that consist of a single short sentence, or even a fragment. And yet, there are moments when he waxes poetic, when he’s describing the geography and environment of the desert planet Arrakis, or when delving into the characters’ thoughts on philosophy and politics.

Like many works of science-fiction that have been able to endure for decades, Dune is a strange book. It is a mix of prescient futurism and anachronism.

It is infused with environmentalism and ecological systems inextricably tied to the human populations that live within them. It offers a generally positive view of Islamic cultures. It imagines a universe where people have rejected artificial intelligence, and spent centuries exploring, advancing and honing the possible modes of human thought.

It also imagines a far-flung spacefaring society that is fundamentally feudal, governed by all-powerful emperors and lesser royals, where the populations of ordinary people have no meaningful say in the structure of their society. The only competition for power comes from the Spacing Guild, who monopolize space travel; the CHOAM company, who monopolize life-extending spice; and the Bene Gesserit, who use social, political, and even religious manipulation to infiltrate the other powers and perform experiments in long-term eugenics. Power is almost exclusively amoral and self-serving. It’s not the sort of future most of us would be eager to experience first-hand.

Having read all of the Dune books (at least the ones by Herbert himself), I never felt that any of them stood up to this first one in the series. They are interesting though, because they do a better job revealing Herbert’s interests in vast timelines; huge interconnected systems; and ideas of humanity behaving as a single collective organism, with the fates of individuals being dictated more by the drives of the super-creature than any individual choices they make.

What I Wrote

I got about halfway through Razor Mountain chapter 9. I also started writing a short story that I’m calling “The Incident at Pleasant Hills.” The idea was inspired by a Story Engine prompt, and I used a slightly modified version  of Firewater’s Cube brainstorming method to flesh out the characters and setting.

I think I was in need of other fiction to work on alongside Razor Mountain. I’m still enjoying writing Razor Mountain and I’m committed to finishing it, but it’s nice to have small things to work on alongside the novel that I know I’ll still be working on for months to come.

The Challenge of Telling Great Stories in TTRPGs

I recently played A Visit to San Sibilia for the first time, and I found it to be a really enjoyable solo tabletop role playing experience for crafting an interesting story. It appealed to me as a writer much more than as a gamer. In fact, I think part of the reason why it does so well at making interesting stories is that it’s barely on the edge of being a TTRPG at all. All of this got me thinking about telling great stories in tabletop RPGs, and why it can be so hard to do well.

One of the challenges I inevitably run into when I’m playing these games is the desire to craft a good story. I think this is only natural for writers. The problem is that good stories have certain structures, and the game often fights against that.

TTRPGs have three aspects that often disrupt good story structure:

Mechanics

Especially in rules-heavy games like Dungeons and Dragons or Pathfinder, the mechanics of combat, spellcasting, or even more esoteric things like politics or detective work can really limit the storytelling. If there is a rule for doing something, players tend to stop telling stories and start plugging values into the equation to get the outputs they want. They go into gameplay mode. Plus, working through these rules often throws pacing out the window. I’ve been in more than one session where the story was really getting good…right up until we got in an hour-long fight.

Too Many Drivers

Imagine going to get lunch with a few friends. Now imagine you all pile into the same car, but it’s a crazy car with pedals and a steering wheel for every seat. Oh, and you all want to go to a different restaurant. That’s what trying to guide the story in a TTRPG can sometimes feel like.

Each player has their own character and their own interests in the game. The only person who can really guide the story more than others is the DM/GM who is running it. But even they can’t really force the story to go in a direction unless the players want it to. If they try to railroad the players in the “correct” direction, the players will feel like they have no agency in the game. If they give the player characters the ability to shape the story, they will inevitably steer it away from whatever long-term plans the GM might have, whether on purpose or by accident.

Even harder to control are real-world intrusions into the game. Maybe a player has to miss a session or two. Maybe they have to stop playing. Suddenly a main character disappears, like a star actor unexpectedly leaving a show.

Randomness

Sometimes you get a couple of lucky hits and the villain dies in the middle of the campaign. Sometimes you get a series of bad rolls and miss all the clues that move the mystery forward. Veteran GMs know that you shouldn’t count on any outcome if there’s any randomness involved.

Randomness can make a story arc drag on too long, or unexpectedly end it outright. It can be responsible for incredible highs when the players get lucky at a vital moment, and incredibly low lows like party wipes.

True randomness means you can’t be sure what’s going to happen next. That can be exciting, but it doesn’t help you to craft a tight story.

Story vs. Game?

So, are TTRPGs destined to have bad stories? Not necessarily. But a good story for a TTRPG has a different structure and a different feel to a good story on the page.

In TTRPGs, it’s important that the story give the player characters agency in the world, give them challenges and opportunities. It’s up to the players what they do with them. Much like video games, the fun comes from experience and participation. The “plot” will sometimes stall or take a ninety-degree turn. Or a session will get bogged down in mechanics, and the story will be mostly ignored. All of that is fine, as long as everyone is having a good time.

That said, there’s a reason why TTRPG logs often translate into boring fiction. Good fiction can’t afford to meander. Good fiction has to have tight character arcs, and the success or failure of the characters can’t be thrown out the window at a die roll.

I personally love writing stories and playing games, but I had to come to grips with these differences when I first started running those games. I had to realize that I don’t want a story outline that goes much beyond the current play session. I had to learn that my job was to build interesting settings and experiences and above all, opportunities, and let the players navigate them however they wanted to. I had to create a collaborative environment, and then I had to collaborate.

So if you’re frustrated or worried that your TTRPG sessions don’t feel like you’re playing a novel, realize that you’re not alone. That’s expected. Leave the books for reading, accept that the story in your game is sometimes going to be a little wonky, and enjoy it for what it is: a collaborative experience; part gameplay, part story.

Reblog: Cubing, One Person Brainstorming — Firewater

This week’s reblog is a brainstorming technique explained by the pseudonymous Firewater. The goal is to expand upon an idea by thinking about it in several different ways and making unexpected connections.

The idea of the Cube is just a way to visualize a thing, person, place or emotion that you are writing about. As a cube has six sides, this writing exercise includes six aspects that you keep in mind while you are writing. Since this is one-person brainstorming, you aren’t meant to spend more than 3-to-5 minutes on each aspect.

Read more over at Firewater’s Site…

Storytelling Class — Point of View and Tense

Every week, my daughter Freya and I have a “storytelling class.” Really, it’s just a fun opportunity to chat about writing stories. This week, our topics were point of view and tense.

We always start with two questions: What did we read, and what did we write over the past week?

What Did We Read?

Kids had Spring Break, and Freya was able to read through most of the sixth Harry Potter book. My wife continues to read Wildwood with her at bedtime.

I’ve been reading Dune with my oldest, along with the usual blogs. I also finally got around to finishing Chuck Wendig’s “Damn Fine Story.”

What Did We Write?

I played through A Visit to San Sibilia. Freya didn’t write anything this week.

Points of View

There are three points of view that you can write from. They are most easily identified by the pronouns used by the narrator to address the point of view character(s).

First Person

(Me, I)

In this perspective, the story is told by a character within it. The narrator is the same person as the point of view character, and the reader experiences the story as though they are that character.

“Poison for Breakfast” is an example that we’ve read recently, where the story is told by Lemony Snicket, who is also the protagonist.

Second Person

(You, We)

In the second-person perspective, the narrator tells the reader what they did. This puts the reader in the head of a character within the story, but the story itself is actually told by a different narrator.

The most prominent example for people my age are the Choose Your Own Adventure books, which make the reader the protagonist, but also give the reader choices that change the story. A book on my reading list, N.K. Jemisin’s “Broken Earth” is also written in this style.

This is the least commonly used of the three points of view.

Third Person

(He, She, They)

In third-person perspective, the narrator talks about what the characters did while being external to all of them. The Lord of the Rings and Dune are two examples of third-person perspectives in stories we’ve read recently.

Third-person perspective also exists along a spectrum of “distance,” which describes how closely it follows different characters. At one end is the omniscient third-person perspective, which isn’t particularly close to any specific characters.

In Dune, Herbert uses a style that’s less fashionable in modern stories, where his omniscient narrator jumps between different characters’ thoughts as it pleases, effectively taking the reader from one character’s head to another.

At the more distant end of the spectrum, the narrator may have no insight into the character’s thoughts. The third-person narrator may also follow a single character (for the whole book, or sections of the book) and only describe thoughts and feelings of that one character. This style keeps the narrator external to the character, but provides some of the closeness of a first-person perspective.

Tense

As with the different perspectives, there are three broad categories of tense to work with. These can be described by when the story is told, in relation to when the events happen.

Past Tense

“They went there. They did that.”

The story is told after it happened. This is probably the most common tense used in genre fiction.

Present Tense

“They go here. They do that.”

The story is told as it is happening. This is probably the most common tense used in literary fiction.

Future Tense

“They will go. They will do that.”

This is more of an experimental tense that is rarely used for an entire story.

There’s Always a Narrator

Along with tense and point of view, it’s worth considering who the narrator is in each story. This is obvious in first-person perspective, but often easy to overlook in the second- or third-person. In many of these stories, the narrator isn’t a character within the story. They are an unknown figure, or simply the author. But it’s still worth spending some time thinking about how you want the narrator to tell the story. Disassociating “the narrator” from yourself as the author can make it easier to think about the stylistic choices you want “them” to make in telling the story.

Mixing and Matching

As usual, when we talk about the tools in the author’s arsenal, we tend to talk about them as pure, distinct things in order to make each one clear. In real usage, however, a story can use multiple tenses and points of view.

Freya and I looked a childrens’ book we have: The Good Egg. This book encapsulates all three tenses in a few short pages. The first-person narrator, the good egg, spends the first half of the book telling us about himself and what happened to him (past tense). Then he says he’s made some important decisions (present tense). Then he describes how he’s going to change his viewpoint and his behavior (future tense). This was a simple encapsulation of how to use different tenses to good effect, and the story blends them together seamlessly.

As I’ve talked about before, The Martian is a great example of the usage of different points of view to achieve different effects throughout a single story.

These are tools in the writer’s toolbox. And even though we are likely to use some much more frequently than others, it pays to be familiar with all of them, and make purposeful decisions around when to use each one.

My First Visit to San Sibilia

The following is my first playthrough of A Visit to San Sibilia, lightly edited.

This is an account of the Brooding Cartographer and her time in the city.

Day 1

To seek San Sibilia is to be destined to never find it. For years I sought in vain. It was only when I gave up searching, gave up everything I cared about, that it found me.

It began as another night out with Raoul and his “artist” friends, and a night ride in the canals of Venice. We crossed under a bridge. For a moment, we were in utter darkness, no sound but the water against the boat. I came out the other side alone, to dock on a decidedly different shore.

I keep thinking about the old map-maker. How he would frown and grumble when I went on about San Sibilia.

“A stupid story,” he would say, “for children with no sense in their heads. If I had known what a stupid girl you were, you’d not be bound to prentice.”

Nevermind it was his stories that first piqued my interest, or rather the look in his eyes when he told them. He had lost a lover there, but his eyes shone brighter when he named that city than when he spoke the name of the man he had loved. The old man had come there by shipwreck and plied the sailor’s trade for a time, before he took to map-making.

I’d have words for the old man now, if he weren’t dead in the ground.

I managed to find a place over a tavern, the sort of place where sailors on leave and locals congregate in equal measure. Hardly a stick of furniture, but the proprietor, Paolo, was willing to let me stay for free. In exchange, I’m to make him some maps of distant cities to liven up his walls. I told him I can’t draw London or Seoul in perfect detail from memory, but he says none of his patrons are likely to know the difference.

I can’t afford to be picky. I have nothing but my clothes, and those have seen better days.

Day 4

There is a plaza just down the street from the Drowned Mermaid. Sometimes the merchants set up their stalls and carpets. Sometimes philosophers orate. Sometimes there are plays or performances. Today there was a juggler.

At first I thought him just a man out for a stroll, but he suddenly threw a ball high into the air, and kept producing them from some hidden pocket while keeping the rest afloat. In moments, he had eight or nine of them aloft, each with its own unique swirls of color.

When the juggler saw me, he gave a wink and smiled, and in that moment he looked familiar, though I could not think of where or when I might have met him.

One of the balls slipped from his grasp and bounced across the uneven cobbles toward me. I picked it up and found it a mesmerizing swirl of green, white and blue. It was a globe, somehow fashioned to move like clouds over land and sea.

It is fascinating. I find it hard to take my eyes away from it, even now.

When I looked up, the juggler had gone.

Day 5

I have been making maps again. It is a deeply engrossing activity, as it had always been for me before the old man died. But I also find myself near-overwhelmed by a manic energy.

Paolo found me an old fountain pen and a set of inks. In turn, I am providing him with his maps: neighborhoods in Paris and London, docks in Hong Kong and Shanghai. I hardly sleep anymore, but my pen has never been more precise.

A scarred old man saw us hanging the maps behind the bar.

He said, “If you like maps, deary, you should visit the Museum on the Blue Boulevard.”

He drew his own crude map on a scrap of paper to guide me. He seemed pleased with himself, but I sensed that Paolo was irritated.

The scrap guided me to a little limestone building only a few blocks away, fronted with weather-stained doric columns and tattered flags. Within, I found a dozen rooms, walls and even ceilings covered with maps of all sizes. Some were of places I recognized, while others were unlabeled, or marked with languages I did not understand. I wandered, fascinated, looking for an attendant, but the place was deserted.

When I returned to the tavern, Paolo waved me over, stone-faced.

“You have to go,” he said. “I need the room.”

I asked him if I had done something wrong. He shrugged and gestured to the wall. “Our business is concluded.”

He let me keep the leather case with pen and inks. Later, inside, I found a yellowed envelope of pastel bank notes.

Day 9

The money from Paolo was enough for a room at the Greenway Hotel, a hulking establishment full of tarnished chandeliers, cracked plaster scrollwork and threadbare velvet cushions. It is so named because of the green lawn across the street, hedged by wild rows of untrimmed trees.

I took a stroll, and found in a back corner of the park a sizable pile of rubble, and a shockingly ancient man puttering around it. He had a long, scraggly beard and wispy mustache, and even his eyebrows hung down, seemingly determined to hide his eyes from view.

“What is this place?” I asked him.

“It was once the ruin of an old temple,” he said, “but it was a bit too ruined. When the rainy season last swept through, the whole thing finally collapsed on itself.”

“And what are you doing?”

“Cleanup,” he said. “I’m the groundskeeper.”

I spent the afternoon helping him. I worried he’d break himself, he was so scant. It felt good to do some proper labor.

Day 14

The hotel basement is used from time to time as a theater. If the hotel itself is genially shabby, the theater space is downright dank. Still, it put me in mind of some of my bohemian friends.

The show I saw didn’t suit me. It was a too-dark stage and a vague story about occult rituals and the summoning of foul demons. I suspect the obelisk they used for their set was a piece of that ruined temple, hauled over from the park.

Day 19

The groundskeeper and I strolled along the river today, although “stroll” is perhaps too generous for his doddering. I told him about my idea for a rock garden in the park, and he said it sounded like a fine idea.

As soon as I returned to my room, I began to draw up plans.

Day 25

The hotel lobby is used as an art gallery, and there was apparently a show going on today when I went down. Nothing but paintings of sailboats.

I tried to shove through the crowd, but I managed to ram myself head-first into a rather exceptionally muscled young man. Not the sort I would normally be interested in, but when he spoke in apology, his voice caught hold of me.

His name is Siegfried, and I found myself roaming the gallery with him and even explaining my plans for the park. He immediately offered to help move the stones.

We made plans to meet again tomorrow.

Day 28

I received a letter today from the governor of the city’s parks. The groundskeeper is dead. How they knew of me or my address, I do not know. Even more perplexing, I was offered the old man’s position. The pay is a pittance, but it comes with a permanent room at the hotel. And I must admit, now that my project is underway, I would be loath to give it up.

I will post my acceptance in the morning.

Day 30

They’ve sent tools! I am now the proud owner of a rake, shovel, two sizes of hammer, and a wheelbarrow. Siegfried and I work during the day, and he takes me to a new café every evening. There is no end to the secret corners and back alleys of the city, and it seems that every one has some hole in the wall where you can get a coffee or a bite.

Soon, our space in the park will be cleared. Then we will begin building.

Day 36

I went to the bookstore today, looking for maps of the city. When I asked the shopkeeper, he seemed incapable of understanding. I’m afraid I may have no choice but to map the city myself.

Day 39

A package came today. An old, heavy tome wrapped in brown paper. It is filled with maps of San Sibilia. There was no note with it, but who else knows of my work? It must be the parks governor. A patron I have never met nor spoken to.

Day 40

The book is perplexing. The maps are from different time periods, in wildly different styles, apparently drawn by different hands. They often disagree with one another, and one or two appear to be completely fabricated.

Yet the biggest shock was the last page. It is blank, except for the faded stamp of the man who compiled it.

It bears the old map-maker’s stamp. My master, long past.

How could one of his books come to be here? How could he have made this book and never told me?

Day 41

Now they’ve taken it all away from me! The governor sent a letter relieving me of my position, my tools, my park. Our rock garden, our living map, has come so far. We’ve measured out many of the roads, but the buildings are so much work. Siegfried managed a fantastic likeness of the Greenway Hotel as the centerpiece, with nothing but a hammer and a chisel and an old piece of temple stonework.

The governor claims I have “stolen illicit materials from the city archives.” What could it possibly be but the old map-maker’s book? If it belongs to anyone, it ought to be mine.

It makes no difference. They cannot stop me from finishing my work.

Day 44

The old man must have compiled the book when he was here, in San Sibilia.

Why did he hate it when I dreamed of the city? What happened to him here?

The one time he sounded honest about it, he was deep in his drink. He said the city existed beyond any maps. He said everyone leaves San Sibilia eventually, and whatever the city gives you of itself, it takes back before you go. It took his lover from him, and I suppose he never forgave it for that.

Day 48

We were so close. Our garden, our tiny city among the rocks. We had nearly filled it to the edges of the map.

This morning, my threadbare sheets had become fine silk. The once worn carpets were thick and soft. The room was no longer faded.

I went down to the dining room, and ate the finest breakfast I have ever had. The silver is spotless; the china, pristine. My fellow bohemians and shabby travelers are all gone, replaced by ladies with jewels and corsets, and men with kid gloves and pocket watches. The hotel is in its prime again, and only I am out of place.

Siegfried is gone. The book is gone. The park is gone. It is now stately rows of graves. In the far corner, lording over this city of the dead, is a single grand mausoleum.

I walked the perimeter of neatly trimmed trees. Did the names on the graves match the names of the city? Thoroughfares and boulevards, markets and mansions? Or did I imagine it?

In any case I came upon a pair of graves, and the names were ones I recognized. One was Gustav the map-maker, my old master. Beside it, one named Paolo.

Day 49

He was right. San Sibilia only loans out happiness, purpose, love. Now it has taken them back.

It is time for me to go. If I am lucky, perhaps, I will return some day and live out what time I have left in this city that has made me love it, and then spurned my love and turned me away.

It is sunset, and my little boat follows the slow currents of the canal. In the shadows beneath one of these bridges I will find that black portal that brought me here, and I will return to the place I came from.

There is one thing I take with me, if the city wills it: a ball that swirls with white cloud, green land, and blue seas.

San Sibilia

I recently purchased the Bundle for Ukraine on Itch.io, which included a number of video games, but also contained an unexpected number of tabletop RPGs and other things. One of those things is called A Visit to San Sibilia.

A Visit to San Sibilia describes itself as

a solo journaling game in which you roleplay a character chronicling their visit to the city of San Sibilia. It is a city not found on any maps—San Sibilia is both part of and distinct from our world. The city manifests itself differently to every visitor.

I wouldn’t exactly call it a solo TTRPG. It’s more like a semi-randomized writing prompt. The game starts with a description of the city. Which continent is it on? What is the time period? It is tantalizingly vague. The city is a mystery, and you are left to answer those questions for yourself.

The Play

The randomness is primarily provided by a shuffled deck of cards. You start by drawing two cards and consulting a simple chart to determine an adjective and a noun. Together, these describe your character. You might be a lonely missionary, an intrepid journalist, or a blasphemous scholar. (If you’ve played Fallen London, this naming scheme will feel very familiar.)

With your character in hand, you begin your journal. The game provides some questions to get you started. How did you get here? Where are you staying? And so on.

For each new entry in your character’s journal, you roll a six-sided die to determine how much time has passed. Then you draw two more cards. The suit of the first card provides an adjective, and the second card provides a location or event. You might have a serendipitous incident at the bookstore, read some sinister news in the broadsheets, or make a mysterious find in the antique store.

Finally, if your two cards had the same suit or the same value, the city changes. As the game describes, “It might be an expected change in season or politics, but it might also be a shift in reality.” Once you have experienced four of these changes, your time in San Sibilia comes to an end. You get one final entry to describe the circumstances of your departure.

My Experience

I’ve played San Sibilia once so far, over a long weekend. Depending on how loquacious you are, how strictly you follow the rules, and your luck, it could range from one hour to perhaps three or four. I spent about two hours across two days.

The initial description of the city, my character, and the starting questions were a great jumping-off point that immediately sucked me in. As I wrote my journal entries, I did choose to skip a single event and draw new cards at one point, but the random elements did pull my story in unexpected directions. I felt that the “same suit or value” mechanic for changing the city could result in some odd pacing, and I decided to force a change at one point when it was a very long time coming.

The game is simple enough that it’s easy to adjust it to your own tastes. The prompts worked well, and I never really had a hard time figuring out what to write next. The writing process was fun, and now that I’ve gone back and re-read it, I like the story that came out of it.

San Sibilia avoids a lot of the challenges that other TTRPGs have in telling a good, structured story by only having one player, having almost no mechanics, and limiting randomness. The one aspect where the game can fall down a little bit is the random number of journal entries between changes to the city. Even that can be easily dealt with by setting a hard minimum and maximum number of entries in each of these “acts.”

Where to Get It

A Visit to San Sibilia is available on Itch.io and Drive Thru RPG for $5.00. It’s also licensed under Creative Commons (CC BY 4.0), which means you can share it and remix it, as long as you provide proper attribution.

Martian Magazine — Year 2

As an occasional writer and frequent reader of drabbles (exactly 100-word stories), I don’t think there can be any doubt that Martian magazine hosts the best of the form. They’re a web-zine that has published a science fiction drabble every week for the past year, and they pay authors professional rates. If you prefer your drabbles in themed anthologies, they’re doing that too!

Now, they’re running a Kickstarter to fund their second year, with hopes of expanding. They have all manner of physical and e-book rewards available. I don’t have any skin in the game—I just like what they’re doing, and I’d love to see them get to do more of it.

Check out their post here, and the Kickstarter here.

Storytelling Class — Writing Goals

Every week, my daughter Freya and I have a “storytelling class.” Really, it’s just a fun opportunity to chat about writing stories. This week, our topic was a mini-class where we talked about writing goals.

We always start with two questions: What did we read, and what did we write over the past week?

What Did We Read?

This week, I’ve been reading Dune to my eldest (who wasn’t terribly interested in the Wildwood trilogy that my wife is reading to Freya). I recently read The Lord of the Rings to the kids, and Tolkien’s verbose style is fresh in my mind. It stands in stark contrast to Herbert’s often terse style in Dune. Herbert loves to create compound sentences, but has an allergy to conjunctions. He tends to leave the “and” or “but” implied and just combine sentences with a simple comma or semicolon.

Continuing on my recent graphic novel kick, I also read volume 3 of The League of Extraordinary Gentlemen. I read the first couple volumes years ago, and I have to say, I was a little lost in this one. Volume 3 is titled “Century,” because it follows the nearly immortal characters over the course of a hundred years.

The premise is fun, but the story didn’t really grip me. The villain seemed almost accidental, and the end of the story was alltogether anticlimactic. The apocalypse was averted by a classic deus ex machina.

One of the big draws of the League stories is the wrangling together of other works of literature into something new, and there were some entertaining examples of that in this volume, including a rather famous wizard school and a magical nanny. Still, they didn’t have the same excitement as the original volume, with its Dracula; Invisible Man; 20,000 Leagues; and Dr. Jekyll references.

Freya has moved on to the sixth Harry Potter book, and continued to read The One and Only Bob at school, and Wildwood with mom at bedtime.

What Did We Write?

I finished off Chapter 8 of Razor Mountain. I’ve also been looking through some solo TTRPGs from the Itch.io Ukraine bundle.

Freya continued to work on her story, Amber and Floria.

Writing Goals

Rather than tackling a high-level writing topic this week, Freya and I sat down and talked a little bit about writing goals.

I used to think my own goals were pretty straightforward: writing stories and novels and trying to get them traditionally published. However, in recent years I’ve been doing more writing just for fun. And, of course, I’ve been writing Razor Mountain serially and posting it as I go, while documenting the whole process. Which lands me somewhere in-between “just for fun” and “actual publishing.”

Two quotes stand out to me when it comes to writing goals. The first is by Neil Gaiman, recorded in print in his little book, Art Matters.

“Something that worked for me was imagining that where I wanted to be…was a mountain. A distant mountain. My goal. And I knew that as long as I kept walking towards the mountain I would be all right. And when I truly was not sure what to do, I could stop, and think about whether it was taking me towards or away from the mountain.”

This simple heuristic is perfect for writers. There are a lot of ways to improve at your craft, and no strict curriculum. You just have to set some long-term goals and keep asking yourself whether you’re still walking toward the mountain.

The other quote reminds me that you don’t have to have goals at all. It’s from a conversation about writing on Mike Birbiglia’s podcast, “Working It Out.” Carin Besser talks about writing poems for nobody but herself, taking them out once in a while and working on them without worrying about finishing, and with no real interest in publishing. This is “writing like knitting.” It’s a pass-time, a hobby, or a meditative act.

Sometimes goals can be incredibly stressful, and distract from the fact that we’re doing something we love. Even if you do have long-term goals, it’s worth stepping back periodically and just enjoying writing for its own sake.