Tag Archives: fantasy fiction

A Graveyard Christmas 6

The Story of the Goblins Who Stole a Sexton
by Charles Dickens

In eight parts. Click here to begin at the beginning.

But a change came upon the view, almost imperceptibly. The scene was altered to a small bedroom, where the fairest and youngest child lay dying; the roses had fled from his cheek, and the light from his eye; and even as the sexton looked upon him with an interest he had never felt or known before, he died. His young brothers and sisters crowded round his little bed, and seized his tiny hand, so cold and heavy; but they shrank back from its touch, and looked with awe on his infant face; for calm and tranquil as it was, and sleeping in rest and peace as the beautiful child seemed to be, they saw that he was dead, and they knew that he was an angel looking down upon, and blessing them, from a bright and happy Heaven.

Again the light cloud passed across the picture, and again the subject changed. The father and mother were old and helpless now, and the number of those about them was diminished more than half; but content and cheerfulness sat on every face, and beamed in every eye, as they crowded round the fireside, and told and listened to old stories of earlier and bygone days. Slowly and peacefully, the father sank into the grave, and, soon after, the sharer of all his cares and troubles followed him to a place of rest. The few who yet survived them, kneeled by their tomb, and watered the green turf which covered it with their tears; then rose, and turned away, sadly and mournfully, but not with bitter cries, or despairing lamentations, for they knew that they should one day meet again; and once more they mixed with the busy world, and their content and cheerfulness were restored. The cloud settled upon the picture, and concealed it from the sexton’s view.

“What do you think of THAT?” said the goblin, turning his large face towards Gabriel Grub.

Gabriel murmured out something about its being very pretty, and looked somewhat ashamed, as the goblin bent his fiery eyes upon him.

” You miserable man!” said the goblin, in a tone of excessive contempt. “You!” He appeared disposed to add more, but indignation choked his utterance, so he lifted up one of his very pliable legs, and, flourishing it above his head a little, to insure his aim, administered a good sound kick to Gabriel Grub; immediately after which, all the goblins in waiting crowded round the wretched sexton, and kicked him without mercy, according to the established and invariable custom of courtiers upon earth, who kick whom royalty kicks, and hug whom royalty hugs.

“Show him some more!” said the king of the goblins.

At these words, the cloud was dispelled, and a rich and beautiful landscape was disclosed to view – there is just such another, to this day, within half a mile of the old abbey town. The sun shone from out the clear blue sky, the water sparkled beneath his rays, and the trees looked greener, and the flowers more gay, beneath its cheering influence. The water rippled on with a pleasant sound, the trees rustled in the light wind that murmured among their leaves, the birds sang upon the boughs, and the lark carolled on high her welcome to the morning. Yes, it was morning; the bright, balmy morning of summer; the minutest leaf, the smallest blade of grass, was instinct with life. The ant crept forth to her daily toil, the butterfly fluttered and basked in the warm rays of the sun; myriads of insects spread their transparent wings, and revelled in their brief but happy existence. Man walked forth, elated with the scene; and all was brightness and splendour.

“YOU a miserable man!” said the king of the goblins, in a more contemptuous tone than before. And again the king of the goblins gave his leg a flourish; again it descended on the shoulders of the sexton; and again the attendant goblins imitated the example of their chief. continued tomorow

A Graveyard Christmas 5

The Story of the Goblins Who Stole a Sexton
by Charles Dickens

In eight parts. Click here to begin at the beginning.

At last the game reached to a most exciting pitch; the organ played quicker and quicker, and the goblins leaped faster and faster, coiling themselves up, rolling head over heels upon the ground, and bounding over the tombstones like footballs. The sexton’s brain whirled round with the rapidity of the motion he beheld, and his legs reeled beneath him, as the spirits flew before his eyes; when the goblin king, suddenly darting towards him, laid his hand upon his collar, and sank with him through the earth.

When Gabriel Grub had had time to fetch his breath, which the rapidity of his descent had for the moment taken away, he found himself in what appeared to be a large cavern, surrounded on all sides by crowds of goblins, ugly and grim; in the centre of the room, on an elevated seat, was stationed his friend of the churchyard; and close behind him stood Gabriel Grub himself, without power of motion.

“Cold to-night,” said the king of the goblins, “very cold. A glass of something warm here!”

At this command, half a dozen officious goblins, with a perpetual smile upon their faces, whom Gabriel Grub imagined to be courtiers, on that account, hastily disappeared, and presently returned with a goblet of liquid fire, which they presented to the king.

“Ah!” cried the goblin, whose cheeks and throat were transparent, as he tossed down the flame, “this warms one, indeed! Bring a bumper of the same, for Mr. Grub.”

It was in vain for the unfortunate sexton to protest that he was not in the habit of taking anything warm at night; one of the goblins held him while another poured the blazing liquid down his throat; the whole assembly screeched with laughter, as he coughed and choked, and wiped away the tears which gushed plentifully from his eyes, after swallowing the burning draught.

“And now,” said the king, fantastically poking the taper corner of his sugar-loaf hat into the sexton’s eye, and thereby occasioning him the most exquisite pain; “and now, show the man of misery and gloom, a few of the pictures from our own great storehouse!”

As the goblin said this, a thick cloud which obscured the remoter end of the cavern rolled gradually away, and disclosed, apparently at a great distance, a small and scantily furnished, but neat and clean apartment. A crowd of little children were gathered round a bright fire, clinging to their mother’s gown, and gambolling around her chair. The mother occasionally rose, and drew aside the window-curtain, as if to look for some expected object; a frugal meal was ready spread upon the table; and an elbow chair was placed near the fire. A knock was heard at the door; the mother opened it, and the children crowded round her, and clapped their hands for joy, as their father entered. He was wet and weary, and shook the snow from his garments, as the children crowded round him, and seizing his cloak, hat, stick, and gloves, with busy zeal, ran with them from the room. Then, as he sat down to his meal before the fire, the children climbed about his knee, and the mother sat by his side, and all seemed happiness and comfort.

But a change came upon the view, almost imperceptibly. The scene was altered to a small bedroom, where the fairest and youngest child lay dying. continued tomorrow

A Graveyard Christmas 4

The Story of the Goblins Who Stole a Sexton
by Charles Dickens

In eight parts. Click here to begin at the beginning.

The goblin grinned a broader grin than before, as he said, “Well, Gabriel, what do you say to this?”

The sexton gasped for breath.

“What do you think of this, Gabriel?” said the goblin, kicking up his feet in the air on either side of the tombstone, and looking at the turned-up points with as much complacency as if he had been contemplating the most fashionable pair of Wellingtons in all Bond Street.

“It’s – it’s – very curious, Sir,” replied the sexton, half dead with fright; “very curious, and very pretty, but I think I’ll go back and finish my work, Sir, if you please.”

“Work!” said the goblin, “what work?”

“The grave, Sir; making the grave,” stammered the sexton.

“Oh, the grave, eh?” said the goblin; “who makes graves at a time when all other men are merry, and takes a pleasure in it?”

Again the mysterious voices replied, “Gabriel Grub! Gabriel Grub!”

“I am afraid my friends want you, Gabriel,” said the goblin, thrusting his tongue farther into his cheek than ever – and a most astonishing tongue it was – “I’m afraid my friends want you, Gabriel,” said the goblin.

“Under favour, Sir,” replied the horror-stricken sexton, “I don’t think they can, Sir; they don’t know me, Sir; I don’t think the gentlemen have ever seen me, Sir.”

“Oh, yes, they have,” replied the goblin; “we know the man with the sulky face and grim scowl, that came down the street to-night, throwing his evil looks at the children, and grasping his burying-spade the tighter. We know the man who struck the boy in the envious malice of his heart, because the boy could be merry, and he could not. We know him, we know him.”

Here, the goblin gave a loud, shrill laugh, which the echoes returned twentyfold; and throwing his legs up in the air, stood upon his head, or rather upon the very point of his sugar-loaf hat, on the narrow edge of the tombstone, whence he threw a Somerset with extraordinary agility, right to the sexton’s feet, at which he planted himself in the attitude in which tailors generally sit upon the shop-board.

“I – I – am afraid I must leave you, Sir,” said the sexton, making an effort to move.

“Leave us!” said the goblin, “Gabriel Grub going to leave us. Ho! ho! ho!”

As the goblin laughed, the sexton observed, for one instant, a brilliant illumination within the windows of the church, as if the whole building were lighted up; it disappeared, the organ pealed forth a lively air, and whole troops of goblins, the very counterpart of the first one, poured into the churchyard, and began playing at leap-frog with the tombstones, never stopping for an instant to take breath, but “overing” the highest among them, one after the other, with the most marvellous dexterity. The first goblin was a most astonishing leaper, and none of the others could come near him; even in the extremity of his terror the sexton could not help observing, that while his friends were content to leap over the common-sized gravestones, the first one took the family vaults, iron railings and all, with as much ease as if they had been so many street-posts. continued Monday

A Graveyard Christmas 3

The Story of the Goblins Who Stole a Sexton
by Charles Dickens

In eight parts. Click here to begin at the beginning.

Gabriel started up, and stood rooted to the spot with astonishment and terror; for his eyes rested on a form that made his blood run cold.

Seated on an upright tombstone, close to him, was a strange, unearthly figure, whom Gabriel felt at once, was no being of this world. His long, fantastic legs which might have reached the ground, were cocked up, and crossed after a quaint, fantastic fashion; his sinewy arms were bare; and his hands rested on his knees. On his short, round body, he wore a close covering, ornamented with small slashes; a short cloak dangled at his back; the collar was cut into curious peaks, which served the goblin in lieu of ruff or neckerchief; and his shoes curled up at his toes into long points. On his head, he wore a broad-brimmed sugar-loaf hat, garnished with a single feather. The hat was covered with the white frost; and the goblin looked as if he had sat on the same tombstone very comfortably, for two or three hundred years. He was sitting perfectly still; his tongue was put out, as if in derision; and he was grinning at Gabriel Grub with such a grin as only a goblin could call up.

“It was NOT the echoes,” said the goblin.

Gabriel Grub was paralysed, and could make no reply.

“What do you do here on Christmas Eve?” said the goblin sternly.

“I came to dig a grave, Sir,” stammered Gabriel Grub.

“What man wanders among graves and churchyards on such a night as this?” cried the goblin.

“Gabriel Grub! Gabriel Grub!” screamed a wild chorus of voices that seemed to fill the churchyard. Gabriel looked fearfully round – nothing was to be seen.

“What have you got in that bottle?” said the goblin.

“Hollands, sir,” replied the sexton, trembling more than ever; for he had bought it of the smugglers, and he thought that perhaps his questioner might be in the excise department of the goblins.

“Who drinks Hollands alone, and in a churchyard, on such a night as this?” said the goblin.

“Gabriel Grub! Gabriel Grub!” exclaimed the wild voices again.

The goblin leered maliciously at the terrified sexton, and then raising his voice, exclaimed –

“And who, then, is our fair and lawful prize?”

To this inquiry the invisible chorus replied, in a strain that sounded like the voices of many choristers singing to the mighty swell of the old church organ – a strain that seemed borne to the sexton’s ears upon a wild wind, and to die away as it passed onward; but the burden of the reply was still the same, “Gabriel Grub! Gabriel Grub!”

The goblin grinned a broader grin than before, as he said, “Well, Gabriel, what do you say to this?”

The sexton gasped for breath. continued tomorrow

A Graveyard Christmas 2

The Story of the Goblins Who Stole a Sexton
by Charles Dickens

In eight parts. Click here to begin at the beginning.

In this happy frame of mind, Gabriel strode along, returning a short, sullen growl to the good-humoured greetings of such of his neighbours as now and then passed him, until he turned into the dark lane which led to the churchyard. Now, Gabriel had been looking forward to reaching the dark lane, because it was, generally speaking, a nice, gloomy, mournful place, into which the townspeople did not much care to go, except in broad daylight, and when the sun was shining; consequently, he was not a little indignant to hear a young urchin roaring out some jolly song about a merry Christmas, in this very sanctuary which had been called Coffin Lane ever since the days of the old abbey, and the time of the shaven-headed monks. As Gabriel walked on, and the voice drew nearer, he found it proceeded from a small boy, who was hurrying along, to join one of the little parties in the old street, and who, partly to keep himself company, and partly to prepare himself for the occasion, was shouting out the song at the highest pitch of his lungs. So Gabriel waited until the boy came up, and then dodged him into a corner, and rapped him over the head with his lantern five or six times, just to teach him to modulate his voice. And as the boy hurried away with his hand to his head, singing quite a different sort of tune, Gabriel Grub chuckled very heartily to himself, and entered the churchyard, locking the gate behind him.

He took off his coat, set down his lantern, and getting into the unfinished grave, worked at it for an hour or so with right good- will. But the earth was hardened with the frost, and it was no very easy matter to break it up, and shovel it out; and although there was a moon, it was a very young one, and shed little light upon the grave, which was in the shadow of the church. At any other time, these obstacles would have made Gabriel Grub very moody and miserable, but he was so well pleased with having stopped the small boy’s singing, that he took little heed of the scanty progress he had made, and looked down into the grave, when he had finished work for the night, with grim satisfaction, murmuring as he gathered up his things-

Brave lodgings for one, brave lodgings for one,
A few feet of earth, when life is done;
A stone at the head, a stone at the feet,
A rich, juicy meal for the worms to eat;
Rank grass overhead, and damp clay around,
Brave lodgings for one, these, in holy ground!

“Ho! ho!” laughed Gabriel Grub, as he sat himself down on a flat tombstone which was a favourite resting-place of his, and drew forth his wicker bottle. “A coffin at Christmas! A Christmas box! Ho! ho! ho!”

“Ho! ho! ho!” repeated a voice which sounded close behind him.

Gabriel paused, in some alarm, in the act of raising the wicker bottle to his lips, and looked round. The bottom of the oldest grave about him was not more still and quiet than the churchyard in the pale moonlight. The cold hoar frost glistened on the tombstones, and sparkled like rows of gems, among the stone carvings of the old church. The snow lay hard and crisp upon the ground; and spread over the thickly-strewn mounds of earth, so white and smooth a cover that it seemed as if corpses lay there, hidden only by their winding sheets. Not the faintest rustle broke the profound tranquillity of the solemn scene. Sound itself appeared to be frozen up, all was so cold and still.

“It was the echoes,” said Gabriel Grub, raising the bottle to his lips again.

“It was NOT,” said a deep voice. continued tomorrow

A Graveyard Christmas 1

Charles Dickens invented Christmas.

That is an oft repeated observation; an exaggeration of course, but not that far from the truth. His book A Christmas Carol written in 1843 forever changed the holiday. That story has become a part of the world’s DNA, and has been represented in numerous films, cartoons, and rewritings, frequently of low quality. I’m sure that anyone in America above the age of five has seen some version.

Dickens wrote four other Christmas novellas, which I have referred to in the past. In fact I have made so many references to Christmas, real and literary, that I will be providing a list of links on the twenty-fourth.

There is one more Christmas tale that will appeal to completists. It is part of the Pickwick Papers, but it sometimes appears separately. I present it here because it is somewhat hard to find. You will see that it presages the same themes that Dickens returned to in A Christmas Carol, although Gabriel Grub in this version is meaner than Scrooge, and less warm and fuzzy after his redemption.

I don’t return to this tale often, but I wouldn’t have missed reading it once.

By the way, my post title is accurate, if odd, and designed to pique the interest of search engines. Sorry about that.

            Syd Logsdon

The Story of the Goblins Who Stole a Sexton
by Charles Dickens

In an old abbey town, down in this part of the country, a long, long while ago – so long, that the story must be a true one, because our great-grandfathers implicitly believed it – there officiated as sexton and grave-digger in the churchyard, one Gabriel Grub. It by no means follows that because a man is a sexton, and constantly surrounded by the emblems of mortality, therefore he should be a morose and melancholy man; your undertakers are the merriest fellows in the world; and I once had the honour of being on intimate terms with a mute, who in private life, and off duty, was as comical and jocose a little fellow as ever chirped out a devil-may-care song, without a hitch in his memory, or drained off a good stiff glass without stopping for breath. But notwithstanding these precedents to the contrary, Gabriel Grub was an ill-conditioned, cross-grained, surly fellow – a morose and lonely man, who consorted with nobody but himself, and an old wicker bottle which fitted into his large deep waistcoat pocket – and who eyed each merry face, as it passed him by, with such a deep scowl of malice and ill-humour, as it was difficult to meet without feeling something the worse for.

A little before twilight, one Christmas Eve, Gabriel shouldered his spade, lighted his lantern, and betook himself towards the old churchyard; for he had got a grave to finish by next morning, and, feeling very low, he thought it might raise his spirits, perhaps, if he went on with his work at once. As he went his way, up the ancient street, he saw the cheerful light of the blazing fires gleam through the old casements, and heard the loud laugh and the cheerful shouts of those who were assembled around them; he marked the bustling preparations for next day’s cheer, and smelled the numerous savoury odours consequent thereupon, as they steamed up from the kitchen windows in clouds. All this was gall and wormwood to the heart of Gabriel Grub; and when groups of children bounded out of the houses, tripped across the road, and were met, before they could knock at the opposite door, by half a dozen curly-headed little rascals who crowded round them as they flocked upstairs to spend the evening in their Christmas games, Gabriel smiled grimly, and clutched the handle of his spade with a firmer grasp, as he thought of measles, scarlet fever, thrush, whooping-cough, and a good many other sources of consolation besides. continued tomorrow

Back for Now

On September fifth I temporarily closed out Serial. The reason was:

It has been three years, almost to the day, and I’m out of stuff.

I’m still out of stuff, since all my recent writings are looking for more traditional publishing opportunities, but I reserve the right to bring Serial back to life  long enough to bring in ringers like:

The Story of the Goblins Who Stole a Sexton
by Charles Dickens

This is the short story that later became A Christmas Carol. I will be presenting it in Serial in eight installments, starting Monday.

547. Where Do You Get Your Ideas (2)

Continued from Monday.

In the movie Scrooge, just after Bob Cratchit leaves Scrooge to return home on Christmas eve, he meets his two youngest children outside a toyshop. Inside is a wonderland of toys, including mechanical marvels. Most notable is a clockwork strongman who lifts himself horizontally and then holds himself suspended by one arm. You’ll no doubt see the movie on TV sometime this month; you can watch for the scene.

When I saw it — and every time thereafter — I found myself asking who, in an obviously poor corner of London, would buy such toys? Who would make them? Why were they there?

I buy into Christmas and its magic 100%, but I also look behind the curtain. If you are a writer, you know the feeling.

Clearly, historically, these were late Victorian toys. Their existence was a product of Dickens’ push for humanity, kindness, and his desire to make childhood the joy it never was for him. In short, these toys existed in the 1970 version of Dickens’s Christmas Carol precisely because Dickens had called them forth by the writing of the novel in 1843.

If that confused you, don’t try to write time travel stories.

As I saw the toyshop, and the poor children outside who would never have such toys, I said to myself:

Let’s write a story about the toyshop, and the man who inhabits it. Let’s make him the toy maker, not simply the proprietor. How does he feel when he see children pressing their faces against the glass, knowing that they cannot afford the toys he makes? Why is he in this poor part of London? What is his backstory?

Let’s not make him a simple fellow like the one in the movie. Let’s make him a brooding figure. Let’s unfold his story slowly, and let him find his own kind of redemption. Let’s not make him anything like Scrooge, but the product of some irreversible tragedy outside himself. And then let’s reverse the irreversible, but slowly.

The skeleton of this idea floated about in the ether for decades. The final connections came when I was writing The Cost of Empire and getting acquainted with steampunk traditions.

Clockwork. Steampunk worlds work on steam and on clockwork. The toys in the toy shop are clockwork. Clocks are clockwork. Clocks measure time. Steampunk is full of time travel. Time travel is based on unsupportable science, so it touches on fantasy. A Christmas Carol is full of fantasy, if you count ghosts impinging on the “real” world as fantasy.

Remember, the subtitle of Dickens’ story was Being a Ghost Story of Christmas.

When you come right down to it, A Christmas Carol is a story about time travel. Three ghosts take Scrooge to the past, present, and future. And it displays the most cliché time paradox, that Scrooge goes back in time (from the future to the present) and becomes a different person than he would have been if he had never seen the future.

So suppose a time traveler from the future goes back to Victorian London to — no, I don’t want to tell you that yet. I have to leave something for the book.

Don’t think of all this speculation as something that moves in linear order, like an outline. Think of it as ten thousand bees in a swarm inside the author’s head. Nine thousand of those bees will be blind alleys and will never appear in the final product.

The ones that made the cut were dragged out of the cosmos by hard thought and reflection over the year it took to write Like Clockwork. Those are the “ideas” no one ever asks about, but they are the ones that really count.

The ironic thing is that Like Clockwork ended up not being a Christmas story at all. In fact, it takes place in a universe where Christmas has been all but forgotten. The part of the novel actually dependent on the toy shop ends up as about ten percent of the whole.

So if, on some future date, you are reading Like Clockwork and you ask yourself, “Where the hell did all this come from?” — the answer is, “Dickens made me do it.”

Or the answer could be, “Out of the ether.” Both answers are true.

543. The Door

 

Photo: Marcin Konsek / Wikimedia Commons

Here is a quote for you, hot off the grill.

There is a door. On one side is written Science Fiction. On the other side is written Fantasy. You can come from either side, and pass through either way, but it will still be the same door.

You can write pure, hard science fiction, and you can write pure fantasy. At least you can try to, but no matter how much you try there will always be a modicum of fantasy in science fiction. And fantasy will always have a hard edge of life and death, or it won’t be worth reading.

Like Clockwork sounds like fantasy until half way through, when all the weird things are shown to have a scientific basis — more or less. And in the middle of the setting of the story, there is an arch between Inner London, which looks like a Dickens movie set, and Outer London, which looks like an equation.

 Snap’s world lay pinned against the Thames, from St. Paul’s to the Clock and on to the Tower, with London Bridge somewhere near the middle. It would be hard to chart the boundaries of Snap’s world, as it was a world of fogs.

Balfour walked with Snap as far as Pickwick’s and took his leave. From there, his path took him along the wider thoroughfares — and the widest were none too wide — past the shell of St. Paul’s. It was familiar territory for Balfour. He was one of the few whose nature allowed him to move freely between Inner and Outer London.

Eventually, he reached The Wall at Newgate Arch. As he faced the opening, it was a weathered arch with carvings mellowed by the corrosive fog until they were quite unreadable.  He passed through and looked back. On this side of the wall, the gate was foursquare and framed in brick. Every brick was identical and a caliper could not have found a variation in the lines of mortar.

The city beyond was foursquare as well, with rectangular buildings on rectilinear streets. A small fragment of humanity lived with Snap in Luddie London; the rest lived here.

Yin and yang. Dark and light. Old and new. The look of fantasy and the look of science fiction. It makes for a nice tension.

538. Not Like Clockwork at All

I have been writing my latest novel Like Clockwork for ten months and today (October 17) I called it “first draft done”. But it’s not that simple.

I have a file on my computer called ???When???, where I keep track of starts and finishes because I would never remember dates otherwise. I went there to make note of the tentative conclusion of the first draft and took time to remind myself how I got here.

It’s a tangle. I’ve had books that took longer to write, and books that grew well beyond the size I had intended, but I have never before had a book that refused to tell me ahead of time what was going on. I decided to share the file of my progress(?), edited to remove irrelevant family matters.

===============

January 2, 2018. I began the first page of a novel/novella with the working title Clockwork Christmas.

Jan. 13, 2018.  Clockwork Christmas is now titled Like Clockwork, after the toy store where Snap works. As of today, I am about 12,000 words into the thing. I hope it will reach at least 60,000 words to be sold as a novel, but it still could possibly be finished at novella length.

(For reference, SFWA sets novella length at 17,500-40,000 words. F&SF sets 25,000 as the largest piece they will publish.)

Like Clockwork is being constructed of (minimum and approximate) 1000 word chapters.

From roughly 17 to 22 January, 2018, I paused Like Clockwork to write posts for the website. (There were several pauses for colds and other minor illnesses which I will not record.)

On Jan 31, I wrote chapter 10 in which Balfour gets the idea for Jekyll and Hyde. He does not yet know that he already wrote it in another life.

Mar. 6, 2018, things are coming slowly. As of today, about 25 chapters done. That’s a large number, but each chapter is short.

March 11, 2018  Today Stevenson emerged into consciousness, absorbing both Balfour and Hyde. That lasted about a day, then Balfour realized he can’t be the actual Stevenson because he remembers Stevenson’s tombstone. What exactly  is he? As of now, I have no more idea than he does.

April 3, 2018, writing on the chapter Slow Time, I began to show Bartleby’s dogged determination to follow any task to its completion. The question occurred to me for the first time, is Bartleby human, or a robot or android. As of this date, I hadn’t decided if he is a person or an living story character with Melville as Fabulist, and now here is a third possibility.

April 4, 2018, writing the final paragraph of the chapter Slow Time I came to the realization that Like Clockwork is the story of a whole cadre of people who made a Faustian bargain, got what they asked for, and now are suffering from buyers’ remorse. I also came to the realization that yesterday’s question, “Is he a robot?” is answered this way — he is a cold, detached, hard boiled detective type who can’t be pushed aside from a goal or puzzle. He doesn’t need a personality any more than Sam Spade did. Not a machine, but thinks like one.

(Aside — Bartleby’s name changed as the writing progressed. First he was named after the Melville scrivener. Then he became Helmsman. I liked that name but it implied that he was a leader type, which he wasn’t. Finally he became Hemmings, because it’s just a name with no hidden meanings.)

About here, some time was devoted to my personal life, plus the completion of an unrelated short story.

On about June 28, I became aware the Tor would accept novellas beginning July 30. Like Clockwork had been nearing its end at about 70000 words. That doesn’t work for today’s publishing industry, and some of that was less that compelling writing in a long flashback section. I had three choices. Shorten and go for Tor novella publication, stretch even further and try to reach salable novel length, or let it find it’s own length and self-publish. I have opted to make it a Tor novella, although the other choices remain if Tor rejects it.

On July 14, 2018, I finished the Tor novella version of Like Clockwork, now retitled The Clock that Ate Time. I still have to do some e-formating to match their submission engine. The novella version runs 39,365 words. I had to cut out everything relating to Hemmings and Crump, which means cutting out the Babbage and Hemmings’s brief career as a sweeper in a factory, along with the extended memory-retrieved-as-flashback that details how the Founder set up the whole thing and why. I really hated to let go of all that.

I would enjoy the long version better, but the short version is less discursive. If the novella doesn’t fly, I may try it elsewhere (if there is any elsewhere — F&SF maxes out their novellas at 25,000 words) or I may go back and finish the long version. For now, I’m just glad to be at least temporarily done with it.

The novella version went off to tor.com.

You have to understand that writing is schizophrenic. I was sure that it would be accepted. No other outlook would allow a writer to retain his sanity. I was equally sure that it wouldn’t be accepted. The market being what it is, everyone on Earth with a novella ready is going to jump into the tor.com window of opportunity.

From the end of July until the beginning of October, I worked on other projects.

Oct 2, 2018   tor.com rejected The Clock that Ate Time, resulting in disappointment followed by relief. Now I can complete the novel version. Bear in mind, it is not insanity to carefully edit out feelings of irritation and disappointment, as long as you know that you are doing it.

Now I am expanding Hemmings part of the story and grafting it back onto the whole. It is called Like Clockwork again and it is taking forever to complete.

October 17, 2018 I finished both part one and part three of Like Clockwork months ago. I have recently been filling in the middle third, which amounts to a long flashback that explains how reiterant London came to be. Today I wrote the last line of the middle section. I still have several  half-page long dialogs or descriptions to fill in, and I still haven’t quite finished deciding how to integrate Hemmings and Crump into the big finale, but I am calling it “rough draft finished”.

Still, it feels (and is) very unfinished at this stage. I think I need to fill in more of the Founder’s personality. That may take only a few touches here and there, but they have to be the exact right touches, and that can take a long time. I also have four versions to integrate: beginning, middle, and end of the latest version, along with the tor.com version which is the least extensive but most polished.

I need to find something to write next, or perhaps finally decide to begin self-publishing; it may take a long time for all the finalizing of Like Clockwork, a few hours here and a few hours there.

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See what I mean? This is my fourteenth book, and the only one that has driven me this crazy. I know that I did a lot of character name dropping, but that was unavoidable. I don’t expect you to understand anything except the level of madness this book has engendered.

Today I started deciding which potential novel will be number number fifteen. I plan to outline this one.

I think.