Anyone in the business of storytelling will tell you that conflict is what makes a story a story. It drives the action. It moves the characters and makes them fight for what they want. It makes them grow as (fictional) people. It’s what gives us the compelling stories that capture our imaginations.
And while it’s not a perfect correlation, a lot of us could also tell you that when those bumps appear in our own lives, they’re opportunities for us just like they are for our characters. Trouble is, knowing that doesn’t always make it any easier emotionally to handle those disappointments. Not when something takes you in a different direction than you expected to be going. Not when it feels like your slow, steady climb towards your goal has taken a sudden turn to the left. Not when you start questioning whether you made some mistake along the way that will delay you terribly if not prevent you entirely from reaching where you thought you were going.
Is this melodramatic? At least a little. (I write fiction for fun; what were you expecting?) Do I have a marginally unhealthy expectation that my life will follow a roughly sensible character arc, with obvious steps forwards and backwards, all moving towards a single concrete goal? Possibly. Oops. But can I still take advice from my favorite characters? Absolutely. Especially when all of them keep pushing through when there’s no easy way to get where they want to be.
A couple of months ago, I listened to Delia Owens’ beautiful novel Where the Crawdads Sing. Aside from thoroughly enjoying it in its own right, it also reminded me of another novel: A Girl of the Limberlost by Gene Stratton-Porter. This is not particularly surprising. Both stories follow a young girl with a strong attachment to the surrounding swamp/marsh, a knack for collecting remarkable specimens, and a less-than-ideal home life. So, once reminded of Limberlost and how much I’d enjoyed reading it as a kid, it seemed like a good idea to revisit it.
Now, I don’t actually remember how old I was when I read Limberlost. I was young. Possibly very young, but I really couldn’t say. The book was gifted to me by a dear friend who had also enjoyed reading it when she was a kid, and rightly figured that I would as well. I bring this up because upon picking it up again, I was a little surprised to find that it was not quite what I remembered. Blame it on my tastes maturing and me growing up. That’s not to say it’s bad, per se, but it certainly doesn’t carry the same nuance that the books I most appreciate now do.
Another point worth bringing up: I have absolutely nothing against rereading books. In fact, I’m of the opinion that the best books are the ones that you get more out of every time you read them. I’ve read The Lord of the Rings and The Hobbit at least three times each, and probably more. I recently returned to the Touchstone trilogy by Andrea K. Höst and have every intention of doing it again. And there’s so many others. Like Frankenstein, which I didn’t particularly enjoy the first time but want to see if I get something more and different out of it now that I’m older. Or Fahrenheit 451 which I did enjoy both times I read it. Or a dozen others that come to mind without my having to think about it all that hard.
But not every book needs to be reread. And not every book needs to be reread by everyone who read it once. Especially not when we’ve all got more books we want to read for the first time than we can reasonably expect to get through in one lifetime. With more written every day.
With this in mind, it’s reasonable to ask why I’m bothering to finish this read-through. With so many things I want to read that I haven’t touched yet, why spend the time to reread something when I’m already not finding the same wonderment between its pages that I did the first time? There’s several reasons, of course. And fortunately, this isn’t one of those questions with a right or wrong answer.
In this case, the easiest answer is that it’s a mix of curiosity and nostalgia. Curiosity because I want to see if reading through to the end again lets me find now what I found then. Nostalgia because while I don’t remember many of the finer details of the story, I very much remember how it made me feel. And, I suppose, I want to spend a little while with the person I was when I was a kid, and maybe to . The slightly more cynical answer is that I want to poke at the story to figure out why I feel differently about it now. Both answers have at least a grain or two of truth.
As of the writing of this post, I’m about halfway through my read of Limberlost. It’s going relatively quickly, and the fact that it isn’t a terrible slog certainly helps. Whatever else it is, it’s not a difficult read. It’s also proving more enjoyable than I was afraid it would, though whether that’s because of my own revised expectations or the story itself gaining its feet I couldn’t say. Possibly, too, finding out when it was written helped shift my view as well; the book is more than a hundred years old, and reading it almost more as a piece of history than with the critical eye I might turn on a piece of contemporary fiction has its merits.
At this point I really have no idea how I’ll feel about it by the time I finish. Certainly right now I don’t regret picking it up again. Just as certainly, though, the experience is entirely different than the one I was expecting. But then, I’m tempted to say that’s one of the best reasons to reread something at all.
So, it seems like I’ve slipped down unofficially from weekly posts to biweekly, mostly because life is busy being Busy and my braincells are spinning around in all the different places (wheeeeee!). That being said, I’m going to go ahead and make that unofficial schedule official for the next couple of months: at least until my move is finished and I’m a little more settled in in a new state.
I am still here, and still writing (always!) just at a slower pace than I had been. And as proof, let me share one of my recent warmups/writing prompts that I enjoyed! Ten minutes, based off of an AI generated image (how’s that for futuristic?), and lots of fun. If you’re interested, I’ve included the picture the computer came up with down below, too!
So, without further ado and absolutely no editing, enjoy a peek at what happens when I get a time limit and a fun prompt.
The noose was closing. Inch by inch. Moment by moment. It wouldn’t happen today, might not happen tomorrow, but the end was coming. The game was coming to a close, and when it did, Saava would have lost.
Someone else might have used the inevitable end as an excuse to indulge in angst and terror. Or maybe they wouldn’t have had a choice. Others might have turned and used what very little agency remained to them to face their looming death with what the stories called pride and honor.
Not Saava. It would have been easier if she could. But as long as she still drew breath her mind refused to admit defeat. Not even when every logical part of her knew that the end was coming and the horrors it would bring. Not even when she knew she was nothing more than a dead woman walking. Not even when she knew her continued flight would mean greater pain and vicious punishment when they finally caught her.
And it wouldn’t be long now. There were only so many hiding places aboard Citrion Station, and she’d already used most of them. And she had already lasted longer than anyone thought she would. Had thought anyone could. And against some other Hunters, maybe it would have been enough.
Not for her.
Not against Foliak’s Bloodhounds.
Outside, she heard footsteps. And she froze. Even when every cell in her body shrieked that she had to run, she held still. Held steady. Held onto the mantra that had been the only thing to keep her alive these past five months.
Don’t run. Always hide. Let them pass you by.
But the day would come when they wouldn’t pass. Because there would be nowhere further for them to go. Or for her. And then the bloody end would come.
The footsteps receded. She opened her eyes again. And looked up. And she could have laughed. Because the game wasn’t over after all. There was another player. And he was on her side. Or else she read that familiar, fresh white symbol on the bulkhead all wrong.
As of yesterday, I have officially read as many books this year as I did in the entirety of last year. Or in other words, having finished reading thirty five books by the end of May, I am well on my way (and ahead of pace!) for my overly ambitious goal of seventy five by the end of the year. Assuming I don’t get completely derailed when I go through a big move in a month or two. Heh.
On a definitely related note… I’m currently in awe of Connie Willis’s ability to plot out stories. And by “in awe” I mean “feeling marginally inadequate because wow she’s good”. While I wouldn’t go so far as to say that her WWII time travel story Blackout/All Clear is flawless, it’s easily one of the best things I’ve read this year and a display of formidable skill. A very slow burn story, but once it gets going, boy does it. And the way she weaves a thousand different plot threads, themes, and references into a sudden and cohesive whole that appears out of nowhere and goes straight for your emotions…
…let’s just say I’m still recovering.
And trying to figure out how I can get that good. Or. You know. Anywhere close to it.
The answer, as much as there is one, is to keep writing and to keep reading. So I guess I should get on that. This next Tanner and Miranda scene that’s causing me so much trouble isn’t going to write itself, after all!
In the meantime, what about you guys? Read any good books lately?
Sometimes, you find a story that lodges itself somewhere deep in your soul. Maybe you know why, or maybe you just can’t figure it out. Either way, whether it’s something you watch or something you read, something about it resonates with you and grips you and won’t let go. And then, if you’re like me, you want to figure out what it is so that you can make your own stories do the same thing. Which then leads to the fear that you’re going to accidentally just rewrite the thing that inspired you in the first place.
Now, first. I know. There’s nothing new under the sun. So-called “originality” is an impossible dream. But that’s not what I’m talking about here; there’s a huge difference between writing a story that involves elves and halflings and an evil world, and writing one about a halfling called Fauxdo and his loyal friend Hamwise saving the world by throwing an amulet of power into a river lava. And unfortunately, when trying to capture the same sort of excitement that is caused by a specific work of fiction, it can be far too easy to fall back on the specific scenes that were your favorites. Or the specific characters who captured your imagination.
Then again, they say that imitation is the sincerest form of flattery. So maybe there’s a middle ground.
At the moment, my best answer is this: try to figure out what it is that captured your imagination in the first place, and why it is that this particular story seems to resonate with you the way it does. I know. That’s hard. REALLY hard. Because to do that, you have to get through to the heart of the story, past all the shiny stuff on the outside that you might also really like. But if you can do that, if you can figure what the story is actually about, at its core, then it becomes easier to tell a story about that same theme. For example: Fringe. Fundamentally, it’s a story about family, and how a family has to face truly terrible odds and dangers together. Yes, I’m still talking about Fringe. Because that’s the latest thing that’s lodged itself in my mind.
So if, to continue the example, you enjoy a particular story because it’s about a family and how they have to survive insurmountable odds, if you were to write a story about a different family and their own insurmountable odds, then perhaps it will create the same sort of soul-nourishing yearning that the other story created. And yet, it won’t be the other story. It will be your own, because you are answer the same question in your own words, colored by your own experiences and knowledge. And unless I miss my guess, that’s what writing is all about.
In college, I was terrible at doing proper research. I mean truly awful, though I usually still managed to write decent papers. Probably in part because I really just wanted to do the writing, and not the researching. Or, since these are essays we’re talking about and not fiction, it’s possible I just wanted to get to the end and have done with it.
Fortunately, a fantastic teacher my senior year managed to explain what research actually is and how to do it in a way that clicked with me, and though I only had about a half a semester in which to actually make proper use of it, I now get it. Or I do enough to keep an interest in it, at least!
For me, it’s tied into the idea of writing what you know. I’m going to have a much better chance of writing an epic and believable sword fight if I know the first thing about how sword fights usually go. And not just what it looks like in various blockbuster movies, no matter how much fun they are to watch. If I know what it’s supposed to look like, then I know what I can tweak for the sake of the “cool” factor without running the risk of accidentally taking out something structural.
It’s also a great way to immerse myself in the world I’m trying to create. Instead of feeling like research is something I have to get out of the world before I can get to the actual fun stuff, it’s a way for me to get into the same world I’m planning to write about at a deeper level that will make it easier to write once I actually get down to it. I may not be a skilled sword-fighter myself, but if I know how long it takes someone to become a master in our world, and what weaknesses they might have, and what the strengths of their particular style are, I’ll be able to add those details in (or at least make sure that I don’t accidentally contradict them), and that’s only going to add to my writing.
With an essay or a research paper, the trick was to make sure I worked on a paper I was interested in. Which sadly, for research papers, was sometimes a lot easier said than done, or else the topic was specific enough that it was tailored to what we’d already read in class. But the paper that helped me figure out how to research was one that I was curious about but didn’t feel like I already knew the answer to, and that motivated me to go looking for them.
Or in other words, to do research.
Kind of on a side note, but that’s also what got me to start reading non-fiction for fun as well. If a writer is writing truth about the world, about people, about reality, then the more we learn about that same world, about psychology, history, life, death– everything– the better we will be at writing. And that takes a certain humility. It’s hard to look for answers if you already think you have them all. But if you know there’s everything you don’t know, there’s nothing at all to stop you from looking and learning.
As you might have noticed if you’ve read any of the excerpts and stories from Tanner and Miranda’s adventures, Miranda is unapologetic and tends not to waffle. As you may have noticed from reading pretty much any of my blog posts… I am not. Certainly not to the same degree, at least. We can read more into that later. For now, I’ll just add that this makes writing from Miranda’s perspective (which I’m doing– I swear!) occasionally tricky, particularly when I’m out of practice (which I definitely am). My prose keeps ending up with extra words that I would say, and Miranda never would, and I end up glaring at my screen and deleting the offending phrases, only to realize that I still haven’t said what I need to say. I know I should just accept the rough draftiness of it and just push through, content to ruthlessly chop out said phrases later, but the part of me that wants to go slow and get it “right” the first time is still winning out.
Hey, all. Despite my quietness here, including a skipped post last week, I’ve still been writing. Slowly, but writing nonetheless. And in true form, I’ve been having trouble sticking to one project. In a first, though, I haven’t been jumping from one novel/short story project to the next, but rather I found myself doing my best to put together what amounts to an epic poem.
You see, as often happens, I got a new idea. But as not so often happens, this one wouldn’t fit with prose. At all. Just flat out refused. So, in between yelling at Tanner and Miranda and trying to get them to do what I want them to do– a losing proposition at the best of times– I’m trying to remember how to write poetry, complete with meter and rhyme schemes and a whole lot more structure than I usually need to worry about. And you know what? It’s really fun.
It’s entirely possible that working in an actual, honest-to-goodness city has gotten inside my head. It doesn’t matter that I’ve been spending sizeable portions of every week actually in Los Angeles for the better part of a year: I still stare up at the buildings like the country girl I apparently still am. In case there’s any question, yes, I’m completely okay with that.
Now, nerd that I am, staring at the seemingly never-ending stretch of buildings inevitably leaves me considering the logistics of space stations. Well. Some of the logistics. I don’t mean things like creating gravity and making sure life support works (okay, so maybe now I am, in a purely theoretical sense) but more what it would be like to have a city’s worth of people living suspended in space.
Assuming for a moment that the fictional civilization in question figured out how to build and maintain a structure that could support millions of people, what would it be like to live there? How would someone move between the different places they need to go? LA has its chaotic mess of tangled freeways, but it’s hard to imagine that this:
would translate well to this:
If only because it’s going to be hard to find a place to put all the cars (or their 25th century equivalents). It’s just not the most efficient use of space. Plus, in our modern day cities, you’ve got to deal with miles and miles between the places people live and the places they work. Or play. Or run errands. And part of that is because there’s a limit, either cultural or physical, to how much we want to build up as opposed to out, and because we do, to one extent or another, have the space to build out. That’s not going to be a luxury the fictional inhabitants of a massive space station are going to have.
On the one hand, that’s going to mean that anyone living in that kind of orbital city is going to feel more or less like a sardine. On the other, there’s a certain convenience to being within walking distance of anywhere you need to go. Add in a few snazzy, high-tech elevators that can bus you from floor to floor or from section to section at remarkably high speeds, and things might be a little more reasonable.
And maybe people will continue to be more and more able to work remotely, cutting down on even more of the need to scramble from one place to another. Or maybe some sort of complicated shift system would exist, which would preempt any overwhelming surge of people at a particular time of day. Imagine that… a world without rush hour! Even so, I suspect it would take a certain sort of person to be able to thrive in orbit.
It’s all speculation, of course. But then, isn’t that why so many of us enjoy the science fiction genre? Hard or soft, there’s something about such speculative fiction that keeps us excited, engaged, and curious. Something that keeps us wondering about what might come…
“What do you mean you haven’t found her? It’s not a big ship! What did she do, step out the airlock or something?!” The captain was snarling now, with the spittle flying from his mouth and that crazed twitch in the corner of his right eye. Ruby had served on the little pirate crew long enough to know what happened next: he would keep screaming until his voice cracked from the exertion. His face, already red, would turn purple. His vocabulary would expand to contain every known form of profanity, and several new ones besides.
It was hardly the first time it had happened. It wouldn’t be the last—assuming, of course, that this wasn’t the rant that finally sent him apoplectic.
The best thing to do was to just stay out of the way; not that poor Tomms had that luxury. It couldn’t be helped. He’d learn fast enough. She had. And sure, she liked the kid, but that didn’t mean she was going to stick her neck out for him when the captain was on the warpath. That would just be—
“Get back down there and look again!” She winced as the captain whirled on her. “And you too! Maybe together you’ll be better than useless!”
So much for that. Ruby scrambled to her feet with a hasty “yessir” and made for the door. Tomms gave her a pained and panicked look and bolted after her. Neither one said a thing until they were well beyond the bridge and out of the captain’s earshot. Neither one bothered to pull out their blasters even then. If they needed them, they could unholster them fast enough.
“I’m so sorry, Ruby,” hissed Tomms, tentatively, as if he expected her to use it as an excuse to treat him the same way the rest of the crew did.
Poor kid. Like she’d stoop that low.
She twitched a wry smile his way and shook her head. “Not your fault, Tomms. Let’s just get this over with.”
That was, of course, easier said than done. For such a small ship, it was carrying a whole lot of cargo. And instead of all being packed together in one huge conglomeration in the center of the hold, dozens of containers were all separated out in various stacks. No doubt, it was all part of some grand system of organization. The fact that they created a veritable maze was just a side effect.
“There’s a million places to hide in here,” said Tomm. His voice wasn’t quite a whimper.
“And that’s just counting between those cargo containers. You can double that if this is a smuggling ship.”
He did whimper at that. It was the only sensible response.
“She can’t just hide forever.” The tremor in his voice added in the unspoken “can she?”
“No,” said Ruby, with entirely more conviction than she felt. Because this was her home turf, not theirs. And while the cargo hold might look like a bloody labyrinth to them, she probably knew it like the back of her hand.
And then there was the whole question of why she had so carefully put her ship in orbit around the nearest moon instead of going for a hard burn when she’d noticed the pirate ship closing in. It was an unconventional response to say the least. One that had Ruby wondering what their target had hiding up her sleeve. Sure, scans had shown she was the only one on board, but that just meant that Ruby had more questions, not less. Even the most hubristic explorers of the void knew better than to try their luck entirely on their own.
And this particular star sailor had not seemed to be the hubristic sort.
“Tomms. Watch yourself.”
Ruby made a face. “Be careful. I’m not sure what she’s up to.” Whatever it was, it was probably more than hiding like a scared rabbit.
Tomms grimaced. “Why are we doing this, Ruby? It’s her ship.”
“We’re doing this because if we don’t, the captain’s going to start using us for target practice.”
After ten minutes of searching the hold, though, and turning up absolutely nothing at all, Ruby was starting to wonder. She stopped on her prowl down one of the narrow pathways between crates to groan softly and glare up at the ceiling. Over to one side, the dark side of the moon could still be seen through one of the small portholes that lined the top of the hold. An odd structural choice, though there was something to be said for a little natural light when loading the ship, she supposed.
After ten more minutes, she started wondering if the rightful owner of this particular little ship hadn’t actually found some way off. Because it was starting to seem highly unlikely that she was actually still on board. That, or Ruby and Tomms both were going to have to ask some hard questions about their ability to search a vessel. There was also the question of what their current employment said about them as people, but that was less specific to the situation. And while Ruby wasn’t looking forward to finding the answer at all, it would be slightly easier to handle when their boss wasn’t raging and pirating about one deck up.
He wasn’t going to be happy about the lack of results. Frankly, Ruby was surprised she and Tomm had been able to search undisturbed for twenty minutes. It couldn’t last.
“Tomms?” Her voice echoed through the hold, bouncing between the stacked cargo containers. “Anything?”
Silly question. She knew he hadn’t. He would have told her if he had.
Ruby frowned. “Tomms?”
Still nothing. A distinct chill went wandering up Ruby’s spine. Her hand slipped down to her holster, and she grabbed her blaster. And she kept moving forward, glancing side to side. Nothing, nothing, and more nothing.
And then, something. She wasn’t sure what made her stop and turn, but stop and turn she did, and caught the tail end of someone’s heel disappearing around the corner.
“Hey! Stop, you!”
Unsurprisingly, they didn’t. With an eloquent command like the one she had just given, Ruby would have, quite frankly, been more surprised if they had stopped. But it was something—more than something! She broke into a run.
And tripped right over Tomms’ body as she rounded the corner. Her heart jumped up her throat and started hammering at twice its normal speed, and it didn’t even start to slow down until her fingers found his pulse. Just unconscious.
A sudden clatter of footsteps on the ramp leading to the rest of the ship pulled snapped her away, and she jumped to her feet again and started running after the noise. She barely made it ten feet before she heard a faint click and a half a dozen cargo boxes tipped over in her path.
“Stop following me! Go see to your friend!”
The voice came from up the ramp, where the ship’s owner had paused just long enough to shout the command back. Even if Ruby had wanted to shoot at her, she didn’t have a clear shot.
“I—what?!” Of all the things she’d ever had people yell at her while she chased them, this was a new one.
But the ship’s owner was already gone. And as she was running up the ramp towards the rest of the ship, it seemed unlikely that the other more bloodthirsty members of their crew were going to need their help to catch her. Going back and checking on Tomms seemed like a good idea after all.
As much as she had made quiet fun of the portholes all along the top edge of the cargo hold, the sudden influx of bright moonlight as the ship’s orbit took them around to the light side of the moon provided all the light she needed to check Tomms over for injury. Which made it that much easier to see the big goose-egg bump that had sprouted from the back of his head. Ruby got the sudden impression that maybe, just maybe, they had underestimated their opponent.
For a fleeting second, she wondered if this scrappy little star sailor might be able to get the jump on the captain and their other two crewmates. If maybe the pirates would get sent scurrying. If perhaps she might have a use for a couple of crewmembers herself: even a ship this small was easier to run with a couple pairs of extra hands.
The three-to-one odds she was facing weren’t going to make that easy. Ruby glanced down at Tomms. The poor kid was out cold. Stable, but definitely unconscious. She paused. This was a terrible idea. The sort of idea you didn’t survive. The sort of idea that would get you used as an object lesson every time a certain pirate captain hired on untested hands for years to come.
The sort of idea that might be worth it anyway, just for the tiny chance that it might work.
Ruby squeezed her eyes shut. She took a deep breath. And then she checked Tomms one last time before starting off up the ramp on what was probably a complete fool’s quest.
She didn’t get far: no more than three steps. Because before she could take step number four, a terrible howl ran through the whole ship. A bone rattling, ship shaking, void piercing howl. And all Ruby’s new-minted resolve crumbled.
And then the ship went dark.
The next minutes were horrifying. The howl gave way to shouts and blaster fire and the occasional low rumble that sounded awfully like a growl. Ruby found herself cowered against the far side of the ramp, trying to think past the terrified mob of thoughts that ran wild through her head.
What was on the ship?
What had the captain unleashed?
Was this one of those deep space terrors that wasn’t supposed to exist?
Had their erstwhile quarry run straight into something even worse than pirates? That stirred something beyond panic. If the little ship’s captain had needed help before, she needed it more now. And she wasn’t going to get it from anyone else. Not with Tomms out cold and the rest of their crew being what it was.
Ruby’s throat was dry. Time to keep moving, then.
Somehow, she couldn’t manage it until a more pragmatic corner of her brain pointed out that hiding wasn’t going to fix anything, and would probably just mean that Whatever It Was would find her anyway when there was no one else to help. If she was going to survive this herself, going now was her best chance.
So she went. It disgusted her that she needed such selfish logic to motivate her, but motivate her it did. And she might as well make the most of it.
Halfway up the ramp, the ship went silent too. Ruby’s mouth was dry, but she tried to swallow anyway. It didn’t help. She still felt as terrified as ever, which was perhaps why it took her a few moments to realize that the sudden silence had not, in fact, been preceded by screams of agony. Which was a good sign. She hoped.
Somehow, she kept moving. Despite her best efforts, every step sounded like a gong on the metal ramp. A soft, muffled gong, but to her ears, a gong nonetheless. The blaster in her hand seemed like it wasn’t going to be much in the way of protection, should it come down to it. But just reholstering would have been worse, so she kept holding it in her cold, sweaty hand.
Halfway up the ramp, she got the feeling that someone—something was watching her, and her heart jumped, impossibly, even farther up her throat. She stopped. The ship creaked around her. The ship’s systems beeped and hummed, distantly.
This was ridiculous. She kept going.
At the top of the ramp, the feeling became certainty. She heard someone. Something. Breathing. Ahead of her. Above her, in the dark.
She should turn around. Going forward was insane. Going forward would get her killed. Or worse. Or—
Before she had a chance to go forward or turn back around, something came down on her head and dropped her like a sack of stones. But it didn’t knock her into unconsciousness. That would have been a mercy. Instead, stunned, she felt impossibly huge, impossibly hairy hands (or were those claws?) close around her ankles and drag her towards the bridge. She heard someone kick her blaster and send it skittering away, well out of reach. She saw, as they came out of the dark corridor and onto the moonlit bridge, three still forms lain out in a row next to each other. And she became the fourth.
That touched some primal mote of terror deep inside. So much for pretending to be unconscious and hoping for the best. She yelped and flailed and made to break away. She stopped as soon as her captor stepped into the moonlight.
It was huge. Eight feet tall, at least, and that was standing hunched. It was hairy. Wolf-shaped. Wolf-toothed. And its eyes reflected the moonlight and seemed to glow with evil intent. Ruby’s yelp became a whimper.
And the thing stopped. It bent down, bringing its muzzle within inches of Ruby’s own nose. It smelled like a sweaty dog, and its breath was terrible. Ruby flinched. She didn’t mean to. She just couldn’t help it. But the thing just watched her for three long seconds. Four. Five. And then it gave a low growl.
Ruby closed her eyes and shook.
And she stayed that way for half an hour.
It was only when someone (someone! Not something!) touched her shoulder that she dared open them. And there, staring down at her with a look of mixed wariness and vague amusement, was the little ship’s captain.
“You’re alright!” Ruby’s voice came out as a croak, but the other woman seemed to understand it well enough.
“Of course I did. I thought I told you not to follow me.”
“I wasn’t going to—but the howl, the growling, the other pirates… I thought you might need help.”
The other woman laughed. It was a barking, gleeful sound. And that was when Ruby noticed that her teeth seemed somewhat longer and sharper than those of most humans. And there was a certain wildness to her eyes. And…
“Oh. Oh no. Oh no.”
Ruby jumped away as the woman—the werewolf—brought her hand down on Ruby’s shoulder.
“What, you didn’t think it strange that I was out here in the black all by myself?”
Ruby managed a nod.
The woman grinned, showing those too-sharp teeth again. “The name’s Captain Marie Lupine. I knew you looked smarter than the rest of these idiots.” She gestured at the three pirates that lay to the side, and Ruby noticed for the first time that they were all tied up. And also all still breathing, though a few sported a few new, long scratches.
“Where’s Tomms?” Ruby’s voice was still entirely too dry for her liking.
“Your friend in the cargo bay? Still down there. I think I rang his bell pretty good. He should be alright, though.”
Captain Lupine dropped down into a crouch and looked her up and down. “So, the way I see it, we have a couple of options here. One, I turn you and Tomms in to the authorities with the rest of these numbskulls.”
Ruby shook her head as violently as she dared. Captain Lupine grinned again.
“That’s what I thought. Or, two, I let you and him take that ship you jumped me with, and you get to keep pirating around. Problem for you is, of course, that the ship would be tagged as a pirate vessel, and I don’t much fancy your chances of survival for very long.”
Ruby looked uncomfortable.
“Or, three.” Captain Lupine eyed Ruby. “You and Tomms stay here on my crew. I turn in these three and the ship to the authorities, and I say that you’re both crew I picked up at the last space station. I write you up proper contracts of employment and you don’t have to attack innocent passers-by or watch your blood pressure spike when you get within hailing range of law enforcement anymore.”
Captain Lupine grinned one last time. “It’s your choice.”
And that was how Ruby and Tomms started working for a werewolf running cargo runs in the deep black. All in all, it was probably the best choice either of them had ever made.