My Part in the MacGuffin Island Mystery

Last year I was invited to take part in a collaborative writing project that tested the limits of endurance and perhaps even sanity.

I’m a member of… well, a coven, quite frankly… of writers of TG fiction, and one of the regulars suggested that we ought to get to know each other better by working together on a collaborative writing project. It was to be a trans-themed murder mystery, the victim being our host, Bernard Manlyman.

I had given the world Bernard Manlyman, unintentionally. It was a throw-away mention in a discussion, reproduced below:

“Suppose I have an Amazon account, and bank account in my real (male) name. Kind of hard to have anything else… If I write a piece of TG fiction and publish through KDP, do I get a 100% watertight pen name such that buyers and readers won’t know my real identity? And could an author compartmentalise their books, with no way for readers to know that ‘Bernard Manlyman’, author of a book on bear wrestling technique, is also moonlighting as ‘Cindy Slutvixen’, whose tastes might surprise them? Inquiring minds want to know.”

Both Bernard Manlyman and Cindy Slutvixen became minor memes in their own right, but it was Bernard whose name would live thereafter in infamy.

Poor old Bernard: slain for reasons unknown, by persons unknown, and all of us stuck in his castle, marooned Scooby-Doo style on a small island somewhere off the coast of Scotland.

Most of the other authors accepted the invitation to bring trans characters in from existing writing projects, but I didn’t want to mire Michael / Harriet from ‘My Constant Moon’ in a smutty comedy, Jordan Kelly didn’t have any trans-anything leanings, and somebody like Noelle the cybernetic killing machine from ‘In Armour Clad’ would be a bit hard to constrain within a murder mystery, for the purposes of ratcheting up the tension.

Thus, I offered the character of Drusilla Spankwell, headmistress (retired) of a finishing school for gir– er, boys who… girls. Well, that is to say… a finishing school for young people.

The school in question was St Slattern’s in Pant-y-Gurdol, mid-Wales. Her backstory (never fully explored in the writing that followed) described how Drusilla had made the school her life’s work, but had been forced to resign in disgrace a few years before the events on MacGuffin Island.

Years before, Drusilla had taken part in a pagan ceremony somewhere in the south seas, on an island that was engulfed by the waves almost as soon as she left. The high priestesses of an icthyan cult had promised her tremendous power… but she was never entirely sure whether it was all a sham. Certainly, she had enjoyed a lot of power and good fortune during her working life, but maybe that was just her good luck, and there wasn’t a debt to be paid?

She wasn’t sure… but she chose Pant-y-Gurdol as the location for her finishing school because it was a long, long way from the sea, in an area of geological stability.

Drusilla hated being on MacGuffin island.

(Can you tell that I’d listened to H.P. Lovecraft’s ‘The Shadow Over Innsmouth’ in the days before we commenced the project?I liked the idea of a character who is always looking over her shoulder, with supernatural dread. This source also furnished me with her fancy dress costume for the masked ball. (Bernard had discovered shameful secrets about every person he’d invited, and given them costumes to match. Drusilla’s outfit copied the robes of a high priestess in the fish cult.)

My other influence at this time was Vivian Stanshall’s ‘Sir Henry at Rawlinson End’. I saw Sir Bernard Manlyman as inevitably being a buffoon, because that’s aristocracy, innit? Strange bedfellows those two stories make, but perhaps they serve to explain some of the madness that followed.

Meet Drusilla Spankwell. As we join the tale, the other guests have been brought to the island on a yacht, but Drusilla is already in situ…

Drusilla sheltered from the worst of the rain beneath an outgrowth of the Castle that extended from the ancient wall like a brick hernia. After a violent crossing, the yacht had moored up. Drusilla flexed her riding crop compulsively, regarding the new arrivals with distaste.

Ye gods save me, she prayed. They’re going to think me nothing but a common housekeeper!

Aaron Salty-Seaman (was there any other kind?) was struggling up from the causeway with a huge assortment of luggage. Drusilla loathed him utterly – on a chromosomal level and without any particular effort or enthusiasm. She longed to flick his inner thigh once again – perhaps his scrotum, yet – with the whip-crack expert application of her riding crop.

That first dahlia-blossoming of pain upon an innocent buttock as it succumbed to the sting of her goad: even imagined, it could make her forget the vile circumstances of this meeting. The thought was almost enough to drive out the pervasive cold. Almost.

In her mind’s eye, if only momentarily, Drusilla succeeded in overlaying memory upon reality. She imagined that the new arrivals were first years, trooping up the long driveway to St Slattern’s Academy, wondering what the forbidding school held in store for them… but Pant-y-Gurdol was more than four hundred miles away – and for Drusilla, three years in the past. She knew she must count herself fortunate that Bernard Manlyman had invited her to live here when virtually all others had shunned her following her disgrace at St Slattern’s, but that didn’t do anything to assuage her bitterness.

Small wonder that she took her frustrations out on fools like Aaron. He had learned of her proclivities the hard way, and thus he hastened to pass by. He strove to look industrious and worthwhile, and simultaneously to interpose a soft-sided suitcase such that he might use it as a shield, without appearing to do so.

In front of new guests, she couldn’t really use the riding crop without a pretext. Still, there were other ways…

“You, there!” She barked, timing it to perfection: “have a care with that!”

The hapless henchman was startled, and missed his footing. Cases tumbled – as did he. He received a warm welcome, printed painfully across his face by the stiff fibres of the doormat. ‘OCLEW’, it read, in fact.

This was ironic since of all the party who ascended from the dock, the sailor was the only one who wasn’t welcome: he would be returning to the mainland.

“You imbecile,” she said quietly. Few could have heard her. She towered over him, so close that he couldn’t rise for fear of touching her and thus earning a real beating.

From the corner of her eye she could see how uncertain the guests were as to how they should proceed. As another squall rolled in the miserable gaggle of visitors decided that pragmatism must trump protocol and they hastened to retrieve their items of luggage. Several pieces had sprung open as they bounced down the steps, and the rain looked set to soak their contents in seconds.

With cases hastily refastened and reclaimed, some items remained on the rain-sodden steps: a ball gag, an illustrated book on the history of the trombone and a monstrous purple phallus. Activated by the fall, this last undulated like some kind of large, hairless caterpillar and proceeded on its obscene way, into the undergrowth.

Drusilla spun on her heel, leading the guests into the entrance hall.

Predictably, Chrissy the diminutive (some would say, demented) maid was nowhere in sight, and failed to respond when summoned.

Drawing herself up to her full height, Drusilla held up an imperious finger, waiting until all the new arrivals fell silent.

“That will be all, Aaron,” she waved the retainer away. He retreated, back out into the storm where he could count his blessings.

“Since the maid appears not to be on hand, perhaps it falls to me to welcome you to Castle MacGuffin. Like you, I am Bernard’s guest, although I have been here for some time…”

She was also careful to demonstrate, through the use of Manlyman’s first name, that she was no mere flunkey.

“I’m told that Bernard – Mr Manlyman – won’t be with us until after dinner. In the meantime, I see that each of you has been left an envelope, with a key inside. These will provide access to your suites, down the corridor over there.”

She waved a languid hand, mortified at having to perform a task so menial as to direct visitors to their accommodation – and there was worse to come. She would have to make a social announcement, like some lackey at Butlin’s.

Her riding crop flicked, quite unconsciously, like the tail of an angry cat.

“Tonight’s entertainment is a costume ball, for Halloween. I believe you will find that a costume has been left out for each of you…”

She shrugged, as if to convey her disdain for such frivolity, but then her gaze became much more intense.

‘The eye of Sauron’ – that was how one of her second-years had described the penetrating glare of Drusilla Spankwell, headmistress. (The boy in question should have kept his observation to himself, and he might have kept his testosterone privileges a while longer. Still, he’d made such a sweet Cordelia in King Lear just two years later: in matters of gender at St Slattern’s, things tended to work out for the best, sooner or later.)

Now that intense gaze swept the room, scrutinizing all present and returning more than once to some. Ultimately, when she spoke again, Drusilla was looking at the girl with the northern accent – Esme Entwistle, was it? The journalist was unable to meet that gaze. Drusilla could tell she was seized by the feeling that she ought to prostrate herself the way the sailor had.

“I see that some of you are already well acquainted with… costume,” Drusilla smiled at some private joke.

After a pause, she added: “In this household, aperitifs are served at eight. Be punctual.”

She swept out of the room, a black galleon under full sail.

Drusilla Spankwell

The fruits of our collaborative writing project may someday see the light of day – if certain people can face the Herculean editing task that would be required, to hammer the assorted ideas of ten different people into a more conventional narrative. It would be nice to see a definitive version.

As far as collaborating goes, I wasn’t a terribly good co-author: the timing never seemed to fit and I usually found myself writing in airport lounges or something. Worst of all, my ad-hoc approach to getting something written meant that I seldom managed to negotiate with my appointed writing buddy. It was “take it or leave it” from me.

Still, we stuck with the project and made it all the way through to an Agatha Christie style denouement. (All the best mock Tudor Scottish castles have a denouement room for just this purpose.) I was quite surprised to discover that I wasn’t the killer. It could have gone either way… I mean, when you’re nuts, you’re nuts.

Here’s another snippet revealing something of Drusilla’s character:

If I’m to go to the library with those two I should arm myself, Drusilla thought. The killer might not be satisfied with just Bernard.

Excusing herself for a moment, she wondered if it might be worth trying to break open the gun cabinet, but when she reached Sir Bernard’s suite she found the door ajar and the gun cabinet already ransacked. It now contained only a collapsible bassoon, of the kind used by marching bands operating far behind enemy lines and supplied by airdrop.

She glanced around, seeking clues. Many a time, she had visited this room. If the weather was fine, she would sit in the window seat. Often they had debated the finer points of restraint, pain and compliance, or the ethics of brainwashing. While Sir Bernard had never been so crass as to offer Drusilla employment, he had expressed his desire to see her ideas reach a wider audience. In the end, it amounted to the same thing: she remained a guest at MacGuffin, but she was expected to sing for her supper. Or, more accurately, to write for her room and board.

Sir Bernard persuaded her that fiction would be a good vehicle with which to communicate her ideas. Her original hope of developing her treatise – basically that the wrong piece was disposed of when circumcision took place – was soon drowned out by the endless stream of sissy stories that Sir Bernard had her writing. Within the first six months she had a dozen pen names, and was churning out an apparently endless stream of implausible claptrap about boys who were suddenly orphaned and had to go and stay with their man-hating maiden aunt; about wives who would enter into an exhausting and complicated ménage à trois rather than simply leaving their wimpy husbands; about boarding schools where the punishments were far-fetched, bad for discipline and in most cases downright unsanitary…

Each time she thought she’d finally achieved a piece of biting satire that demonstrated the ridiculousness of the whole genre, Sir Bernard would clap his hands, praise her… and demand more of the same.

Drusilla recalled their last conversation in this room. She had been arguing that she should try to write a longer piece, with more plausible characters, with proper human emotions.

“No,” Sir Bernard had insisted. “Any story longer than three thousand words is a waste. I commissioned a study: the typical reader of these stories is a male… more or less… aged between thirty-five and forty-five, and from what we know about the reading ability of such people, and their virility, he’ll reach orgasm well before three thousand words. And if he doesn’t, you’re writing it wrong!”

While they’d talked, Sir Bernard had been polishing his Webley. He’d been altogether too enthusiastic when it came to polishing his Webley, in her opinion… but she wasn’t the headmistress of this domain, and her feelings counted for little.

Like the villain in a film, he talked too much. He had to explain how clever his schemes were. So, his profit margins had been hit by a website that offered fetish stories for free? No matter: he would drive all their visitors away by uploading an endless procession of sissy stories that were nothing but formulaic drivel.

That drivel, of course, was the fruit of Drusilla’s efforts.

Perhaps she should have seized one of the guns back then. She could have forced him to disrobe, and mocked his manhood. He’d always maintained that he’d got something the size of a midget submarine under his sporran, but Drusilla very much doubted this.

Get them naked. Get them scared: everything shrinks.

Pop him into one of those medieval chastity cages that he collected, while his naughties were shrivelled. Lock him up… and then if things attempted to grow back to a more impressive size, well and good.

The bigger they are, the harder they fall.

With genuine regret, Drusilla realised that she’d never get the chance, now.

At least that means I probably didn’t kill him, she thought. Certainly, she had no memory of killing him… but memory could be a fickle beast, in her experience. There had been times during her near-slavery as a writer when she could cheerfully have choked him on his hard-boiled egg.

But she hadn’t. And that meant she hadn’t shot him, either.

Didn’t it?

+++

Let’s hope the whole story sees the light of day, someday, but even if we don’t, we had fun. If you’re a writer, write: don’t wait for perfection. He who waits is a waiter, not a writer. Something like that, anyway.

Book Report

So, I finished ‘Twenty Master Plots: and How to Build Them’, the how-to guide by Ronald B. Tobias that I mentioned a while ago. I bought a second-hand copy on Amazon for the princely sum of… a little under three pounds.

While I have a voracious appetite for fiction, I have to admit that my track record with technical manuals and textbooks is somewhat poorer: I buy more than I finish. Tobias must have written a fine and particularly accessible book, therefore, because I devoured the whole book, from start to finish.

Tobias has created a book that pulls off a clever balancing act, establishing that the author is a very clever chappie without alienating the reader. He introduces key principles by example, drawing upon well known tales. In one moment it’s The Wizard of Oz; in another it’s Othello, or Casablanca. (Tobias makes no great distinction between screenplays and literature.)

A few of the twenty forms are a little bit stunted: they just don’t get the same degree of attention as the others. ‘Underdog’, for example, has only three points to its checklist, one of which is the blindingly obvious insight that “The underdog usually (but not always) overcomes his opposition.” The other two are merely points of distinction made with regard to the rivalry plot that preceded it.

Later, the 19th and 20th master plots (ascension and decension) are dealt with together, which seems like undue haste to get to the end of the book – whereupon we find that Tobias has little else to say, except to make a few remarks that might be seen as undermining what has gone before. That there are other plots; that we shouldn’t be afraid to break the rules; that there are combos – although he isn’t much help on how they can be made to work in combination.

Now, maybe I have too great an opinion of myself but I didn’t actually learn a whole lot. I found it a very ‘comfortable’ and reassuring read, and occasionally I made a note in the margin that I’ll be wise to heed in future writing efforts… but I can’t say that I’ll be depending upon the Tobias scheme and fitting my thinking around it. (One doesn’t simply pick a twelve, a seventeen, a nine, and fried rice and prawn crackers…)

Perhaps I’m just not clever enough to decipher literature, but – until it’s explained to me by Tobias – I can’t look at a famous story and say where it fits within the scheme. Neither can I consider one of my own completed stories and say what master plot it conforms to. (And who knows my own writing better than I?) Does that mean my plots are woolly? Garbled? Overly intricate?

I’m not sure.

I don’t trust the idea that a person who wants to write but is short on plot can read Ronald B. Tobias and acquire something suitable. I find the idea a bit scary: if an author doesn’t have enough creativity to come up with the basic skeleton of a story, what are the chances that her dialogue, characters or grammar are going to be up to snuff? Yikes.

Perhaps my disappointment stems from the fact that my reading of ‘Twenty Master Plots’ hasn’t yielded an answer to the question that is currently vexing me: how do I connect the start of my latest effort (working title: Faustian Economics) with the end? What is the motivation of the disruptive element that I introduce in the second act? I don’t know… and while I am now able to identify the plot as a form of ‘underdog’… that leaves me feeling like the police when thieves stole all the toilets from Scotland Yard: I don’t have anything to go on.

But it was an easy read, and a second hand copy cost me less than three quid. I learned something interesting about Casablanca, too.

Meh.

Aunt Ashley, explained

(If anybody can explain Aunt Ashley…)

As with all of the blog posts in the category ‘My Stories’, this contains spoilers, and shouldn’t be read until you’ve finished the associated story… in this case ‘Summer with Aunt Ashley’.

Some time ago, Christina and I were lamenting the fact that so many trans- themed stories are formulaic almost to the point of parody… only without intending to be funny.

This was a job for the…
TropebustersWell, why not? Sacred cows make the best burgers.

“I’m almost tempted to write a story that begins with a classic TG theme, but where nothing at all happens,” I said to Christina.

“Do eet,” she replied – or words to that effect.

So I did. It took a long time: a couple of months before it was ready to share. Before that, I sought out help from other fans of tranny fiction, asking what were the most clichéd elements in TG stories. This furnished me with details such as the dance, and the business of instantly being able to walk in heels… but (as you will know if you’ve been a good girl and read the story before you read this) there is a twist: none of the transgender stuff that is hinted at happens to the central character. This despite his deliberately gender-ambiguous name, Jordan Kelly (a name so clichéd that one of my friends also had a story in draft that employed it…)

Thus we have the airline mix-up where loads of people lose their luggage, but not him; the frilly apron and the French maid’s outfit that he doesn’t end up wearing; the aunt who wants to feminise him… and fails utterly.

It’s not a very popular story on Fictionmania, but it amused me to write it.

Somewhere along the way it acquired a sci-fi backstory, allowing me to wrap things up more-or-less neatly at the end. I hope you’ll let me know what you thought of it.

Most of all, I simply hope that you’ll forgive me.

Watch that Last Step…

It’s a doozy

A paramagical MacGuffin, the ‘Tape’ started life back in July as a simple thought experiment, posted to some trans- friends on a writing group:

There is a device. It’s not actually a machine: more of a user interface. It operates on a quantum level, where information is undetermined, and multiple possibilities can exist simultaneously. In ancient times, it would have been described as ‘magic’.

This user interface takes the form of a strip of material, rather like a tape. It has one blue edge, and one pink.

It does just one thing: it serves as a doorway into an alternate universe, where your birth gender was different. If, as a man, you lay down the tape, and walk over it from the blue side to the pink, you find that you are a woman. The universe you enter is much the same, except where it has been changed by the choices your female self has made, since birth. You retain your memories of your former life as man, although they will fade if you stay in the new universe for a month.

The device comes with you into the new universe. You can use it as often as you like, back and forth, and you can roll it up and carry it around, in either universe. Either by design (because it’s a secret device) or simply because quantum states are influenced by observation, you can’t make the tape work if anybody is watching.

This is my gift to you: one device each.

Now…

How do you use it, and what happens?

What’s particularly interesting is that nobody among those invited to speculate about the use of the Tape said that they would hop over into the other universe, live as a woman and never look back.

Some cited their children as the reason why they couldn’t simply abscond (saying maybe things might have been different, years ago) and this rather spiked my guns as it paralleled my own thoughts. Other reasons were identified, too – in every case serving to underline the integrity of my friends. But I hadn’t answered the main question myself: how would I use it, and what would happen?

The result was a short story, Three Steps.

Enjoy!

Erskine

Some bridges lead nowhere.

Weighing in at just under 7,000 words, ‘If you’re done’ is definitely classed as a short story.

By way of a backstory, I’d already written ‘Skin Deeper’ and ‘My Constant Moon’ that year, and in the warm afterglow of the reception that the latter had received, I wanted to to write again. I wanted to do something different.

Spoiler alert: if you aren’t familiar with the story, you might want to read it before you proceed.

Lizzy Bennet has previously outed me as a Terry Pratchett fan, and she’s more-or-less correct: I have other influences, of course, although you might think I’d read nothing else if you’ve read the ‘The Natural and Inevitable Transmogrification of Dronekk the Dwarf’ (although, at this point in time, few have seen that one…)

For my money, the pinnacle of Pratchettness was achieved with ‘Mort’, the fourth Discworld novel. Certain bits and pieces after that were nice to have, but Mort stood head and shoulders (skull and collarbones?) above the rest. And within that highly amusing book, one piece stuck in my mind: the notion that people get the afterlife that they think they deserve.

Thus, Pratchett has a pseudo- Dalai Lama character who quite looks forward to nine months of R&R in the womb, each time he’s reincarnated, and others who face oblivion, or go on to haunt the battlements of castles until the end of time… et cetera. That’s a significant influence on what happens in ‘If you’re done’, I have to admit.

If there is such a thing as an afterlife, what better system than one in which you get to choose your own? I can think of only one form of l’apres-vie that is more intriguing, and that’s the one espoused by Victoria Wood in a song called ‘I Want to be Everyone’: for reincarnation on an ambitious scale where it appears that you get to lead every single person’s life, once.

I acknowledge that I write a little too often about suicide. Perhaps it’s not always been quite as unthinkable as it ought to be… but they say you should write what you know, so perhaps I was on home ground.

When the ghostly gender dysphoric boy who never quite crossed over meets the girl who’s on the brink of suicide for reasons of her own, he asks her a difficult question: “Your body: if you’re done with it … can I have it?”

I think the synopsis I wrote for Fictionmania put a lot of people off. Two years on, it’s still only got 2,000 views, which makes it my least popular story. Well bugger them if they can’t take a joke: that’s what I say. Bugrit. Millennium hand and shrimp…

How many stories?

Perhaps not so many…

I read a lot of tranny fiction, I write some of my own, and I discuss it with other enthusiasts as well. Some of my friends despair that the stories are so formulaic: that we’re saturated with re-tellings of the same basic plots, over and over again. In particular, the sissification story as the biggest offender. That’s part of the reason why I wrote ‘Summer with Aunt Ashley’, a facetious poke at all the stories that begin with a boy going to stay with an evil-intentioned aunt who plans to get him in panties. More on that story in a later blog, perhaps.

Meanwhile, how many stories are there, really?

Christopher Booker tells us that there are just seven. No surprises there, given the title of his book, ‘The Seven Basic Plots: Why We Tell Stories’. If you persevere beyond the front cover, you will discover that these are:

  • Overcoming the Monster
  • Rags to Riches
  • The Quest
  • Voyage and Return
  • Comedy
  • Tragedy
  • Rebirth

Ronald B. Tobias, author of ‘20 Master Plots: And How to Build Them’ clearly disagrees, in that he claims there are (spoilers…) twenty. Deep breath:

Quest, adventure, pursuit, rescue, escape, revenge, the riddle, rivalry, underdog, temptation, metamorphosis, transformation, maturation, love, forbidden love, sacrifice, discovery, wretched excess, ascension and descension.

Georges Polti topped Tobias with his list of thirty-six dramatic situations: ranging from “rivalry of kinsmen” to “falling prey to cruelty of misfortune”. (If you want the full list, fuck off: go and read his book.) This was a doubly impressive feat since Polti was a Frenchman, and as you know the French have no word for genre. (Indeed, the French language has had to borrow from us a number of essential words and phrases: camisole, raison d’être, cuisine, parachute, carte blanche, bayonet, culottes… One wonders how they will get on vis-à-vis Brexit. Probably an endless series of faux pas. Anyway, back to today’s theme. How many stories?)

Tobias’ twenty master plots could substitute directly for Fictionmania’s system of categories, and nobody would be greatly inconvenienced. I suspect the most common categories would be revenge, temptation, metamorphosis, transformation, forbidden love, discovery and descension. If you decide to go with Polti instead, you get juicy categories such as “obstacles to love”, “erroneous judgment”, and “all sacrificed for passion”. It’s a bit flowery, but there’s something for everyone in Polti’s dirty three dozen.

So are there really only at most thirty-six basic stories? Consulting my (mainstream) library, that means I own each one, on average, 14.7 times. For Fictionmania’s 29,970 stories, that’s an average of 833 versions of each story. Some readers, despairing at the apparently endless production of sissy stories might well believe this.

We all use the Mark 1 human brain, though. We are, to some extent, hardwired or conditioned to expect certain narrative patterns. That a story should take place in three acts; that a person on a quest should have a sidekick; that a person who comes to your central character’s aid should previously have been introduced. It’s probably a mistake to break these ‘rules’… but complying with them ensures that you are firmly pigeonholed in Booker’s seven, Tobias’ twenty, or Polti’s thirty-six plots.

And, so what? There’s not necessarily anything wrong with a retelling. In the world of film, Stargate (1994) was lots of fun, despite having a great deal in common with The Man Who Would Be King (1975) – and if there really are only so many stories, you’re going to have to reinvent.

One of the best meals I ever had was in a restaurant in New Zealand. (I won’t bother recommending the place as it doesn’t exist anymore.) I had roast lamb. I’ve had that meal quite a few times, before and since, but something about that particular meal made it special. Was it the naturally good living conditions for farm animals in New Zealand? The wine? The herbs? Some secret ingredient? I’ll never know… but roast lamb dishes are not created equal, and neither are stories.

Sequels: always number two?

Well, almost always.

I love to get reviews and comments. They’re generally either the kind that leave you walking on air (somebody said something nice about my writing: hooray!) or they’re the kind that provide food for thought: things I need to know if I’m going to get better at this.

But there’s another kind: the ones where a reader says that they’d like to see a sequel.

Further adventures with the same characters? Don’t they get it? Doesn’t the reader – who professed satisfaction with what they read, after all – recognise closure when he or she sees it? Can’t we allow the characters their happily ever after?

say no to sequels

Sequels are something that executives in big corporations demand, because they’re pathologically risk-averse. They daren’t take risks any more: they’re successful, so they have to keep on cranking the handle on the success formula.

This strategy has given us an awful lot of sucky movies. Turning ‘The Matrix’ into a trilogy: instant awfulness. Following ‘Highlander’ with ‘Highlander II: The Quickening’ was practically a crime against humanity. There was even (shudder) ‘Basic Instinct 2’.

George Lucas managed two good Stars Wars films before they descended into drivel, so it’s sometimes the threequel that’s awful, not the sequel, but why risk it? There are tens of stories sitting half-finished on my hard drive. I’d much rather complete one of those than grind out another story with Denise and Carol (from ‘Into the Unknown’), who we left quite happily exploring their budding relationship. Some things don’t need to be spelled out. (Or do they? You can use the comments section to tell me. Consider it my market research. I’m working on a budget of zero, here.)

Never say “never”, though.

I’m working on just one thing that might be loosely described as a sequel. A reader of my time-travelling body swap story, ‘Door Candy’ suggested that we need to know more about what happens to the person who goes back to the 1950s. And you know what? That reader is probably right… but you won’t ever see a story called ‘Door Candy 2’. I’m working to expand the original instead.

Elsewhere, to the extent that I can manage, each project I’m engaged with features new characters, settings and MacGuffins. It’s the surest way I know to avoid the literary equivalent of ‘Honey I Blew Up the Kid’. (Dishonourable mentions also to ‘Grease 2’, ‘Robocop 2’, ‘Speed 2: Cruise Control’… in fact, you know what? Anything with a two in the title.)

Write to me. I’d love to hear from you: but please don’t ask for a sequel.


Small update:

I shared ‘Three Steps’ on BigCloset yesterday: a story in which the narrator is killed off at the end. I think it’s fairly clear that the story is complete. I also ticked the little box that indicates a completed work.

And what do I get?
BigCloset screen grabWell, you know what they say: always leave them wanting more…

Science Fiction in Fantasy

“Buzz! Buzz! Buzz! I wonder why he does?”

I’ve run into a few readers of my kind of fiction who say that they don’t like magical transformation stories. I get it: magic seems somehow childish and silly. You’re not going to find a magic wand that can fulfil all your gender-related longings or fantasies.

Thing is, though, you’re not going to get very far with scientific marvels, either. Not in real life.

Fortunately, I write fiction, and this means that I can introduce things that are highly unlikely. Unlike the real world where there are bothersome issues like funding or the ethics committee… in fiction you can come up with whatever you want. The only bothersome issue that remains is the plausibility gap: are you insulting your reader’s intelligence?

For some reason, it’s a lot easier to get away with this in the realm of future tech than it is to use magic. (Add a ‘k’, magick, if you’re feeling kinky.) This is funny, because there’s not a whole lot of difference between the ‘Medallion of Zulo’ (a classic TG fiction trope) and an injection of some retroviral compound that rewrites your DNA. The net effect is more-or-less the same. Isn’t it?

One of Clarke’s Three Laws tells us that “Any sufficiently advanced technology is indistinguishable from magic.” Another group who has trouble distinguishing super-science from magic is the vendors of second-hand books, who always lump both together as ‘Science Fiction and Fantasy’. Usually in the dingiest, dampest corner of their shop, too. We’re not going to fix that one any time soon: Elric of Melniboné will continue to rub shoulders with Valentine Michael Smith.

If you read a few of my stories, you will find that I generally come down on the side of sci-fi. I was a science fiction writer long before I was an author of tranny fiction. In my younger days I used to write savagely short little sci-fi pieces, mostly for magazines. I disliked the published authors whose fat, slow books clogged up shelves and minds alike. Consider ‘The Far Call’ by Gordon R. Dickson… a book in which “far call” happens for a good few hundred pages. Or the work of Peter F. Hamilton, who seemed determined to convey the immense, dreary emptiness of space by page-count alone.

Well, good luck to them. They’ve both sold a heck of a lot more books than I have. But me, I like ’em petite, and shapely. There’s nothing inherently wrong with a long story if it’s got a lot of good stuff in it, but sometimes I like to read and write short ones. The Internet is brilliant for this, because we’re no longer constrained by the economics of the printing and binding of books.

All of which is a very long way of saying that I’ve uploaded a copy of one of my early short stories, Bees. It’s the shortest piece of transgender fiction I’ve ever shared… but then, bees are only little, aren’t they? Enjoy.

Mission Statement

Introducing the blog…

This is my very first blog post. Kindly bear with me if I click all the wrong buttons and make it look like a dog’s breakfast.

Now, you’re probably saying “but Bryony, the world needs another writer blogging about writing like it needs a new clone of Candy Crush…” Fair point: but I’m going to try really hard to resist the temptation to make this about me, me, me.

Instead, it’s more of a manifesto. You see, the thing is… an awful lot of tranny fiction is crap.

(Yes: tranny fiction. If you just surfed on in here by chance because you were online and looking for vintage traction engine collectables… tough. This is about a sexual fetish.)

Now, where were we? Ah yes… the crappy nature of literature that serves the niche category of humanity that consists of gentlemen who like to dress up (or imagine themselves) as ladies. There’s no law that says tranny fiction has to be superficial, or formulaic. While many of those who read gender-challenging stories are, ahem, operating the computer one-handed at times… does this mean that the author should be similarly handicapped?

No. I think not. For several years I’ve been trying to show that stories in this genre can be more than simply something to masturbate over (if that’s what does it for you…) but there’s a story behind the stories, too: a meta-level message. Or, at least, I think there might be. So let’s delve into the murky world of the autogynephilia kink; and all the related facets of fetish. Perhaps we’ll have some fun in the process. Including those guys who came here looking for vintage traction engine collectables. Because they stayed, and kept reading.

(Pervs.)

Bryony

witness2fashion

Sharing the History of Everyday Fashions

Lifelong Education Blog Latest Posts

An Inclusive Site Dedicated to Life-Long Learning

Beyond Ourselves

Writing & Thoughts by Liam Slade

Look From The Other Side

A place to share my thoughts and opinions on Quality Trandsgendered Fiction from Samantha Ann Donaldson

Adventures in TG Fiction

A blog about TG Fiction written by Katerina Hellam (Also known as SuperHellKitten)