Fiction Fragments: Lucy A. Snyder

Last week, I talked with writer and film maker, Jeff Carroll, about Hip Hop horror and sci-fi fiction. This week, Girl Meets Monster welcomes Lucy A. Snyder. I met Lucy while earning my MFA in Writing Popular Fiction at Seton Hill University. She was my second mentor in the program. Her guidance, support, and dark sense of humor helped me finish writing my thesis novel and I couldn’t be happier with the results.

Lucy4Lucy A. Snyder is the Shirley Jackson Award-nominated and five-time Bram Stoker Award-winning author of over 100 published short stories and 12 books. Her most recent titles are the collection Garden of Eldritch Delights and the forthcoming novel The Girl With the Star-Stained Soul. Her writing has appeared in publications such as Asimov’s Science Fiction, Apex Magazine, Nightmare Magazine, Pseudopod, Strange Horizons, and Best Horror of the Year. You can learn more about her at www.lucysnyder.com and you can follow her on Twitter at @LucyASnyder.

Three Questions

GMM: You mentioned that this fragment is from a novel that is being serialized at Eyedolon Magazine. Is the process of writing and submitting chapters of a novel as you complete them easier than submitting a completed novel? What is the writing process like? Are you typically a linear writer? What have you learned from this experience?

LAS: In some ways it’s harder, but in some ways it’s easier. One advantage to submitting a novel a chapter or two at a time is that I have to maintain good plot tension for every section I submit. It’s a built-in way of avoiding middle-of-the-book narrative sag! Another advantage is that I get regular editorial feedback, so if something seems to be going off the rails I get questions about that and I can address potential problems early before they’re entrenched.

A disadvantage is that I’m 75% a plotter, but 25% a discovery writer. One thing I discovered, ten chapters in, is that I needed another major character. Fortunately, I was able to introduce her in a way that would make sense to the readers who’d been following the serial, but I also went back and edited the existing novel to foreshadow her arrival so that she’s a presence from the very first chapter.

I am typically a linear writer; I think writing a serial would be much harder if I were not. Or anyway I’d probably need to finish much more of the novel ahead of time. Right now, Broken Eye Books is pretty much publishing sections as I complete them, although I’ll probably get further ahead in coming months because of the limitations of their publishing schedule.

GMM: What is a Lovecraftian space opera? Can you define the elements of this cross genre? Are there any tropes that readers of science fiction can easily identify? What makes a piece of fiction Lovecraftian?

LAS: It’s pretty much what it says on the tin: it’s a space opera with Lovecraftian themes.

Space opera, which has become more popular in recent years, is a science fictional narrative set in space (or on other planets) that focuses on adventure, epic battles, futuristic technology, etc. Star Wars is space opera, for instance. So it should be a fairly familiar subgenre to most readers!

Lovecraftian fiction refers to stories or novels that use elements from Lovecraft’s fiction, particularly aspects of the Cthulhu mythos he created. Look for references to Elder Gods, tentacled horrors, madness-inducing knowledge, cosmic terrors, cults, fish gods, and general doom for mankind. Lovecraft’s influences have worked their way into a whole lot of science fiction and horror. Stranger Things has some strong Lovecraftian themes in it, and The Shape of Water contains several nods to Lovecraft’s work.

In my novel, the narrative takes place after the spawn of Azathoth (a deep-space deity in the Cthulhu mythos) invade Earth and wreak a variety of horrors. My protagonists, Joe and Bea, were physically and psychologically transformed by their experiences with the spawn, and they’ve been sent into space as part of a special mission to hunt down the spawn’s hives on other planets and destroy them to eliminate any further threat to our planet.

GMM: Over the past several years, there has been quite a bit of controversy over whether or not we should be honoring the work of H. P. Lovecraft due to his racist beliefs. How do you approach a piece of fiction that mimics the work of Lovecraft and make it something wholly your own as someone who is very much against racism?

LAS: I’ve written a lot of stories and several novels that are inspired by and are in dialog with Lovecraft’s fiction. That’s a different thing than mimicking or honoring his fiction. I am often inspired by things that appall me or anger me.

Lovecraft’s fiction, like Lovecraft himself, is complicated. Yes, there is a whole lot of xenophobia and racism — so much, in fact, that I’ve heard some critics claim that you can’t separate xenophobia from Lovecraft’s work. My take on that is that it’s entirely possible to write a piece of Lovecraftian fiction that doesn’t contain a trace of xenophobia. Or, you could write a narrative that addresses his racism directly and critically, as Victor LaValle does in The Ballad of Black Tom, which is a razor-sharp response to Lovecraft’s most notoriously racist story (“The Horror at Red Hook”). But LaValle’s novella also employs plenty of the kind of mind-blowing cosmic horror that made Lovecraft’s work memorable in the first place.

Lovecraft himself openly borrowed a whole lot of ideas from other writers: Lord Dunsany, Ambrose Bierce, M.R. James, Arthur Machen, Algernon Blackwood, Edgar Allan Poe, and Robert Chambers (Ramsey Campbell’s gonna argue with me about the influence Chambers had; regardless, Chambers’ King in Yellow mythos has been absorbed into the Cthulhu mythos). Lovecraft in turn encouraged his writer friends to work with his worlds and he collaborated with other authors. So Lovecraftian fiction is much more than what Lovecraft himself wrote, and it’s been that way from the beginning.

I think of Lovecraftian fiction as a microcosm of genre fiction as a whole. We can all point to classic horror or science fiction stories that are racist, ableist, misogynistic … or just plain horribly written. Those cringey parts are not a reason to abandon those genres. They’re a reason to read the classics critically, identify why they’re awful … but also why they captured people’s imaginations in the first place. And then it’s on us to take the good, engage critically with the bad, and use that as a jumping-off place to write even better stories and novels for our readers.

Excerpt from Blossoms Blackened Like Dead Stars, by Lucy A. Snyder

I rest my hand on the wrapped, dormant root ball as the autopiloted shuttle glides into the docking bay of the USS Flechette. The bay walls and deck are matte gray tarakium, same as all the other ships in the fleet. My dreams are turning this color. The shuttle lands with barely a bump, and after the clack of the pressure lock disengaging, the rear door slowly lowers with a hydraulic hiss. I unbuckle my flight harness and walk down the ramp, my booted steps light in the artificial gravity.

This is my first command. I feel a mix of pride and dread about being here, and I don’t even properly know where “here” is, at least not in relation to Earth. There’s only so much I can know about my own missions, just in case I’m compromised. Nobody tells me I can’t ever be fully trusted, but distrust is baked into every scenario I or any of the other “enhanced” personnel are involved with. And frankly, I don’t know if they can trust us, either.

It’s chilly on the flight deck, which is fine. Extreme temperatures don’t bother me nearly as much as they used to. The doctors tested me extensively after my transformation, and we discovered that I can handle temperatures of about 60°C without passing out and −10°C without suffering serious hypothermia or frostbite.

My spawn-hybridized cells produce a new polypeptide that acts as antifreeze in my blood and tissues. For one test, they entombed me in solid ice for over an hour. I couldn’t move, couldn’t breathe. Never lost consciousness thanks to my cells doing some dark-cycle chemosynthesis that produced enough oxygen to keep my brain working. If that sounds like a fun afternoon . . . it really, really wasn’t. Cold that doesn’t kill me still hurts plenty, and it turns out I’m more claustrophobic than I thought. But since there wasn’t enough air to breathe, there wasn’t enough air for me to start screaming, so I emerged from the frosty coffin with my dignity intact. I’ve gotten good at coping with whatever they do to me in the name of science or safety. I’ll certainly encounter worse out in space with the spawn; there is only so much evil that the human mind is capable of imagining.

There’s concern that the polypeptide might build up and damage my internal organs over time, but the only thing to do about it is wait and see. Nobody has any real idea of what condition my body will be in even a year from now. The unspoken worry, obviously, is that I’ll transform into a spawn and kill everyone around me. Betray everyone in the name of Azathoth.

Of course, my spore-laden breath means I’m likely to kill people purely by accident. But I’m far too useful to lock away in a research lab, and so far, I’ve passed all the psych evals. The brass decided to give me command of my own small ship, point me at the spawn, and hope for the best.

Eight android drones stand at attention on the flight deck, patiently waiting for me. They’re all the same drab, clay-white Boston Dynamics Xenophon model, clunky looking but dexterous. Each has a differently colored stripe around their torso so people can tell them apart when they’re turned around. Some have metallic colors, and I’m guessing that they hold mission-critical roles. Their human pilots’ faces are mapped onto the curved tarakium screens on their heads. The crewmembers are stationed light years away on warships or stations, linked to the drones by the new quantum paired network. They’re certain to lose their connections during hyperspace jumps, and I’ll probably never know where any of my crew actually are.

The irony of my command is that my crew will always know more about the brass’s plans than I do. One of them—I don’t know who—is authorized to take over the ship the moment I show signs of compromise. The situation would probably frustrate a lot of other commanders, but I never expected to be in charge of a ship. I had to take an alarmingly compressed command school curriculum in between the godawful medical tests. Honestly, I’m glad someone here is qualified to run things in case shit gets real. I’d have a raging case of impostor syndrome if I’d deliberately chosen any of this.

A human lieutenant commander stands behind the line of drones. My sole crewmate during jumps. I blink. At first glance, I thought he was wearing some kind of dark protective gear, but he isn’t. He towers a head above the androids, and his skin is crocodile rough, blackened as if he’s been charred by a fire. Is he even human? He’s wearing a short-sleeved uniform, and his arms, neck, and face look as if he’s been torn apart and put back together with steel staples.

As I stare, trying to make sense of what I’m seeing, recognition dawns. “Joe?”

His grisly face splits into a smile. “Yep, it’s me. Good to see you, Bea.”

“What happened?” I blurt before I can stop myself.

He gives a laugh like stones grinding together. “Long story. Let me introduce you to your Alpha crew.”

Do you have a fragment you’re dying to share with the world? Send it my way at chellane@gmail.com. See you next week!