inasmuch as it concerns Rejectomancy:
The mystic art of attempting to learn from the failure to make a sale. Rejoicing in closure, if not publication. Another cycle completed. Another turn of the
things that make rewrites hard (a non-exhaustive list)
- 1,633 words (if poetry, lines) long
Over the month of August, and not counting those stories that just needed a quick once-over before being submitted, I successfully revised to completion (as defined by "I'm willing to submit it to all the top pro markets") one story. That's it! One. One measley flash-length short story.
Revision is hard.
One thing that made the task so hard to complete was skipping a bunch of the days I was supposed to work on it. And not always because I was busy driving to Kansas, cheering for and hanging out with my Boulder County Bombers peeps, and recovering from all of the above (hi! I'm a lifelong introvert! Unusually high levels of peopling will require unusually long levels of downtime afterward!) But sometimes it was just because I know revision is hard, so I run away.
This may be a bit of a catch-22.
But I'm discovering that it's really only some rewrites that are hard.
The aforementioned quick once-over before manuscript submission is relatively easy and--well, I wouldn't call it fun, not when I'm stressing out over "I should have had this submitted by now, this is taking up a lot more time than I budgeted for, whyyyyyy" while I white-knuckle my way through the piece line-by-line. But it's oddly compelling. Unless midway through I decide the piece isn't actually going to be submittable, I'm going to do it and I'm going to finish it so that I darn well can submit it. So. Not fun, but easy, for certain values of "easy."
There's also the revision process that's more like a controlled demolition of the existing draft so that the components can be used to build a new story. That one actually is fun. So while it's not easy or quick to complete, it's easy to return to it day after day.
The revisions that suck like supermassive black holes are somewhere in between. That's when a story is mostly there, but it needs fixing on a deeper than line-by-line level. But I can't see how to do it. Sometimes I can't even describe the problem(s) in a useful way. And I can't make myself feel, on a gut-instinct solid-knowledge level, that any amount of pushing words around will improve matters. I start to feel like any changes I make will only break those few things that actually work.
That's what it was like revising last month's story.
But I got it done on time and I submitted it to Uncanny Magazine with two hours to spare before deadline and got to log the rejection 3 days later so YAY! And I mean YAY because, YAY, moving closer to 100 rejections in 2019, but also YAY, one more story I can submit to all the usual places!
And the fact that the next three places I sent it rejected it in under 24 hours just means three more rejections toward target 100 and also three more steps closer to finding the editor who will love it. And those three places are in fact well known among working short story writers for preternaturally speedy rejections. We all send our new stuff there first because 1. hey, they might say yes, and 2. if they say no, they'll do it quickly, so you can send it to the next place sooner. Their slush pile is big, and they publish only a very small percentage of it, and they would even if they only published stories found in the slush pile, which they don't. But we jump in that slush pile anyway, because that's the only way to give them the chance to tell us yes.
Those are the things I tell myself, consciously and repeatedly and determinedly, because they are true. And I need to focus hard on their truth whenever that sadistic little voice in my head pipes up saying "This piece got four rejections in four days; shouldn't you take the hint and accept that you wasted all that effort last month producing GARBAGE?!" Because that little voice totally lies.
(And that's something else that makes revisions hard.)
when you get to the ends of things you might look back
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Would you look at the size of those carrots? This is the last week of veggie shares from my CSA, and those are finale-sized carrots. I dug up the potatoes I'd planted this year in hopes of matching those carrots in a soup, but all I seem to have grown are potatoes the size of kidney beans. Large kidney beans, like you'd make red beans & rice with, but still. Even smaller than the potatoes you might see sold as "pee wees." Will nothing match those carrots for grandiosity? Perhaps I should go buy some parsnips. And a huuuuuuuge daikon radish.
Speaking of retrospectives (I kind of was, if you squint a little), I've reached the point in The Artist's Way where Julia Cameron tells you to reread your Morning Pages. I've been doing so, but slowly, because even only going back to the beginning of the year, even given that I've only been doing them on weekdays, that's a lot of pages and there are other things I'd like to do with my waking time after all. I'm taking along for the ride a brand new blank notebook that I bought in New Orleans at the Tremé Fall Festival in which I'm jotting down any insights which arise.
it's interesting, and sometimes disheartening, to see what problems remain an unchanged part of my life, and most of them my own doing, too, like "Mustn't get distracted and try to multitask other activities during Morning Pages" or "Mustn't let the day leak away through the cracks in the hours." It's refreshing to see, from what I wrote in anticipation of my very first All Stars practice as a just-made-it A/B crossover skater, that I no longer have the insecurities and self-esteem issues I had back then. (I still have insecurities in that area, but they're different insecurities.) It's surprising to see turns of phrase striking the page like sudden lightning with no indication I thought twice about them at the time I wrote them. ("Pin the blame on the donkey"--ouch. "Morning Pages as a devotional practice"--really? Wow, yes, really.) There's a dream back in early January that I don't think I paid much attention to the morning I jotted it down, even though I'd just come back from a family visit, undoubtedly because I was dealing with more dramatic emotional upheaval fresh from Christmas afternoon, still too blindsided by that to notice the chronic low-level background unease that the dream was pointing out. ("I have brand new arrows. Dad borrows them. He says he has to prep the arrows for use. He does this by breaking them about 6 inches behind the arrowhead. He doesn't understand why I'm angry, nor will he promise to stop doing it, so I have to hide the remaining unbroken arrows in the attic behind a loose board in the wall." SHIT THAT'S UNCOMFORTABLY REAL.)
I'm taking notes and hoping to learn from them. And flinching sometimes. *flinch* It's cool. It's just the contents of my head from ten months ago. No big deal. The contents of my head are often thorny.
In other news, "It's For You" came back last week with a rejection letter and went back out again today with fresh reserves of hope. This is its twelfth time out in the slush mines. I know very well that, in this business, twelve isn't that high of a number, nowhere near high enough to mean I should give up on a story, but it's sometimes hard to remember that. I just keep telling myself, "Remember how that other editor loved it and passed it on to the second round? This is a good story! Someone will buy it!" But what would really make me feel better is having a brand new story to send out to meet the nice people. Only one way to make that happen, though. *cracks knuckles, surveys revision queue*
mothballing the mourning wardrobe
Today was indeed more productive than yesterday. "Caroline's Wake" got a small amount of fine-tuning (turned out to need less than I anticipated); then it got sent out into the world to meet a new bunch of editor-type people. It feels good, having sent it out again. It's what a writer's supposed to do. And it occasions new hope.
The common advice is, "Never let a manuscript sleep over." That is to say, the moment a rejection comes in, take that story and send it somewhere else immediately. Have a list of places you want to send it, and just send it to the next place on your list. This is very smart from a business perspective: your story, once completed, is a product, and you need to keep trying to sell that product. But it's also smart from an emotional standpoint. It helps the writer end the mourning period and start afresh.
Of course there's a mourning period. Rejections occasion grief. They signal the death of a hope. No, not the Death of Hope, nothing that grand or melodramatic--but the demise of a very particular hoped-for outcome. There was a possibility that the story would be published by a specific market; the rejection signals that the possibility is no more.
So, OK, a writer can grieve. But a writer can also move on. Submitting the story to the next place is how to do that. Also working on the next story.
The next story is "Down Wind," which needs more of an overhaul than "Caroline" did. It needs section breaks and more of a textual differentiation between the three characters' points of view. It probably needs more than that, but I won't know until I pull it out and read it over. Which is next on my agenda!
this fictionette is like an onion but there will be plenty onions
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- 1,052 words (if poetry, lines) long
Lo, another Friday has arrived--well, to be honest, it has just about come and gone; I got to the writing things quite late, but the bills are all paid and the kitchen is really clean. Anyway, I've posted this week's Friday Fictionette. It's "The Thing with Feathers," which as we all know is Hope.
The piece is oddly literary in flavor. The speculative element is more magic realism that urban fantasy. And I had to rerecord the last paragraph for the MP3 because I, er, got a funny sort of cough and maybe something in my eye the first time around. You know what I mean. It would not be the first time something I wrote made me tear up a little at the end, but generally it's the longer stories that do that, longer both in terms of word count and hours spent in revision, and the effect is partially just "Finally I got it right, hallelujah, what a relief." It's a little weird for something as short and quick as a fictionette to do that to me.
So now I'm wondering, maybe I should have saved this one to develop into something I could submit somewhere pro? And I'm reminding myself that the Friday Fictionettes project is partly about teaching myself to let go. Story ideas are plentiful. I don't have to hoard them. There's enough of them to go around.
Meanwhile, the alien space glue apocalypse story did indeed receive a rejection, and has already been sent out to meet more nice people.
Other fiction projects have been put off for next week. Just you wait.
they live just down the ice floe from us
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- 31,328 words (if poetry, lines) long
The weather's getting a head start on tomorrow. It's been overcast all day, and now it's misting down a light sort of rain/sleet mix that's turning everything cement and asphalt into a death trap. I nearly injured myself just walking next door (well, two apartment complexes down) for the late-night cat-sitting visit. There were places where I couldn't walk at all, just "skate"--which is to say, hunker down into good derby position and just slide my sneakers forward very, very carefully.
Speaking of skating, there were plans bubbling through the league to have a Thanksgiving morning "fun skate" at our usual practice location--but with tomorrow's winter weather advisory and the ice only getting worse and the temperatures not predicted to climb above freezing tomorrow, I expect it ain't happening. Well, it might happen, but it'll most likely happen without me. Brrr.
So... a good day to catch up on NaNoWriMo, right? I have a bit of catching up to do. According to the "At this rate you will finish on..." metric, I'm 10 days behind. But according to the "Words per day to finish on time" metric, I only need to increase my daily session from the original 3,125 plan up to about 3,500 or so. This is entirely doable. I've introduced a new plot twist that should be good for at least another 5,000 words, and with any luck it will spawn further plot twists and maybe even a plot resolution.
And speaking of NaNoWriMo: Look look look! I have a title now.
In other writing news, "...Not with a Bang, But a Snicker" (the one about the snow-glue apocalypse) came home from its previous outing this weekend, and it's gone right back out tonight. #WriterDoingWriterThings
wine, disappointment, ambition, persistence, more wine
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- 4,558 words (if poetry, lines) long
- 11,665 words (if poetry, lines) long
Got off to a slow start today. Might have been because it was so cold out--Boulder finally got some snow, and snow makes me want to hibernate. Could also have something to do with the righteously exhausting roller derby practice I had last night. In any case, I slept late, I dawdled a bit, I moved very slowly.
But here's where I'm at now: Two thirds the way through today's NaNoWriMo chunk-o-text, three-and-a-half hours of my workday five done, two half-glasses of red wine toward silly, and one new rejection letter to file away.
Alas, after triumphing over my year of resistance with a gorgeous completed revision, I ultimately received a rejection letter for "Caroline's Wake" from the editor who'd invited me to submit that rewrite. If you also do this freelance fiction writing thing, you won't be too shocked, I hope. This is a thing that happens. A revision request isn't necessarily a promise to buy the results. In fact, it's almost never a promise to buy. It's disappointing, of course, but the story's much better for the revision. It'll have a better chance next time I send it out than it would have had previously.
I won't send it out immediately. The rejection letter included some feedback that gave me pause. I'll see if I can't do some small tweaks in response to that feedback to prevent the problem cited from being a problem for the next slush reader who sees it.
No, the rejection letter did not drive me to drink. Please do not think that. It's just, wine is tasty, and I have some wine here, and I have nowhere to be tonight. Wine pairs nicely with popcorn. Popcorn seasoned with Cajun Land and curry powder. With red wine. My NaNoWriMo characters are also drinking red wine. I have to keep them company.
Where was I? Ah. Yes. So...
I'm also giving some serious thought to converting another story of mine to a form of interactive fiction. There's a brand new web-zine out there, Sub-Q, the interactive magazine for interactive fiction, and they're hungry for submissions. I think "Keeping Time" would be perfect for them, but it needs some work to at least prepare an interactivity proposal. I should probably play a little with Twine just to get a feel for what the kids these days are doing. But I'm thinking something like travelogue-style pop-ups for items and people whom the main character interacts with, a constant sense of the passage of time despite time being weird when you continue on a one-way trip through different worlds, maybe some choice as to which worlds the character visits but with a certain inevitability about the ultimate outcome...
I don't know. I'm still brainstorming.
But not tonight. Tonight I still need to log about 900 more words on the NaNoWriMo novel. And it's nearly midnight, so, really, I need to get back to it.
I do wish the room wasn't spinning so. Stupid wine. Tasty, tasty, stupid wine.
buyin' my lottery tickets
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- 3,100 words (if poetry, lines) long
- 2,345 words (if poetry, lines) long
Which is not, admittedly, the best analogy for submitting fiction to paying markets. It's not purely a numbers game. But it's partially a numbers game. Given a story that's publishable, as you continue sending it out to markets that are a reasonably good fit, the probability of its achieving publication approaches 1. No guarantees it'll reach 1, but it gets closer every time.
(Actually, if you want to be precise, the asymptote graph never reaches 1, but only gets infinitely closer and closer to 1. But forget that, I'm trying to sort of reference Godwin's Law and any number of internet memes that riff on it, and no one worries in that context that "approaching 1" isn't the same as "reaching 1," so shut up.)
But by far the strongest point of similarity between fiction submissions and lotteries is, you can't win if you don't play. Thus "submissions procedures" is one of the gotta-dos in my morning shift. Thus the stories go back out in the mail.
It does me no favors that most of the acceptance letters I've received have been in response to a story's first time in the mail. No one should consider that to be the norm. It's got me badly calibrated. It primes me to think that if a story accumulates two, five, fifteen rejections, then clearly it's not ready for prime time and I shouldn't even be sending it out. Which is bullshit, as any number of rejectomancy anecdotes will attest, but that's the writerly version of weasel-brain for you. It's such a seductive utterance of the weasel-brain, too, especially when the rejection letters come back so very quickly. I start getting self-conscious about particular stories--I start thinking, "Do I seriously believe an editor will want to pay me money for the opportunity to consume one of their precious story slots with this? NO ONE wants this." And also, "Why do I keep sending this story out, instead of writing new ones? Am I trying to rest on my laurels? Before they are even grown?"
That last one's a special grade of bovine feces, because I have sent new stories out. In fact, the story I've been trying to query status on is sitting in its very first slush pile as we speak. Unfortunately, the market that slush pile belongs to uses SPF filtering on their email, and apparently something's borked in my SPF record. I've got a support ticket to my domain host about it.
Weird thing is, though, the weasel-brain only has its say before I send the story out. Once I actually send the story, weasel-brain shuts up and lets me enjoy the fresh glow of "I submitted a story! Professionally! To a paying market! Just like real writers do!" Which only goes to show you that yet again, the only way out is through.
Anyway, I bought a lottery ticket today, and I bought one Thursday too. Metaphorically speaking.
don't get caught with this fictionette
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Ha! I pun. This Friday's Fictionette is called "The Once and Future Hot Potato." Get it? "Don't get caught..." *Grooooan.*
It's about a kids' game, of course, but also about nostalgia and memory and divergent timelines. As always you can read the excerpt by following the link... and scrolling down to the text below the huuuuuge photo. (That's the original photo I used in this week's cover art, taken with my flip-phone at its highest quality photo setting. It's kind of blurry and very, very big.) If you want to read the whole thing, you should follow the links at the bottom of the excerpt to the PDF and the MP3. (Or just click them here.) If you are not already a subscriber to Friday Fictionettes, those pages will provide you with everything you need to become one with minimal fuss.
Meanwhile, over at my main writing gig, which is the writing and attempted selling of short fiction...
So I got a rejection letter today. This is not a surprise; I've been sending out a submission almost every day (yay!), and some of those markets are very quick to eliminate whatever it is they don't want. This particular market took about a day. They're the kind of place you send everything first, because if they say Yes you get a not-insignificant per-word pay rate in a prestigious professional magazine, and if they say No you won't be waiting long to find out.
No, the surprise was the paragraph added to the usual familiar form email, the paragraph reminding me to please in future use Standard Manuscript Format.
How embarrassing. I have been sending out manuscripts in Standard Manuscript Format for over twenty years now. I do not, by this time of my career, need to review an example. I'm more likely to err on the side of old-school Standard Manuscript Format by forgetting to change my underlines to italics or my Courier New to Times New Roman where a market specifically requests it. I was mortified to see that paragraph. Good Gods, what a newbie I must have looked.
Then I opened up the file I'd sent them, and was further mortified.
It was a mess, y'all. Both headers, the first-page header and the all-subsequent-pages header, were on the first page. Which was otherwise blank. Which was followed by nine other pages that were blank except for the all-subsequent-pages header. Which was followed by a page that was almost just as blank, but with the title. The next page had my byline. Then another blank page. Then, a page with just the first paragraph of the story.
Things didn't look normal until page 15, where the second paragraph of the story appeared and was followed by the third, fourth, and fifth paragraphs, and so forth, continuing as normal until the end of both story and document. But of course, by then, the damage was done. I'm amazed they read it at all (I am reasonably certain that they did).
Of course I looked like a newbie. What a total newbie mistake--to send along a manuscript file sight unseen.
So this is your Public Service Announcement, friends and colleagues: Before you hit SUBMIT, always open up the file and make sure the Manuscript is acceptably Formatted according to Standards.
(Also maybe don't make any changes in Open Office. Make all changes in Scrivener and recompile. Open Office is apparently notorious for terrible RTF support.)
another couple rounds, fortified with turbodog and banana cake
Today was an improvement. Instead of sleeping late and dragging around the house because of headaches and sinus pressure, I slept late and dragged about the house for the sheer pleasure of being pain-free for the first time in two days. Seriously, we are talking no small amount of bliss here.
Also, I had a dream I wanted to dwell on, or perhaps dwell in, for a little while after initially waking up with it. It involved moving into a new house, entertaining a very small child guest therein, and discovering an oven mitt full of cat hair that was defying the laws of physics. I blame late-night reading of the blog and other writings of Robert Jackson Bennett. On the one hand, the bit about acknowledging property boundaries for the communal fiction that they are, and recognizing the implied nightmare therein; and on the other hand, the bit about the Roomba.
So I got started late, but I did get started. I got busy with my submission procedures: I logged two rejection letters and sent one of the rejected stories back out again to a new market. One of the rejection letters was, happily, a response to a query letter I sent out last month seeking the status of a story I submitted last year. While I'd always prefer the story be accepted and published, it's a relief also to have the story simply pop free and be available for me to submit elsewhere. Which I hope to do tomorrow.
I got busy with overdue blogging: I finally wrote up the results of my recent Puzzle Pirates Seal o' Piracy experiments for the betterment of all. Examiner has recently moved to a new editorial model where everything you submit must be reviewed before it'll go live. I was disappointed to not be immediately placed on their list of writers the quality of whose output is sufficiently trusted that they can automatically bypass the review stage, admittedly. But given that I uploaded the post just before leaving for scrimmage, and the post had been approved and published by the time I got home, I can't complain too much. We'll see if they're just as quick at Saturday mornings; the blockade round-up is timely stuff.
Then I got home from scrimmage and got busy in the kitchen. Have I mentioned Ad Astra: The 50th Anniversary SFWA Cookbook? It's a cookbook. It's handsomely covered and conveniently spiral bound. You can buy a copy, physical or electronic. I'm in it, hawking my crockpot red beans and rice on page 154, but more to the point, a handful of handy, tasty, quick & easy mug cake recipes are in it. These are recipes where you mix everything up in a mug and then microwave the resulting batter, and you get a one-person dessert that honestly took more time to pull out and measure all the ingredients than it did to cook.
I made the Banana Cake from page 30 in one of my large tea/soup mugs. I had bananas turning black in the fridge, after all, but it's been so hot, I've been reluctant to bake more banana bread. Microwaving a mug for four minutes produces a lot less heat and just as much deliciousness. I did it twice, because the recipe only called for half a banana, and what else am I going to do with the second half of the banana? And that was fine. It was delicious twice. I had one of them before my humongous antipasta salad (we ordered Blackjack Pizza when we got home from scrimmage, and I honestly find that salad with all its cold cuts and bacon and olives and cheese and hugeness to be more filling and more fulfilling than pizza), and another afterwards. With a beer. An Abita Turbodog, to be precise.
I should point out, though, if you should acquire a copy of Ad Astra (and you should! Money well spent and for a good cause!) that the bit about "1/4 c baking powder" has got to be a typo. When you look at the other mug cake recipes, and when you look at the 1/3 c flour and pinch of salt in this one, you realize 1/4 tsp is a lot more likely. I have mentioned this to the wonderful and hard-working editors, in case they are putting together an errata page.
I'm pretty sure my red beans and rice recipe came out as intended. I skimmed it, anyway, and it looked OK. Maybe next time I make the stuff I'll use Ad Astra instead of my usual index card cheat-sheet and double-check.
the needle on the compass in my head points toward sheer terror
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- 4,400 words (if poetry, lines) long
- 3,330 words (if poetry, lines) long
"It's For You" came home for the weekend with its tail between its legs, asking to crash on the couch. I did what I could for it: Gave it a shoulder to cry on, ordered us pizza, poured us some local microbrew stout, queued up some cheesy '80s movies to watch together. Then today I gave it a rousing pep talk and sent it back out into the world. "Keep trying," I told it. "Keep trying 'til Hell won't have you. And then keep trying some more." It took a deep breath, narrowed its eyes, and said, "OK." Off it marched, with purpose and new determination. One of these days it'll come home with a big smile, waving a contract in its hand. Until then, I'm good for giving it repeated pep talks and career advice. Also a kick in the rear end, because I kind of want my metaphorical couch to myself.
Meanwhile, "Caroline's Wake" is still out on only its second slush trip ever. It sent me a very encouraging post card!
As for what short story I'll work on next, I've decided it'll be "A Wish for Captain Hook"--the one wherein the island of Neverland locates itself in the middle of Lake Pontchartrain. I originally wrote it for the pirate-themed issue of Shimmer that John Joseph Adams guest-edited, whose submission window was in early 2007. Since failing to win its way onto that TOC, it's been workshopped once... then tucked away into a corner and forgot about. I suppose it's time to pull it out, brush off the dust, and revise it for a serious round of submissions.
Just thinking about it gives me a case of the hives and heebie-jeebies. Nervous. "I don't have to work on 'Hook' next," I told myself. "What about 'The Interfaith Intercessional Fellowship,' that one? The one with the potato salad and the prayer circle?" And that's when I decided that, no, it really had to be "Hook" next. Because "Hook" scares me enough to make me want to slither away, and I should always move toward the thing that scares me.
It took a little more thinking to figure out why it scared me.
Part of the fear comes from knowing that the end needs to be entirely rewritten. The note it currently ends on says very clearly, as though these words were actually typed on the page, "The author did not know how to end this story and hopes you'll understand. Please accept this weaksauce Lady Or Tiger punchline instead, with our compliments." And, well, the last two stories I finished and sent out the door have demonstrated that I have a painful time getting the endings right.
But the bulk of the fear comes from insecurity about my legitimacy, my right to write this story. "Hook" isn't just a story about a little boy who wants to run away to Neverland. "Hook" is a Hurricane Katrina story, the only one I've written so far. And I wasn't even in the state during Katrina and its aftermath. Also my family came through fairly well. There were losses, certainly. Dad's pediatrics office on Robert E. Lee Blvd. was totaled, and his practice had to relocate to the Children's Hospital building in Metairie. The roof did leak for a short while, and some non-critical household belongings were destroyed. While the family was gone, persons unknown scavenged their generator, some fuel, and all of Dad's frozen and slowly thawing venison--which items may well have made the difference for the thieves between surviving and not. Who knows? But the house wasn't flooded. It still stood. Mom and Dad kept it and live in it to this day. The family stayed together. Dad's job survived. As these things go, the LeBoeuf family did pretty OK.
So I'm not entirely sure I get to write a Katrina story, you know? Coming from someone who mostly watched the crisis from afar, it might come across as, I dunno, exploitative, like I'm using other people's tragedy to give my characters some unearned poignancy.
...which is almost word-for-word my exact explanation for why Season 2 of Heroes made me so angry. You know what I mean, right? The part where the little girl says, "Half the people in this county still live in FEMA trailers," thus proving that no one involved in making the show ever bothered to watch real live news footage of the Katrina aftermath nor even opened a map of the affected area. Because if they had, they would know that there are no counties in Louisiana. So, having complained vociferously about how that show exploited the disaster for emotional impact while failing to give the first little damn about the real life people affected, now I'm afraid of coming across the same way. This is like projection, only in reverse.
But my job is to move toward the scary thing. Write it anyway. And to realize that, yes, I too lived through Katrina, I too was affected, and the way I was affected by it can inform the story. And it already has. There are elements in there that are absolutely drawn from my experience, second-hand though much of it is. Like, the way the back-to-school timing of the storm and flood diminished the school-aged population of the greater New Orleans area well into 2006--families who evacuated in August sent their kids to the schools whose districts they wound up in come September, and many of them stayed to finish out the scholastic year. (This affected my immediate family by way of Dad's dramatically decreased patient roster.) Like the way some families, like my parents' next-door neighbors, just never came back at all.
The short story is much smaller in focus than that, but it's deeply colored by the shadows of those huge background movements. One of my jobs during the rewrite will be to make those shadows more apparent, more stark and compelling. And maybe something about the larger movements of the time will help inform the rewriting of the ending, too.
So that's the answer to that question. What will I work on next? "A Wish for Captain Hook." That's what. And may Gods and Muses have mercy on me, Their humble pen.
(runs away temporarily to hide)