#i wrote a few paragraphs for what is essentially a bag of holding lol

[townofcadence]

Artair's Bag

Everywhere he goes, Artair keeps a simple leather messenger bag with him. This bag is pivotal to him, as most of the spellwork reagents he needs, most of the weapons he uses, and pretty much everything else he utilizes when not at home is inside. The bag itself may look simple, and to anyone else it is perfectly ordinary. If they were to open it, the inside would be a few notebooks and pens. But it has been enchanted specifically to be nigh indestructable, and to react to Artair.

Interwoven in the fabric is a void tailored just for him with limitless capacity. It has no effect on any aspect of what is placed inside. He keeps all his items in this space, until he pulls them out as needed, and he can insert things or remove them as he desires. To call an item to him is as simple as placing his hand in the bag and thinking of what he wants to pull from the void, be it a specific item, an item that performs a specific function, or even the whole of the contents within.

He has a collection of pins he's amassed over years, and he decorates his bag with a few of them at a time, storing the rest safely at home. His favorite seems to be the Bad Luck Mirror, as he finds it fitting, but quite a few of them are frequently seen on his bag, while a few more are too important to risk losing, should they fall off, and stay in permanent storage.

[coffeeandcalligraphy]

Bad Vegetarian | Feeding Habits #1

Hey People of Earth!

As you can see from the title, not only do we have a new series of writing updates, we have a new series of writing updates for a whole new novel that was! not! supposed! to! happen!

For any of my friends who miss Moth Work (aka myself), guess who started writing a sequel literally no one asked. :)

I’ve had ideas for spinoff stories for Moth Work (as if MW wasn’t enough of a spinoff) and was peer pressured into starting this novel by @sarahkelsiwrites​ and I’m really happy about it! I have yet to come up with a title, but the moment I do, shall inform you, but for now, we’re calling this MW2!

This book (if it even ends up being a book) starts with chapter one, Bad Vegetarian. Unlike MW, MW2 starts in Lonan’s POV (not sure I’ll switch but I’m sure it’ll be inevitable), and I’m here for it!

I’ve been wanting to explore Lonan and Eliza’s relationship in more detail since having them come together in MW by complete fluke, and oh! is the tea piping!

This chapter really illustrates how truly dysfunctional this relationship is on both sides. Here’s a break down by scene:

Scene A:

Lonan is paint shopping with Eliza who has just gone vegetarian (which is the def the most normal thing she’s spontaneously done lately). Eliza feels like celebrating by painting their entire kitchen red.

Lonan particularly is drawn to blues, but since this ain’t what Eliza wants, they go with a brilliant red.

Scene B:

Lonan lines the kitchen with painter’s tape as Eliza bothers their neighbours for paint rollers, while trying to convince himself this relationship is still somewhat okay.

While doing this, he gets his weekly call from Unknown Woman who he’s been in contact with for the last few weeks. What for? We don’t know! They talk in code, and he realizes Unknown Woman’s situation is getting worse, and impromptu, tries to do something about it.

Scene C:

Lonan and Eliza bump into each other as he’s exiting the apartment and she’s entering, and have a short, strained conversation about why he’s leaving (she’s not aware of top secret phone calls that make this book feel lowkey like the old dystopians!)

Scene D:

Lonan attempts to drive to Unknown Woman but only knows she lives in Arizona (not great for directions lol). While in the car, he realizes it’s essentially impossible to get there without knowing where he’s going, and eventually gives up and heads home.

Scene E:

TW: blood

Lonan re-enters the apartment only to find Eliza “bleeding” in the kitchen. She’s actually just being wild and this “blood” is wall paint.

Scene F:

If we haven’t already seen the dysfunction, oh does it get worse! As Lonan and Eliza try to have a *moment* Eliza has a conversation by herself and gets a lil gaslighty.

Halfway through this, Lonan gets a phone call from Unknown Woman who we finally find out is his ex-girlfriend Glenne. Sounds like tea but he’s genuinely only helping her out of her toxic situation (which will be clarified later) though Eliza’s skeptical.

This chapter was a lot of fun to write! I wrote a majority of it today, and am really happy to have a *chill* project. While I love my other books (the three I am apparently now working on at once), it’s nice to have a place to dump my ideas with characters I know very well in situations I’m comfortable in whenever I feel like writing but don’t have tons of time/ideas/energy.

Excerpts:

Here are the opening three paragraphs! The first sentence sets up the POV a little weirdly, but I think it works with a later sentence that sort of mimics this “reminder” kind of style:

There are no rules, just remember, Eliza is vegetarian. She’s into earth tones, neutral tones, leafy greens, root vegetables. It’s all new. The day she announced her diet change, she also announced a desire to repaint the kitchen, to fit the new aura, to fit the new ethics, but she wants to paint the kitchen blood red, and Lonan is still a meat-eater. He reminds himself: there are no rules, just remember, Eliza is vegetarian.

In the hardware store he thumbs paint chips. They’re set up in an array, almost like checkers, dissolving in a gradient from reds to purples. Eliza wants red, “Not necessarily earthy, but the root of organism, of life,” so Lonan looks at the blues. They’re all a variant of a seaside theme—Sea Breeze, a cloud-like blue, Beach Umbrella, a wispy aqua, Seafoam Serenade, muted like the soft side of a turquoise. Repainting the kitchen matters little to him, and so do the blues, but the red section, devilish, makes him shuffle his blue deck faster.

Radio from the store’s intercom tins through the speakers, dampened by the hustle of carts, the thud of bodies against the concrete flooring. He holds many cards up to the light, Secret Getaway and Parisian Summer almost the exact shade, but still he flicks through, until half the pile is indistinguishable, and the other half are blues he likes and not reds, like Eliza’s asked.

The next excerpt sort of highlights the last six months of Lonan’s life as he’s been on this whirlwind of keeping up with all the things Eliza has tried. I have added kudzu pudding and other kudzu food just for my pals @sarahkelsiwrites​ and @shaelinwrites​ (rlly want kudzu pudding):

Her sudden vegetarianism is not confusing to him. Eliza tries new things all the time, something he’s learned after living with her for half a year. One time, she brought home four different kinds of dried beans to make into tea, and together they drank it atop the balcony, the Vegas strip across them somehow tasting better. One time, they ate a variety of kudzu foods for a week because Eliza said invasive species had to be killed somehow, and so they spooned kudzu pudding into their mouths, kudzu root powder into their water, kudzu salads with salted almonds. One time, she put them on a warmth ban, and they ate only frozen peas, potatoes, raspberries, turned the thermostat down until every surface crackled. She liked the feeling of subtle frost on the countertops, how it jolted her when she touched it accidentally in the morning. He found her many mornings awake before him, transfixed to the table with both palms soldered to its surface, like she’d forgotten she wasn’t a part of it. One time, she paid to have the furniture in the house rearranged, not good enough for her spirit, and then reverted it two days later. “The couch doesn’t like being so close to the refrigerator,” and he could’ve asked “did you ask it?” but said, “Understandable. It shouldn’t be forced to catch a draft.” So her vegetarianism is normal. Already, she’s switched their meat supply to beetroots, chickpeas, tofu she rips apart bare-handed. For the last three mornings, they’ve both taken a shot of spinach and gingerroot, a liquid that burns to make you feel alive, as if you weren’t already.

The next excerpts kind of surprised me with their amount of humour! Not something I expect from Lonan, but I’m glad he has some sass back lol (CW: some upsetting animal imagery):

There is nothing wrong in this relationship. Everything is Eliza’s new favourite adjective—stunning. Everything is scrubbed with kitchen bleach, glittering like a plasticky pool float in the shallow end, stunning. Everything is planned, put in a calendar, a notebook, a flitter of receipts, but always planned, stunning. Everything is better, even better than better, a better that can only be described as stunning.

Lonan uses this word frequently now, rolling out a strip of blue painter’s tape and trying to find different ways it stuns. Sticks when he sticks, peels when he peels, keeps its edge when it needs to keep its edge, so it’s stunning. The bubble television is turned onto a channel about sheep, and as he lines the baseboards, outlets, catches glances of a sheer buzzing against skin, sometimes a hunting knife slicing until there’s blood. 

Eliza is asking a neighbour for paint rollers because they bought four cans of wall paint, two paint trays, a box of garbage bags, three rolls of painter’s tape, and a small paintbrush each for both of them but forgot the rollers. Stunning.

The following excerpt highlights that Lonan has a cellphone! Is Fostered just a bizarre alternate reality of a time period that doesn’t exist? Perhaps! (CW: some upsetting animal imagery):

Today, they’ll prime the cabinets, the walls, and tomorrow, scroll a coat of red onto both. The kitchen will look more like the inside of an anatomical heart, the sinks and drawers like ventricles, but this is Eliza’s vision—her tastes come alive.

The sheep are being herded by a collie. As Lonan rips another strip of tape with his teeth, he stares at the screen mounted in the corner, at the almost-naked sheep dashing across a field. How many will be slaughtered, he doesn’t know. The narrator must’ve said that, but there is no plan, really, for death. Even for sheep.

He kneels toward the kitchen vent, the tape roll linked around his wrist, and smooths a line of tape down. Eliza doesn’t want to paint the vent—it wouldn’t complete her vision—and so it will remain the original wall colour, a square of cream so worn, it’s almost grey.

Here we have some hints at Eliza’s weirdness:

He straightens and looks at her. She’s bundled in her fur coat even though she has always insisted she’s good at even Vegas’ warm winter. Since going vegetarian, she’s insisted it’s fake, even though he’s read the lining tag—100% mink. He doesn’t know why she’s needed her coat when she’s only walked up a few flights of stairs but doesn’t care to ask.

She approaches him with her thumb out, and when that thumb presses into his eye socket, he flinches.

“What happened here?” she smooths the dip of his under eyes, her fingertips cold. He smells her perfume, different today, always different, a smell like cloves and lavender. “Are you sleeping?” She presses onto her toes, examines the other side, and her frown deepens. “This doesn’t look like eight hours.”

“I’m sleeping,” he says, though they both know this is a lie. It’s taken her two weeks to notice.

“I can run to the pharmacy,” she says. “If you need a refill.”

“I’m sleeping.”

“I didn’t notice this morning—I would’ve given you another energy shot.”

Here’s a line I like because of a) skin and b) sun:

Lonan goes nowhere. This is not his plan. Asphalt whips under the skin of each tire, the setting sun wringing him blind. 

Fully sharing this for the verb zags (and also because I accidentally roast cities tho I love them I am one of these blink-less people):

He doesn’t know where he’s going. Arizona is the only thing he knows about her, doesn’t know if she lives in an apartment, a duplex, a house—fully detached, semi-detached. As he pulls into a residential neighbourhood somewhere along the vague line he’s drawn on the map from Las Vegas to Arizona, he watches for all these options. In the distance, a jogger zags across the street with her golden retriever, children play basketball on a driveway, still in their school uniforms, another woman clips the wilted stems off a magnolia bush. 

It’s when he gets closer to the apartments that the sameness is noticeable. High-rises with pearlescent windows that go pinkish in the sunset—all of them identical. Each building evenly spaced, more like a board game than a place to live. Even the space around each building is the same—the same rose hedges, the same iron fence, the same people bustling in and out, all wearing some variation of the same pantsuit, all holding some other hand—child, partner, lover. The same haircuts, smiles, eyes like marbles, as if there’s a store somewhere that sells copies, a catalogue for eyes that don’t blink. He’s been looking into the sun for too long, there must be a difference, but the longer he looks, the more indistinguishable they become.

To get out of explaining where he wants to go when he and Eliza bump into each other, Lonan says he’s visiting his sister (Reeve), and because she’s iconic and must make an appearance, here’s a line ft. our queen:

He could make the lie true. Reeve is somewhere in the country, he imagines, dancing in a faceless city, living in a motel room, tipping everyone well. 

(^^ all true)

Here we have Lonan identifying with the animals more than anything else for the second time in one chapter (TW for more blood imagery):

Lonan hooks the car keys onto the lanyard by the front door and slings his coat across the couch. The television is set to the same channel as before, though the program has switched from sheep slaughter to birdwatching. On screen, a heron perches by a riverbed, opalescent in the sunshine.

“Did you hurt yourself?” he asks, the heron now frisking up the white bark of a tree. He glances at the fluorescent red dripping between her fingers, pattering against the tile.

“I was opening the paint cans.”

“With a kitchen knife?”

He gestures to the blade on the counter, blood-free, newly sharpened.

“It’s all I had on hand.” She pulls her wrist closer to her, runs her index finger along the injured area.

“It’s clean.”

“I washed it, Lonan.”

This next one has some blood imagery so TW for that!

The heron has moved closer to the riverbed. It watches the water knowingly, its subtle simmer of movement, and after a moment of watching, strikes its beak down so it spears a trout. He misses the part where it eats. Eliza’s clicked off the TV from behind him.

She slams the remote onto the counter so hard, its back clatters off and onto the tile. “I cut my arm with a kitchen knife while opening paint cans. It happens.”

“I don’t see a cut.”

“Why would I make that up?”

“I don’t see a cut.”

She walks toward him. He expects her to shove her wrist in his face, but she doesn’t. She just holds it, some of the blood fluorescing pink, splashes onto her toes.

“You got to see your sister?” she asks.

“She cancelled.”

Eliza clucks her tongue, examining her wrist, and then she extends her arm, revealing the full patch of pale skin gone red.

Lonan takes it, and with his fingernail carves a line through the red to reveal the healthy patch of skin, painted, uncut.

And finally, here’s the last line of this excerpt that essentially explains where the title comes from ft. predator VS prey symbolism:

He’s reminded once more of the heron, how it plunged into the riverbed with ease, and the trout dangling in its beak, its commitment to life most fervent the moment before being consumed. 

So that’s going to be it for this update! I don’t know how frequently I’ll be writing this, but it’s been a lot of fun so far. I’m excited to explore more relationships I haven’t turned over in a while as a little side project while I do other things! Hope y’all enjoyed!

--Rachel