Showing posts with label Floyd. Show all posts
Showing posts with label Floyd. Show all posts

22 April 2017

The Little Engine That Couldn't: Writers and Self-Doubt



by John M. Floyd



Confidence is a wonderful, magical thing, when applied to creative endeavors. It can sustain us in good times and bad, and when confidence in one's ability is justified it can spur him or her on to great accomplishments.

As for me, I'm no genius, but I try to stay positive and optimistic. I was fortunate in my career with IBM, and I think I do a passable job in my so-called career as a writer. But that doesn't mean I don't suffer lapses in confidence--especially in this crazy world of publishing.

Hills and valleys

I don't personally know a lot of New York Times bestsellers, but I know a few, and one of them told me years ago that she experiences self-doubt on a regular basis. Only half-joking, she said she usually wakes up in the morning thinking Oh God I don't know what the hell I'm doing, then wakes up the next morning thinking You know, I believe I've finally got a handle on this, then the next morning it's This book's going to suck, and everybody's going to find out I'm a fake, and then Okay, I guess I really do know what I'm doing after all, and back and forth and back and forth, day after day. She also told me she doesn't think such feelings are uncommon.

The thing about self-doubt is that it can lead to failure, and failure leads to more doubt, which leads to more failure, and pretty soon the downward spiral is going full speed. And being told not to doubt yourself is like being told not to worry. Everyone worries.

On the other hand, a little doubt can be a good thing, and far better than blind overconfidence. The only time I remember being completely free of self-doubt was a two- or three-week period about twenty years ago, shortly after I'd first started submitting stories to magazines. Having never published anything before, I had submitted five different short stories to five different markets just to see what would happen, and--although I still have trouble believing this--four of those first five stories were accepted, and for the next few weeks I was convinced that I was sitting on a rainbow with the world on a string, like in the old song. I figured Good grief, it it's this easy to get published, I'll just sell a gazillion stories and make a gazillion dollars. That, of course, was not the case. The next thirteen stories I submitted were rejected. Thirteen in a row. That brought me back fast to terra firma, and in retrospect it was one of the best things that could've happened to me. Live and learn.

A necessary evil?

Not necessary, I suppose. But self-doubt is certainly often-present.

Here are a couple of quotes, on the subject. Charles Bukowski once said, "You are better off doing nothing than doing something badly. But the problem is that bad writers tend to have the self-confidence, while the good ones tend to have self-doubt. So the bad writers tend to go on and on writing crap and giving as many readings as possible to sparse audiences. These sparse audiences consist mostly of other bad writers waiting their turn to go on . . . When failures gather together in an attempt at self-congratulation, it only leas to a deeper and more abiding failure. The crowd is the gathering place of the weakest; true creation is a solitary act."

And this, from Stephen King: "Writing fiction, especially a long work of fiction, can be a difficult, lonely job; it's like crossing the Atlantic Ocean in a bathtub. There's plenty of opportunity for self-doubt."

I think that goes for a short work of fiction as well. And here's another point: some feel that self-doubt is cured when one's writing happens to win an award or some other form of public recognition. I don't agree. The times that I've been fortunate enough for that to happen, I've often found myself wondering, afterward, if it was just a fluke, sort of a cosmic burp, never to be repeated. And I've heard others say they feel the same way. Self-doubt, deserved or not, seems to follow most writers around like Pigpen's dust cloud.

So what can we do about it?

Hey, if I knew the answer to that, I would've already done it. But here's some wise advice I saw at Chuck Wendig's blog terribleminds: "The key is to let doubt be clarifying rather than muddying. It's important to know that the doubt isn't yours to carry. It's not about you. You needn't doubt your own abilities but rather some aspect of your current work that feels like it's not coming together. Here your self-doubt serves as the standard-bearer for those instincts rising up from your gutty-works. Follow your heart. Thus, self-doubt helps you improve, which in turn helps you defeat self-doubt."

Well said. But it's a hard feeling to overcome. On the lighter side of all this, I remember something else I once heard: "I tried all that 'positive thinking' stuff. I knew it wouldn't work, and sure enough, it didn't." And the sign on the library door that said, "Low Self-Esteem meeting at 6 p.m.--attendees please enter through the back."


Questions

What are your views? Do you ever find yourself doubting your ability or your effectiveness as a writer? If so, how much does it bother you? How do you deal with it? Did any accolades you've received put it to rest? Do you have any advice to offer us Pigpens?

Oh my. Something else just occurred to me.

What if nobody even bothers to read this post . . . ?






15 April 2017

So Mysterious: a Q&A With Gerald So


Gerald So is a name that's familiar to most of us who write short mystery fiction. In fact Gerald is a past president (2008-10) and past vice-president (2012-14) of the Short Mystery Fiction Society, as well as an author, editor, and publisher. Since 2008, he has published crime-themed poetry, first in The Lineup chapbook series, co-edited with Patrick Shawn Bagley, Reed Farrel Coleman, Sarah Cortez, Richie Narvaez, and Anthony Rainone, and now at The Five-Two weekly website.

I e-met Gerald long ago, and although we've never crossed paths in person, I feel I know him well through our many emails and his many projects. We also share a love of crime poetry. (I've sold more than 300 poems, believe it or not--many of them in the mystery category--to Writer's Digest, EQMM, Grit, Farm & Ranch Living, etc.). Gerald reminded me recently of one of my poems called "Tinseltown," which appeared in The Five-Two several years ago.  (Here's a link.)

Okay, that's my warm-up act. Here's the main event: a brief interview with the crime-poetry king himself, Gerald So.


JF: Gerald, it's great to have you with us at SleuthSayers. Let's start with a clarification: What would you say is the difference between crime fiction and crime poetry?

GS: Mainly, unlike fiction, poetry isn't necessarily narrative. Poetry doesn't have to stick to procedural aspects of genre conventions. It can, for example, depict the aftermath of crime as an emotional moment, before the tendency toward story sets in. Poets have the freedom to approach crime from angles you might not see in fiction. I need occasional breaks from reading and writing crime fiction while poetry has held my interest all along.


JF: How did you get started writing poetry, and especially crime-themed poetry?

GS: I started writing bad poetry in high school. By college, I'd decided fiction was safer ground, but while teaching at Hofstra University I befriended poet Robert Plath, and handled the technical side of the faculty poetry website he edited. In reading the material to be posted on the website, I began to form opinions about it, and then seriously write my own poetry. I broke into print with poetry, not fiction, and decided I wouldn't give it up.

I think the theme of crime worked its way in naturally because powerful inciting events, such as crimes, are what hook and keep me reading anything.


JF: I agree. As I mentioned earlier, you started out publishing The Lineup crime poetry chapbooks. Now that you've published via a website, would you ever consider adding a Five-Two paper format?

GS: Yes, but I'd need more resources and help to make it happen. The advantage of maintaining a poetry blog and ebooks is I'm the only one who has to work on them to see them published. That said, a longterm goal of the site and ebooks is to keep crime poetry in the public eye, to grow interest in the concept until things like print or audio releases, and anything else you might imagine, are within reach.


JF: Can you tell us more about The Lineup series?

GS: The Lineup was a print-on-demand chapbook published once a year from 2008 to 2011. An acquaintance, author Alex Echevarria Roman, suggested the idea of a crime-themed poetry journal, and I ran with it, recruiting friends as co-editors. The Lineup had four editors per issue, each reading and rating all the poems submitted. It was a unique but complicated process, and as my friends turned to bigger projects, The Lineup couldn't be sustained. All four published volumes are still available here, though, on Lulu.com.


JF: The Five-Two, which I've heard you call a "crime poetry weekly," is a great site. Who are some of the authors you've featured in The Five-Two?

GS: Thriller author J.T. Ellison is one of the volunteer audio performers. There have been poems by your fellow Derringer Award winner Joseph D'Agnese and by novelist Peter Swanson. Other frequently featured poets include Robert Cooperman, Jennifer Lagier, Charles Rammelkamp, and Nancy Scott.


JF: What other kinds of writing do you do?

GS: I've written book, TV, and film reviews for Crimespree Magazine, a regular TV/film column for Mysterical-E, and a handful of short stories in various journals. I'm waiting on the status of two shorts whose titles I'm not allowed to mention.


JF: In closing, what are some other current markets for crime-themed poetry?

GS: I don't know many other markets that seek crime poetry specifically as The Five-Two does, but there are always markets for poetry with powerful inciting events, of which crime is just one. Some are Midnight Lane Boutique, Nerve Cowboy, Red Fez, Silver Birch Press, and Yellow Mama.


JF: Which is my hint to try some of these latest markets, and for our readers (hopefully) to try their hand at crime poetry also. Many thanks, Gerald, for joining us today. Keep up the good work!




And thanks to all of you as well. I'll be back next Saturday with my regular SleuthSayers column, and some observations of my own . .  . but I hope you'll tune in anyway.

01 April 2017

Guilty Pleasures



by John M. Floyd




Anyone who posts regularly at blogs like this knows that ideas for topics can come from unexpected places. Today's column is the result of recent discussions I've had with my friend and fellow SleuthSayer Paul D. Marks, who--God help us both--is as obsessed with movies as I am. We've been emailing each other about some recent movies we've seen and why we liked them and why we sometimes prefer the old ones to the new, and so forth. We even decided to exchange lists of favorites, and mine include, predictably, some of the greats--Casablanca, To Kill a Mockingbird, Double Indemnity, Goldfinger, Psycho, The Godfather, The Shawshank Redemption, etc.

But . . . they also contain a lot that were not so great, and certainly not critically acclaimed. Why, then, did I like them? Why would I spend two hours watching something that probably provides little or no educational value, food for thought, lessons about life, or the broadening of any kind of horizon? My answer: because they're fun. Let's face it, when you sit down to watch something called Snakes on a Plane, you know you're not getting Citizen Kane or The Grapes of Wrath. But sometimes those crazy movies just hit the spot. They're sort of like Hostess Twinkies--I know they're not good for me but I scarf 'em down anyhow.


Diamonds in the rough

The following, in no particular order, are some of my cinematic "guilty pleasures." The funny thing is, they're all movies that, before I saw them, I thought I wouldn't like.

NOTE 1: Some of these actually are high-quality, big-budget movies--but most are not. Very few were mentioned in awards ceremonies. Ask me if I care.

NOTE 2: The films I've marked with asterisks are some of those that I could watch over and over and over again. And I do.

Idiocracy
Get the Gringo
*Rustler's Rhapsody
Seven Psychopaths
Dumb and Dumber
*Bubba Ho-Tep
*A Life Less Ordinary
The Pawn Shop Chronicles
Cashback
Trollhunter
Zathura
Spaceballs
*Used Cars
Undercover Brother
The Postman
Captain Ron
*Silver Bullet
True Lies
Dirty Rotten Scoundrels
Me, Myself, and Irene
*Cowboys and Aliens
Liar Liar
My Name Is Nobody
Billy Jack
*Under Siege
*Hot Shots, Part Deux
Payback
Open Water
*Escape From New York
Last Man Standing
What About Bob?
The Mist
Kings of the Sun
Australia
The History of the World, Part I
Overboard
*Texas Across the River
The Great Race
Welcome to the Jungle
*Office Space
Lockout
*Lady in the Water
The Night Flier
The Hudsucker Proxy
The Betsy
*Waterhole #3
The Long Kiss Goodnight
Sahara
*Galaxy Quest
The Quick and the Dead (1995)
A Million Ways to Die in the West
*Blazing Saddles
*Cat People (1982)
Vanishing Point
Forgiving the Franklins
*The Book of Eli
Kentucky Fried Movie
The Mothman Prophecies
Necessary Roughness


Non-so-guilty pleasures

One of the thrills of watching movies, to me, is occasionally stumbling across one that you've heard nothing about beforehand, and discovering that it's better than many of those that have been hyped to high heaven. These under-the-radar jewels are those that, once you see them, you remember forever.

Add-on category: excellent movies that no one seems to have heard about:

An Unfinished Life
Killer Joe
Before the Devil Knows You're Dead
Medicine Man
The Gypsy Moths
The Flim Flam Man
Holes
The Last Sunset
Magic
The Spanish Prisoner
The Ballad of Cable Hogue
Apocalypto
Edge of Darkness
The Cooler
True Romance
From Noon to Three
Red Rock West
The Man From Elysian Fields
The Gods Must Be Crazy
Bone Tomahawk
Sands of the Kalahari
In Bruges
Blood Simple
The Lookout
The Taking of Pelham One Two Three (1974)
Miss Pettigrew Lives for a Day
A History of Violence
This Property Is Condemned
Eye of the Needle
The Sea of Trees
Someone to Watch Over Me
The Molly Maguires
Out of Sight
Amelie
Jack the Giant Slayer
The Water Diviner
Mountains of the Moon
The Salvation
Mud
The Chase
The Blue Max
Stranger Than Fiction
Leap of Faith
Heaven's Prisoners
They Shoot Horses, Don't They?
Brassed Off
Sorcerer
Runaway Train
Always
Hearts in Atlantis
The Homesman
Muriel's Wedding


Q and A

What movies have you seen, that might fit into either of these lists? Can you relate to my delight in uncovering good ones that I'd never heard about before? Do you sometimes find yourself disappointed when you see unsatisfying movies that the critics have all said were great? Do you
ever start watching one that you're sure you'll hate and find yourself enjoying it? Do you sometimes hate to admit you enjoyed it? Do you agree that I probably need to find better things to do with my time?

In closing, I should mention that I like a wide range of movies, from Notting Hill to Goodfellas, from Star Wars to Driving Miss Daisy, from Raising Arizona to Django Unchained. And the same goes for my taste in stories and novels and TV shows. I still write mostly mystery fiction, but I'll read and watch almost anything.

Bleary-eyed and poor, yes. Guilty, no.

Pass the popcorn . . .




News flash: Two weeks from today, in my April 15 column, I'll be interviewing my old friend Gerald So, former president of the Short Mystery Fiction Society. We'll talk about crime-related poetry (which, if you haven't tried it, is great fun to read AND write). I hope you'll tune in and help me welcome Gerald to SleuthSayers!

And congratulations to all the Derringer Award nominees!








04 March 2017

Let's Do the Twist



by John M. Floyd



In his book Spunk & Bite, author and publisher Arthur Plotnik says, "Readers love surprise. They love it when a sentence heads one way and jerks another."

How true. And what works in language/style also seems to work--at least in this case--in plots. Readers, and viewers too, like it when the story takes a sudden and unforeseen turn. Sometimes it's just a side street that eventually leads us back to the freeway, but occasionally it's a major roadblock that sends us off in a totally different direction, or even headed back the way we came.

Off-balancing act

FYI, I'm not talking specifically about surprise endings, like those in Shutter Island, Primal Fear, The Sixth Sense, Fight Club, Planet of the Apes, Presumed Innocent, The Usual Suspects, "The Lottery," "The Gift of the Magi," etc. The reversals I'm talking about can also occur earlier in the story.

Nobody who reads fiction (or watches movies) wants the characters to have an easy, carefree ride. We want our hero or heroine to be challenged, and not only with that initial "call to adventure." We want him or her weighted down with burdens and decisions and constantly-changing threats. And the main thing, here, is changing. Since we as human beings are always worried about changes in our own lives, we as readers are worried when characters face changes--illness, death, divorce, a new job, loss of a job, a new location, strangers who come to town, and so forth--and have to deal with them. It adds to the "uncertainty of outcome" that's such an integral piece of storytelling. This happens in all good stories, but a part of that, especially in genre fiction, is injecting twists and turns throughout the tale.


Shock treatment

I always enjoy movies and novels that contain those in-flight reversals. There are many examples, but the following stories--all of them are films and most were books as well--come to mind because they feature a sudden 180-degree switcheroo in or near Act II: A Kiss Before Dying, Psycho, L.A. Confidential, Executive Decision, Ransom, Gone Girl, Deep Blue Sea, Marathon Man, etc. And I don't mean a slight swerve off the path; I mean a clap-your-hands-over-your-mouth and bug-out-your-eyes stunner that completely changes the course of the story.

The reversals in the movie versions of Psycho and L.A. Confidential were especially memorable because--in each case--the best-known actor in the cast was unexpectedly killed in the middle of the story (early middle in Psycho, late middle in LAC). That also happened when the most famous actor in Game of Thrones bit the dust (well, his severed head did) in the final episode of the very first season. It left viewers thunderstruck, and understandably wondering what other off-the-charts events might happen, and when. If long-term tension is what you're trying to create (as a writer/director) and what you enjoy (as a reader/viewer), this is a pretty effective plot device.


It occurred to me, while I was writing this, that one definition of the word reversal is "a setback, or a change of fortune for the worse"--as in, I suppose, a deep dip in the Dow Jones--and I think that definition holds true for today's topic as well. Reversals in fiction are often for the worse, and that can help the story. More conflict, and more agony for the protagonist, means more suspense.

A sense of misdirection

Other tales that had big mid-story twists: The Maze Runner, Reservoir Dogs, The Departed, "A Good Man Is Hard to Find," Life of Pi, Sands of the Kalahari, A History of Violence, The Hateful 8, Blood Simple--and almost any short story by Roald Dahl and any novel by Harlan Coben. Those two authors were/are masters of the plot reversal.

With regard to endings, Lawrence Block had an interesting observation about that in his book Telling Lies for Fun and Profit. He said, "The best surprise endings don't merely surprise the reader. In addition, they force him to reevaluate everything that has preceded them, so that he views the actions and the characters in a different light and has a new perspective on all that he's read."

At the risk of repeating myself, I think the same thing applies to twists and reversals during the course of the narrative. If you're good enough, you can use reversals to keep a reader off-balance and still maintain the central storyline. The diversions, when included, should be there for a reason, and not just for shock value and entertainment. The twists should fit in and be logical, and should--ideally--make the journey more interesting to the traveler.

Questions

Do you agree? Is that something you try to do in your own writing, or look for in your reading and/or viewing? What are some of your favorite reversals in movies, novels, and stories? Can you think of some that didn't work well? Which ones surprised you the most? I think I actually spilled Coke on the people around me in the theater when Janet Leigh met her fate in the Bates Motel (that bombshell seemed to drop almost as soon as I got settled into my seat), and I choked on my popcorn when the guy pushed his date off the roof of the building in the first half of A Kiss Before Dying. I'll remember those scenes always. And that's more than I can say for a lot of the novels I've read and the movies I've seen lately.

In real life, certainty and security are comforting. In fiction, the future is always unpredictable.

Or should be.





18 February 2017

As the Credits Go By




In a column I posted at SleuthSayers several months ago, called "Crime (and Other) Scenes," I listed a hundred or so of my favorite movie moments, and the first category was my pick for the ten "best opening sequences." What I didn't mention, there, was that the music accompanying the opening credits can be as important as the images. Examples: The Magnificent SevenStar WarsThe Big CountryTop GunThe Pink PantherA Fistful of DollarsSuperman, and many others. And while that opening music piece often has the same title as the movie, like "Jaws Theme," "Goldfinger," "The Great Escape March," "Theme From A Summer Place," etc., sometimes the director uses a song with its own name, and occasionally one that wasn't originally written for the film.

Which brings us to today's post, and my challenge to you. Can you name the movies whose opening credits used the following fifty pieces of music? The first half are fairly easy; the rest of them, not so much.
(Warning: No Googling allowed. The Shadow knows.)


Here are the songs. Their movies are included below. Good luck!

1. "The Sound of Silence" -- Simon and Garfunkel
2. "Stayin' Alive" -- The Bee Gees
3. "Up Where We Belong" -- Joe Cocker and Jennifer Warnes
4. "Gonna Fly Now," -- Bill Conti
5. "Suicide Is Painless," -- Johnny Mandel
6. "When You Wish Upon a Star" -- Cliff Edwards
7. "The James Bond Theme" -- John Barry
8. "Born to Be Wild," -- Steppenwolf
9. "Everybody's Talkin'" -- Harry Nilsson
10. "Do Not Forsake Me, O My Darlin'" -- Frankie Laine
11. "The Circle of Life" -- Elton John
12. "The Windmills of Your Mind" -- Michel Legrand
13. "Nobody Does It Better" -- Carly Simon
14. "The Deadwood Stage" -- Ray Heindorf
15. "One Tin Soldier" -- Coven
16. "Holiday Road" -- Lindsey Buckingham
17. "Real Gone" -- Sheryl Crow
18. "Moon River" -- Henry Mancini
19. "Little Green Bag" -- The George Baker Selection
20. "Also Sprach Zarathustra" -- Richard Strauss
21. "The Rainbow Connection" -- Kermit the Frog
22. "All-Time High" -- Rita Coolidge
23. "You've Got a Friend in Me" -- Randy Newman
24. "Seventy-Six Trombones" -- Ray Heindorf
25. "I Heard It Through the Grapevine" -- Marvin Gaye
26. "The End" -- The Doors
27. "As Time Goes By" -- Jimmy Durante
28. "I Can See Clearly Now" -- Johnny Nash
29. "Way Out There" -- Carter Burwell
30. "Misirlou" -- Dick Dale and the Del-Tones
31. "Come Softly to Me" -- The Fleetwoods
32. "Best of My Love" -- The Emotions
33. "The Times They Are A-Changing" -- Bob Dylan
34. "Rock Around the Clock" -- Buddy Holly
35. "Hound Dog" -- Elvis Presley
36. "What'll I Do?" -- William Atherton
37. "Tomorrow Is the Song I Sing" -- Richard Gillis
38. "Wish Me a Rainbow" -- Gunter Kallman Chorus
39. "I'm All Right" -- Kenny Loggins
40. "Sixteen Tons" -- Eric Burdon
41. "The Man Comes Around" -- Johnny Cash
42. "Across 110th Street" -- Bobby Womack
43. "For What It's Worth" -- Buffalo Springfield
44. "The Heat Is On" -- Glenn Frey
45. "The Immigrant Song" -- Led Zeppelin
46. "The Puppy Song" -- Harry Nilsson
47. "Summer in the City" -- Joe Cocker
48. "Dies Irae" -- Renny Harlin
49. "Gimme Shelter" -- The Rolling Stones
50. "It Had to Be You" -- Harry Connick, Jr.


Okay, that's it. Please put your pencils down and step away from your desks.


Answers:

1. The Graduate
2. Saturday Night Fever
3. An Officer and a Gentleman
4. Rocky
5. M*A*S*H
6. Pinocchio
7. Dr. No
8. Easy Rider
9. Midnight Cowboy
10. High Noon
11. The Lion King
12. The Thomas Crown Affair (1968 version)
13. The Spy Who Loved Me
14. Calamity Jane
15. Billy Jack
16. National Lampoon's Vacation
17. Cars
18. Breakfast at Tiffany's
19. Reservoir Dogs
20. 2001
21. The Muppet Movie
22. Octopussy
23. Toy Story
24. The Music Man
25. The Big Chill
26. Apocalypse Now
27. Sleepless in Seattle
28. Grosse Point Blank
29. Raising Arizona
30. Pulp Fiction
31. Crossing Delancey
32. Boogie Nights
33. Watchmen
34. Blackboard Jungle (and, later, American Graffiti)
35. Indiana Jones and the Kingdom of the Crystal Skull
36. The Great Gatsby (1974 version)
37. The Ballad of Cable Hogue
38. This Property Is Condemned
39. Caddyshack
40. Joe Versus the Volcano
41. Dawn of the Dead
42. Jackie Brown
43. Full Metal Jacket (and, later, Lord of War)
44. Beverly Hills Cop
45. The Girl With the Dragon Tattoo
46. You've Got Mail
47. Die Hard With a Vengeance
48. The Shining
49. The Departed
50. When Harry Met Sally


Please grade your papers. And remember what happened to #6 when he didn't tell the truth.

Here's the deal. If you failed to answer any of the questions correctly, you need to get out more. My mother's almost 91, she probably hasn't watched an entire movie since The Sound of Music, and I think even she could've answered one or two. If you got 10 correct, that's pretty good, but you're still not up where you belong. If you got 20 right, I'm impressed. (All I had to do was pose the questions--I'd hate to see how few I could've answered without the cheat-sheet.) A score of 30 correct is excellent in anybody's book, and if you got 40 right, please send me your email address so I can get some movie recommendations. And if you correctly answered all 50, you are a certified, card-carrying cinema fanatic, and I'm seriously worried about you. To paraphrase the Soup Nazi on Seinfeld, no more Netflix for you, one year! Get thee instead to a psychiatric ward.

A final question: Can you think of other opening songs for the list? And how about songs that play over the ending credits--I didn't even get into those. Or the openings for TV shows. ("Those Were the Days," "Where Everybody Knows Your Name," "Movin' On Up," "Runaway," "Harlem Nocturne," etc.) Quizzes for another day, maybe.


This kind of discussion makes me want to pop something like Escape From New York into the DVD player, put on my wireless headphones, crank up the volume, prop up my feet, and escape from more than just New York. Love that movie music.

No sounds of silence for me.






As the Credits Go By




In a column I posted at SleuthSayers several months ago, called "Crime (and Other) Scenes," I listed a hundred or so of my favorite movie moments, and the first category was my pick for the ten "best opening sequences." What I didn't mention, there, was that the music accompanying the opening credits can be as important as the images. Examples: The Magnificent Seven, Star Wars, The Big Country, Top Gun, The Pink Panther, A Fistful of Dollars, Superman, and many others. And while that opening music piece often has the same title as the movie, like "Jaws Theme," "Goldfinger," "The Great Escape March," "Theme From A Summer Place," etc., sometimes the director uses a song with its own name, and occasionally one that wasn't originally written for the film.

Which brings us to today's post, and my challenge to you. Can you name the movies whose opening credits used the following fifty pieces of music? The first half are fairly easy; the rest of them, not so much.
(Warning: No Googling allowed. The Shadow knows.)


Here are the songs. Their movies are included below. Good luck!

1. "The Sound of Silence" -- Simon and Garfunkel
2. "Stayin' Alive" -- The Bee Gees
3. "Up Where We Belong" -- Joe Cocker and Jennifer Warnes
4. "Gonna Fly Now" -- Bill Conti
5. "Suicide Is Painless" -- Johnny Mandel
6. "When You Wish Upon a Star" -- Cliff Edwards
7. "The James Bond Theme" -- John Barry
8. "Born to Be Wild" -- Steppenwolf
9. "Everybody's Talkin'" -- Harry Nilsson
10. "Do Not Forsake Me, O My Darlin'" -- Tex Ritter
11. "The Circle of Life" -- Elton John
12. "The Windmills of Your Mind" -- Michel Legrand
13. "Nobody Does It Better" -- Carly Simon
14. "The Deadwood Stage" -- Ray Heindorf
15. "One Tin Soldier" -- Coven
16. "Holiday Road" -- Lindsey Buckingham
17. "All By Myself" -- Celine Dion
18. "Moon River" -- Henry Mancini
19. "Little Green Bag" -- The George Baker Selection
20. "Also Sprach Zarathustra" -- Richard Strauss
21. "The Rainbow Connection" -- Kermit the Frog
22. "All-Time High" -- Rita Coolidge
23. "You've Got a Friend in Me" -- Randy Newman
24. "Seventy-Six Trombones" -- Ray Heindorf
25. "I Heard It Through the Grapevine" -- Marvin Gaye
26. "The End" -- The Doors
27. "As Time Goes By" -- Jimmy Durante
28. "I Can See Clearly Now" -- Johnny Nash
29. "Way Out There" -- Carter Burwell
30. "Misirlou" -- Dick Dale and the Del-Tones
31. "Come Softly to Me" -- The Fleetwoods
32. "Best of My Love" -- The Emotions
33. "The Times They Are A-Changing" -- Bob Dylan
34. "Rock Around the Clock" -- Buddy Holly
35. "Hound Dog" -- Elvis Presley
36. "What'll I Do?" -- William Atherton
37. "Tomorrow Is the Song I Sing" -- Richard Gillis
38. "Wish Me a Rainbow" -- Gunter Kallman Chorus
39. "I'm All Right" -- Kenny Loggins
40. "Sixteen Tons" -- Eric Burdon
41. "The Man Comes Around" -- Johnny Cash
42. "Across 110th Street" -- Bobby Womack
43. "For What It's Worth" -- Buffalo Springfield
44. "The Heat Is On" -- Glenn Frey
45. "The Immigrant Song" -- Led Zeppelin
46. "The Puppy Song" -- Harry Nilsson
47. "Summer in the City" -- Joe Cocker
48. "Dies Irae" -- Renny Harlin
49. "Gimme Shelter" -- The Rolling Stones
50. "It Had to Be You" -- Harry Connick, Jr.


Okay, that's it. Please put your pencils down and step away from your desks.


Answers:

1. The Graduate
2. Saturday Night Fever
3. An Officer and a Gentleman
4. Rocky
5. M*A*S*H
6. Pinocchio
7. Dr. No
8. Easy Rider
9. Midnight Cowboy
10. High Noon
11. The Lion King
12. The Thomas Crown Affair (1968 version)
13. The Spy Who Loved Me
14. Calamity Jane
15. Billy Jack
16. National Lampoon's Vacation
17. Bridget Jones' Diary
18. Breakfast at Tiffany's
19. Reservoir Dogs
20. 2001
21. The Muppet Movie
22. Octopussy
23. Toy Story
24. The Music Man
25. The Big Chill
26. Apocalypse Now
27. Sleepless in Seattle
28. Grosse Point Blank
29. Raising Arizona
30. Pulp Fiction
31. Crossing Delancey
32. Boogie Nights
33. Watchmen
34. Blackboard Jungle (and, later, American Graffiti)
35. Indiana Jones and the Kingdom of the Crystal Skull
36. The Great Gatsby (1974 version)
37. The Ballad of Cable Hogue
38. This Property Is Condemned
39. Caddyshack
40. Joe Versus the Volcano
41. Dawn of the Dead
42. Jackie Brown
43. Full Metal Jacket (and, later, Lord of War)
44. Beverly Hills Cop
45. The Girl With the Dragon Tattoo
46. You've Got Mail
47. Die Hard With a Vengeance
48. The Shining
49. The Departed
50. When Harry Met Sally


Please grade your papers. And remember what happened to #6 when he didn't tell the truth.

Here's the deal. If you failed to answer any of the questions correctly, you need to get out more. My mother's almost 91, she probably hasn't watched an entire movie since The Sound of Music, and I think even she could've answered one or two. If you got 10 correct, that's pretty good, but you're still not up where you belong. If you got 20 right, I'm impressed. (All I had to do was pose the questions--I'd hate to see how few I could've answered without the cheat-sheet.) A score of 30 correct is excellent in anybody's book, and if you got 40 right, please send me your email address so I can get some movie recommendations. And if you correctly answered all 50, you are a certified, card-carrying cinema fanatic, and I'm seriously worried about you. To paraphrase the Soup Nazi on Seinfeld, no more Netflix for you, one year! Get thee instead to a psychiatric ward.

A final question: Can you think of other opening songs for the list? And how about songs that play over the ending credits--I didn't even get into those. Or the openings for TV shows. ("Those Were the Days," "Where Everybody Knows Your Name," "Movin' On Up," "Runaway," "Harlem Nocturne," etc.) Quizzes for another day, maybe.


This kind of discussion makes me want to pop something like Escape From New York into the DVD player, put on my wireless headphones, crank up the volume, prop up my feet, and escape from more than just New York. Love that movie music.

No sounds of silence for me.




04 February 2017

For Dialogue Lovers Only


All writers have things that we enjoy most (and least) about the process of creating fiction. Some of these preferences, I think, are related to our backgrounds--former journalists/nonfiction-writers seem to be especially good at descriptions and exposition, psychology folks seem to focus on emotions and relationships, teachers like style and editing, engineers seem more comfortable with plotting and structure, etc. Then again, some say our prior and non-writing experiences don't matter a whit; we just like what we like.

I can speak only for myself. My two favorite tasks in writing a story are, for whatever reasons, (1) outlining the plot and (2) writing dialogue. Since we've had a great many columns at this blog about the pros and cons of outlining, I thought I'd focus on my second preference.

Talking points


I love to write dialogue. Probably because I love to read dialogue. When I pick up a magazine or anthology or collection of short stories, I almost always find myself flipping through it and looking for "white space." When I find stories that have a lot of that--which of course means short sentences, which means dialogue--I usually read those stories first. Why? Because dialogue means something's happening. I'm cruising along through the tale listening to people talk (and sometimes scream and shout and argue), and not plodding through all that thick, margin-to-margin writing.

Does that searching-for-white-space approach always work? No. Stories with a lot of dialogue, if they're not done well, can be more tiring and tedious than pure narrative, and, since there's no magic formula for all this, stories written either way can be either wonderful or terrible. I've always said dialogue is like playing the guitar: it's hard to do well and easy to do badly.

But I should point out that the amount of dialogue in a piece of fiction depends on the piece. Three of my recent published stories had almost no dialogue, and one of them had none at all. In fact, of the five widely accepted "elements" of fiction (plot, characterization, POV, dialogue, and setting), dialogue is the only one that's not absolutely necessary. Well, okay, I realize that some stories don't have to have plots either, but most good stories do. Another point: I'm convinced that dialogue is a marketing advantage. If you write two stories of equal quality and one has a lot of dialogue and one has very little, I think the one with more dialogue is easier to sell.

Masters of the craft

My fondness for dialogue is probably one of the reasons I've so enjoyed the books of the late Robert B. Parker. His series novels, whether they're about Spenser or Jesse Stone or Sunny Randall or Virgil Cole, contain a LOT of conversations between characters. And it's snappy, believable dialogue that either moves the plot forward or tells us something about the people in the story. Sometimes it does both. Other writers well-known for the quality of their dialogue are George V. Higgins, Dick Francis, Elmore Leonard, James M. Cain, Carl Hiaasen, Toni Morrison, Harlan Coben, John Steinbeck, Janet Evanovich, Joe Lansdale, James Scott Bell, etc. Advice to fellow writers: Read these authors, then go ye and do likewise.

Contrast that kind of fiction with the work of, say, James Michener or Tom Clancy, whose novels usually contain very little dialogue. Don't get me wrong--I liked their books, and I have all of them right here on the packed and groaning shelves of my home office. But I also maintain that those novels were not as much fun to read as (and certainly took longer to read than) those of Parker, Leonard, Coben, and company.

According to Sol

I think all this goes beyond the "easy-read" aspect. I like dialogue because of the rhythm and sound and feel of the sentences, and the way it can immediately create a reversal or plot twist when needed. In his book Stein on Writing, Sol Stein called this "oblique" dialogue, which allows the writer to introduce the unexpected. Here are some examples, from that book:

SHE: How are you?
HE: I suppose I'm okay.
SHE: Why, what's the matter?
HE: I guess you haven't heard.

SHE: How are you? I said how are you?
HE: I heard you the first time.
SHE: I only wanted to know how you were.
HE: How the hell do you think I am?

HE: It's beginning to rain.
SHE: What do you suggest?

In all of these, the responses aren't direct, as they often are in real life. They're indirect and surprising, and serve to turn the story in a different direction. It's a great way to advance the plot and keep the reader interested.

The voices in my own head

Something else dialogue can do, as was mentioned earlier, is help with characterization. In a Western mystery story I just finished writing, a man named Wade Carson is knocked unconscious while trying to rob a bank and wakes up lying with his wrists tied in a room that turns out to be a temporary jail cell. Sitting in a chair beside one of the windows is a young woman in men's clothing and boots, with a five-pointed star pinned to her shirt and a Winchester rifle across her lap.

"Where am I?" he asked her.
"In an extra room, behind the sheriff's house. He was planning to rent it out."
"I don't see any bars. What's keeping me in?"
"I am." She lifted the rifle off her lap, then lowered it again.
"And who might you be?"
"I might be Deputy Morton."
"You a real deputy?"
"This month I am." She tapped her star. "This is my uncle's badge--he's home with a broken leg."
He sighed. "An interim jail and an interim deputy."

Later, still under guard, he tells her he'd been on his way to San Francisco, to see a friend.

"Girlfriend?" she asked.
He broke out a grin. "I think you sound jealous."
"That's probably because of your head injury. What kind of friend?"
"An old partner. Wants me to go into business with him."
"What kind of business?"
Carson hesitated. "You'll think it's funny."
"No I won't."
"Banking. My friend owns a bank. And I'm good with figures."
"You're right," she said. "That is funny."
"You won't think so, when I do it. California's a booming place, these days."
"I've never been there."
He smiled again. "Want to go?"

And so on. I'm not saying these exchanges are great writing, but I am saying they're great fun to write. And I'm always pleased at how they allow a reader to be told, in very few words, a lot about the characters who are speaking.

Real vs. realistic

The main thing about dialogue is, you have to make it sound right. Here's another quote, from Stein on Writing. "If you need proof that dialogue and spoken words are not the same, go to a supermarket. Eavesdrop. Much of what you hear in the aisles sounds like idiot talk. People won't buy your novel to hear idiot talk. They get that free from relatives, friends, and the supermarket." Stein adds, on that same subject, "Elmore Leonard's dialogue is invented. It is a semblance of speech that has the effect of actual speech, which is what his readers prize." To sum all this up, dialogue doesn't have to sound like what we really say or hear. It has to sound better.

Do any of you writers share my obsession with dialogue? Do you find it harder, or easier, to create than other things in the writing process? Are your stories/novels usually heavy on dialogue, or not?

A final note. Having finished the eighth installment in Robert Parker's Appaloosa series (since his death those books have been written by Robert Knott, who does a good job of imitating Parker's "style" and frequent use of dialogue), I've just pre-ordered the ninth novel, Revelation. It's due out next week, and will continue the adventures of Old West lawmen Virgil Cole and Everett Hitch.

I can't wait to hear them talking to each other.

01 February 2017

All about me me me, not really


"A writer who claims to have a small ego is either not telling the truth, or lying." — William DeAndrea

In December John Floyd wrote a piece here about twenty years of Best American Mystery Stories and I was honored to get a mention.  But there was something in the comments that surprised me: several writers said they had not known they had been mentioned in the Distinguished Lists at the end of the book until John told them.

Not the case for me.  I doubt there has been a best-of-the-year mystery collection published in the last three decades that I haven't scoured for my name. This may be in part because my third published story, the first in Alfred Hitchcock's Mystery Magazine, found its way into the Honor Roll at the back of one of Edward D. Hoch's best-of-the-year collection, back in the days of hoop skirts and buggy whips.  James L. Swain, in one of his excellent mystery novels about a gambling consultant, says that the worst thing that can happen to a person in a casino is to win the first time they play, because it gets you hooked. So I am an innocent victim.

But I have not seen my name in such a book again until BAMS 2015 when I made the distinguished list, and then hit the big time in 2016.  It may be another few decades for anything like that happens again.

Of course, there are other ways to feed the  habit.  How often do you vanity-Google yourself?  Most writers I know do it, but they tend to feel guilty about it.  Nice to see if anyone is talking about you.  (Or not nice, depending on what they say.)

Sometimes I type in my name and the title of one of my books or stories to see if someone has said anything about them. Occasionally I have found that someone put up a copy of one of my stories on the web illegally.  That's always fun.

But what I am interested in today is people who show up who aren't me.  I'm not talking about identity fraud, but other people with my name.

For instance, there is a psychologist in my home state of New Jersey who probably wishes I had a different name or hadn't gone into writing, since our identities get tangled on the web.  He spells LoPresti with a capital P but Google doesn't recognize that as a difference.

And Google can also show you a striking mug shot of a guy with my name in Florida.  I'm not going to put it here though.

Oddly enough I have been Tuckerized occasionally, although I assume it was an accident.  "Tuckerizing" is when you put a person's name in your book, usually because they bought the rights with a donation to charity.

For example, my name appears in Robert B. Parker's Killing the Blues, a novel by Michael Brandman about Parker's character Jesse Stone.  I don't know Mr. Brandman and assume he picked my name at random, but it's freaky to read about myself being, for example, handcuffed and unconscious.  (That hasn't happened in years.)

And in Bye the Book, a medical thriller by Frank Caceres, I show up behind bars as a murder suspect. Again, I don't know the author.

Someday I will have to read these books and find out what happens to me.  I hope I'm okay.

When I first moved to this part of the world people would ask me if I was related to the local sports writer Mike Lopresti.  I explained that I wasn't related and that he wasn't local; hje just worked for the chain that owned our local newspaper.

And then there is Phil LoPresti who started the LoPresti Aviation Company.  A lot of people have nice things to say about his airplanes.

But the reason I am dragging this out is to tell you this.  I have a nonfiction book coming out later this year entitled When Women Didn't Count (more about that closer to publication date).  I needed to send someone a link to the publisher's pre-pub page so I went to Google and typed in: Lopresti Women.  And what popped up first were a lot of pages like the one on the right. Aaron Lopresti, comic book artist, may be the most famous of my namesakes.  And no, we aren't related either. 



21 January 2017

Take the Money and Ron


I like titles. I especially like trying to dream up good titles for my short stories.

What is a good title? That's hard to say. Sometimes you just know one when you see it. I think the best titles are those that are catchy and/or mysterious and/or appropriate to the story. And I like it when there's a hint of a "double meaning."

I confess that I'm always a little disappointed if an editor changes my title before publication. Not angry--just disappointed that she didn't agree with my choice. I've found a way to ease the pain, though: since I recycle a lot of my stories as reprints, I usually reinstate my original title when/if I'm fortunate enough to sell the story again elsewhere. Not that it matters, but Woman's World has changed more of my titles--46 out of the 84 stories I've sold to them--than any other magazine I submit to. Two more observations: (1) Anthologies seem less likely to ask for a title change than magazines, and (2) so far I've not had a title changed by AHMMEQMMStrand, or any of the other mystery publications. That's probably a mystery in itself.


Here are some examples of my titles, from both magazines and anthos, that were overruled. (My choice is listed first, the editor's second.)


"Smoke Test" -- "Switched Off"
"Name Games" -- "Who's He?"
"Dry Spell" -- "Listen Up!"
"Good Samaritan" -- "After the Storm"
"Diamond Jim" -- "A Bright Idea"
"Backward Thinking" -- "Baffled and Confused" (a choice that left me baffled and confused)
"Batteries Not Included" -- "Too Many Choices"
"Silent Partner" -- "When Samantha Smiles"
"Henry's Ford" -- "Everyone's Angel"
"Find Me" -- "Where's Emily?"
"Alumni Relations" -- "Old School"
"Neighborhood Watch" -- "Stormy Weather"
"Old Soldiers" -- "No Horsin' Around"
"A Day at the Office" -- "Take a Bow"
"Hold the Phone" -- "Can You Hear Me Now?"
"Guardian Angel" -- "Keeping an Eye on Crime"
"A Gathering of Angels" -- "The Ring of Truth"
"Buzz Off" -- "The Truth Stings"
"Right on Time" -- "What Happened to Ernie?"
"Low Technology" -- "Dial D for Desperate"
"Quick Stop" -- "Caught in the Crossfire"
"Mattie's Caddie" -- "The Missing Caddy"
"Byrd and Ernie" -- "Hidden in Plain Sight"
"Jack of All Trades" -- "The Listener"
"Bronco Bills" -- "The Hold-up"
"Ex Benedict" -- "Ball and Chain"
"Trapped" -- "Fiery Foes"
"Going for the Gold" -- "Diamonds Are Forever"
"Positive Thinking" -- "Labor Day Heist"
"A Clean Getaway" -- "A Dirty Trick"


 . . and so on and so on. And yes, I grudgingly admit that some of the changed titles wound up sounding better than the ones I created.

My most recent story in Woman's World (their January 16 issue) was changed from "Out of Left Field" to "Relative Strangers." The new title wasn't bad--in fact it was pretty good--and it remained appropriate to the plot, but I liked my original choice because one of the main characters was a left-handed former ballplayer and the solution was (hopefully) unexpected enough to come "out of left field." Oh, well. Another of my recent WW stories (the November 28 issue) involved a character I named Ron McNair, who was robbed and then kidnapped. The title I chose for the story was "Take the Money and Ron," which I thought was incredibly clever. (My wife would tell you, with a roll of her eyes, that I often think I'm incredibly clever, even if no one else does.) Anyhow, "Take the Money and Ron" got changed to "Candid Camera." Again, I prefer the title I dreamed up--but the new one worked also. I took the money and ran.

My point is, you as a writer might just as well accept this kind of thing, because it happens now and then and unless you're more important than I am there's nothing you can do about it. And there are sometimes good reasons for a title change. Maybe a similar title, one the writer didn't know about, recently appeared in the publication. Maybe the meaning of the title wasn't as clear to the editor as it was to the writer. Maybe the editor just didn't like it. The editor is, after all, the captain of the ship, and--as my hero Mel Brooks once said--"It's good to be da king."


Going back to examples, I've heard of a few well-known short stories whose titles got changed,
but mostly we hear about changes to the titles of novels. The following is a list of original titles (sometimes they were the authors' "working titles"), followed by the result:


Something That Happened -- Of Mice and Men
Catch-18 -- Catch-22
Trimalchio at West Egg -- The Great Gatsby
Fiesta -- The Sun Also Rises
Dark House -- Light in August
First Impressions -- Pride and Prejudice
The Wolfsschanze Covenant -- The Holcroft Covenant
Sister Maggie -- The Mill on the Floss
Strangers From Within -- Lord of the Flies
The Village Virus -- Main Street
The Sea-Cook -- Treasure Island
The Strike -- Atlas Shrugged
Second-Hand Lives -- The Fountainhead
Tomorrow Is Another Day -- Gone With the Wind
The Chronic Argonauts -- The Time Machine
Tenderness -- Lady Chatterly's Lover
Twilight -- The Sound and the Fury
Come and Go -- The Happy Hooker
The Jewboy -- Portnoy's Complaint
The Tree and the Blossom -- Peyton Place
Before This Anger -- Roots
The Saddest Story -- The Good Soldier
Salinas Valley -- East of Eden
Elinor and Marianne -- Sense and Sensibility
Private Fleming, His Various Battles -- The Red Badge of Courage
Mag's Diversions -- David Copperfield
Poker Night -- A Streetcar Named Desire
The House of the Faith -- Brideshead Revisited
The Last Man in Europe -- 1984
Paul Morel -- Sons and Lovers
They Don't Build Statues to Businessmen -- The Valley of the Dolls
The Mute -- The Heart is a Lonely Hunter
O Lost -- Look Homeward, Angel
Kingdom by the Sea -- Lolita
Mind and Iron -- I, Robot
Cancer -- Dreamcatcher
Return to the Wars -- To Have and Have Not
Robotic Banana -- A Clockwork Orange
All's Well That Ends Well -- War and Peace
Summer of the Shark -- Jaws


I don't know about you, but I'm glad most of those early choices underwent a do-over.

What are your thoughts, about this subject of editors and publishers changing the titles of stories/novels? How often has it happened to your creations? When it happens, does it bother you? Do you ever feel the changed title is better than the one you came up with? Have you ever protested, or would you ever protest, a title change?

A final note. I mentioned that one of my recent Woman's World stories was reassigned the title "Relative Strangers." Oddly enough, I submitted a story back in 2010 to WW with the title "Relative Strangers." When they published it, my title was changed to "All in the Family."

Go figure.

31 December 2016

The Pros and Cons of "Pay to Play"



by John M. Floyd



Yes, I know, it's the last day of the year. And yes, I know everybody's talking about resolutions and the best and worst things that have happened to us over the past twelve months, etc. On the good side, my wife and I welcomed a seventh grandchild into the world in 2016, and I had 20 stories published, and 30 more in a collection; on the bad side, we all lost a number of fine authors and actors and musicians and national leaders, and we had to choose a president from two of the most unpopular candidates ever to run for office. But that's all I'm going to say about the past. I'm treating this as just another day, and this is just another column about writing. I do hope, though, that all of you have a healthy and prosperous 2017. Now, back to the matter at hand . . .



Consider this. You're a fiction writer, you've completed your short story or novel, and you're looking for a publisher. With manuscript safely on your hard drive and/or in your outbasket, you do your marketing research, you pick out a magazine or anthology (if it's a story) or a publisher or agent (if a novel), and you study their submission guidelines. And you discover that they require the payment of a "reading fee."

Whatchoo talkin' bout, Willis?

Here's the deal. In the case of short stories, with which I'm more familiar, writers are sometimes asked to pay reading fees in order for the publication to consider their work. (A few agents and novel publishers do, as well--they used to be called "evaluation fees"--but they shouldn't do this, and most don't.) Short-story publications that charge fees are usually literary journals that publish both print and online versions. They often say these are "administrative" fees that help defray the costs of the websites, databases, etc., that allow writers to submit manuscripts electronically. Most of the reading fees I've seen in submission guidelines are around three dollars, but some are higher.

The question, of course, is: Should you send stories to markets that charge these fees?

Before giving you my opinion (which if converted to cash wouldn't be enough pennies to jingle in your pocket), let me list some of what I've heard are the pros and cons of this issue.


On the positive side:

- Reading fees provide financial support for the magazines. It's a way that we as writers can say thanks to those editors and help them keep their publications in business.

- Since most markets now allow electronic submissions rather than hardcopy subs, a reading fee--especially if it's in the three-dollar range--probably costs the writer less, per submission, than he/she would've had to pay for the postage, paper, printer ink, and envelopes involved in the snailmail process of the Olden Days.

- Reading fees might help those publications to pay (or pay more) to writers for their stories. Some publications, many of them literary magazines, pay only in "copies."

- Fees can "weed out" writers who aren't serious about their craft. Casual or hobbyist writers probably won't go to the expense of sending in stores if they have to pay to submit them.

Negatives:

- Many of the publications that charge reading fees are those that don't pay the writers anything for their stories. And a lot of writers feel that the idea of writing for free and then paying to get published is unfair and even insulting.

- Some of these fee-charging publications have turned out to be scams. The potential for abuse is certainly there, anytime a publication takes money from the writer.

- Reading fees have the hardest impact on the least-wealthy writers. There are some who feel that fees help to create a world where the wealthiest writers have an advantage over those who are less (financially) fortunate. In an Atlantic article, "Should Literary Journals Charge Writers Just to Read Their Work?" Joy Lanzendorfer said, "Fees ensure that people who have disposable income will submit the most."

NOTE 1: Lanzendorfer even points out that some literary magazines' tendency to publish only a tiny percent of unsolicited stories while publishing (and paying) mostly established writers has produced an ethical problem: "When a journal takes reading fees from the slush pile and then pays the writers they solicited, they've created an exploitative system where the unknown writers are funding the well-known ones."

NOTE 2: Thankfully, I can't think of any current mystery magazines that require reading fees.


My take on the subject:

Don't pay reading fees. Period. I realize it's expensive to publish a magazine, and certainly to
maintain an online submission system, etc.--but there's something I really don't like about paying someone to consider a story. It's almost the short-story equivalent of vanity-publishing a novel. If what we create is good enough, why must we writers have to pay anyone anything to get into print?

I know that position is a bit extreme. But I even feel the same way about contests. Some writing contests require an entry fee of twenty dollars or more. I can't imagine doing that, when the odds of my placing my story at a respected market are probably much higher than the odds of winning first place in a contest. Besides, contests want original, previously-unpublished stories, and those are prime candidates for the best magazines. Bottom line is, I don't submit stories to publications that require reading fees or to contests that have entry fees. Again, my opinion only.

This has become a point of argument among writers, just like outlining vs. freewheeling, simultaneous submissions vs. one-at-a-time, literary vs. genre, past-tense vs. present, self-publishing vs. traditional, etc. What are your thoughts?

By the way, please send me $3 with every comment.  And . . .



Announcement: Next Saturday in this time-slot Herschel Cozine, an old friend of mine and of SleuthSayers, will post a guest column on the goofiness of the English language. Please tune in for that! (No payment required.)