Showing posts with label O'Neil De Noux. Show all posts
Showing posts with label O'Neil De Noux. Show all posts

27 February 2018

Rejected!

Michael Bracken
by Michael Bracken

I have every rejection I’ve ever received.

All 2,552 of them.

When I began writing in the mid-1970s, conventional wisdom—whether true or not—was that a collection of rejection slips would prove beneficial were the IRS ever to audit my taxes. The very existence of the rejection slips proved I was writing with the intent to earn money and not as a hobby, even though I was operating at a loss. These days my taxable net profit on freelancing proves the point far better than my collection of rejection slips, but I can’t stop myself from collecting them.

Though today’s rejections are nowhere near as physically varied as the ones I once received through the mail, I continue to print out emailed rejections and file them with all the other rejection slips, which now fill most of a filing cabinet drawer.

JUST SAY NO

I received my first rejection slip from Fantasy & Science Fiction in September 1974, just as I began my senior year of high school, and I received my first personalized rejection—a quarter-page typewritten note with a handwritten addendum—from the editor of Multitude in May 1976, less than a year after high school graduation. I had progressed from form rejection to personalized rejection in only seven submissions.

Of course, a personalized rejection still means “no.”

The typing is mine,
the handwriting is Sam's
My goal was to collect acceptances, not rejections, so I persevered: A single rejection the first year, four the second, 34 the third, and a whopping 74 the fourth. They came in all sizes and shapes, from scraps of paper containing a simple scrawled note (Sam Merwin, Jr., rejecting a story sent to Mike Shayne Mystery Magazine) to four-color full-page form rejection letters that cost more to print than I earned from many of my earliest sales.

Most rejections provided little information beyond the preprinted message. Others contained checklists where editors, by one or more strokes of the pen, identified the way or ways my story failed to engage them. Still others provided handwritten words of encouragement: “Not bad,” “Fine writing,” and “Try us again.”

O'Neil De Noux fails to recognize
the genius of my early work
The best—though they were still rejections—were the long notes and letters providing detailed reasons for rejection and providing suggestions for improvement. Sometimes, they even provided lessons on writing: Gentleman’s Companion editor Ted Newsom’s page-and-a-half letter on the value of writing transitions rather than using jump-cuts springs to mind, as do several letters from horror anthologist Charles L. Grant and several incredibly detailed, multi-page letters from Amazing Stories editor Kim Mohan. (Note: I placed two stories with Ted Newsom and one with Charles L. Grant, but I never did place one with Kim Mohan.)

And one rejection, from Mystery Street, may have been my first encounter with fellow SleuthSayer O’Neil De Noux!

THIS IS YOUR BRAIN ON REJECTIONS

During the 40-plus years I’ve been writing, my stories have been rejected by 71 mystery periodicals—the five that existed in the 1980s and 66 more since then—and an uncounted number of mystery anthologies, including both print and electronic publications. (Note: In “Poster Child,” my recent guest post at Something is Going to Happen, I actually name the many mystery periodicals that have come and mostly gone since I began writing short mystery fiction.)

I’m unsure if a multitude of rejections indicates when I’m having a good year or a bad year, but I received 204 rejections in 1991 (I received 84 acceptances that year). On the flip side, I received only three in 1989 (I received four acceptances that year). More recently, acceptances and rejections are near equilibrium: 39 rejections vs. 37 acceptances in 2017; 35 rejections vs. 45 acceptances in 2016; and 31 rejections vs. 42 acceptances in 2015.

Though the majority of rejections are in response to short story submissions, mixed among the many early rejections are those for articles, essays, fillers, poems, and short humor. I was shotgunning the market back then, trying anything and everything, and hoping something stuck. (And not every rejection generates a rejection slip—Woman’s World, for example, does not send rejections—so I’ve received more rejections than rejection slips.)

Rejections mess with your head. Being told no 2,552 times is quite disheartening. Some writers give up after the first few dozen. Other writers receive rejections and only become more determined. Many writers play rejectomancy, attempting to read between the lines of every rejection. (Aeryn Rudel, in his blog Rejectomancy, which I follow, attempts to decode and rank rejections into various tiers, from “Common Form Rejections” to “Higher-Tier Form Rejections.” Though most of Aeryn’s data comes from the horror, science fiction, and fantasy markets, the information he provides is both entertaining and informative.)

REJECTION-FREE IS THE WAY TO BE

Were it not for the lessons I learned from those long, detailed rejection letters, I may have become one of the many would-be writers whose shattered egos and unpublishable manuscripts litter the literary highway. Lack of ability quashed my music career and my artwork never gained traction, so I focused my creative energy on writing and, over time, began to accumulate acceptances: 1,584 of them (more than 1,200 are for short stories).

That’s one acceptance for every 1.61 rejections and, yes, I’ve kept every acceptance letter, postcard, note, and email. Those I file with hardcopies of my manuscripts and, when I get them, with copies of the actual publications.

I had a hot streak a few years back, when almost everything I wrote sold on first submission. My ego expanded exponentially, but then I realized something I should have realized long before that: If everything is selling, I’m not challenging myself; I’m taking the easy path to publication.

So, I began writing stories that stretched my abilities, either by working in unfamiliar genres or by submitting to higher-paying and more prestigious markets. The acceptance-to-rejection ratio shifted, and not in my favor. I placed a few stories, and just in time because two of my sure-sale markets ceased publication and several anthology editors with whom I worked stopped editing anthologies.

So, as I continue stretching my abilities and my stories continue facing the submission gauntlet, my rejection collection grows, taking ever more space in my filing cabinet. Luckily, so does my acceptance collection.

A trio of recently published stories survived the submission gauntlet: “Plumber’s Helper” in The Saturday Evening Post, My Stripper Past in Pulp Adventures #28, and “The Mourning Man” in the March/April Alfred Hitchcock’s Mystery Magazine. (Note: Joining me with stories in this issue are two other SleuthSayers: R.T. Lawton and Robert Lopresti.)

24 November 2017

A Lost Book

by
O'Neil De Noux

A few days ago, I spotted the spine of a book on one of my bookshelves and felt a stab in my chest. I pulled the book down, ran my hand across the cover, sat on the floor and started reading the book. Again. My chest tightened as I read the only novel written by my friend.

THE HEYDRICH DECEPTION by Daniel Savage Gray (paperback, 317 pages, Zebra Books, 1989) is a World War II espionage-caper novel in the vein of Ken Follett and Frederick Forsyth and another friend, Greg Iles. Check out Greg's BLACK CROSS (1995).



Set from 1939 to 1942, the book centers around a scheme by "the most dangerous man in the world" - SS-Obergruppenfuhrer Reinhard Heydrich, Reich-Protector of Bohemia and Moravia and a main architect of the Holocaust. Heydrich is producing counterfeit British pounds by the millions to distribute to world banks in a plot to destabilize the pound and throw Britain's economy into turmoil.

The main character is Professor Victor Boden, an Austrian forced to work on the project by Heydrich. Boden decides to help the British and the book takes a breathtaking trip through intrigue, murder, double-crosses - everything necessary in a good espionage novel. It's not all men-and-guns, there are women the reader will care for immediately and there is heartbreak and a wonderful twist at the end.

I had to slow down reading the book to savor this well-written historical spy novel.

Professor Daniel Savage Gray taught me at Troy University, became a good friend and encouraged me to write fiction. He wrote a couple non-fiction books about Napoleon and Waterloo but THE HEYDRICH DECEPTION was his only foray into fiction. My first novel, also a Zebra paperback, came out a few months before his novel.

When Gray's marriage disintegrated he moved across country and I lost touch with him, briefly talking to Gray on the phone once in 1992. I did not learn he died of a medical condition in 1995 until years later. Hit me hard.

THE HEYDRICH DECEPTION is a classic example of a good book written by a good writer that went out of print shortly after publication and is lost. Back then Zebra printed books, opened their back door and tossed them into the wind to see if anyone snatched up enough for a second printing. THE HEYDRICH DECEPTION remains of out print, a lost book like so many excellent books. By a forgotten writer.

Think about it. How many excellent short stories appeared in the pulps that are lost forever? How many cool adventure novels, mysteries, SF - you name the genre - are gone except for copies in used bookstores and sometimes online? How many writers have been forgotten? I'm sure y'all know a few. Share them if you wish.

As I said earlier - there is heartbreak in this book and when I finished reading the book again, I felt choked up. Old men get choked up easily. This time it was because Gray wasn't talking to me anymore. It was his voice in the story and the story ended and Gray's voice faded. I'm getting too personal now, but all life is personal and a good book is a good book.

25 August 2017

About Hate

by O'Neil De Noux

Hate breeds hate. No need for me to preach this. We all know it.

How the hell do we have people in America proudly going around waving the Nazi swastika, spewing Nazi slogans? Why are we returning to the great divide of our civil war?

How did we end up with a neo-confederate president from New York? How did we end up with a president so consumed with anger, a president so ignorant of history, a president lacking the intelligence to grasp international relations? I wish him no malice. I hope he is OK and not as crazy as he seems. My biggest worry is the 65+ million Americans who voted for him.

I know a lot voted against Hillary rather than for him. It seems Hillary was too polarizing to the elected. But this anger, this hatred seething in white-males-who-did-not-go-to-collage, is so divisive. I'm old enough to remember how it started. Nixon reached out to them, calling them the silent majority. Goldwater had tried but he was flat-out crazy (sound familiar). Then Reagan brought it all together, the anti-Washington loathing, the gosh-darn-it's-OK-to-be-uneducated and the nation has never recovered. How many times have we wondered why our best and brightest aren't leading us? Barack Obama excepted.

How the hell do you drain a swamp when the swamp is what the foundering fathers designed? The US Government was constructed to be inefficient, to move slowly, to have checks and balances, for the women and men running the show to negotiate, compromise. The dunces McConnell and Ryan are the antithesis of compromise.

Hate breeds hate.

When I started in law enforcement in the late 1960s, the Ku Klux Klan (also known as the Knights of the White Camelia* here in Louisiana) was listed as a terrorist organization by the US Justice Department and the FBI vigorously investigated, infiltrated, disrupted, indicted and broke them up. Why isn't the FBI doing the same against right wing organizations today? How the hell did we end up with Nazi swastika flags waving in Virginia (and other places).

*Not a typo. That's the French spelling of camellia. In Louisiana we have Vermilion Bay not Vermillion.

One final thought about the confederate battle flag. For a short time in the early 1990s, I lived in beautiful Oregon. One day my wife and I entered a rustic mountain cafe and found a huge confederate flag nailed to the wall. Being a southerner, I asked about it and was told by a fiery-eyed, foaming saliva-mouthed cafe owner that the flag wasn't there to honor confederate soldiers. It stood for white supremacy. He was right. The flag has been absconded by white supremacists much as the swastika had been absconded from ancient India by the Nazis. It is a symbol of hatred.

So when you see the old stars-and-bars, it's not about honoring the confederate dead, when you see statues of confederate leaders, it's not about honoring the old south - it's about white supremacy.

When I posted my feelings about confederate monuments towering over New Orleans here on SleuthSayers and on my personal blog, I thought I put up a quiet, sincere, thoughtful piece. Many of my friends and family did not think so. They act as if I'd spit in the face of Robert E. Lee and the great Louisiana French Creole Pierre Gustave Toutant Beauregard.

When will the white majority ever try to understand the horrible legacy of slavery? Racism has never gone away. What's happened to our compassion? My God, people are railing against Jews. It's Hitler and Goebbels all over again. Blame someone else for your problems, then attack them.

Are we strong enough to find our way out of this? I have to believe we are. I have to.

Enough preaching.

11 July 2017

Criminal success: Success and/or Challenges You've Faced in Writing Crime


Kris Nelscott: I’m amazed at how easy it is to find information that I shouldn't be able to find. In my Smokey Dalton series, the books are set in the late 1960s. One book, The War At Home, deals with bomb-making. I found, in a memoir by a former member of the Weathermen, the recipe for their bombs. I used a part of it, but left out several ingredients on purpose. My NY copy editor added them back in. No, nope. No. I'm not going to give anyone a roadmap into bomb-making. Or other crimes, for that matter.

Rebecca Cantrell: I love meeting readers, although I once had a reader come up to me and say: "Your mystery is so good! I bet you could even write a real book!"

Annie Reed: The challenges for me pretty much all stem from having to step inside the head of a truly bad person in order to write from their point of view. Basically putting myself inside the head of a psychopath to write from that person's perspective.  Oogy stuff. The successes come from writing something that forces me to write outside my normal comfort zone.

O’Neil de Noux: The greatest challenge was learning my craft. No one can teach you how to write. You can learn the basics, the ‘how to’, but you have to do it yourself to get it done.
Successes are few. Sales have never been big. A little recognition in the media at the start of my career was nice. The awards are certainly nice. Being recognized by my peers. My writing has been awarded a SHAMUS Award, a DERRINGER Award, the UNITED KINGDOM SHORT STORY PRIZE. Two of my mystery stories have appeared in the BEST AMERICAN MYSTERY STORIES and my novel JOHN RAVEN BEAU was named Police Book of the Year by police-writers.com.

Dean Wesley Smith: I suppose that at first I thought it would be too complex for me to figure out. Turns out, for me and how my mind works with puzzles, they are the easiest books to write.

Melissa YiMy definition of success keeps changing.

First, I desperately wanted a professional publication, because it meant that I was a “real writer” in my mind. I was good enough that someone wanted to pay me for my words.

Then I was anxious to sell repeatedly, for more money, in more magazines. 

My next skill leap was jumping from short stories to novels. I had to talk myself into it by saying, “Look, novels are just connected short stories … “

So then the next rung was selling my novels and making some money.

In 2010, my collection of light-hearted medical essays, The Most Unfeeling Doctor in the World and Other True Tales From the Emergency Room, hit the Amazon bestseller lists. For the first time in my life, I was reaching lots of readers, and money hit so quickly that I ended up with a bunch of cheques in British pounds that I didn’t even have a bank account to accommodate.

Now I was ringing the money bell, certainly not to the tune of six figures a month, the way some writers seemed to, but way beyond anything I’d accomplished before or since. But it didn’t make me as happy as I thought it would. My fiction wasn’t getting the same audience, and I got a lot of blowback in the form of hate mail and vigorous one-star reviews. So I made up a new definition of success: Writing connects me with people, places, and things that excite me.

You can see my evolving definition of success here, which is sort of a writing bucket list. When I look back at it, I realize that in 2010, writing was giving me money, but no fun. Once the critics came out with their knives, I froze up a bit at writing non-fiction. 

Since then, I’ve made a point of having fun. Or at least trying new things. Probably the most bizarre thing I did was a two-day Ido Portal handstand workshop when I’ve got minimal upper body strength and rarely hang out upside down. But I also went to Los Angeles twice as a finalist for the Roswell Award, and I headed down to New York and Boston for the Jewish Noir book tour. All awesome.

However, now that I’ve had some fun and can no longer crack Amazon’s algorithms, I’d like to make a living with my writing. Or, as I put it on my bucket list, I want to be able to say, I could quit my day job and write full-time, whether or not I choose to do this.

 Click here if you want a link to all platforms.And for success, I’m thrilled to report that Canada’s national book show, CBC Radio’s The Next Chapter, chose Human Remains as one of the great summer must-reads of 2017!

(If you’d like to join the Human Remains party, the e-book's only $3.99 on all platforms. You can download it for free on Kobo with the code HRemains. This code only works on Kobo, not Amazon, and will only last until July 31st.)

Looking at my fellow writers' opinions, I see that a lot of my writing goals and dreams are very external. I don’t have a lot of control over which editors publish my work, how much money flows to me every year, or how my books are reviewed. 

I should set some writing goals that I can control, like how many words I write per week, or how many stories I submit to magazines, or craft goals, like improving my setting.

What about you? How do you define writing success and/or challenges?

26 May 2017

Monuments to a Terrible Past

by O'Neil De Noux

Confederate monuments have been removed from public places in New Orleans.

A little perspective about these monuments. Founded on May 7, 1718, New Orleans has been around for 299 years. For 1 year and 3 months she was a confederate city (from January 26, 1861 until April 25, 1862). That's it - 15 months.

For the record - I'm a New Orleanian. Born, raised and educated in New Orleans. I'm fairly intelligent (my last measured IQ was 161). I am a US Army veteran, been a police officer most of my life. I'm an internationally published, award winning writer with 34 books in print and over 400 short stories sales. I have a voice and I now use it.

I dislike changes in our city, dislike renaming streets (What happened to Good Children Street and Craps Street and Nyades and so many others?). I love art and sculpture and statues and have given the removal of confederate monuments a lot of thought.

There is much to be admired about Robert E. Lee but let's face it - he broke his oath to defend the constitution of the United States when he quit the US Army to join the Confederate cause. He led men into battle against the US Army, against men who died flying this flag:


Could you take up arms against this flag?

Robert E. Lee was an important leader of the armed insurrection that divided our nation and caused the deadliest war in American history (Over 750,000 killed and an undetermined amount of civilian casualties). His particular genius at war prolonged the conflict. Jefferson Davis and P. G. T. Beauregard were also traitors. Beauregard, in command of Confederate forces at Fort Sumpter, started the war. We are talking four years of horrific history in America.

Robert E. Lee has no connection to New Orleans (visiting the city doesn't count). His statue was put atop Tivoli Circle by post-reconstruction white citizens thumbing their noses at the Yankees in Washington. The Lee statue, just as the statues of Jefferson Davis and P. G. T. Beauregard, does not celebrate the glory of old New Orleans. They celebrate the lost cause of a confederacy of states whose economies depended on human slavery. They celebrate the arrogance of a people who thought they were better than ungentlemanly Yankees and believed people with darker skin were subhuman and could be bought and sold like beasts of burden.

These monuments were not even put up to celebrate the glory of the old south. They were put up to celebrate defiance, to show the world white people were back in charge of the south after reconstruction and their will be done. Only white folks can vote now. Bring on segregation.

The Liberty Monument is not only a celebration of white power, it is the ONLY American sculpture celebrating the murder of police officers (white and black officers) by an armed mob of terrorists. Abominable. It is a "monument to a deadly white-supremacist uprising in 1874" (www.apnews.com). New Orleans Mayor Mich Landrieu explains these statues "perpetuate the idea of white supremacy". He vowed, "We will no longer allow the Confederacy to be put on a pedestal in the heart of our city."

As I said earlier, I love art and sculpture and statues. These monuments should not be desecrated or destroyed but their time is long past. Put them in a museum.

photo of St. Louis Cathedral © O'Neil De Noux


www.oneildenoux.com

05 May 2017

First Signing like a First Kiss

 Family Fortnight +  Leading up to the International Day of Families on the 15th of May, we bring you the seventh in a series about mystery writers’ take on families. Settle back and enjoy!
by O'Neil De Noux


Like a first kiss - there has been nothing as good as my first signing. GRIM REAPER was released in 1988, and a local bookstore (back when local bookstores carried my books) had a signing for me. My publisher, Zebra Books coughed up some money (money I later discovered came out of my royalties) and I brought food and drink. My father brought beer of course.

We hoped to sell 30 books and the bookstore (part of a small chain) had 300 shipped in. The big surprise came quickly. A lot of my friends and my family showed up. I come from a big family - my father was one of 12 and my mother was one of 12. At that time, I had 95 first cousins and most of them had kids.


My brother is the tall one in this picture. The one non-family member is the third from the right. She was a retired nun. She was the principal at my grammar school, Our Lady of The Holy Rosary. She sent a note after reading the book, wondering who taught me to curse like that. I blamed it on the Christian Brothers at Archbishop Rummel (where I went to high school). Gotta love a Catholic education. I spent two years at a Jesuit university.


These are some of my aunts, a cousin and one of my sisters. They got all dressed up for this. My Aunt Earline (in red) lived to be 99. My Aunt Bess (second from the right) got married again when she was 80 years old.


My 2-year old son pitched in.

Well, we ran out of books. Sold 300 paperbacks. Never happened again, although my family continued to come to my signings through the 1990s. They don't come anymore. My books are too hardboiled and they haven't given the historicals a chance. You can only read so many curse words, I guess. Such is life.

But I'll always remember that first kiss.

PS: I did not write the promo on the flyer. Vendetta of blood?

www.ONeilDeNoux.com