Showing posts with label Black Cat Mystery Magazine. Show all posts
Showing posts with label Black Cat Mystery Magazine. Show all posts

01 September 2018

POSTed, STRANDed, and BCMMed


by John M. Floyd



Situation report: It's been a pretty good summer, writingwise. I worked with my publisher to finish the manuscript of my new story collection coming later this year, I participated in two panels--and moderated one--at our annual Mississippi Book Festival (6400 people attended panels that day), and I've written some short stories, sold some, and had some published. At the moment, I have stories in the current issues of three publications: The Saturday Evening Post, The Strand Magazine, and Black Cat Mystery Magazine. And since I couldn't come up with another topic for my column today, I decided to give you a few "stories behind the stories" for these three shorts.

Of these three, my story in The Saturday Evening Post (the September/October 2018 issue) is the only one that's not a mystery. It's probably more of a drama/romance. It's also the only one that was inspired by actual events. It's called "The Music of Angels," the meaning of which will become clear if/when you read it, and it's short--about 2000 words. (The print edition of the SEP features one piece of fiction in each two-month issue, and so far my stories there have ranged from about 1500 to about 5500 words.)

The first half of this story is boy meets girl, boy loses girl, and many years pass. What happens next I won't reveal, here, but since I've told you it's essentially a romance you can probably figure it out. What I hope is entertaining about it is the process, and a surprise or two. I will say that the opening scene, which features two college students who meet at the information desk of their Student Union, happens almost exactly the way it happened to me, in real life. The rest is fictional, but the final part of the story is based closely on my mother, who's 92 and still lives in the house where I grew up.

Another unique thing about this story is that I once promised our oldest son's three children, who all love to read, that I would one day include characters with their names in one of my stories. So the main characters in this one are named Lillian, Anna, and Gabe. It's a small and silly thing, but I think those three kids'll get a kick out of that when they read it.

My story in The Strand Magazine (the June-October 2018 issue) is called "Foreverglow"--original title "The Foreverglow Case"--and was one that I dreamed up while sitting in our backyard swing a few months ago, before the temperature and the humidity and the mosquito population rose high enough to send everyone screaming into their houses. I must've been in a noirish frame of mind that day because the idea that popped into my head was of a blue-collar guy who lets his smarter girlfriend talk him into robbing the jewelry section of the department store where she works. They devise a plan by which she can smuggle a display case of samples of their new Foreverglow collection out of the store to him while she remains inside, and then they can make their getaway the following day after things have calmed down. I hope what happens will be a surprise to the reader, but you probably already suspect that things don't work out exactly as planned. Do they ever?

The third story I have out right now is "Diversions," which appears in Issue #3 of Black Cat Mystery Magazine, alongside stories by my SleuthSayers colleagues Eve Fisher and Michael Bracken. This one is also a mystery/crime story, but it's a western (how could I not want to write a western after watching all those episodes of Have Gun--Will Travel?), and features a bank robber who's been caught in the act and is now in custody in a temporary jail and under guard by a female (and also temporary) deputy. The most unusual thing about the story is that the entire plot takes place in less that an hour's time and inside those four walls, and the fact that the inspiration for one of the characters' names came from a road sign on State Highway 25, about forty miles northeast of where I live. On the sign were--and still are--the names of two Mississippi towns, one above the other: LENA, with an arrow pointing west, and MORTON, with an arrow pointing east. One day when my wife and I were driving past on the way to visit my mother, I noticed the words on that sign, and made a mental note. Now, about a year later, the deputy's name in this story is Lena Morton.

I find myself doing that kind of thing occasionally just because it's (1) fun, and (2) different. Which, now that I think about it, is a good way to describe (1) writing, and (2) writers.

So those are my current publications, and a few facts about how they came to be. Upcoming are stories in AHMM, EQMM, BCMM, Woman's World, Mystery Weekly, Flash Bang Mysteries, The Best American Mystery Stories 2018, and nine anthologies, including one that also features my heroes Joe Lansdale, Bill Pronzini, and Max Allan Collins. Here's the cover of that anthology, Pop the Clutch, which'll be released on November 1.


Do any of you have stories out, or coming up soon, in magazines or collections or anthologies? Any novels recently released, or scheduled? If so, let me know what they are--and keep up the good work. I hope your story ideas--and mine--keep coming.

See you in two weeks.





14 August 2018

Not Like Us

by Michael Bracken

Hanging out with Kevin Tipple
at The Wild Detectives shortly before
Noir at the Bar-Dallas,
August 2, 2018.
About a month ago, as I write this, I dined with an early career writer who shared his experience during a recent writing workshop’s critique session. One of the authors who workshopped this writer’s story criticized him for cultural appropriation because he—a middle-aged white male—wrote about an older black woman.

My immediate response was a flippant, “If you aren’t creative enough to write about people who aren’t like you, you aren’t creative enough to write.”

I’ve thought often about that discussion, have not changed my opinion, but realize I may not be the person best suited to make the argument. After all, a lifetime of both male privilege and white privilege likely colors my viewpoint.

WRITES LIKE A WOMAN?

Several years ago, Bev Vincent experienced a similar dilemma, which he describes in “Apparently I Write Like a Girl,” when an editor rejected one of his stories, stating, “It’s quite a challenge for a writer of one sex to explore writing from the perspective of the opposite sex. Bev Vincent has not done a convincing job.” Bev is male and the protagonist of his story is male. The editor saw his byline, falsely presumed his gender, and savaged Bev’s story based on that false presumption.

I had a similar experience many years ago when an editor rejected one of my stories because it had a male byline and a female protagonist, and the editor expressed her belief that no writer could successfully write from the opposite gender’s perspective.

WRITES LIKE A WOMAN!

I’ve never presented myself as other than what I am—a middle-aged, middle-class white male—yet I’ve sold more than 350 stories with female protagonists and at least 100 stories in which the protagonist differs from me in some other significant way (ethnicity or sexual orientation, for example). In most cases the acquiring editors matched my submissions’ protagonists more closely than I did.

AND NOT JUST LIKE A WOMAN.

For an interview published in The Digest Enthusiast #8, Richard Krauss asked, “In ‘Professionals,’ Out of the Gutter No. 2 (Summer 2007), the narrator is a gay prostitute. In ‘My Sister’s Husband,’ Pulp Adventures No. 27 (Fall 2017), the narrator is a middle-aged woman. How do you ensure your characters act and speak authentically, with respect to their gender, sexual orientation, race, etc.?”

Part of my response described how I develop characters: “The key [...] is to build characters from the inside out rather than from the outside in. Regardless of our gender, sexual orientation, ethnicity, religious beliefs, and whatever else divides us, we share many commonalities. We want to love and be loved. We want to feel safe and free from fear. We want to be happy and healthy. We want to be appreciated by our families and respected by our peers. The list goes on and on.

“If we build characters from the inside out, the characters will ‘speak’ appropriately and more genuinely than if we build characters from the outside in and rely on stereotypes.”

BUT SHOULD WE?

Where is the line in the sand that we dare not cross when writing from the perspective of a character unlike ourselves? I don’t believe such a line exists, and if it does, I hope a rising tide washes it away.

Rather than limiting ourselves for fear of offending others, we should instead strive to create characters out of whole cloth, making them as authentic as our skills allow, and we should strive to improve those skills with each story we write. We should not be accused of cultural appropriation simply for writing about those who are not like us, but should rightly be called to task if fail to do the job well.

And those who critique our work should not make presumptions about our work because of who wrote it, but should instead judge the work on its own merits. A piece of writing succeeds or fails within the context of itself, not because the fingers on the keyboard were male or female; old or young; gay, straight, or bi; black, white, or any other shade of the rainbow.

We all benefit by reading and writing about characters that are not like us.

John Floyd and I have stories in the third issue of Black Cat Mystery Magazine, the only writers to have fiction in all three issues. I’m uncertain how many stories John has upcoming in BCMM, but I have three in the pipeline, so we’ll likely share space between the covers several more times. Fellow SleuthSayer Eve Fisher also has a story in the third issue, so order your copy now and get a SleuthSayer three-fer.

30 September 2017

Black Cats and Roosters



by John M. Floyd



Robert Lopresti mentioned here at SleuthSayers a few weeks ago that he enjoys reading behind-the-scenes reports about the writing of short stories. Where authors get their ideas, where they find their characters, how they come up with titles, how/why they construct plots in a certain way. And Art Taylor's column yesterday featured some of those stories-within-the-stories from the current Anthony Award nominees.

I agree with Rob, and Art too--I think that kind of thing is fascinating. Because of that (and because I couldn't think of anything else to write about, for today), I decided to post a "look-inside" view of my short story "Rooster Creek," which appears in the current, and debut, issue of Black Cat Mystery Magazine.

First, a word about that issue. One of the thrills, for me, of being included there was the fact that just about every author in the story lineup is a friend of mine. I've always especially enjoyed reading stories written by people I already know, and this was a chance for me to do a lot of that. I'd like to take this opportunity to once again thank John Betancourt and Carla Coupe of Wildside Press for allowing me a spot at the table with such talented writers.


Story time

"Rooster Creek" is a 7500-word tale that combines three genres: western, mystery, and (to a lesser degree) romance. That was an easy choice for me, since (1) I've always been crazy about westerns, probably because I grew up watching so many on primetime TV; (2) I'm sappy enough to like a good love story; and (3) one of the job requirements of working in the SleuthSayers asylum is a fondness for anything with an element of mystery/suspense.

Here's a quick description of my story: After the death of her mother, twentysomething Katie Harrison is traveling cross-country by stagecoach to live with her older sister, and stops along the way to visit her childhood home. She runs into a multitude of problems, including the theft of her cash and luggage, and is forced to remain at the remote homestead as a servant to its current owners, Maureen and Jesse Carter, until she can earn enough in wages to continue her passage west. At the core of the story is a mystery: the Carters' former housemaid has disappeared, and Katie soon suspects that she's been murdered. With the help of two unlikely allies--a giant black handyman named Booley Jones and a traveling firearms-salesman named Clay Wallace--Katie burrows deeper into the strange lives of her employers/captors, and she eventually winds up alone and fighting for her life.

Structurewise, I decided early on that this story needed to be "framed" such that it begins very near the end then flashes back to the beginning and tells the story in the past. The action then builds to the point where the reader left off, and the climax and conclusion follow shortly afterward. This nonlinear approach--the first scene is sort of a glimpse-into-the-future prologue--doesn't always work, but when it does, I think it can make for more effective storytelling. I hope that's what I accomplished here.


Getting started

Having said that, here are the opening paragraphs of the story:


Katie Harrison swallowed hard, took a deep breath, and looked out at the greenish-brown plains and hills stretching away to the horizon. Sparrows flitted and chirped in the branches overhead, and even in the dappled shade the midday sun was warm on her shoulders. But Katie barely heard the birds, barely felt the heat.

Underneath her feet, the chair shifted an inch, and her heart lurched. She winced as the noose tightened around her neck. The fingernails of her bound hands bit into her palms, behind her back. Then the wobbly chair on which she stood stabilized and she let herself breathe again. Above her, although she couldn't see it, the rope was looped over the limb of an oak that had once supported a wooden swing that she'd played on as a child, twenty years ago.

Ten feet away and to her left, a silent and stonefaced woman with red hair sat and watched from a second chair. Beside the redheaded woman stood a huge black man in a battered hat and bib overalls. His face, usually relaxed and peaceful, had a pained look. Katie had met both of them only a month earlier, after she'd trudged empty-handed and muddy all the way up the wagon-rutted road from the town of Perdition. Only a month. In one sense, the time had passed quickly; in another, it seemed like years since she stopped down off the stagecoach from Lincoln Wells and asked the old fellow behind the counter in the stage office where she could hire a buggy to take her up the old north road.

Ain't much out that way, he had said to her, hunched over his paperwork.

I know, she'd replied. That's where I grew up.



And then we hop back to a scene with her in the stagecoach office, and the real adventure begins there.


Plot and characters

Another point, about the structure of this story. As in most novels and screenplays and in some longer short-stories, a lot of elements of the mythic-structure/heroic-journey model apply here. First, in Act 1, there's the heroine's usual and uncomplicated life, then a "disturbance" that upsets the routine (in this case, her inability to rent transportation to get her where she wants to go), then an unexpected encounter (with a young boy who needs her help) which delays her acceptance of the "call to adventure," and finally her eventual crossing-the-threshold transition into unfamiliar and threatening territory. Act 2 features the appearance of mentors and allies (a kindly hired hand and a traveling gun salesman), several run-ins with evil forces, steadily rising action, and finally a crisis/setback that paves the way for the climax. Then, in Act 3, there's the final confrontation between the heroine and the villain and the heroine's later return, as an older and wiser person, to her everyday, pre-adventure life. The old hero's-journey template still works.
I knew before I started writing "Rooster Creek" that I wanted the protagonist to be a strong-willed young woman, which is a little unusual for me, and it turned out later that the main antagonist was a woman as well, which was a lot unusual for me. But it seemed to fit, and the more I got into writing about the villain the more I could see her and hear her. I even had the villain always speaking of herself in the third person, which (as fellow SleuthSayer Janice Law and I discussed, when we talked about this), made her seem not only weird but even more sinister. These crazy little extra "quirks" can be the difference, I've found, between a merely okay character and a really vivid character. Janet Hutchings told me a couple of years ago that one reason she bought one of my mysteries for EQMM was that my main female character was seven feet tall. But that--literally--is another story.

The hired hand in this piece, Booley Jones, is a composite of a number of folks I knew, growing up in small-town Mississippi, and the same is true for some of the other characters. As for detailed descriptions of the players, I never do much of that. I can see these people clearly in my imagination as I'm writing about them, but I think it's important that the reader be allowed the freedom to also imagine what they look like. Stephen King once said, in his book On Writing, "I'd rather let the reader supply the faces, the builds, and the clothing as well." I'm no Stephen King, but I think that's good advice.


Entitlement

One more thing. The title of this story was a result of my not being able to decide on a satisfactory title even after the writing was finished. I tried using embedded phrases, characters' names, double meanings. and just about every other technique, and when nothing worked, I came up with the name of a geographical feature instead--Rooster Creek--and went back and set the house and farm and most of the action alongside its willow-shaded banks. Sometimes simple is best.

And that's the story of my story. If you read it, I hope you'll like it, and even if you don't read it (or don't like it), be sure to read the other stories in the magazine. John and Carla have put together a great debut issue.

Long live Black Cat Mystery Magazine.




05 September 2017

Introducing Black Cat Mystery Magazine

by Barb Goffman

It's not everyday you get to blog about the premier issue of a new magazine, especially on the very day it's scheduled to launch. And it's especially exciting when the magazine is coming from a publisher that's been around for nearly thirty years, so you can feel confident that the magazine should have staying power.

Well, this is that day. Welcome to the world, Black Cat Mystery Magazine!

The brainchild of Wildside Press publisher John Betancourt and Wildside editor Carla Coupe, the magazine is expected to come out quarterly. The first issue features new stories from fellow SleuthSayers John Floyd and Art Taylor, as well as one from me. (More on that below.) The other authors with new stories in the issue are Dan Andriacco, Michael Bracken, Kaye George, Meg Opperman, Alan Orloff, and Josh Pachter.

Editor Carla Coupe was kind enough to answer some questions about this new venture.

Why did you decide to start this magazine?
To provide an outlet for great short fiction, which we love. We decided to launch Black Cat when certain other mystery magazines cut their publication schedules in half. 

How do you hope to distinguish BCMM from other mystery magazines?

We're focusing on edgier, noir-tinged, character-based short storieswhich happen to contain a crime of some sort. (A crime is essential, or it isn't mystery fiction.) We don't want fantasy, horror, science fiction, routine revenge stories, or sadism. We do want stories with characters who feel real, in situations that are possible (and plausible), and of course great writing.


 


Do you have a minimum or maximum word count? How about a sweet spot?

We’re looking for contemporary and traditional mysteries, as well as thrillers and suspense stories. We hope to feature stories by established and new authors, and will include a classic reprint or two in each issue. We aren’t looking for flash fiction, and our sweet spot is for stories between 1,000 and 8,000 words. We will look at material up to 15,000 words in length—but it better blow us away to take up that much of an issue!


 

Where will the magazine be available for sale? Bookstores?
It will be for sale at our website (http://wildsidepress.com/magazines/black-cat-mystery-magazine/), on Amazon, and hopefully some independent bookstores. US readers can buy a four-issue subscription, so they won't miss any.


You're aiming for it to come out quarterly?
Yes, but as with all our publications, we're not wedded to a strict schedule.
 

When will submission guidelines go up?
Hopefully this week.

When will you open for submissions?
We'll start accepting submissions at the beginning of October.


Do you make the acceptance decisions alone or with John?
We make the decisions together, and so far have agreed on almost every story!


What do you pay?
We pay 3 cents/word, with a maximum of $250.

Is there anything you'd like people to know about the magazine that I haven't asked?
John thinks the response times are often unreasonably long in the short fiction field. Our goal is to respond to most submissions within 2 weeks. (We're going to try for "all submissions"but in rare circumstances we may take longer.) We also will look at poetry ($5 for short poems, more for longer ones) and cartoons.

Thank you, Carla!


So, readers, here's your chance to read some great fiction in this brand new issue, which is already available for sale on the Wildside website (http://wildsidepress.com/magazines/black-cat-mystery-magazine/), and which should show up any moment now on Amazon, if it isn't there already. My story in the issue, "Crazy Cat Lady," is a tale of psychological suspense about a woman who comes home and immediately suspects there's been a break-in, even though everything looks perfectly in order. Go pick up a copy of the magazine. I hope you enjoy it!

Art, John, and all the other authors with stories in this premier issue, I hope you'll comment with information about your tales. I'm so glad to be sharing this moment with you.