Sixteen Lives

Launched in 2017, BCMM
lasted 16 issues.

Black Cat Mystery Magazine—not to be confused with Black Cat Weekly, though it often is—lasted sixteen issues, the final issue releasing September 16, 2025. I had hoped to convince the publisher to continue through issue eighteen, so I held onto the stories already accepted for issues seventeen and eighteen far longer than I should have, not notifying the writers of the magazine’s demise until early February of this year.

My excuse for the delay, lame as it is: I was unable to accept the magazine’s demise, especially during fall 2025 when so many other publishers and publications had announced closure, hiatus, restructuring, new ownership, and other negative news. The market for short crime fiction was collapsing and I didn’t want to share one more bit of bad news in the midst of the shit-storm.

UNOFFICIAL HISTORY

Perhaps someday someone will write the official history of Black Cat Mystery Magazine but, as someone associated with every issue of the magazine, I can share some unofficial history.

I first heard about the impending launch of Black Cat Mystery Magazine when another writer shared inside information mid-2017. I contacted the publisher for more information and was invited to submit. Carla Coupe and John Betancourt were co-editors and they accepted my stories for the first six issues.

After the fourth issue, Carla announced her retirement from the magazine (she didn’t stay retired; she now edits Sherlock Holmes Mystery Magazine and co-edits, with John and me, Malice Domestic’s annual anthology), and I joined the editorial staff. I co-edited issue five with Carla and John and became the sole editor with issue six.

Many of the stories selected for issues five and six—including mine—were acquired by Carla and John, so my influence over the content didn’t take full effect until issue seven, the special private eye issue.

While the magazine was—much like Alfred Hitchcock’s Mystery Magazine and Ellery Queen’s Mystery Magazine—open to all sub-genres of crime fiction, we produced two-more themed issues. Issue twelve was the cozy issue and issue sixteen was the historical issue.

I believe the content of the first issue was solicited, but I’m uncertain how Carla and John found the content for the next few issues. While John selected the classic reprints each issue, I acquired the original content for the issues I edited via open submission calls.

And that lead to the situation mentioned earlier. From the hundreds of stories submitted, I accepted more than I could publish in a reasonable amount of time given the magazine’s publication schedule.

BCMM's final issue was
published in 2025.

LEGACY

Though BCMM lasted only sixteen issues, it published many great stories, including several that were recognized by awards and best-of-year inclusions:

“Rhonda and Clyde” by John M. Floyd (issue 5) was selected for inclusion in The Best American Mystery Stories 2020.

“Blest Be the Tie That Binds” by Michael Bracken (issue 6) was selected for inclusion in The Best Mystery Stories of the Year 2021 and was named one of the Other Distinguished Mystery and Suspense stories by The Best American Mystery and Suspense 2021.

“Mustang Sally” by John M. Floyd (issue 7) received a Shamus Award.

“Show and Zeller” by Gordon Linzner (issue 7) was short-listed for a Shamus Award.

“The White Calf and the Wind” by Mike Adamson (issue 11) was short-listed for a Derringer Award and was included in the Honor Roll for The Best Mystery Stories of the Year 2023.

“Real Courage” by Barb Goffman (issue 14) was nominated for Agatha, Anthony, and Macavity Awards.

“El Paso Heat” by Peter W.J. Hayes (issue 14) was selected for inclusion in The Best Mystery Stories of the Year 2024.

SUPPORT 

While I am dismayed at the loss of Black Cat Mystery Magazine as an ongoing publication, all back issues are still available from the publisher and at various online booksellers. If you didn’t purchase copies when they were first published, you can certainly purchase them now.

Additionally, there are several crime fiction magazines still publishing and a few new ones have recently launched. So, while you’re picking up back issues of BCMM, spend a few dollars supporting the remaining and new publications. Your support helps ensure their continued success.

* * *

“Store-Crossed Lovers” was published February 4, 2026, in Cold Caller.

“Takes the Cake” was published February 5, 2026, in Micromance.

* * *

I’ll be at Left Coast Crime later this week and will be joining the “Short But Usually Not Sweet” panel at noon Thursday in the Seacliff CD room with Tom Andes, Vera Chan, and David Hagerty. Brian Shea will moderate.

* * *

ShortCon, the Premier Conference for Writers of Short Crime Fiction, returns to Alexandria, Virginia, on June 6. Join acclaimed crime fiction professions for an immersive one-day event and learn how to write short crime fiction, get your stories published, and develop and sustain a long-term career writing short. Session leaders include Gary Phillips, Art Taylor, and Michele Slung. Learn more and register at https://www.eastcoastcrime.com/#/.

* * *

Spend four weeks in South Carolina this summer learning to write crime fiction from some of today’s masters: Joe R. Lansdale, Cheryl Head, Michael Bracken, and Warren S. Moore. The Newberry Crime Writing Workshop is an intensive, in-person, one-month workshop focusing on fundamentals particular to the writing of crime, mystery, and suspense fiction. It takes place July 6-31, on the historic campus of Newberry College, in Newberry, South Carolina.

A different professional writer or editor conducts the workshop each week. About fifteen participants are housed in college apartments, and classes are held in seminar facilities. Lunch and dinner are provided and continental breakfasts with coffee will also be available. The writers-in-residence live nearby and are continuously available to students. Mornings are devoted to critiquing manuscripts in a workshop setting. Afternoons, evenings, and weekends are devoted to individual writing, conferences with the current writer-in-residence, social activities, and the completion of class assignments.

Learn more and apply at https://www.newberry.edu/academics/academic-experience/crime-writing-workshop.

Six of a Kind

I had an unusual month recently, an experience I can only describe as almost John-Floydian.  It started on a Monday when an anthology was published with one of my stories in it.  That was actually expected.  But I was surprised on Tuesday when a second anthology appeared with one of my tales.  And then I was flabbergasted when it happened again on Wednesday.

A week later at Bouchercon I was delighted to sign copies of the conference anthology with yet another of my stories in it.  Since then, two more have appeared in magazines.

I assure you, this is not my usual publication record.  But let's take a guided tour of these six literary masterpieces.

"The Cage," in Better Off Dead Vol. 1: Crime Fiction Inspired by the Songs of Elton John and Bernie Taupin, edited by D. M Barr.  I actually wrote about this  at SleuthSayers in August.  It's a story about a high school student having a bad day, following him class by class.  IMPORTANT: This book is published by Down and Out Books, which is going out of business, so if you want a copy grab it fast! 

"Lucky Night" in The Most Dangerous Games, edited by Deborah Lacy.  The shortest of six stories.  A successful businessman goes back to his hometown and attends a poker game.  Crime deals itself in... 

"The Little Death," in Celluloid Crimes, edited by Deborah Well.  A few years ago I wrote a story for Monkey Business, Josh Pachter's anthology of stories inspired by the Marx Brothers, and my protagonist was Madame Matilda, a dwarf working in a circus in the 1940s.  By the end of the story she had solved a murder and been hired by a detective agency.  "The Little Death," in which she provides security for the prizes in an art contest, is actually her third adventure.  Numbers two and four have been purchased for anthologies but have not yet been published.  I am currently polishing up on #5.

"The Unreliable Narrator," in Blood on the Bayou: Case Closed, edited by Don Bruns.  This story  is about an actor who makes his living performing audiobooks.  He's very good at his job -- except you can't count on him to show up on time and sober.  He is, you see, an Unreliable Narrator.  I was very smug when I dreamed that up.  All the stories in the book had to be set in the Big Easy so I owe a debt to O'Neil DeNoux who helped me NOLA-fy my tale.

Shanks and the High Bidder," in Black Cat Weekly, #212.  My 24th story about Leopold Longshanks, grouchy writer of crime fiction and reluctant solver of true crime.  In this one he deals with the winner of a charity auction who is reluctant to come up with the cash.  This is my second story inspired by Not Always Right, a webpage where anonymous contributors send in true tales of horrible customers. It is a huge time sink but it does provide wild story prompts.

"The Night Beckham Burned Down," in Black Cat Mystery Magazine, #16. This one was fun to write.  It was inspired by a catastrophic fire in Oregon in 1936.  Most of the bizarre events I describe really happen.  I  just had to make one of the fire victims a murder victim.  I wrote about it  at SleuthSayers last year.

But wait! There's more!  After I wrote this I learned that a seventh story was coming out in October.

"Give the Gift of Murder," in Black Cat Weekly, #216. I worked for 31 years in a university library and for some of them a campus fundraiser had the office next door.  Her job consisted of talking people into donating moolah to the university, preferably in large amounts.  It occurred to me that someone giving away money that greedy relatives might want for themselves was an obvious premise for a crime novel.  I even had the opening ready.  But my novels have not been hugely successful so I set the idea aside.  But one day I remembered my New Choice! technique and had a new thought: What if I made it much shorter?  A novella?  And immediately the pieces fell into place.  As it turned out the story is only about half as long as a novella, but I like it.  Oh, here's that opening I dreamed up:

When she found the corpse of Howard Secton III ruining the expensive Persian rug in his study, Maggie Prince's first thought was Did he sign the papers?  Her second thought was: I hate my job.

Personally, I love mine. Hoping you the same.

Old Memorials, New Choices

 

They come in two kinds.

The official ones look like typical road signs but instead of telling you when you can park they say something like IN MEMORY OF SO-AND-SO.  PLEASE DON'T DRINK AND DRIVE.

We used to make a trip every winter on a rural road where there were four or five of those official memorials.  Seems like there was an alcohol problem there.

The private ones are more impressive.  There's usually a poster with a photo of the loved one.  There may be balloons, teddy bears, pinwheels, religious paraphernalia.  The message is the same.

Downtown here a private display sat for years, leaning against the fence of a business's parking lot.  It was continuously refreshed.  I used to wonder how the owner of the store felt about this memento mori.

One day it occurred to me: That could be a source of conflict and conflict is the main ingredient in fiction. So could I write a story about it?

Let's raise the stakes: Say that the business is a liquor store.  What would the owner think about this warning against his product?

It seemed like a pretty solid premise but I couldn't make any progress.  My main character refused to solidify.  All I knew was that he was a grumpy small businessman.  He just wouldn't develop. 

So I tried a trick.  I have written here before about the improv comedy game called New Choice.  The idea is that two actors make up a scene and at any point the third player call yell "New Choice!" and whoever spoke last has to come up with something different to say. 

In that earlier column I had suggested this as a solution for dealing with cliches in your plot.  My problem this time wasn't a cliche but I figured it was worth a shot.  So what could I change?

How about if I made the store owner a woman?

And boom, what a difference that made.

It felt like my true protagonist had been waiting in the wings, arms folded and foot tapping impatiently, waiting for me to kick the imposter off the stage and let her make her grand entrance.  I found that I knew her name, her backstory, even her speech patterns.

The result was a story called "Memorial" which appeared in Issue #95 of Black Cat Magazine.  

By the way, the photos  were taken in Greece.  In the USA we would assume these were "little libraries" but over there they are something else.  Our guide said they are created by families and mark the spot where a loved one died - or miraculously didn't.  They range in size from a domestic mailbox to almost as large as a bus shelter.  I haven't written any stories about them.

Yet.

In Another Man's Shoes

There's a fellow member in our Denver MWA Chapter who keeps telling me that I write like Damon Runyon. In case you haven't heard of him, Runyon was a famous journalist from about the 1910s until the 1940s who also wrote short stories about New York characters who hung out on the streets around Broadway. If you are old enough, you have probably seen Marlon Brando in some version of Guys and Dolls based on a few of Runyon's story characters.

As for me, I didn't see the resemblance between my writing and Runyon's writing. If it was that some of the type of characters which I wrote about were similar to Runyon's, then fine. But the styles of writing were completely different in my mind, so I bought a couple of Runyon's collections of short stories to find out what Runyon and his street people were all about and how Runyon wrote, So now, let me introduce you to a few of Runyon's characters and his style of writing.

In More Than Somewhat the reader is introduced to people such as Judge Goldfobber, who is a lawyer, but not a real judge. It pleases him to be called judge and people like to please him because "He is a wonderful hand for keeping citizens from getting into the sneezer (jail), and better than Houdini when it comes to getting them out out of the sneezer after they are in." Furthermore,, "He is such a guy as loves to mingle with the public in these spots (night clubs and other deadfalls)), as he picks up much law business there and sometimes a nice doll."

The Unnamed Narrator of many of these stories "get(s) to thinking of Harry the Horse and Spanish John and Little Isadore, and the reason (he) figure(s) they must be suffering from the underemployment situation is because if nobody is working and making any money, there is nobody for them to rob, and if there is nobody for them to rob, Harry the Horse, Spanish John and Little Isadore are just naturally bound to be feeling the depression keenly." To remedy the Judge's most recent problem and the three criminals underemployment, the Unnamed Narrator reluctantly recommends the three criminals to the Judge for a job the Judge needs done.

On another front, we meet Dave the Dude. "Only a rank sucker will think of taking two peeks at Dave the Dude's doll, because while Dave may stand for the first peek, figuring it's a mistake, it is a sure thing he will get sored up at the second peek and Dave the Dude is certainly not a man to have sored up at you."

"But this Waldo Winchester is one hundred percent sucker, which is why he takes quite a number of peeks at Dave's doll. And what is more, she takes quite a number of peeks right back at him. And there you are. When a guy and a doll get to taking peeks back and forth at each other, why, there you are indeed." "Now this is bad news, because when Dave the Dude takes a guy out for an airing, this guy very often does not come back."

In Damon Runyon Favorites, along comes Big Butch the safe cracker. "It seems that there is a big coal company which has an office in an old building down in West Eleventh Street, and in that office is an old safe, and in that safe is the company payroll of twenty thousand-dollars cash money. Harry the Horse knows the money is there because a personal friend of his who is the paymaster of the company puts it there this very afternoon.

It seems that this paymaster enters into a dicker with Harry the Horse and Little Isadore and Spanish John for them to slug him while he is carrying the payroll from the bank to the office in  the afternoon, but something happens that they miss connections on the exact spot so the paymaster has to carry the sugar to the office without being slugged, and there it is now in two fat bundles."

To remedy this situation, the three criminals are trying to enlist the talents of Big Butch, however Big Butch has some reluctance to open said safe due to having already been in Sing Sing on three prior occasions for opening safes and should he go for a fourth time, he will be required to stay for life, no argument. Furthermore, he has to mind the baby, little John Ignatius Junior, who is now asleep.

Harry the Horse convinces Butch that this is an old pete box which he can open with a toothpick. "Listen, Butch," Harry says in a whisper, "we can take the baby with us, and you can mind it and work, too." In final negotiations, the sleeping baby gets cut in for five percent of the take, which all concerned figure is only fair since the baby will be going along. As it is, the baby turns out to be more than worth his participation.

And in turn, both story collections were worth the price of admission to Runyon's world. I tried to mimic Runyon's story telling ability and some of his style when I wrote "Most Important Meal of the Day." It sold to Black Cat Mystery Magazine and will be published in a forthcoming edition. Buy that issue when it comes out, read the story and let me know how I did. Thanks.

The Advantage of Networking

I'm sure I've mentioned it before, but this topic is important enough that I believe it bears mentioning again. You just never know when networking will bring you an unexpected gift or boost at just the right time.

In a previous blog, I told about Brian Thornton (a fellow SleuthSayer) and me taking an MWA Board Member to the Russian Vodka Room in Manhattan for Baltika #3 beers and finding out later that particular member was an editor. This little outing subsequently led to me getting talked into a non-fiction book contract written under an alias. And yes, that was good beer.

Okay, so several years later, I'm on a short story panel at a Bouchercon in Dallas where Barb Goffman is the panel moderator. While waiting for the panel to begin, we start chatting and she happens to mention that she likes my short story "Black Friday" (the 10th story in  my Holiday Burglar series) which was published in Alfred Hitchcock Mystery Magazine Nov/Dec 2017 issue.

Then, a couple of months ago, Barb looks me up in an e-mail asking if she can reprint "Black Frida" in Black Cat Weekly of which she does the Barb Goffman Presents section and is an Associate Editor of the magazine. (And no, no beer was involved.) But yes, not only does this e-mail come at a good time, Barn also wishes to pay me in good, solid U.S. American Dollars. So, you see this networking thing does pay off in the end.

NOTE: Black Cat Weekly #13 is an e-format, 479 page publication of good reading put out by Wildside Press LLC. Maybe you should buy a copy of this publication and see if it is a good market for you and your work. At least you'll enjoy the reading, if nothing else.

And While you're at it, you too should try some of this networking stuff at critique groups, writers' conferences, chapter meetings, readings, library gatherings, getting involved in writing organizations and/or whatever works for you. Get you and your stories and your name out there by being there.

And, don't be shy. Let us know how it all comes out.

Making characters come alive

I was once asked to explain voice, and I thought it was kind of like the Supreme Court's definition of obscenity: You know it when you see it. Voice is attitude. Voice is how characters come alive off the page. Voice is making characters' feelings so real that readers feel like they know them and understand them.

Knowing who characters are deep down and being able to show it through their voice is important to writers because when you throw your characters into whatever you've cooked up for them, you want readers to believe the characters do what they do, even if they disapprove of the characters' actions. It's even better if you can get readers to feel like they're wearing the characters' shoes, to essentially become them. One way to accomplish this, to make a character feel that real, is to use detail to pull readers in.

I attempted this in my newest short story, "Out of a Fog," published last week in issue ten of Black Cat Mystery Magazine. The story opens with a college senior who is blindsided by her boyfriend of three years when he breaks up with her. I wanted the reader to feel her pain and dismay, how she's shocked to her core when the relationship she'd built her world around is ended with such suddenness, like an unexpected death. Here's how the story opens:

My boyfriend dumped me a week before Thanksgiving. It felt like a Mack truck slammed into me, and after I skidded across the pavement, leaving behind torn flesh and what remained of my heart, it kept on coming, rolling right over me. First the front tires, huge and heavy, their treads filled with razor-sharp pebbles. Then the back ones, too, ensuring I was good and flattened.

I then take you right into the breakup, showing it happening, how the boyfriend tries to make things better but every word is a twist of the knife. And the main character is left at the end of the scene emotionally destroyed and capable of doing ... well, who knows what? Pushed to her limit, she now can do things that the reader would condemn but also understand at the same time. 

That was my goal at least, to make the character's anguish so real that readers get why she does what she does as the story progresses, despite knowing it's wrong. Did I succeed? That's for readers to decide. 

If you'd like to read the story (as well as ten other new stories, including ones from fellow SleuthSayers Janice Law, Steve Liskow, and Elizabeth Zelvin) you'll need to pick up issue ten of Black Cat Mystery Magazine. Click here to download it directly from the publisher in epub and Kindle formats. You can pick it up in paper and Kindle formats from Amazon by clicking here. The issue should also show up soon in other online bookshops. 

Thanks to editor Michael Bracken for publishing the story. And, authors, if you have other voice tips, feel free to mention them in the chat.

My American Project—How to Write Like an American

Anne van Doorn is a regular reader and back blogger here at SleuthSayers. He's also an author (with a charming way with words) and a friend of mine. I'm pleased to share his guest column with you today. Welcome, Anne. 

                                                                                                            -- Barb Goffman

My American Project—How to Write Like an American

Avid readers of SleuthSayers may have seen my name appear in the comments section here. I came across this blog through Google and instantly liked how professional writers shared their experiences. It's an honest, entertaining, and informative blog—a tempting combination. Now I have also been invited to write an article too, which I consider a great honor.

My name is Anne van Doorn. It's one of my two pen names; the other is M.P.O. Books. I'm a professional writer from the Netherlands, where I earn a modest but sufficient income. In my spare time, I work on a book on 600 years of my family's history.

None other than Josh Pachter introduced me to an international readership. He translated from Dutch my story "The Poet Who Locked Himself In." It was published in Ellery Queen's Mystery Magazine's Sept/Oct 2019 issue. I feel very grateful to Josh and the staff at EQMM for giving me this opportunity. Editor Janet Hutchings even gave me the chance to write a guest post for her blog Something is Going to Happen.

In case you're starting to think I'm writing this post to BSP myself—no, I'm here to enlist your assistance, dear SleuthSayers. 

I like a challenge. My introduction to an international audience made me wonder if I would be able to write an American detective novel. I'm sure I can—but to what level of performance? How convincing will it be? Your help is direly needed!

Dutch Writers Crossing Borders

Other writers from the Netherlands have tried this before—writing in English. Maarten Maartens (1858-1915), who lived the last years of his life in my hometown of Doorn, is said to be the first Dutchman to have written a detective novel for adults. It was titled The Black Box Murder (Remington & Co, London, 1889), and he wrote it in English. In fact, the novel has never been translated into Dutch. Maartens, who lived in England from 1864-1870, wrote almost exclusively in English. Regrettably, The Black Box Murder is his only detective novel. 

Other glowing examples are Robert van Gulik (1910-1967), who is famed for his wonderful Judge Dee stories, set in ancient China, and Janwillem van de Wetering (1931-2008), noted for his characters Grijpstra and De Gier, two Amsterdam police detectives. By the way, Josh Pachter translated two short stories by Janwillem van de Wetering for EQMM. One of them, "There Goes Ravelaar!," was nominated for the Edgar Award for Best Short Story of 1986 by Mystery Writers of America. 

It was also Josh Pachter who encouraged me to translate my short stories and gave me solid advice. Last year, I took on the challenge of translating "The Doctor Who Fell Into Sin" and submitted it to EQMM. I inked their contract in November. It was all the encouragement I needed. Apparently, my English is good enough—at least in short form.

The American Project

At the moment, my full-length so-called "American Project" is in the preliminary stages. I'm improving my understanding of the language and creating what I call my "palette."

I learned British English in school, so now I need to know how it differs from American English. I've made a list of idioms. I also study from the Blue Book of Grammar and Punctuation. Furthermore, I've created an extensive list of words I don't use and write down their meanings and synonyms to discover their connotations. This should allow me to use them. I also list police jargon, slang, abbreviations, and terms of abuse. As a Christian, I don't like expletives, so I'm selective in this regard. 

And I'm making my palette. It's a document full of all kinds of expressions for motions and positions. Take for instance the way you move through a room. There are many variations for it. You can walk, run, stroll, tiptoe, lumber, and so on. Some of these words are new to me, so I need to write them down. While writing a novel, I can consult my palette document, choose the best option, adapt it to the situation, and use it. 

And by positions, I mean variations like these:

    "The statuette rested on a shelf."

    "The statuette was displayed on a shelf."

The same applies to non-verbal communication—the way we express our emotions and thoughts. I'm talking about shrugs, frowns, blushes, looks, and so on. You probably know them all, but I have to write them down to choose the best option for a given situation. And, of course, I also need to know all the ways of speaking: saying, whispering, screaming, stammering, and all other variants. 

Eventually, my palette will be a helpful tool.

Learn by Reading Others

I read a lot of American English. Besides a daily visit to SleuthSayers, I read a short story every day. To cater to my needs, I subscribed to EQMM. Recently, I purchased Black Cat Mystery Magazine #8, Sherlock Holmes Mystery Magazine #13, and Shanks on Crime by Robert Lopresti in ebook format. Crime novels by Lou Manfredo (Rizzo's War), Anthony Boucher (The Case of the Baker Street Irregulars), and Steven Torres (Precinct Puerto Rico) are at the top of my TBR pile. I'm sure all these books will help me in one way or another.

Even then, I'm well aware that I will make mistakes. I'm not a flawless writer. But thank God there are copy editors who can save me from my follies! Dis article, for a sample, was copi-editit by Barb Goffman—accept vor dis sentins. (Yeah, copy editing is hard labor!) I hope she's willing to help me on my American Project too, but I'm not sure she can, as this brave lady is learning to say no.

Now, my dear SleuthSayers, I turn to you. Over the years, this blog has published countless articles on the use of language, grammar, punctuation, and related topics. You've spotted my gravest mistakes in my comments on your posts. What particular article would you recommend to get me started?

When Red Herrings Stink

I'm going to go out on a limb and say something that may be controversial, at least among writers: Readers should understand why a red herring (something that is said or happens in a novel or story that leads the reader to a false conclusion) was not the solution to the puzzle by the time the tale is over.

Until recently I didn't think this was a controversial opinion. I thought it was a standard approach to writing mysteries. Sure, I'd sometimes heard authors say before that they didn't need to explain by the end of their stories why Character X said Y because Y was a red herring, but I thought they were mistaken, and since I wasn't their teacher, it wasn't my place to correct their misguided notion. But recently I edited a story by an author I respect, someone who's a solid writer, and the issue arose. Since I was this person's editor, it was my job to say my piece.

I'm going to talk about the story, but I'm completely changing the names and plot so that you can't identify the author because who this person is doesn't matter. In the whodunit story, Princess Consuella tells Annie the Amateur Sleuth that murder suspect Bad Bad Leroy Brown lied about something, based on personal observation, and therefore, it seems, Leroy must be the killer. Princess Consuella was believable and seemed absolutely certain, so I suspect most readers would have finished that scene believing Leroy had indeed lied and thus must have been the killer. It's what I thought. Yet at the end of the story, I learned I'd been fooled. Leroy may be bad, but he never killed anyone--at least not in that story.

I raised the problem with the author--that no explanation of Princess Consuella's statement about Bad Bad Leroy Brown was provided by the story's end. Either Leroy did lie (which by the story's end didn't seem right, since we never learned any reason Leroy would have lied about the issue in question) or the princess had been wrong (but how could that have been true, since she had seen with her own eyes the thing she was certain Leroy lied about, and it wasn't the type of thing that could have been misunderstood, and she had no reason to lie, either). The reader would be left wondering how to reconcile this situation, so some  explanation should be provided, I said. The author pushed back, saying that no explanation was necessary since it was a red herring designed to fool the reader into thinking the wrong suspect was the killer. The reader learns who the actual killer is by the end, and that's what matters, the author said; we don't need to revisit the red herring. 

That response prompted me to do some research about red herrings. Had I been wrong all these years? Did red herrings, by their very nature, not require explanation? To my surprise, I found nothing addressing this issue. There are a lot of articles about crafting solid red herrings, but I found nothing addressing the idea that red herrings should be explained by a story's end, that the reader should be able to understand how she got fooled. Even now, some time later, I remain quite surprised, because if authors can toss in red herrings without eventually providing an explanation for them, it makes writing too easy. It feels like a cheat.

In the case of Bad Bad Leroy Brown, sure, he could have been lying for reasons the reader never learns, despite seeming to have no reason to lie. Alternately, Princess Consuella could have lied for reasons the reader never learns about or she could have been wrong, despite being so certain and giving the reader no reason to explain how she could have been so mistaken. It certainly would make life easy for authors if they could write red herrings that didn't have to be explained in the end, but I think it would leave readers with a bad taste in their mouths. That is why I believe such scenarios need to be resolved. Did Leroy lie and why? Or did the princess get it wrong and how could that be? Without an explanation, the red herring feels contrived. It makes me feel like the author was playing games with me. 

This is why I recommended the author use a little misdirection when the red herring was introduced. More specifically, I suggested that when the princess called Leroy a liar, the author should use the wiggle word "recall" in the dialogue. Notice the slight difference:

Scenario A: The princess slams her hand on the table, its sound echoing throughout the castle. "Bad Bad Leroy Brown is a liar! I was sitting right next to him in the dungeon cafe last week, and he didn't leave money for his meal on the table when he left. I wonder what else he's lying about. I bet he rips off restaurants throughout the kingdom all the time. He's a rip-off artist."

Scenario B: The princess slams her hand on the table, its sound echoing throughout the castle. "Bad Bad Leroy Brown is a liar! I was sitting right next to him in the dungeon cafe last week, and I don't recall him leaving money for his meal on the table when he left. I wonder what else he's lying about. I bet he rips off restaurants throughout the kingdom all the time. He's a rip-off artist."

In Scenario A, the reader ends the story shrugging, thinking Leroy (who has a reputation for honesty, despite his name) had no reason to lie when he said he paid for his lunch, yet the princess's adamant accusation against Leroy remains unexplained. (She too had no reason to lie and her certainty indicated she hadn't made a mistake.)  In Scenario B, the reader can go back and reread the language of the princess's accusation and think, "Oh. The author fooled me."

Here's why Scenario B works: Because (1) the reader has no reason to think the princess lied; (2) the princess seems so certain, so the reader will believe her account; and (3) the princess distracts the reader by slamming the table, muttering about what else Leroy might have lied about, and declaring that he's a rip-off artist, the reader easily could read right past the key words--the princess didn't recall Leroy leaving his payment. When the reader gets to the end of the story, she could flip back to reread the princess's accusation and think, "Oh! It was right there. She merely didn't remember it. I was distracted by her certainty. I was fooled fair and square." That's the way to make a red herring work. That's the way to make the reader feel satisfied rather than feeling played.

Alternately, the reader could learn by the story's end that Leroy did lie for reasons unrelated to the murder. If there was a good reason for his lie, especially something that worked well with the plot, then revealing both the lie and the reason for it could have elevated the story. It also could have left the reader feeling satisfied because, while she was fooled, she wasn't played for a fool. Distracting the reader into missing a key word is playing fair with the reader. In contrast, dropping a lie into the story to fool the reader without any ultimate explanation isn't playing fair,  not to me, at least.

So that's my advice about red herrings. If you're going to use them,  make sure they're explained by the end so they don't seem contrived. Otherwise, you're taking an easy way out and you're not playing fair with the reader. Just like fish that sits out too long, that approach stinks.

I welcome your comments on this issue. And if I'm wrong and there are tons of articles addressing this subject and I need to brush up on my research skills, please share that information too.

***

In other news, here's a little BSP: I recently had a new short story published. "An Inconvenient Sleuth" appears in issue eight of Black Cat Mystery Magazine. In this whodunit, Kendra Silver, Dogwood Valley's celebrated amateur sleuth, is murdered. Who saw that coming? Certainly not anyone who thought  Kendra was invincible because she led a cozy life in a cozy town. But now that someone has killed Kendra, her best friend, Whitney, feels compelled to help the police unmask the culprit.  

Black Cat Mystery Magazine is available in trade paperback and ebooks from all the usual sources. You also can buy it directly from the publisher, Wildside Press, by clicking here.

Black Cat Mystery & Science Fiction Ebook Club

If you like reading crime short stories, and let's face it, you wouldn't be a regular SleuthSayers reader if you didn't, then you should know about Black Cat Mystery & Science Fiction Ebook Club. An offering of Wildside Press--which publishes a lot of mystery anthologies, including the Malice Domestic anthologies since their revival a few years ago and this year's upcoming Bouchercon anthology--the ebook club is nearing its third anniversary. It's like a book-of-the-month club, but weekly and with electronic short stories (and some novellas), mostly reprints. The ebook club is different from Black Cat Mystery Magazine, which is edited by my fellow SleuthSayer Michael Bracken, though the quarterly magazine is sometimes included as a weekly offering to the ebook club members.
Every week, paid club members get an email telling them about the seven (sometimes more) stories they can download that week in mobi or epub versions. Three or four are crime/mystery stories, the rest are science fiction. Unpaid club members get the same weekly email giving them access to one free story, a specific one each week. All of the ebook club stories are available for two weeks only, giving members an incentive to check in each week (or every other one) to download the new offerings.

A lot of the mystery stories are traditional, in the classic mode, originally published early in the twentieth century. But in June, Wildside began including a contemporary story with the mysteries each week. It is these modern stories with which I'm most familiar because I'm the person who's been choosing them. In the spring, Wildside's publisher reached out to me, asking if I would head up this series of stories, finding reprints I thought were really good. He's labeled this imprint Barb Goffman Presents. (That was a big surprise--a nice one--because I thought I was going to be solely behind the scenes.)
Since then I've read more short stories than I have in years, trying to find ones I love and think would be a good fit for Black Cat readers. (Stories originally published by Wildside Press are off the table.) When I find a story I think would work, I reach out to the author. It makes me feel like Santa Claus, which is pretty cool.

This work has given me an excuse to read many of the anthologies that I bought over the years but never found the time to read. And it's enabled me to share with readers stories that I think are special but might have been overlooked when they came out.
The first story I presented was "Debbie and Bernie and Belle," written by my fellow SleuthSayer John Floyd and published in 2008 in the Strand Magazine. Last week's story, which is still available to paid club members for a few more days, is "The Greatest Criminal Mind Ever" by Frank Cook, originally published in 2009 in Quarry (Level Best Books). And this week's story, which has been chosen as the week's free story for paid and unpaid members, is "The Kiss of Death" by Rebecca Pawel, originally published in 2007 in A Hell of a Woman (Busted Flush Press). Pawel's story is set in the New York City tango community and is a delight to read.
If you want to check out the ebook club, go on over to https://bcmystery.com/. And happy reading!

Worse Than Janice?

Sometimes a wrong turn can take you to a wonderful address.

SeuthSayer Janice Law is one of my favorite living short story writers.  She has made my Best-Story-of-the-week six times and my best-of-the-year four.

Back in 2012 Janice had a story in Mystery Writers of America Present Vengeance.  The title was "The General" and it concerned a Latin American dictator, living in exile in the United States, who becomes convinced that his wise and elderly gardener is stealing away his son's love and respect.

When I read the story I was pretty sure I knew where it was going.  To my delight I was completely wrong. Janice fooled me completely.

But, I realized, just because Janice didn't choose the direction that occurred to me doesn't mean it is a dead end.  I could drive that way on my own.

And so I wrote "Worse Than Death," which is now available in the sixth issue of Black Cat Mystery Magazine.  In my story, a dictator named Hidalgo is still very much in power.  His son, Teo, is kidnapped by a gang led by a wise old teacher.

They don't want money.  They don't even ask Hidalgo to resign.  What they demand is that he send them a confession of all his crimes.  Well, not all.

"I am only interested in wrongful deaths.  Not torture, not robbery, not false imprisonment.  Or graft, of course!  My God, if we tried to cover all your sins poor Teo would die of old age, wouldn't he?'

The viewpoint character is Hidalgo's head of security. He knows if the boy is harmed he will died for it.  But if Hidalgo writes the confession the whole government is likely to wind up on trial at the World Court.  So you might say he is highly motivated...

Clearly this is not one of my laugh-a-minute romps.

 It is also my third (and I sincerely hope, last) story about a child kidnapping.  (See this one and that one.)  When I told a friend about this he said he wasn't going to let me anywhere near his kids.

Some people are so suspicious.