Showing posts with label Crime Travel. Show all posts
Showing posts with label Crime Travel. Show all posts

16 June 2020

News From the Dark Side


A year before I joined SleuthSayers, I wrote “Tales From the Dark Side,” a guest post about editing that included some information about my editing background and several tips on how to please editors.

I’ve touched on editing in some of my subsequent posts, but this time I’m sharing news.

BLACK CAT MYSTERY MAGAZINE

Those of you who have read the recently released Black Cat Mystery Magazine #6—or have used Amazon’s “Look Inside” feature to read the issue’s editorial—will already know this, but I am now the editor of BCMM.

I joined the BCMM staff at last year’s Malice Domestic, replacing Carla Coupe as co-editor upon her retirement. Earlier this year, after working together on the forthcoming special issue Black Cat Mystery Magazine Presents Private Eyes and reading through all the submissions from last fall’s open call, Wildside Press Publisher John Betancourt asked me to step into the editor’s role while he concentrated on his duties as publisher.

So, I did.

Our goal is to publish quarterly, with three numbered issues and one special issue each year, and John has charged me with ensuring that BCMM is home to the full range of subgenres within our field.

BCMM #6—filled will new stories by Michael Bracken, Trey R. Barker, Patricia Dusenbury, Robert Guffey, John Hegenberger, Laird Long, and Robert Lopresti, and a classic reprint by Bryce Walton—is the last issue in which all the stories were selected by John and Carla. John and I selected the stories for the private eye issue, and subsequent issues 7–10 contain a mixture of stories selected by John and Carla, John and me, and me.

As you likely gathered from the previous paragraph, we have filled the next four regular issues, so it could be as much as a year before we again open for general submissions. Even so, our next special issue—Black Cat Mystery Magazine Presents Cozies—will open for submissions later this year. Keep a close watch at https://bcmystery.com/Guidelines/ for guidelines and information about the short submission window.

DOWN & OUT BOOKS

A few years ago I began work on my first anthology for Down & Out Books—The Eyes of Texas: Private Eyes From the Panhandle to the Piney Woods—and the number of projects I’m doing with D&O continues to grow.

The Eyes of Texas: Private Eyes From the Panhandle to the Piney Woods

The Eyes of Texas: Private Eyes from the Panhandle to the Piney Woods
was released just before the 2019 Bouchercon in Dallas. In addition to strong reviews and an Anthony Award nomination for Best Anthology or Collection, stories from The Eyes of Texas have been singled out for award recognition:

Sandra Murphy’s story “Lucy’s Tree” earned a Derringer Award.

Richard Helms’s story “See Humble and Die” was nominated for a Derringer Award and was selected for inclusion in The Best American Mystery Stories 2020, due out later this year.

Michael Pool’s story “Weathering the Storm” has been short-listed for a Shamus Award.

Guns + Tacos

Guns + Tacos, the serial novella anthology series I co-created and co-edit with Trey R. Barker released its first season in 2019. Six novellas, released as ebooks one episode each month July–December constitute a season, and, after each season ends, that season’s novellas are assembled into a pair of paperbacks, each containing three episodes.

Season 2—with novellas by Ann Aptaker, Eric Beetner, Alec Cizak, Ryan Sayles, Mark Troy, and a collaboration between Trey R. Barker and me—begins next month. Each episode can be ordered individually, but subscribers receive a special bonus story that non-subscribers don’t. Last season I wrote the bonus story; this season Trey wrote it.

And—good news!—we’ve been approved for season 3.

Mickey Finn: 21st Century Noir

Mickey Finn: 21st Century Noir, the first in what we hope will be an annual anthology series, is set to release this fall. After all the contracts are signed and we get a bit closer to publication date, I’ll share the list of contributors.

Mickey Finn 2, slated for publication fall 2021, is in the last stages of the editing process and the manuscript will soon be delivered to the publisher.

Jukes & Tonks

Jukes & Tonks, which I am co-editing with Gary Phillips, is scheduled for publication in spring 2021. Gary and I are awaiting delivery of the last few stories and then copyediting begins.

BUT WAIT! THERE’S MORE!

In addition to the above, I remain editor of a bi-monthly consumer magazine for gardeners and a weekly electronic newsletter for gardeners.

BUT WHAT ABOUT SOME WRITING NEWS?

My story “Best Be the Tie that Binds” appears in Black Cat Mystery Magazine #6.

You might say I have a vested interest in two of this year’s Anthony Award-nominated anthologies. Crime Travel (Wildside Press), edited by fellow SleuthSayer Barb Goffman, contains my Derringer Award-nominated story “Love, Or Something Like It.”

09 June 2020

Some thoughts on the short-story-related Anthony Award nominations


While we talk about many things that are writing related here at SleuthSayers (and many things that aren't), our primary focus is crime short fiction. So it's wonderful timing that today, a few hours before I sat down to write this column, the Anthony Award nominations were announced, including for best short story and best anthology/collection published last year.

I'm not going to write long today because I'd rather you take some time to read one of the nominated anthologies or short stories. But I do want to say a few things:

First, thank you to all of the authors who heard about my crazy idea to do a cross-genre anthology, mashing crime with time travel, and submitted stories for Crime Travel back in 2018. (Crime Travel was among the nominated anthologies.) I could only accept fourteen stories (plus one of my own). I wish I could have taken more.

Thank you to everyone who has congratulated me today. I love the camaraderie of our industry. This nomination belongs to the authors in Crime Travel as much as it does to me, and I applaud them. 

Congratulations to my fellow SleuthSayers Michael Bracken (whose The Eyes of Texas: Private Investigators from the Panhandle to the Piney Woods was nominated for best anthology) and Art Taylor, who is up twice (!) in the short-story category, once for "Better Days," which appeared in the May/June 2019 issue of Ellery Queen's Mystery Magazine, and once for "Hard Return," which I was proud to include in Crime Travel. I'm so proud of you both!

I'd edited anthologies before Crime Travel, but this was the first time I chose the stories. It was a daunting task. One thing I learned from doing it is that while stories about a theme can be wide-ranging, in different sub-genres with varying approaches to storytelling, the best stories--at least to me--are the ones that touch you. The ones that have heart. And I hope that the nomination for Crime Travel today means that the stories in this book touched a lot of readers just as they did me. Thank you to everyone who read it and nominated it.

So, without further ado, here are this year's nominees for the Anthony Award in the best short-story category and the best anthology category. I hope you'll pick up one of them (or all of them).

BEST SHORT STORY
“Turistas,” by Hector Acosta (appearing in ¡Pa’que Tu Lo Sepas!: Stories to Benefit the People of Puerto Rico)
“Unforgiven,” by Hilary Davidson (appearing in Murder a-Go-Gos: Crime Fiction Inspired by the Music of the Go-Gos)
“The Red Zone,” by Alex Segura (appearing in ¡Pa’que Tu Lo Sepas!: Stories to Benefit the People of Puerto Rico)
“Better Days,” by Art Taylor (appearing in Ellery Queen's Mystery Magazine, May/June 2019)
“Hard Return,” by Art Taylor (appearing in Crime Travel)

BEST ANTHOLOGY OR COLLECTION
The Eyes of Texas: Private Investigators from the Panhandle to the Piney Woods, edited by Michael Bracken (Down & Out Books)
¡Pa’que Tu Lo Sepas!: Stories to Benefit the People of Puerto Rico, edited by Angel Luis Col√≥n (Down & Out Books)
Crime Travel, edited by Barb Goffman (Wildside Press)
Malice Domestic 14: Mystery Most Edible, edited by Verena Rose, Rita Owen, and Shawn Reilly Simmons (Wildside Press)
Murder a-Go-Go’s: Crime Fiction Inspired by the Music of the Go-Go’s, edited by Holly West (Down & Out Books)

Happy reading!

03 June 2020

Time Share


I have a story in the June issue of Mystery Weekly Magazine, and for that I must thank Barb Goffman, who was my inspiration.  Sort of.

I came up with the idea and the title for the story decades ago but I couldn't see a market for it so I never bothered to write it.  Then, last year, Barb announced that she was going to edit an anthology called Crime Travel, featuring crime-related tales of time travel.

And I realized my old idea fit. Sort of. It was about a physicist who hoped to invent time travel, only to discover that that is impossible - however, it turned out that he could travel through an apparently infinite number of universes.

I asked Barb if that concept might fit in her book, and she said it might.  So I wrote the story.  And Barb rejected it, as she had every right to do.

But heck, I had my story now.  Might as well look for a market.  Mystery Weekly Magazine had published one of my stories last year, a tale with a science fiction bent.  So I sent it to them and voila.  Decades after it was first dreamed up, "In Praise of my Assassin" is available now for your reading pleasure.

It's about time.

04 February 2020

Words you think are synonyms--but they're not!



 Are there some word choices that drive you nuts? Or should that be crazy? English is full of synonyms. And it's full of words that many people think are synonymous but actually aren't. For the sake of language purists out there, I'm going to touch on some of these words that often are used interchangeably but shouldn't be.



Eager versus Anxious

Anxious has anxiety wound up in it. (Notice the first four letters in both words are the same!) If you are anxious about something that may happen or that will happen, you are worried about it. Eager, in contrast, has a positive connotation. If you are eager for something to happen, you are ... well, eager. Looking forward to it. So if you lost a tooth and know the tooth fairy always brings you a tidy sum, you are eager for the morning to come so you can check under your pillow. But if you are afraid of the dentist and need to have a tooth pulled, you are anxious about your upcoming appointment.

Convince versus Persuade

The difference here is subtle. You persuade someone else to do something. You convince someone that something is true. Persuade has an action element to it. Convince doesn't. So just remember: persuade to versus convince that. Example: I persuaded the love of my life to marry me by convincing him that I was the best thing that ever happened to him.

Currently versus Presently

Currently means something is happening right now. Presently means something is about to happen. I understand why people think these words are synonyms. The word presently sure sounds like it should mean in the present, but it doesn't. Example 1: Currently I am typing. I am about to finish this paragraph, and presently I'll begin the next one. Example 2: When a plane is a minute from landing, it currently is in the air but presently it will be landing.

Momentarily versus In a Moment

Momentarily addresses how long something is going to happen--for a moment. The term in a moment addresses when something is going to happen. Example 1: In a moment I'm going to pause momentarily (i.e., for a moment) to take a drink of water. Example 2: The terminally ill man may die in a moment or any moment now. But he's not going to die momentarily unless you expect he'll die and then come back to life soon after.

Historic versus Historical

If something is historic, it has importance in history. If something is historical, it happened in an earlier period of history. The election of the first female president of the United States will be historic. The mystery novel set in the year 1900 is considered historical.

Do you have any words you often see used as synonyms that shouldn't be? Please share in the comments.

And a little BSP:

I'm delighted that my short story "Alex's Choice" has been nominated for the Agatha Award this year. The story appeared in the anthology Crime Travel. You can read it on my website by clicking here. I'm nominated along with some fine writers: Kaye George, Cynthia Kuhn, Shawn Reilly Simmons, and fellow SleuthSayer Art Taylor. The attendees of the Malice Domestic convention will vote on the winner during the convention in May. Links to all the nominated stories are available on the Malice website, which you can reach by clicking here. Then scroll down to the story titles.

24 December 2019

My Secret About "Alex's Choice"


This column is about my newly published short story "Alex's Choice" in the anthology Crime Travel. If you plan to read the story, I recommend you do so first before proceeding here. What I'm about to reveal isn't a plot spoiler but it may impact your reading experience.

Okay. Let's get started. (And if you just read the story, I hope you liked it!)

When you start writing a short story or novel, you have some basic decisions to make. Who will my main character be? What will this person's name be? Job and hobbies if relevant? Appearance? What journey will the character face? And perhaps one of the biggest questions, what will the character's gender be? Maybe that question shouldn't be important, but it is, as it can (though it doesn't have to) affect so much in how a story is told.

It's a decision I've made for the main characters as well as the minor ones in all of my stories, except for one. When I wrote my story "Alex's Choice" (published earlier this month in the crime/time-travel anthology Crime Travel), I purposely chose not to make that decision for the title character. I chose the name Alex because it was the most gender-neutral name I could think of. Alex could be short for Alexander or Alexandra, for Alexi or Alexa or Alexis. Or the name might not be a nickname at all. I polled Facebook friends, asking if they thought someone named Alex would be a boy or girl with no other clues. For those who hazarded a guess, the results were pretty evenly split. So is Alex in my story a twelve-year-old boy or girl or perhaps even nonbinary? I never tell you. The answer is up to the reader.

Actually, I wrote the story hoping the reader would not consciously make that decision. Given that the name could be viewed as male or female, I hoped it would lead each reader to assume--without realizing it--that Alex is of the same gender as that reader. That was important because I wanted readers to remember stories they read as a child, fantasies or adventures that swept them away, and to get that same feel from this story. By not telling the reader Alex's gender, I allowed every reader to identify with Alex and perhaps picture themselves as Alex. At least I hope I did.

While I've done no research on this, I'd guess my decision not to tell the reader Alex's gender is similar to the gender-neutral approach to the Choose Your Own Adventure books popular when I was a kid. "You" were the main character, as I recall. The books were oriented toward every child. The main character's gender was never mentioned, likely because the author and publisher wanted every child to be able to see themselves as that character and go on that adventure. (Illustrations in some the books unfortunately depicted the main character as a boy, but I believe the stories themselves never did that.)

This no-gender-mentioned approach added challenges to the writing process. For instance, when talking about toys Alex had when younger, as well as activities Alex enjoys now, I chose things that I hoped readers wouldn't  associate as male or female. This was important because, while boys can play with dolls and girls can play with action figures, for some readers, a reference to dolls will automatically make that reader think the character is a girl, and a reference to action figures will automatically make the reader think the character is a boy.

One choice I made that made the writing process a little easier was telling the story in first person. I didn't have to avoid using pronouns in reference to Alex.

Of course I'm not the only writer to have ever written about characters' whose genders are ambiguous throughout the entire tale. Most such novels and stories, it seems, have been penned in the science fiction realm. As for crime fiction, my research has turned up the Detective Hilary Tamar four-novel series by the late Sarah Caudwell. Tamar's gender is never revealed in any of the books. In Steven Rigolosi's novel Androgynous Murder House Party, the author never reveals the gender of any of the seven main characters in the book. He hints near the end about some of their genders, but they are only hints. And Louise Penny has a character in two of her books, Bean, whose gender is never revealed.

So now you know a big secret about "Alex's Choice." If you read the story before you read this column, did it work--did you picture yourself as Alex? Did you assume Alex was the same gender as you? I'd also love to know if you've read any of the other books/authors I've mentioned above. If so, did not knowing the characters' gender affect the reading process and your enjoyment of the works?

And if you're now intrigued and are dying to buy Crime Travel or are at least thinking about it, here's some helpful information. It has fifteen short stories. The authors with stories in the book are: Melissa H. Blaine, James Blakey, Michael Bracken, Anna Castle, Brendan DuBois, David Dean, John M. Floyd, Heidi Hunter, Eleanor Cawood Jones, Adam Meyer, Barbara Monajem, Korina Moss, Art Taylor, Cathy Wiley, and, of course, me. We've had some solid reviews. To find them, just Google Crime Travel and my name. (I edited the book.) The anthology is available in trade paperback and ebook. (A hardcover version is coming but hasn't been shipped from the printer yet.) You can buy Crime Travel from the usual online sources. Indie bookstore Mystery Loves Company in Oxford, Maryland, also has copies they are happy to mail to you.

I wish you a wonderful holiday season and new year. And happy reading!

10 December 2019

Pull on Your Galoshes, We’re Headed into the Slush Pile


Earlier this year I joined Black Cat Mystery Magazine as co-editor, replacing the irreplaceable Carla Coupe. Unlike Carla, who performed multiple duties for Wildside Press prior to her retirement, my primary responsibility as the junior co-editor is to read and assess submissions.

This isn’t new territory for me—I’ve edited six published anthologies, including, most recently, The Eyes of Texas: Private Eyes from the Panhandle to the Piney Woods (Down & Out Books), and another (Mickey Finn: 21st Century Noir) that’s scheduled for publication next year. I also co-created and co-edit (with Trey R. Barker) the invitation-only serial novella anthology series Gun + Tacos, and I’m currently reading submissions for Mickey Finn 2 and the second season of Guns + Tacos, and I’ve begun work on yet another anthology to be named later.

There is a distinct difference between reading slush for my own anthologies and reading slush for Black Cat Mystery Magazine. The most obvious distinction is the type of stories appropriate for each. My anthologies have all been themed, and most have favored hardboiled, noir, and/or private eye stories. The stories in BCMM are more representative of the many subgenres of mystery.

The second distinction is the decision-making process. With my anthologies I make the final decisions and the anthologies succeed or fail due to those decisions. BCMM, on the other hand, has two decision makers. Though John Betancourt, as publisher and senior co-editor makes final decisions, the co-editorship is structured such that every accepted story has been approved by both editors.

Though there’s not yet any interesting statistical information to report on my most recent editorial efforts, the seventy-four stories in my first five anthologies earned seven award nominations (Anthony, Derringer, Edgar, Shamus, etc.) and four “Other Distinguished Mystery Stories” or “Honorable Mentions” in annual best-of-year anthologies.

BONA FIDES

All of the above is to establish my bona fides before this:

Editors often discuss the “indefinable something” that separates an accepted submission from a rejected submission. We sit on panels and discuss plot and setting and characterization. We debate whether certain words—such as Dumpster/dumpster—have lost their trademark status and can now be rendered all lowercase. We arm wrestle over the use or non-use of the Oxford comma. We do all of these things when talking to writers and amongst ourselves, but we never seem to mention aloud one of the most telling signs that a manuscript will be rejected.

The manuscript itself.

Sure, we often tell writers to follow Shunn or some similar format, but the appearance of a manuscript when printed on paper isn’t all that we see. With the vast majority of manuscripts now submitted as Word documents, I’ve discovered how little many writers know about using one of the primary tools of their trade.

And, perhaps not surprisingly, the writers least familiar with Word also seem to be the writers most likely to have their submissions rejected.

If I open a file and discover a return at the end of every line as if the story were written on a typewriter, or if I see the title centered on the page through the use of a zillion spaces, or if I see any of several other signs that the writer has not mastered the fundamentals of Word, I’m already negatively predisposed toward the manuscript.

Why?

Because the writing often displays the same inattention to detail.

I read anyhow because I am sometimes surprised. Sometimes.

KING OF THE WORLD

If I were king of the world, the czar of publishing, or in some other authoritarian position to impose my will upon writers, I would do the following: Make it mandatory for every writer to master the basics of Word.

Perhaps we could start by having every creative writing program offer a mandatory class in the use of Word as part of the degree plan. Perhaps we could have every writing conference offer a mandatory seminar in the use of Word. Perhaps we could have every critique group treat themselves to an annual refresher course from their most experienced tech-savvy member (or from someone outside the group, if appropriate).

Perhaps, and this may be a radical thought, we could suggest that writers and would-be writers read the instruction manual, use the help menu, or use a search engine to find instructions on the internet for how to do things such as indent a paragraph, center a line of text, insert an em-dash, insert headers and automatically number pages, and do any of a number of other things that should already be part of a writer’s skill set.

Love it or hate it, Word is the de facto word processing program, and it is a fundamental tool of the trade. If you don’t know how to use the tools of your trade, you hobble yourself. Sure, a brain surgeon might be able to repair your aneurysm with a pipe wrench, but how confident would you feel on that operating room table when he opened up his toolbox?

So, before I’ve even read a word of your manuscript, show me that you know how to use the tools of your trade. Then show me you can write.


Recently published stories include: “The Town Where Money Grew on Trees” in Tough, November 5, 2019, “The Show Must Go On” in Black Cat Mystery Magazine #5, “Who Done It” in Seascape: The Best New England Crime Stories 2019 (Level Best Books), and “Love, or Something Like it” in Crime Travel (Wildside Press).

Earlier this month subscribers to Guns + Tacos received episode 6 of the first season, “A Beretta, Burritos and Bears” by James A. Hearn. Subscribers also received a bonus story that I wrote, “Plantanos con Lechera and a Snub-Nosed .38.” If you want to read all six episodes and the bonus story, there’s still time to subscribe!

03 December 2019

No Flux Capacitors Here


When I sent out my call for stories for Crime Travel, the crime/time-travel anthology I edited--coming out this Sunday from Wildside Press--I eagerly wondered what ingenious methods of time travel the submitting authors would come up with.

They did not disappoint.

Sadly, no one used a flux capacitor and a DeLorean, the magnificent means of time travel from the wonderful eighties movie Back to the Future. (And I didn't even need a time machine to see that movie in the theater when it came out. I was in high school, just like Marty McFly.) But the authors whose stories I accepted did come up with interesting means of temporal transportation, some a bit conventional, others ... well, let's take a look.
Doc Brown built a time machine out of a DeLorean.
Photo credit: JMortonPhoto.com & OtoGodfrey.com

In addition to pods and wristbands and watch-like devices, the Crime Travel authors used: sneezing (Anna Castle has one hell of an imagination); a particle-beam weapon (because, why not?); a closet (my closets just have clothes in them--so disappointing); a clear-walled cube with barber chairs with seatbelts (gotta have safety measures when you're traveling through time); a gold circlet (it's a hair accessory and a time machine all in one; talk about making it work--Tim Gunn would be so proud); and two elevators. Two of 'em. (Linwood Barclay may have a new book with elevators that send people to their deaths, but we have elevators that send people through time!)

One method of time travel used in the book is so unusual but cool that I don't even know how to describe it outside of its story's context. Eleanor Cawood Jones ... care to take a whack at that description? And in Art Taylor's story ... was it the pendant, Art, or the candles or a mere touch of the hand that set things in motion? Maybe we should leave it for the reader to decide. And in David Dean's story, well, sometimes you just have to want something bad enough.

This wasn't the photo but it's similar. So lovely.
As for me, I used a bicycle, an all-white one that only appears on the anniversary of mistakes--things that wrongly happened in its family's past that the bicycle thinks someone needs to go back in time to fix. (Don't look at me like that. If a bicycle can travel through time, it also can think.) A few months before I wrote my story, "Alex's Choice," I saw a picture of an all-white bicycle with beautiful flowers in its basket. That image stuck with me, and I decided to use the bike in my time-travel story.

I would have thought that's all I had to tell you about my decision to turn a bicycle into a time machine until this past week when I saw a new commercial for Xfinity using the cuddly alien E.T. from the classic movie of the same name. In the ad E.T. returns to Earth to visit Elliott. The long version of the commercial (available here) shows grown-up Elliott's kids riding their bicycles into the sky with E.T., just as the kids did in the movie way back in 1982. I don't think I've seen E.T. since the summer it was out in the theater, yet that scene with the kids riding their bikes into the night sky must have stuck with me because in "Alex's Choice" the bicycle flies too, and at night to boot.

That's the beauty of fiction--be it short stories or novels, movies or TV shows--when done right, fiction can take you to another time, be it in your imagination or your memory or even to something you didn't realize you remembered. I hope the stories in Crime Travel do that for you.

The anthology's official publication date is this Sunday, December 8th, which is Pretend To Be A Time Traveler Day. The book will be on sale in ebook, paperback, and hard cover. I'd be honored if you'd time travel with us to past decades and even past centuries. I'm confident you'll enjoy the ride.

And if you're in the Northern Virginia area, please come to our launch party this Sunday at Barnes and Noble, 12193 Fair Lakes Promenade Dr., in Fairfax. The event will run from 1 - 3 p.m. Authors James Blakey, Eleanor Cawood Jones, Adam Meyer, Art Taylor, and Cathy Wiley will join me to celebrate. We'll  talk about our stories and our inspirations and some of us might even dress up in the time period of our stories as we pretend to be time travelers. Eleanor dressed as a 1960s flight attendant? James as a 1950s PI? Adam as a 1980s security guard? And Cathy ... well, that's going to be a surprise you'll have to come to see. Other than actual time travel, I can't imagine what would be more fun than that.

08 October 2019

Open Your Heart and Bleed


What are your stories about?

I’m not interested in elevator pitches—“My stories are about a plucky private eye who searches for missing labradoodles with the aid of her grandfather’s long-dead schnauzer.”—but rather about the underlying themes in one’s work.

I’m pondering this question, as I have many times before, because Barb Goffman, moderator of “Short and Sweet but Sometimes Dark,” a short story panel at this month’s Bouchercon, asked participants to send her two recently published or about-to-be published stories to aid in her preparation.

As I looked through mine, I was reminded of how often I write about the lingering impact of expired relationships. Whether relationships end by choice or not, former lovers (survivors, in the case of death) carry emotional weight all the rest of their days, and this weight, in one form or another, informs much of my fiction.

I NEVER SAID GOODBYE

Michael Bracken, Heartache-bound
I had known Vickie since sixth grade, and she sat behind me in homeroom when I was a fourteen-year-old ninth grader at Mason Junior High School in Tacoma, Washington. I visited her home, where we played games, watched television, and dined with her family. Our first date—an unchaperoned date, no less—would be the first dance of the school year, held in a multi-purpose room with a stage at one end, theater seating at the other end, and a hardwood gymnasium floor between the two. Because Tacoma had public transportation, I would take the bus from home—a mere block from the junior high school—to hers a mile or so away, return with her, and attend the dance.

Between the time I asked Vickie to the dance and the day of our date, I learned that my parents and I would be moving to Fort Bragg, California, and we were leaving the morning after the dance. I told no one.

As planned, I picked Vickie up at her home and we traveled by city bus to the junior high school. We sat in the theater seats, listening to the music and watching some of our classmates on the dance floor. Vickie repeatedly asked me to dance, but I wouldn’t. I wanted to tell her I was moving, but I couldn’t.

After a while, she grew frustrated and left. Alone.

The next day I climbed in the back seat of my parents’ car, and we moved to California.

I never saw or talked to Vickie again.

I never told her I was leaving, I never said goodbye, and I have carried that weight for nearly fifty years.

MAYBE I DID THIS TIME

I did not have another girlfriend until I was a seventeen-year-old high school senior. Yvonne, a junior, served on the school’s newspaper staff with me, and we dated during the last semester of my senior year, the same semester my mother died during heart surgery. More than a girlfriend, she was one of the few people (along with my best friend Joe and my English teacher Mrs. Richmond) who helped me cope with the loss of my mother.

Even so, I struggled with my mother’s passing, and my stepfather and I did not get along. So, my grandmother traveled to Fort Bragg to take me home with her.

I think I told Yvonne I was leaving—I hope I did—but once again a budding relationship was truncated by events beyond my control, and at least two years passed before I again opened my heart.

AND THEN MY HEARTACHES BLED INTO MY STORIES

Over the years, I have survived many additional heartaches—the deaths of loved ones, the slow disintegration of relationships that began with such promise, relationships truncated for reasons beyond my control—and those heartaches bled into, and continue to bleed into, my fiction.

So, when I selected two stories for Barb, I found myself unable to find two in which the end of a relationship didn’t play at least some small part in the tale. I chose “Who Done It,” coming next month in Seascape: The Best New England Crime Stories 2019 (Level Best Books), and “Woodstock,” forthcoming in Alfred Hitchcock’s Mystery Magazine. (I didn’t select “Love, Or Something Like It,” forthcoming in Crime Travel [Wildside Press], which Barb edited, because the theme is much too obvious.)

I could have selected any of several other stories because dealing with the emotional weight of expired relationships has long been an underlying theme in my work, just as it has in my life.

Still, if you prefer the elevator pitches, catch me when I’m feeling less confessional.


My story “Itsy Bitsy Spider,” published last year in Tough, has been named one of the “Other Distinguished Mystery Stories” in this year’s The Best American Mystery Stories. This is the second time one of my stories has made the list (the first, “Dreams Unborn,” made the 2005 list); last year my story “Smoked” actually made it into the anthology.

Join us at the launch party for The Eyes of Texas: Private Eyes from the Panhandle to the Piney Woods (Down and Out Books) at Murder By The Book in Houston on October 21. Seven of the contributors—Chuck Brownman, James A. Hearn, Scott Montgomery, Graham Powell, William Dylan Powell, Mark Troy, and Bev Vincent—will join me to discuss the anthology and their stories, and to sign copies. If you can’t get to the signing, contact Murder By The Book. I suspect they’ll let you preorder a copy that we can sign for you and that they can ship after the event.

17 September 2019

Pithy and Thought-Provoking...or Not


by Michael Bracken

I’ve been so busy the past month that I’ve not had time to draft something pithy and thought-provoking. In August, I traveled to Colorado to attend the debut of a play written and directed by my youngest son. Then Temple and I traveled to Indiana to visit my daughter—whom I’ve not seen in eight years—and her family, which includes grandchildren we met for the first time. Before, between, and after the trips, I’ve been reading through submissions to a special issue of Black Cat Mystery Magazine and working on Season 2 of Guns + Tacos (due out in 2020) and Mickey Finn 2 (due out in 2021).

So, I dove into the files and found the following, a presentation I gave to the Mystery Writers of America’s Southwest Chapter at their September 2018 luncheon in Houston.


SHORT STORIES: FROM CONCEPT TO SALE, HOW THIS FORM CAN SATISFY

I write short stories. A lot of them.

In a publishing environment where many writers bemoan the lack of markets for short fiction, I’ve placed more than 1,200 short stories. That’s 4.2 million words, give or take, or the equivalent of 70 short novels.

When I began writing as a teenager in the 1970s, short story publication was considered the first step to becoming a genre novelist. Writers learned their craft by publishing short fiction in the popular magazines of the day before grappling with the complexity and length of novels. They established writing credentials, providing heft to their query and cover letters, and developed a readership before their first novel ever hit the wire racks at the grocery store.

That doesn’t seem to happen much today, and many writers, perhaps encouraged by the ease of publication offered by low-cost self-publishing, leap directly into novel writing without first establishing their writing skills and publishing credentials. Among those who succeed as novelists, some write short stories as an afterthought and some established novelists write short fiction only at the invitation of anthology editors. Whether they succeed or fail as novelists, few writers make a sincere effort to write short stories and fewer still earn a significant portion of their income from short fiction.

That’s a mistake.

Writing short fiction has several advantages over writing novels. A writer who devotes time and attention to short fiction can explore different genres, can experiment with different styles, and can develop a familiarity with several genres faster than most novelists. Additionally, short story writers quickly discover which genres play to their strengths and can avoid, or at least mitigate, the career damage caused by spending too much time dabbling in inappropriate genres.

As high school students, my best friend and I were determined to become the next Isaac Asimov and Robert Heinlein. For several years I kept science fiction short stories circulating among all the professional and semi-professional science fiction magazines, but I achieved only modest success. On the other hand, after encouragement from the editor of a men’s magazine, I sold the first three mystery short stories I wrote. I have since sold short fiction in nearly every genre—with particular success in crime fiction and women’s fiction—and I continue to try new things.

Markets for short fiction no longer assault you at every magazine rack the way they did during the heyday of the pulp magazines or even during the 1970s when I began my career. Back then I could easily locate several dozen magazines devoted to short fiction—mystery, science fiction, and women’s fiction the most prevalent.

While some genre magazines remain—Alfred Hitchcock’s and Ellery Queen’s among them—and new genre magazines come and go, the best markets for short stories may be publications not known for publishing fiction. The weekly publication Woman’s World, for example, publishes 104 short stories each year, one romance and one mystery each issue.

Finding markets for short fiction, therefore, becomes a literary treasure hunt, one that only the truly dedicated attempt. I regularly stand at magazine racks and thumb through magazines I don’t normally read, looking for evidence of short fiction. I also search for on-line publications and print publications that maintain an on-line presence, looking for publications I can’t find at local newsstands. Sometimes what I find is clearly identified as fiction; sometimes it isn’t. For example, the short stories I used to write for True Story were presented as if they are, in fact, true.

Literary and small press publications—both on-line and in print—also publish fiction. Unfortunately, they often pay little or nothing. Prior to submitting to small press publications, I examine them carefully to determine if the stories they publish are well written and presented in a professional manner, if the contributors include writers well-known in their genre, and if any stories they have published have later been nominated for awards or been included in best-of-year anthologies.

General interest magazines are increasingly hard to find as publishers target narrower and narrower demographics. So, one of the most important things to remember in today’s publishing environment is the need to write to market.

While many writers prefer to write first and seek appropriate publications later, I’ve found it beneficial to target my markets before I begin writing. Targeting markets is a two-step process that involves understanding the conventions of the genre or sub-genre in which I write and then understanding the publications for which I wish to write.

Many of today’s publications seek to address a particular audience. A close examination of any magazine will reveal a great deal of information about the publication’s readers or, at least, the readers the publication is attempting to reach. Often the fiction contained within these publications presents characters the readers see as “just like me” or an idealized “just like me,” so the more I know about the readers, the better I am able to develop appropriate characters and plots when I write for these publications.

On a more practical level, I determine how many short stories the magazine publishes each issue, the length of the stories, what genre or genres are represented, and any stylistic requirements the magazine may have. Once I’ve done all that, it’s time to write.

The keys to successfully placing short stories—presuming basic literacy and some minimum level of talent—are high productivity and dogged determination. Beginning August 2003 and ending May 2018 I had one or more—sometimes as many as nine!—stories published each and every month. That’s 178 consecutive months. And beginning in July I’m three months into a new streak. That doesn’t happen without producing a lot of material.

While I don’t write fiction every day and don’t set daily page count or word count goals the way other writers do, I do set goals. I determine how many sales I’d like to achieve in a given year, and then I determine how many short stories I must complete to reach that goal. When I first began pounding the keyboard as a teenager, my goal was to sell one story. To anybody. After I achieved that, my goal was to sell a second story. Back then I completed dozens of short stories for each one that finally reached publication. My odds have improved since then and I now complete approximately eleven stories for every ten that sell.

I also keep manuscripts circulating on the firm belief that my work will be published eventually. These days some of my stories are written on assignment and many others are accepted by the first or second editor to read them—in part because I’m a more experienced writer and in part because I have a better understanding of the markets—but a few of my published stories were seen by dozens of editors before acceptance and one story—“I Can’t Touch the Clouds for You” (Sun, July 25, 2005)—spent thirty years visiting slush piles before reaching print.

Writing short fiction has allowed me to entertain many readers, to work with editors across multiple genres, and to generate steady income from writing while developing my craft.

And, if I ever decide to write another novel, I’m going to have one hell of a cover letter.

My story “Love, Or Something Like It” appears in the forthcoming Crime Travel (Wildside Press), an anthology of time travel mysteries, edited by fellow SleuthSayer Barb Goffman. Learn more and preorder here.