Showing posts with label Ellery Queen. Show all posts
Showing posts with label Ellery Queen. Show all posts

31 July 2020

Dying Message


Earlier this month, fellow SleuthSayer Joseph D'Agnese blogged about USA's founding father and Declaration of Independence signer George Wythe's famous last words, "I am murdered!" before he died from having been poisoned.

In my humble opinion, as far as last words go, Wythe won.

So, over mugs of coffee a few mornings ago, when my crime writer friend, Josh Pachter, first mentioned the use of "Dying Message" as a literary device, I wanted to know more.

Take it away, Josh...

KK: Can you explain the "dying message" trope for us?

Well, sure! But let me start by explaining why Kristin is asking me this question.

In mid-July, she drove down to my new home outside Richmond, Virginia, to pick up a piece of furniture my wife Laurie and I no longer needed for her daughter's first college apartment. I made a pot of coffee and, while Laurie teleworked, Kristin and I sat out on our new deck and talked. I don't remember exactly how it came up, but I asked Kristin if she was familiar with the old "dying message" trope, she said she wasn't, I explained it...and her eyes lit up. "Can I interview you about this for SleuthSayers?" she asked.

So here we are.

I suspect that many of the Sayers of the Sleuth are already familiar with the dying message, and some are probably far better versed in its history than I am, but, for what it's worth, here's what I have to say on the subject.

Ellery Queen may not have invented the concept of the "dying message" clue, but Fred Dannay and Manny Lee--the cousins who wrote as EQ--were certainly its most active proponents, and many of their novels and short stories rang changes on the concept.

Here's a basic description of how it works:

Person A murders Person B and leaves the scene. But--sacre bleu!--Person B is not dead yet, after all, and regains consciousness long enough to want to tell the police who killed him. Unfortunately, there's no working phone at hand, so Person B can't simply call the police and tell them who did the dirty deed.  There is, however, a piece of paper and a pen, so Person B leaves a cryptic note, identifying his killer.

"But," you say, "why a cryptic note? Why doesn't Person B simply write Person A's name?

Ah, well, because, despite the fact that he's dying, Person B has the presence of mind to realize that person A might return to the scene of the crime--and, if she does, she'll see the piece of paper with her name on it and destroy it.

And that's the "dying message" trope, resulting in a story the heart of which is the protagonist's mental struggle to figure out the meaning of the cryptic clue.

Far fetched? Certainly.

Realistic? Perhaps not.

But I'm reminded of something my buddy Les Roberts--the author of 20+ novels featuring Cleveland PI Milan Jacovich--once did.  In one of Les' books, Milan trails a suspect to a Monday-evening performance of the Cleveland Symphony. When the book came out, Les received hundreds of letters from irate Clevelanders, pointing out that the Cleveland Symphony  doesn't play on Mondays. Les printed up a form letter he sent back to every complainer: "The Cleveland Symphony might not play on Mondays, but my Cleveland Symphony plays whenever I damn well tell them to."

His point? This is fiction, folks, and in fiction an author can do whatever the hell he wants to do. He is the puppet master, and the puppet master gets to pull the strings.

So Ellery Queen wrote lots of dying-message stories, and the question of whether or not such a thing would ever happen in real life is frankly irrelevant.

To keep the device from going stale, the cousins eventually began to come up with variations on the theme, such as oral dying messages (in which only part of the victim's dying words are heard, or the victim's last words are misunderstood, or the victim mispronounces a key word or words) and the "accidental dying message."

I'll give you an example.

In "GI Story," which first appeared in EQMM in 1954, Clint Fosdick is murdered, and it's clear that he was killed by one of his three stepsons: Linc Smith, Woody Smith, or Wash Smith. Before Clint expires, he scrawls the letters "GI" on a piece of paper, but all three of the Smith Brothers--:::cough:::--are former soldiers, so the message could apply equally well to any of them.

Ellery, however, finally realizes that Clint had no intention of leaving a cryptic message. In fact, "Fancy verbal acrobatics are the pleasant preoccupation of detective fiction," Ellery says, poking fun at his own trademark trope. "In real life, they don't happen...Clint Fosdick, in writing those two letters...was trying to do just one thing: name his killer."

The three brothers, Ellery realizes, were named after American presidents--Abraham Lincoln Smith, Woodrow Wilson Smith, and George Washington Smith--and the dying man was beginning to write the word, "GEORGE" when death took him immediately after he completed the down stroke of the second letter of his murderer's name. Et voila! 


KK: Have you used the "dying message" trope yourself, Josh?

Why, yes, Kristin, as a matter of fact I have!

My second published story--"E.Q. Griffen's Second Case," which originally appeared in EQMM in 1970 and will be reprinted in The Further Misadventures of Ellery Queen, which I co-edited with former SleuthSayer Dale Andrews and which will be published by Wildside Press later this year--is a dying-message story, in which a guy is murdered outdoors and pulls loose a chunk of the tarry stuff that sort of grouts sidewalk panels together and writes a clue to the identity of his killer on the sidewalk.

After Dale and I co-edited our original Misadventures of Ellery Queen (Wildside, 2018), I started writing a series of pastiches of EQ's "Puzzle Club" stories, and the first three of them are all dying-message stories: "A Study in Scarlett!" (EQMM, May/June 2019), "The Adventure of the Red Circles" (EQMM, Jan/Feb 2020), and "The Adventure of the Black-and-Blue Carbuncle" (EQMM, forthcoming).

I also had two dying-message stories appear in print in 2018: "If It's Tuesday, This Must Be Murder" (Mystery Most Geographical, Wildside) was a finalist for the Derringer Award, and "50" (EQMM, Nov/Dec 2018), in which my E.Q. Griffen character returns, finished second in the magazine's Reader Award balloting. You can download and read both of those stories for free at this link.

Dale, by the way, has published  four Ellery Queen pastiches in EQMM, and all four of them are dying-message stories. His latest, "Four Words," will appear in the Sep/Oct 2020 issue, on sale August 13.

And for those who'd like to read more about the "dying message" trope, there's an excellent discussion at the Ah Sweet Mystery blog, and another (filled with spoiler-protected examples) at Fandom website.


KK: Thank you for letting me put you in the hot seat, Josh.  Oh, and by the way, check out this little gem I found while preparing my post...a signed copy of our co-contributed Malice anthology.  C'est magnifique!


Josh Pachter is an author, editor, and translator. More than a hundred of his short stories have appeared in EQMM, AHMM, Black Cat Mystery Magazine, Mystery Weekly, and many other periodicals and anthologies. He has edited and co-edited a dozen anthologies, including The Beat of Black Wings: Crime Fiction Inspired by the Songs of Joni Mitchell (Untreed Reads, 2020), The Misadventures of Nero Wolfe (Mysterious Press, 2020) and The Great Filling Station Holdup: Crime Fiction Inspired by the Songs of Jimmy Buffett (forthcoming from Down and Out Books in 2021).  His translations of stories by Dutch and Flemish authors appear regularly in EQMM. Earlier this year, he received the Short Mystery Fiction Society's Edward D. Hoch Memorial Golden Derringer Award for Lifetime Achievement and became the first person to win both the Golden Derringer and a competitive Derringer in the same year.

PS ~ Let's be social:

25 July 2020

The Best Thing about Writing Short Stories (and it's not the money...)


Beyond the delight of creating a story that swings on a single plot point/twist...

Beyond the excitement of putting together a really professional product in just a few weeks...

Beyond the satisfaction of mastering the craft of the short story in another tautly written tale that speeds along with the impact of a runaway commuter train...

Here is the real reason I love writing short stories.

My 17th book is done.  Sent to agent in New York.  I sit back, awaiting the inevitable comments, rounds of edits, during which I will alternately cry, fume and laugh hysterically.

Then off to the publisher it goes.  After which there will be more edits, more crying, fuming, and possibly, more drinking.  (Okay, that's a cert.)

Which is why I love writing short stories.

To Wit:
I've been a novelist for over 15 years now.  My 16th book came out this February (yes, possibly the worst timing in the history of the human race, with the possible exception of the invasion of England by William the Conqueror, but I digress.)

So I've had two traditional publishers and three series, but believe it or not, I got my start writing short stories.  In fact, I have over 50 of those published, and 24 of those were in print before I even gave a thought to write a crime novel.

Why do I love writing short stories so much?  Short stories come with less stress than a novel because...

Short stories are all mine.

In order to get a novel contract with a medium to big house, you really have to keep the audience in mind.  Sure, you write what you want to write, but with the publisher's audience always in mind.  Then your agent gets hold of it, and makes comments and suggestions.  Next, your house editor will be asking for changes to the manuscript, and possibly even to the story to make it most appealing to their audience. 

All good.  All with the purpose of increasing sales, which I'm sure it does.  All tedious as hell.

Yesterday, I sent my 17th book to my agent.  She really liked the first 30 pages sent months ago.  I probably won't sleep until I hear she likes the next 200.

If she does, it's a sparkling vino moment.  If the publisher does too, then break out the Bolly.  (I do love Ab Fab, by the way.  Just call me Eddie.)

But then the fun starts.  I have to wait for the inevitable tinkering.

I can see now that one of the great joys of writing a short story is there is no interference.  It's MY story, just the way I want to tell it.  I've been published in AHMM, Star Magazine, ComputorEdge, Canadian Living Magazine, Flash Fiction, and others, and no editors have ever suggested substantial changes to the stories they've published by me, or even requested minor changes.

Writing a short story is a more independent project than writing a novel.  I love that.

But back to the title (and it's not about the money):  I have actually made more per word with some short stories, than I have with some novels.  Mind you, if I'm making a dollar per word for short stories, that would translate to $80,000 per novel, and I don't reach that with every book.  

So although we say you can't make a living writing short stories anymore, it is possible to make some Bolly money.  Usually hobbies cost you money.  This is one that allows you to make some!

I've always said that when my novel career wanes, I will continue to write short stories with gusto.

It's true what they say:  you never forget your first love.

Melodie Campbell has won the Derringer, the Arthur Ellis and eight more awards.  She didn't even steal them, which will be explained if you look up her wacky Goddaughter books...
www.melodiecampbell.com








21 February 2020

More about Opening Lines


More about Opening Lines

I feel the opening line of a short story or novel is the most important line in the piece. First impressions are the strongest, especially for a beginning writer who wants an editor to read beyond the first page of a manuscript.

"The first page sells your book being read, the last page sells the one you're writing." – Mickey Spillane."

The same goes for short stories, maybe more so.

Over the years, I put together information given by writers and editors. As I've said so many times before, there is no one way to write anything and what follows are just suggestions.

The opening of a novel or short story could capture the attention of the reader with an original hook.

1. THE OPENING SHOULD PROMISE ... SOMETHING IS GOING TO HAPPEN

How?
a. By presenting compelling events
b. By presenting an unusual character
c. By presenting a vivid setting
d. By using striking language or dialogue
e. By an unusual presentation of ideas

It should arouse expectation with a promise of more to come.

It should let the reader in on WHO, WHAT, WHEN, WHERE, or WHY.

In your opening scene(s) you may want to establish:

a. Who is the main character?
b. What is the situation (the problem)?
c. Where is the story taking place (setting)?
d. When is the story taking place (time frame)?
e. Why did this situation happen?
f. How did the situation happen?

You may want to include a cliffhanger that makes the reader want to read on.

You opening should set the tone of the story.

The strongest type of opening usually hooks the read with action (physical or psychological).

The story does not generally open at the beginning of a situation. It usually opens at the high point of action.

EXAMPLES:

Character Opening – If you are writing a character-driven piece.
Atmosphere Opening –Take your reader to a unique setting.
Action Opening – Start in mid-scene.
Dialogue Opening – Promises the reader there is a emphasis on communication between characters.
Philosophical Opening – Prepares the reader this may be a reflective piece.
Emotion Opening – Promises emotional conflict.

In a 2013 interview, Stephen King stated, "... an opening line should invite the reader to begin the story ... it should say: Listen. Come in here. You want to know about this."

King went on with, "For me, a good opening sentence really begins with voice. You hear people talk about 'voice' a lot, when I think they just mean 'style'. People come to books looking ... for the voice. An appealing voice achieves an intimate connection – a bond much stronger than the kind forged, intellectually, through crafted writing."

Award-winning short story writer John Floyd gives us, "I've always heard that ideal openings should (1) introduce you lead character and/or (2) establish the setting (time, place) and/or (3) introduce conflict. A fourth goal is to make the reader curious about what might happen."

Important Note:
A good opening line is like the opening move in a battle. If you do not follow up a good opening, you could lose the battle.

Ellery Queen Mystery Magazine Editor Janet Hutchings gives us, "Some writers have told me they have an attention-getting opening line as the seed for the story. That's fine. But from a reader/editor's perspective what makes the opening good or bad is how it serves everything that follows in the story."

Writing novels and short stories is a trade. A profession. Not a philosophical exercise.

OK – we have all read excellent novels and short stories which did not have a good opening line, which proves again there is no one way to write. In the epigraph in Fahrenheit 451, Ray Bradbury quotes Juan Ramón Jiménez – "If they give you ruled paper, write the other way."

Hey Paul,
Here is Charley. Gone but never forgotten.



Thats all for now –
http://www.oneildenoux.com

28 May 2019

Things You Learn from Editing


by Barb Goffman

As the old saying goes, it's never too late to teach an old dog new tricks. (As a dog owner, I can attest that this is true!) The saying also applies to writers. No matter how much writing experience you have, you still can learn more.

I was reminded of this point recently, as I've been editing a lot of short stories for two upcoming anthologies, one coming out in December, and another coming out next spring. Some of the stories have been written by authors I consider to be short-story experts. Other stories have been written by authors who have had several stories published but who haven't broken out yet, and others still have been penned by authors who are just starting out. And I have learned something from all of them--sometimes simply from reading the stories (even the newest writer can come up with a twist or a turn of phrase that turns my head) and other times from editing them.

It's the editing finds that can lead to especially interesting conversations.

Did you know that SOB is in the dictionary? All caps. No periods. The acronym for son of a bitch is a word all its own, at least according to the online Merriam-Webster dictionary.

Even more surprising (to me at least), mansplain has made the dictionary too. I won't bother to tell you what that words means. I'm sure you know.

Turning to homophones, two-word terms often become single words when slang enters the picture. For instance, a woman might go to the drug store to buy a douche bag, but if her boyfriend is being a jerk, she'd call him a douchebag (one word, no space). And descriptions of animal excrement are usually spelled as two words: horse shit, bull shit, chicken shit. But when you mean "no way" or "a load of not-actual crap" you spell it horseshit and bullshit (again, one word, no space). And when you mean that someone is a coward, you call him a chickenshit--also one word. (Thanks to Michael Bracken for helping me see the horse shit/horseshit distinction recently.) It's interesting that horses, bulls, and chickens have had their excrement turned into slang words, yet dog shit is just that. Two words meaning excrement. As I told a friend, I might start saying "dogshit," when I want to say "no way!" just to see if it catches on.

Keeping with the one-word or two-words questions, do you go into a room or in to a room? This may be an obvious thing for you, but it's one of those little things I find myself double-checking over and over. Same for on to/onto, some time/sometime, and so many more. Each of these words has their proper place, so I like to make sure I use them properly.

Yep, that's a bear on a trampoline.
To answer these questions: you go into a room. Into is the correct word if you are showing motion. The onto/on to question also turns on whether you are showing movement. I jump onto the trampoline. I catch on to my boyfriend's lies. As to sometime or some time, this question turns on whether you are talking about a period of time (writing this blog is taking some time) or if you mean an indefinite date (I'll get back to you sometime next month). Thank goodness for Google, without which I would have to memorize these distinctions. Instead I just get to look them up again and again and again.

Well, I hate to cut this column short, but I'm short on time. (Ha ha!) (And that's two words for ha ha, per our friend Mr. Webster.)

Do you have any interesting word usage issues/spelling knowledge you'd like to share? Please do. I'm always eager to learn something new.

******

Oh, and before I go, two bits of BSP: My story "Bug Appétit" has been nominated for the Anthony Award for best short story! This story was published in the November/December 2018 issue of Ellery Queen's Mystery Magazine and was a finalist earlier this year for the Agatha Award. I'm honored to be an Anthony finalist along with fellow SleuthSayer Art Taylor as well as authors S.A. Cosby, Greg Herren, and Holly West. The winner will be voted on and announced at Bouchercon in November. In the meanwhile, you can read my story here, if you are interested.


And if you're anywhere near Richmond, Virginia, on Saturday, June 8th, I hope you'll come to the launch party for Deadly Southern Charm. This anthology from the Central Virginia chapter of Sisters in Crime includes my newest short story, "The Power Behind the Throne."

The launch party will run from 3 - 5 p.m. at the Libbie Mill - Henrico County Public Library, 2011 Libbie Lake E. St., Richmond, VA. In addition to the usual book launch activities such as book selling and book signing and snack eating, there will be a panel discussion about the pros and cons of writing different lengths of fiction. I'll be on the panel with fellow Deadly Southern Charm author Lynn Cahoon and anthology editor Mary Burton. We hope to see you there!

09 April 2019

Hey, Mister


by Paul D. Marks

Say, mister. Will you stake a fellow American to a meal?

            —Fred C. Dobbs (Humphrey Bogart) in The Treasure of the Sierra Madre

Yes, it's very pretty. I heard a story once – as a matter of fact, I've heard a lot of stories in my time. They went along with the sound of a tinny piano playing in the parlor downstairs. “Mister, I met a man once when I was a kid,” it always began.

            —Rick Blaine (Bogart again, in Casablanca)


Okay, to be honest, I’m not really sure how apropos these quotes are for the following piece. But hey, mister (and Ms.), why not look for an opportunity to get Bogart into a piece?

I get the equivalent of “Hey, mister” sometimes when people that I know and sometimes people I don’t really know tell me they’ve got the greatest idea since the Moviola (remember those, Larry Maddox?) was invented. And if I write it for them we’ll both be rich. Or if I write it for them, they’ll take half of the gobs of profits and I can have the whole other half. So like Dobbs in Treasure of Sierra Madre, they want me to stake them to a completed script or manuscript from their original, fabulous, never-been-done-before, get rich quick, idea.

I have a friend, let’s call him Friend, who is a non-stop idea machine. Not just for writing projects (both film and prose) but for pretty much every other thing under the sun. If he could just get one done he might actually make that million bucks. But he never does. He’s all talk and no sit-down-and-do-it. Re: writing he wants me to sit down and do it and split the billions we’ll make. He’s enthusiastic and the ideas fly out of him at a million miles an hour. Some ideas better than others, but nothing that makes me want to pull out a contract and say “Yeah, let’s do it.” He’s a fount of ideas, but I’ve been approached by others as well. They don’t seem to realize that I have ideas of my own.

Moviola
On another occasion, an old girlfriend and I got back in touch for a short time – let’s call her Girlfriend. It was nice catching up with her. But right off the bat she said her husband wanted to talk with me. He liked film noir. He had friends who liked film noir. When she originally put me in touch with him I think I naively thought that he’d want to shoot the breeze about noir films or books…….or God-forbid even one of my books. But nope. Right away, he asked me to read a couple scripts by his friends and see what I could do with them. Well, both for legal and other reasons, I never even downloaded the scripts he sent me. Therefore, never looked at them. They, too, might have been the greatest thing since the Moviola, but I’ll never know. And I thought it was odd that he had the chutzpah as to ask something like that right out of the gate of someone he didn’t know, had never talked to, etc. But then, he’s a lawyer, so maybe it’s to be expected…

I’m approached fairly often with these fabulous offers, which I take about as seriously as the fabulous offers I see on late-night TV or hear from telemarketers. I try to help people whenever I can, as I’ve been helped by others. But one thing I don’t necessarily want to do is work on someone else’s idea at this point in my life. I’ve done that in the past. But that’s not where I’m at now. I don’t need the headaches of working with someone else, especially someone who wants it done their way but wants someone else to do it their way. And I have plenty of ideas of my own. Several hundred written down in a couple files on my computer.

So when someone gives me the equivalent of “Hey, mister, can you stake a fellow American to a script or manuscript or whatever,” I try to politely turn them down.

What about you?


~.~.~
And now for the usual BSP:

The Anthonys. Well, from the BSP Department and since Anthony voting is still in progress, I hope you'll consider voting for Broken Windows in the Best Paperback Original Department.



The third story in my Ghosts of Bunker Hill series, Fade Out on Bunker Hill, appears in the March/April 2019 issue of Ellery Queen Mystery Magazine. If you like the movie Sunset Boulevard, I think you'll enjoy this story. In bookstores and on newstands now:



Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com

26 March 2019

Can You Hear Me Now?


by Barb Goffman

Thanks to the fine folks at Ellery Queen's Mystery Magazine, a recording of me reading my Agatha Award-nominated short story "Bug Appétit" will be available online at the EQMM website beginning April 1st. (It's true. No April Fool's here.) When they asked me to make the recording, my biggest concern was technical. How could I get a good version of me reading my story in Virginia up to New York, from where it would get uploaded to the EQMM podcast site? That may sound like a no-brainer to many of you, but for me, well, let's just say I'm not really great with new technology. I'm still waiting for someone to teach me how to use the Bluetooth in my car.

Eventually things got worked out technologically speaking (thank you, Jackie Sherbow), so I was able to focus on my next worry: I have five speaking characters in my story. How was I going to make them sound different enough that the listener would be able to tell them apart? If you're reading the story on paper (or on a screen), you can see when a speaker changes, even without a dialogue tag, because you'll see a closing quotation mark, then a change in paragraph, and the next line of dialogue opens with an open quotation mark. You're not going to have those visual signals with audio. My friends told me not to worry--ha!--and said that surely it would all be fine.

"Bug Appétit" was in the
Nov./Dec. 2018 issue
Skeptical, I realized procrastinating was doing me no good. So I put those worries aside and moved on to the next ones: Was I properly pronouncing all the words in the story? Would I talk too quickly?--something I've been accused of in the past. Would I insert verbal tics (umms, etc.) without realizing it? To address these concerns I looked up the words I was unsure of, including researching regional pronunciations, and practiced reading out loud. Then I recorded the story, sent it off to New York, and now I wait anxiously for April 1st to arrive for the recording to be posted so I can see (or more precisely, hear) if I did an okay job.

In the meanwhile, here are some things I've learned from this experience:

(1) Even if you think you've written a funny story, you can't laugh at your own jokes while you read the story aloud. This is tougher than you'd think when you're a hoot. (Just saying.)

(2) While Alexa may be good at a lot of things, pronunciation isn't one of them. When I asked her how to pronounce "sago" (as in sago grubs), which I spelled out for her, she pronounced it for me--the same way I would have said it instinctively. Woo-hoo! But then she said that she's not often good at pronouncing things and while she's always improving, maybe I shouldn't rely on her. So much for technology.

(3) "Pecan pie" is one of those terms that is pronounced differently in various parts of the United States. Where I grew up on Long Island, it's pronounced PEE-can pie. (Every time I say it or think it, I can hear Billy Crystal saying it over and over in When Harry Met Sally. "Pee-can pie. Pee-can pie. Pee-can piiiiie." But on the West Coast, where my story is set, many people pronounce it pih-KHAN  pie. I had to practice to say it right.





(4) Practice doesn't always make perfect. When you read aloud, you instinctively say a word the way you've always said it, no matter how much you practice. Or at least that's what happened to me, which is why I had to stop and re-read that part for the recording. Twice. That pih-KHAN pie was hard fought.

(5) No matter how hard you try to remove background noise, when you're recording something, there will always be a plane flying overhead.

(6) And when you have a dog named Jingle, he will become velcro right when you want to start recording and then he will live up to his name, moving and scratching and jingling over and over and over, so you have to stop and restart the recording over and over and over. And over.

(7) Eventually you'll get so frustrated you'll tug his collar off and tell him to be quiet (perhaps with some expletives mixed in). When he finally does it and falls asleep, you'll sigh in relief, but beware: your bliss will be short-lived. Because within a few minutes the dog will start to snore. Of course he will.

(8) Effecting five different voices plus the one saying the internal monologue is not easy. I found that I physically tried to embody each character, stretching tall with my nose raised whenever the mother spoke, tilting my head sideways to get the amused dad's voice right, and internalizing the narrator's voice from season two of Fargo when I read the exposition. The only voice that came really easily was the grandma's--a woman who spoke her mind. Go figure.

(9) Reading a story aloud takes much longer than you'd expect. Much longer than reading it silently. Let's hope that means I read it slowly enough without any verbal tics. And, um, if I, um, included some tics, um, please don't tell me.

(10) If the fine folks at EQMM ever ask you to record one of your stories for their podcast, jump at the chance. It was a lot of fun. But first, arrange for your dog to go on a long walk before you hit record. The last thing you want listeners to hear while you're reading your story is someone snoring in the background.

19 March 2019

Sometimes The Big Sleep Comes Too Soon



This post will be a little different than the normal post for me.

Anne

My friend Anne Adams died in February, from breast cancer that had metastasized and for which the treatments had become ineffective. This is what she said in one of her last e-mails to me: “I’m feeling OK, but not doing well in terms of treatment. I’ve pretty much gotten to the end of anything that works for me. My doctor is looking for some trials, but unless something like that turns up, I’m looking at about 2 to 3 months before I’ll be doing The Big Sleep.”

Unfortunately, both she and the doctors turned out to be right.

She had been fighting this for years, and had better times and worse times. So it wasn’t a total shock on the one hand, but on the other it was. She was relatively young – not old enough for Medicare. I’ve known her for decades and at one time we were very close, though not as much lately. But we still kept in touch.

We initially got together through a buddy of mine she was seeing and when they came into town (L.A.) one time I met her. Then, when she moved here on her own and wanted to get into the film biz, I was one of the few people she “knew,” so we got together and became fast friends, initially bonding over our love of movies, both classic and contemporary (at least contemporary for when we met, not so much movies today). Since our schedules were fluid we often got together to go to screenings and for the movies we missed in the screenings we’d often go see at a matinee the day they opened. We loved movies, as well as Hollywood history. But our friendship expanded to much deeper levels as we got to know each other over time.

She encouraged my writing in the dark days before I’d had any success and she brought me up short if I whined too much about the business. She didn’t have any trouble getting established in the business, working mostly in post-production or as a producer. We saw a lot of each other in those days, traveled together, and just had a very close relationship that withstood the test of time, even if it wasn’t as close as it once was. So she was very intrinsically involved in my life.

In fact, without a push from Anne I might not have gotten together with my wife, Amy. I met Amy when another friend “roped” me into helping produce a live old time radio benefit for UNICEF (that’s a whole ’nother story…). A friend of Amy’s had also volunteered her to work on it. And we met there, but I didn’t think Amy would remember me after our brief encounter that first night. And I only knew her first name and sort of where she worked. So I was a little hesitant to call her. But Anne said, “Well, what do you have to lose? All she can do is say ‘no’.” So I called Amy and the rest – to make a long story short – is history. But I might not have followed through if not for Anne giving me that little prod, so I owe her much for that.

Anne was at my wedding and my bachelor party (which was not limited to guys, though Amy wasn’t there). In fact, she also sort of MC’d and “produced” our wedding.

Anne also did something else for me/us that I will always be grateful for – besides pushing me to call Amy – though it might seem superficial on the surface. Once she got established here she knew a lot of people. And one of them is one of the band members in Paul McCartney’s band. I am and forever will be the Ultimate Beatles Fan. And Anne got Amy and me backstage to see him. It was an amazing moment.

Amy, Anne, Paul


We had recently talked about getting together but it never happened as the disease progressed rapidly.
In one of our last correspondences, she said, “I’m getting tons of emails (but nobody wanting the stove, [an antique stove she was trying to place before she died] of course), so this text will be short. Let’s plan to talk after the holidays.” Well, we never did talk after the holidays. We never saw each other again. Her disease progressed and she passed on on 2/16/19. Here’s a link to her obit on Legacy . com: https://www.legacy.com/obituaries/name/anne-adams-obituary?pid=191640884

Anne, McCartney drummer Abe Laboriel, Jr., Paul,
former Dodger manager Tommy Lasorda in blue shirt in background 

I’ll just finish that off by saying I miss her and will continue to do so.

~~~

Clyde

Clyde Williams is another friend who died of cancer recently. I met him when I was looking for someone to do a voiceover for a promotional video. He had a great voice, very expressive. After we met on that project we became friends.in b

Clyde led an adventurous and exciting life. He served in Viet Nam. And said he had once been on a security detail or honor guard for JFK. He was even scouted by the Dodgers. But his true love was art and painting.

You would have thought we didn’t have all that much in common, but we really did. He was from Loosiana. A cowboy. An artist

I am none of those things. And if I could draw a decent stick figure it would be a major feat. Though I do live in cowboy country now, so we had that in common. And Clyde liked it up here, kept saying how much he’d like to move here.

In an article from the LA Times (“Black Cowboys Honored for Reel Contributions, 8/1/2000-LA Times: http://articles.latimes.com/2000/aug/01/news/cl-62235 ), he said, “‘My grandfather had me herding cattle as a kid,’ Williams said. ‘I understand the cowboy and the body of the horse. I started sketching them when I was 6. It's a passion. That's why I'll always be a cowboy in my heart.’”

He painted western and cowboy art, black cowboys and Buffalo soldiers, African-Americans in the military, as well as Indians and other western scenes. His work was exhibited at the Autry Museum of the American West. He loved the whole cowboy culture and he loved to read western novels, particularly Louis L’Amour. He had almost every if not every one of his books in hardback and was very proud of that. I helped to fill out his collection and that made us both happy. He also liked all stripe of western/cowboy movies.

Clyde and I could and would talk for hours, about anything and everything. He liked to talk about the changing nature of his neighbored. About wanting to do more acting or voiceovers. And he’d always ask about my wife Amy, whom he was very fond of.


He’d also talk about the red tape and hassles at the VA. And in the last year or two that kind of talk and talk of his disease featured more and more in our conversations. And there’s certain things I’d like to add here but feel that I can’t for personal reasons.

I also hadn’t talked to him for a while. No particular reasons. That’s just how things go, as I’m sure you know. I found out he’d died when I sent him a Christmas card and it came back marked “Deceased.” That was quite a shock.


I didn’t know him as well nor as long as I’d known Anne, but we bonded quickly and became friends. Sometimes you just click with someone. He gave me several prints of his works and I treasure them, both for what they are and as a symbol of our friendship.

And I miss him, too.

~~~

As writers, I think a lot of us strive for some kind of immortality through our writing. We hope to be remembered after we’re gone. Some achieve that, most do not. The way most people remain “alive” is in our memories, as we think about them, reminisce, deal with our regrets. Anne and Clyde will remain alive as long as I’m living – I know I’ll think of them often.

So the moral of this piece is – if I can get a little preachy – every time something like this happens I vow to not let things go so long, vow to get together, go to dinner, etc. But they often don’t get acted on, because we’re human. So don’t put things off. You’ll regret it as I do now. And I’m telling that to myself again now – don’t put things off. And I know I’ll do it again as others will do it with me. That said, I have a date next week to see a friend I haven’t seen in ages, but someone I’ve known since forever, a friend and former writing partner. And I hope that nothing happens to get in the way of our connecting so I won’t have anymore regrets, at least not for a while.

~.~.~
And now for the usual BSP:

The third story in my Ghosts of Bunker Hill series, Fade Out on Bunker Hill, appears in the March/April 2019 issue of Ellery Queen Mystery Magazine. If you like the movie Sunset Boulevard, I think you'll enjoy this story. In bookstores and on newstands now:



Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com

05 March 2019

Who needs oysters? Pumpkin pie will get your libido pumping!


by Barb Goffman

I have a secret. ... I spend too much time on the Internet.

Okay, fine. Anyone who's my Facebook friend already knows that about me. But since admitting the problem is the first step to conquering the problem ...

Wait a minute. Who says spending a lot of time on the Internet is a problem? If I hadn't done that, I might not have read some articles that helped me write "Bug Appetit," which is my short story that became my first sale to Ellery Queen's Mystery Magazine and is a current finalist for the Agatha Award. It's not like you just inherently know that pumpkin pie is an aphrodisiac. No, sir. I had to read an article in the New York Daily News about it and then remember that great tidbit when the right time came.

What, you say? Pumpkin pie? An aphrodisiac? Tell me more.

Okay.

According to the Daily News, researchers say the sweet, spicy scent of pumpkin pie increases men's sexual desire. And cooking the pie with pumpkin seeds can be even more useful for getting your man in the mood. The seeds are full of zinc, which increases testosterone and thus also increases desire.

Another helpful article on the Internet says that the smell of pumpkin pie can increase blood flow to the penis by forty percent. Thank you, https://science.howstuffworks.com. Pumpkin pie can influence women's arousal too, though blood-flow numbers weren't offered.

This all may explain why you know a lot of folks born at the end of August. Yep, they're likely Thanksgiving babies, thanks (pun intended) to the pumpkin pie served as holiday dessert. 

So if you want to entice your spouse or boyfriend/girlfriend or even someone you met the prior night at a speed-dating event (this idea is from my story--not my real life--honest), bake some pumpkin pie with the seeds in it. You could end up having a story-worthy tale, if you're the kind to kiss and tell.

How does this play out in "Bug Appetit"? You can read it yourself to find out. The story's right here online for your reading pleasure. The folks at Ellery Queen called it "twisty, humorous, and creepy." What more could you want?

And don't worry if you're spending too much time on the Internet. My experience is that it can really pay off. Happy reading!

12 February 2019

Agatha Award short-story finalists for this year


by Barb Goffman

Given that I am swamped with work, I've decided to take the easy way out this week and write something short for you. But never fear. I'm a short-story writer, so brevity is my friend.

Allow me to introduce the finalists for this year's Agatha Award in the short-story category, all of whom know how to make every word count. I'm pleased to be one of the nominees, along with my friend and fellow SleuthSayer Art Taylor, and the three other finalists, all of whom I'm also proud to call my friends. So without further ado, the finalists and their stories. Each title is a link to that story, for your reading pleasure.

  • Leslie Budewitz. Her story "All God's Sparrows" was published in the May/June 2018 issue of Alfred Hitchcock's Mystery Magazine.  


  • Barb Goffman. (Yep, that's me.) My story "Bug Appetit" was published in the November/December 2018 issue of Ellery Queen's Mystery Magazine.



Attendees of the Malice Domestic mystery convention will be able to vote for their favorite story during the convention this May. In the meanwhile, happy reading! See you in three weeks.

08 January 2019

Looking Backward, Looking Forward


by Michael Bracken

To steal and mangle some other writer’s most famous opening line: My dual career in 2018 was the best of times and the worst of times.

I received 47 short story acceptances and had 34 stories published, including one in The Best American Mystery Stories 2018. I became editor of a regional gardening magazine; turned in The Eyes of Texas, an anthology of Texas private eye stories to be released by Down & Out Books in fall 2019; selected the stories for Mickey Finn: 21st Century Noir, the first in an annual anthology series to be released each fall beginning in 2020; with co-creator/co-editor Trey R. Barker began work on the serial novella anthology series Guns & Tacos; and was approached about writing a novel, something I haven’t done in near-on twenty years.

On the other hand, my productivity fell through the floor, and I completed only 19 new stories, including one co-authored with Sandra Murphy that will be published in a Maxim Jakubowski-edited anthology in 2019.

I previously discussed two of the reasons for the decrease in output, one psychological (“The Obstacle Ahead is a Mirror”) and one the time-consuming side-effect of increased sales (“Do You Want Cheese with That Whine?”). Not mentioned in either post are my increased editing responsibilities, both crime fiction anthologies and magazine non-fiction.

THE WRITTEN

I write a fair amount in any given year, but I only track the word counts of completed short fiction, and in 2018 I wrote 19 stories totaling 68,250 words. Unfortunately, this is the worst year since I started keeping track in 2009. (In 2009, my best year, I wrote 75 short stories totaling 216,310 words.)

The shortest story was 250 words, the longest story was 13,500 words, and the average length was 3,592 words.

Four stories were written by invitation. The rest were for open-call anthologies, for markets where I’ve previously placed stories, or for no particular market at all.

Seventeen of the stories are crime fiction of one sub-genre or another, one is a cross-genre mix of science fiction and crime fiction, and one is horror.

THE PUBLISHED

I had 34 stories published in 2018. Eighteen are crime fiction, 11 are erotica, one is fantasy, and four are romances.

Sixteen stories appeared in print publications, seven in web-based or electronic publications, and one appeared on the web and in print. Ten were released in audio format.

Twenty-nine of the stories are originals and the rest are reprints (“Smoked” in The Best American Mystery Stories 2018) or audio releases of previously published stories.

THE SOLD

Forty-seven stories were accepted for publication. Twenty-three are crime fiction, 20 are erotica, three romance, and one fantasy. A few counted as erotica are cross-genre (erotic crime fiction, erotic fantasy, etc.).

Thirty-six stories are originals and 11 are reprints or audio rights of previously published stories.

Two pieces of crime fiction were “accepted” by anthologies I am either editing or co-editing, perhaps proving that sometimes it is who you know.

Note that I wrote no erotica, fantasy, or romance in 2018, yet I placed original stories in all three genres.

THE REJECTIONS

I received 39 rejections in 2018, and any year in which acceptances outnumber rejections is a good year.

I received one unacceptance. An anthology that accepted a story in 2016 was cancelled in 2018, and my story—which had been paid for—was returned. The story sold to the next editor who saw it, resulting in a second check.

I also received my first-ever unrejection. A magazine rejected one of my stories and six weeks later contacted me and asked if the story was still available. It was. Read more about what happened at “The Rejection Reversal with Michael Bracken.”

THE FUTURE

For the past several years, my annual goals were to complete and submit an average of one short story per week and to receive an average of one acceptance per week. At the beginning of 2018, following the 2017 collapse of two of my primary markets, I realized these goals were no longer realistic. So, my primary goals in 2018 were to rebuild and re-establish myself as I moved into new markets and/or new genres.

During 2018, I placed work in several new or new-to-me markets but made no significant progress in cracking new genres. Though I did sell one fantasy short story, saw another published, and wrote one horror story, I made no other efforts to expand my genre palette. Instead, I concentrated on writing various sub-genres of crime fiction, including some not previously part of my oeuvre.

As I look forward to 2019, I’ve decided not to set concrete goals. The past year was filled with so much change that I’m unable to envision how things might shake out. More editing opportunities? More submission invitations? That novel I was approached about?

I’ve no clue.

So, I think 2019 will be the year I just roll with it. I’ll try to take advantage of every opportunity that comes my way and see what happens. Maybe by the end of 2019 I’ll once again have a clear view of the future and can set concrete goals for 2020.

Until then, I’m prepared for a wild ride.


The tail-end of 2018 and beginning of 2019 saw several stories published: “Little Bubba Visits the Roadhouse” in EconoClash Review #3, “The Fishmonger’s Wife” in the Winter 2019 issue of Pulp Literature, “Split Decision” in the January 2019 issue of The Digest Enthusiast, and “Wishing Tree” in the January/February 2019 Ellery Queen’s Mystery Magazine.