Showing posts with label Floyd. Show all posts
Showing posts with label Floyd. Show all posts

02 March 2019

Good Directions


By John M. Floyd



I love movies. All kinds, all genres, short or long, old or new, serious or funny, at home or in a theater. Since I don't much like reality shows or anything else on network television these days, most of what I watch are movies and bingeable TV series via Netflix and Amazon Prime Video. And I own a boatload of DVDs, so if I can't find something else I'll watch one of those again. And again.

I have also decided that there's a definite way to verify your status as a film fanatic. You know you're a hopeless movie addict if and when you choose to watch (or avoid) a movie depending on who directed it. When you start picking movies based on directors' names the same way you would pick novels or short stories based on authors' names . . . well, you're probably ready to check into the Harrison Ford Clinic.

One thing that impresses me about directors (I feel the same way about composers of music)--is that it's a job I admire and respect but would never have the talent to do, myself. I understand how authors do their work, and I can at least make a good try at that--but succesfully directing a film? My hat's off to those who can do it and do it well. I'm even one of those nerds who pay as much attention, during the Oscar telecast, to the Best Director category as I do to the others. Heaven help me.

The following is a list that seems to change from time to time, and it'd be hard to rank them because their movies are so different, but here are my 25 (probably) favorite film directors, living and deceased:


Robert Zemeckis --
Back to the Future, Forrest Gump, Flight, Contact, Cast Away, Beowulf, Romancing the Stone

Steven Spielberg --
E.T., Jaws, Raiders of the Lost Ark, Duel, Lincoln, Schindler's List, Munich, Amistad, Jurassic Park

The Coen Brothers --
Fargo, Miller's Crossing, The Big Lebowski, Raising Arizona, Blood Simple, No Country for Old Men

Sergio Leone --
Once Upon a Time in the West; For a Few Dollars More; The Good, the Bad, and the Ugly

Alfred Hitchcock --
Vertigo, Rear Window, North by Northwest, Marnie, Notorious, Rope, The Birds, Rebecca, Psycho

M. Night Shyalaman --
Signs, Unbreakable, The Sixth Sense, Glass, The Visit, Lady in the Water, Split, The Village

John McTiernan --
Die Hard, Medicine Man, Predator, Rollerball, Nomads, Basic, The Hunt for Red October

Quentin Tarantino --
Pulp Fiction, Kill Bill, Reservoir Dogs, The Hateful Eight, Death Proof, Planet Terror, Jackie Brown

John Carpenter --
The Fog, Halloween, The Thing, Sin City, Vampires, Starman, Christine, Escape From New York

Martin Scorcese --
Taxi Driver, Goodfellas, The Departed, Gangs of New York, Mean Streets, Casino, Raging Bull

James Cameron --
Alien, The Terminator, Titanic, Avatar, The Abyss, Aliens, True Lies, Xenogenesis, Terminator 2

Ridley Scott --
Gladiator, Thelma and Louise, Hannibal, Black Rain, The Martian, Black Hawk Down, Blade Runner

Frank Darabont --
The Shawshank Redemption, The Mist, The Majestic, The Woman in the Room, The Green Mile

Ron Howard --
Ransom, Backdraft, A Beautiful Mind, Splash, Far and Away, Cinderella Man, Cocoon, Apollo 13

Sydney Pollack --
The Firm, Tootsie, Three Days of the Condor, Absence of Malice, Jeremiah Johnson, Out of Africa

Sam Peckinpah --
The Wild Bunch, Straw Dogs, The Getaway, Junior Bonner, Ride the High Country, Major Dundee

John Ford --
The Searchers, The Quiet Man, Rio Grande, Stagecoach, The Man Who Shot Liberty Valance

Howard Hawks --
Hatari, Red River, Rio Bravo, To Have and Have Not, The Outlaw, Sergeant York, The Big Sleep

Mel Brooks --
Young Frankenstein, The Producers, High Anxiety, Spaceballs, Silent Movie, Blazing Saddles

Richard Donner --
Superman, The Goonies, The Omen, Ladyhawke, Maverick, Assassins, Scrooged, Lethal Weapon

Don Siegel --
Dirty Harry, The Killers, Charley Varrick, The Shootist, Madigan, Coogan's Bluff, Hell Is for Heroes

Lawrence Kasdan --
Body Heat, Silverado, Wyatt Earp, Grand Canyon, French Kiss, Dreamcatcher, The Big Chill

John Huston --
The African Queen, The Maltese Falcon, The Misfits, Key Largo, Treasure of the Sierra Madre

Sidney Lumet --
Twelve Angry Men, Network, Serpico, The Pawnbroker, Fail-Safe, The Verdict, Dog Day Afternoon

Clint Eastwood --
Unforgiven, Million Dollar Baby, American Sniper, The Beguiled, Pale Rider, Sully, Mystic River


The list isn't foolproof. Even geniuses (genii?) like Spielberg and Shyamalan occasionally turn out a 1941 or a Last Airbender--but not often. I'm usually pretty confident that movies made by these directors will be worthwhile, and sometimes great. (Runners-up: George Lucas, Nora Ephron, Billy Wilder, Peter Jackson, David Cronenberg, Joel Schumacher, Francis Ford Coppola)

NOTE: If you don't care much about this kind of thing, I completely understand. Not many folks do. If you do notice, and follow, certain directors, let me know who you like, and who you don't. As I said, my list changes regularly.

Meanwhile, keep watching those good movies and reading those good novels and stories. Next time I'll tackle favorite authors, and we'll be on more common ground.

As Colonel Bogey once said, have a great March.




16 February 2019

Pop the Clutch: Back to the Fifties


by John M. Floyd


Like many of you, I occasionally have a story published in an anthology. Sometimes I see a "call for submissions" and send off a story in the hope that an editor will like it, sometimes I'm invited to contribute a story, sometimes I'm fortunate enough to have one selected for a best-of-the-year anthology. However it happens, the story usually fits a "theme." Recent anthologies I've been involved with had themes that range all over the place: the military, food and drink, visions, Joni Mitchell songs, sanctuaries, Donald Trump, the full moon, Florida, New England, Texas, the South, horror, mystery, romance, and time travel.

Last month I was lucky enough to have a story published in a book that's turned out to be one of the most interesting anthologies I've seen in a while. This was one of those "write it from scratch" stories that would never have been created if not for this specific project. The book's title will explain that--it's Pop the Clutch: Thrilling Tales of Rockabilly, Monsters, and Hot Rod Horror. And yes, all those elements appear regularly in the 18 stories included. The publisher is Dark Moon Books and the editor is L.A. author Eric Guignard, who won a Bram Stoker Award in 2013 for his anthology After Death. (I was in that one too, although I suspect that my story didn't singlehandedly earn the win.)

I also suspect that one reason I found the Pop the Clutch project fascinating was its unique theme. There's just something compelling about the 1950s, whether you lived in that time period or not: jukeboxes, roller skates, film noir, Elvis, motor courts, cigarettes, sock hops, TV westerns, sideburns, coonskin caps, Hula Hoops, croquet, wheelies, flat-tops, ducktails, and so on. And when you add a dose of fantasy and horror to that already magical era . . . how could a reader not enjoy that? It's Daddy-o and the Mummy, all at once. You can be on another planet without leaving Earth.

What made me especially grateful to be included in this book is the fact that three of my literary heroes--Joe Lansdale, Bill Pronzini, and Max Allan Collins--were also invited to participate. Anytime my name winds up beside the names of folks like that in a ToC, well, my head grows by a couple of hat sizes and I dream that maybe I'm finally making something of myself, Mom. And even though I wound up enjoying, as expected, the stories those three authors produced for the book, I liked the others also.

If I had to pick half a dozen favorites, they were probably "Dr. Morrismo's InsaniTERRORium Horror Show," by Lisa Morton; "Tremble," by Kasey Lansdale and Joe R. Lansdale; "I'm With the Band," by Steve Perry, "The Prom Tree," by Yvonne Navarro; "The She-Creature," by Amelia Beamer; and "Universal Monster," by Duane Swierczynski.

My own story in the book (he announced, modestly) is "The Starlite Drive-In," a mystery/horror tale set in present-day Mississippi that winds up tied to the 1950s in a weird and otherworldly way: real creatures from old movies like Mothra and The Blob and I Was a Teenage Werewolf start turning up (and gobbling up the citizens) in the rural area near an abandoned drive-in movie theater that once screened those masterpieces--and a worn-out sheriff and his female deputy find themselves in a life-or-death battle with this army of creepy and bloodsucking critters. (If you think I didn't have a great time writing this one, well, you weren't a teenage werewolf.)
Even if you aren't old enough to have experienced the Fifties firsthand, this book will make you feel like you're there. Worst case, you'll want to put on a poodle skirt or grease your hair (hopefully not at the same time)--and best case, so help me Godzilla, you'll be inspired to re-watch some of those deliciously stupid monster movies from that era.


I must include, here, a word of thanks. First to Eric Guignard: if you happen to read this post, Eric, I'm indebted to you for bringing me aboard for yet another of your anthologies. And thanks also to those of you who buy and read this wild bunch of stories. If you like 'em half as much as I did, your time and money will have been well spent.

Let me close with some questions for my fellow short-story writers: How do you feel about anthologies? Do you send stories to anthos as often as you do to magazines? When you do, do you prefer creating a story first and then looking for a market, or trying to write to a pre-determined theme? Are most of your antho stories mysteries, or have you tried other genres (or combined genres, as I did with this one)? Are they usually submitted as a result of an invitation, or as an audition? Are most of these publications paying gigs, or for-the-love-of-it projects?

Okay, back to the dragstrip. Start your engines and hit the gas.

Where'd I put that Brylcreem . . . ?




02 February 2019

Southernisms


by John M. Floyd



For all of us, there are certain things we don't like to read in stories and novels, and things we don't like to see or hear in movies. One of those, for me, is southern dialogue that just doesn't sound right. Part of it's the accent, which is almost never believable (unless spoken by Billy Bob Thornton, who sounds exactly like my next-door neighbor)--and part of it's the writing.


Here are some examples of the way people speak in my area, which is pretty much the middle of the Deep South. I'm not saying this holds true for, say, San Antonio or Virginia Beach or Boca Raton--but it's true for Mississippi, and if you write a story or novel or screenplay set in these parts, well, here's the skinny:



- A large stream is a creek. We don't say crick, even though Hollywood thinks we do.

- A carbonated beverage is not a soda or a soft drink or a pop. It's a Coke. Even if it's really a Pepsi or a Sprite. ("Let's go get a Coke.")

- Most people, especially old folks, don't press buttons or push buttons, they mash buttons. ("Mash zero to get the operator.")

- The noon meal is dinner, not lunch. The evening meal is supper. This rule, like some of the others, gets diluted a bit the closer you get to a city.

- You don't run in sneakers, or even in running shoes or jogging shoes. They're tennis shoes.

- When you pray together before a meal, you "say the blessing."

- If you're fixin' to do something, you're getting ready to do it. ("I'm fixin' to go to town.")

- A fellow is not a fell-o. He's a fella. Also, yellow is yella and an arrow's an arra and a window's a winda.

- Garden beans that grow close to the ground (rather than on poles) are bunch beans, not bush beans, no matter what the label says. And pole beans are pole beans.

- Vegetable gardens aren't called vegetable gardens. They're just gardens.

- Flower gardens aren't called flower gardens, or gardens. They're just flowers.

- You don't say or write "Ms." with a lady's first name. It's Miss Mary, never Ms. Mary, even if she's married and has ten kids. It's a familiarity, like Miss Ellie in Dallas.

- When you say you'll be there "directly," it means you'll be there soon.

- "Don't be ugly," doesn't mean what it sounds like. It means "Be nice."

- "Once in a blue moon" means almost never.

- "Bless your heart" is used in a lot of ways, mostly to soften an insult. ("Bless his heart, he probably couldn't find his butt with both hands and a map.")

- You don't chuck something out the window. You chunk it out.

- "Hey" is used more than hello or hi or any other greeting, even when relayed: "Say hey to your mama for me."

- When you hug someone, you "hug her neck." This can also be a relayed greeting: "Hug her neck for me."

- When someone passes out, usually from the heat, he "done fell out." There's even a shortened version: "I heard Miss Sally DFOed."

- If you clear a field of briars and bushes and underbrush, you bush-hog it. You don't brush-hog it. This comes from the name of the rotary mower you use to do it.

- If something's really good it makes you want to "slap ya mama." (I have no idea where that came from.)

- Pajamas are pa-JOMMas (rhymes with Bahamas), not pa-JAMMas.

- "Carry me" means "take me" or "transport me." ("Can you carry me to work tomorrow?")

- Pecans are pronounced pa-CONNs, not PEE-canns. Though in some parts of the south (the Carolinas, maybe?) this doesn't hold true.

- Dogs are dawgs, not dahhgs; on is own, not ahhn; route is rowt, not root; either is EE-ther, not EYE-ther; oil is AW-ul (two syllables), not AW-ee-ul (three syllables); and school is SKOOL (one syllable), not SKOO-wul (two syllables). We try to cut back on those unhealthy syllables whenever possible.

- Yankees are folks who live north of the Mason-Dixon--and sometimes folks who live anywhere north of where you live, no matter where you live.

- "Y'all" is always used to address more than one person--never a single person--except in certain parts of the south and in all movies made by Yankees.

- If you look really tired, you've been "rode hard and put up wet."

- Other common southern expressions: slow as molasses, just fine and dandy, happy as a dead hog in the sunshine, gimme some sugar (kiss me), hissy fit, conniption fit, and Little Miss Priss (a young lady acting too big for her britches).

The only other things I can think of are the pronunciations of place names. Biloxi is bi-LUCK-see, not bi-LOCK-see; Grenada (city and county) is gra-NAY-da, not gra-NAH-da; Kosciusko (where I went to high school) is kozzy-ESS-ko, not the Polish koz-SHOOS-ko; Amite is a-MITT, not a-MIGHT; and Yazoo (city, county, and river) is YAZZ-oo, not YOZZ-oo; Pass Christian is Pass kris-chee-ANN, not Pass KRIS-chee-un; Shuqualak is SHOO-ka-lock; and Gautier is go-SHAY. The mispronunciation of these, especially by new TV weathercasters, is a mortal sin, and might get you transferred to Point Barrow, Alaska.

As for places outside my state but still nearby, New Orleans is new-WOLL-uns, not new-or-LEENS; Thibodaux, Louisiana, is TIB-a-doe; Natchitoches, Louisiana, is NACK-a-tosh; Kissimmee, Florida, is ka-SIM-mee, not KISS-a-mee (or gimme some sugar); Nacogdoches, Texas, is nack-a-DOE-chez; Ouachita Mountains in Arkansas is WASH-i-tah; Arab, Alabama, is AY-rab; Dacula, Georgia, is dah-KEW-lah; and Milan, Tennessee, is MY-lin. At least that's the way I've always heard them pronounced.



NOTE 1: Please inform me of any corrections to my above rules of southern speech, because--once again--I know some of them vary depending on where you live. Seriously, though, if you asked the owner of a grocery store here for pee-cans, he'd probably point and say "Down the hall to the left."

NOTE 2: I have my own views about which states make up the south, and in mine, the area's a lot smaller than the one shown here:



A question for those of you from other parts of the country: Do you have pet peeves involving accents and pronunciations and expressions? What are some of your "regionalisms?" Does it bother you when, in the movies, somebody who lives in Minnesota talks like a Georgia hillbilly, or an Indian scout in the 1880s has a Brooklyn accent, or a native of Boston says he's going to park the car instead of pahhk the cah? Let me know.

Meanwhile, I do declare, I'm finally through. We done plowed this field and it's time to rest the mule. Y'all say hey to your families for me and hug their necks. I'll be back directly.








19 January 2019

For Fun or for Profit?


by John M. Floyd


In a discussion with some fellow short-story writer friends several weeks ago, a familiar question was asked:

How much should we expect to be paid for what we write?

Oddly, about a third of the group maintained that if you write well, then by God you should be paid well for it. Another third said it all depends. The final third said they just want to be published, period--any kind of pay would be icing on the cake.

It will surprise none of you that most of the folks who insisted that we must always be paid well are those established authors who publish regularly in prestigious markets--and the writers who didn't care whether they're paid or not are mostly beginners. The middle third were, well, somewhere in the middle.

I'm one of those. I have an odd take on this issue. In theory, I agree with the first group. Fiction writers, like any other craftsmen, should expect fair compensation for what we create, and we shouldn't waste the result of our hard work on those who won't or can't pay us for it. It's sort of like the hot-dog vendor on the street corner. He has something of value to sell and he has customers who want his product. They don't expect him to work for nothing.

Actually, though (and I'm a little reluctant to admit it), this whole writing gig is so much fun, I'd probably continue to do it whether I sold anything for real dollars or not. Writing is, after all, not my primary career; I'm retired from my primary career. And the truth is, even though I like money as well as the next guy, I do sometimes (not often) submit stories to markets that either don't pay or pay very little, and I do it for a couple of reasons. One is that some of these publications helped me out when I was just getting started, and gave me places to at least get a byline or two--and most of these places still have the same editors, many of whom I consider friends. So, yeah, I'll occasionally send one of them a story, and feel good when they publish it. Another reason is, I might see an interesting-looking but non-paying market that considers reprints and send a story there as well. It's not that I don't value these reprints. I do. But sweet Jiminy, i have hundreds of them and they're just sitting there on my computer, doing nothing. I might as well suit them up and send them out into the world again and get some more good out of them.

I recently read Playing the Short Game, a book by Douglas Smith about how to market short fiction. Not how to write it; how to market it. Smith's view on this was Don't ever, ever send a short story to any market that doesn't pay professional rates. And I see his point. You might not become rich using that approach--not many short-story writers are--but you'll at least get a fair payment for what you've written. He also makes the argument that you should be trying to build a respectable resume, and any place that publishes your story and doesn't pay you professional rates for it probably isn't a place you want to list as a publishing credit in your bio. (Professional rates are usually considered to be at least six cents a word.)

I must confess that, despite my occasional support of certain nonpaying markets, most of the stories I currently submit are sent to places that pay well. It's not just the money; it's validation. It's the pat on the head that you feel you deserve for producing something worthwhile. I can't help thinking about one of the how-to-write books on my shelf by Lawrence Block, called Telling Lies for Fun and Profit. A key word in that title is and. He didn't say "for fun or profit."


Anytime this subject comes up, I recall an incident that happened to me years ago, when I was gainfully employed. I was standing around with a bunch of co-workers one day, at a client location, when one of my non-writer colleagues appeared with a copy of a magazine that had recently published one of my stories. He was showing my story to everyone, and another person in the group asked me how much I was paid for it. I hemmed and hawed and stalled for a while, but finally he insisted I tell him the amount. So I did. His reaction, after he'd closed his mouth and uncrossed his eyes, was: "Are you kidding? That little story's not worth that much." I wasn't offended--but my reply to him was an honest one: "Actually, it's worth whatever someone will pay you for it." And I still believe that. I've seen a lot of expensive pieces of abstract art that I'd be embarrassed to hang in my neighbor's doghouse--but it was probably worth a lot to whoever bought it.

One more thing. I've focused on short fiction here for two reasons: (1) I write mostly short stories, and (2) novels don't follow the same rules, regarding payment. But generally speaking, do you feel we as fiction writers should always be paid professional rates for our work? Can you think of a situation where you'd "sell" a short story--or maybe a novella, let's say--to a place that doesn't? How do you editors out there, of both magazines and anthologies, feel about all this? Should writers be expected to contribute a story to an anthology that doesn't (or might not, in the case of royalties) pay a fair amount for a story? What would you consider to be a fair amount? As a writer, have you ever published something in a magazine that paid you only "in copies"? Let me know--we po folks have to stick together.

By the way, Velma, I'm still waiting for my SleuthSayers check . . .




05 January 2019

Short Memories: 2018 in Review


by John M. Floyd



Happy New Year! I realize I'm a little late, and that the new year's almost a week old now--but since it's my duty here at the SleuthSayers office to post a column every first, third, and fifth Saturday, and since December had five Saturdays, well, here I am again, and I'm finding that I'm not yet in a 2019 frame of mind.

Looking back, 2018 had its ups and downs, but on the literary front things held pretty steady. Readingwise, I consumed several good novels: Past Tense, Lee Child; The Reckoning, John Grisham; Bluff, Michael Kardos; The Outsider, Stephen King; Gravesend, William Boyle; Escape to the Biltmore, Patricia Gaddis; Blind Spot, Reed Farrell Coleman; Give-A-Damn Jones, Bill Pronzini; Elevation, Stephen King; and eleven books in the Hap & Leonard series by Joe R. Lansdale (I really like Joe Lansdale). Writingwise, I produced no novels of my own, just more short stories--and, as I did at the beginning of last year, I've put together some statistics on those.


The 2018 story board

According to my hi-tech method of recordkeeping (a three-ring binder I rescued from the office trashcan when I retired from IBM years ago), I had 32 stories published in magazines and anthologies this past year and 30 more appeared in a collection from my publisher Joe Lee, of Dogwood Press, in October. And if you're interested in short-story markets--especially mystery markets--I've also noted the publications that these stories appeared in. Here's my list:


"Scavenger Hunt"--Alfred Hitchcock Mystery Magazine, Jan/Feb 2018 issue
"Lights Out"--Flash Bang Mysteries, Jan 2018
"Molly's Plan" (translation)--Inostrannaya Literatura, Jan 2018
"Two in the Bush"--Black Cat Mystery Magazine, Issue #2. 2018
"While You Were Out"--Flash Bang Mysteries, Spring 2018
"True Colors"--Kings River Life, April 14, 2018
"Mockingbird Thief"--Woman's World, April 18, 2018
"Cornbread Cookoff"--Woman's World, May 21, 2018
"Fun and Games"--Woman's World, June 11, 2018
"Runaway Bouquet"--Woman's World, June 25, 2018
"A Musical Clue"--Flash Bang Mysteries, Summer 2018
"Too Good to Be True"--Woman's World, July 16. 2018
"Diversions"--Black Cat Mystery Magazine, Issue #3, 2018
"The Blue Delta"--Sanctuary anthology, Darkhouse Books, July 2018
"Foreverglow"--The Strand Magazine, June-Oct 2018
"Easy as Pie"--Woman's World, August 8, 2018
"Lucy's Gold"--Saddlebag Dispatches, Spring/Summer 2018
"The Winslow Tunnel"--Bewildering Stories (serialized, Issues 767-768), 2018
"According to Luke"--Children of the Sky anthology, Aug 2018
"Home Delivery"--Woman's World, Aug 20, 2018
"The Music of Angels"--The Saturday Evening Post, Sep/Oct 2018
"Lightning"--Mystery Weekly, Sep 2018
"Frontier Justice"--Florida Happens (Bouchercon anthology), Sep 2018
"Half-Baked Plan"--Woman's World, Oct 1, 2018
"Gun Work"--The Best American Mystery Stories 2018, Oct 2, 2018
"Ye Olde Crime Scene"--Flash Bang Mysteries, Fall 2018
"Lucifer"--Under the Full Moon's Light anthology, Owl Hollow Press, Oct 2018
"Lucian's Cadillac"--The Strand Magazine, Oct 2018-Jan 2019
"Getting Out Alive"--Landfall anthology, Level Best Books, Nov 2018
"Cracking the Code"--Woman's World, Nov 19, 2018
"Annabelle"--Deep South Magazine, Nov 2018
"Disorganized Crime"--Woman's World, Nov 26, 2018

And . . .

The Barrens--a hardcover collection released Oct 30, 2018, by Dogwood Press. It includes two of my original stories ("Dawson's Curse" and "The Barrens") and 28 of my previously published stories.


NOTE: I also had two stories published in December--"On the Road With Mary Jo" in Ellery Queen Mystery Magazine and "Poetic Justice" in Woman's World--but I didn't count them here because the issue dates are Jan/Feb 2019 (EQMM) and January 7, 2019 (WW).


Behind-the-scenes numbers

Of my 62 stories that were published in 2018, 19 appeared in print magazines, 6 in print anthologies, 7 in online publications, and 30 in the collection mentioned above. Of the 32 stories published outside the collection, 28 went to paying markets, 24 to repeat markets, and 8 to new markets. One was selected for inclusion in Best American Mystery Stories and all the rest were unsolicited submissions. Genrewise, one story was a western, one was science fiction, one was fantasy, one was a romance, and 28 were mysteries (although some were cross-genre--mystery/western, mystery/fantasy, mystery/romance, etc.). Of those 32, 25 were original stories and 7 were reprints. As for settings, 17 took place in my home state of Mississippi and 15 were set elsewhere, and 16 were installments in a series (five different series, actually) and 16 were standalone stories. POVwise, 29 were third-person and 3 were first-person. Finally, 14 of the stories were less than 1000 words, 9 were between 1000 and 4000, and 9 were more than 4000.

As of this moment, 15 other stories have been accepted and will be published shortly and 36 more have been submitted and are sitting in various to-be-read queues and slush piles, awaiting a decision.

In the "alas and alack" department, I also received 28 rejections last year, from 17 different markets. Sad but true.


Questions

To any writer friends who might still be reading this post, how was 2018 for you? Did you sell a novel or a collection or a short story, or have one (or more) published? What great stories/novels did you read? Do you write an ongoing series, in either novels or stories? Do you have specific writing projects in progress, or upcoming in 2019? If you're a short-story writer, did you try to target only markets that pay professional rates?

Also, and selfishly: Do any of you know about mystery markets that I'm overlooking? As always, I try to check Sandra Seamans's wonderful blog My Little Corner regularly to find targets for my submissions. If you don't use that resource, you should!




That's it for this column, and for my literary memories of 2018. Best of luck to all of you, and may this new year be your best ever!







29 December 2018

Grand (?) Openings


by John M. Floyd



Earlier this month my old (or maybe I should say long-time) friend O'Neil De Noux wrote an interesting column here at SleuthSayers about his best, worst, and favorite opening lines of stories and novels that he himself has written. That set me to thinking: since I admire O'Neil and since one of the best things a writer can do is try to copy other writers he admires . . .

Here are some opening lines of my own short stories, lines that might not be grand but that I hope are at least--how should I put it?--effective.


First, a quick note. I've always heard that ideal openings should (1) introduce your 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 next. I tried to do some of those things in these openings:


Jason Plumm lay on the beach for five hours before he was found.
--"The Blue Wolf," AHMM, Feb 2000

All things considered, Jerry thought, it wasn't a bad day to die.
--"The Last Sunset," Listen Magazine, Dec 2005

Ed Parrott was cleaning his gun by the campfire, a hundred yards south of the herd, when the stranger stepped from the shadows.
--"The Pony Creek Gang," Reader's Break, Vol. VII, 1998

"If he's sick," O'Neal said, "maybe he'll die on his own."
--"Flu Season," The Norwegian American, Nov 2016

The dead woman lay in a pecan orchard fifty yards from the road.
--"Oversight," Futures Mysterious Anthology Magazine, Winter 2003

Terry Gibbs could remember a thousand unpleasant duties in the course of his twelve years on the police force.
--"200 Feet," Strand Magazine, Feb-May 2014

The two brothers lived together in the city at the end of the valley at the foot of the great blue mountains.
--"Custom Design," Lines in the Sand, May/June 1994

Lou Rosewood stepped into the laboratory, closed the door behind him, and locked it.
--"A Place in History," T-Zero, July 2003

I met Jenny Bartlett two days ago, when she rang my doorbell at six in the morning.
--"Rainbow's End," Woman's World, July 27, 1999

At first Eddie thought he'd been carjacked.
--"Wheels of Fortune," Heist Magazine, April 2002

Joe Higby stomped into the ice cream shop, leaned his axe against the wall, and took a seat at the counter.
--"In the Wee Hours," Over My Dead Body, April 2012

"Is he still out there?" Patty asked.
--"Knights of the Court," Red Herring Mystery Magazine, Vol. 3, #3.5, 1996

The bank stood on the west end of Palmetto Street, an old and gray lump of a building in an old and gray part of town.
--"Molly's Plan," Strand Magazine, June-Sep 2014

It was quiet at the edge of the woods.
--"The Blue Delta," Blood on the Bayou (Bouchercon anthology), Sep 2016

"What I can't figure out," Nate said, as he lay in the dirt behind a clump of cactus near Rosie Hapwell's house, "is why you married that idiot in the first place."
--"Saving Mrs. Hapwell," Dogwood Tales Magazine, March/April 1997

Two dozen people stood in a group around the hanging tree.
--"Sand Hill," Gathering Storm Magazine, April 2017

Hank Stegall saw her as soon as she stepped out of the building.
--"Ladies of the North," Phoebe, Spring/Fall 2002

Ames and his driver sat in the black Lincoln outside Ross Vardeman's apartment building, in a parking space as far as they could get from a streetlight.
--"Watched," Untreed Reads, Oct 2011

Around nine a.m., Billy Roland saw the water tower and the first cluster of buildings in the distance, steered his rented Ford to the shoulder of the road, and stopped.
--"Saving Grace," The Saturday Evening Post, July/Aug 2015

"Driver?" the senator's wife said. "Where exactly are we?"
--"Driver," Strand Magazine, Feb-May 2015

Angela Potts noticed, as she plopped down on the park bench beside Sheriff Jones, that he looked grumpy--but that was nothing unusual.
--"Picture This," Woman's World, July 22, 2013

At 8:40 on a clear Friday night in July, Jesse Pratt escaped from Crow Mountain State Penitentiary, stole a pickup from the staff parking lot, and promptly drove it into a lake some fifty yards away.
--"Weekend Getaway," Pages of Stories, Summer 2010

George Tate had fed his cousin's livestock and was trudging back from the barn when he heard the woman scream.
--"Tomboy," Prairie Times, Nov 2010

The scariest day of my life--and the most wonderful--happened when I was ten years old.
--"The Winslow Tunnel," Amazon Shorts, March 2006

Dave Cotten sat on his back porch with a .38 revolver in his lap, staring at nothing in particular.
--"Blackjack Road," Strand Magazine, June-Sep 2012

The old man was popping the last of the breakfast biscuits into his mouth when the door crashed open.
--"Newton's Law," Western Digest, Oct 1998

Milo Stinson thought it would be quiet in the jungle.
--"Two in the Bush," Black Cat Mystery Magazine, Issue #2, 2018

The car was waiting in the alley, with Eddie Stark at the wheel and half a dozen cigarette butts littering the pavement below the driver's-side door.
--"Frontier Justice," Florida Happens (Bouchercon anthology), Sep 2018

Charlie Hunter sat stiff and cramped in the fake leather chair in his back office, watching the clock on the paneled wall.
--"Hunters," AHMM, May 2014

"So if he dies," Niles said, "I get everything. Right?"
--"Silent Partner," Crimestalker Casebook, Spring 2004

Amos Garrett had switched off his dashboard radio, ejected Willie Nelson, and plugged in Tammy Wynette when he looked up and saw the little white car pulled over on the grassy shoulder of the road just ahead.
--"Crow's Nest," EQMM, upcoming in 2019

Susan Weeks had never seen a monster before.
--"The Wading Pool," Spinetingler Magazine, 2006


I know, I probably included about twenty too many of these. But hang in there--here are some more, from writers a bit more famous and talented than I am, that I think are among the best opening lines ever:


We were about to give up and call it a night when someone dropped the girl off the bridge.
--Darker Than Amber, John D. MacDonald

The Man in Black fled across the desert, and the Gunslinger followed.
--The Gunslinger, Stephen King

The last camel collapsed at noon.
--The Key to Rebecca, Ken Follett

It was now lunch time and they were all sitting under the double green fly of the dining tent pretending that nothing had happened.
--"The Short Happy Life of Francis McComber," Ernest Hemingway

I'm pretty much fucked.
--The Martian, Andy Weir

Every time they got a call from the leper hospital to pick up a body, Jack Delaney would feel himself coming down with the flu or something.
--Bandits, Elmore Leonard

The grandmother didn't want to go to Florida.
--"A Good Man Is Hard to Find," Flannery O'Connor

The Rutherford girl had been missing for eight days when Larry Ott returned home and found a monster waiting in his house.
--Crooked Letter, Crooked Letter, Tom Franklin

What was the worst thing you've ever done?
--Ghost Story, Peter Straub

At the stroke of eleven on a cool April night, a woman named Joey Perrone went overboard from the luxury deck of the cruise liner Sun Duchess.
--Skinny Dip, Carl Hiaasen

You better not never tell nobody but God.
--The Color Purple, Alice Walker

I was fifteen when I first met Sherlock Holmes, fifteen years old with my nose in a book as I walked the Sussex downs, and nearly stepped on him.
--The Beekeeper's Apprentice, Laurie R. King

There was a desert wind blowing that night.
--"Red Wind," Raymond Chandler

I turned the Chrysler onto the Florida Turnpike with Rollo Kramer's headless body in the trunk, and all the time I'm thinking I should've put some plastic down.
--Gun Monkeys, Victor Gischler

He rode into our valley in the summer of '89.
--Shane, Jack Schaefer


Remember any of those? I love 'em. To wind this up, here's something I found in Secret Windows, Stephen King's often-overlooked, 400-page book of essays on writing. The chapter about story and novel openings that hook the reader is called "Great Hookers I Have Known," and King says the granddaddy of all hookers is this one:

"In the beginning, God created heaven and earth."


It's hard to top that.



15 December 2018

A Series Conversation


by John M. Floyd



Today's column is about reading and writing. On the reading side, I've lately found myself reading more novels than short stories, for some reason, and more standalone novels than series installments. Some novel series, though, are close to my heart, and when I discover new ones that I enjoy, I usually buy every book in the series and consume them like a chain-smoker, lighting another from the butt of the one I just finished and forging ahead until I'm done. Sort of like watching those maddeningly addictive Netflix and Amazon Prime series. (I just started on the latest season of Westworld.)


The reading list

Not that it matters, but here are twenty of my absolute favorite novel series:

1. character: John Corey -- author: Nelson DeMille
Plum Island, The Lion's Game, Night Fall, Wild Fire, The Lion, The Panther, etc.

2. Jack Reacher -- Lee Child
Killing Ground, Die Trying, Trip Wire, The Visitor, Echo Burning, Without Fail, Persuader, The Enemy, One Shot, etc.

3. Hap Collins and Leonard Pine -- Joe R. Lansdale
Savage Season, Mucho Mojo, The Two-Bear Mambo, Bad Chili, Rumble Tumble, Captains Outrageous, Vanilla Ride, etc.

4. Gus McCrea and Woodrow Call -- Larry McMurtry
Dead Man's Walk, Comanche Moon, Lonesome Dove, Streets of Laredo

5. Hannibal Lecter -- Thomas Harris
Red Dragon, The Silence of the Lambs, Hannibal, Hannibal Rising

6. Virgil Cole and Everett Hitch -- Robert B. Parker (and successor Robert Knott)
Appaloosa, Resolution, Brimstone, Blue-Eyed Devil, Ironhorse, Bull River, The Bridge, Blackjack, etc.

7. Roland Deschain (the Dark Tower series) -- Stephen King
The Gunslinger, The Drawing of the Three, The Waste Lands, Wizards and Glass, etc.

8. Penn Cage -- Greg Iles
The Quiet Game, Turning Angel, The Devil's Punchbowl, Natchez Burning, The Bone Tree, etc.

9. Arkady Renko -- Martin Cruz Smith
Gorky Park, Polar Star, Red Square, Havana Bay, Wolves Eat Dogs, Stalin's Ghost, etc.

10. Anna Pigeon -- Nevada Barr
Track of the Cat, A Superior Death, Ill Wind, Firestorm, Endangered Species, Blind Descent, etc.

11. Spenser -- Robert B. Parker (and successor Ace Atkins)
The Godwulf Manuscript, God Save the Child, Mortal Stakes, Promised Land, The Judas Goat, etc.

12. Stephanie Plum -- Janet Evanovich
One for the Money, Two for the Dough, Three to Get Deadly, Four to Score, High Five, Hot Six, etc.

13. Myron Bolitar -- Harlan Coben
Deal Breaker, Drop Shot, Fade Away, Back Spin, One False Move, The Final Detail, etc.

14. Jason Bourne -- Robert Ludlum
The Bourne Identity, The Bourne Supremacy, The Bourne Ultimatum

15. Jesse Stone -- Robert B. Parker (and successors Michael Brandman and Reed Farrell Coleman)
Night Passage, Trouble in Paradise, Death in Paradise, Stone Cold, Sea Change, High Profile, etc.

16. Lucas Davenport -- John Sandford
Rules of Prey, Shadow Prey, Eyes of Prey, Silent Prey, Winter Prey, Night Prey, Mind Prey, etc.

17. Dave Robicheaux -- James Lee Burke
The Neon Rain, Heaven's Prisoners, Black Cherry Blues, A Morning for Flamingos, A Stained White Radiance, etc.

18. Alex Cross -- James Patterson
Along Came a Spider, Kiss the Girls, Jack and Jill, Cat and Mouse, Pop Goes the Weasel, Roses Are Red, etc.

19. Katniss Everdeen -- Susanne Collins
The Hunger Games, Catching Fire, Mockingjay

20. Travis McGee -- John D. MacDonald
The Deep Blue Good-by, Nightmare in Pink, A Purple Place for Dying, The Quick Red Fox, A Deadly Shade of Gold, etc.

NOTE: I didn't like all the film adaptations of these series--some were great and some were disasters--but that's another matter, and a post for another day.

And yes, I left out Rowling, Connelly, Chandler, Hammett, Christie, Doyle, Clancy, le Carre, McBain, Forsyth, Larsson, Wouk, Paretsky, Wambaugh, Westlake, Leonard, Tolkien, Follett, and many, many others whose series novels I've truly enjoyed. But I had to stop somewhere.


The writing list

Meanwhile, on the writing side of things--and on a much smaller scale, in both wordcount and dollarbillcount--I have tried to use what I've learned about series and series characters to write five different series of my own short stories. Here they are, in no particular order:

1. Angela Potts and Charles "Chunky" Jones

This series is about a bossy retired schoolteacher and a guy she taught in the fifth grade, a lazy and not-too-bright kid who grew up to be the lazy and not-too-bright sheriff of their small southern town. She enjoys helping him with cases, correcting his grammar in front of his deputies, and stealing goodies from the candy jar in his office. Most of these stories have been published in Woman's World magazine.

2. Fran and Lucy Valentine (the "Law and Daughter" series)

In this series of stories, former teacher Frances Valentine feels it's her duty to help her happily unmarried daughter Lucy, who's a sheriff, (1) solve crimes and (2) find a husband. One of these appeared in Woman's World several years ago, but most have been published in Flash Bang Mysteries, Sherlock Holmes Mystery Magazine, Mysterical-E, and Futures Mysterious Anthology Magazine.

3. Private investigator Will Parker

This Old West series stars a former gunfighter/Pinkerton agent who now works for a PI firm run by his brother in San Francisco. The first story in this series, "Redemption," appeared in a 2013 collection of my mystery stories called Deception; the second story, "Gun Work," was chosen for the anthology Coast to Coast: Private Eyes From Sea to Shining Sea (Down and Out Books) and was later selected for inclusion in Best American Mystery Stories 2018. (By the way, this might not qualify as a series, since it so far consists of one story and its sequel. But I do plan to write more of them.)

4. Katie and Anna Rogers

This series features accountant Katie Rogers and her younger sister Anna. Since Anna's a police chief, they of course team up to solve crimes in their small town. (Do you see a trend, here?) Woman's World published the first installment of these a few weeks ago and the second and third stories have been accepted and will appear within the next month or so. Several more are in the queue and awaiting a decision.

5. Sheriff Ray Douglas

This is a series about Raymond Kirk Douglas, the practical and easy-going sheriff of Pine County, Mississippi, and his super-smart girlfriend Jennifer Parker. The first two of these stories, "Trail's End" and "Scavenger Hunt," were published in AHMM in 2017 and 2018. The third and fourth installments, "Going the Distance" and "Quarterback Sneak," have been accepted by AHMM and are upcoming, and the fifth and sixth installments are finished and sitting in AH's to-be-read queue.


Pluses/minuses

Advantages of writing a series (at least to me):

- Series installments are sometimes easier to sell. When writers, readers, and editors are familiar with a certain set of characters, those stories are a known quantity, and less of a financial risk for the publication.

- Series stories can be less work for the writer. When and if characters and their setting become well known, less time has to be spent on things like backstory and description. A writer can get the reader quickly into the plot.

Disadvantages of writing a series:

- If the publication that's running one of your series decides to reject the latest installment that you've submitted, that story will need major renovation (and possible demolition and rebuilding) before it can be sent to a different market.

- Publications that have successfully featured one of your series might be reluctant to have you write a non-series story for them.

Questions

For those of you who are authors of novels and/or shorts, do you prefer writing standalones or writing series? Which have been more profitable for you? Which is more fun? Have you ever had pressure from an editor, publisher, or agent to stick to one or the other? Of series stories and standalones, which do you most enjoy reading? What are some of your favorite book or story series?

And that's it. Keep writing--and have a great Christmas!




01 December 2018

Two Strand Stories: Behind the Scenes


by John M. Floyd



I always find something to like about SleuthSayers posts, whether they stick to the subjects of mysteries and writing or veer off into something else--but some of those I've enjoyed the most are the ones where an author talks in detail about specific stories or novels he or she has written. Sort of an insider's view.

With that in mind--and hoping others might feel the same--I'd like to look at two of my recent stories, one of them in the previous issue of The Strand Magazine and the other in the current issue.

A quick peek

The first story, "Foreverglow" (original title "The Foreverglow Case"), appeared in The Strand's June-Oct issue. It's the story of a regular and not-overly-bright guy who meets and falls for a young lady who, as it turns out, has what she feels is a brilliant plan to steal a fortune in diamond jewelry from the store where she's employed. They manage to work together to pull off the heist--but what happens next was not in their original plan.

The second story, "Lucian's Cadillac," appears in the current (Oct-Jan) issue, which they're calling the Twentieth Anniversary Collector's Issue. It's a tale about three lifelong but unlikely friends--a genius, a "little person," and an ex-football player--who happen to witness a double murder. They testify against the killer, and later wind up on his payback list when he escapes from the state prison. It's sort of a High Noon/Cape Fear kind of story, with three over-the-hill seniors as the targets of revenge.

What's interesting, to me, about these two stories is what I found when I started comparing them. At first glance, they have a lot in common. Here are a few of the

Similarities:

- Both stories have protagonists with common, everyday lives and jobs. I find myself doing this a lot. Heroes don't have to be superheroes.

- Both are about 2500 words in length. This is actually a little short for Strand stories; I think the guidelines still say between 2K and 6K.

- Both are mysteries. This just means a crime is central to the plot.

- Both have characters who are romantically attracted to each other. The two thieves in the first story, and the viewpoint character and a female sheriff in the second. A romantic element, even if minor, can add a level of interest and/or conflict.

- Both are told in past tense. (I probably shouldn't have listed this, since all my stories are past tense. But it is a similarity.)

- Both are standalone stories. One of the two could conceivably become a series, but I have no plans in that direction.

- Both, except for some violence, have family-friendly content. Hell no, the priest and the Republican senator are NOT having an affair.

- Both are set in the present day, and in fairly small and unnamed towns. In one of the stories I mentioned that Atlanta was nearby, but otherwise I didn't see a need to use real, it's-on-the-map locations.

Both have only a few named characters but a LOT of dialogue. (One story has two speaking roles, the other has three.)

- Both include major plot reversals. I find this hard to resist when I write, because it's the kind of thing I like to encounter myself in the stories and novels I read.


But . . . here are some things about those stories that aren't alike at all.


Differences:

- In one story, the protagonists willfully break the law; in the other they don't. Asking the reader to root for the bad guys doesn't always work--but sometimes it does (Get Shorty, The Godfather, Butch Cassidy, etc.).

- One is written in third person, the other in first person. This wasn't even a conscious decision on my part--it just seemed the right way to tell these particular stories.

- One has several different scenes; the other has no scene breaks at all. A factor here is that in one story the action includes different places at different times, and in the other story everything happens at the same location--a neighborhood bar owned by the protagonist--in the space of only an hour or so.

- In one, the romantic element drives the story; in the other it's incidental. What can I say?--Love is mysterious.

One's a heist story; the other's a tale of revenge and survival. As a result, one of the stories has no specific named antagonist, while the other does.

- In one story, the characters are fairly "average"; in the other there'a a lot of diversity. The group of close friends in the second story includes a brilliant scholar, a dwarf, and an overweight former linebacker. Plus a lady sheriff.

- One contains no violence; the other does. This makes sense because one's a try-to-escape-without-getting-caught story, and the other's life-or-death, do-whatever-you-must-to-stay-alive.

- In one, the main characters are young; in the other they're old. The ages, here, are appropriate to the plot: the jewelry thieves are confident but inexperienced, and the three old men facing a deadly enemy are experienced enough not to be confident--besides being physically challenged.

- One has a surprise ending; the other does not. Although I hope both endings are satisfying.


So the two stories have many things in common, including some style/structure elements, but they're vastly different. I think that's to be expected with my stories, and probably with yours as well. If they're too much alike--even those that are "series" installments--they'll be boring to write and boring to read. This applies to novels as well as shorts.

Advice and opinions

For you writers out there, how different from each other are the stories you create? Are most told in the same viewpoint? Do most have the same kind of geographical setting? The same time period? The same tense? The same length? Complex plots? Happy endings? Surprise endings? How about the amount of dialogue? Violence? Sex? Profanity? Humor? Is there any one thing that you find yourself always including, or always avoiding?

Here's some sage advice from Elmore Leonard, and supposedly from Alfred Hitchcock as well: Leave out the parts that people skip.

Easier said than done.








17 November 2018

Strike Up the Band: Stories and Music


by John M. Floyd



As a movie lover and a music lover, I've always been intrigued by scores and soundtracks. I don't think it's a coincidence that most of the movies I like to watch over and over again are the ones that have what I think is good music. Maybe it's not of vital importance, but it sure helps. Italian director Sergio Leone once said, "It is the music that elevates a movie to greatness."


Masters and commanders

Like many of you, when I walk into a bookstore or go to Amazon.com, I find myself looking first for books by writers I'm already familiar with, writers I know I'll like reading. For me it's novelists like Nelson DeMille, Joe Lansdale, Carl Hiaasen, Greg Iles, Martin Cruz Smith, Lee Child, Nevada Barr, Stephen King, and several others. I have such confidence in those authors I know I'll probably enjoy whatever they write.

It's almost the same with film directors. There are some I like and respect, and when I see one of their names beside a movie, I'll usually watch it. Scorsese, Spielberg, Hitchcock, Carpenter, Joel and Ethan Coen, Ridley Scott, James Cameron, J. J. Abrams, Richard Donner, Frank Darabont, John McTiernan, and--believe it or not--Quentin Tarantino. Sometimes I'm disappointed, but not usually. I'm also especially fond of some composers: John Barry, John Williams, Carter Burwell, James Newton Howard, James Horner, Lalo Schifrin, Mancini, Zimmer, Herrmann, Morricone, Goldsmith, etc., etc.

Creative teamwork

If you're strange enough to be interested in that kind of thing, I'm sure you've noticed that some--if not most--directors choose to work with the same composers, again and again. And because I honestly couldn't think of anything else to write about today . . . here's a list of sixty of those collaborations, along with some of their resulting movies.

First, my top-ten favorite director/composer combinations:


1. Steven Spielberg / John Williams -- E.T., Raiders of the Lost Ark, Jaws, Schindler's List, Jurassic Park, Close Encounters of the Third Kind

2. Sergio Leone / Ennio Morricone -- A Fistful of Dollars; A Few Dollars More; The Good, the Bad, and the Ugly; Once Upon a Time in the West; Once Upon a Time in America

3. Robert Zemeckis / Alan Silvestri -- Forrest Gump, Romancing the Stone, Contact, The Polar Express, Cast Away, Back to the Future

4. Alfred Hitchcock / Bernard Herrmann -- Vertigo, North by Northwest, The Wrong Man, Torn Curtain, Marnie, Psycho

5. David Lean / Maurice Jarre -- Doctor Zhivago, Ryan's Daughter, Lawrence of Arabia, A Passage to India

6. Blake Edwards / Henry Mancini -- The Pink Panther, A Shot in the Dark, Breakfast at Tiffany's, Peter Gunn, 10, The Great Race, Days of Wine and Roses

7. John Carpenter / John Carpenter -- Escape From New York. Dark Star, The Fog, Vampires, Assault on Precinct 13, Halloween

8. M. Night Shyamalan / James Newton Howard -- Signs, The Sixth Sense, Unbreakable, Lady in the Water, The Village

9. The Coen Brothers / Carter Burwell -- The Big Lebowski, Blood Simple, Raising Arizona, True Grit, Miller's Crossing, Fargo

10. Ron Howard / James Horner -- Apollo 13, Cocoon, Willow, Ransom, The Missing, A Beautiful 
Mind

If you're not fed up with all this by now, here are fifty more director/composer teams that might be familiar:

Tim Burton / Danny Elfman -- Edward Scissorhands, Big Fish, Beetlejuice, Batman
Michael Curtiz / Max Steiner -- Virginia City, Yankee Doodle Dandy, Mildred Pierce, Casablanca
Alfred Hitchcock / Dmitri Tiomkin -- Shadow of a Doubt, Strangers on a Train, Dial M for Murder
Frank Capra / Dmitri Tiomkin -- It's a Wonderful Life, Lost Horizon, Mr. Smith Goes to Washington
Howard Hawks / Dmitri Tiomkin -- Red River, Only Angels Have Wings, Rio Bravo
Joel Shumacher / James Newton Howard -- Falling Down, Flatliners, Dying Young
Lawrence Kasdan / James Newton Howard -- Wyatt Earp, Grand Canyon, French Kiss, Mumford
John Huston / Alex North -- The Misfits, Under the Volcano, Prizzi's Honor
Sam Peckinpah / Jerry Fielding -- The Wild Bunch, Straw Dogs, The Getaway
James Cameron / James Horner -- Avatar, Titanic, Aliens
Edward Zwick / James Horner -- Glory, Legends of the Fall, Courage Under Fire
Sydney Pollack / Dave Grusin -- Three Days of the Condor, Absence of Malice, The Firm, Tootsie
Stanley Cramer / Ernest Gold -- On the Beach, Inherit the Wind, Ship of Fools
Tony Scott / Hans Zimmer -- Days of Thunder, True Romance, The Fan, Crimson Tide
Christopher Nolan / Hans Zimmer -- The Dark Knight, Inception, The Man of Steel, Dunkirk
Ron Howard / Hans Zimmer -- Backdraft, The Da Vinci Code, Angels & Demons, Inferno
Ridley Scott / Hans Zimmer -- Thelma and Louise, Hannibal, Black Hawk Down, Gladiator
Penny Marshall / Hans Zimmer -- A League of Their Own, Renaissance Man, The Preacher's Wife
Gary Marshall / John Debney -- The Princess Diaries, Valentine's Day, Raising Helen
Paul Mazursky / Bill Conti -- An Unmarried Woman, Blume in Love, Harry and Tonto
John G. Avildson / Bill Conti -- Rocky, The Karate Kid, Lean on Me, 8 Seconds
Clint Eastwood / Lennie Neihaus -- Mystic River, Million Dollar Baby, Unforgiven
Peter Jackson / Howard Shore -- the Lord of the Rings trilogy, the Hobbitt trilogy
David Cronenberg / Howard Shore -- The Fly, Crash, A History of Violence
Martin Scorcese / Howard Shore -- Gangs of New York, The Aviator, The Departed, Hugo
Martin Scorcese / Elmer Bernstein -- The Grifters, Cape Fear, The Age of Innocence
Robert Mulligan / Elmer Bernstein -- To Kill a Mockingbird, Love With the Proper Stranger
Evan Reitman / Elmer Bernstein -- Ghostbusters, Stripes, Animal House
George Roy Hill / Elmer Bernstein -- Hawaii, Slap Shot, Funny Farm. Thoroughly Modern Millie
J. J. Abrams / Michael Giacchino -- Lost, Fringe, Alias, Star Trek, Super 8
Billy Wilder / Andre Previn -- Irma La Douce; Kiss Me, Stupid; The Fortune Cookie
Billy Wilder / Miklos Rozsa -- Double Indemnity, Five Graves to Cairo, The Lost Weekend
Don Siegel / Lalo Schifrin -- Dirty Harry, Coogan's Bluff, The Beguiled, Charley Varrick
Kenneth Branagh / Patrick Doyle -- Hamlet, Henry V, Sleuth, Dead Again
Mel Brooks / John Morris -- Blazing Saddles, Spaceballs, Young Frankenstein
Cameron Crowe / Nancy Wilson -- Almost Famous, Elizabethtown, Jerry Maguire
John Milius / Basil Poledouris -- Red Dawn, Flight of the Intruder, Conan the Barbarian
Franklin J. Schaffner / Jerry Goldsmith -- Planet of the Apes, Patton, Lionheart, Papillon
Joe Dante / Jerry Goldsmith -- Gremlins, The Burbs, Innerspace
Robert Aldrich / Frank De Vol -- The Flight of the Phoenix, The Longest Yard, The Dirty Dozen
Bryan Singer / John Ottman -- The Usual Suspects, Superman Returns, Jack the Giant Slayer
Mark Rydell / John Williams -- The Reivers, The Cowboys, The River, Cinderella Liberty
Oliver Stone / John Williams -- JFK, Nixon, Born on the Fourth of July
Irwin Allen / John Williams -- The Towering Inferno. Lost in Space, The Poseidon Adventure
George Lucas / John Williams -- Star Wars episodes I, II, III, and IV
Sam Mendes / Thomas Newman -- Skyfall, American Beauty, Road to Perdition, Jarhead
Steven Soderbergh / David Holmes -- Ocean's Eleven, Out of Sight, Haywire, Logan Lucky
Peter Weir / Maurice Jarre -- Witness, Dead Poets Society, The Year of Living Dangerously
Anthony Harvey / John Barry -- The Lion in Winter, They Might be Giants. The Glass Menagerie

And #50: I'm cheating here, but composer John Barry teamed with four different directors (Guy Hamilton, Terence Young. Lewis Gilbert, and John Glen) for the following James Bond scores: Goldfinger, Thunderball, From Russia With Love, You Only Live Twice, Moonraker, Octopussy, A View to a Kill, The Living Daylights, Diamonds Are Forever, and The Man With the Golden Gun.

There are of course many other collaborations, both foreign and here at home, but these are the ones that came to mind.

Trivial matters 

In looking around for this director/composer information, I found the following little-known (to me, at least) facts:

For Sergio Leone's movies, his former schoolmate Ennio Morricone usually wrote the score first and then Leone shot the film to fit the music, rather than doing it the other way around.

Besides John Carpenter, several directors have served the double-duty of also composing the music for some of their films. Among them are Clint Eastwood and Anthony Hopkins.

When John Williams first played the Jaws theme on his piano, Spielberg burst into laughter and thought it sounded ridiculous. Two years later, Williams went through 300 versions of the five-note Close Encounters theme before Spielberg was happy.  (Mostly, though, they seem to agree: They've made 28 movies together.)

Bernard Herrmann served as "sound consultant" on Hitchcock's The Birds, which used electronic bird noises instead of music. (More on this in a minute.)

Danny Elfman composed the music for Tim Burton's The Nightmare Before Christmas AND sang Jack Skellington's singing parts.

Max Steiner composed 11 other film scores the same year he scored Gone With the Wind.

Hans Zimmer and James Newton Howard shared composing duties for some of The Dark Knight. Zimmer wrote the themes for the Joker, and Howard wrote the themes for Batman.

Henry Mancini composed the music for 38 movies and TV series for director Blake Edwards.

Robert Zemeckis and Alan Silvestri decided not to have any music at all during the entire time Tom Hanks was stranded on the island in Cast Away. The score begins only when the castaway sails away. (Other well-known films had no music: Rope, Fail-Safe, Dog Day Afternoon, etc.)

John Williams is the most Oscar-nominated person alive today (51 nominations). His 1977 Star Wars score remains the highest-grossing instrumental-only soundtrack of all time.

James Horner said, about his score for Titanic, "I probably wrote all the material in about three hours. The themes literally came to me in twenty minutes."



Questions

What are your favorite story/music collaborations? Do you ever choose movies based on the director, or even the composer? If so, does that ever backfire? I can think of a few big mistakes I've made, using that approach (Exorcist II, Batman & Robin, The Last Airbender, etc.). Are you a film-score fan, or does the music in a movie not matter that much to you? Do you ever find yourself humming theme music instead of "real" songs?

Wait--is that a fin I see in the water? DUMdumDUMdumDUMdum . . .





03 November 2018

How B Is Your SP?


by John M. Floyd



This past Tuesday night I attended the "launch" of The Barrens, my seventh collection of short mystery fiction, hosted by Lemuria Books in Jackson, Mississippi. It was a fun evening, with a (thankfully) good crowd and a lot of old friends and fellow writers; I signed at five o'clock and then did a reading and Q&A. My publisher always considers the date of the Lemuria launch event to be the release date of the book, so he waited until afterward to get copies to the distributors for other area bookstores. (I did cheat a little, though: a few weeks ago Michael Bracken and I participated in the Bayou Writers Group conference in Lake Charles, Louisiana, and since this was out-of-state I was allowed to take copies of the as-yet-unreleased book along to sell at the conference. Maybe not as exciting as the early release of a new iPhone, but still . . .)

Anyhow, we had a good time at the book launch, and the whole experience reminded me how we writers not only have to write--we have to promote as well. And I'm not good at promoting. I have nine or ten more signings scheduled between now and Christmas (most of them at Books-A-Millions on weekends), and I always enjoy those because it's a chance to see old acquaintances and make new ones, as well as sell books. But arranging all this and publicizing it isn't fun, for me. On this particular occasion earlier this week, it was especially hard because my mother had passed away a little more than a week earlier, and my heart just wasn't in it. I wound up not having the time to mail out any written invitations--I sometimes do, because I have a few friends who don't like computers or social media--and ended up sending out only a few emails and Facebook messages and posting the event on my FB page a couple of days beforehand.

Spreading the word

I'm fortunate in that my great publisher handles most of the publicity and advertising, produces and furnishes my bookmarks, brochures, posters, press releases, etc., and sets up my interviews and events. He not only enjoys doing that, he has the contacts and he's extremely good at it. He's the main reason my book launch was successful. Don't get me wrong--I have the utmost admiration for fellow writers who self-publish and thus pretty much do everything themselves. But doing everything would be hard for me. I'm afraid I just don't like the "business" side (the non-writing side) of writing.


                        An unexpected sketch by my friend Bill Wilson, at my "launch" signing.



Back to the subject: My signing event the other night, and all the preparation and commotion involved, made me wonder--not for the first time--how much promotion is too much promotion? On the one hand, I owe it to my publisher, and to myself, to help make sure the word gets out and to try to make the new book as successful as possible. That's common sense, and good business. I certainly want it to be successful. On the other hand, I don't want to be a nuisance. In a world where we're bombarded daily with phone calls from telemarketers, endless commercials on TV, and newspapers so packed with advertisements it's hard to lug them into the house from the driveway--well, folks who sell things need to tread softly. And I think we probably agree that there's a fine line between being informative and being a pain in the ass.

The B word

We all joke about BSP. Everybody knows, by now, that we're not talking about the Bulgarian Socialist Party or Business Systems Providers. We use the abbreviation often, and playfully admit that our self-promotion is blatant in order to somehow lessen its aggravation--but it can still be aggravating. At best, the reader/listener welcomes the news, sometimes he sighs and endures it, and at worst he flees from the room and runs screaming down the street.

Remember, BSP is a slippery little devil. If you watch closely you can catch it sneaking its way into regular conversations and otherwise unbiased pieces of writing. Example: the first paragraph of this column, which I wrote as a sort of an introduction to today's topic, is thinly disguised BSP. So is the sketch I included, above. Look at me, everybody--I've got a new book!

But let's face it, self-promotion is necessary, at least to some degree. Not many people are fond of blowing their own horn, but even in the midst of the groaning and eye-rolling from your audience, one fact remains: if you don't blow your horn, who will? My publisher, as effective as he is, can only do so much. The rest is up to me.


Aggressive or excessive?

So here are the big questions. How much promotion do you feel comfortable doing? How far are you willing to go to ensure that your name and your product are recognized and will be successful? What part of it makes you uncomfortable? What's the right mix?

They're tough questions to answer. A lot of it depends on your personality. A shy, amateur writer will have a harder time crowing his message from the rooftops than, say, a writer who's a former salesman or politician. And on the receiving end of that, some of us have lower annoyance thresholds than others. Personally, I really want to know when new books are coming out by Stephen King and Lee Child and Joe Lansdale, etc., and from most of my writer friends. Books by other folks . . . well, I don't much care. And hearing about it too often is irritating.

Where do you set the limits, if you set them at all? When and where is self-promotion most effective? Least effective? Most and least maddening?

I'd like to find out before my next book release.








20 October 2018

Names and Pseudo-Names


by John M. Floyd



A few weeks ago I got into a familiar discussion, among writers: Should you use a pseudonym?

Here are some authors who have:


Eric Blair -- George Orwell
Ed McBain -- Evan Hunter
A. M. Barnard -- Louisa May Alcott
James D. Grant -- Lee Child
Agatha Christie -- Mary Westmacott
Samuel Clemens -- Mark Twain
Isaac Asimov -- Paul French
Stephen King -- Richard Bachman
Joseph King -- Joe Hill
Joanne (J. K.) Rowling -- Robert Galbraith
Barbara Vine -- Ruth Rendell
Davis John Moore Cornwell -- John Le Carre
Charles Dodgson -- Lewis Carroll
Nora Roberts -- J. D. Robb
Joyce Carol Oates -- Rosamond Smith
John Hughes -- Edmond Dantes
Gore Vidal -- Edgar Box
Erle Stanley Gardner -- A. A. Fair
Ruth Crowley, Eppie Lederer -- Ann Landers
Pauline Phillips, Jeanne Phillips -- Abigail Van Buren
Juliet Hulme -- Anne Perry
William Anthony Parker White -- Anthony Boucher
John Dickson Carr -- Carr Dickson
Washington Irving -- Diedrich Knickerbocker
Ray Bradbury -- Douglas Spalding
Mary Ann Evans -- George Eliot 
Jozef Korzeniowski -- Joseph Conrad
C. S. Lewis -- Clive Hamilton
Daniel Handler -- Lemony Snicket
Benjamin Franklin -- Mrs. Silence Dogood
William Sydney Porter -- O. Henry


And there's usually a story behind every pseudonym. In an old interview I saw recently, Donald Westlake said he chose the name Richard Stark for his series of Parker novels because (1) Richard Widmark was one of his favorite actors and (2) "stark" was the writing style he wanted to use for the series. (NOTE: Westlake also said he later regretted choosing the name Parker for his main character--because it kept him from ever writing "Parker parked his car.")

Other examples of that process: Western author Tom McCurley invented his Mack Curlee pseudonym by rearranging his last name, and prolific romantic-suspense writer Melanie Noto dropped the W from her maiden name (Melanie Watkins) to come up with her pseudonym Melanie Atkins.

Another writer friend of mine, Charles Wilson, said he wishes he'd chosen the pen name Wilson Charles, because all the novels written using his real name are located on the hard-to-see bottom shelves in libraries and bookstores. If he'd used Wilson Charles, his work would be shelved up there alongside the Crichtons and Cornwells and Childs and Connellys.

Those who do use pseudonyms have said the names should be carefully chosen. Once their works attain any level of success, pen names become as permanent as a tattoo.


But I still haven't talked about why a writer would--or wouldn't--need a pseudonym. Here are some pluses and minuses.


You might choose to use a pseudonym if:

1. You want to write in a genre different from your previous work. Nora Roberts, who's known for her romances, writes mysteries under the name J. D. Robb.

2. You want to hide your true identity from your family, friends, boss, etc. This might be the only way you'd consider writing erotica, or about controversial subjects.

3. You want to disguise your gender. A woman might use a man's name to write for Field & Stream, and a man might use a woman's to write for Brides & Weddings.

4. You don't want to appear too prolific. When Stephen King started out, the idea of publishing more than one novel in the same year by the same author wasn't widely accepted. Pseudonyms were, and still are, a way around that.

5. You want to collaborate with another author using the same name. Ellery Queen was of course really the writing team of Dannay and Lee; and both the Hardy Boys author Frankin W. Dixon and the Nancy Drew author Carolyn Keene were actually teams of different writers.

6. You have a real name that just wouldn't work. It'd be hard to publish if your name is John Grisham, James Bond, Eliza Doolittle, etc. Or, for that matter, Jekyl Juberkanesta.


You might choose not to use a pseudonym if:

1. You don't have any of the requirements listed in items 1-5 above.

2. You already have a reasonable-sounding name.

3. You don't want to have to double your marketing efforts.

4. You want to keep things simple.


It's worth mentioning that Larry McMurtry, who is probably best known for his western novels like Lonesome Dove, also wrote Terms of Endearment and other "literary" works, and did both under the same (his real) name. And--on a far smaller scale--I've written a boatload of stories for a women's magazine without bothering with a pseudonym. Just saying.


Questions: Do you use a pseudonym? Do you think you might, in the future? If so, why, and how was it chosen? Have you found it helpful? Do you use your real name instead?


I'll close this topic with a poem and a joke. First, the poem (which, since I'm not much of a poet, might be considered a joke as well). It's called "Altering the Ego," and appeared in the April 1999 issue of Writer's Digest.


I'll admit I've had problems
With my pseudonym;
When my book was a failure
They knew I was him--
But when I sold the sequel, 
Which did splendidly,
I couldn't make people 
Believe he was me.


Who says writing isn't a thankless profession?

Now, the joke:


John walks into a writer's meeting.
Jane asks him, "What's your pen name?"
"Paper Mate," John says.


And maybe that's the only one he needs.