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

04 March 2017

Let's Do the Twist



by John M. Floyd



In his book Spunk & Bite, author and publisher Arthur Plotnik says, "Readers love surprise. They love it when a sentence heads one way and jerks another."

How true. And what works in language/style also seems to work--at least in this case--in plots. Readers, and viewers too, like it when the story takes a sudden and unforeseen turn. Sometimes it's just a side street that eventually leads us back to the freeway, but occasionally it's a major roadblock that sends us off in a totally different direction, or even headed back the way we came.

Off-balancing act

FYI, I'm not talking specifically about surprise endings, like those in Shutter Island, Primal Fear, The Sixth Sense, Fight Club, Planet of the Apes, Presumed Innocent, The Usual Suspects, "The Lottery," "The Gift of the Magi," etc. The reversals I'm talking about can also occur earlier in the story.

Nobody who reads fiction (or watches movies) wants the characters to have an easy, carefree ride. We want our hero or heroine to be challenged, and not only with that initial "call to adventure." We want him or her weighted down with burdens and decisions and constantly-changing threats. And the main thing, here, is changing. Since we as human beings are always worried about changes in our own lives, we as readers are worried when characters face changes--illness, death, divorce, a new job, loss of a job, a new location, strangers who come to town, and so forth--and have to deal with them. It adds to the "uncertainty of outcome" that's such an integral piece of storytelling. This happens in all good stories, but a part of that, especially in genre fiction, is injecting twists and turns throughout the tale.


Shock treatment

I always enjoy movies and novels that contain those in-flight reversals. There are many examples, but the following stories--all of them are films and most were books as well--come to mind because they feature a sudden 180-degree switcheroo in or near Act II: A Kiss Before Dying, Psycho, L.A. Confidential, Executive Decision, Ransom, Gone Girl, Deep Blue Sea, Marathon Man, etc. And I don't mean a slight swerve off the path; I mean a clap-your-hands-over-your-mouth and bug-out-your-eyes stunner that completely changes the course of the story.

The reversals in the movie versions of Psycho and L.A. Confidential were especially memorable because--in each case--the best-known actor in the cast was unexpectedly killed in the middle of the story (early middle in Psycho, late middle in LAC). That also happened when the most famous actor in Game of Thrones bit the dust (well, his severed head did) in the final episode of the very first season. It left viewers thunderstruck, and understandably wondering what other off-the-charts events might happen, and when. If long-term tension is what you're trying to create (as a writer/director) and what you enjoy (as a reader/viewer), this is a pretty effective plot device.


It occurred to me, while I was writing this, that one definition of the word reversal is "a setback, or a change of fortune for the worse"--as in, I suppose, a deep dip in the Dow Jones--and I think that definition holds true for today's topic as well. Reversals in fiction are often for the worse, and that can help the story. More conflict, and more agony for the protagonist, means more suspense.

A sense of misdirection

Other tales that had big mid-story twists: The Maze Runner, Reservoir Dogs, The Departed, "A Good Man Is Hard to Find," Life of Pi, Sands of the Kalahari, A History of Violence, The Hateful 8, Blood Simple--and almost any short story by Roald Dahl and any novel by Harlan Coben. Those two authors were/are masters of the plot reversal.

With regard to endings, Lawrence Block had an interesting observation about that in his book Telling Lies for Fun and Profit. He said, "The best surprise endings don't merely surprise the reader. In addition, they force him to reevaluate everything that has preceded them, so that he views the actions and the characters in a different light and has a new perspective on all that he's read."

At the risk of repeating myself, I think the same thing applies to twists and reversals during the course of the narrative. If you're good enough, you can use reversals to keep a reader off-balance and still maintain the central storyline. The diversions, when included, should be there for a reason, and not just for shock value and entertainment. The twists should fit in and be logical, and should--ideally--make the journey more interesting to the traveler.

Questions

Do you agree? Is that something you try to do in your own writing, or look for in your reading and/or viewing? What are some of your favorite reversals in movies, novels, and stories? Can you think of some that didn't work well? Which ones surprised you the most? I think I actually spilled Coke on the people around me in the theater when Janet Leigh met her fate in the Bates Motel (that bombshell seemed to drop almost as soon as I got settled into my seat), and I choked on my popcorn when the guy pushed his date off the roof of the building in the first half of A Kiss Before Dying. I'll remember those scenes always. And that's more than I can say for a lot of the novels I've read and the movies I've seen lately.

In real life, certainty and security are comforting. In fiction, the future is always unpredictable.

Or should be.





18 February 2017

As the Credits Go By




In a column I posted at SleuthSayers several months ago, called "Crime (and Other) Scenes," I listed a hundred or so of my favorite movie moments, and the first category was my pick for the ten "best opening sequences." What I didn't mention, there, was that the music accompanying the opening credits can be as important as the images. Examples: The Magnificent SevenStar WarsThe Big CountryTop GunThe Pink PantherA Fistful of DollarsSuperman, and many others. And while that opening music piece often has the same title as the movie, like "Jaws Theme," "Goldfinger," "The Great Escape March," "Theme From A Summer Place," etc., sometimes the director uses a song with its own name, and occasionally one that wasn't originally written for the film.

Which brings us to today's post, and my challenge to you. Can you name the movies whose opening credits used the following fifty pieces of music? The first half are fairly easy; the rest of them, not so much.
(Warning: No Googling allowed. The Shadow knows.)


Here are the songs. Their movies are included below. Good luck!

1. "The Sound of Silence" -- Simon and Garfunkel
2. "Stayin' Alive" -- The Bee Gees
3. "Up Where We Belong" -- Joe Cocker and Jennifer Warnes
4. "Gonna Fly Now," -- Bill Conti
5. "Suicide Is Painless," -- Johnny Mandel
6. "When You Wish Upon a Star" -- Cliff Edwards
7. "The James Bond Theme" -- John Barry
8. "Born to Be Wild," -- Steppenwolf
9. "Everybody's Talkin'" -- Harry Nilsson
10. "Do Not Forsake Me, O My Darlin'" -- Frankie Laine
11. "The Circle of Life" -- Elton John
12. "The Windmills of Your Mind" -- Michel Legrand
13. "Nobody Does It Better" -- Carly Simon
14. "The Deadwood Stage" -- Ray Heindorf
15. "One Tin Soldier" -- Coven
16. "Holiday Road" -- Lindsey Buckingham
17. "Real Gone" -- Sheryl Crow
18. "Moon River" -- Henry Mancini
19. "Little Green Bag" -- The George Baker Selection
20. "Also Sprach Zarathustra" -- Richard Strauss
21. "The Rainbow Connection" -- Kermit the Frog
22. "All-Time High" -- Rita Coolidge
23. "You've Got a Friend in Me" -- Randy Newman
24. "Seventy-Six Trombones" -- Ray Heindorf
25. "I Heard It Through the Grapevine" -- Marvin Gaye
26. "The End" -- The Doors
27. "As Time Goes By" -- Jimmy Durante
28. "I Can See Clearly Now" -- Johnny Nash
29. "Way Out There" -- Carter Burwell
30. "Misirlou" -- Dick Dale and the Del-Tones
31. "Come Softly to Me" -- The Fleetwoods
32. "Best of My Love" -- The Emotions
33. "The Times They Are A-Changing" -- Bob Dylan
34. "Rock Around the Clock" -- Buddy Holly
35. "Hound Dog" -- Elvis Presley
36. "What'll I Do?" -- William Atherton
37. "Tomorrow Is the Song I Sing" -- Richard Gillis
38. "Wish Me a Rainbow" -- Gunter Kallman Chorus
39. "I'm All Right" -- Kenny Loggins
40. "Sixteen Tons" -- Eric Burdon
41. "The Man Comes Around" -- Johnny Cash
42. "Across 110th Street" -- Bobby Womack
43. "For What It's Worth" -- Buffalo Springfield
44. "The Heat Is On" -- Glenn Frey
45. "The Immigrant Song" -- Led Zeppelin
46. "The Puppy Song" -- Harry Nilsson
47. "Summer in the City" -- Joe Cocker
48. "Dies Irae" -- Renny Harlin
49. "Gimme Shelter" -- The Rolling Stones
50. "It Had to Be You" -- Harry Connick, Jr.


Okay, that's it. Please put your pencils down and step away from your desks.


Answers:

1. The Graduate
2. Saturday Night Fever
3. An Officer and a Gentleman
4. Rocky
5. M*A*S*H
6. Pinocchio
7. Dr. No
8. Easy Rider
9. Midnight Cowboy
10. High Noon
11. The Lion King
12. The Thomas Crown Affair (1968 version)
13. The Spy Who Loved Me
14. Calamity Jane
15. Billy Jack
16. National Lampoon's Vacation
17. Cars
18. Breakfast at Tiffany's
19. Reservoir Dogs
20. 2001
21. The Muppet Movie
22. Octopussy
23. Toy Story
24. The Music Man
25. The Big Chill
26. Apocalypse Now
27. Sleepless in Seattle
28. Grosse Point Blank
29. Raising Arizona
30. Pulp Fiction
31. Crossing Delancey
32. Boogie Nights
33. Watchmen
34. Blackboard Jungle (and, later, American Graffiti)
35. Indiana Jones and the Kingdom of the Crystal Skull
36. The Great Gatsby (1974 version)
37. The Ballad of Cable Hogue
38. This Property Is Condemned
39. Caddyshack
40. Joe Versus the Volcano
41. Dawn of the Dead
42. Jackie Brown
43. Full Metal Jacket (and, later, Lord of War)
44. Beverly Hills Cop
45. The Girl With the Dragon Tattoo
46. You've Got Mail
47. Die Hard With a Vengeance
48. The Shining
49. The Departed
50. When Harry Met Sally


Please grade your papers. And remember what happened to #6 when he didn't tell the truth.

Here's the deal. If you failed to answer any of the questions correctly, you need to get out more. My mother's almost 91, she probably hasn't watched an entire movie since The Sound of Music, and I think even she could've answered one or two. If you got 10 correct, that's pretty good, but you're still not up where you belong. If you got 20 right, I'm impressed. (All I had to do was pose the questions--I'd hate to see how few I could've answered without the cheat-sheet.) A score of 30 correct is excellent in anybody's book, and if you got 40 right, please send me your email address so I can get some movie recommendations. And if you correctly answered all 50, you are a certified, card-carrying cinema fanatic, and I'm seriously worried about you. To paraphrase the Soup Nazi on Seinfeld, no more Netflix for you, one year! Get thee instead to a psychiatric ward.

A final question: Can you think of other opening songs for the list? And how about songs that play over the ending credits--I didn't even get into those. Or the openings for TV shows. ("Those Were the Days," "Where Everybody Knows Your Name," "Movin' On Up," "Runaway," "Harlem Nocturne," etc.) Quizzes for another day, maybe.


This kind of discussion makes me want to pop something like Escape From New York into the DVD player, put on my wireless headphones, crank up the volume, prop up my feet, and escape from more than just New York. Love that movie music.

No sounds of silence for me.






As the Credits Go By




In a column I posted at SleuthSayers several months ago, called "Crime (and Other) Scenes," I listed a hundred or so of my favorite movie moments, and the first category was my pick for the ten "best opening sequences." What I didn't mention, there, was that the music accompanying the opening credits can be as important as the images. Examples: The Magnificent Seven, Star Wars, The Big Country, Top Gun, The Pink Panther, A Fistful of Dollars, Superman, and many others. And while that opening music piece often has the same title as the movie, like "Jaws Theme," "Goldfinger," "The Great Escape March," "Theme From A Summer Place," etc., sometimes the director uses a song with its own name, and occasionally one that wasn't originally written for the film.

Which brings us to today's post, and my challenge to you. Can you name the movies whose opening credits used the following fifty pieces of music? The first half are fairly easy; the rest of them, not so much.
(Warning: No Googling allowed. The Shadow knows.)


Here are the songs. Their movies are included below. Good luck!

1. "The Sound of Silence" -- Simon and Garfunkel
2. "Stayin' Alive" -- The Bee Gees
3. "Up Where We Belong" -- Joe Cocker and Jennifer Warnes
4. "Gonna Fly Now" -- Bill Conti
5. "Suicide Is Painless" -- Johnny Mandel
6. "When You Wish Upon a Star" -- Cliff Edwards
7. "The James Bond Theme" -- John Barry
8. "Born to Be Wild" -- Steppenwolf
9. "Everybody's Talkin'" -- Harry Nilsson
10. "Do Not Forsake Me, O My Darlin'" -- Tex Ritter
11. "The Circle of Life" -- Elton John
12. "The Windmills of Your Mind" -- Michel Legrand
13. "Nobody Does It Better" -- Carly Simon
14. "The Deadwood Stage" -- Ray Heindorf
15. "One Tin Soldier" -- Coven
16. "Holiday Road" -- Lindsey Buckingham
17. "All By Myself" -- Celine Dion
18. "Moon River" -- Henry Mancini
19. "Little Green Bag" -- The George Baker Selection
20. "Also Sprach Zarathustra" -- Richard Strauss
21. "The Rainbow Connection" -- Kermit the Frog
22. "All-Time High" -- Rita Coolidge
23. "You've Got a Friend in Me" -- Randy Newman
24. "Seventy-Six Trombones" -- Ray Heindorf
25. "I Heard It Through the Grapevine" -- Marvin Gaye
26. "The End" -- The Doors
27. "As Time Goes By" -- Jimmy Durante
28. "I Can See Clearly Now" -- Johnny Nash
29. "Way Out There" -- Carter Burwell
30. "Misirlou" -- Dick Dale and the Del-Tones
31. "Come Softly to Me" -- The Fleetwoods
32. "Best of My Love" -- The Emotions
33. "The Times They Are A-Changing" -- Bob Dylan
34. "Rock Around the Clock" -- Buddy Holly
35. "Hound Dog" -- Elvis Presley
36. "What'll I Do?" -- William Atherton
37. "Tomorrow Is the Song I Sing" -- Richard Gillis
38. "Wish Me a Rainbow" -- Gunter Kallman Chorus
39. "I'm All Right" -- Kenny Loggins
40. "Sixteen Tons" -- Eric Burdon
41. "The Man Comes Around" -- Johnny Cash
42. "Across 110th Street" -- Bobby Womack
43. "For What It's Worth" -- Buffalo Springfield
44. "The Heat Is On" -- Glenn Frey
45. "The Immigrant Song" -- Led Zeppelin
46. "The Puppy Song" -- Harry Nilsson
47. "Summer in the City" -- Joe Cocker
48. "Dies Irae" -- Renny Harlin
49. "Gimme Shelter" -- The Rolling Stones
50. "It Had to Be You" -- Harry Connick, Jr.


Okay, that's it. Please put your pencils down and step away from your desks.


Answers:

1. The Graduate
2. Saturday Night Fever
3. An Officer and a Gentleman
4. Rocky
5. M*A*S*H
6. Pinocchio
7. Dr. No
8. Easy Rider
9. Midnight Cowboy
10. High Noon
11. The Lion King
12. The Thomas Crown Affair (1968 version)
13. The Spy Who Loved Me
14. Calamity Jane
15. Billy Jack
16. National Lampoon's Vacation
17. Bridget Jones' Diary
18. Breakfast at Tiffany's
19. Reservoir Dogs
20. 2001
21. The Muppet Movie
22. Octopussy
23. Toy Story
24. The Music Man
25. The Big Chill
26. Apocalypse Now
27. Sleepless in Seattle
28. Grosse Point Blank
29. Raising Arizona
30. Pulp Fiction
31. Crossing Delancey
32. Boogie Nights
33. Watchmen
34. Blackboard Jungle (and, later, American Graffiti)
35. Indiana Jones and the Kingdom of the Crystal Skull
36. The Great Gatsby (1974 version)
37. The Ballad of Cable Hogue
38. This Property Is Condemned
39. Caddyshack
40. Joe Versus the Volcano
41. Dawn of the Dead
42. Jackie Brown
43. Full Metal Jacket (and, later, Lord of War)
44. Beverly Hills Cop
45. The Girl With the Dragon Tattoo
46. You've Got Mail
47. Die Hard With a Vengeance
48. The Shining
49. The Departed
50. When Harry Met Sally


Please grade your papers. And remember what happened to #6 when he didn't tell the truth.

Here's the deal. If you failed to answer any of the questions correctly, you need to get out more. My mother's almost 91, she probably hasn't watched an entire movie since The Sound of Music, and I think even she could've answered one or two. If you got 10 correct, that's pretty good, but you're still not up where you belong. If you got 20 right, I'm impressed. (All I had to do was pose the questions--I'd hate to see how few I could've answered without the cheat-sheet.) A score of 30 correct is excellent in anybody's book, and if you got 40 right, please send me your email address so I can get some movie recommendations. And if you correctly answered all 50, you are a certified, card-carrying cinema fanatic, and I'm seriously worried about you. To paraphrase the Soup Nazi on Seinfeld, no more Netflix for you, one year! Get thee instead to a psychiatric ward.

A final question: Can you think of other opening songs for the list? And how about songs that play over the ending credits--I didn't even get into those. Or the openings for TV shows. ("Those Were the Days," "Where Everybody Knows Your Name," "Movin' On Up," "Runaway," "Harlem Nocturne," etc.) Quizzes for another day, maybe.


This kind of discussion makes me want to pop something like Escape From New York into the DVD player, put on my wireless headphones, crank up the volume, prop up my feet, and escape from more than just New York. Love that movie music.

No sounds of silence for me.




04 February 2017

For Dialogue Lovers Only


All writers have things that we enjoy most (and least) about the process of creating fiction. Some of these preferences, I think, are related to our backgrounds--former journalists/nonfiction-writers seem to be especially good at descriptions and exposition, psychology folks seem to focus on emotions and relationships, teachers like style and editing, engineers seem more comfortable with plotting and structure, etc. Then again, some say our prior and non-writing experiences don't matter a whit; we just like what we like.

I can speak only for myself. My two favorite tasks in writing a story are, for whatever reasons, (1) outlining the plot and (2) writing dialogue. Since we've had a great many columns at this blog about the pros and cons of outlining, I thought I'd focus on my second preference.

Talking points


I love to write dialogue. Probably because I love to read dialogue. When I pick up a magazine or anthology or collection of short stories, I almost always find myself flipping through it and looking for "white space." When I find stories that have a lot of that--which of course means short sentences, which means dialogue--I usually read those stories first. Why? Because dialogue means something's happening. I'm cruising along through the tale listening to people talk (and sometimes scream and shout and argue), and not plodding through all that thick, margin-to-margin writing.

Does that searching-for-white-space approach always work? No. Stories with a lot of dialogue, if they're not done well, can be more tiring and tedious than pure narrative, and, since there's no magic formula for all this, stories written either way can be either wonderful or terrible. I've always said dialogue is like playing the guitar: it's hard to do well and easy to do badly.

But I should point out that the amount of dialogue in a piece of fiction depends on the piece. Three of my recent published stories had almost no dialogue, and one of them had none at all. In fact, of the five widely accepted "elements" of fiction (plot, characterization, POV, dialogue, and setting), dialogue is the only one that's not absolutely necessary. Well, okay, I realize that some stories don't have to have plots either, but most good stories do. Another point: I'm convinced that dialogue is a marketing advantage. If you write two stories of equal quality and one has a lot of dialogue and one has very little, I think the one with more dialogue is easier to sell.

Masters of the craft

My fondness for dialogue is probably one of the reasons I've so enjoyed the books of the late Robert B. Parker. His series novels, whether they're about Spenser or Jesse Stone or Sunny Randall or Virgil Cole, contain a LOT of conversations between characters. And it's snappy, believable dialogue that either moves the plot forward or tells us something about the people in the story. Sometimes it does both. Other writers well-known for the quality of their dialogue are George V. Higgins, Dick Francis, Elmore Leonard, James M. Cain, Carl Hiaasen, Toni Morrison, Harlan Coben, John Steinbeck, Janet Evanovich, Joe Lansdale, James Scott Bell, etc. Advice to fellow writers: Read these authors, then go ye and do likewise.

Contrast that kind of fiction with the work of, say, James Michener or Tom Clancy, whose novels usually contain very little dialogue. Don't get me wrong--I liked their books, and I have all of them right here on the packed and groaning shelves of my home office. But I also maintain that those novels were not as much fun to read as (and certainly took longer to read than) those of Parker, Leonard, Coben, and company.

According to Sol

I think all this goes beyond the "easy-read" aspect. I like dialogue because of the rhythm and sound and feel of the sentences, and the way it can immediately create a reversal or plot twist when needed. In his book Stein on Writing, Sol Stein called this "oblique" dialogue, which allows the writer to introduce the unexpected. Here are some examples, from that book:

SHE: How are you?
HE: I suppose I'm okay.
SHE: Why, what's the matter?
HE: I guess you haven't heard.

SHE: How are you? I said how are you?
HE: I heard you the first time.
SHE: I only wanted to know how you were.
HE: How the hell do you think I am?

HE: It's beginning to rain.
SHE: What do you suggest?

In all of these, the responses aren't direct, as they often are in real life. They're indirect and surprising, and serve to turn the story in a different direction. It's a great way to advance the plot and keep the reader interested.

The voices in my own head

Something else dialogue can do, as was mentioned earlier, is help with characterization. In a Western mystery story I just finished writing, a man named Wade Carson is knocked unconscious while trying to rob a bank and wakes up lying with his wrists tied in a room that turns out to be a temporary jail cell. Sitting in a chair beside one of the windows is a young woman in men's clothing and boots, with a five-pointed star pinned to her shirt and a Winchester rifle across her lap.

"Where am I?" he asked her.
"In an extra room, behind the sheriff's house. He was planning to rent it out."
"I don't see any bars. What's keeping me in?"
"I am." She lifted the rifle off her lap, then lowered it again.
"And who might you be?"
"I might be Deputy Morton."
"You a real deputy?"
"This month I am." She tapped her star. "This is my uncle's badge--he's home with a broken leg."
He sighed. "An interim jail and an interim deputy."

Later, still under guard, he tells her he'd been on his way to San Francisco, to see a friend.

"Girlfriend?" she asked.
He broke out a grin. "I think you sound jealous."
"That's probably because of your head injury. What kind of friend?"
"An old partner. Wants me to go into business with him."
"What kind of business?"
Carson hesitated. "You'll think it's funny."
"No I won't."
"Banking. My friend owns a bank. And I'm good with figures."
"You're right," she said. "That is funny."
"You won't think so, when I do it. California's a booming place, these days."
"I've never been there."
He smiled again. "Want to go?"

And so on. I'm not saying these exchanges are great writing, but I am saying they're great fun to write. And I'm always pleased at how they allow a reader to be told, in very few words, a lot about the characters who are speaking.

Real vs. realistic

The main thing about dialogue is, you have to make it sound right. Here's another quote, from Stein on Writing. "If you need proof that dialogue and spoken words are not the same, go to a supermarket. Eavesdrop. Much of what you hear in the aisles sounds like idiot talk. People won't buy your novel to hear idiot talk. They get that free from relatives, friends, and the supermarket." Stein adds, on that same subject, "Elmore Leonard's dialogue is invented. It is a semblance of speech that has the effect of actual speech, which is what his readers prize." To sum all this up, dialogue doesn't have to sound like what we really say or hear. It has to sound better.

Do any of you writers share my obsession with dialogue? Do you find it harder, or easier, to create than other things in the writing process? Are your stories/novels usually heavy on dialogue, or not?

A final note. Having finished the eighth installment in Robert Parker's Appaloosa series (since his death those books have been written by Robert Knott, who does a good job of imitating Parker's "style" and frequent use of dialogue), I've just pre-ordered the ninth novel, Revelation. It's due out next week, and will continue the adventures of Old West lawmen Virgil Cole and Everett Hitch.

I can't wait to hear them talking to each other.

01 February 2017

All about me me me, not really


"A writer who claims to have a small ego is either not telling the truth, or lying." — William DeAndrea

In December John Floyd wrote a piece here about twenty years of Best American Mystery Stories and I was honored to get a mention.  But there was something in the comments that surprised me: several writers said they had not known they had been mentioned in the Distinguished Lists at the end of the book until John told them.

Not the case for me.  I doubt there has been a best-of-the-year mystery collection published in the last three decades that I haven't scoured for my name. This may be in part because my third published story, the first in Alfred Hitchcock's Mystery Magazine, found its way into the Honor Roll at the back of one of Edward D. Hoch's best-of-the-year collection, back in the days of hoop skirts and buggy whips.  James L. Swain, in one of his excellent mystery novels about a gambling consultant, says that the worst thing that can happen to a person in a casino is to win the first time they play, because it gets you hooked. So I am an innocent victim.

But I have not seen my name in such a book again until BAMS 2015 when I made the distinguished list, and then hit the big time in 2016.  It may be another few decades for anything like that happens again.

Of course, there are other ways to feed the  habit.  How often do you vanity-Google yourself?  Most writers I know do it, but they tend to feel guilty about it.  Nice to see if anyone is talking about you.  (Or not nice, depending on what they say.)

Sometimes I type in my name and the title of one of my books or stories to see if someone has said anything about them. Occasionally I have found that someone put up a copy of one of my stories on the web illegally.  That's always fun.

But what I am interested in today is people who show up who aren't me.  I'm not talking about identity fraud, but other people with my name.

For instance, there is a psychologist in my home state of New Jersey who probably wishes I had a different name or hadn't gone into writing, since our identities get tangled on the web.  He spells LoPresti with a capital P but Google doesn't recognize that as a difference.

And Google can also show you a striking mug shot of a guy with my name in Florida.  I'm not going to put it here though.

Oddly enough I have been Tuckerized occasionally, although I assume it was an accident.  "Tuckerizing" is when you put a person's name in your book, usually because they bought the rights with a donation to charity.

For example, my name appears in Robert B. Parker's Killing the Blues, a novel by Michael Brandman about Parker's character Jesse Stone.  I don't know Mr. Brandman and assume he picked my name at random, but it's freaky to read about myself being, for example, handcuffed and unconscious.  (That hasn't happened in years.)

And in Bye the Book, a medical thriller by Frank Caceres, I show up behind bars as a murder suspect. Again, I don't know the author.

Someday I will have to read these books and find out what happens to me.  I hope I'm okay.

When I first moved to this part of the world people would ask me if I was related to the local sports writer Mike Lopresti.  I explained that I wasn't related and that he wasn't local; hje just worked for the chain that owned our local newspaper.

And then there is Phil LoPresti who started the LoPresti Aviation Company.  A lot of people have nice things to say about his airplanes.

But the reason I am dragging this out is to tell you this.  I have a nonfiction book coming out later this year entitled When Women Didn't Count (more about that closer to publication date).  I needed to send someone a link to the publisher's pre-pub page so I went to Google and typed in: Lopresti Women.  And what popped up first were a lot of pages like the one on the right. Aaron Lopresti, comic book artist, may be the most famous of my namesakes.  And no, we aren't related either. 



21 January 2017

Take the Money and Ron


I like titles. I especially like trying to dream up good titles for my short stories.

What is a good title? That's hard to say. Sometimes you just know one when you see it. I think the best titles are those that are catchy and/or mysterious and/or appropriate to the story. And I like it when there's a hint of a "double meaning."

I confess that I'm always a little disappointed if an editor changes my title before publication. Not angry--just disappointed that she didn't agree with my choice. I've found a way to ease the pain, though: since I recycle a lot of my stories as reprints, I usually reinstate my original title when/if I'm fortunate enough to sell the story again elsewhere. Not that it matters, but Woman's World has changed more of my titles--46 out of the 84 stories I've sold to them--than any other magazine I submit to. Two more observations: (1) Anthologies seem less likely to ask for a title change than magazines, and (2) so far I've not had a title changed by AHMMEQMMStrand, or any of the other mystery publications. That's probably a mystery in itself.


Here are some examples of my titles, from both magazines and anthos, that were overruled. (My choice is listed first, the editor's second.)


"Smoke Test" -- "Switched Off"
"Name Games" -- "Who's He?"
"Dry Spell" -- "Listen Up!"
"Good Samaritan" -- "After the Storm"
"Diamond Jim" -- "A Bright Idea"
"Backward Thinking" -- "Baffled and Confused" (a choice that left me baffled and confused)
"Batteries Not Included" -- "Too Many Choices"
"Silent Partner" -- "When Samantha Smiles"
"Henry's Ford" -- "Everyone's Angel"
"Find Me" -- "Where's Emily?"
"Alumni Relations" -- "Old School"
"Neighborhood Watch" -- "Stormy Weather"
"Old Soldiers" -- "No Horsin' Around"
"A Day at the Office" -- "Take a Bow"
"Hold the Phone" -- "Can You Hear Me Now?"
"Guardian Angel" -- "Keeping an Eye on Crime"
"A Gathering of Angels" -- "The Ring of Truth"
"Buzz Off" -- "The Truth Stings"
"Right on Time" -- "What Happened to Ernie?"
"Low Technology" -- "Dial D for Desperate"
"Quick Stop" -- "Caught in the Crossfire"
"Mattie's Caddie" -- "The Missing Caddy"
"Byrd and Ernie" -- "Hidden in Plain Sight"
"Jack of All Trades" -- "The Listener"
"Bronco Bills" -- "The Hold-up"
"Ex Benedict" -- "Ball and Chain"
"Trapped" -- "Fiery Foes"
"Going for the Gold" -- "Diamonds Are Forever"
"Positive Thinking" -- "Labor Day Heist"
"A Clean Getaway" -- "A Dirty Trick"


 . . and so on and so on. And yes, I grudgingly admit that some of the changed titles wound up sounding better than the ones I created.

My most recent story in Woman's World (their January 16 issue) was changed from "Out of Left Field" to "Relative Strangers." The new title wasn't bad--in fact it was pretty good--and it remained appropriate to the plot, but I liked my original choice because one of the main characters was a left-handed former ballplayer and the solution was (hopefully) unexpected enough to come "out of left field." Oh, well. Another of my recent WW stories (the November 28 issue) involved a character I named Ron McNair, who was robbed and then kidnapped. The title I chose for the story was "Take the Money and Ron," which I thought was incredibly clever. (My wife would tell you, with a roll of her eyes, that I often think I'm incredibly clever, even if no one else does.) Anyhow, "Take the Money and Ron" got changed to "Candid Camera." Again, I prefer the title I dreamed up--but the new one worked also. I took the money and ran.

My point is, you as a writer might just as well accept this kind of thing, because it happens now and then and unless you're more important than I am there's nothing you can do about it. And there are sometimes good reasons for a title change. Maybe a similar title, one the writer didn't know about, recently appeared in the publication. Maybe the meaning of the title wasn't as clear to the editor as it was to the writer. Maybe the editor just didn't like it. The editor is, after all, the captain of the ship, and--as my hero Mel Brooks once said--"It's good to be da king."


Going back to examples, I've heard of a few well-known short stories whose titles got changed,
but mostly we hear about changes to the titles of novels. The following is a list of original titles (sometimes they were the authors' "working titles"), followed by the result:


Something That Happened -- Of Mice and Men
Catch-18 -- Catch-22
Trimalchio at West Egg -- The Great Gatsby
Fiesta -- The Sun Also Rises
Dark House -- Light in August
First Impressions -- Pride and Prejudice
The Wolfsschanze Covenant -- The Holcroft Covenant
Sister Maggie -- The Mill on the Floss
Strangers From Within -- Lord of the Flies
The Village Virus -- Main Street
The Sea-Cook -- Treasure Island
The Strike -- Atlas Shrugged
Second-Hand Lives -- The Fountainhead
Tomorrow Is Another Day -- Gone With the Wind
The Chronic Argonauts -- The Time Machine
Tenderness -- Lady Chatterly's Lover
Twilight -- The Sound and the Fury
Come and Go -- The Happy Hooker
The Jewboy -- Portnoy's Complaint
The Tree and the Blossom -- Peyton Place
Before This Anger -- Roots
The Saddest Story -- The Good Soldier
Salinas Valley -- East of Eden
Elinor and Marianne -- Sense and Sensibility
Private Fleming, His Various Battles -- The Red Badge of Courage
Mag's Diversions -- David Copperfield
Poker Night -- A Streetcar Named Desire
The House of the Faith -- Brideshead Revisited
The Last Man in Europe -- 1984
Paul Morel -- Sons and Lovers
They Don't Build Statues to Businessmen -- The Valley of the Dolls
The Mute -- The Heart is a Lonely Hunter
O Lost -- Look Homeward, Angel
Kingdom by the Sea -- Lolita
Mind and Iron -- I, Robot
Cancer -- Dreamcatcher
Return to the Wars -- To Have and Have Not
Robotic Banana -- A Clockwork Orange
All's Well That Ends Well -- War and Peace
Summer of the Shark -- Jaws


I don't know about you, but I'm glad most of those early choices underwent a do-over.

What are your thoughts, about this subject of editors and publishers changing the titles of stories/novels? How often has it happened to your creations? When it happens, does it bother you? Do you ever feel the changed title is better than the one you came up with? Have you ever protested, or would you ever protest, a title change?

A final note. I mentioned that one of my recent Woman's World stories was reassigned the title "Relative Strangers." Oddly enough, I submitted a story back in 2010 to WW with the title "Relative Strangers." When they published it, my title was changed to "All in the Family."

Go figure.

31 December 2016

The Pros and Cons of "Pay to Play"



by John M. Floyd



Yes, I know, it's the last day of the year. And yes, I know everybody's talking about resolutions and the best and worst things that have happened to us over the past twelve months, etc. On the good side, my wife and I welcomed a seventh grandchild into the world in 2016, and I had 20 stories published, and 30 more in a collection; on the bad side, we all lost a number of fine authors and actors and musicians and national leaders, and we had to choose a president from two of the most unpopular candidates ever to run for office. But that's all I'm going to say about the past. I'm treating this as just another day, and this is just another column about writing. I do hope, though, that all of you have a healthy and prosperous 2017. Now, back to the matter at hand . . .



Consider this. You're a fiction writer, you've completed your short story or novel, and you're looking for a publisher. With manuscript safely on your hard drive and/or in your outbasket, you do your marketing research, you pick out a magazine or anthology (if it's a story) or a publisher or agent (if a novel), and you study their submission guidelines. And you discover that they require the payment of a "reading fee."

Whatchoo talkin' bout, Willis?

Here's the deal. In the case of short stories, with which I'm more familiar, writers are sometimes asked to pay reading fees in order for the publication to consider their work. (A few agents and novel publishers do, as well--they used to be called "evaluation fees"--but they shouldn't do this, and most don't.) Short-story publications that charge fees are usually literary journals that publish both print and online versions. They often say these are "administrative" fees that help defray the costs of the websites, databases, etc., that allow writers to submit manuscripts electronically. Most of the reading fees I've seen in submission guidelines are around three dollars, but some are higher.

The question, of course, is: Should you send stories to markets that charge these fees?

Before giving you my opinion (which if converted to cash wouldn't be enough pennies to jingle in your pocket), let me list some of what I've heard are the pros and cons of this issue.


On the positive side:

- Reading fees provide financial support for the magazines. It's a way that we as writers can say thanks to those editors and help them keep their publications in business.

- Since most markets now allow electronic submissions rather than hardcopy subs, a reading fee--especially if it's in the three-dollar range--probably costs the writer less, per submission, than he/she would've had to pay for the postage, paper, printer ink, and envelopes involved in the snailmail process of the Olden Days.

- Reading fees might help those publications to pay (or pay more) to writers for their stories. Some publications, many of them literary magazines, pay only in "copies."

- Fees can "weed out" writers who aren't serious about their craft. Casual or hobbyist writers probably won't go to the expense of sending in stores if they have to pay to submit them.

Negatives:

- Many of the publications that charge reading fees are those that don't pay the writers anything for their stories. And a lot of writers feel that the idea of writing for free and then paying to get published is unfair and even insulting.

- Some of these fee-charging publications have turned out to be scams. The potential for abuse is certainly there, anytime a publication takes money from the writer.

- Reading fees have the hardest impact on the least-wealthy writers. There are some who feel that fees help to create a world where the wealthiest writers have an advantage over those who are less (financially) fortunate. In an Atlantic article, "Should Literary Journals Charge Writers Just to Read Their Work?" Joy Lanzendorfer said, "Fees ensure that people who have disposable income will submit the most."

NOTE 1: Lanzendorfer even points out that some literary magazines' tendency to publish only a tiny percent of unsolicited stories while publishing (and paying) mostly established writers has produced an ethical problem: "When a journal takes reading fees from the slush pile and then pays the writers they solicited, they've created an exploitative system where the unknown writers are funding the well-known ones."

NOTE 2: Thankfully, I can't think of any current mystery magazines that require reading fees.


My take on the subject:

Don't pay reading fees. Period. I realize it's expensive to publish a magazine, and certainly to
maintain an online submission system, etc.--but there's something I really don't like about paying someone to consider a story. It's almost the short-story equivalent of vanity-publishing a novel. If what we create is good enough, why must we writers have to pay anyone anything to get into print?

I know that position is a bit extreme. But I even feel the same way about contests. Some writing contests require an entry fee of twenty dollars or more. I can't imagine doing that, when the odds of my placing my story at a respected market are probably much higher than the odds of winning first place in a contest. Besides, contests want original, previously-unpublished stories, and those are prime candidates for the best magazines. Bottom line is, I don't submit stories to publications that require reading fees or to contests that have entry fees. Again, my opinion only.

This has become a point of argument among writers, just like outlining vs. freewheeling, simultaneous submissions vs. one-at-a-time, literary vs. genre, past-tense vs. present, self-publishing vs. traditional, etc. What are your thoughts?

By the way, please send me $3 with every comment.  And . . .



Announcement: Next Saturday in this time-slot Herschel Cozine, an old friend of mine and of SleuthSayers, will post a guest column on the goofiness of the English language. Please tune in for that! (No payment required.)  






17 December 2016

Twenty Years of B.A.M.S.



by John M. Floyd



I'm not much of a goal-setter, in my writing. Like all of us, I try to do a good job of writing stories and submitting them to markets--but beyond that, I don't feel there's much I can do. If something gets published, great. If something good happens after it's published (awards, other recognition, etc.), that's icing on the cake, and I'm honored and grateful if/when it does. But that's out of my control.

Having said that, I think there are certain things that most mystery writers have on their bucket lists. One might be to win an Edgar, or even to be nominated. Or to win other writing awards, or to have a story picked up for a film. If you're a writer of short mysteries, an additional dream might be to appear in the annual MWA anthology or an Akashic noir anthology.

I've been fortunate enough to grab a few of these golden rings, as have most of you. One of my fantasies was realized last year, when I had a story chosen for The Best American Mystery Stories 2015.

The B.A.M.S. file

I would guess that almost all of us have looked through volumes of Best American Mystery Stories at one time or another. For those who might be interested, here's a quick overview of the series, and the procedure by which the included authors are selected.

The B. A. M. S. anthologies began in 1997 and have always been published by Houghton Mifflin (later Houghton Mifflin Harcourt). In his introduction to the debut edition, series editor Otto Penzler explained that he identified and read all the mysteries published during the previous calendar year--1996--and chose the best fifty, which he then turned over to a guest editor. That editor, Robert B. Parker in this case, selected what he thought were the best twenty stories for the publication; the remaining thirty were listed in a close-but-no-cigar honor roll in the back of the book, called "Other Distinguished Mystery Stories of 1996." This process has been continued every year since. Those lucky enough to be in the "top 20" are notified, early in the year, that their stories will be featured in the book. Contracts are then sent out, the writers are paid, and the anthology is published in the fall.

Where does Otto go to find all this original fiction? "The most fruitful sources," he said in the B.A.M.S. 1997 intro, "are the mystery specialty magazines, small literary journals, popular consumer publications, and an unusually bountiful crop from anthologies containing all or some original work." Apparently the field consisted of around 500 stories at first, and has now expanded to become 3,000 to 5,000 stories a year. His colleague Michele Slung apparently does most of the initial culling, and is, according to Otto, "the fastest and smartest reader I have ever known."

The names of all the guest editors can be found in the opening pages of every edition, but they're so impressive I'll list them here as well:

1997 - Robert B. Parker
1998 - Sue Grafton
1999 - Ed McBain
2000 - Donald Westlake
2001 - Lawrence Block
2002 - James Ellroy
2003 - Michael Connelly
2004 - Nelson DeMille
2005 - Joyce Carol Oates
2006 - Scott Turow
2007 - Carl Hiaasen
2008 - George Pelecanos
2009 - Jeffery Deaver
2010 - Lee Child
2011 - Harlan Coben
2012 - Robert Crais
2013 - Lisa Scottoline
2014 - Laura Lippman
2015 - James Patterson
2016 - Elizabeth George

20/50 vision

As I mentioned earlier, the stories featured in the anthology are the top twenty of the year, chosen by the guest editor. Those named in the Distinguished Mysteries list in the back of the book are the runners-up, the "rest" of the top fifty that were originally chosen by Otto Penzler.

I restated that because most folks don't know about it--including, until recently, me. At the 2012 Bouchercon I had the opportunity to meet Lee Child, one of my favorite authors. I remember saying to him (babbling, probably), "I saw that one of my stories was listed as "distinguished" in The Best American Mystery Stories 2010 . . . and, well, since you were guest editor that year, I'd like to thank you for that honor." He said something kind and gracious and we both went on our way. What I didn't realize at the time was that my story was in the "distinguished" list because it was one of the fifty that Otto had selected, not one of the final twenty that Child chose. What I'd done, essentially, was thank him for not picking my story to be in the book. Good grief.

An SS/B.A.M.S. history

From looking at my own editions of the series, snooping on the Internet, and pestering my fellow mystery writers for information I couldn't find elsewhere, I have created the following unscientific report of current and former SleuthSayers who have wound up either in Best American Mystery Stories or named in its "Other Distinguished Mystery Stories" list. Please forgive me, and correct me, if I've overlooked anyone.

year       included in book (top 20)              named in "distinguished" list (the rest of the top 50)

1997 ------------------------------------------------------------------------------------------------------------------
1998 ----Janice Law--------------------------------------------------------------------------------------------------
1999 ------------------------------------------------------------------------------------------------------------------
2000 ----David Edgerley Gates-------------------John Floyd----------------------------------------------------
2001 ----------------------------------------------------David Edgerley Gates-------------------------------------
2002 ----David Edgerley Gates-------------------R.T. Lawton---------------------------------------------------
2003 ----O'Neil De Noux--------------------------------------------------------------------------------------------
2004 ----------------------------------------------------O'Neil De Noux, David Edgerley Gates----------------
2005 ------------------------------------------------------------------------------------------------------------------
2006 ----------------------------------------------------O'Neil De Noux-----------------------------------------
2007 ------------------------------------------------------------------------------------------------------------------
2008 ------------------------------------------------------------------------------------------------------------------
2009 -----------------------------------------------------Dixon Hill-------------------------------------------------
2010 -----------------------------------------------------Art Taylor, John Floyd-----------------------------------
2011 ------------------------------------------------------------------------------------------------------------------
2012 -----------------------------------------------------Eve Fisher, Janice Law, John Floyd--------------------
2013 -----O'Neil De Noux, David E. Gates-----Janice Law, B.K. Stevens-----------------------------------
2014 -----------------------------------------------------David Dean, Elizabeth Zelvin--------------------------
2015 -----John Floyd---------------------------------David E. Gates, Rob Lopresti, Art Taylor--------------
2016 -----Rob Lopresti, Art Taylor-----------------David E. Gates, R.T. Lawton, John Floyd--------------

Observations

Here are some things I found interesting about the above chart:

- As you can see, not one but TWO SleuthSayers have stories that made it to the top 20 and into the book this year: Rob Lopresti and Art Taylor. Both are tremendously deserving of the honor, and--not surprisingly--neither of them is a stranger to the limelight. Both have been recognized with multiple awards and honors over the past several years.

(Art Taylor and I seem to have a strange connection: This year, when he made it into the book, I made the "Other Distinguished Mystery Stories" list; the year I managed to get in, he was in the "distinguished" list; and one year both he and I had stories listed as "distinguished." In other words, I always root for Art all the more, because if he's involved I seem to have a better chance of sneaking somewhere into the picture as well.)

- For the first 18 years of the series (before the 2015 edition of B.A.M.S.), only three SleuthSayers had stories featured in the book (top 20): David Edgerley Gates three times (2000, 2002, and 2013), O'Neil De Noux twice (2003 and 2013), and Janice Law once (1998). And only recently have two SleuthSayers been in the top 20 in the same year--O'Neil and David in 2013 and Rob and Art in 2016.

- When you combine the SSers included in the book and those named in the "distinguished" list, David Edgerley Gates has made the top 50 an astounding seven times (2000, 2001, 2002, 2004, 2013, 2015, 2016), I've made it five times (2000, 2010, 2012, 2015, 2016), O'Neil four (2003, 2004, 2006, 2013), Janice three (1998, 2012, 2013), Art three (2000, 2015, 2016), R.T. twice (2002, 2016), Rob twice (2015, 2016), and Dixon Hill, Eve Fisher, Bonnie Stevens, David Dean, and Liz Zelvin once each.

- David Edgerley Gates's stories were either included or named in the "distinguished" list in four out of five consecutive editions (2000-2004) and in another three out of four (2013-2016). Also, O'Neil De Noux's stories were either included or distinguished in three out of four consecutive years (2003-2006). A lot of fine stories over short stretches of time.

- In only six years out of B.A.M.S.'s 20-year history have no SleuthSayers been included in either the anthology or the "Other Distinguished Mystery Stories" list--but in one of those no-SS years (1997) Criminal Briefer Melodie Johnson Howe was featured in the book, and in another year (2011) CBer Angela Zeman appeared in the "distinguished" list. And by the way, Angela was also included in the book in 2004 and Criminal Brief founder James Lincoln Warren made the "distinguished" list in 2010. (I couldn't resist mentioning those colleagues; Criminal Brief was the forerunner to SleuthSayers, and Rob, Leigh, Janice, and I were all CBers in a previous life.)

- In the before-I-forget department: Frequent SS guest-blogger Michael Bracken was named to the "Other Distinguished Mystery Stories" list in 2005.
That's my take on Best American Mystery Stories and its connection with our blog. If nothing else, it might steer you to some SleuthSayers' stories in the old volumes you might already have on your bookshelves. (In the course of putting this column together, I wound up going back and reading a lot of them.) May ALL of us be represented often in B.A.M.S.'s pages in the future.

Many thanks to Otto Penzler, to his assistant(s) and his guest editors, and to Houghton Mifflin Harcourt, not only for providing us with outstanding reading material but for giving some of us the opportunity, and the great honor, to be a part of the series.

Here's to another twenty years!




03 December 2016

Writing What I Knew


How many times have we, as writers, heard that we should "write what we know"? I'm not sure I always agree with that piece of advice--I'd rather it be "write what you feel comfortable writing," or "write the kind of things you like to read." What you know--or at least what I know--isn't always interesting enough to carry a story. Besides, if Asimov, Bradbury, Verne, Heinlein, Serling, etc., had written only what they knew . . . well, you've heard that argument before.

But in the case I'm about to describe, I chose to heed the advice.

Work files

A couple of weeks ago I picked up a copy of the current issue (Oct.-Jan.) of Strand Magazine, which contains one of my stories, called "Jackpot Mode." It's one of those tales that was fun to write, partly because--for a change--I covered a subject that was extremely familiar to me, once upon a time.

A bit of boring background, here. I hired on with IBM right out of college, back when the pharaoh was building the pyramids, and stayed with the company for thirty years. (That time-span included a four-year leave-of-absence to the Air Force.) I worked as both a marketing rep and a systems engineer, and for most of my career I was what was then called a "Finance Industry Specialist," which means I spent a lot of time in banks, from Atlanta to Anchorage, Boston to Burbank, Minneapolis to Manila. My specialty area was the software for IBM teller stations, check-processing systems, and ATMs.

Which brings us to my Strand story. Financial institutions have always been prime fodder for crime writers, and for the past forty years bank robbers seem to have had an unusual fondness for automated teller machines. There must be something especially tempting about the fact that so many thousands of dollars are sitting right there in a box near the sidewalk--never mind the fact that it's encased in half a ton of steel. Even in this day and age, stories of dimwitted, would-be thieves trying to blow up, drill through, or drag away ATMs are regularly featured on the evening news. These attempts, as I'm sure you know, almost always fail. So I figured, why not write a story about a couple of inside guys--a bank programmer and an equipment repairman--who team up and try to do it the right way?

Technicalities

I should mention at this point that not everything I put into this story works exactly the way I said it does--after all, I don't want somebody using information in my fictional frolics to actually steal a small (or large) fortune. But most of it is technically correct. In the olden days ATMs would occasionally suffer electronic or mechanical indigestion and spew cash like oversized slot machines until the error was found and corrected. We had a term for this thankfully rare occurrence: it was called "jackpot mode." (I saw it happen only twice, during routine off-line testing.) It also served as what I thought was a good story title.

Like several of my recent mysteries for the Strand and other magazines, this one ran a little long, around 8000 words. But there was a lot of detail involved as well as a lot of money, and I can never resist putting in multiple plot twists. If you read the story, I hope you'll like it.

Mining your past

Do you often find yourself using personal memories and first-hand knowledge from your jobs, hobbies, etc., to come up with fictional material? If you do, and if these experiences are unmodified, I can only assume your life has been more eventful than mine. I suppose I could write about making ill-fated stock market investments, or watching Netflix movies until four in the morning, or regularly mowing my wife's newly planted flowers that I mistake for weeds--but who'd want to read about that? Instead, my stories usually consist of normal, routine happenings that I then inject with steroids, asking myself "what if" and plugging in exaggerations that (hopefully) make those incidents more interesting and entertaining than they were in the real world.

The person I always think of when this subject comes up is Nevada Barr, an excellent mystery writer who once lived the kind of life her fictional heroine lives now. Nevada was a park ranger for many years, like the main character of her twenty-plus novels, and the author's familiarity and comfort level with the National Park settings and her protagonist's occupation make her books authentic and believable--and even educational. (She once said she wasn't quite as brave and daring as Anna Pigeon is, but Nevada's face is always the one I picture in my mind when I read about Anna's adventures.) Most writers aren't fortunate enough to have that kind of background--and when they don't, they have to make up for it with research and imagination.


Author Marie Anderson once observed, in The Writer, "I used to write what I know. I used to write about infertility, motherhood, suburban middle-class life, blue-collar Catholic childhood, law school from a dropout's perspective. I'd send out those stories and never see them again, not even the SASEs. Then, somewhere, I came across a better rule: know what you write."

That sounds better to me, too.

29 November 2016

To the MMs and Beyond


by John M. Floyd

Like most of you who read this blog, I like mysteries. Mysteries of any kind--shorts, novellas, novels, plays, movies. And one good thing for those of us who write and read mystery short stories is that there are a number of magazines that specialize in that genre: AHMM, EQMM, Strand Magazine, Sherlock Holmes Mystery Magazine, Mystery WeeklyFlash Bang Mysteries, Over My Dead Body, Crimespree, Mysterical-E, and so on. I submit stories to these publications on a regular basis, and sometimes, when the stars line up just right, I get stories published there. FYI, one of the best lists of these short-mystery markets can be found at my friend Sandra Seamans's website, My Little Corner.


I should probably mention here that a lot of the MMs are no longer in business. Examples include Murderous Intent Mystery Magazine, Red Herring Mystery Magazine, Mystery Time, Orchard Press Mysteries, Detective Mystery Stories, Mary Higgins Clark Mystery Magazine, New Mystery, HandHeldCrime, Mouth Full of Bullets, Mike Shayne Mystery Magazine, Nefarious, The Rex Stout Journal, Crime and Suspense E-zine, Blue Murder, Futures Mysterious Anthology Magazine, Black Mask, Whispering Willows Mystery Magazine, Raconteur, and Crimestalker Casebook. I have fond memories of many of these, because they were extremely kind to me and my creations.

Genrecial profiling

Here's the rest of the story. As you know from the other columns at this blog over the past several days, mystery publications are not the only markets for our shorts. There are a number of general-interest magazines, sometimes even the literary journals, that occasionally publish mystery stories. (On the other side of the coin, there'll always be those who consider mysteries and other genre stories inferior, but that's another matter.)

The saving grace here is that, thankfully, not everyone thinks mysteries are limited to whodunits. Elmore Leonard, who won the Edgar Award and was recognized as a Grand Master by Mystery Writers of America, once pointed out that he had never in his life written a story or novel in which the identity of the villain remained unknown until the end. He wrote crime/suspense fiction, not traditional mysteries.

Otto Penzler's definition, clearly stated in the introduction of each edition of his annual Best American Mystery Stories anthology, is that a mystery is any story in which a crime, or even the threat of a crime, is central to the theme or the plot. If you write a story that fulfills that requirement, you've written a mystery. This rather broad definition can apply to a lot of unlikely stories. One can write a romance, a science fiction tale, a Western, a horror story, even a literary piece, and if a crime plays a major role in the story, it can--theoretically at least--also be categorized as mystery fiction.

Crashing the party

What are some of these "other" markets? I'll let real life be an example: most of my mystery stories are and have been published in the mystery magazines listed above--but my mysteries have also appeared in the following NON-mystery publications, some of which are still around (Google their sites for more info):

Thema
Spinetingler Magazine
Prairie Times
Western Digest
Amazon Shorts
Grit
Champagne Shivers
Ancient Paths
Star Magazine
Pleiades
The Big Adios
Thirteen Magazine
Short Stuff for Grownups
Writers' Post Journal
The Atlantean Press Review
Eureka Literary Magazine
The Copperfield Review
Yellow Sticky Notes
Scifantastic
Sniplits
Woman's World
Desert Voices
Phoebe
Writers on the River
Dogwood Tales Magazine
Ethereal Gazette
Cenotaph
Scavenger's Newsletter
The Oak
Dream International Quarterly
Kings River Life
Star*Line
Apollo's Lyre
Medicinal Purposes
Pebbles
The Villager
Short Tales
Futures
Seeds
Green's Magazine
The Saturday Evening Post
Roswell Literary Review
Flashshot
Untreed Reads
Taj Mahal Review
Just a Moment
Reader's Break
Writer's Block Magazine
Illya's Honey
T-Zero
The Mid-South Review
Pages of Stories
Ficta Fabula
Spring Fantasy
Lines in the Sand
Mindprints
Anterior Fiction Quarterly
Mythic Delirium
Flash Tales
Lost Worlds
Simulacrum
Listen Magazine
Penny Dreadful
Hadrosaur Tales
Pegasus Review
Outer Darkness
Matilda Ziegler Magazine for the Blind

Some of these are paying markets and some pay only in copies--and I've had multiple stories published in most of them (19 at Amazon Shorts, 4 in Dogwood Tales, 4 in Flashshot, 7 in Reader's Break, 5 at The Saturday Evening Post, etc.).

I also have a mystery story ("Flu Season") in the November 4th issue of The Norwegian American, another ("Survival") in the November 26 issue of Kings River Life, and a third mystery ("A Green Thumb") coming in January in Seeds, edited by my old buddy Michael Bracken. Again, in keeping with the theme here, none of these three publications deals exclusively with mystery shorts.

NOTE 1: My reference to The Saturday Evening Post is its print edition, which is published every two months. That's where my five stories for them have appeared--and three of those five fit the criteria for mysteries. BUT . . . the SEP also has an online version that I'm told specializes in mystery fiction. I've not verified that and I've never submitted to the online edition, but it might be worth checking out.

NOTE 2: I didn't mention anthologies. I've sold a lot of stories to both mystery and non-mystery anthos. Sandra's My Little Corner website also lists anthology "calls for submissions," and so does Ralan.com. As you probably know, anthologies--like magazines--are among the markets that are examined to determine Edgar nominees, Best American Mystery Stories candidates, etc.

Chick fic

Several references have been made this past week to Woman's World, which of course is not a mystery magazine (WWMM?) but which has always included one romance and one mystery in each weekly issue. These mysteries are a little different in format from most that I write: for one thing, they're very short--700 words max--and for the past dozen years or so, they've been "interactive," which means the solution to the mystery is provided separately at the end of the story so the reader has a chance to solve it herself/himself.

Their November 28 issue featured my 82nd Woman's World story (all but two have been mysteries), and I recently sold them my 83rd, which is scheduled to appear shortly. Almost all my mysteries for WW have included the same two co-protagonists--a retired schoolteacher named Angela Potts and one of her former students, Sheriff Chunky Jones--which is probably why I've been fortunate enough to sell so many of them. Readers AND writers seem to like "series" stories because of the familiar characters: readers know what to expect, and writers are able to get quickly into the plot without much need for backstory. Feeling adventurous, I deviated from the path a few years ago and sent Woman's World a mystery starring two other main characters--a female sheriff named Lucy Valentine and her nagging mother Fran--from another of my series. WW bought and published the story, but when I asked if I should continue on that track for a change, the editor said no. "We want more Angela stories," she said, and I saluted and obeyed. I'm not very smart, but I'm smart enough to write what they tell me they like.

WW specifics

For anyone who's interested, Woman's World pays $500 for mystery stories, and the fiction editor is Patricia Gaddis. Longtime editor Johnene Granger retired at the beginning of this year. FYI, the email address to use for submissions is FictionPro@WomansWorldMag.com if you've had a contract with WW in the past; if you've not had a contract with WW before, the submissions email is Fiction@WomansWorldMag.com. For problems only, you can contact Patricia at her personal email address, Prose@dnet.net.

More guideline info: Put "mystery submission" in the subject line of your email, and attach your story as a Word document, double-spaced, 12-point font. You should receive an auto-reply confirmation that your story's been received, but you won't get any further responses unless your story is accepted. If you've heard nothing back in four months, assume it was rejected. You should submit holiday-themed stories two to three months early, and snailmailed submissions will still go through if you don't have access to email--but again, be aware that you'll only get a response if your story is accepted. (Most of the above info is paraphrased from WW's "unofficial guidelines for 2016," which are the only guidelines I've seen.)

If you decide to send them a mystery, remember that 700 words is the absolute limit, and be sure to include the "solution" in that wordcount. Stay away from too much sex and violence (at least in your story) and also avoid politics, religion, or anything controversial. And whatever you do, don't put a pet in jeopardy. Seriously.

Final thoughts

I'm told that we'll soon wrap up this "themed" week about writing for non-mystery magazines, so it might be appropriate to mention several different sources of market information. They are (1) the Internet, (2) the print reference Novel & Short Story Writer's Market, (3) trade magazines like Writer's Digest and The Writer, and (4) the publications themselves. Any of these should tell you whether certain markets would be receptive to mystery/crime submissions.

Another option for getting your short stories published is of course to ignore the traditional venues altogether and--although I've not personally waded into those waters--self-publish them via Amazon and elsewhere. Steve Liskow, our latest employee at the SleuthSayers asylum, posted an extremely helpful column recently, on the subject of self-publishing--here's a link.

In summary, you can sell mystery stories to mystery magazines, non-mystery stories to non-mystery magazines, or (as in my long list above) mystery stories to non-mystery magazines. The only thing I've not yet done is sell a non-mystery story to a mystery magazine. So the only formula that doesn't work is NMS = MM.

Main thing is, don't let your completed mystery manuscripts sit there in a drawer, as I once did. If they're good enough, they'll find a home and a readership. And if you do choose to submit them to traditional markets, remember that there are also places other than the big mystery mags that might take them.

Go ye, and procrastinate no more.