Showing posts with label Joseph D'Agnese. Show all posts
Showing posts with label Joseph D'Agnese. Show all posts

10 April 2020

The Hands of Erik Larson


Back in February, before things went horribly, horribly wrong, I was sitting in the auditorium of a North Carolina university, amid a crowd of about 400 people. Remember those days? Wait—it gets worse. It was an audience filled with book lovers.

They had come that night to hear the author Erik Larson speak about his latest book, The Splendid and the Vile, about the leadership of Winston Churchill during the Blitz of 1940-1941. Larson, as you probably know, is the acclaimed, bestselling author of numerous works of narrative nonfiction, probably most famously The Devil in the White City, but also Isaac’s Storm, Dead Wake, In the Garden of Beasts, and so on.
Erik Larson in conversation with Denise Kiernan.
Narrative nonfiction is modern book publishing code for “nonfiction that doesn’t bore you.” Larson is arguably the form’s most famous current practitioner. I once listened to an editor at a Big Five house assert that Larson invented the technique, and that everyone else who did it today was merely copying him. We were in a publishing office at the time, and I half-expected author David McCullough to leap out from behind a potted palm and gut this person with a Revolutionary War-era bayonet, if the ghost of Evan S. Connell didn’t get there first, wielding General Custer’s firearm.

When I studied journalism in college, my professors sang the praises of such New Journalism writers such as Gay Talese, Tom Wolfe, Joan Didion, Jimmy Breslin—writers who were reporters first, yet used the techniques of fiction to make their true stories read as engagingly as made-up ones. I admired all those writers when I was in my late teens, and even today I never tire of hearing how they organize their information.

That’s why I was there to hear Larson. Well, that’s not precisely true. My wife, Denise Kiernan, an acclaimed, bestselling narrative nonfictioneer herself, was interviewing Larson that night, and she insisted that a) I attend, b) sit in the front row, and c) take lots of pictures. In our small city, Denise does a lot of “in conversations with” various authors, and as a result I’ve become the world’s worst photographer of book events. In my defense, authors hardly move when speaking about books, so how can we expect the resulting photos to be dramatic? I happily found that Larson does love to gesture. Look at those hands!



Some takeaways from that night, and from his book, which I’m currently reading.
  • Unlike novels, nonfiction books are sold on the basis of a book proposal, which can run anywhere from 25 to 100 pages. This is primarily a sales document, meant to convince editors to act now! and buy the book already! With 9 million books sold worldwide, Larson can now probably get a book deal on the basis of a 30-second phone call to his editor. But he insists on writing a full proposal, to be absolutely certain the book he’s proposing has a beginning, middle, and end.
  • Just before Larson's The Devil in the White City was published in 2003, Larson was absolutely convinced that his career was over. Why? He didn't think people would like/understand/appreciate the new book because there was no true link between the two different components of the story. That is, on one hand you had the diabolical machinations of Herman Webster Mudgett (aka H.H. Holmes), a serial killer. On the other hand you had the grandeur, innocence, and raw American promise of the 1893 World's Fair. Both true-life stories happened at the same time in Chicago. Larson thought they would make a good combo, but he was worried that readers (and perhaps critics) wouldn't accept the premise of a story that leaped between the two. He needn't have worried. So far as I'm able to determine, that book remained on the New York Times bestseller list for at least 366 weeks.
  • Over the years, Larson has developed a sixth sense about the telling details that he and lay readers love. Just as we learned in The Devil in the White City that the Ferris Wheel, which first debuted at the 1893 World’s Fair in Chicago had “consumed 28,416 pounds of bolts in its assembly,” we learn that Churchill—at heart a government employee whose personal income did not permit him to spend extravagantly on alcohol for his guests—nevertheless ensured that Chequers, the government-funded estate he used for his weekend retreats, was in turn amply stocked at government expense. One liquor order, Larson tells us, consisted of 36 bottles of Amontillado, 36 bottles of white wine, 36 bottles of Fonseca port, 36 bottles of claret, 24 bottles of whiskey, 12 bottles of brandy, and 36 bottles of champagne. The rules imposed by the British government were that Churchill could only serve this booze to foreign dignitaries, and his staff had to keep strict details on who had consumed what. Records would be audited every six months. 
  • Speaking of big numbers: In the history of WWII literature, there have been approximately 18 quintillion books written about Churchill. To ensure that he was coming up with something fresh about the man, Larson initially limited himself to reading only a few biographies about Churchill. Then he carefully set aside those volumes, and dug into the archives firsthand to find “his”—that is, Larson’s—Churchill.
  • When he’s researching in archives, Larson will photograph records, if permitted, with his smartphone. Images of primary sources, especially letters written in a spidery hand in fountain pen ink, are often hard on the eyes. But digital images can be later adjusted on a computer, shifting, say, the color contrast, and thus making them easier to read.
  • Before he writes, Larson spends countless hours slotting all the dates of each piece of data—official reports, personal letters, etc.—he’s found into a timeline of sorts that allows him to craft more dramatic scenes. Thus: When Churchill was here doing this, his daughter was here doing that. Those timelines might run 80 pages in length. 
  • The writer in me especially loved reading how Churchill insisted his underlings learn to write better reports. Quoting from the book: 
    “Let us have an end to phrases such as these,” [Churchill] wrote, and quoted two offenders:
    “It is also of importance to bear in mind the following considerations…”
    “Consideration should be given to the possibility of carrying into effect…”
    He wrote: “Most of these woolly phrases are mere padding, which can be left out altogether, or replaced by a single word. Let us not shrink from using the short expressive phrase, even if it is conversational.”
    The resulting prose, he wrote, “may at first seem rough as compared with the flat surface of officialese jargon. But the saving of time will be great, while the discipline of setting out the real points concisely will prove an aid to clear thinking.”
  • Lastly, Larson observes that Churchill’s wartime speeches to the British public adhered strictly to a kind of formula. First, he transparently laid out the dilemma all Britons were facing in clear, unvarnished terms. Then he enumerated reasons for hope, reasons for citizens to keep fighting the good fight, and why their efforts might actually turn the tide. And he always closed with a memorable, rhetorical flourish that stirred the hearts of all listeners and moved them to action.
Hearing Larson speak of this, and later reading his descriptions of Churchill’s speeches in the book, moved me deeply and left me longing for such a leader, should such dark times ever leap to the fore again.



Postscript:

A few nights after we last saw Larson, he texted my wife to say that the remainder of his book tour had been canceled, as had the tours of so many authors. Larson's book still shot to No. 1 on the NY Times bestseller list for hardcover nonfiction, as many of his previous books had, but the independent bookstores that were planning to host him no doubt lost out on many of those sales. This is the current crisis facing countless authors and bookstores.

To that end, my wife is on the lookout for ways to conduct her previously scheduled "in conversation" book events virtually. What software are people using to do this effectively? We've heard people sing the praises of everything from FB Live to Zoom to Crowdcast, and so on. Kindly let me know your experiences in the comments. Be well, and take care of yourselves.

08 February 2020

Why The Detective Stopped By


Somehow I managed to get a fantasy tale into the Jan./Feb. 2020 issue of Alfred Hitchcock’s Mystery Magazine. “The Detective Who Stopped by Bedford Street” tells the story of an unnamed New York police detective who uses an unusual method to crack stubborn cases. When he’s stumped, he visits a quaint vintage shop in Greenwich Village and listens to a beat-up old radio that the proprietor has vowed never to sell. When tuned correctly, the radio broadcasts critical moments in a case. The clues are often vague, but our detective is a clever sort, isn’t he? With the mysterious radio and the unstinting support of the shop’s mysterious proprietor, our nameless hero closes an impressive number of cases, and becomes a legend in the department, to his everlasting embarrassment.
 I can remember the exact moment the idea popped into my head. It was right when I was trying to finish another story that was resisting easy closure. Two years later, I can see that the few strands of the radio story—what Robert Lopresti wisely calls a “magical shop” story—were inspired by two different things.
The first is a famous John Cheever story called “The Enormous Radio.” It first ran in the New Yorker in 1947, but I first came upon it in 1981, when a paperback collection of the writer’s work (The Stories of John Cheever) was published and became a huge hit with people like me who’d never heard of Cheever. I bought my copy off a mass paperback stand at K-mart.
You owe it to yourself to check out the story. Current subscribers can read it at the New Yorker website, but for some reason you can also find the entire text online. In the piece, a New York couple discovers that their brand-new radio picks up conversations of people living in their apartment building. And so ensues the kind of sordid middle-class drama that Cheever was famous for. I don’t want to say more because it’s not my place to do so. It’s bad enough I swiped Cheever’s premise; I’m not going to give his ending away.
Back to our cop and his magic radio. I was probably a few hundred words into my story when I realized my biggest plot challenge: I needed to come with as many different audio clues as possible for our detective to grapple with. As I quickly figured out, it’s tricky to do that. For example, the most obvious clue is having a victim mention the name of his or her murderer. You can only trot that one out once.
Here, two classic movies were instructive, if only to remind me just how slight audio evidence can be. In the 1974 Coppola film The Conversation, everything hinges on the various shades of meaning of a recorded chat between two people. We know exactly what the two people say, but the meaning is unclear because we aren’t privy to the subtleties of context. In DePalma’s 1981  Blow Out, the critical sound of a car tire blowing out isn’t fraught with meaning until our hero finds audio of the sound that immediately precedes it.
In my story, I dispensed with the long-hanging fruit first, then worked my way up the ladder of audio complexity. The detective’s greatest triumph comes when he identifies a murderer based on the killer’s strange tic.
And now, since I’ve annoyingly danced around the plots of three, no, four creative works, I should probably be more forthright about the origins of the second big element in this story: the so-called magical shop itself.
Weirdly, I have always been a sucker for such shops, ever since I was a kid. For few years in my youth my father rented an office space above an Italian deli in the New Jersey town where I grew up. The office building was strangely trapezoidal, which meant that one window in my Dad’s studio jutted out like the bow of a ship, overlooking the main drag of my hometown.
My hometown’s business district, as depicted in an old postcard, long before I arrived on the scene. (The Blue Onion not pictured.)
I used to like sitting in that window and drawing pictures of the impossible cute gift shop across the street. If I’m not mistaken, it was called The Blue Onion, and its blue-painted, shingle roof and gable were anomalies in an otherwise boring Jersey town filled with pizza joints, strip malls, sanitized stucco buildings, and yes, that Kmart I mentioned earlier. I must have sketched dozens of versions of the Blue Onion, in all seasons, but its Christmas appearance—two front windows decked out with twinkling lights and faux snow—was probably my favorite.
In the 1990s, I lived in Hoboken, New Jersey, and took the train across the Hudson to New York City each morning to go to work. From the PATH station to my job at Scholastic, I walked past a charming shop on Bedford Street. It was the sort of place that sold antiques and “vintage” objects side-by-side with beautiful new objects carefully curated by the proprietor. I never went in, but I imagine that everything in it was ridiculously expensive.
 (credit: Denise Kiernan)
Later, when I went freelance, I conned my way into writing a twice-monthly “destinations” column for the now long-gone New Jersey section of the New York Times. All I did for these pieces was chase down places in the state that trafficked in, as my gruff editor once put it, “quaint shit.” I know it’s got a gritty reputation, but Jersey has lot more of these sorts of places than Tony Soprano would like to admit.
I now live in a town in North Carolina that has quaintness in spades—shops and entire barns devoted to relics from another time. Emporia like these always seem to promise a hell of a lot more than they deliver. But foolishly, if I have a few minutes, I still go peek inside them. I don’t know why. I can’t afford anything in them half the time, but still I browse. I suppose, like my detective, I go looking for the magic.
 josephdagnese.com


02 December 2019

Patio Writer


As I recall, I first encountered Joseph D'Agnese when I read his first story in Alfred Hitchcock's Mystery Magazine and rated it the best story I read that week.   We had a chat and later shared a lunch with our editor Linda Landrigan.  Yes, that was name-dropping. Suffer.

Joe has a new book and I asked him to tell us about it. But first, let's talk about the man himself.  

Joseph D'Agnese is a journalist, author, and ghostwriter who has written for both adults and children alike. He has won a Derringer Award for his short mystery fiction, and one of his stories appeared in the Best American Mystery Stories 2015 anthology. D'Agnese lives with his wife in North Carolina. Joe has been called “The Meryl Streep of Short Fiction,” but prefers to think of himself as The Susan Lucci. Visit him at josephdagnese.com  -Robert Lopresti



PATIO WRITER

by Joseph D'Agnese

Once upon a time I wrote a novel, and it was awesome. At least my parents and I thought so. And why wouldn’t we all think that? I was all of 15 years old.

My parents did not actually read the book, and never would. Neither of them had finished high school. They were, as people are fond of saying, not big readers.

But for some reason, they thought it was wonderful and perhaps a little strange that their son preferred sitting on the patio banging away on a manual typewriter, instead of doing things his brothers or other kids did. All summer long, when it came time for dinner, my mother would scoot me off our picnic table in the Jersey suburbs so we could fire up the grill and eat dinner al fresco. She would say things like, “You’re gonna ruin your eyes!” “What is this, your office?” and “How long is this thing going to be?"

The story in question had something to do with a bookseller who solved mysteries in his spare time. He had a bookshop in New York City, and a nephew who was a professional gumshoe who helped investigate. The nephew narrated; the uncle solved the mystery. A complete Nero Wolfe rip-off—er, dynamic. Aside from the fact that I’d never set foot in a Manhattan bookstore in my life, I figure the story was about as clever as a kid my age could make it. A kid who obsessively read mysteries, that is.

In my defense, I also had a summer job of sorts. When I wasn’t reading or writing, I worked for my dad, who was a pattern maker in New York’s Garment District. (Astute readers will recall that my very first story to appear in AHMM was set in that world.) Dad brought home extra work to make a little money on the side, and I helped him out nights and weekends in his shop in the garage.

I used my meager earnings to make two photocopies of the manuscript, which I presented to my parents. I have no idea what my mother did with her copy. My father tucked his into the plastic gray briefcase he took with him to work every morning, and showed it off to friends when they lunched in greasy spoon diners that catered to the men of New York’s Fashion Avenue.

School started up and I had tucked away my Olivetti until my next big writing season. My father returned home from work one night and announced with utter seriousness, “Next week, you’re coming to the city with me. An editor wants to talk to you about that book of yours!”

What the hell was this now?

If you’re looking for tips on how to break into the competitive literary market, pay attention. Apparently growing tired of lugging around the MS, my father had slipped it to the ladies coat buyer for Montgomery Ward, a woman whose sister happened to work as an assistant to an editor at some publishing house in New York City. A firm my father kept calling The Bantam.

Was I familiar with The Bantam? I was, Dad, highly freaking familiar. I had a ton of paperbacks published by them.

This news took me aback. This was not supposed to happen. The book was for private consumption only. My youngest brother, for example, had recently announced he might just read this book of mine, if he could squeeze it in between homework and clarinet practice.

I was simultaneously terrified and elated at the prospect of real-life editors reading my book. When that day arrived, I donned an ill-fitting jacket and tie and ascended an elevator with my dad at The Bantam offices at 666 Fifth Avenue.

The editor was lovely, and told me just what a kid who thought he sorta, kinda, maybe wanted to write needed to hear. My work was wonderful for a writer my age. My characters fun and funny to be around. Oh sure—there were a few implausibilities that made the book unsalable, but I had to keep plugging away. I should read widely and keep writing. I should learn what I liked. And learn how to edit myself. Learn the difference, if I could, between commercial and literary work. The editor’s name was Linda S. Price, but the hour she gave me that afternoon was absolutely priceless.

As I rode back to Jersey with my dad on the bus, a shopping bag of Bantam books at my feet, I felt the world had opened up just a bit. Although those of you who are writers will understand that I ignored all the positive things she said to me, and dwelled only on the negative. What the hell was an implausibility?

That manuscript went into my bedroom closet and was joined by others I cranked out on the patio over the remaining summers I was in school. Then, one day, when I was out of college and working in publishing in New York, I dug out the bookshop mystery and read it.

Guess what? The characters and scenarios were delightful, but the thing was positively riddled with implausibilities. The savvy 26-year-old me—who now worked in cosmopolitan Manhattan—snickered at the stupidity of 15-year-old me.

Still—I liked the characters. And the plot could work. I became convinced that I knew just how to fix it. So I rewrote the whole thing and shopped it around to the very same editors I’d met during my first big job hunt. No takers.

Versions 1 and 2 disappeared into a file cabinet, where they stayed thirty years, until I dug them out earlier this year.

Did I really want to do this again?

I did. So much so that I scanned those brown pages to make a modern digital file to work from.

This time, 54-year-old me stood up for the 15-year-old in ways that the 26-year-old could not deign to. In the course of the third rewrite, it became completely obvious to me that my amateur sleuth was never intended to be a man but a woman. In fact, the sleuth spoke just like an old elementary school principal of mine. She was the first Italian-American woman I’d known who’d completed college. She used words like unmitigated gall and enunciate. The 15- and 26-year-old writers had been blind to this connection, but I like to think the 54-year-old appreciated this truth for what it was—another gift from the grown-ups in his past.

My mother is no longer with us, but my father who is knocking on 90 had little trouble recalling our visit to The Bantam when he called to say he’d gotten the proof I’d dropped in the mail to him.

“What the hell am I going to do with this?” said the man who spends most of his day watching NCIS reruns and not-so-terribly historic programs on the History Channel.

“You could try reading it,” I suggested.

“Yeah, right,” he said. “You got a clear head, kid.”

So after three rewrites and 40 years, Murder on Book Row is finally out in the world. I reserve the right to clear up any lingering implausibilities when I rewrite it at age 80.

04 November 2017

Old Friends and Old Castles


In our columns at this blog, we Sayers of Sleuth try to stick to the subject of mystery writing. I'm often guilty, though, of wandering off topic (especially to things like movies and TV), and sure enough, my focus today is on a book of narrative nonfiction. But today's post is also vaguely connected to the mysterious, because if I hadn't become acquainted several years ago with fellow mystery writer Joseph D'Agnese, he probably wouldn't have recently offered me what turned out to be an interesting opportunity.

Here's what I mean. Back in early September Joe emailed me from his home in North Carolina to tell me his wife, Denise Kiernan, was about to do a nationwide tour for her new book, The Last Castle. In fact I had already heard about the book, and had even pre-ordered it from Amazon a month or so earlier, partly because my wife Carolyn and I had so enjoyed Denise's previous book--a New York Times bestseller called The Girls of Atomic City--and partly because The Last Castle is a narrative history of the Biltmore House, an attraction in Asheville, North Carolina, that we've visited several times over the years.

Anyhow, Joe also explained in his email that one of the stops Denise would make on the tour was Square Books in Oxford, Mississippi, and that Denise usually prefers not to do a solo reading/signing; when possible, she asks someone she knows to come and appear with her at the event, and in effect interview her about the book in the popular "a conversation with the author" format. And since I'd met Joe and Denise a couple of years ago in Raleigh and we've swapped several books and emails since then, he asked if I'd like to appear with Denise at the event in Oxford, which is only about three hours' drive from my home near Jackson.

So that's what we did, on the afternoon of Wednesday, October 25. I drove up there, met with Denise beforehand to strategize and catch up a bit, and then she and I spent an hour or so discussing her book in front of an audience of readers and writers. She was of course a better interviewee than I was an interviewer, but I think we all had a good time, and everyone (except Denise, already an expert) learned a great deal about the famous Biltmore estate, the Vanderbilts who constructed it, and America's Gilded Age. Afterward she signed a bunch of books and we all stood around and chatted until seven or so, at which point I headed home and Denise drove to Memphis to catch a flight the following morning to New York, her next stop. (She'd spent the previous two days in Seattle and L.A. I remember once being told that national book tours are like attending Epcot Center in Florida: Every Person Comes Out Tired.)

I should mention here that Square Books is one of several excellent and widely-known independent bookstores here in Mississippi--others include Lemuria in Jackson and Turnrow in Greenwood--and that the bookstore staff there in Oxford showed both of us an incredibly warm welcome. Many thanks to Richard Howorth, Alissa Lilly, Toby Morrison, and everyone else at Square Books. Denise had been to Oxford twice before, to speak at Ole Miss, and my most recent trip there was as one of the signers of Mississippi Noir a year ago, but we both agreed that this trip was the most fun.


A final note. Like The Girls of Atomic City (subtitled The Untold Story of the Women Who Helped Win World War II), The Last Castle is a fascinating book about a fascinating place and time in our history. Many of you probably know that the Biltmore House is the largest private residence in America, a sort of giant French Renaissance chateau constructed by George Vanderbilt in the late 1800s. What you might not know is that the house is 175,000 square feet (larger than the castle where Downton Abbey was filmed), with 250 rooms, 33 bedrooms, 43 bathrooms, and 65 fireplaces, located on an estate of around 125,000 acres. And the people involved in its history are no less interesting than the setting. According to the description/subtitle on the front cover of Denise's book, The Last Castle is "the epic story of love, loss, and American royalty in the nation's largest home." I couldn't have said it better myself. And by the way, this book also made the New York Times bestseller list, as soon as it was released.


If you've read The Last Castle already, you know what a literary achievement it is. If you've not read it, I hope you will. It's a marvelously entertaining and eye-opening look at not only an American landmark but at America itself.

To Joe D'Agnese and Denise Kiernan: Thank you for allowing me a small connection to all this. I had a great time.

02 June 2015

Best Of Times/Worst Of Times (Writing)


Linda Landrigan, Editor of AHMM, Me, and Janet Hutchings, Editor of EQMM at FUN Dell Party
The best of times

I'm very happy to announce that the current (July) issue of Ellery Queen Mystery Magazine carries a story of mine. It's titled "The Walking Path" and demonstrates how exercise is not always conducive to good health or a long life. As is common in many of my tales, the protagonist misreads events unfolding around him which leads to a surprising, though not very pleasing (for him, at least) end to his outdoor pursuits.

The theme of missed opportunities and misunderstood relationships also features in the following month's issue in a story called, "Mr. Kill-Me". The poor fellow conjured up in this tale cannot for the life of him understand why he's being stalked. His antagonist, a shabby cyclist who keeps showing up at unexpected moments, offers him no threat of violence, but is insistent that our hero kill him.

The month following (yes, it's been a very good year– see first half of blog title) I change pace with a police procedural in which a detective must come to terms with his own actions of nearly fifty years before. This novella is titled "Happy Valley". Counting "Her Terrible Beauty" that was in the March issue, that makes four stories in EQMM in a single year– a first for me. Still, I pose no threat to the late, great Ed Hoch's prolific output, or that of our own Edgar-Nominated John Floyd. Speaking of whom, I had the pleasure of meeting John, and his lovely wife, at the Dell soiree in New York this year. The only fault I could find with the man was his overbearing height, other than that he was just as charming and intelligent as we've all found him to be through his SleuthSayers articles. Still, I'm disappointed with his insufferable tallness.

A Less Fun Party
The worst of times

Since the fall of 2012 I've had three novels published, none of which have thrived. If I called a summit meeting of everyone who had read any of them I could probably forego renting a hall and just have them convene in my living room. Even there, I'm not sure that anyone would have to stand during the meeting. I find this a little distressing. My intention in writing the novels was that someone would read them. You can see my frustration here.

Part of the problem is that none of them have received very much publicity. Small indie presses have no funds for advertising it seems. The big corporation boys do, but only if you're already famous, which presents a conundrum for such as the likes of me. The other part of the problem (and this is the part I like even less than the first) is that I may not be very good at writing novels. I especially don't like this possibility because it doesn't allow me to blame anyone else. When I was occasionally asked what I did as a chief of police, I would always fire back, "I find out who's to blame and pin it on them. Now get out of my office!" My wife claims that I still do this as a private citizen. I tell her that it's paramount to blame those responsible for any faults I may possess, then tell her to get out of my office. She does not comply. I find this distressing as well.

So there you have it, the best and the worst. In case I've raised anyone's hopes that I will never write another novel, you must not know me. I'm already taking another stab at the beast and am on page 125 after only a year's labor. It's titled, The German Informant, and is coming along, though I doubt it will fare any better than the others. On the days I find the going tough, I blame the neighbors for all the distractions. If it weren't for them it would be done already!

In closing, and in order to refill the glass to half-full, I want to take a moment to thank a number of fellow writers who have been particularly kind and supportive in recent months: Brendan DuBois, Doug Allyn, Joseph D'Agnese, Don Helin, Lou Manfredo, Art Taylor, Fran Rizer (whom I miss from this site) and my fellow SleuthSayers, Dale Andrews and Eve Fisher. Each of these extremely talented and busy writers have taken the time, and in some cases, expended considerable effort, to aid or support me in my literary pursuits. I am in your debt, my friends, and honored to be so. Below is a copy of the aforementioned EQMM issue. You will find my name next to that of Joyce Carol Oats, a pretty good writer who I think shows real promise. I hope this fortunate pairing boosts her career.