Showing posts with label Kenneth Wishnia. Show all posts
Showing posts with label Kenneth Wishnia. Show all posts

21 August 2019

Made in the Decade


Back in January, when I produced my yearly thing I wrote: "I was somewhat surprised to discover that this is my tenth annual list of the best short mysteries of the year, as determined by me. I will have to do something to celebrate that in a month or two."

Well, more than a month has passed, but here we are. My first thought was to pick out the Best of the Best from the 151 stories that made my original list, but that seemed like a fool's errand for various reasons. Below you will find 15 categories, subgenres if you will, and in each I have listed five stories that made my best of lists in the last decade. They aren't the Best of the Best, just excellent examples of their subgenre.   Of course, some of these could have easily fit into several categories.

And by the way, there is a hidden category tucked away here: stories with twist endings.  There are many examples below but to point them out would be counterproductive.

As a lagniappe I have added a Classic story in each category. "Classic" here is defined as a great story that was published before I started reviewing.

Availability! In each case I have listed the original publication unless I thought there was a more available site. I provided links to a few stories that are available for free on the web. You may find others elsewhere on the web but I suspected those sites might be copyright-violators or malicious, so I skipped 'em.



AMATEUR SLEUTH
Palumbo, Dennis. "A Theory of Murder," available free at Kings River Lite.
Perks, Micah. "Treasure island," in Santa Cruz Noir, edited by Susie Bright, Akashic Press, 2018.
Petrin, Jas. R. "Money Maker," in Alfred Hitchcock's Mystery Magazine, May/June 2017.
Rusch, Kristine Kathryn. "The Wedding Ring," in Ellery Queen's Mystery Magazine, March/April 2018.
Rozan, S.J. "Chin Yong-Yun Meets A Ghost," in Ellery Queen's Mystery Magazine, March/April 2015.
Classic: Kemelman, Harry. “The Nine Mile Walk” in The Nine Mile Walk and Other Stories.

COZY
Cajoleas, Jimmy. "The Lord of Madison County," in Mississippi Noir, edited by Tom Franklin, Akashic Press, 2016.
Harlow, Jennifer. "The Bubble," in Atlanta Noir, edited by Tayari Jones, Akashic Press, 2017.
Page, Anita. “Isaac’s Daughters,” in Malice Domestic Presents: Murder Most Geographical, edited by Verena Rose, Rita Owen, and Shawn Reilly Simmons, Wildside Press, 2018.
Stevens, B.K. "The Last Blue Glass," available free at B.K. Stevens's website.
Todd, Marilyn. "Slay Belles," in Ellery Queen's Mystery Magazine. January/ February 2017.
Classic: Asimov, Isaac. “The Acquisitive Chuckle,” in Tales of the Black Widowers.

CRIMINAL’S POINT OF VIEW
Block, Lawrence. “Who Knows Where It Goes,” in Ellery Queen’s Mystery Magazine, January 2010.
Howard, Clark. “White Wolves” in The Crooked Road, Volume 3.
Paul, Bryan. "The Ice Cream Snatcher," in Thuglit, issue 13, 2014.
Sareini, Ali. F. "A Message In The Breath Of Allah," in Prison Noir, edited by Joyce Carol Oates, Akashic Press, 2014.
Warthman, Dan. "Pansy Place," in Alfred Hitchcock's Mystery Magazine, January-February 2012.
Classic: Francis, Dick. "A Carrot for a Chestnut," in Field of Thirteen.


ESPIONAGE
Child, Lee. “Section 7 (a) (Operational),” in Agents of Treachery, edited by Otto Penzler, Vintage Crime, 2010.
Deaver, Jeffery. "Hard to Get," in Ellery Queen's Mystery Magazine, July/August 2017.
Faherty, Terence. "Margo and the Silver Cane," in Alfred Hitchcock's Mystery Magazine, January/February 2013.
Lawton, John. “East of Suez, West of Charing Cross Road,” in Agents of Treachery, edited by Otto Penzler, Vintage Crime, 2010.
Rabb, Jonathan. "A Game Played," in The Strand Magazine, June-September 2013.
Classic: Household, Geoffrey. “Keep Walking,” in Days of Your Fathers.


FANTASY
Blakey, James. "Do Not Pass Go," in Mystery Weekly Magazine, September 2017.
Goree, Raymond. "A Change of Heart," in Alfred Hitchcock's Mystery Magazine, October 2012.
Law, Janice. "The Crucial Game," in Alfred Hitchcock's Mystery Magazine, January-February 2018.
Powell, James. “The Black Whatever.” Ellery Queen’s Mystery Magazine, January 2010.
Rozan, S. J. "e-Golem," in Ellery Queen’s Mystery Magazine,September-October 2017.
Classic: Ellison, Harlan. “The Whimper of Whipped Dogs,” in Deathbird Stories.

HISTORICAL
Levinson, Robert S. “Regarding Certain Occurrences In A Cottage At The Garden Of Allah,” in Alfred Hitchcock’s Mystery Magazine, November 2009.
Law, Janice. “Madame Selina,” free podcast.
Rutter, Eric. “Runaway” in Alfred Hitchcock's Mystery Magazine, September 2009.
Thornton, Brian.“Paper Son,” in Seattle Noir, edited by Curt Colbert, Akashic Press.
Williams, Jim. "The Hotel des Mutilées," on Williams's website.
Classic: Borges, Jorge Luis. “The Garden of Forking Paths,” in Collected Fictions.

HUMOROUS
Gould, Heywood. "Everything is Bashert," in Jewish Noir, edited by Kenneth Wishnia, PM Press, 2015.
Lawton, R.T. "Black Friday," in Alfred Hitchcock's Mystery Magazine, November/December 2017.
Maron, Margaret. "We On The Train!" in Ellery Queen’s Mystery Magazine, May 2015.
Schofield, Neil. "It'll Cost You," in Alfred Hitchcock's Mystery Magazine, September 2014.
Wiley, Michael. "Making It," in Ellery Queen’s Mystery Magazine, September-October 2017.
Classic: Thurber, James. “The Catbird Seat,” in Thurber on Crime.

NOIR
Crouch, Blake. “The Pain of Others,” in Alfred Hitchcock's Mystery Magazine, March 2011.
Gaylin, Alison. "Restraint" in Ellery Queen’s Mystery Magazine, March/April 2013.
Neville, Stuart. "Faith," in Blood Work: Remembering Gary Shulze: Once Upon A Crime, edited by Rick Ollerman, Down and Out Books, 2018.
Pluck, Thomas. "The Uncleared," available free at A Twist of Noir.
Stodghill, Dick. “Deathtown,” in Alfred Hitchcock's Mystery Magazine, November. 2009.
Classic: Kinsella, W.P. "Dance Me Outside," in Dance Me Outside.

PASTICHE
Faherty, Terence. "The Man With The Twisted Lip," in Ellery Queen’s Mystery Magazine, February 2015.
Lewis, Evan. "The Continental Opposite," in Alfred Hitchcock's Mystery Magazine, May 2015.
Warren, James Lincoln. "Shikari," in The 1% Solution.
Warren, James Lincoln. “Shanghaied” in The 1% Solution.
Zeltserman, Dave. “Julius Katz,” in The Julius Katz Collection.
Classic: Powell, James. “The Tamerlane Crutch,” in Christmas Forever.
POLICE
Alcalá, Kathleen. “Blue Sunday” in Seattle Noir, edited by Curt Colbert, Akashic Press.
Camilleri, Andrea.  "Neck and Neck,"  in Montalbano's First Case and Other Stories.
Estleman, Loren D. “Death Without Parole.” in Detroit is Our Beat: Tales of the Four Horsemen.
Phelan, Twist. "Footprints in Water," in Ellery Queen’s Mystery Magazine, July 2013.
Powell, James.  “The Teapot Mountie Ball,” in Ellery Queen’s Mystery Magazine,  March/April 2011.
Classic: Westlake, Donald E. “Come Back, Come Back,” in Levine.

PRIVATE DETECTIVE
Crowther, Brad.  “Politics Makes Dead Bedfellows,” in  Alfred Hitchcock's Mystery Magazine, July/August 2011.
Gates, David Edgerley.  "Slip Knot," by David Edgerley Gates, Alfred Hitchcock's Mystery Magazine, November 2011.
Helms, Richard.  "Busting Red Heads,"  in Ellery Queen’s Mystery Magazine, March/April 2014.
Moran, Terrie Farley.  "Inquiry and Assistance," available for free on Moran's website.
Rusch, Kristine Kathryn. “The Case of the Vanishing Boy.” The Case of the Vanishing Boy.
Classic: Grafton, Sue. “A Poison That Leaves No Trace,” in Kinsey and Me.

PSYCHOLOGICAL
Brackmann, Lisa. "Don't Feed The Bums," in San Diego Noir, Akashic Press, 2011.
Cody, Liza. "I Am Not Fluffy," in Ellery Queen’s Mystery Magazine, December 2013.
Itell, Jennifer. “Inevitable.” Ellery Queen’s Mystery Magazine, November 2010.
Merchant, Judith. “Monopoly.” Ellery Queen’s Mystery Magazine, March/April 2009.
Pronzini, Bill and Barry N. Malzberg. "Night Walker," in Alfred Hitchcock's Mystery Magazine,, March-April 2018.
Classic: Bradbury, Ray. "The Fruit at the Bottom of the Bowl," in The Golden Apples of the Sun.

SUI GENERIS
Armstrong, Jason. "Man Changes Mind," available free at  Thrillers, Killers, 'n Chillers.
Muir, Brian. “Dummy,” in Ellery Queen’s Mystery Magazine, May 2009.
Rogers, Cheryl. "The Ballad of Maggie Carson," in Ellery Queen’s Mystery Magazine, May 2016.
Smith, Mark Haskell. “1968 Pelham Blue SG Jr.” in Crime Plus Music, edited by Jim Fusilli, Three Rooms Press, 2016.
Weikart, Jim, "The Samsa File," in Alfred Hitchcock's Mystery Magazine, September 2013.
Classic: Faulkner William. “A Rose For Emily,” in A Rose For Emily and Other Stories.

SUSPENSE
Buck, Craig Faustus. "Blank Shot," in Black Coffee, edited by Andrew MacRae, Dark House Books, 2016.
Day, Russell. "The Icing on the Cake," in Noirville, Fahrenheit Press, 2018.
Estleman, Loren D. “Rumble Strip” in Amos Walker: The Complete Story Collection.
Gates, David Edgerley. "Cabin Fever," in The Best American Mystery Stories 2018.
Tippee, Robert. "Underground Above Ground," in Alfred Hitchcock's Mystery Magazine, March/April 2017.
Classic: Cail, Carol. “Sinkhole,” in Alfred Hitchcock's Mystery Magazine, Presents Fifty Years of Crime and Suspense.

VICTIM’S POINT OF VIEW
DuBois, Brendan. "The Final Ballot," in Mystery Writers of America presents Vengeance, edited by Lee Child, Mulholland Books, 2012.
Hallman, Tom, Jr. "Kindness," in Mystery Weekly Magazine, April 2018.
Law, Janice, "The Double," in Sherlock Holmes Mystery Magazine, Issue 7.
Opperman, Meg. "The Discovery," in Sherlock Holmes Mystery Magazine, Issue 18.
Rusch, Kristine Kathryn. "Christmas Eve at the Exit," in The Best American Mystery Stories 2016.
Classic: Ellin, Stanley. "You Can't Be a Little Girl all Your Life," in The Specialty of the House and Other Stories.

01 May 2019

Lefty Propaganda


Nervous panelist in the Green Room, striving for wisdom.
As promised two weeks ago, I am providing here a collection of wise words from authors (and a few editors... see if you can spot 'em) who served as panelists at Left Coast Crime back in March.  You may remember that I have done this at past mystery hootenannies. 

As always, if anyone feels I misquoted them I would be happy to correct it.  If you would prefer to deny being there at all, I take all major credit cards.

Regrettably, all the context for these comments were lost in a tragic canoeing accident.  (Turns out moose can't paddle.  Who knew?)  Okay: wisdom commencing.


"This book is set in the 1590s.  Totally different from the 1580s." - Kenneth Wishnia

"This novel is set in San Diego.  There's a lot of beer in it." - Lisa Brackmann

"I think everyone in Scotland is funny.  I just moved to California so I could get paid for it."- Catriona McPherson

"I can't possibly write something serious, because I don't want to read it." -E.J. Copperman

"A first draft is crap by definition." -Laurie R. King

"In my second book I forgot to include a murder." - Cynthia Kuhn

"I avoid people as much as possible."  - Timothy Hallinan

"I picked Mumbai as a setting the way you would pick a lover." -Sujata Massey

"I had a great time writing it because I got to do a lot of research into the Texas taco scene." -Meg Gardiner

"Don't the spaceships always land in Pittsburgh?" - S.J. Rozan

"What could be more noir than Iowa?" -Priscilla Paton

"I wrote a book that many dozens of people read." - G.M. Malliet

"I once got into an argument with George Clooney about Janet Jackson's breasts." - Kellye Garrett

"The way I know that I really love a book is I lose time in it." - Chantelle Aimée Osman

"If you write novellas, write science fiction." - Kate Thornton

"This is actually true.  I got it off the internet." - Ovidia Yu

"It's not particularly funny if someone is behind you with a gun.  But if the gun has a hair trigger and the guy has the hiccups...." -Timothy Hallinan

"I have my thought back." - Judy Penz Sheluk

"I don't want to love your book as much as you do because if I do I'll be blind to what needs to be changed." - Chantelle Aimée Osman


"The subject of furry novels is a thing." - Lisa Alber

"Me and God talk.  We go way back."  - Laurie R. King

"Hit the spellcheck button.  My fifth grader can find it." -Stacy Robinson

"If you get in the 150,000 word range, go do something else for a while." - Kate Thornton

"You never had a blog critic or a Kirkus review like a defense lawyer whose client you're sending to prison." -James L'Etoile

"When you call a police officer and say you want to research guns, you have to preface it in a certain way." - Judy Penz Sheluk

 "I call myself a book therapist." - Zoe Quinton

"Our experiences are all of our senses." - Elena Hartwell

"I'm delighted to still be living in a country that puts a U in humour." - D.J. Wiseman

"There are a lot worse things to believe in than God." -Suzanne M. Wolfe


"Most of the criminals I work with don't read." -James L'Etoile

"I can bang a short story out in eighteen months." - Kate Thornton

"If you're writing about someplace you don't live, make the protagonist a visitor." - Elena Hartwell

"When I started writing police procedurals I found it was very therapeutic, because you can kill your boss." -Robin Burcell

"Then an auditor dies under mysterious circumstances, the best circumstances to die under." -John Billheimer

"If you have someone speaking in an accent in a mystery, call it literary." - Kate Thornton

"I studied comparative religion, which made sense because I am comparatively religious." -Laurie R. King

"One thing I love about writing about small towns is that I can legitimately have cell phones not work." - Elena Hartwell

"You can do research forever, because you don't have to write while you're doing research." - S.J. Rozan

"I lived in England for five years and I did not want to leave.  I was not forced to leave, I might add." -G.M. Malliet

"I was so good at living in California I could have moved to Portland." - Catriona McPherson

"It is really funny to go in a bar with six cops, because they're always going to want their backs to the wall, and there aren't that many walls." - R.T. Lawton



"The only thing better than holding a book is holding a book with your name on it." - Kate Thornton

"You have to be willing to give me your darling and know I will slash it to ribbons." - Stacy Robinson

"I'm exactly like my hero except she's young, tall, and has hands big enough to hold a gun right." - T.K. Thorne

"After  every first draft the flame goes out." -James L'Etoile

"You see those people wearing shirts that say I Love New York and it tells you they are not from New York." -Vinnie Hansen

"I'm a psychotherapist.  I heal by day and kill by night." - Bryan Robinson

"A short story needs to have one point and your reader needs to get it right through the heart." - Kate Thornton

"Morris dancing is next, right after the sex." - Jeffrey Siger

"I think there probably is humor in heaven, or earth wouldn't look like this." - Ovidia Yu

"I have the right to remain silent."  - R.T. Lawton

27 August 2018

Crime in Translation


Introducing special guest Ken Wishnia…
Part of the Bcon panel:
Wishnia, Lopresti, and Jason Starr,
photographed by Peter Rozovsky
We have a special guest today. I first met Ken Wishnia at a Prohibition-themed nightclub in Chicago named Tommy Gunn's. It was Bouchercon weekend and the Private Eye Writers of America was having its annual Shamus banquet. Years later Ken edited Jewish Noir for PM Press and found a place in it for one of my stories. This led to me being on a panel about the book, one of my favorite Bouchercon experiences.

His novels include 23 Shades of Black, an Edgar Allan Poe Award and Anthony Award finalist; Soft Money, a Library Journal Best Mystery of the Year; Red House, a Washington Post Book World “Rave” Book of the Year; and The Fifth Servant, an Indy Notable selection, winner of a Premio Letterario ADEI-WIZO, and a finalist for the Sue Feder Memorial Historical Mystery Award.

His short stories have appeared in Ellery Queen, Alfred Hitchcock, Queens Noir, and elsewhere. He teaches writing, literature and other deviant forms of thought at Suffolk Community College on Long Island. He appeared briefly at SleuthSayers once before, but this is his first guest star appearance.

— Robert Lopresti

CRIME IN TRANSLATION
by Kenneth Wishnia

I was thrilled when my publisher announced their plan to bring out Blood Lake, the last novel in my series featuring Ecuadorian-American female investigator, Filomena Buscarsela, in Spanish translation. Latin American readers would finally get to read this novel based on my experiences living in Ecuador for three years, during which time so much crazy crap happened to me that I couldn’t even fit it all into one book. And I would actually get to work closely with the translator.

Good thing, too. Aside from some simple misreadings--a “flaming sword” somehow became a “famous sword,” and a beat-up old car described as a “rattletrap” was translated as un ratonero, a “mousetrap,” which is definitely not the same thing--you might never realize just how many culturally-bound idioms you use in a story, much less a full-length novel, and just how hard they might be for a native of another culture to understand. Let’s just say that most native Ecuadorians have no idea what “Super Bowl Sunday” is. We also had quite a bit of trouble finding the Spanish equivalent of “thick-bladed front-opening lock-back stilettos with good balance and throw weight.”

Can’t imagine why.

I learned some fun stuff, too, like the fact that a police APB (All Points Bulletin) is called a “descubrir y aprehender” in Spanish. Remember that: Someday it may save your life.

I learned the Spanish for “freaking” is freaking.

And you’ll be happy to learn that the Spanish title of the classic 1950s sci-fi movie, It Conquered the World is El conquistador del espacio. You’re welcome.

I also had fun working in some of my own experiences with language during the writing of this novel. For several months, I was a civilian employee teaching English to members of the Ecuadorian Army, and at one point during classroom conversation, I used the word “fear,” and they gave me nothing but blank looks. When I pressed them on it, none of them knew what the word meant. I praised them for their bravery, citing this as proof that “The Ecuadorian army does not know the meaning of the word ‘fear.’”

But it wasn’t all fun and games, alas. Ecuador is a beautiful country continually wracked by natural and man-made disasters—landslides, floods, food shortages, protests, crackdowns—and one corrupt government after another. Although these circumstances are not as life-threatening as the dangerous and destabilizing conditions that have led to so much migration by Central American refugees to the United States, such distinctions don’t matter much when these desperate people reach Long Island, where I live and work.

Several years ago, Ecuadorian immigrant Marcelo Lucero was murdered by some “nice” kids from stable, middle-class suburban homes who hopped into an SUV one night and drove to the town of Patchogue looking for a “Mexican” to jump. Another Ecuadorian immigrant in the news recently is Pablo Villavicencio, an immigrant who came to the US illegally in 2008, but who never committed a crime, who is married to a US citizen, has two children who are US citizens, and who applied for a green card in February: he’s the guy who was arrested by Immigration and Customs Enforcement officials and held for deportation after delivering a pizza to Fort Hamilton in Brooklyn.

That’s one of the things that attracts me to crime literature in the first place: it puts us in someone else’s shoes, so we can experience the shared humanity of the “strangers” among us. It poses basic questions about crime and punishment, about justice and injustice, about who gets caught and who gets away with murder. Studies have shown that reading any kind of well-written fiction, no matter what genre, increases the reader’s empathy toward others.

And we all need a little empathy now and then, don’t we?

13 May 2016

Anthony Award Finalists: Best Anthology or Collection


By Art Taylor

Last week, Bouchercon announced this year’s finalists for the Anthony Awards, and I was pleased to get two mentions on that slate: one for my own writing, with On The Road With Del & Louise (Henery Press) earning a nomination for Best First Novel (just on the heels of winning the Agatha in that category the week prior), and another on behalf of the contributors to Murder Under the Oaks: Bouchercon Anthology 2015 (Down & Out Books), which earned attention in the Best Anthology or Collection category. I’m honored, needless to say, with the attention! And congratulations as well to fellow SleuthSayer B.K. Stevens, whose Agatha-nominated novel Fighting Chance earned another honor as a finalist for this year's Anthony for Best Young Adult Novel—great news all around!

Soon after the Anthony news came out, I reached out about hosting here a quick chat with the other finalists for Best Anthology or Collection:

I have a couple of these anthologies already on the shelf, and I’ll be picking up the others soon, and just wanted to offer a chance for all of us to share some information about our respective collections and the writers who contributed.

Two questions each below, and everyone’s stepping to the podium (so to speak) in alphabetical order. Join me in welcoming them to SleuthSayers today!

First, while the titles of our respective collections already might give some sense of what readers will find on the pages within, how would you describe your own editorial principles/guidelines in selecting stories for and shaping your particular anthology—or in Chris’s case, for sorting through and considering your own stories?

Christopher Irvin: Witnessing the collection come together, story by story, was one of the most rewarding aspects of publishing the book. I'd kept an assortment of lists in notebooks over the past few years of potential line-ups for a collection, but it wasn't until late 2014 (when I was seriously thinking of pitching a collection) that I began to recognize themes of family, melancholia, regret, etc., that were present in nearly all of my work. It was a revelation that has since made me step back and reflect more on my work and the decisions (conscious, or more likely unconscious) that I make in my writing. Long story, short, the selection fell in along the above mentioned themes, trending a tad more 'literary' toward the end, especially with the four new stories in the collection. It's been fun to see how my work and interests have evolved over the past few years. It's one of the reasons I  really enjoy reading other author's collections as well.


Thomas Pluck: When you're putting together an anthology to fight child abuse, it inspires all sorts of anger in the contributors. It's a subject that we don't want to think about, and when we do, it quite rightfully ticks us off. The strong abusing the weak. So the natural instinct is for writers to tackle the subject head-on, and write about it. The first Protectors anthology has many more stories about children in danger, and while it was a great success, it made for a tough read. For the second book, I specifically asked for other kinds of stories. The book is called Heroes for two reasons: it's a loose theme, and the Protect H.E.R.O. Corps is who the book benefits. That stands for Human Exploitation Rescue Operative; the HERO Corps is a joint effort between USSOCOM and Immigration and Customs Enforcement, to train and hire wounded veterans as computer forensic technicians, to assist law enforcement in locating and rescuing the child victims of predators. It's a very tough job, one that combat veterans are suited for, because they have experience with the toll such a job takes. With such a heavy subject, I wanted lighter stories. And while we do have a few tales where children are rescued, the stories run the gamut from traditional crime and mystery, whimsical fantasy, historical mystery, revenge tales, horror, and tales of everyday heroism. The order was the tough part. It's a huge book of 55 stories. What I did was label each story with a colored sticky note, yellow for sunny or happy, red for rough or bloody, and blue for in between, and I arranged them like a palette. I played around until I could start strong with an uplifting tale or two, then dip to a few hard hitting ones, give readers a break, then hit them again, make them elated, then ease to a strong ending. Like a story.


Todd Robinson: I've always had the idea to do a Christmas-themed anthology. There are a couple out there, but none that feature the kind of lunatic writers that oil my gears, the writers who we published in Thuglit magazine.

I didn't do open submissions on it. I reached out to writers that I'd worked with at least two or three times each—writers who I knew would bring their own distinct styles to whatever they sent my way, and they truly outdid themselves. Considering the narrow theme of Christmas, I'm still amazed at how different each story is from the next. My guys and gals KILLED it.


Art Taylor: Murder Under the Oaks was produced in conjunction with last year’s Bouchercon in Raleigh, NC—which is nicknamed the City of Oaks and hence the collection’s title. In addition to featuring invited stories by some of the featured authors from the 2015 Bouchercon—including Margaret Maron, Tom Franklin, Sarah Shaber, Lori Armstrong, Sean Doolittle, and Zoë Sharp—we hosted a contest that garnered more than 170 submissions, which first readers trimmed to 27 that were sent my way. My goal in making the final selections was two-fold: first, I wanted to include the best stories I could, obviously (which wasn’t hard, since so many of the entries in that final batch were terrific in many ways), but second—in keeping with the missions of Bouchercon itself—I wanted to represent as wide a spectrum as possible of the types of stories that fall under that larger genre of “mystery.” Many readers are disappointed is a mystery anthology doesn’t include detective fiction, so I was careful to represent that segment of the genre with both amateur and professional detectives (a police procedural in the mix, in fact). But there are lots of other types of stories beyond that: from the cozy end of the spectrum to some really dark noir, from historical fiction to contemporary tales, a bit of raucous humor here, a more poignant story there, something close to flash fiction alongside a novella, and right on down the line. Balancing that mix was important to me, and I hope attention to that helped to provide something for all readers.


Kenneth Wishnia: First of all, we adopted a generous “You don’t have to be Jewish to write Jewish noir” policy, which turned out to be prophetic (and how Jewish is that?), because the collection includes stories by a diverse group of authors, including Asian-Canadian author Melissa Yi, Los Angeles’s own Gary Phillips, luminaries as Marge Piercy and Harlan Ellison, and self-professed survivors of Bible Belt redneck culture, Jedidiah Ayres and Travis Richardson—both of whom have been honored for their contributions: Jed’s story “Twisted Shikse” was selected for a forthcoming “best crime story of the year” anthology and Travis’s story “Quack and Dwight” has been nominated for the Derringer and the Anthony Awards. Mazl tov!

I also stressed that submissions did not have to be textbook “Noir with a capital N,” and so we ended up with stories depicting the Holocaust, cynical Jewish humor, the passing of generations, the Golden Ghetto phenomenon, child sexual abuse in the insular Orthodox communities of Brooklyn, anti-Semitism in the mid- and late-20th century United States, and the broader contradictions of ethnic identity and assimilation into American society.

Sounds pretty noir to me—even without the obligatory doomed detective and femme fatale slinking around dark alleys.


Second: There’s a whole range of different ways to tell a story, of course—but are there certain elements that consistently stand out to you as the hallmarks of a great story?

Christopher Irvin: Make me care, right? That's the bottom line that every editor wants. I need to empathize with characters—good, bad, ugly—no matter how long or short the work, I need to want to come along for the ride. My time spent editing for Shotgun Honey had a major impact on my writing to this end. Much of my writing, especially in Safe Inside the Violence, involves indirect violence or characters on the periphery of violence. Perhaps the run up to a seemingly normal encounter in their everyday lives.

There is a 700 word limit at Shotgun Honey. Authors need to bring it from the first sentence if they want to succeed. Often this results in an immediate violent encounter to up the stakes and keep the story moving. While this can be (and has been) done very well, reading these stories, learning from these stories, pushed me to go in a different direction. 


Thomas Pluck: My own writing, I write what interests me, what terrifies me, what angers me. I go for extremes, life-changing experiences, the things I would never want to discuss in public. It forces me to put my heart into it, and that resonates. While editing anthologies, I have to tone down my relentless inner critic, and just try to enjoy them. If I do, they go in the "good" pile and I think what could make them better, if anything. I have some legendary authors in here like David Morrell, Joyce Carol Oates, Harlan Ellison, Andrew Vachss. I didn't edit those stories, obviously. If there were typos in the manuscript, we corrected them together. There are a few authors who have their first publication here, who needed a little editorial help for clarity. That's my mantra: clarity, economy, then art.

What makes a great story? For me, I lose myself in them. The characters, the world, the story itself, they can't be ignored. Harlan Ellison's "Croatoan" is one. It begins with a scene so real, then descends into a nightmarish dream world, like the character is spelunking in his own subconscious. "Placebo" by Vachss is another, so spare, like a folktale. Not a word wasted. Some writers have that gift, a voice that draws you into their world. You either have it or you don't, the best we can do is trust the voice we have and let it do the work.


Todd Robinson: For me, it always starts with a great character voice and their arc within. If I don't care about the characters, why in sweet fuck-all would I care about their story?


Art Taylor: In the fiction workshops I teach at George Mason, I often quote John Updike on what he looks for in a short story: “I want stories to startle and engage me within the first few sentences, and in their middle to widen or deepen or sharpen my knowledge of human activity, and to end by giving me a sensation of completed statement.” That may sound kind of broad, but it strikes me as solid criteria—and solid advice for writers too in crafting their own stories. A couple of words I come back to time and again are compression and balance. In terms of compression, I look for stories that start as close to central action as possible (the conflict hinted at right there in the first paragraph or first line) and then rely on sharp and suggestive details rather than lengthy explanations—glimpses of larger lives and bigger stories beyond the edges of the page. Balance can refer to many things: between character and plot, for example (each informed by the other), or between beginnings and endings—especially in terms of endings that seem both surprising and inevitable in some way, as if every line, every word, has been building inexorably toward where the story ends up. When a writer can manage compression and balance—and then entertain all along the way… well, that story is a keeper, for sure.


Kenneth Wishnia: I was looking for the same elements that I look for in a great novel: vivid, compelling writing (Reed Farrel Coleman’s “Feeding the Crocodile,” which is up for an ITW Thriller Award for Best Short Story), a suspenseful set-up that engages the reader right away (Charles Ardai’s “Who Shall Live and Who Shall Die”) or a non-traditional story that makes me laugh at life’s absurdities (Rabbi Adam Fisher’s “Her Daughter’s Bat Mitzvah”). Some authors hit the trifecta (David Liss’s “Jewish Easter”), but I would have accepted any combination of two out of three, or even just one if the author really nailed it.


A quick final word from Art: Do check out all these anthologies yourself—and look forward to seeing everyone in New Orleans later this year!




26 January 2016

Left Coast Criminals


Hey, I'm heading out for the second mystery convention of my life, Left Coast Crime! Whatever shall I do? Especially if I want to save money?


Well, I’ve got three travel tips for you budget-conscious sleuths already.

1.     Register early. You knew this. I blew that one, waffling about whether or not I would attend. So, late registration for me. $275 U.S. at a time when the Canadian dollar is plunging. Luckily, I had enough USD to cover it.

2.     Google your flight.
 I used a lot of different flight sites, but I found them frustrating. A lot of them want you to choose both departing and return flights together, without offering good options (one gave me a 13 hour layover. Are you kidding me?).
For example, I’m appearing at the PoisonedPen Bookshop's International Fiction Night featuring Jewish Noir night at 6:30, so I have to arrive in time on February 24th. And flying back to Montreal on a Sunday is not a popular option. Only Google let me choose arrival and departure times for both flights, sifting impartially through different airlines.

3.     Airbnb
I’ve almost always had a good, and occasionally above-and-beyond experiences through airbnb, where you stay in someone's home. Although of course staying at the hotel is a swanky and convenient experience, I like meeting people, and sometimes they offer me food! Plus, what the heck. If you sign up with this link, we both get a few bucks off: https://www.airbnb.ca/c/myuaninnes?s=4&i=1

Now you're going to ask me, why go to a con?
1.     You could sell a book, like Michael J. Cooper sold The Rabbi’s Knight.
Michele Lang, Michael J. Cooper, and Melissa Yi. Yes, that's Jewish Noir instead of The Rabbi's Knight. Collect 'em all!
 2.     You could hook new readers. I live in rural Ontario. I can pretty much guarantee that no one in Phoenix has ever seen one of my books, let alone bought one.
3.     You could make friends. Travis Richardson told me a lot of writers hang out by the bar. He’s bringing his whole family!
4.     You could sell a short story or two. Hey, that's how I got into Jewish Noir.
5.     You could get some story ideas. I feel creatively listless right now. Maybe a con will help.
6.     It’s a vacation. I don’t remember ever going to Phoenix. My parents did drag me on a cross-continental trip to California one summer when I was little, so it’s possible I did go and don’t remember it except as a blur from the back of a van.
7.     Fanboy and girl squees. For me, this translates to “Dana Stabenow will be there!” I'll also be on a panel with Chantelle Aimee, Fan Guest of Honor (uh huh. Can't say anything more than that).
8.   Kenneth Wishnia told you to.

 
Why NOT go to a con?
1.     No time
2.     No money
3.     No interest
4.     Guilt
For me, it’s number four. I feel like I shouldn’t spend money on my writing. I should just slave over my laptop, ratcheting up my word count, sending out my stories, and get magically discovered by readers while I continue to work, work, work. I could be helping patients in the emergency room. I could be getting my kids on or off the school bus. Plus, I try not to travel because of carbon emissions.

Other people don’t feel this guilty. Theoretically, I’m allowed to have a vacation. My hair stylist, Christina Peeters, said simply, “I work hard. I deserve it.” Kris Rusch talks about how essential it is for writers to do continuing education. And the money’s mostly already spent.

Soooooooo…what about you? Do you go to cons?
And if you’re going to this one, see you at Left Coast Crime!

07 October 2015

In the book, from the Book


I have a ridiculous three stories coming out in anthologies this fall.  I wrote about one of them here and here is number two. Last year at Bouchercon in Long Beach there was a panel entitled "Jewish Noir."  I couldn't attend but my wife did and it turned out to be about an anthology that was being planned.  Afterwards Terri talked to the editor, Kenneth Wishnia.  She asked two questions: were there any openings left?  And did the authors have to be Jewish?  Ken replied: yes and no, in that order.


Now as it happens, I am not Jewish but my wife and daughter are, so I have some familiarity with the culture.  Could I come up with something appropriate in a hurry?

I remembered one of my favorite Jewish tales, a Midrash, meaning a story the Rabbis invented to explain something odd in the Bible.   It tells of Nachshon, a Hebrew slave in Egypt who saved the day at the parting of the Red Sea.  When I first heard the tale I loved it so much I wrote a song about it.  Now I saw how I could use it as the kernel of a story for the Jewish Noir anthology.

I checked it with my two favorite experts on Judaism, Steve Steinbock and Terri.  They offered useful suggestions.  (By the way, here is Steve discussing, among other things, my song on the subject.)

I wrote fast and what do you know?  Ken Wishnia bought it.  So I am happy that "Nakhshon" (all the stories had to use the same alliteration system) found a place beside stories by Marge Piercy, Harlan Ellison,  SJ Rozan, and many others.


Here's a video of that song, by the way:





*    *   *   *


Changing the subject!  Last week I gave you 25 movie quotations.  Here are the titles of the movies, and who said each line.

Oh, remember  I said there were two movies in a row based on books by the same author, with the same character?  Parker and Payback, based on novels about Parker, by Richard Stark.

Enjoy.


1. Your mother mates out of season. - Sam "George" Francisco (Mandy Patinkin) Alien Nation

2. Get off my lawn! -Walt Kowalski (Clint Eastwood) Gran Torino

3. You can tell, you can really tell. You must be physic!  -  Lew Harper (Paul Newman)  Harper

4. Forget it Nick... it's Sandford. - Danny Butterman (Nick Frost) in Hot Fuzz.

5. -There's no sacrifice too great for a chance at immortality.
-Yes sir. -Dixon Steele (Humphrey Bogart)/ Waiter (George Davis) In A Lonely Place

6. -I got a hot date.
-Yeah?  Who is she and what did you arrest her for?   - Dick Stensland (Graham Beckel) / Bud White (Russell Crowe) L.A. Confidential

7. My name? If you knew that, you'd be as clever as me. -? (Daniel Craig) Layer Cake
8. -We makin' trouble for someone?
-Yep.
Which kind?
-The forever kind.   -Uncle John (Joe Dallesandro)/ Stacy (Nicky Katt  )  in The Limey

9. You're nobody till somebody shoots you.  - Earl (Laurence Mason) in The Lincoln Lawyer
 
10. Yeah, it's always heartwarming to see a prejudice defeated by a deeper prejudice.  -Cliff (Stephen Mendillo) Lone Star

11.  My old man used to say to me, probably the only thing we ever really agreed on, was that whoever has the money has the power. You might wanna jot that down in your book. It's something you're gonna need to remember.- Gary Spargo (Matthew Goode)  The Lookout.

12. I'm the girl they rush home from.  - Simone  (Cathy Tyson) Mona Lisa

13. I think all those stories about you being dead are true. You're just too thick-headed to admit it.  - Rosie (Maria Bello) Payback

14. -How do you sleep at night?
-I don't drink coffee after seven.   - Leslie Rodgers (Jennifer Lopez)/ Parker (Jason Statham) Parker

15. -I want to see my daughter.
-I don't think that would be a good idea.
-Why wouldn't that be a good idea?
-Because we hardly dared to look ourselves. - Duane Larsen (Michael O'Keefe)/ Jerry Black (Jack Nicholson), The Pledge

16. Do I ice her?  Do I marry her?  -Charley Partanna (Jack Nicholson) Prizzi's Honor

17. I'll catch up with you guys.  I forgot my bullets.  - Bobby Monday (Michael Shannon)  Premium Rush

18. No, I do not want that in the house. That is my car gun. My house gun is already in the house. Now, put that back in the glove compartment, and don't let me catch you fooling with my guns again.  - Wynn Quantrill (William Daniels) The President's Analyst.
19. -Is life always this hard, or is it just when you're a kid?
-Always like this.  Mathilde (Natalie Portman ), Leon (Jean Reno)  The Professional

20.  Well, if the woman up there is Mrs. Bates... who's that woman buried out in Greenlawn Cemetery? - Sheriff Chambers (John McIntyre) Psycho

21. You'll never see one dollar of this money, because no ransom will ever be paid for my son. Not one dime, not one penny. Instead, I'm offering this money as a reward on your head. Dead or alive, it doesn't matter. - Tom Mullen (Mel Gibson) Ransom

22. Go ahead. Jump. He never loved you, so why go on living? Jump and it will all be over...  -Mrs Danvers (Judith Anderson) Rebecca

23. Natural law. Sons are put on this earth to trouble their fathers. - John Rooney (Paul Newman) The Road to Perdition

24. - You ever kill anybody?
 - I hurt somebody's feelings once.  -Spence (Sean Bean) / Sam (Robert DeNiro) Ronin

25. -Where you going?
-To the Lincoln Memorial.
-It's closed.  It won't be open for another hour.
-I don't understand.
-He's an old man.  He needs his sleep.  -Luther Burton (Milton Berle)/ Girl Scout Leader (unidentified) Who's Minding The Mint?