The Two-Sentence Trick

 

I sold a story to an anthology this week.  I can't tell you about that yet but I want to tell you about a tool, new to me, which I used.

I have always been a plotter rather than a pantser, but I don't usually outline.  I knew this would be a longer story than I have been writing lately -- it turned out to be 7,500 words which I then had to (shudder) edit down to 6,000 -- so I decided to outline it.

But here's how I did it: For each scene I wrote two sentences. The first told what happened.  The second explained why it was important. Or putting it another way: How did this scene advance the plot? (Because if it doesn't, why is it there?)

This was particularly appropriate because this mystery story really was a mystery story, meaning my protagonist had to solve a crime.  My system made it easy for me to keep track of the clues.

For example: 

Scene 6. Chickie, the manager,  confronts them and says he doesn’t want Hilda back because she caused them trouble by getting arrested.  They learn that  Surebank is the insurance company involved in the theft.

Got it? The first sentence is what happens in the scene.  The second sentence tells me what the protagonist got out of it. 

Worked for me. This time.  Who know what will happen next time around?

Today in Mystery History: April 2

 

Time for the 14th stop on our tour of the genre's past.

April 2, 1879. Hulbert Footner was born in Ontario.  He explored the northern part of the province (Lake Footner is named in his honor) and then became an actor, traveling across North America in a play called Sherlock Holmes.  He wrote adventure stories and more than 30 detective tales about Madame Rozika Storey who solved crimes with her less-brilliant assistant.  Some of his other crime novels were made into movies.

April 2, 1914.  Alec Guinness was born in London.  He starred in some wonderful films in our genre (Kind Hearts and Coronets, Our Man in Havana, The Lavender Hill Mob) but to me he is immortal for the greatest performance of John LeCarre's master spy, George Smiley, in TV's Tinker Tailor Soldier Spy and Smiley's People.

 

April 2, 1920. Jack Webb was born in Santa Monica, CA.  In 1949 he starred as an unlicensed private eye in the radio show Pat Novak, For Hire. In 1950 he performed in  two classic genre movies: Sunset Boulevard and Dark City. But you know darned well what he is remembered for: he created and starred in the radio show Dragnet (1952-1957) which also played on TV from 1952-1959.  Yes, he played Sgt. Joe Friday on radio and TV at the same time.  He brought the show back to TV from 1967 to 1970.  The highly-stylized police procedural was much quoted, copied, and mocked.

 

 April 2, 1931. The birth date of another Ontario mystery writer.  Howard Engel wrote sixteen novels about Toronto private eye Benny Cooperman. In Memory Book the detective suffers a blow to his head (as have how many other fictional sleuths?) but this one resulted in his inability to read.  This was based on the results of an actual stroke Engel suffered.

 

April 2, 1950. This Week Magazine featured Ellery Queen's short story "The Sound of Murder."

 

April 2, 1974. The Sting won the Oscar for Best picture.  Can you hear "The Entertainer?"

 

April 2, 1980. The Long Good Friday was released.  The wonderful Bob Hoskins as a gang boss  under attack.  "You don't crucify people! Not on Good Friday!" 

April 2, 199?. On this date Detective Mike Hoolihan tells us about the case she can't let go of.  Thus begins Kingsley Amis' novel Night Train.

 

April 2, 1999. Robert Altman's Cookie's Fortune  was released.  Glenn Close and Julianne Moore starred in a movie about the results of an old woman's death on a small town.  It was nominated for an Edgar.

 

April 2, 2002. Henry Slesar died in New York City, where he was born.  In between he wrote  mysteries and science fiction, but is best remembered for the adaptation of his work to Alfred Hitchcock Presents and The Twilight Zone.  His first novel, The Gray Flannel Shroud, won the Edgar Award. He also won an Emmy as head writer for the only crime-focused soap opera, The Edge of Night.

 

April 2, 2012.  On this day New Jersey mobster Sal Caetano told a gang of Mafiosi that he wanted a screw-up killed.  Thus begins Greenfellas, written by somebody named Lopresti.

And there we draw the veil.

 

Comedy is Hard

 

Kenneth Wishnia is no mean author of mysteries, but he also teaches English at Suffolk County Community College in New York.  I am delighted that this semester one of his classes is using as a textbook the anthology I edited, Crimes Against Nature: New Stories of Environmental Villainy.

A couple of weeks ago I had the privilege of speaking to his class via zoom.  They asked a lot of great questions and - how wonderful! - had clearly read the material.

But I want to talk about one point that came up.  Someone asked which authors had influenced me and that led to me rambling about Donald E. Westlake and how terrible the movies based on his books had turned out.

Ken spoke up in defense of The Hot Rock, which I admit is the best of them, but that got me trying to think of a first-class movie comedy based on a humorous novel.  At first I couldn't come up with any. Eventually I remembered some and realized how few of the novels in question I had read.  So I am going to list what I came up with and invite you to add more.

CATEGORY 1: Read the book and seen the movie.

The Princess Bride.  One of my favorite movies, and it is based on a great book.  Perhaps not surpisingly the screenplay was written by the author of the book, William Goldman.  In As You Wish by Cary Elwes (who played Westley) we learned that on the first day of production they had to stop filming because the sound man was picking up strange noises.  It turned out that Goldman was at the far end of the set praying out loud that director Rob Reiner did not ruin his masterpiece.  Happily his prayer was granted.

American Fiction.  Based on the novel Exposure by Percival Everett.  This is a case where I liked the movie better than the book, possibly because I saw the movie first.  Both are delightful.  

Confess Fletch. Based on Gregory Macdonald's novel.  Don't get me started on the more successful Chevy Chase movie Fletch, because I despise it.

Thank You For Smoking, based on the very funny book by Christopher Buckley.

CATEGORY 2: Seen the movie but haven't read the book.

The Russians Are Coming! The Russians Are Coming!  Based on Nathaniel Benchley's The Off-Islanders. By the way, his father was Robert Benchley and his nephew was Peter Benchley.  Quite a talented family.

Bananas. "Elements" of the plot are from Richard P. Powell's novel Don Quixote U.S.A. 

M*A*S*H. Based on the novel by Richard Hooker, alias Hiester Richard Hornberger, Jr. and W.C. Heinz. HRH really had been a surgeon in Korea.

Mister Roberts.  Based on the novel by Thomas Heggen.  Heggen's success ruined him.  He couldn't figure out how to write a second book and drowned in a bathtub at age 30 with a heavy dose of barbiturates.

The Devil Wears Prada, based on the novel by Lauren Weisberger.

About a Boy, based on the novel by Nick Hornby.

No Time For Sergeants, based on a play by Ira Levin, based on the novel by Mac Hyman.

Our Man in Havana. Graham Greene wrote the screenplay, based on his own novel. A few years ago Christopher Hull wrote Our Man Down In Havana: The Story Behind Graham Greene's Cold War Spy Novel. It's interesting but a more accurate subtitle would be: Graham Greene's Experiences in Cuba.

Kind Hearts and Coronets.  "Loosely based" on Roy  Horniman's 1907 novel, Israel Rank: The Autobiography of a Criminal.

Bridget Jones' Diary, based on the novel by Helen Fielding.

Kiss Kiss Bang Bang.  Remembered this one at the last moment!  Shane Black had apparently written most of the script when he decided it needed to be a crime story.  He took the detective elements from Brett Halliday's Bodies Are Where You Find Them and wrote/directed a very funny flick.

CATEGORY 3: Haven't read the book or seen the movie, but I've heard they are  good things bout both..

Clueless.  A California high school girl's attempts at good deeds backfire.  Based on  Emma, the only Jane Austen novel I could not get through. 

Breakfast at Tiffany's. Based on Truman Capote's novella.

Election. Based on the novel by Tom Perrotta.

Crazy Rich Asians, based on the novel by Kevin Kwan.  

Mrs. Doubtfire, based on Madame Doubtfire, by Anne Fine.

So, what am I missing? I'm sure you will mention some that make me bang my head in frustration for not thinking of them  Remember, it has to be a good comedy based on a novel.

The Three-Legged Author Talk

Photo by Joseph Gonzalez on Unsplash

From time to time, we writers are asked to speak about our work. Some of us enjoy it. The rest of us scamper away and hide. The profusion of words we conjure up so easily in our work dry up the moment we step in front of an audience. Even if we have carefully outlined our talk ahead of time, it sounds unconvincing the moment it drops from our lips. 

What are we missing? Heart. Simply put, we are forgetting to give ourselves to the audience. I think if you knew just how easy that is to do, you’d volunteer for such talks.

About a decade ago I was in the audience at a weekend library event on Long Island, New York, where a well-known author was about to give a talk on the occasion of his latest book. As I took my seat, I dug in my pocket for my pen and notebook. I do this every time I’m in an audience, provided there’s enough light to see. Force of habit, I guess, for a former reporter.

Most of the time, I don’t bother taking notes because what I’m hearing is not worth capturing.

The speaker on deck that day was Garth Stein, author of a No. 1 New York Times Bestseller called The Art of Racing in the Rain. You may have read it. It’s heartwarming literary fiction about a golden retriever who dreams of being reincarnated as a human. (In the film version, the dog narrator was voiced by actor Kevin Costner.) Besides the movie, the book has since spawned a middle-grade/YA edition and four children’s picture books.

After the talk, as attendees traipsed out of the auditorium to buy books and have Mr. Stein sign them, I reviewed my notes and realized that he had used a very compelling structure to shape his talk. It was supremely logical, and has stayed with me all these years.

Open With What They Know

Mr. Stein had worked as a director, producer, and screenwriter of documentary films. At the time, he had produced three films, written two plays, written five novels, written one of those picture books, and won an Academy Award for short film. But on that day in the library, it was a safe bet that everyone in the bookish audience had heard of him because of his “dog book”—even if they hadn’t read it!

A lot of writers who are “perhaps best known” for a particular book rail against talking about that one. One writer I know tells people who hire him for speaking engagements that he will only talk about his current book. That’s his ground rule for book clubs too. He doesn’t want to talk about the same book for fifteen years.

Rather than shy away from the dog book, Mr. Stein made it the lede of his 45-minute talk. He told a charming story about how he got the idea, the struggles he had writing it, and at long last his agent’s reaction to the finished work.

“The book is narrated by a dog!” the agent said.

“Yes it is!”

“You can’t do that,” the agent said, enumerating all the reasons why.

Mr. Stein had a momentary crisis of faith, then he canned the agent and found one who believed in his work. A great story, because who can resist the tale of an artist standing by his work? Knowing just how hard it is to find an agent, I was impressed. And of course, it helped immensely that the book hit the bestseller list. It was the perfect squelch to the first agent’s objections.

The Valley of Youthful Dreams

From there, he swiftly recounted how he first dreamed of becoming a writer, and the sacrifices he made to get there. I don’t need to share his story because anyone who writes has plenty of material to work with. In this section, he also described his manner of working, because for some hilarious reason civilians always want to know about a writer’s PROCESS—a word I have come to hate.

“What’s your process?”

“So, what your process like?”

“Tell us about your process.”

Jeez Louise, you would think it was some kind of bewildering mystery.

So…if you are going to give a talk using this structure—which is where this is all going, if that isn’t already obvious—I will tell you right now that the folks in the audience don’t want to hear, “Well, um, I just sit in a chair and make sh*t up until it’s done.”

No way. Romance the heck out of them. Tell as good a story about your writing of a story as the ones you sell to your editors.

Heck, Gay Talese told a reporter once that he hung his typewritten pages on a clothesline in his New York City apartment, using clothespins. Then he read those pages from across the room with a pair of binoculars. He insisted that this was the only way he could develop the requisite distance to judge and edit his work. (No, I am not making this up. I heard a recording of the interview in college.)

If you don’t have a process, steal Talese’s. Or tell people that in between writing short stories, you write earwormy songs about the Ides of March. (See below.) Make yourself adorable. You probably are; you just can’t see it.

Wrap with What’s Hot, What’s New

Mr. Stein wrapped his talk by discussing his latest book. Makes perfect sense, right? That’s the reason he was on tour! Even here, he repeated some of the classic storytelling beats: how he got the idea, the challenges that he knew he would face during the writing, and the ones he didn’t expect. In any good story, there are always hurdles to overcome. Audiences eat that up. Such anecdotes are perfectly acceptable so long as you have triumphed.

Sometimes the triumphs are small ones. My wife and I have written a few books together. Three have been works of nonfiction history. For the entire writing period of that first book, we stopped in the middle of the day, got in the car, and drove to one of those restaurants in town that sell prepared meals. We’d buy a sandwich or salad out of the case, drove right back home, and eat lunch together on the front porch. It was summer. The weather was always beautiful in the Carolina mountains. We were working so hard to meet our deadline, and this was our only way to enjoy the weather. Crumbs swept from our laps, we went back into the office to write for a few more hours. We did that for three months straight, weekends included, until we had a decent first draft. Every time we tell this story, a chorus of awwwwws ripples through the audience.

You don’t have to try very hard. People like a story that makes them fall in love with the writer. If they think they understand you on a personal level, they’ll be moved to try one of your books or they’ll turn to your story first when they pick up an anthology. Hey, it happens every time I hear Lisa Scottoline speak. She’s hilarious, and I want to spend more time with that voice on the page.

Remember the three-legged stool: The thing they know. Your writer’s journey plus process. What’s hot right now.

It’s so easy, you don’t have to obsess about it. You just have to recount things that really happened, and make sure your anecdotes conform to the usual story beats. Up/down, try/fail, culminating with…success. If you show up for the audience, they will show up for you. Your obligatory Q&A session at the end will be a delight.

Years later, when I came across my Stein notes, I realized just how critical each part of this three-legged stool structure was to the overall effect of the talk. If he had omitted one, the stool would have collapsed.

If he had not opened with the dog story, or if he had not spoken of it at all, it would have been thrumming in the back of everyone’s mind. If he had opened with the new book, we’d be panting like dogs to ask him about his hero, Enzo the golden retriever.

Following his big success story with another up/down tale of his writing journey—a story nearly every writer has of trying and failing until something clicks—stoked our sympathy. By the time we got to discussing his latest book, we were all so emotionally invested in his career, we were eager to stick around to learn what happens next. He had coaxed us on a journey of suspense to boot.

At the end of the signing, my wife announced that all of us were going out to lunch at a cute place not far from the library.

“Who’s all of us?”

Well, Mr. Stein, of course. Plus two other writers, my wife, and me. I was only expecting to dine with my wife and our hostess for the weekend, who was, yes, a writer. (No one ever tells me anything.) A publicist from the publishing house came as well, making a party of six, but she left early. Folks, believe me when I tell you that she and I were the only ones at the table who had not been on the bestseller list.

That all changed some years later. But that’s a story for another time. Until then, go forth and tell the world about your work. You’ll kill. I just know it.

See you in three weeks!

Joe
josephdagnese.com

Watch Rob’s video tomorrow on the 2,068th anniversary of Julius Caesar’s assassination.

Speaking of killing, short story writer and fellow SleuthSayer Robert Lopresti debuted this March-appropriate song this week. Since it refers to a murder, I feel it’s appropriate to include on this blog. I just happened to see the video shortly after he posted it, while I was diligently adhering to my daily procrastination regimen of dog training, gardening, and home repair videos.

Rob reports that he is taking a songwriting class and this video represents a rare case of him doing his assignment. He’s playing an autoharp, which is resting on his lap and goes unseen in this video but appears in others on his YouTube channel. (You might enjoy his album of droll folk songs here.)

Fun fact I learned in high school Latin class: the ides are not always on the 15th of a month. Discuss.

With knives and flowers coming out of hiding, Spring must be just around the corner! Well done, Mr. Lopresti.

Dinner Party Detectives

 Foil Arms and Hog, those wonderful Irish comedians, are investigating a tragedy...

A Jury of Her Peers

Something different today.  This is the anniversary of the publication of a classic short story, which happens to be a tale of murder and detection.  Susan Glaspell's "A Jury of Her Peers" first appeared in Every Week Magazine on March 5^th, 1917.  It was based on a play she had written called Trifles, which itself was inspired by a murder case she covered as a reporter.

It is considered a classic early feminist tale.  It appeared on Alfred Hitchcock Presents.  Among the authors who borrowed Glaspell's major plot conceit are Roald Dahl and W.P. Kinsella.  

You can read the story here. Or watch this Academy Award-nominated short:

Boob Tubery

The Belgian Original

Let's talk TV.  Not long ago I finished watching a  series. Then I watched it again, but different.

(Old philosophical question: Can you step into the same TV series twice?)  But Professor T is sort of a set of  non-identical twins.

The first iteration of Professor T was a Belgian series (2015-2018) starring Koen De Bouw as a highly eccentric but brilliant professor of criminolgy at the  University of Antwerp.  He assists the police there while struggling with his considerable assortment of neuroses, especially a germ phobia.  He also has an unfortunate addiction to telling the truth, no matter who it hurts.

Professor Teerlinck is an example of the Holmes school of annoying genius detectives.  Fun to watch but hell on the people who work with them.   One of the entertaining aspects of the show is that we see the Professor's active fantasy life acted out before our eyes. So the police officers will suddenly start dancing, or a rival professor might explode...

The British Version

I have been watching the show on PBS and now you can also go there to see  its relative, the BBC version. In this one Professor T is Jasper Tempest, a Cambridge scholar played by Ben Miller (the original star of Murder in Paradise.)  All of the plots are borrowed from Belgian episodes, with significant differences, of course, and those changes are what fascinates me. For example, in an episode called "The Perfect Picture" the plot is mostly the same but the motive and murderer change.  It feels very much like the authors of the British episode had a grudge against a certain profession and modified the plot accordingly.

The biggest change, though, is the story that ends Season Two in both series.  It feels like the English team wimped out on this one, although to be fair, this may relate to a difference in the laws in the two countries.

On the whole I liked the Belgian version better, largely because of the main actors. Miller plays the professor with only two expressions: Man With Toothache, and Man Pretending Not To Have Toothache.  De Boew on the other hand, has mostly one expression: supercilious superiority, which  fits the character better.  (To be fair, he has one more facial tic: terror when he is around his mother.)

British Fantasy Scene

And that brings up one area where the British version wins: Frances de la Tour plays Mom and if you don't love Frances, fie on you. Another place where the Brits prove superior is the surreal scenes from Prof T's imagination, although they seem to have forgotten to include them in the last few episodes.

You might want to compare our own Janice Law's take on the Belgian version.   Oh, apparently there are German and French versions too, but they haven't shown up on my screen so far.

Now I would like to talk about  the new reboot of Matlock. There are spoilers ahead so if you plan to watch the show please stop reading now or jump down below the picture of my cat.

Okay?  Everybody gone?

The new Matlock is a Trojan horse.  It cheerfully promotes itself as a reboot of the old show but it is nothing of the kind.  All the two series have in common is a senior citizen lawyer with a Southern accent (very occasionally in the latter version).

Kathy Bates plays a lawyer pretending to bear the name of the old TV show (which is fictional in her universe) but she is carrying out a convoluted scheme and a lot of what she says turns out to be lies.

The series this reboot resembles more closely is Mission: Impossible.   At the beginning of each episode of that old spy show we learned a little about the team's cunning plan.  But at some point (usually just before a commercial break) something would appear to go disastrously wrong.  Only after the ad for corn flakes or whatever would we learn whether the disaster was 1) part of the plan, 2) not part of it  but a contingency that had been prepared for, or 3) uh oh, we're in deep doodoo.

The same thing happens frequently in the reboot.  For example, Matlock gets caught in someone's office.  Is she in big trouble, or was this part of her scheme all along?  Cool stuff.

As other viewers have said this plot feels like it can't run for years.  I hope it is intended for a limited run.  Also the underlying story lacks the grim realism of, say, a Scooby-Doo cartoon.

But I keep watching it, largely because of  Kathy Bates, who each week offers a master class in physical acting.  When she is silent her face reveals more than the other actors do when they are speaking.

Okay, as promised, here are  my cats.

Quickies on two more crime shows I have been enjoying:

A Man on the Inside (Netflix). Ted Danson plays a widowed professor who is hired by a private eye to move into a senior complex and find a jewelry thief.  He isn't very good at it but the show is warm and funny and the elder actors (including Sally Struthers) are having a great time.

Where's Wanda? (Apple+) is in German with subtitles.  When the Klatt family's teenage daughter disappears the parents decide to plant spy cameras in every house in their lovely suburban neighborhood. They soon find that almost everyone has secrets, including members of the family.  The show is funny and sad and intriguing. But I have to say: I was almost at the end of the series when characters began behaving in such offensively stupid ways to keep the plot going that I gave up on the show.

Wishing you better luck. 

  

 

Stay Out of my Head

photo by Peter Rozovsky

 You have probably encountered Anthony Horowitz in one format or another.  He is a master of television, creating Foyle's War, being one of the first writers of Midsomer Murders, and so on.  His Susan Ryland novels and Alex Rider young adult books have been filmed for TV.

Recently I have been listening to audio versions of his Hawthorne novels.  They are deliberately odd books, featuring a narrator named Anthony Horowitz who writes novels and TV shows, and plays reluctant sidekick to Daniel Hawthorne, a former cop who was kicked off the force because he may (or may not) have thrown a pedophile down the stairs.  They are delightful fair play mysteries.

 Each book plays with the genre in different ways.  In the fifth book, Close to Death, Horowitz is on deadline to write another book but there are no convenient crimes to work on so he attempts to build a volume out of one of Hawthorne's former cases.  This means that big chunks of the book are in third person, since our narrator (Horowitz the narrator, not the audiobook's narrator.  Got it?) was not present for the events.

And that's where I got a big surprise.  At one point we are told that Hawthorne looked off and noticed something.  I don't have the exact wording because, as I have said, I was listening to an audio-book and it wasn't convenient to go back and find it. But I actually jumped a little when I heard that sentence.

Because we have never been allowed into the detective's head before.  That made even this tiny excursion there seem like a violation.  From then on I was paying attention and was able to copy down another example: "He didn't like to be close to people he didn't know." That is not narrator-Horowitz speaking but the omniscient third-person narrator, and it just felt like a violation.

The reason is that Hawthorne himself is a mystery (each book reveals a bit more about him, not all of it necessarily true) and also he is the detective.  We are not allowed to get into his head, because if we knew what he knew, the mystery would be over long before the end of the book.

This reminds me of something Mick Herron said at a Bouchercon I attended a few years ago.  He was talking about his Slow Horses series and he said he could never let the reader into the head of the main character, Jackson Lamb.  If he did we would know how much of his vulgarity, insults, racism, misogyny, etc. was real, and how much was put-on to annoy people.  So while we can get into the skulls of his other characters, Lamb must remain sphinxlike.  

I planned to end this there but I have been reading The Night the Rich Men Burned by Malcolm Mackay (what a title!) and he brings up a slightly different issue.  This Scottish author has a unique style.  I would guess that each of his books has almost twice as many words as another novel with similar page count, because there is almost no dialog.  Everything is happening, present tense,  in the heads of the characters.  If we learn that it is raining it is because a character notices it.

And he is quite casual about head-hopping, moving from one person's thoughts to another as easily as changing paragraphs.  Usually this would drive me mad but Mackay makes it work.  

So how do you feel about writers prying too closely into their characters' skulls?

Test the Best

This is my sixteenth review of the best short mysteries of the year. I am sure  the judges of Edgars, Derringers, etc. can relax since they can simply look here for all the greats (well, except for these and those.)  

If you mention this list, and I hope you do, please refer to it as something like "Robert Lopresti's best short mysteries of the year list at SleuthSayers," NOT as the "SleuthSayers' best of..." because my fellow bloggers are ruggedly independent and may well have opinions of my own.

There are 14 winners this year, down two from 2023. Ten are by men, 4 by women. The big winner is Alfred Hitchcock's Mystery Magazine, with three stories. Ellery Queen's Mystery Magazine, Down and Out Books, and White City Press each scored 2. One author has two stories in my list, which has only happened three times before. Five stories are by my fellow SleuthSayers.

Okay. Let's get down in the dirt.

Binney, Robert J. "Restoration Software,"  in The Killing Rain, edited by Jim Thomsen, Down and Out Books, 2024.

 

This is the story of a Seattle private eye, not exactly a  native to the city, but one who has been kicking (ahem) around the northwest for a long time.  "He might be an eight-foot-tall mythological savage covered in mottled, tangled fur, but he was no dummy."   Yup. Sasquatch, P.I.

 Chase, Joslyn. "Mall Cop Christmas Parade,"  in Alfred Hitchcock's Mystery Magazine, January/February  2024.

'Tis the merry season in California and Bradford Hines has a ticket to get back to his family in Maryland.  But he's in a busy mall and before he can grab that plane he wants to grab a wallet out of a man's jacket.  That part's easy, but Brad is not as  smooth a pickpocket as he thinks and a female security guard catches him in the act.  Or is that what happens? 

 Cody, Liza, "Don't Push Me,"  in Ellery Queen Mystery Magazine, July/August 2024.

This is Cody' fourth appearance in my best of the year list. Debby "Basher" Belker is a squaddy - a British soldier.  She has seen a lot of combat overseas but this story takes place in England and the trouble starts when she sees a man beating a small boy. True to her reputation,  she hits first and asks questions after.  Turns out the boy  is a thief, but the man is selling counterfeit goods.  The police have no interest in prosecuting him but Belker takes advantage of a possibility that does not exist in the United  States: She organizes a private prosecution. The crook's bosses object...

D'Agnese, Joseph S. "When Lilacs Last in the Dooryard Bled,"  in Murder, Neat: A SleuthSayers Anthology, edited by Michael Bracken and Barb Goffman, Level Short, 2024.

I have a story in this book. Joe is a fellow SleuthSayer.

It's Greenwich Village in 1859 and eccentric people flock to Pfaff's a German-owned tavern.  When a theatre critic is murdered there  poet and regular Walt Whitman decides to solve the crime before the police find out what goes on there and shuts the joint down.

Floyd, John M.  "Hole in my Soul,"  in Janie's Got a Gun: Crime Fiction Inspired by the Music of Aerosmith, edited by Michael Bracken, White City Press, 2024.

Hard to believe this is SleuthSayer Floyd's first mention on this list. 

The narrator  saves a child from dying in a horrible accident. Then he walks off down the street with something on his mind.  The fun part is finding out what.

Hannah, James D.F. "Do You See the Light?"  in Lost and Loaded: A Gun's Tale, edited by Colin Conway, Original Ink Press, 2024.

I have a story in this book. 

John owns a record shop, selling vintage discs to fanatical collectors.  His friend Danny makes his living as a clown at children's parties, which doesn't really match his personality: "You oughta be able hunt five-year-olds for sport." They suspect a very valuable album (five figures!) might be in a wealthy home in town, and decide to try a short career as burglars. It doesn't go well.

Mallory, Michael. "Who Wants to Kill Someone?" , in Alfred Hitchcock's Mystery Magazine,  January/February 2024. 

Michael is our newest SleuthSayer. and this is his second hit on my list. 

Bruce  signs up for a hit TV show called Who Wants to Kill Someone?  The cast is flown to a Central American country and one member is assigned the role of murderer and is then actually expected to kill a fellow performer.    Bruce is given the role of murderer and learns that  not everyone is who they appear to be and the actual plot of the show is different than it seems - but no less dangerous.  

O'Connor, Paul Ryan. "No One Will Believe You,"  in Mystery Magazine, March 2024.

Ayden is a dishwasher at a restaurant in the South Bronx, sharing  an apartment with four people ( he gets the couch).  His troubles really begin when he gets mugged at gun point by the most famous actor in the world,

“You can’t get away with this,” Ayden said . “You’re a movie star . I know who you are . Everyone knows who you are .”

“No one will believe you,” Ted Pace said...

Pochoda, Ivy.  "Johnny Christmas,"  in Eight Very Bad Nights: A Collection of Hanukkah Noir, edited by Tod Goldberg, Soho Crime, 2024.

The narrator, Davo, recently got out of the army and decides to get a tattoo.  He gets linked up to an artist named Johnny Christmas and immediately recognizes him as Mike Goldfarb, who he had known many years before at the Brooklyn House of Detention. Goldfarb was awaiting trial for running over his grandmother's landlord. Twice.    A nice character study.

Rusch, Kristine Kathryn, "The Bride Case,"  in Alfred Hitchcock's Mystery Magazine, September/October 2024.

This is Rusch's fourth appearance on the list. The narrator  is an attorney, on his way to an important homicide case, but  he  looks in on a colleague  trying her first divorce case.  Something goes wrong, life-changingly wrong, and the story shifts.  Later it changes again and we get to what the story is really about, as the narrator has to really think about his relationship with the law.

Troy, Mark, "The Car Hank Died In,"  in Tales of Music, Murder, and Mayhem: Bouchercon Anthology 2024, edited by Heather Graham, Down and Out Books, 2024.

Two horny teenagers decide the perfect place to fool around is the backseat of an old Cadillac.  Couple of problems with that: 1. The driver is about to take it out for gas.  2. This isn't just any old Caddy; it's the one where Hank Williams took his last breath and is used in parades on holidays, such as the next day.  Next problem: a cowboy with a gun and bad intentions.

Walker, Joseph S. "Come On Eileen," in (I Just) Died in Your Arms, edited by J. Alan Hartman, White City Press, 2024.

Fouth story on this list by my fellow SleuthSayer,

 Liam Walsh grew up in a neighborhood called Little Dublin, ruled over by Patrick Flynn.  His father worked for Flynn, and Liam adored Flynn's daughter, Eileen. At an off-to-college party for Eileen, Flynn shot Liam's parents, killing his mother and crippling his father. Years later Liam finds out what really happened...

Walker, Joseph S. "And Now, an Inspiring Story of Tragedy Overcome,"  in Three Strikes -- You're Dead!, edited by Donna  Andrews, Barb Goffman, and Marcia Talley, Wildside Press, 2024. 

And here is greedy Joe back with a fifth story.   That ties him with David Dean for the most ever (so far). 

Lonnie Walsh is a second generation mobster.  His sister dies giving birth to the daughter of Brant, her  worthless  husband.  Lonnie has to watch over little Kayla while trying to keep idiot Brant out of trouble. Things get more complicated when Kayla has the potential to be  a world-class figure skater, if her family's reputation doesn't interfere.

 

Wiebe, Sam, "The Barguzin Sable,"  in Ellery Queen Mystery Magazine, March/April, 2024.

David Wakeland is a Vancouver P.I. At his mother's request he investigates the home invasion of a neighbor that included her murder and the theft of her precious fur coat, a relic that came over from Russia a century before.  It turns out that  the sable means many things to different people.  As one character says "You can't expect common sense from folks who wear weasel."

By the way, in the last month several SleuthSayers have presentied in this space  a review of their year's work.  I actually put mine up on a different site.  Feel free to take a peek.

Inner Spark, Outer Spark

 

I have two new stories in anthologies and they make a nice contrast in answering the age-old question: Where do you get your ideas?

For instance, I was biking one day and saw a phone lying in the street.  It was still functional but it was locked and there was no way to contact the owner.  I put up a message on NextDoor and got no response.

Eventually I brought it to the local shop of the service that ran the phone.  I don't know whether they cracked the code and contacted the author or cannibalized it for parts, or just chucked it in the trash, but I had done all I could do.

Except.

A Nurse Log (National Park Service) 

I could write a story about it.  "The Nurse Log" appears in Agatha and Derringer Get Cozy: Thirteen Tales of Murder, Mystery, and Master Detection, edited by Gay Toltl Kinman, and Andrew McAleer.

It's about a somewhat eccentric biker who finds a phone on a road and tries to contact the owner.  Turns out the device is connected to a crime and he winds up stuck in the middle.

I would call this story the result of an inner spark.  I was reacting to something that I experienced.

Sometime after I wrote that story I received a call from Colin Conway.  He writes police novels set in Spokane and has edited three anthologies, with each story and set in Spokane.

He asked if I would like to write a story for his fourth anthology.  Each tale would involve someone finding a gun (always the same gun), using it in a crime, and then leaving it somewhere where someone else could find it.

Spokane Convention Center

 I thought that was intriguing and wrote back that I would try if he would agree to two points. 1) I had only been to Spokane once and that was for the World Science Fiction Conference, so I would focus my story on the Spokane Conference Center. 2) I wanted to avoid the obvious gun-related crimes (shooting or threatening to shoot someone).  

Colin approved my plan.  The result was ""The Book Deal," a story about a publishing conference and two editors dueling over a new book my a hot influencer.  it is now available in Lost and Loaded: A Gun's Tale. 

So that is an example of an external inspiration: Someone other than me suggested the topic for the story.  

I prefer the internal ones, since they tend to be close to my heart.  But it can be fun to work from another writer's suggestion.  And hey, it's nice to be wanted. 

Afternote: I have since found two more cell phones.  In neither case could I get them back to the owner.

Being Resolute

 

Happy New Year!  Since I have the honor of welcoming in the glorious new annum I thought I might provide some Resolutions for Writers.  Not for me, of course.  Perfection is for the gods alone and I already come so dangerously close I could be accused of hubris.  These tips are for the rest of you. 

* None of my characters will be shot in the shoulder and act as if it were a mosquito bite.

* None of my female characters will use their Feminine Wiles to get information they could have received just by asking, unless such behavior  is one of their characteristics.

* None of my present-day characters will go into a dangerous situation without a working cell phone or a damned good explanation of why they had none.

* None of my stories will switch from present to past tense and back again, or first to third person ditto, without a good reason.

* None of the following words will appear in the final draft without being savagely interrogated and forced to defend their existence: suddenly, very, just, had, got.

* Villains will not explain their evil plot to captured heroes without a damned good reason. 

* None of my characters will smile, smirk, or grimace their dialog, because those words describe facial expressions, not ways of speaking.  (Sneer gets a pass.)

* No headhopping.  "George thought Frank was lying. Frank wondered if George thought he was lying.  George wondered what Frank was thinking. Alice wondered why the narrator didn't pick a goddamn lane."

* My hero will not be knocked unconscious at a convenient moment.

* My characters will not hiss a sentence with no S in it.

* A supernatural event in my story will not have a rational explanation - and then be Overturned By Something Spooky, The End.

* If I have five characters I will not name them Mary, Marv, Mark, Mike, and Mickey.

* I will not let a day go by without doing something to promote mystery short fiction, my own, or others. 

By the way, I have committed at least two of these abominations, but I swear I am reformed now.

Any additions? 

Writing Advice from 1908, Part 2

Last Wednesday I offered you some words of wisdom from Writing the Short-Story by J. Berg Esenwein.  Published in 1908, it was one of the first creative writing manuals. Here are some more of his tips, useful or otherwise.

* "As a character the detective cannot be much more than a dummy.  That is, his individuality cannot be brought out in a single short-story, except by a few bold strokes of delineation; but when he figures in a series of stories, as does Sherlock Holmes, the reader at length comes to know him quite well."

* "The novel is expansive, the short-story intensive."

* Sir Walter Scott said that "in nature herself no two scenes were exactly alike, and that whoever copied truly what was before his eyes, would possess the same variety in his descriptions, and exhibit apparently an imagination as boundless as the range of nature in the scenes he recorded; whereas -- whoever trusted to imagination, would soon find his own mind circumscribed, and contracted to a few favorite images."

* "Wise is that writer who patiently awaits the hour of full-coming before attempting to write."

* Esenwein says there are three main streams of fiction. He does not do a great job of explaining them or giving adequate examples but here you go: Realism (which "paints men as they are" and in which he suggests the author should not express a point of view), Romanticism (such as Kipling's "The Man Who Would Be King,"), and Idealism (which expresses the world as the author wishes it was, such as "A Christmas Carol.")

*"Must I typewrite my story? You need not, but you ought to.." 

* There are  many ways to tell a story. "Another variation is that in which a minor character tells of the deeds of his enemy, who is nevertheless the central figure in the story." 

* "A hackneyed device is to tell the story in the first person after having introduced the speaker by a second person, who really thus reports the story 'as it is told to me.' You may be sure of two things in this connection: a story begun in this style must possess unusual merit to offset the triteness of its introduction; and, it is a hard task to convince the reader that you could not have plunged into the story in the first person direct, relying upon the opening sentences to set the scene.  Still, if you can do it exquisitely, go ahead.  No rule in art is so good but that it may well be broken by a master stroke." I point out that Henry James' "The Turn of the Screw" was written a decade earlier.

* "All things must be looked at with an eye to their possible literary use."

* "Many an unwary author has slipped on the simple matter of forgetting that it takes time to travel here, there, and back again; that people normally get older with the lapse of years; and that events must be consistent with the procession of the seasons."

* "Wit deals with externals, humor seeks out the heart; wit consorts with contempt, scorn and hate; humor abides with friendship, benevolence and love; wit holds folly up to darting ridicule, humor looks with gentle sympathy upon weakness."

* "In the mystery story the author should begin early to set his wires so that with a single pull the whole house of bafflement may come tumbling down before our eyes, at a glance disclosing the secret. In the short-story the mystery must be less complex than the novel, hence the uncovering of the secret will require less time. But if I knew how to hold a breathless mystery up to the last moment and then disclose it all in a trice, I could not -- and perhaps would not if I could -- impart it to others.  This is the very incommunicable heart of the plotter's craft."

Some Previous Owners

* "The use of quotation marks does not convert a passage into dialogue." - Arlo Bates

* Could a story have two reasonable but different endings?  Robert  Louis Stevenson: "The whole tale is implied; I never use an effect when I can help ir, unless it prepare the effects that are to follow; that's what a story consists in. To make another end; that is to make the beginning all wrong... The body and end of a short-story is bone of the bone and blood of the bone of the beginning."

* Character's "speech must show not so much what they say as what they are." 

Near the end Esenwein lists "One hundred representative stories."  I had read eight of them (e.g. Bret Harte "The Outcasts of Poker Flat"), heard of 39 other authors, (e.g. Rudyard Kipling "The Man Who Was") and was completely unfamiliar with the rest. Such is fame, or my ignorance.

Thanks again to Mary Lou Condike for giving me much to think about.

Writing Advice From 1908, Part 1

A few months ago John Floyd asked if I would be interested in a very old book about creative writing.  Mary Lou Condike had found it and offered it to him.  John didn't want it but thought I might.  I said sure, why not. Mary Lou very kindly mailed it to me and it has been part of my bedtime reading for a while.  

Writing the Short-Story by J. Berg Esenwein was published in 1908.  According to Wikipedia it is one of the first creative writing manuals.  When Esenwein wrote it he was the editor of Lippincott's Magazine.

So clearly the information was going to be a little dated.  But I thought it would be fun to see what, if anything, I could learn from this book.  Don't expect a review, just a summary of things I thought were interesting for one reason or another. Some still make sense. A few will astonish you.

* Let's start with something that appears near the end of the book which I am sure will move the hearts of all the writers out there. In discussing the processing of submitting stories to magazines Esenwein asks:  how long should you wait to hear from an editor? "If you do not get an answer in three weeks, it may be wise to drop a line courteously asking for a decision, but you had better wait the month out."  That sound you just heard was the rueful laughter of thousands of authors.  In today's modern age of mad speed and instant communication, well... I have fourteen stories out waiting for judgment by editors.  The wait is currently an average of 131 days, with the median being 95 days.  Considerably more than four weeks.  

* Esenwein tells us the oldest known story is in The Westcar Papyrus.  I had never heard of it but it turns out to be an Egyptian manuscript from roughly 1600 BCE, although the stories seem to be a millennium older.  The tales are about priests and magicians doing amazing things. If you have ever heard that cutting an animal in half and restoring it to life is "the oldest trick in the book," this papyrus is the book.

* "Men are often interested in fictional characters whom they would not care to know in life."

* Mystery writers "all introduce the detective, amateur or professional, for the purpose of unraveling the mystery before the reader's very eyes and yet concealing the key-thread until the last.  Sometimes the web  of entanglement is woven also in full sight -- with the author's sleeves rolled up as a guarantee of good faith; and the closer you watch the less you see."

Esenwein

* Character "names should be fitting. Phyllis ought not to weigh two hundred, nor ought Tommy to commit suicide. Luther must not be a burglar, Maud a washerwoman, nor John spout tepid romance.  The wrong surname will handicap a character as surely as the wrong pair of hands.  Hardscrabble does not fit the philanthropist any more than Tinker suggests the polished diplomat, or Darnaway the clergyman."

* "A man who has a stirring fact or a thrilling experience has not a story until he has used it in some proper way - has constructed it, has built it." - Walter Page 

* Esenwein gives us a list of things a short story is not: an episode, a scenario or synopsis, a biography, a mere sketch, or a tale.  In a tale "events take a simple course," but in a short-story "this course is interrupted by a complication."

* "Never write back sarcastic letters when your offerings are rejected. You may need that editor some day."

* "In the detective plot, the author seems to match his wits against the detective's, by striving to concoct a mystery which presents an apparently impossible situation. It adds to his problem that he must leave the real clue in full sight, yet so disguised that the reader cannot solve the mystery before some casual happening, or the ingenuity of the detective, shows it to the reader at the proper moment."* "To make a first-class short-story longer would be to spoil it."

* Some themes for stories may just "pop into your mind." "Sir, Madame, I am a Story. Write me up!" I wish that would happen more often.

*The advice on the left will make most modern writers, not to say editors, shudder in horror.

* Sir Arthur Phelps quotes an anonymous friend: "Whenever you write a sentence that particularly pleases you, CUT IT OUT." An early statement of "Kill your darlings."

* "Whatever may be the thing which one wishes to say, there is but one word for expressing it, only one verb to animate it, only one adjective to qualify it.  It is essential to search for this word, for this verb, for this adjective, until they are discovered, and to be satisfied with nothing else." - Flaubert

* "Write at white heat because you can think big thoughts only under stress of emotion; but revise in a cool mood."

* Esenwein criticizes writers who "debase their gifts by presenting distorted views of life, placing false values upon the things of experience, and picturing unclean situations -- all for the sake of gain." Thank heavens that never happens anymore.

This is getting long so I will give you the rest of Esenwein's wisdom next Monday.   See you then!