An Anthology is Born

It started with one hula hoop, eight writers drinking S.J. Rozan-inspired martinis all basking in ShortCon’s afterglow…

Dan White & S.J. Rozan with her Signature Martini

There is something magical that happens when writers gather after a conference.

Maybe, it’s because of how we are wired. Maybe, it’s because of the creative energy that still lingers in the air—and we had plenty of it this year, thanks to the incredible presentations by S.J. Rozan, Jeffrey Marks, and Michael Bracken. Being together ignites our imaginations and fosters inspiration.

At Elaine’s Literary Salon that night was no different.

Conversations about the conference turned to hula hoops. I am still not sure what sponsored the now-infamous hula hoop-moment between Dan White and S.J. Rozan and the deep dive into iconic playground games and equipment that quickly followed.

Like so many similar moments when crime fiction writers are together, snippets of story ideas began bouncing around like a gaggle of kids on pogo sticks: hopscotch and chalk-lined bodies, Double-Dutch turned deadly, butt-burning metal slides, death-defying jumps from swings, and tether ball clashes. Some, reimagined the Tony Sopranos of the sandbox-world uttering,“What happens in the sandbox stays in the sandbox.” I can still hear the New Jersey-accent playing in my head.

We also discovered just like “regional words” exist for carbonated drinks (soda, pop, Coke), names for playground equipment vary, too: Seesaws or Teeter-Totters, Monkey bars or Horizontal Ladders, Spinners or Merry-Go-Rounds or Roundabouts, Spring Riders or Spring Rockers.

And the list goes on.

Others recounted playground politics and social hierarchies, what it felt like to be fearless, what it felt like to desperately want to be accepted—all of us reliving nostalgic and not so nostalgic moments from our childhood.

Less than an hour later, short story legend (aka Michael Bracken) roughed out a proposal for a crime fiction anthology where a piece of playground equipment or a playground game plays an important role. These had to exist on old-school playgrounds, where the playground was was made of asphalt and the equipment was made of metal, which likely meant these stories would be set in the past or in the present with flashbacks or in neighborhoods that had not upgraded to modern, safe playground equipment.

Michael Bracken
exhausted by the "Idea Fairy"

And just like that, Playground Noir: For the Kids Who Never Grew Up, was born.

Michael was surrounded by his list of contributors. He also had a publisher in mind.

As I write this post today, Michael has already pitched his proposal and awaits a response.

My key takeaways from that night at Elaine's:

Crime fiction writers are all a little twisted. Thank God, we have each other.

The best story ideas happen when writers gather to enjoy one another’s company.

It’s important to stick around after conferences and connect with fellow writers. You never know what is going to happen. You may become a contributor in an upcoming anthology.

***

Stacy Woodson with Dan White

Want to make space for your own hula-hoop moment?

ShortCon 2026 is just around the corner.

Hosted by Michael Bracken, the conference will be held at Elaine's Literary Salon in Alexandria, Virginia on June 6, 2026.

Gary Phillips will lead a three-hour writing workshop on “Blueprinting Criminal Behavior.”

Michele Slung will present “Every Moment is a Story,” a behind-the-scenes look at putting together annual best-of collections.

Art Taylor will discuss “Linked, Intertwined, or Seamless: The Curious Case of the Novel in Stories.”

I will also lead an end-of-day panel discussion with the presenters. Registration opens in July.

You can find it here: https://www.eastcoastcrime.com/#/.

Hope to see you there!

Wipe Out

Michael, standing at the ShortCon 2025
registration table moments before
attendees arrived.

“Banzai Pipeline,” published May 23 by Kelp Journal, is one of the stories I used during my presentation at ShortCon 2025 as an example of writing a story for an anthology submission call, but finishing well past the deadline.

At the conference, I presented “Writing for Anthologies: How to Slip Between the Covers,” which was an overview of the various types of anthologies, how they are conceived and assembled, things writers can do to improve the odds of acceptance, and what to do with stories that didn’t make the cut.

And I veered a bit off-track when I briefly discussed “Banzai Pipeline,” a story that exists because of an anthology’s open call for submissions but was never submitted to that anthology.

A while back there was a call for crime fiction short stories inspired by musical one-hit wonders, and I wondered what song with the fewest number of words in its lyrics could inspire a story. The answer was:

Two. Two words.

I chose The Safari’s “Wipe Out.”

(The Champs’s “Tequila,” with a single word repeated three times, might be an even greater challenge.)

The sound of a breaking surfboard, followed by a maniacal laugh and someone shouting, “Wipe Out,” provided both the setting and the inciting incident for my story.

Writing the opening proved easy enough. The surfer who wiped out dies, his girlfriend thinks he was murdered, and the private eye she hires to investigate knows nothing about surfing.

Then I wiped out. The wave of inspiration collapsed beneath me, I found myself floundering, and the file remained unfinished on my computer as I moved on to other projects.

One day, while falling into a research rabbit hole for another project, I discovered “Hawaii: Black Royalty in the Pacific,” and what I read upended everything I thought I knew about the ethnicity of our 50th state.

And I knew what my story was about, and knew it wasn’t just about investigating a possible murder.

I finished the story, changed the title from “Wipe Out” to “Banzai Pipeline” and submitted it to various publications until it found a home with Kelp Journal.

Michael, pontificating about
anthologies at ShortCon 2025.

NOT THE FIRST TIME

Something similar happened with “Denim Mining” (AHMM, May/June 2023).

I had already begun writing “Denim Mining” when the 2019 Bouchercon in Dallas announced that the theme of their anthology was denim and diamonds. Incorporating diamonds into the story I had already begun was no problem. Unfortunately, as with “Banzai Pipeline,” the wave of inspiration collapsed when I ran into a problem.

The solution, in this case, wasn’t diving down a research rabbit hole, but help from fellow SleuthSayer Leigh Lundin. He provided a few suggestions as well as information about gunpowder that gave me what I needed to finish the story.

LESSONS LEARNED

The lesson I intended to impart at ShortCon when I shared the story of “Banzai Pipeline” is to never give up on a good story even if the inspiring project’s submission window ends before you finish writing.

And if you do finish your story in time, and it gets rejected, keep it circulating. That’s what fellow SleuthSayer Joseph Walker did with “Give or Take a Quarter of an Inch,” rejected from the same Boucheron anthology to which I had intended to submit “Demin Mining.” He placed it with Tough, it was selected for inclusion in The Best Mystery Stories of the Year, and then it was reprinted in The Saturday Evening Post.

So, how about you? Have you missed a submission deadline and still sold the resulting story? Or has a story rejected by the editor of a themed anthology later appeared in a better market or received recognition?

Murder, Neat is on a Roll!

In February of 2024, I had the good fortune of having my turn to post here on SleuthSayers fall on the very day that our first anthology, Murder, Neat, was released. The book has twenty-four short stories, all written by members of this blog. Michael Bracken and I edited it, stepping in after our original editor and fellow SleuthSayer, the late Paul D. Marks, fell ill.

Every anthology editor has high hopes their baby will be well received and that the individual stories in it will be beloved. (The authors with stories in the book hope that too, of course.) So you can imagine the smiles we all shared when Murder, Neat was named one of the six finalists a few months ago for the inaugural Derringer Award for Best Anthology. Those smiles turned to grins on May 1 when we won the Derringer, especially because the competition was stiff. (Hats off to the editors and authors of the other five anthologies. You can find a list of the finalists here.) 

Then, a couple of weeks ago, Murder, Neat was named a finalist for this year's Anthony Award in the Best Anthology category. Talk about icing on a delicious cake. So this is a good time to remind you about the anthology and, if you haven't read it, entice you to do so. (I also hope you will check out the four other anthologies nominated for the Anthony Award. Bouchercon attendees, please read before you vote. You can find the names of the nominated anthologies, as well as the finalists in all the other categories, here. One of those other anthologies was edited by Michael Bracken (him again!), working with fellow SleuthSayer Stacy Woodson.)

Back to Murder, Neat. Every story takes the reader to a location where drinking happens. Bars--be they regular, college, dive, or gastropub--make an appearance, of course, as do restaurants and even a winery. What also happens in those locations? Crime, of course!

When the book came out, Art Taylor, a retired fellow SleuthSayer with a story in the book, hosted four other of our bloggers on his personal blog, The First Two Pages. There they each wrote about--no surprise here--the first two pages of their stories. I invite you to click here to read the first of those essays, by Melodie Campbell. Near the bottom of that screen, you will be able to click to read the next essay by one of the Murder, Neat bloggers, Lawrence Maddox, followed by one by David Edgerley Gates, and finally, one by Leigh Lundin.

If you haven't yet read Murder, Neat, you can purchase it in trade paperback and ebook. We all hope you enjoy it. Cheers!

Finally, before I go, a little more news: I'm honored to have been named a finalist for this year's Anthony Award for Best Short Story for my tale "A Matter of Trust," which appeared in the anthology Three Strikes--You're Dead! The other nominated authors are James D.F. Hannah, Curtis Ippolito, Gabriel Valjan, and Kristopher Zgorski. I hope you will take the time to read all of their nominated stories. You can find the names of those stories by clicking on the link in the third paragraph of this blog. And you can read my story here.

Behind the Scenes: Scattered, Smothered, Covered, and Chunked

On Wednesday, I learned Scattered, Smothered, Covered, and Chunked: Crime Fiction Inspired by Waffle House (Down and Out Books), is nominated for an Anthony Award for best anthology.

It is an amazing honor and privilege to have co-edited an anthology with my mentor and friend, Michael Bracken. I could not have imagined a more PERFECT moment than when we received this incredible news. 

 

Michael mentioned in a recent SleuthSayers post that he doesn’t view an anthology award as an editor’s award; he views it like the Academy Award for Best Picture because it reflects the work of an entire team of people—editors and writers, our cover designer, and publisher—to succeed. I share his view and am deeply grateful for our team of talented contributors including stories written by Alan S. Orloff, Nils Gilbertson, J.D. Allen, Mark Bergin, Bonnar Spring, Austin S. Camacho, Tammy Euliano, Ann Aptaker, Penny Mickelbury, Donna Andrews, Sherry Harris, Deb Merino, Sean McCluskey, Michael Bracken, Andrew Welsh-Huggins, Hugh Lessig, and the brilliant cover designed by Angela Carlton. 

This is my first published anthology sitting in a co-editor’s seat. How did I get so lucky? The short answer is Michael Bracken. 

Birth of an Idea

In 2018, I attended Malice Domestic for the first time and met Michael Bracken. He was my port in the speed dating storm. It was a pivotal moment in my writing career (more on that here). During the years that followed, I had an opportunity to contribute stories to several of his anthologies, including one story we co-wrote together that was short-listed for a Derringer Award. Often, we met for lunch at writing conferences, and our conversation always turned to anthology ideas. I had the best time brainstorming with him and quickly learned which anthology ideas worked and why others didn’t.

 

So, in May 2023, it wasn’t unusual that I sent Michael an email with another anthology idea, two proposed titles for one concept: The Pull, The Drop, The Mark OR Scattered, Covered, Smothered, and Chunked: Crime Fiction Inspired by Waffle House. 

 

He thought the idea was promising, suggested a revised title (featured on the cover), and asked if I would like to co-edit the project with him. I had little experience. The opportunity to learn from Michael was something I couldn’t pass up. I quickly agreed, and it has been a master class.

 

Takeaways Co-editing with the Master

Shared Vision

Both editors need to share the same vision for an anthology. This vision shapes submission guidelines, influences how stories are edited, and who is invited to contribute.

 

Workflow

Version control is critical. Mistakes are easy to make, especially when two people are editing the same project. Before the project begins, decisions need to be made on which editor communicates directly with authors, which editor communicates with the publisher, and workflow—how stories are received, labeled, stored, and move through the editing process. 

 

Deadlines

Life happens, often things we can’t predict—a death in the family, illness, home repairs, etc. It’s important to create realistic deadlines with these moments in mind.

 

Assembling the Team

Several factors determine which type of submission call works for which project. With time constraints and juggling several projects, Michael and I decided submission by invitation only had to be our approach. We reached out to authors we admired—both multi-award winning and rising stars.

 

Working with the Publisher

Understanding the publisher’s requirements and deadlines are crucial. The finished manuscript should be formatted to the publisher’s specifications, and each step in the process—checking the publisher’s copyedits, reviewing the page proofs, checking the cover copy, and collaborating on the cover image—should all happen in a prompt and professional manner.

 

Working with the Authors

Maintaining communication with contributors builds trust and respect. Michael insisted we maintain regular contact with our contributors and send updates during each step in the process. I appreciated this as a contributor to Michael’s anthologies. Now, having co-edited an anthology, I also appreciate the extra effort this requires and the importance of maintaining a professional relationship with authors.

 

Have you co-edited an anthology? Are you an author who worked with more than one editor on a project? What insights can you share?

***

Speaking of teams, we are assembling one in New Orleans! If you love waffles and crime fiction stories, we hope you will celebrate this incredible Anthony Award nomination with us, along with the awards our contributors have recently received for their Waffle House-inspired stories. 

Tammy Euliano’s “Heart of Darkness” won the Derringer Award for best short story of the year. 

Sean McCluskey’s “The Secret Menu” was selected by Otto Penzler and John Grisham for Mysterious Bookshop's anthology: The Best Mystery Stories of the Year 2025.

Want to read Scattered, Smothered, Covered, and Chunked: Crime Fiction Inspired by Waffle House? Find it here.

 

Find me at Bouchercon (September 3-7), mention Scattered, Smothered, Covered, and Chunked, and receive waffle-inspired swag in honor of our talented team. Hope to see you there!

 

 

 

And the Derringer Goes To…

As you may have already learned, Murder, Neat: A SleuthSayers Anthology (Level Short, 2024), which I co-edited with Barb Goffman, earlier this month received the Short Mystery Fiction Society’s inaugural Derringer Award for Best Anthology.

Unlike some of my colleagues, I don’t view an anthology award as an editor’s award; I think of it as similar to the Academy Award for Best Picture, in that it requires the work of an entire team of people—editors and writers, primarily, but the publisher as well—to succeed.

In the case of Murder, Neat, we had quite a team. SleuthSayers, as a group, selected the theme, and Paul Marks had barely begun work as the original editor before illness sidelined him. Barb and I stepped in, solicited and selected stories, and worked with all the contributors to create the final manuscript.

We were working without a net. There was no publisher attached to the project—the first and only time I’ve edited an anthology on spec!—and we pitched the finished manuscript to a handful of publishers.

Verena Rose and Shawn Reilly Simmons of Level Best Books stepped up, and Murder, Neat launched Level Short, the publisher’s new imprint specifically for anthologies.

The end result, as we recently learned, is an award-winning anthology.

So, thanks to my fellow SleuthSayers for all you did to make our group’s first anthology a success!

SLEUTHFEST AND SHORTCON

A hurricane postponed last year’s SleuthFest in St. Petersburg, Florida, and the conference was rescheduled to May 15-18. At 4:00 p.m. Thursday, I’ll present “Writing Short: How to establish and maintain a long-term career as a writer of short crime fiction.” This is a variation of my presentation at last year’s ShortCon, and I provide invaluable information about the business side of writing and publishing short stories.

Speaking of ShortCon, the one-day conference for writers of short mystery fiction returns Saturday, June 7, for its sophomore outing at Elaine’s in Alexandria, Virginia. In addition to presentations by SJ Rozan (“Short Fiction—What’s the Point?”) and Jeffrey Marks (“Crafting Your First Collection”), I’ll present “Writing for Anthologies: How to Slip Between the Covers” and Stacy Woodson will lead an end-of-day panel discussion with all the presenters. ShortCon is limited to 50 attendees and was approaching sellout the last time I saw the registration numbers, so register now if you wish to attend.

Two Anthologies and a Collection

Yesterday—April 14, 2025—saw the release of Sleuths Just Wanna Have Fun: Private Eyes in the Materialistic Eighties (Down & Out Books), the most recent of my detectives by the decades anthologies that began with Groovy Gumshoes: Private Eyes in the Psychedelic Sixties in 2022. Today sees the release of Trouble in Texas (Sisters in Crime North Dallas), fourth in the Metroplex Mysteries anthologies, and last month saw publication of Al Sirois’s collection Before Baker Street: The Adventures of a Young Sherlock Holmes.

Anthologies and collections are created in a variety of ways, and these three projects represent a few of the ways they come together.

SLEUTHS JUST WANNA HAVE FUN

Sleuths Just Wanna Have Fun expands the detectives by the decades anthology series by bringing private eyes into the 1980s, following the 1960s (Groovy Gumshoes and More Groovy Gumshoes), the 1970s (Private Dicks and Disco Balls), and the 1920s/1930s era of Prohibition (Prohibition Peepers).

With Sleuths, I created the concept, pitched it to the publisher, invited the contributors, and edited all the stories before submitting the completed manuscript to the publisher. This is a tried-and-true process for anthology creation, but it isn’t the only way anthologies are created.

Contributors include Elizabeth Elwood, John M. Floyd, Debra H. Goldstein, James A. Hearn, Richard Helms, Kathleen Marple Kalb, Tom Milani, Sandra Murphy, Laura Oles, Alan Orloff, William Dylan Powell, Mark Thielman, Joseph S. Walker, and Andrew Welsh-Huggins.

Flannel Fedoras, which takes the series into the 1990s, is on track for publication next year. I don’t anticipate taking the series into the 2000s, but I might go back and fill in the two-decade gap—the 1940s and 1950s—between Prohibition Peepers and Groovy Gumshoes.

TROUBLE IN TEXAS

Trouble in Texas continues the Metroplex Mysteries series created by Sisters in Crime North Dallas. Fellow SleuthSayer Barb Goffman edited the first two entries in the series, and I’ve edited the two most recent.

My role as editor is significantly different with these anthologies than with my own. Each year, the North Dallas chapter of Sisters in Crime develops the concept and selects the stories, so my work doesn’t begin until I receive the selected stories. Then, I work with the writers, helping to shape the stories and prepare them for publication.

Contributors include BJ Condike, ML Condike, Karen Harrington, Nan McCann, M.E. Proctor, Amber Royer, Tiffany Seitz, Liese Sherwood-Fabre, Shannon Taft, Lori E. Tchen, and Mark Thielman.

I’m already looking forward to seeing what next year’s entry in this series will be.

BEFORE BAKER STREET

Though I’m listed on Amazon as the editor of Al Sirois’s collection Before Baker Street: The Adventures of a Young Sherlock Holmes, I didn’t actually edit the collection. I did, however, edit six of the seven collected stories for their initial publication in Black Cat Weekly, and I wrote the collection’s introduction.

My primary role was that of an acquiring editor, selecting stories for their original publication based on how well I thought they fit the needs of the magazine. While the author may have envisioned a collection, the thought certainly wasn’t on my mind when I initially published the stories.

Beyond Baker Street’s stories were a delight to read when I first encountered them in my submission queue, and they are equally delightful upon rereading.

* * *

Despite all the editing I’m doing lately, I’m still a writer, and In Too Deep: Crime Fiction Inspired by the Songs of Genesis (Down & Out Books, March 31), edited by Alan Meyer, includes my story “Turn It On Again.”

Literary Relationships

When we first have enough confidence in our writing—whether justified or not—to begin submitting our short stories, our goal is to find one editor—any editor—who likes our work well enough to publish it. Some of us achieve our first publication early and some of us grind for years before we break through.

If we’re lucky, we find an editor who likes our work well enough that it leads to multiple acceptances, and it may even lead to additional opportunities when that editor puts together invitation-only anthologies. This is a good thing.

Sort of.

Initially, it is wonderful to realize you have developed a strong working relationship with an editor and are confident that you have, through that relationship, a reliable home for your work. It’s a form of literary monogamy.

Me? I try to avoid literary monogamy because it can lead to heartbreak.

FEAR OF MISSING OUT

First, there’s the fear of missing out. There’s the fear that, had I tried harder, I might have developed a better relationship.

For example, if you review your list of published stories and discover that most of them have appeared in Ellery Queen’s Mystery Magazine, with only the occasional dalliance with other publications, you probably aren’t missing out on much.

However, if most of your stories have appeared in Jim Bob’s Magazine of Mystery, you probably are missing out. It’s time to make a concerted effort to step up to the next level. Don’t abandon Jim Bob yet, but don’t make his publication the first place you submit a new story. Send that story to Alfred Hitchcock’s Mystery Magazine or Ellery Queen’s Mystery Magazine first or to the publications that aren’t quite at their level but fall somewhere on the scale below them and above JBMoM.

Once you step up to the next level, and can do so consistently, it may be—to torture the metaphor a bit—time to practice literary serial monogamy. Leave Jim Bob behind. Devote your time and attention to your new, improved literary relationship.

I SPY A WANDERING EYE

Some of us—especially those who might be considered prolific—need to develop more than one literary relationship.

If you review your list of published stories and find that most have appeared in one or the other of two publications, you’re already on your way to literary polyamory. You have established that you can satisfy the needs of at least two editors, so it may be time to put some effort into developing a third relationship.

By diversifying your attention, you can alleviate the inevitable disappointments that come from investing too heavily in your relationship with a single editor. Editors, die, retire, and change jobs. Publications die or change focus. Publishers cut back or eliminate anthologies from their list.

If you don’t already have relationships with other editors, your writing career might come to a screeching halt.

I’ve experienced this several times during the many years I’ve been writing.

Magazine editors who liked my work were replaced by editors who didn’t. Editors who included my work in their anthologies stopped editing. Magazines and anthology lines ceased publication. All of which left me scrambling for new markets because I had not developed enough relationships.

Worst of all was when entire genres collapsed. Even though I developed multiple literary relationships within several genres, each time one of them imploded I lost every relationship in that genre at essentially the same time.

LITERARY MONOGAMY OR LITERARY POLYAMORY

As an editor, I enjoy relationships with several writers I count on to provide stories I want to publish, who deliver on time and on theme, and who are easy to work with through the editing process. I never ask if they think we have a monogamous relationship or polyamorous relationship.

Whether your goal is to be a literary serial monogamist, regularly stepping up to better and better markets, or your goal is to be a literary polyamorist, the path is essentially the same:

Keep your current editorial relationship(s) solid, but always, always, always, keep your eyes open for the next opportunity. Strive to improve your work. Diversify the genres (or subgenres) you write. Then submit, submit, submit.

And never take actual relationship advice from me.

---

Reminder: Murder, Neat: A SleuthSayers Anthology (Level Short), which I coedited with Barb Goffman, is currently nominated for the Short Mystery Fiction Society’s inaugural Derringer Award for Best Anthology. There’s still time to order and read a copy before voting begins.

---

Broke, Drunk, and Horny

I’ve recently read a great many private eye short stories, both published and in manuscript form, and I’ve recognized three character traits many of these PIs share:

They’re broke, drunk, and horny.

They have money problems and stress about paying their rent, their bills, and their gambling debts.

They drink heavily, with a bottle in their desk drawer and a perpetual hangover. Or they are recovering alcoholics who attend AA meetings and stress about falling off the wagon. Again.

They have a healthy sexual appetite and poor judgement, which leads to carnal knowledge of their clients, their clients’ significant others, and/or other inappropriate relationships.

While not every private eye in the stories I read had all three of these characteristics, many had at least one and often two.

The broke, drunk, and horny private eye is a trope that verges on cliché, and writers who find new ways to use the tropes or, better still, avoid them entirely, usually write more interesting stories.

ALWAYS THE OFFICE

A great many private eye stories begin with a description of the private eye’s office, usually as a way to inform the reader about the poor schmuck’s financial state, and, during a rumination about the sad state of the furnishings, a potential client arrives with a case the PI doesn’t want but agrees to take for the financial renumeration or because it involves repaying a debt to an old friend who may or may not be dead.

A private eye story that begins anywhere else—a bar, a coffee shop, the client’s home, a zoo, an amusement park, or anywhere other than the PI’s office—stands out.

And a story in which the PI accepts a case for reasons other than financial desperation or to repay a real or imagined debt also stands out.

TOO MUCH BACK STORY

Too many private eye short stories begin with several paragraphs or pages describing how the protagonist became a PI, much of which has little or nothing to do with the story to come. Because of this, the actual story doesn’t begin until page three or five after the expenditure of too many words.

So, a private eye short story that begins with an inciting incident rather than a meandering backstory stands out.

LET HE WHO IS WITHOUT SIN

Here I am throwing stones while I live in a glass house. I have written about broke, drunk, and horny private eyes, started stories with private eyes sitting in their squalid little offices desperately awaiting the arrival of a client—any client—and bogged down beginnings with backstory while delaying the inciting incident until page five.

And thought I was oh so original.

Now that I know better, I’ll try hard not to let my tropes show, try to avoid dressing my private eyes in clichés, and try to find better ways to ensure inciting incidents occur on the first page.

* * *

February started with a nice one-two punch.

“Coyote Run,” the eighth episode of Chop Shop, was released by Down & Out Books on February 1. On February 2, “A Dime a Dame” appeared in Black Cat Weekly #179.

Also, on February 1, The Short Mystery Fiction Society announced the nominees for the inaugural Derringer Award for Best Anthology. Murder, Neat: A SleuthSayers Anthology, which Barb Goffman and I co-edited and which contains work by many current and former SleuthSayers, made the shortlist.

Good news!

I've had some good news recently that I am happy to share with you. 

Derringer Award nomination

First up is news that applies to all of us here at SleuthSayers. Our first anthology, Murder, Neat, is one of the six finalists for the Derringer Award in the new category of Best Anthology. Woo-hoo!

This book came out last February from Level Short and was edited by Michael Bracken and me. It includes twenty-four new stories from current and retired SleuthSayers, all set at locations where alcohol is available for sale. We are all pleased as punch--or something with a bit more kick--that we made the shortlist for this honor. 

The other Derringer Award finalists--for individual short stories in four categories based on length--will be announced on April 1, and then eligible members of the Short Mystery Fiction Society will have all of April to vote for all five awards. If you love short stories, I recommend you check out all of the finalists. You can find the full list by clicking here.

Murder, Neat can be purchased most anywhere you buy books. If your favorite physical store doesn't have it on the shelf, I bet they can order it for you. You can get the trade paperback and a Nook version from Barnes and Noble by clicking here. Like shopping at indies? You can use Bookshop.org to get the paperback from your local favorite. Just click here. And there is always Amazon. For them, click here. Cheers!

 

Agatha Award nominations

Yesterday, the Malice Domestic convention announced the finalists for this year's Agatha Awards. I am honored and delighted to share that I have two short stories that are nominated. 

First is "A Matter of Trust," which was published last April by Wildside Press in the anthology Three Strikes--You're Dead! In this story, when an emotional eater cycles past a donut shop, his weight-loss plans--and so much more--go awry. If you haven't read this anthology, I recommend it. It was edited by Donna Andrews, Marcia Talley and me, and it has fourteen new sports short stories. The book is available in trade paperback and ebook from all the usual sources, including Barnes and Noble and Amazon. If you would prefer to read my story only, it is available on my website. Just click here.

Second is "The Postman Always Flirts Twice," which was published last November by Down & Out Books in the anthology Agatha and Derringer Get Cozy. This anthology has all new cozy whodunits, each written by an author who has won the Agatha Award, the Derringer Award, or both. The book was edited by Gay Toltl Kinman and Andrew McAleer. 

In "The Postman Always Flirts Twice," someone murdered Hazel's mailman and hid his body in the woods behind her cul-de-sac. Fearing the police might look too closely at her, Hazel decides she needs to point them in another direction. So she starts her own investigation, focusing on her neighbors. If you haven't read this anthology, you can pick it up from Barnes and Noble, Bookshop.org, or Amazon, among other places. I hope the publisher will allow me to share the story online for Agatha voters. I will let you know should it come to pass.

The full list of Agatha Award finalists is available here. Attendees of Malice Domestic will vote during the convention in April. If you've never been to Malice Domestic, I recommend you check it out. It is a fan convention that celebrates the traditional mystery, though you will find authors in attendance who write other mystery subgenres too.

Happy reading!

2024 Year in Review: Writing and Other Things

In my December 31 SleuthSayers post, I discussed my year as an editor; in the following I discuss my year as a writer, and I discuss some of the other things with which I was involved.

WRITING

Productivity was down from last year, and nowhere near my best year (75 stories in 2009) with 10 original stories completed. This surpasses 2022 (9 stories) and 2021 (6 stories) but is fewer than 2023 (14 stories).

The shortest story was 1,800 words and the longest was 11,700 words, for an average of 4,730 words. All were crime fiction of one sub-genre or another.

ACCEPTED

Although I only wrote 10 new stories, I received 18 acceptances (including the first-ever collaboration with my wife, Temple), 13 originals and 5 reprints. This includes my sixth collaboration with Sandra Murphy, which means we’ve now placed every story we’ve completed, and this is the fifth accepted by a paying market.

PUBLISHED

In 2024, 12 original stories were published in Alfred Hitchcock’s Mystery Magazine; Crimes Against Nature; Dark of the Day; Ellery Queen’s Mystery Magazine; Mystery Magazine; Mystery Tribune; Murder, Neat; Scattered, Smothered, Covered, and Chunked; Starlite Pulp Review; and Tough.

Also in 2024, 7 reprints were published in Crimeucopia, Storiaverse.com, Best Crime Stories of the Year, and The Best Mystery Stories of the Year.

Three editors are represented multiple times: Linda Landrigan published two original stories in Alfred Hitchcock’s Mystery Magazine, John Conner published two reprints in Crimeucopia, and Storiaverse.com published three reprints as animated stories.

REJECTED

I received 11 rejections, which is 6 fewer rejections than acceptances, and any year in which acceptances outnumber rejections is a good year.

RECOGNIZED

“Beat the Clock” (Alfred Hitchcock’s Mystery Magazine, March/April 2023) was reprinted in The Mysterious Bookshop Presents The Best Mystery Stories of the Year and Best Crime Stories of the Year.

“Denim Mining” (Alfred Hitchcock’s Mystery Magazine, May/June 2023) was nominated for a Derringer award.

“Dogs of War” (Mickey Finn: 21st Century Noir, Volume 4), a collaboration with Stacy Woodson, was nominated for a Derringer award.

Early in the year I was inducted into the Texas Institute of Letters in recognition of my contributions to Texas literature.

FORTHCOMING

Including those accepted in 2024 and in previous years, I have stories forthcoming in Alfred Hitchcock’s Mystery Magazine, Black Cat Mystery Magazine, Black Cat Weekly, Chop Shop, Cryin’ Shame, Ellery Queen’s Mystery Magazine, Gag Me With a Spoon, In Too Deep, Sherlock Holmes Mystery Magazine, and Wish Upon a Crime.

SHORTCON

Early in 2024, Stacy Woodson, Shawn Reilly Simmons, Verena Rose, and I co-founded East Coast Crime, Inc., to present literary events about writing, editing, and publishing crime fiction, and in June we presented the inaugural ShortCon, the Premier Conference for Writers of Short Crime Fiction. Our second ShortCon will be presented Saturday, June 7, 2025, in Alexandria, Virginia, and we plan to continue this as an annual event. (Learn more here.)

MYSTERY IN THE MIDLANDS

I helped Paula Benson organize the 2024 Mystery in the Midlands, an online conference that emphasized writing and publishing short crime fiction. Paula has invited me to join her again in organizing the 2025 Mystery in the Midlands, again focusing on short crime fiction.

OTHER EVENTS

I participated—as a panelist, moderator, or presenter—at more live and online conferences, conventions, and presentations in 2024 than in any previous year. It’s unlikely that my attendance at live events will maintain this pace in the future, but online opportunities continue to present themselves.

MYSTERY WRITERS OF AMERICA

I completed my first two-year term as an at-large board member of the Mystery Writers of America, and this year I begin my second two-year term.

LOOKING AHEAD

Until I prepared my two year-in-review posts, I had thought 2024 was a bust. In my December 10 SleuthSayers post “Life is What Happens…,” I wrote about how nothing seemed to go as planned.

This reminded how much perception and reality can be at odds. I still perceive 2024 as a disorganized mess, but I am far less dissatisfied with the year after toting up my accomplishments.

In response to my December 10 post, fellow SleuthSayer Joseph D’Agnese recommended reading Cal Newport’s book Deep Work, which, Joseph wrote, “talks about the fracturing of attention and how hard it is to get back into the groove after you’ve been interrupted.”

Although the holiday season may not be the best time to attempt changes in one’s work habits, I can say that the small adjustments I’ve made by applying what I learned from Newport’s book have started to pay off. I feel in control again and all of my projects are on track.

I’m hopeful for this year.

* * *

“Coyote Run,” the eighth episode of Chop Shop releases February 1.

Car thieves and the chop shop that buys from them combine to create high-octane stories of hot cars, hot crimes, and hot times in Dallas, Texas.

After Cheryl Moore loses her job as a paralegal, she learns to support herself stealing SUVs from soccer moms and selling them to Huey’s Auto Repair. An opportunist more than a technician, Cheryl steps out of her comfort zone in “Coyote Run” when she boosts a Ford Transit van, and she’s not at all prepared to deal with the van’s cargo.

2024 Year in Review: Editing

In my previous SleuthSayers post, I wrote about how little I’ve been able to accomplish this year because I’ve been unable to establish a routine and stick to it. While I still feel like a slacker, I’ve apparently done enough that I’m having to split my 2024 Year in Review post into two parts. I’ll discuss writing and other things next post; this time I’m concentrating on editing.

This year saw the release of one issue of Black Cat Mystery Magazine (issue 15); 52 issues of Black Cat Weekly, for which I serve as an associate editor; the first six episodes of the new serial novella anthology series Chop Shop; and several anthologies I edited or co-edited.

The anthologies include:

Chop Shop, volumes 1 and 2 (Down & Out Books)

Janie’s Got a Gun: Crime Fiction Inspired by the Music of Aerosmith (White City Press)

Malice Domestic 18: Mystery Most Devious, co-edited with John Betancourt and Carla Coupe (Wildside Press)

Mickey Finn: 21st Century Noir, Vol. 5 (Down & Out Books)

Murder, Neat: A SleuthSayers Anthology, co-edited with Barb Goffman (Level Short)

Notorious in North Texas (North Dallas Chapter of Sisters in Crime)

Private Dicks and Disco Balls: Private Eyes in the Dyn-O-Mite Seventies (Down & Out Books)

Scattered, Smothered, Covered, and Chunked: Crime Fiction Inspired by Waffle House, co-edited with Stacy Woodson (Down & Out Books)

Additionally, I served as one of several first readers/judges for Tales of Music, Murder, and Mayhem: Bouchercon Anthology 2024 (Down & Out Books)

Outside the mystery world, I edited six issues of Texas Gardener, a bi-monthly consumer magazine, and 52 issues of Seeds, a weekly electronic newsletter for gardeners that, incidentally, published five short stories.

Adding all the editing projects together (excluding the Bouchercon anthology, for which my participation was more as first reader than an editor), in 2024 I had the honor of shepherding or helping shepherd 191 short stories and novellas through to publication.

RECOGNITION

This year, several stories from projects I edited or co-edited were recognized:

“Real Courage” by Barb Goffman, Black Cat Mystery Magazine #14, nominated for Agatha, Anthony, and Macavity Awards

“Troubled Water” by donalee Moulton, Black Cat Weekly #75, nominated for a Derringer Award (Long Story) and a Crime Writers of Canada Award of Excellence

“Supply Chains” by Andrew Welsh-Huggins, Black Cat Weekly #89, nominated for a Derringer Award (Flash)

“Dogs of War” by Michael Bracken & Stacy Woodson, Mickey Finn: 21st Century Noir, Vol. 4 nominated for a Derringer Award (Short Story)

“One Night in 1965” by Stacy Woodson, More Groovy Gumshoes: Private Eyes in the Psychedelic Sixties, nominated for Macavity and Thriller Awards and included in The Best Mystery Stories of the Year

“An Honorable Choice” by Smita Harish Jain, Black Cat Weekly #96, nominated for a Thriller Award

“Making the Bad Guys Nervous” by Joseph S. Walker, Black Cat Weekly #102, nominated for a Shamus Award

“Lovely and Useless Things” by Nils Gilbertson, Prohibition Peepers: Private Eyes During the Noble Experiment, included in The Best American Mystery and Suspense and The Best Mystery Stories of the Year

“El Paso Heat” by Peter W.J. Hayes, Black Cat Mystery Magazine #14, included in The Best Mystery Stories of the Year

“Memorial” by Robert Lopresti, Black Cat Weekly #95, included in the list of “Other Distinguished Stories” in The Best American Mystery and Suspense

“The Waning Days” by Sean McCluskey, Mickey Finn: 21st Century Noir, Vol. 4, included in the list of “Other Distinguished Stories” in The Best American Mystery and Suspense

“Off the Shelf” by Joseph S. Walker, Mickey Finn: 21st Century Noir, Vol. 4, included in the list of “Other Distinguished Stories” in The Best American Mystery and Suspense

FORTHCOMING

While I have no control over publishing schedules, I anticipate two issues of Black Cat Mystery Magazine and 52 issues of Black Cat Weekly in 2025, and I have already delivered the manuscripts for Mickey Finn: 21st Century Noir, Vol. 6, Party Crashers, and Sleuths Just Wanna Have Fun as well as all six novellas for season two of Chop Shop. I’m also editing or co-editing several additional anthologies I hope to deliver to publishers this year, and I have a few more concepts I hope to pitch after I move some of these projects off my desk.

OPEN SUBMISSION CALL

Of all the projects in the pipeline, only one currently has an open call: Mickey Finn: 21st Century Noir, Vol. 7, is open for submissions during February 2025. Complete submission guidelines available at https://www.crimefictionwriter.com/submissions.html

Based on all of the above, it’s safe to say I’m now more editor than writer.

And that’s not a bad thing.