Audiobooks

Started listening to audiobooks the last few years of my commute to work as a police investigator at Southeastern Louisiana University. Found a couple clunkers but found more good ones. I often did not want to get out of the car.

Mysteries, historical novels, science fiction, classics I'd read as a kid like THE ILIAD and THE ODYSSEY, Daphne du Maurier's REBECCA, Vera Caspary's LAURA, Jack London's WHITE FANG even Bram Stoker's DRACULA. All narrated by professional narrators. The mysteries gave me reads of books by Dasheill Hammett, Raymond Chandler, Ian Fleming, Donald E. Westlake, Dorothy Sayers, Marcia Muller, Bill Pronzini. Even cool mysteries I never came across before – THE COCKTAIL WAITRESS by James M. Cain, NIGHT HAS A THOUSAND EYES by Cornell Woolrich, RIVER GIRL by Charles Williams.

I got lost in big books – NEW YORK by Edward Rutherfurd, Ken Follett's Century trilogy – FALL OF GIANTS, WINTER OF THE WORLD and EDGE OF ETERNITY.

It brought me to THE NIGHTINGALE by Kristin Hannah and the excellent books of Adriana Trigiani (THE SHOEMAKER'S WIFE, ALL THE STARS IN THE HEAVENS and LUCIA, LUCIA).

I listened to other great books like Isaac Asimov's brilliant Foundation trilogy – FOUNDATION, FOUNDATION AND EMPIRE, SECOND FOUNDATION. I listened to Harlan Ellison narrating his own stories – I HAVE NO MOUTH AND I MUST SCREAM, JEFFTY IS FIVE, DEATHBIRD STORIES which includes his Edgar Award winning THE WHIMPER OF WHIPPED DOGS.

Many readers have asked if I had any audiobooks available. I had to tell them no until Amazon linked up with Audible to create ACX. I now have fourteen audiobooks available read by professional narrators. They manage to enhance my writing, adding nuances I was unaware in my books and short stories.

It is a good deal for writers and narrators. The book must be available on Amazon Kindle. The writer retains the full copyright and puts the book up on ACX and asks for auditions. Narrators record a few pages of the book the writer puts up and if the writer likes the narration, the writer offers the narrator a deal. The writer can pay the narrator (this is pricey) or simply split the audiobook royalties. When the deal is struck, the writer gives the narrator a deadline and the narrator records a narration. After the first 15 minutes of narration is complete the writer gets to hear it and ask for corrections. When the entire narration is done the writer needs to listen and approve the entire book. The writer controls the process. The deal lasts for seven years and can be automatically renewed. The audiobook becomes available on Amazon.com and Audible web sites.

Here is a link to ACX: https://www.acx.com/help/about-acx/200484860

LINK to list of my audiobooks: http://www.oneildenoux.com/audio-books.html

ACX is another way to sell your books and short stories.

http://www.oneildenoux.com

Opening Lines: Best and Favorite

OK, we've had a few posts about opening lines but I do not think we SleuthSayers put up a post about the favorite and the best opening lines of a short story and novel we have written. So here is my subjective opinion of mine.

The Best opening line of a novel I've written is:

The wail of bagpipes echoes through the cold fog and silences the men at the earthen rampart behind the Rodriguez Canal.
– from BATTLE KISS (2011)

American breastworks at The Battle of New Orleans battlefield, Chalmette, LA

Photo ©2011 O'Neil De Noux

My favorite opening line of a novel I've written is:

There is no trick-or-treating Halloween night, two months AK – After Katrina.
– from CITY OF SECRETS (2013)

Photo of sculpture Mackenzie by Vincent De Noux used on cover of CITY OF SECRETS

The Best opening line of a short story I've written is:

It was a kiss with promise behind it, as much promise as a good girl would give, enough to make my heart race as we stood under the yellow bulb of her front gallery.

– from "Too Wise" (Ellery Queen Mystery Magazine, Vol 132, No. 5, November 2008 Issue

My favorite opening line of a short story I've written is:

The black German shepherd wasn't a cadaver dog but she found the skeleton in the hideaway closet under the stairs of the unpainted, wooden shotgun house.

– from "Just a Old Lady" (Alfred Hitchcock Mystery Magazine, Vol. 60, No. 9, September 2015 Issue)

Lagniappe. How about a Worst? Here is the Worst opening line of a story I wrote that was published:

It was a dark and stormy night with the wind barking through the mangroves like the voices of angry two-year olds fighting over crayons and I dreamt of a land far away, very far away, a helluva distance away, probably on the other side of the world where it wasn't dark nor was there a storm barking through the mangroves, a place where the mangroves were peaceful and green and I could sit reading Shelley or Keats or maybe Sidney Shelton without the wind whipping the pages of my book or the rain pelting my eyes, blurring my vision of Daphne in a see-through dress with the sunlight streaming through the diaphanous material and I could see all her goodies and make yummy sounds as she slinked up to me like a skank in the night (no, it wouldn't be night because we would be on the other side of the world and the sun would be shining – through her dress).

– from "Like a Stank in the Night" (Hardboiled Sex 2006 Collection)

So what are your favorite and best opening lines? What about your worst?

www.oneildenoux.com

Show ... without a lot of telling

An excellent example of this is the final scene in Stanley Kubrick's movie about World War I, PATHS OF GLORY (1957). A movie about war and pain and suffering, destruction and the unfairness of death.

The final scene involves a group of war-weary French soldiers in a cafe where a German girl is brought up on stage. She is terrified. Is she going to be molested? Made to take off her clothes? Killed? No. She is told to sing.

She stands in front of the crowd and sings through tears and trembling lips and as she sings, the racous crowd grows quiet, tears well in the eyes of these hard, lonely, distraught soldiers. Kubrick shows us what the men are thinking through their faces.

No one molests her because she is not seen as a sex object, but a woman, their girlfriend, their wife, their mother, someone to treasure. She is no longer the hated Bosche, no longer German, no longer the enemy. She is – a woman. For a brief moment, she brings beauty and music into the lives of these men.

The genius of the scene is how Kubrick shows us this without telling us. No one explains what's happening. No one says anything. We know without explanation. Sometimes, when I view this scene, I get a little choked up and I wasn't in WWI.

This is what showing instead of telling is about.

SIDE NOTES:

The actress who plays the singing German girl is Christine Harlan. Stanley Kubrick marries her and she remains his life-long companion until his death in 1999.

For its anti-war message and damning portrait of the French officer class, PATHS OF GLORY was banned in France for twenty years.

The scene described above can be seen on YouTube. Check it out here.

www.oneildenoux.com

Do Authors Expect Too Much? (wait a minute...this is a serious post. Has Bad Girl lost her mind?!)

I'm guilty of this one. I'll say it right up front.

Janice Law and O'Neil De Noux got me thinking serious thoughts, which is always risky for a comedy writer.

I make a living as an author.  But not a particularly good one.  Probably, I could make the same working full time at Starbucks.  As authors in these times, we don't expect to make a good living from our fiction.  It's a noble goal, but not a realistic one for the average well-publisher author with a large traditional publisher.

This isn't a new observation.  F. Scott Fitzgerald said something similar about his time:  The book publishing industry makes horse racing seem like a sure thing.

So if we can't expect big bucks from all this angst of writing fiction, what do we expect?

When The Goddaughter came out, there was quite a fanfare.  I was with a large publisher that agreed to pay for refreshments.  Eighty-five people overflowed the place for the launch.  Local newspaper and television brought cameras.  This doesn't happen in mega-city Toronto.  But in Hamilton, a city of 500,000 where my book was set, I got some splashy coverage.

Those eighty-five people included some of my closest friends and cousins.  I was delighted to see them support me.  We sold out of books quickly.

I've had another twelve books published since then. I've won ten awards.  I am still fortunate to get people to my launches.  But the mix has changed.  The people who come to my launches now are fans, not relatives and friends.  With a few exceptions (and those are friends I treasure.)

Back when I first started writing - when big shoulders were a really cool thing - I expected my friends and extended family to be my biggest supporters.  I've been fortunate.  My immediate family has been terrific.

But expecting your friends and extended family to celebrate your success in continual ways is a road to disappointment.

I've come to realize this: if you work, say,  in a bank and get a massive, very difficult project done, there are no parades.  Your friends and family don't have a party for you.  They don't insist on reading the report.  Your paycheck is your award.

Yet as an author, I have expected that sort of response from my non-writer friends.  I expect them to buy my books.  (First mistake: all your friends will expect to be given your books for free.  For them, it's a test of friendship.)  I expect them to show up to support me at my big events if I am in their town.  Maybe not every time.  Is once a year too much?

It's been a lesson.  I have people in my circle who have never been to a single one of my author readings or launches.  I've given my books to relatives who are absolutely delighted to receive a signed copy - but they never actually read the book.

Worse - I've done the most masochistic thing an author can do.  I've casually searched friends' bookshelves for my books.  Not there.  (Note to new authors: NEVER ask someone if they have read your book.  You are bound to be disappointed.  This is because, if they read it and liked it, they will tell you without prompting.  If they read it and didn't like it, you don't want to know.  If they didn't read it...ditto.)

Yet along this perilous, exhilarating and sometimes heartbreaking journey, I've made a discovery.  Your closest friends may let you down. I no longer see my closest friend from ten years ago.  I write crime and fantasy.  She let me know that she thought that unworthy.

People like her will find excuses not to go to your events.  I don't know why.  It could be a form of envy.

But the best thing?  Some people you least suspect will be become your best supporters.  This came as a complete surprise to me.  A few friends - maybe not the ones you were closest to - will rise to the occasion and support you in every way they can.  I treasure them.

To wrap:  Most authors need approval.  We're doing creative work that involves a lot of risk to the ego.  There is no greater gift you can give an author-friend than full support for their books.  Be with us at our events.  Talk enthusiastically about our books to other people.  We will never forget it, and you.

Do we expect too much from those around us?  Is it because we don't usually get a constant paycheck? What do you think?

On Amazon

Spies and Secret Agents

The subject of the latest MYSTERY READER'S JOURNAL, the Journal of Mystery Readers International (Vol 34, No 2, Summer 2018) is SPIES AND SECRET AGENTS. It features articles by a number of writers, including me. I thought I'd share the gist of my article here on SleuthSayers.

Secret Agent Superheros

When I realized I would never play centerfield for the New York Yankees (too small, too slow, no athletic ability) I turned to books and decided I'd be a south seas adventurer or maybe an archaeologist. Then I stumbled across Ian Fleming, Len Deighton, John Le Carré, Adam Hall and others, which began a life-long fascination with secret agents. I wanted to be one. That did not turn out for me either. Ever hear of a 5'6" leading-man secret agent? I'm not cool or suave, not multilingual. Hell, I'm barely lingual.

Michael Caine as my all-time favorite spy – Harry Palmer (from THE IPCRESS FILE)

I became a police officer instead, an intelligence analyst and a homicide detective before becoming a private investigator. Along the way I found my true calling to be a writer. I wrote about what I knew – police and private eye stories before penning historical novels (I have a history degree).

The secret agent lingered in my mind, tapping my shoulder, asking when it would his turn. So, I created two secret agents and gave them a little help – superhuman powers – and let them loose in 1936, in a world on the brink of war.

So far I've had two novels published in the series:

LUCIFER'S TIGER (Big Kiss Productions 2017) introduces American agent Lucifer LeRoux in search of a mysterious stone only to run into a group of trigger-happy Japanese and Nazi agents and an alluring brunette who needs rescuing. Or does she? The audacious brunette is Catrin Allaway and like Luce, she has hidden powers and the chase in on as Japanese spies and German thugs pursue the American secret agents. Against a backdrop of exotic locales – from a giant casino in Macao, aboard ship through the South China Sea and the Strait of Malacca into the Bay of Bengal to India and to the Arabian Sea to battle Nazi SS troops and evil scientists. Enmeshed in a struggle between good and evil, the two Americans are drawn to one another on a lush, tropical island. What diabolical plan do Nazi scientists have for tigers? The perilous adventure becomes a dangerous game of cat-and-mouse in the realm of the ultimate predator – the tiger.

LUCIFER'S FALCON (Big Kiss Productions 2018). It is still 1936 and newlyweds Luce and Catrin are on a mission to rescue two men from two European castles. From the coast of Spain to the French Riviera to a high castle in snowy Bavaria, the American agents tangle with Spanish fascists, Nazi fanatics and monstrous men with superhuman powers. Can Catrin and Luce pull off the rescues and make it out alive to continue their honeymoon? With the unexpected aid of a rapacious falcon, they just may get out alive.

In creating these larger-than-life secret agents, I made them Advanced Humans whose ancestors evolved differently than regular people. It also gave me the opportunity to create superhuman villians. It is great fun to write and for a little while, I get to be a secret agent.

I'll save y'all the trouble. I know I'm a mess. My writing's all over the place. My brain just works that way.

That's it for now.

http://www.oneildenoux.com

The Big Neurotic meets the Big Easy

O'Neil De Noux and I at the Cafe Abyssinia for lunch

by Robert Lopresti

In June my wife and I visited New Orleans for the first time.  It was great fun and quite a change from  my Northwest home where we were still celebrating what we call Juneuary.  (As I write this it is Febjuly.  The temperature is 64 degrees and it is drizzling.)

One of the highlights was meeting O'Neil De Noux in person for the first time after years of digital friendship.  O'Neil was kind enough to take us on a tour of the city where his family has lived for hundreds of years.  Boy, was that great.  He is quite a raconteur.

But here was the best part.  O'Neil stopped the car in front of one building and announced that this is where Lucien Caye had his office.  Caye is one of O'Neil's series characters, a post-war private eye.

Just beyond the building there is a park and I immediately remembered the beginning of O'Neil's Shamus-winning short story "The Heart Has Reasons."  Lucien Caye looks out his window and spots a girl sitting in the park.  And that was the  park.

I actually shivered.  It is weird how fiction can do that to us.  It explains why fans have put up marking locations of Baker Street, West 35th Street, and the Reichenbach Falls.

Several friends assured us that the best thing about New Orleans was the music so when my wife and I had a free  evening we decided to see what was on offer.  I'm not a big fan of jazz or Cajun (sorry) but there was one performer listed as folk.  Through the miracle of Youtube we were able to check her out and I would say she was more Bonnie Raitt than folk, but that was fine.

So we strolled over to the French Quarter to the bar where she was playing.  There was nobody and nothing on the stage.  Not so much as a piccolo.  We were greeted by a man at the end of the bar who appeared to be the owner.

"When is the music supposed to start?" I asked.

He smiled.  "Eight thirty."

"And what time is it?"

"Eight thirty."

"But she's not here yet, huh?"

"Nope."

So we strolled about the Quarter for half an hour.  No sacrifice, I assure you.  Coming back at 9 PM we found the stage was still empty.

I looked up the singer's Facebook page and found a notice to her fans that the gig had been cancelled.  I showed it to the apparent-bar-owner who was quite astonished by the news.

So, on the whole, I was not that impressed by the music in New Orleans.

Resident of the Audubon Zoo

I have to get serious now.  That weekend was the 45th anniversary of a famous crime in the city: the UpStairs Lounge arson.  A gay bar was burned and thirty-two people died horribly.  While no one was ever convicted, it is considered pretty certain the culprit was a gay man who had been thrown out of the bar earlier.  (He killed himself a year later.)

A tragedy without doubt.  But the main reason it might be of interest today to those who knew no one involved was the response.  The news media generally ignored that it was a gay bar.  Radio shows made jokes about it.  No government officials mentioned the death of thirty-two citizens.

Many churches refused to hold funerals for the victims.  One Episcopal priest did and was criticized by his parishioners and bishop.  (Unitarians and Methodists stepped up too.  More power to 'em.)  Some families never claimed their deceased's remains.

If there is a positive side to that story it is comparing it to how the nation reacted to the Pulse massacre of 2016.  Looks like we had matured a little since then.

I haven't mentioned the actual reason we were in New Orleans, which was the American Library Association conference.  That's the topic for next time.

Just the instrument

2:46 a.m., and I lift my fingers from the keyboard and look at what I've just written on the screen in front of me and realize it's a pretty good paragraph, almost eloquent. Did I write this? Eloquent? We'll see if it makes the cut to stay in the book. I've cut lots of stuff I thought eloquent at first.

The characters keep moving and talking and I stay along with them, typing it out and wonder how many people are going to read this and if they do, will they think of me. No. Why? Because I'm not important. The story is important. The people in it are important. The feelings brought to the reader are important. I'm just the instrument. It flows through me but I'm not important and that's how it should be.

Plot is important, especially in a mystery story. Moving without a plot is like walking through swamp water where your feet can easily bog down and you have to struggle to get moving again. Having said that, I've written stories after creating characters and a situation and not plotting the story and it worked.  It was hard work, but it worked. Writing fiction is confusing work. There are no rules. Except getting it written.

When I wrote my historical novel BATTLE KISS, I knew the Americans would win the Battle of New Orleans. What I didn't know was how the villians (The British) were so heroic and faced incredible hardships to end up on that battlefield only to get slaughtered. I found a starting point, knew how the battle would turn out, created characters and let them lead me through it all.

I've done the same thing with mysteries, often changing the plot as I go through it, dropping in a body or two. What I don't write well are formula stories. Wish I could as they seem to sell.

Like many other writers, sometimes I'm focused like a laser and everything falls into place. Sometimes I have no idea what the hell I'm doing. The odd thing, when writing a novel especially, is to let it simmer when it seems like you're stuck. Daydream about the story when you're away from the computer. EVERY time I've done this - it comes to me. The solution. Why? Because I'm the instrument. The device that gets it done. A novel is a living creature struggling to be born.

In SAINT LOLITA I knew I needed one thing to make it different from other books in the series. Put most of the action away from New Orleans and see how my recurring character LaStanza does away from home. Big problem at first as I researched which Caribbean island to set the story. I'd been to some islands but did not know enough about any island and internet research bogged me down. Hey, it's a novel. Fiction. So I created the island of SAINT LOLITA which lies 76 miles west of Grenada. The novel struggled through my limited intelligence to live. But it's alive. And the Lolita joke worked well.

I knew HOLD ME, BABE would be about a lost song. I gave it to New Orleans Private Eye Lucien Caye and let him go with it. Other characters peeked in, some became important, some not so but the book came together and was nominated for a SHAMUS Award. Same with THE LONG COLD. I'd worked a couple cold cases when I was a homicide detective. What if I had LaStanza work a 30-year-old unsolved murder of someone he went to school with? THE LONG COLD was also nominated for a SHAMUS so someone must have liked reading it.

Sometimes the instrument works like a laser - sharp and focused. Sometimes it gets stuck in mud. Sometimes it doesn't know what the hell it's doing. But it gets done. The short story, the novel, comes together and it's a great feeling re-reading later and thinking - Did I write this?

That's all I have today.

www.oneildenoux.com

Rejected!

I have every rejection I’ve ever received.

All 2,552 of them.

When I began writing in the mid-1970s, conventional wisdom—whether true or not—was that a collection of rejection slips would prove beneficial were the IRS ever to audit my taxes. The very existence of the rejection slips proved I was writing with the intent to earn money and not as a hobby, even though I was operating at a loss. These days my taxable net profit on freelancing proves the point far better than my collection of rejection slips, but I can’t stop myself from collecting them.

Though today’s rejections are nowhere near as physically varied as the ones I once received through the mail, I continue to print out emailed rejections and file them with all the other rejection slips, which now fill most of a filing cabinet drawer.

JUST SAY NO

I received my first rejection slip from Fantasy & Science Fiction in September 1974, just as I began my senior year of high school, and I received my first personalized rejection—a quarter-page typewritten note with a handwritten addendum—from the editor of Multitude in May 1976, less than a year after high school graduation. I had progressed from form rejection to personalized rejection in only seven submissions.

Of course, a personalized rejection still means “no.”

The typing is mine,
the handwriting is Sam's

My goal was to collect acceptances, not rejections, so I persevered: A single rejection the first year, four the second, 34 the third, and a whopping 74 the fourth. They came in all sizes and shapes, from scraps of paper containing a simple scrawled note (Sam Merwin, Jr., rejecting a story sent to Mike Shayne Mystery Magazine) to four-color full-page form rejection letters that cost more to print than I earned from many of my earliest sales.

Most rejections provided little information beyond the preprinted message. Others contained checklists where editors, by one or more strokes of the pen, identified the way or ways my story failed to engage them. Still others provided handwritten words of encouragement: “Not bad,” “Fine writing,” and “Try us again.”

O'Neil De Noux fails to recognize
the genius of my early work

The best—though they were still rejections—were the long notes and letters providing detailed reasons for rejection and providing suggestions for improvement. Sometimes, they even provided lessons on writing: Gentleman’s Companion editor Ted Newsom’s page-and-a-half letter on the value of writing transitions rather than using jump-cuts springs to mind, as do several letters from horror anthologist Charles L. Grant and several incredibly detailed, multi-page letters from Amazing Stories editor Kim Mohan. (Note: I placed two stories with Ted Newsom and one with Charles L. Grant, but I never did place one with Kim Mohan.)

And one rejection, from Mystery Street, may have been my first encounter with fellow SleuthSayer O’Neil De Noux!

THIS IS YOUR BRAIN ON REJECTIONS

During the 40-plus years I’ve been writing, my stories have been rejected by 71 mystery periodicals—the five that existed in the 1980s and 66 more since then—and an uncounted number of mystery anthologies, including both print and electronic publications. (Note: In “Poster Child,” my recent guest post at Something is Going to Happen, I actually name the many mystery periodicals that have come and mostly gone since I began writing short mystery fiction.)

I’m unsure if a multitude of rejections indicates when I’m having a good year or a bad year, but I received 204 rejections in 1991 (I received 84 acceptances that year). On the flip side, I received only three in 1989 (I received four acceptances that year). More recently, acceptances and rejections are near equilibrium: 39 rejections vs. 37 acceptances in 2017; 35 rejections vs. 45 acceptances in 2016; and 31 rejections vs. 42 acceptances in 2015.

Though the majority of rejections are in response to short story submissions, mixed among the many early rejections are those for articles, essays, fillers, poems, and short humor. I was shotgunning the market back then, trying anything and everything, and hoping something stuck. (And not every rejection generates a rejection slip—Woman’s World, for example, does not send rejections—so I’ve received more rejections than rejection slips.)

Rejections mess with your head. Being told no 2,552 times is quite disheartening. Some writers give up after the first few dozen. Other writers receive rejections and only become more determined. Many writers play rejectomancy, attempting to read between the lines of every rejection. (Aeryn Rudel, in his blog Rejectomancy, which I follow, attempts to decode and rank rejections into various tiers, from “Common Form Rejections” to “Higher-Tier Form Rejections.” Though most of Aeryn’s data comes from the horror, science fiction, and fantasy markets, the information he provides is both entertaining and informative.)

REJECTION-FREE IS THE WAY TO BE

Were it not for the lessons I learned from those long, detailed rejection letters, I may have become one of the many would-be writers whose shattered egos and unpublishable manuscripts litter the literary highway. Lack of ability quashed my music career and my artwork never gained traction, so I focused my creative energy on writing and, over time, began to accumulate acceptances: 1,584 of them (more than 1,200 are for short stories).

That’s one acceptance for every 1.61 rejections and, yes, I’ve kept every acceptance letter, postcard, note, and email. Those I file with hardcopies of my manuscripts and, when I get them, with copies of the actual publications.

I had a hot streak a few years back, when almost everything I wrote sold on first submission. My ego expanded exponentially, but then I realized something I should have realized long before that: If everything is selling, I’m not challenging myself; I’m taking the easy path to publication.

So, I began writing stories that stretched my abilities, either by working in unfamiliar genres or by submitting to higher-paying and more prestigious markets. The acceptance-to-rejection ratio shifted, and not in my favor. I placed a few stories, and just in time because two of my sure-sale markets ceased publication and several anthology editors with whom I worked stopped editing anthologies.

So, as I continue stretching my abilities and my stories continue facing the submission gauntlet, my rejection collection grows, taking ever more space in my filing cabinet. Luckily, so does my acceptance collection.

A trio of recently published stories survived the submission gauntlet: “Plumber’s Helper” in The Saturday Evening Post, “My Stripper Past” in Pulp Adventures #28, and “The Mourning Man” in the March/April Alfred Hitchcock’s Mystery Magazine. (Note: Joining me with stories in this issue are two other SleuthSayers: R.T. Lawton and Robert Lopresti.)

Where is more than the name of a place.

I was fortunate to learn early from a panel of editors: "Setting is the fictional element that most quickly distinguishes the professional writer from the beginner." These were acquisition editors at a couple publishing houses and magazines. Stories without settings did not make it out of the slush pile.

Setting is not just the name of a place or a time-period; it is the feeling of the place and time period. It comprises all conditions - region, geography, neighborhood, buildings, interiors, climate, time of day, season of year.

Setting should appear near the beginning of a novel or story and remain throughout by answering the questions WHERE and WHEN. Using sensory details, the writer can flesh out a setting: the visual, smells, sounds, taste, feeling of the atmosphere. All five senses should be used by describing the little things - what your character sees, hears, feels, tastes and smells.

Every story takes place somewhere. Setting is more than a backdrop, it creates mood, tone and can help establish the theme of a work of fiction. Like characters, it plays an important role in a story. Writers should not neglect setting.

When establishing a setting, get the details correct. You can't have azaleas blooming in Louisiana in December. In New Orleans, the weather is an important part of setting. We have only two seasons - steamy hot in spring, summer and fall - wet cold in winter. There are occasional mild days at the start of spring and the beginning of autumn. Tennessee Williams said these were the only good days in New Orleans.

Go to the place you set your story (or a place like it if you create a fictional city or village or whatever). Go there and watch, listen, take notes. It has helped me often in important scenes.

One of the most gratifying compliments I receive come from New Orleanians telling me how real the city seems in my novels and stories. They see people and places they know. Even The Times-Picayune (a newspaper notoriously indifferent to local genre writers) described my writing as, "the real thing," when it comes to the city.

The weather can come as a surprise as in real life. As I wrote my crime novel BOURBON STREET, I learned about the 1947 Fort Lauderdale Hurricane (hurricanes were not named back then) and how after hitting Fort Lauderdale, crossed Florida into the Gulf of Mexico and slammed into New Orleans. It flooded the city similar to the way the city flooded during Hurricane Katrina, only the water didn't stay as long since there were no lakefront levees to help turn New Orleans into a bowl as it is today. The water quickly receded. I had my characters use the hurricane to assist in their escape.

I do agree with Elmore Leonard to leave out the parts people skip over. A writer, especially a mystery writer, may want to make sure the description of the setting does not overwhelm the scene.

Research. Research. Research when you set a piece in a place you've never been. If you work hard enough you can capture enough of the setting to work.

As I began to write my latest mystery, SAINT LOLITA, I originally set it on a real Caribbean island and quickly saw I'd never get the details correct so I made up an island - Saint Lolita, which lies west of Grenada in the Lesser Antilles. I researched islands of the Lesser Antilles to get details of flora and fauna and architecture, populations, cuisine, architecture and weather and I think I pulled it off.

Setting. Don't neglect it, especially in longer stories and novels.

http://www.oneildenoux.com/index.html

A Lost Book

by
O'Neil De Noux

A few days ago, I spotted the spine of a book on one of my bookshelves and felt a stab in my chest. I pulled the book down, ran my hand across the cover, sat on the floor and started reading the book. Again. My chest tightened as I read the only novel written by my friend.

THE HEYDRICH DECEPTION by Daniel Savage Gray (paperback, 317 pages, Zebra Books, 1989) is a World War II espionage-caper novel in the vein of Ken Follett and Frederick Forsyth and another friend, Greg Iles. Check out Greg's BLACK CROSS (1995).

Set from 1939 to 1942, the book centers around a scheme by "the most dangerous man in the world" - SS-Obergruppenfuhrer Reinhard Heydrich, Reich-Protector of Bohemia and Moravia and a main architect of the Holocaust. Heydrich is producing counterfeit British pounds by the millions to distribute to world banks in a plot to destabilize the pound and throw Britain's economy into turmoil.

The main character is Professor Victor Boden, an Austrian forced to work on the project by Heydrich. Boden decides to help the British and the book takes a breathtaking trip through intrigue, murder, double-crosses - everything necessary in a good espionage novel. It's not all men-and-guns, there are women the reader will care for immediately and there is heartbreak and a wonderful twist at the end.

I had to slow down reading the book to savor this well-written historical spy novel.

Professor Daniel Savage Gray taught me at Troy University, became a good friend and encouraged me to write fiction. He wrote a couple non-fiction books about Napoleon and Waterloo but THE HEYDRICH DECEPTION was his only foray into fiction. My first novel, also a Zebra paperback, came out a few months before his novel.

When Gray's marriage disintegrated he moved across country and I lost touch with him, briefly talking to Gray on the phone once in 1992. I did not learn he died of a medical condition in 1995 until years later. Hit me hard.

THE HEYDRICH DECEPTION is a classic example of a good book written by a good writer that went out of print shortly after publication and is lost. Back then Zebra printed books, opened their back door and tossed them into the wind to see if anyone snatched up enough for a second printing. THE HEYDRICH DECEPTION remains of out print, a lost book like so many excellent books. By a forgotten writer.

Think about it. How many excellent short stories appeared in the pulps that are lost forever? How many cool adventure novels, mysteries, SF - you name the genre - are gone except for copies in used bookstores and sometimes online? How many writers have been forgotten? I'm sure y'all know a few. Share them if you wish.

As I said earlier - there is heartbreak in this book and when I finished reading the book again, I felt choked up. Old men get choked up easily. This time it was because Gray wasn't talking to me anymore. It was his voice in the story and the story ended and Gray's voice faded. I'm getting too personal now, but all life is personal and a good book is a good book.

www.oneildenoux.com

More About Inspirations

I started writing in high school and in college, nothing publishable. When I became a road deputy (patrol officer), I took note of what I observed and felt. Notes I'd use to inspire stories. When I became a homicide detective, I knew - this is what I should write about. While my first two novels were not inspired by real cases, the anecdotes in the books were. The small stories and the way the characters talked and thought.
My third novel BLUE ORLEANS is based on a real case we worked. Not only a whodunit, it was a whoisit as it started with a dumped body. Didn't take long to identify the victim as a New Orleans drug dealer, which led to his family and friends, which led to the solution of the case. I jazzed it up in the novel, put in a little sex and violence, created a femme fatale.

   LaStanza Novels 3, 4, 5

My fourth novel CRESCENT CITY KILLS is a telling of another dumped body case, the case of two young New Orleans women executed on the river batture (land between the levee and the water's edge, in this case the Mississippi River). In real life, the murders occurred in Jefferson Parish. In my book, I moved them back to New Orleans were my recurring character NOPD Homicide Detective Dino LaStanza could work it. Condensing the 13-month investigation wasn't hard but pacing the novel was difficult.

Those books also had strong ancillary plots - LaStanza's personal life. But I was fortunate to have a framework. Real cases.

The inspiration of my fifth novel, THE BIG SHOW, came from a phone call from Harlan Ellison who said he had an idea for LaStanza. He gave me flashes of an opening scene and suggested I run with it. I did. All he asked was for me to put an acknowledgement: Thanks Uncle Harlan. Which I did. I made up the rest of the story. Inspiration from a phone call.

The third novel in my Lucien Caye Private Eye series - HOLD ME, BABE (which was a finalist for this year's SHAMUS Award for BEST ORIGINAL PAPERBACK PRIVATE EYE NOVEL) - was inspired by a conversation with my literary agent Joe Hartlaub (who is also an agent for musicians). He relayed an emotional story about a lost song. I got caught up in the emotion and was inspired.

Hurricanes are inspiring. Look at the flood of Hurricane Katrina-inspired books. I waited eight years before penning CITY OF SECRETS, a story triggered by the haunting poem "Eternal Return" by James Sallis. Sometimes you just have to let an idea ferment.

We writers get inspiration from a lot of sources. The night my wife walked into my home office with a catalog (either a Victoria's Secret or Frederick's of Hollywood catalog) and showed me a new product - the kissable cleavage bra. I made note of what she said, then wrote a story "Kissable Cleavage" that's been published three times. Sorry, don't have a picture of the brassiere to share.

Sometimes it's the little things, sometimes the big ones. Whatever causes emotion in a writer can cause emotion in a reader if well written.

That's all for now.

www.oneildenoux.com

About Hate

by O'Neil De Noux

Hate breeds hate. No need for me to preach this. We all know it.

How the hell do we have people in America proudly going around waving the Nazi swastika, spewing Nazi slogans? Why are we returning to the great divide of our civil war?

How did we end up with a neo-confederate president from New York? How did we end up with a president so consumed with anger, a president so ignorant of history, a president lacking the intelligence to grasp international relations? I wish him no malice. I hope he is OK and not as crazy as he seems. My biggest worry is the 65+ million Americans who voted for him.

I know a lot voted against Hillary rather than for him. It seems Hillary was too polarizing to the elected. But this anger, this hatred seething in white-males-who-did-not-go-to-collage, is so divisive. I'm old enough to remember how it started. Nixon reached out to them, calling them the silent majority. Goldwater had tried but he was flat-out crazy (sound familiar). Then Reagan brought it all together, the anti-Washington loathing, the gosh-darn-it's-OK-to-be-uneducated and the nation has never recovered. How many times have we wondered why our best and brightest aren't leading us? Barack Obama excepted.

How the hell do you drain a swamp when the swamp is what the foundering fathers designed? The US Government was constructed to be inefficient, to move slowly, to have checks and balances, for the women and men running the show to negotiate, compromise. The dunces McConnell and Ryan are the antithesis of compromise.

Hate breeds hate.

When I started in law enforcement in the late 1960s, the Ku Klux Klan (also known as the Knights of the White Camelia* here in Louisiana) was listed as a terrorist organization by the US Justice Department and the FBI vigorously investigated, infiltrated, disrupted, indicted and broke them up. Why isn't the FBI doing the same against right wing organizations today? How the hell did we end up with Nazi swastika flags waving in Virginia (and other places).

*Not a typo. That's the French spelling of camellia. In Louisiana we have Vermilion Bay not Vermillion.

One final thought about the confederate battle flag. For a short time in the early 1990s, I lived in beautiful Oregon. One day my wife and I entered a rustic mountain cafe and found a huge confederate flag nailed to the wall. Being a southerner, I asked about it and was told by a fiery-eyed, foaming saliva-mouthed cafe owner that the flag wasn't there to honor confederate soldiers. It stood for white supremacy. He was right. The flag has been absconded by white supremacists much as the swastika had been absconded from ancient India by the Nazis. It is a symbol of hatred.

So when you see the old stars-and-bars, it's not about honoring the confederate dead, when you see statues of confederate leaders, it's not about honoring the old south - it's about white supremacy.

When I posted my feelings about confederate monuments towering over New Orleans here on SleuthSayers and on my personal blog, I thought I put up a quiet, sincere, thoughtful piece. Many of my friends and family did not think so. They act as if I'd spit in the face of Robert E. Lee and the great Louisiana French Creole Pierre Gustave Toutant Beauregard.

When will the white majority ever try to understand the horrible legacy of slavery? Racism has never gone away. What's happened to our compassion? My God, people are railing against Jews. It's Hitler and Goebbels all over again. Blame someone else for your problems, then attack them.

Are we strong enough to find our way out of this? I have to believe we are. I have to.

Enough preaching.

www.oneildenoux.com

Criminal success: Success and/or Challenges You've Faced in Writing Crime

Kris Nelscott: I’m amazed at how easy it is to find information that I shouldn't be able to find. In my Smokey Dalton series, the books are set in the late 1960s. One book, The War At Home, deals with bomb-making. I found, in a memoir by a former member of the Weathermen, the recipe for their bombs. I used a part of it, but left out several ingredients on purpose. My NY copy editor added them back in. No, nope. No. I'm not going to give anyone a roadmap into bomb-making. Or other crimes, for that matter.

Rebecca Cantrell: I love meeting readers, although I once had a reader come up to me and say: "Your mystery is so good! I bet you could even write a real book!"

Annie Reed: The challenges for me pretty much all stem from having to step inside the head of a truly bad person in order to write from their point of view. Basically putting myself inside the head of a psychopath to write from that person's perspective.  Oogy stuff. The successes come from writing something that forces me to write outside my normal comfort zone.

O’Neil de Noux: The greatest challenge was learning my craft. No one can teach you how to write. You can learn the basics, the ‘how to’, but you have to do it yourself to get it done.
Successes are few. Sales have never been big. A little recognition in the media at the start of my career was nice. The awards are certainly nice. Being recognized by my peers. My writing has been awarded a SHAMUS Award, a DERRINGER Award, the UNITED KINGDOM SHORT STORY PRIZE. Two of my mystery stories have appeared in the BEST AMERICAN MYSTERY STORIES and my novel JOHN RAVEN BEAU was named Police Book of the Year by police-writers.com.

Dean Wesley Smith: I suppose that at first I thought it would be too complex for me to figure out. Turns out, for me and how my mind works with puzzles, they are the easiest books to write.

Melissa Yi: My definition of success keeps changing.

First, I desperately wanted a professional publication, because it meant that I was a “real writer” in my mind. I was good enough that someone wanted to pay me for my words.

Then I was anxious to sell repeatedly, for more money, in more magazines. 

My next skill leap was jumping from short stories to novels. I had to talk myself into it by saying, “Look, novels are just connected short stories … “

So then the next rung was selling my novels and making some money.

In 2010, my collection of light-hearted medical essays, The Most Unfeeling Doctor in the World and Other True Tales From the Emergency Room, hit the Amazon bestseller lists. For the first time in my life, I was reaching lots of readers, and money hit so quickly that I ended up with a bunch of cheques in British pounds that I didn’t even have a bank account to accommodate.

Now I was ringing the money bell, certainly not to the tune of six figures a month, the way some writers seemed to, but way beyond anything I’d accomplished before or since. But it didn’t make me as happy as I thought it would. My fiction wasn’t getting the same audience, and I got a lot of blowback in the form of hate mail and vigorous one-star reviews. So I made up a new definition of success: Writing connects me with people, places, and things that excite me.

You can see my evolving definition of success here, which is sort of a writing bucket list. When I look back at it, I realize that in 2010, writing was giving me money, but no fun. Once the critics came out with their knives, I froze up a bit at writing non-fiction. 

Since then, I’ve made a point of having fun. Or at least trying new things. Probably the most bizarre thing I did was a two-day Ido Portal handstand workshop when I’ve got minimal upper body strength and rarely hang out upside down. But I also went to Los Angeles twice as a finalist for the Roswell Award, and I headed down to New York and Boston for the Jewish Noir book tour. All awesome.

However, now that I’ve had some fun and can no longer crack Amazon’s algorithms, I’d like to make a living with my writing. Or, as I put it on my bucket list, I want to be able to say, I could quit my day job and write full-time, whether or not I choose to do this.

And for success, I’m thrilled to report that Canada’s national book show, CBC Radio’s The Next Chapter, chose Human Remains as one of the great summer must-reads of 2017!

(If you’d like to join the Human Remains party, the e-book's only $3.99 on all platforms. You can download it for free on Kobo with the code HRemains. This code only works on Kobo, not Amazon, and will only last until July 31st.)

Looking at my fellow writers' opinions, I see that a lot of my writing goals and dreams are very external. I don’t have a lot of control over which editors publish my work, how much money flows to me every year, or how my books are reviewed. 

I should set some writing goals that I can control, like how many words I write per week, or how many stories I submit to magazines, or craft goals, like improving my setting.

What about you? How do you define writing success and/or challenges?