Showing posts with label White Heat novel. Show all posts
Showing posts with label White Heat novel. Show all posts

26 November 2019

P.I. Nocturne


by Paul D. Marks

Benny Goodman and Gene Krupa
In a couple of recent SleuthSayers posts O’Neil and Leigh talked about pre-rock music. I’d like to take my cue from them and offer my nine cents’ worth (inflation) on the topic. Music infuses my life and because of that it also infuses much of my writing.

As I mentioned in my comment on O’Neil’s post, I think there’s a lot of good music before rock. I love baroque music and well, that’s a hell of a long time before rock. But mostly I’m talking here about the swing/big band music of the 1930s and 40s. I love a lot of that music.

I’m a rock n roller, love to sing it, play it, not saying I’m any good, just like to do it. I grew up on it. And when I was a kid and teen it was all I wanted to listen to. My dad liked classical music and swing and if we were in the car and he put those on I would gag. But somehow, as I got older I began to appreciate other genres of music besides rock. I think partially because I was exposed to it as a kid—very much against my will—and also because I like/d old movies from the 1930s and 40s and was exposed to that music in them as well.

Duke Ellington - Take the A Train

When I was a kid, I got to see Benny Goodman play. And I hated it. I didn’t appreciate it. I feel like an idiot saying that today, but it is what it is. That said, I can still say I saw him. These days, I love his music, especially Sing Sing Sing, and wish I could have seen him again as an adult.

Benny Goodman - Sing Sing Sing

A very long time ago, my friend Linda (who’s also into old movies, old music and old L.A., like me), and I would cruise around L.A. and see various swing bands and singers. It was long enough ago that we actually got to see some of the performers from the 30s and 40s, who were still around. We saw Tex Beneke leading the Glenn Miller Orchestra. We saw Bob Eberly and Helen O’Connell, who, when they were with the Jimmy Dorsey band (one of my favorite big bands), sing their hits Brazil and Tangerine. You might recall an instrumental version of the latter wafting in from down the street in Double Indemnity.

Bob Eberly and Helen O'Connell - Tangerine

So, even though I loved—and still love—rock ‘n’ roll, my musical horizons expanded quite a bit as I got older. I found there was a lot of great and sinuous music pre-rock. Just listen to Sing Sing Sing, or Duke Ellington’s Take the A Train or Artie Shaw’s Frenesi and so much more.

There’s also been some great musical moments in film noirs:

Elisha Cook in Phantom Lady


Louis Armstrong in The Strip, and Mickey Rooney drumming his heart out in that.

And the jazz scene in the original D.O.A.

But the point I’m leading up to is that, as a writer, my story/novel titles are often inspired by music and songs. Mostly rock, because they’re mostly set in the rock era, but sometimes swing. The title of my upcoming novel, The Blues Don’t Care, is inspired by a Nat King Cole song. And a story I did many years ago, Sleepy Lagoon Nocturne, takes its title both from the infamous Sleepy Lagoon incident in L.A. during World War II and the song of that name, which inspired the name of the lagoon in that incident. My story title Born Under a Bad Sign is inspired by the blues song of the same name that was originally recorded by Albert King and covered by Cream, so it hits two genres of music.

Nat King Cole - The Blues Don't Care

Some of my story titles inspired by music are: Endless Vacation (Ramones), Poison Heart (Ramones), Deserted Cities of the Heart (Cream), and more. In fact, I just finished a story called Can’t Find My Way Home (Blind Faith) and another, Nowhere Man (the Beatles). Music is everywhere in my writing.

I sometimes write things set in the past. The Blues Don’t Care (coming out in 2020) is also set on the L.A. homefront during World War II. It’s largely set on Central Avenue, L.A.’s swing and big band center. And the music of that era wafts sensuously around and through the plot. Doing the research for that was so much fun that getting any writing done was difficult. (I’ll be talking more about this book closer to its release. But right now I’m just talking about the music.)


Many of my characters also listen to music, and sometimes play it, like Ray Hood, the lead character in Dead Man’s Curve, named after the Jan and Dean song. P.I. Duke Rogers (from my novel White Heat and its sequel Broken Windows, both set in the 1990’s), listens to a variety of new wave and alternative music, everything from k.d. lang to Portishead and even some Eric Clapton. His less open and less tolerant partner, Jack, only listens to classical and cowboy (not country) music, which he thinks are the only pure/legitimate forms of music (and I like those genres too). He calls Duke’s music “space case” music in Broken Windows. But the music isn’t there only to help define their characters. I use their musical tastes to highlight the difference between the two characters and their contrasting personalities.

Music is a big part of my writing, helping express character and mood, though sometimes music can be difficult to express in a “two-dimensional” medium. It’s a bummer we can’t have a soundtrack to our stories/novels, but I’m sure that’s coming with e-books, if it isn’t already here.

I often listen to music while I write and most often it’s the kind of music that can get me in the mood for what I’m writing. So if I’m writing something set during WWII I listen to big band, if I’m writing something more contemporary, I listen to one kind of rock or another. You get the idea.

Today I’m listening to Benny Goodman and Duke Ellington and who knows what stories they might inspire or how it will affect what I’m working on right now. That’s one of the great things about music, it can inspire you in so many ways and bring out emotions, thoughts and feelings that we sometimes stifle in our everyday lives—and it can do the same for our characters. And remember, it don’t mean a thing if ain’t got that swing.

~.~.~

And now for the usual BSP:


Don't forget to check out Broken Windows, the sequel to my Shamus award-winning novel, White Heat. Betty Webb at Mystery Scene magazine says: "Broken Windows is extraordinary."



Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website  www.PaulDMarks.com

14 May 2019

Hollywood: Land of Broken Dreams


by Paul D. Marks

In the tense opening of my novel Broken Windows, a young woman—Susan Karubian—drives up the windy roads of the Hollywood Hills. She parks. She walks to a huge structure on the side of the mountain. Climbs it. Contemplates a moment. Then jumps to her death from the Hollywood Sign. We’re left to wonder who she is and why she does what she does.


But she isn’t the first person to jump to her death from the Sign. Susan is loosely based on Peg Entwistle. Entwistle came to Hollywood in 1932 to fulfill her dreams of becoming a star. When that didn’t happen she became the only known person to have jumped to her death from the Sign…until Susan Karubian in Broken Windows. But Susan has more reasons than simply not fulfilling dreams of stardom for her jump into infamy in 1994, when the novel takes place.

Here’s some excerpts from the opening of Broken Windows:

Prologue (Disjointed) Excerpts:

The nonstop rain of the last couple weeks had broken. The view from up here was incredible. You could almost see Mexico to the south and the Pacific glittering in the west. The city below, shiny and bright. Pretty and clean from up here. A million doll houses that reminded her of childhood, playing with dolls and making everything come out the way she wanted it to. Little toy cars down below, scooting back and forth. Swarms of ants scurrying this way and that on important business. Oh yeah, everyone here had important business all day and all night. Everyone but her. She gazed down at Los Angeles on the cusp of the millennium. The place to be. Center of the universe…

...The city glowed, shimmering with hope and desire and people wanting to make their dreams come true. She knew this, because she was one of those people…

…If she couldn’t be famous in life, she would be famous in death. But she’d make her mark one way or another. She hoped her fall from grace would be graceful, even if her life hadn’t been.

I’d like to say that the idea for this just popped into my head ’cause it was a cool thing to do – a great hook to open the book. But I’ve always been fascinated by Peg Entwistle and her jump into infamy. One of the themes in my writing that I revisit from time to time is how Los Angeles is the place people come to fulfill their dreams, to start over, to become a new and different person. How Los Angeles is on the edge of the continent and if you go too far you fall into the Pacific, lost to the world forever, at least metaphorically speaking. How many – maybe most – of the people who come here with Big Dreams never achieve them. They become hangers on, wanna-bes and also-rans. Dejected and Depressed. I think Peg Entwistle was one of those people.


Peg (I hope she won’t mind my being informal with her) was born February 5, 1908 and died on September 16, 1932 in that famous jump. She was born in Port Talbot, Glamorgan, Wales, as Millicent Lilian Entwistle. Peg and her father – it appears he’d divorced her mother – emigrated to America, landing in Cincinnati and then New York. Her father died in 1922 and Peg began studying acting in Boston.

Apparently, in 1925 a young woman saw a seventeen year old Entwistle play the role of Hedvig in Ibsen’s The Wild Duck. After seeing Entwistle in the play, that young woman told her mother, “I want to be exactly like Peg Entwistle.” And ultimately Bette Davis surpassed her inspiration.

Eventually, Entwistle found work on Broadway, performing in several shows. And in 1927 she married actor Robert Keith, father of actor Brian Keith of Family Affair and other TV and film fame. So she became his step-mother for a time. Entwistle and Keith eventually divorced and Entwistle moved west to stake her claim in Hollywood during the Great Depression.

She appeared in several plays, but in only one movie Thirteen Women, starring Myrna Loy.

From here the facts get a little murky. But apparently, despondent over not making it in Hollywood, she made that infamous climb to the top of the “H” in the Sign and jumped into history.

Her suicide note read, “I am afraid, I am a coward. I am sorry for everything. If I had done this a long time ago, it would have saved a lot of pain. P.E.”

Find a Grave says, “Today she is remembered for being an example of the lost aspirations of many who go to Hollywood to become actors or actresses. Ironically, the day after her death, a letter arrived at her home, offering her the lead role in a stage play about a woman driven to suicide.”

Whether this letter is for real is a matter of dispute. But either way, it says everything about people’s quest for fame and their obsessive desire for their guaranteed (by Warhol) fifteen minutes in the sun and in the news.

~.~.~

And now for the usual BSP:

White Heat -- Shamus Award-Winning mystery-thriller -- is a BOOKBUB Featured Deal on Sunday, May 19th. You can get the E-book for only $0.99.  https://tinyurl.com/y5oq3psq



***

New May issue of Mystery Weekly is out. And I'm honored to have my new story The Box featured on the cover. Hope you'll check it out. -- This link is to the Kindle version, but there's also a paper version available.

https://www.amazon.com/Mystery-Weekly-Magazine-2019-Issues-ebook/dp/B07RC8XS93


***

Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com

04 December 2018

Twice Watched Tales


by Paul D. Marks

Some people I know only watch a movie once. Once they know how it ends they have no interest in seeing it again. Other people like to watch movies over and over. I fit in the latter category. If there’s a movie I like I can watch it over and over and over. Sometimes I get new things from it. Sometimes I just enjoy the ride. This list just touches the very tip of the iceberg for me and is also heavily weighted towards classics from the 30s and 40s, with only a handful of more “recent” movies and little or nothing from the last few years, ‘cause I have to wait and see what sticks. There are more esoteric movies that I like, but this is a list of movies that I like to watch over and over and can pretty much do so from any point in the picture. So, here’s some movies I’ve seen multiple times:

Sui Genris:

Casablanca – my favorite movie, bar none. What more can I say, except, I’m shocked. Shocked.


Film Noir: I don’t have the time or space to put them all in here, but almost all classic film noirs would be on this list.

Double Indemnity – The ultimate film noir imho. Covers all the bases.

     —Walter Neff: How could I have known that murder could  sometimes smell like honeysuckle?

     —Walter Neff: Suddenly it came over me that everything would go wrong. It sounds crazy, Keyes, but it’s true, so help me. I couldn’t hear my own footsteps. It was the walk of a dead man.


Big Heat, The

Big Sleep, The

Blue Dahlia, The

Born to Kill – One of my favorites and has one of my favorite movie quotes of all time. It’s not said by either of the main characters, but by Walter Slezak, a sleazy private eye:

     Delivery Boy: My, that coffee smells good. Ain’t it funny how coffee never tastes as good as it smells.

     Arnett (Slezak): As you grow older, you’ll discover that life is very much like coffee: the aroma is  always better than the actuality. May that be your thought for the day.


Criss Cross

D.O.A. (original) – The ultimate high-concept flick…for my money

Dark Corner, The – Bradford Galt: There goes my last lead. I feel all dead inside. I’m backed up in a dark corner, and I don’t know who’s hitting me.

Dead Reckoning

Detour – Al Roberts: That’s life. Whichever way you turn, Fate sticks out a foot to trip you.

Fear in the Night

His Kind of Woman

In a Lonely Place – Tied for my second fave movie in any genre (with Ghost World, yes, I love Ghost World):

     —Dixon Steele: I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.

Kiss Me, Deadly – Much better than the book

Lady from Shanghai, The – Mirrors, what else can I say but mirrors?

Maltese Falcon, The – The schtuff dreams are made of.

Murder, My Sweet

Narrow Margin, The

Nightmare Alley

Out of the Past

Postman Always Rings Twice, The (original)

Scarlet Street

Somewhere in the Night

To Have and Have Not (which may or may not technically be noir)

Touch of Evil

Where the Sidewalk Ends

Woman in the Window, The


Thrillers and Neo Noir

Clockwork Orange, A

Devil in a Blue Dress

Die Hard

Final Analysis – Doesn’t get a great rating on IMDB, but I like it.

Fracture – So clever, so good.

Kill Me Again

Last Seduction, The

Malice

Pacific Heights – Creepy.

Pelican Brief

Red Rock West

Sudden Impact – My favorite Dirty Harry movie.

Taxi Driver

Vertigo (and most Hitchcock movies)


Quirky (for lack of a better term)

And Now My Love (Toute Une Vie) – Though I’ve heard horrible things about the DVD version, which I have, but can’t bring myself to watch,

Art School Confidential

Crimes and Misdemeanors

Ghost World – I can’t get enough of this movie.


Lilies of the Field

Sideways – Can’t get enough of this one either.

Soldier in the Rain – Based on the book by the late, great William Goldman.

Tender Mercies


Newer Classics

Chinatown

Godfather Movies – All 3, the third one’s not as bad as it seems initially and if someone besides Sofia Coppola had played that part it would “read” much better.

LA Confidential


Holiday Movies

Christmas Story, A

Miracle on 34th Street

Shop Around the Corner

(since I’m posting on Christmas Day, more holiday movies then)


Where Does This Fit?

Born Losers (John Floyd) – The movie that introduced Billy Jack, before he got too preachy. This one’s just a biker movie. How Billy got his start. When I was younger, I loved going to all the biker movies. That’s how I got introduced to Jack Nicholson before his breakout role in Easy Rider


Screwball/Classic Comedy

Awful Truth, The

Bachelor and the Bobby Soxer, The

Bringing Up Baby

His Girl Friday – Classic and hilarious

Holiday

Libeled Lady – This and Love Crazy below, both with William Powell and Myrna Loy are terrific.

Love Crazy

Monkey Business (Marx Brothers)

My Favorite Wife

My Man Godfrey

Philadelphia Story, The

Sullivan’s Travels

Thin Man series

To Be or Not to Be (original) – Proves you can laugh at Nazis, even at the time they were in power.

     —Colonel Ehrhardt: They named a brandy after Napoleon, they made a herring out of Bismarck, and the Fuhrer is going to end up as a piece of cheese!


Westerns

Monte Walsh (both versions)

Shootist, The – I put The Shootist out of alphabetical order because I see it as a pair with Monte Walsh, both about people who’ve outlived their time, a theme I like to explore in my own writing.

El Dorado

Shane – If I had to show one western to a Martian to show them what the genre is it would be this.


Science Fiction/Horror – Not a big science fiction or horror guy these days. Liked them more as a kid.

Dracula (Lugosi)

Forbidden Planet

Haunting, The (original)

Invasion of the Body Snatchers (original)


The Beatles

A Hard Day’s Night

Help! – Help me if you can I’m feeling down…

Let It Be


Newer Comedy

After Hours

Can’t Buy Me Love – Even though it’s named after a Beatles song, which is played at the end, it’s got nothing to do with the Beatles, but it’s still fun.

In-Laws, The (original)

Manhattan

My Cousin Vinnie – One of the funniest movies I’ve ever seen and no matter how many times I watch it I always laugh

Reuben Reuben – A treasure!

Sting, The


Musicals/Music:

Ramones: It’s Alive – Okay, maybe it’s not a musical per se, but it is music and ya gotta love The Ramones: “One, two, three, four…



Singin’ in the Rain

Wizard of Oz, The

***

I could go on forever, but I gotta stop at some point. So:

What about you? What movies do you like to watch over and over again?

~.~.~

And now for the usual BSP:

I'm thrilled by the great reviews that Broken Windows has been receiving. Here’s a small sampling:

Betty Webb, Mystery Scene Magazine:  "Broken Windows is extraordinary."

Kristin Centorcelli, Criminal Element"Although it’s set in 1994, it’s eerie how timely this story is. There’s an undeniable feeling of unease that threads through the narrative, which virtually oozes with the grit, glitz, and attitude of L.A. in the ‘90s. I’m an ecstatic new fan of Duke’s."

"Duke and company practically beg for their own TV show."

John Dwaine McKenna, Mysterious Book Report:  "This electrifying novel will jolt your sensibilities, stir your conscience and give every reader plenty of ammunition for the next mixed group where the I [immigration] -word is spoken!"

***


I’m also honored and thrilled – more than I can say – that my story Windward appears in The Best American Mystery Stories of 2018, edited by Louise Penny and Otto Penzler. I wrote a blog on that on SleuthSayers if you want to check it out: https://www.sleuthsayers.org/2018/10/the-impossible-dream.html .

I’m doubly thrilled to say that Windward won the Macavity Award at Bouchercon a few weeks ago. Wow! And thank you to everyone who voted for it.

Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com


29 May 2018

Are the Sensitivity Police Coming to Get You?


by Paul D. Marks, Jonathan Brown, Elaine Ash


Contents:

—Context and White Heat – Paul
—Dude? Why so Sensitive? – Jonathan Brown
—The Right to Write – Elaine Ash
—Paul’s original post
—In conclusion – Paul


“In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms.

The first is freedom of speech and expression–everywhere in the world.”

                                                       —President Franklin D. Roosevelt, the Four Freedoms Speech

     Context:

It’s time to revisit a topic that’s very important to me, and I would think it should be to all writers. And though some of it may be repetitive, and it is long, I think it’s worth your time if you’re a writer, a reader, a sentient being.

In March, 2017, I did a piece here about the Sensitivity Police (find it at this link, but also “reprinted” near the end of this new post, http://www.sleuthsayers.org/2017/03/the-sensitivity-police.html ). I don’t get very political on social media. There’s only two things that I talk about in that regard and then not that much. The two things are animal issues and free speech issues. The latter is what this post is about. In a nutshell, I’m a free speech absolutist. There’s almost nothing I don’t think people should be allowed to say or put in print. It can be awful and hateful and offend you or me. But that’s what’s great about this country – you have the right to say what you want. I don’t have to agree, I don’t have to break bread with you, but I’ll fight for your right to say it.

I see things all the time that I agree or disagree with but I don’t see much point getting into verbal firefights about them. I’m not going to change any minds and no one is going to change mine. Mostly, I just scroll past political posts.

This revisit is prompted by an article I saw recently in the Guardian, the British paper. The article was “Lionel Shriver says 'politically correct censorship' is damaging fiction.”  https://www.theguardian.com/books/2018/feb/22/lionel-shriver-says-politically-correct-censorship-is-damaging-fiction

To be honest, I hadn’t heard of Lionel Shriver. And I still haven’t read her works. But I agree with that statement. Again, I am a total free speech advocate. I know the arguments about shouting fire in a crowded theatre or hurting people’s feelings, but I also remember when the ACLU defended the Nazis’ right to march in the Jewish suburb of Skokie, Illinois. (And for the simpletons out there, No, I’m not pro-Nazi!) And I remember when people would say “I may not agree with what you say but I’ll defend to the death your right to say it.” That seems to be a dying sentiment.

I understand that people get offended. I get offended, but I just grin and bear it and move on. Maybe you’d rather fight back, verbally. Fine. Just don’t stop the other from saying whatever it is. I’m against any form of censorship. And it scares the fucking hell out of me!!! Free speech is the foundation of our society. Without it totalitarianism reigns. Yet a recent Gallup poll shows college students aren’t totally behind the concept of free speech — See:

https://medium.com/informed-and-engaged/8-ways-college-student-views-on-free-speech-are-evolving-963334babe40 .

——Or——

  https://www.washingtonpost.com/local/college-students-support-free-speech--unless-it-offends-them/2018/03/09/79f21c9e-23e4-11e8-94da-ebf9d112159c_story.html?noredirect=on&utm_term=.fcceb8833c43

As writers sensitivity police should scare the hell out of us. As citizens of a free society likewise. Maybe what we write is uncomfortable, maybe you’re offended. Maybe you should toughen up.

This time around I’m inviting two guests to join me and add their opinions, Jonathan Brown and Elaine Ash. I was originally going to intercut the things that Jonathan, Elaine and I have to say on the subject, but I’ve decided to run all the pieces as a whole. I asked a few people if they’d want to comment from the point of view of wanting censorship of one degree or another. Nobody wanted to go on record. I truly hope you’ll take a few minutes to read everything.

***


     White Heat:

My Shamus Award-winning novel White Heat is a noir-mystery-thriller. It’s about P.I.s trying to find a killer during the 1992 Rodney King riots – that makes it much more than a simple noir-mystery-thriller. While protagonist Duke Rogers tracks down the killer, he must also deal with the racism of his partner, Jack, and from Warren, the murder victim’s brother, who is a mirror image of Jack in that department. He must also confront his own possible latent racism – even as he’s in an interracial relationship with the dead woman’s sister.

The novel looks at race and racism from everyone involved, black and white, and no one gets off unscathed. These things can be a little uncomfortable. Believe me, I know. I was uncomfortable writing some of it. Ditto for Broken Windows, the sequel coming out in the fall, that deals with immigration via a mystery story. These are touchy issues, but that doesn’t mean we shouldn’t talk or write about them. And if we do so honestly we might unintentionally hurt some feelings.

To quote from my article a year ago, “It’s getting to the point where we have to constantly second guess ourselves as we worry who might be offended by this or that? In my novel, White Heat, I use the N word. And don’t think I didn’t spend a lot of deliberating about whether I should tone that down, because truly I did not want to hurt or offend anyone. But ultimately I thought it was important for the story I was trying to tell and people of all races seemed to like the book. I think context is important. But even without context, as a free speech absolutist, I think people should be allowed to say what they want. There used to be an argument that went around that the way to combat negative speech was with more speech, but that doesn’t seem to be the case today. As former Supreme Court Justice Louis Brandeis said, ‘Fear of serious injury cannot alone justify suppression of free speech and assembly.’”

I did add an Author’s Note warning people: “Some of the language and attitudes in the novel may be offensive. But please consider them in the context of the time, place and characters.” Today we’d call it a Trigger Warning. And I don’t mind doing that, as long as no one stops me from saying what I want to say.

If you don’t defend free speech now because your ox isn’t currently being gored, to coin a phrase, then no one will be there to defend you when it is. And revolutions always come back to bite the head off. Look at what happened to Robespierre during the French Revolution. It’s like that quote from Martin Neimoller during World War II: “First they came for the Socialists, and I did not speak out— Because I was not a Socialist. Then they came for the Trade Unionists, and I did not speak out— Because I was not a Trade Unionist. Then they came for the Jews, and I did not speak out— Because I was not a Jew. Then they came for me—and there was no one left to speak for me.”

My mind hasn’t changed in the last the year. And now here are Jonathan and Elaine to talk about the issue:

***

     Jonathan Brown: 

Jonathan was born and raised in Vancouver British Colombia. He works as a writer, fitness trainer and drum instructor. His Lou Crasher mysteries recently landed him a two book deal with Down and Out Books. The first novel: The Big Crescendo is slated to be released in early 2019 and the follow up: Don't Shoot the Drummer will be released in 2020. Brown has also written a fictional biography about the life of boxing trainer, Angelo Dundee. The book: Angelo Dundee, a Boxing Trainer's Journey is published by The Mentoris Group and will be released in December 2018. Jonathan and his lovely wife Sonia enjoy life in sunny south Los Angeles. jonathanbrownwriter.com

Dude? Why So Sensitive?

When Paul was gracious enough to offer me a chance to weigh in on the ‘sensitivity reader’ issue I said, “Sign me up, please.” For those new to this phenomenon a sensitivity reader is someone hired by a publisher to read manuscripts with an eye sensitive to one particular race, religion or gender and so on. While the publisher’s heart may be in the right place or if the publisher simply wants to avoid a lawsuit, I think the practice is not only superfluous but also dangerous. Dangerous might be a little extreme, let’s say asinine instead.

Here’s where this jazz is headed. The sensitivity reader(s) will essentially be the politically correct police. The potential to take what might be the next great American novel and water it down to Disney meets Hallmark on Mr. Roger’s front porch is huge. For example, Writer X has a vigilante ex-gangbanger as the anti-hero. He enters the warehouse and finds the banger that killed his family. He raises the Sig Sauer. He closes one eye and lines up the enemy down the gun sight. Finally, he shall have his revenge. As a parting phrase the avenger says, “You’re a dead person of color with ancestry dating back to ancient sub-Saharan Africa!” As opposed to: “You’re a dead nigga!” Pop, Pop, Pop.

Under the sensitivity cop regime urban gang bangers won’t use authentic dialog; terrorists will be of a fictitious ethnicity (thus being limited to Science Fiction) and although books will still have steamy sex scenes the party engaging in coitus shall be genderless—out of fairness to the gendered. Can you imagine? Try this scene:

“Hey baby, want to get it on?”

“Sure, if you’ll just put your—”

“Don’t say it. I can’t wait to feel your—”

“No, don’t say it!”

And so the participants put their matching or perhaps mismatching parts together and…did it. 

The End

Can you feel the heat? No? Yeah, me either. I’m rarely the slippery-slope-guy and I’m truly weary of the expression but I must say the incline will become pretty slick here if we engage in this sensitivity reader censorship parade. And what, may I ask makes a sensitivity reader? How does one become one? Is there a questionnaire? The bigger question for me is why have we stopped trusting our own judgment? Don’t we all have some measure of built-in common sense about sensitivity? I say we do, if I may be so bold as to answer my own question.

If a manuscript becomes ‘green lit’ by a publisher that means an agent and possibly her assistant has read the manuscript. Then, let’s toss in two to four low-level readers at the publishing house and cap this off with one or two of the top brass readers.  Do you mean to tell me that from agent’s assistant to top Banana none of those cats know what is basically offensive and what’s not? I call bullshit. As members of society we all know what is basically offensive but now we’re too afraid to say it, so let’s put it on the sensitivity reader…yeah that guy. Phew, thank god we now have a scapegoat if this thing goes south, right? Grow up people.

If this castration of the arts by ‘sensitivity cop’ flies then Noir literature will become beige, Romance will have gender sensitive sex scenes (which I suppose means all genders will have an orgy all at once, what with inclusion and all…hmm) and Horror films will no longer have the ominous black cat, they will have to be Tabbys, Siamese or Ginger cats…which will be referred to as: orange hued. Imagine:

As I walked down the dark alley I glanced over my shoulder and noticed a six- month old tabby cross my path. It was then that I knew…I…was…doomed! (Insert wolf howl sound effect!)

Let art be art. It’s a good thing the sensitivity cops didn’t tell Picasso how to paint, and didn’t instruct Beethoven to avoid all minor keys and thank god they didn’t force Harper Lee to make the accused, Tom Robinson in To Kill A Mocking Bird a white-male primary school teacher with a sunny disposition.

***

     Elaine Ash:

Elaine Ash edits fiction writers—from established authors to emerging talent. She works with private clients, helping them shape manuscripts, acquire agents and land publishing deals.  www.bestsellermetrics.com

The Right to Write

When Paul asked me to throw my hat in the ring for a post on free speech and sensitivity readers, I gulped. Navigating these topics can be as delicate as tucking a hand grenade inside a wasp’s nest. But, admittedly, I’ve brought this on myself, since I take pride in freedom of speech and feel strongly about the right to write.

One way to look at sensitivity readers is simply as a new layer of vetting that writers must hurdle when they submit to Big 5 publishers. First, let’s refresh  on what some famed writers have had to say about protecting artistic integrity.

“Because if you don't stand up for the stuff you don't like, when they come for the stuff you do like, you've already lost.”
― Neil Gaiman

“Censorship is to art as lynching is to justice.”
― Henry Louis Gates Jr.

“I may not agree with you, but I will defend to the death your right to make an ass of yourself.”
― Oscar Wilde

Taken in context with these quotes, the picture of a sensitivity reader redlining a literary opus looks as clunky as jackboots on a ballerina. Add on that the average pay of a sensitivity reader is $250 per manuscript, and it seems impossible that anyone paid this low could influence a billion dollar-plus industry and force millionaire writers to change their work—but they are.

Do Sensitivity Readers Affect You?

First you have to look at your target publishers. There are sensitive and not-so-sensitive publishers. In general, sensitive would be Big 5 and their imprints; non-sensitive would be medium and small indie publishers. Big 5 science fiction and fantasy publishers trend “sensitive.” YA and children’s markets likewise.

Mystery and crime-related genres have strongly resisted sensitivity. In fact, noir and transgressive genres are expected to be offensive—that’s how they make a larger point. But agents have recently confided to me that it’s getting harder and harder to sell mystery fiction. Does this have to do with sensitivity bias? I suspect so, but have no figures to back up that claim other than the frontline reports of literary agents. In other words, publisher demand has constricted, and I suspect that it’s not for lack of the buying public—it’s because publishers fear backlash and boycotts. (More about this later.)

S-readers are not called in on 100% of manuscripts, but if a publisher sees that a writer of one ethnicity might be writing a character of another ethnicity, they will call on an S-reader to vet the manuscript. The problem with this is pretty obvious. Since the original writer isn’t reporting fact but creating art to make a larger point, the original intent of the art may become skewed. Want to check the rules to make sure you get them right? Err, that could be a problem. There is no sensitivity readers guild to consult, and no published compilation of guidelines.

A Case in Point

Science fiction/fantasy author Mary Robinette Kowal has killed projects over negative feedback from sensitivity readers.  http://maryrobinettekowal.com/journal/sensitivity-readers/   The problem with this tactic is that the rules she’s trying so hard to abide by are not set in stone, they’re not law. They’re merely someone’s opinion, and opinions change. The court of public opinion can change with the day of the week. Is it even possible to write something that offends no one? I suppose so. The greater question is, Is it possible to write something that offends no one that is worth reading? Stories are supposed to disturb, instigate, provoke thought. That comes with the risk of offense.

What sensitivity readers are really all about comes down, in the end, to cold hard cash, as everything in business does. Looking at a hot topic through the cool lense of business is a way to bring practicality to the subject. If a publisher is afraid that they may become the target of an angry boycott, they’ll do everything possible to avoid it. Until recently, these boycotts had real power. But the recent trend is “boycott backlash” where the boycott-ee suffers a drop-off from advertisers, and then receives a sympathy bump from purchasers who disagree with the boycott. It reminds me of when banning books was all the rage. It only made them more popular. What people are told they can’t have, they make special efforts to get.

Sidestep the Time Wasters

My purview is not to make a case for S-readers or against them. I’m here to point out navigation tactics. As I write this, tens of thousands of manuscripts are waiting for Big 5 vetting when some of them could be sailing into medium-sized publishers and landing deals without added delay.

If you are a first-time author, my advice is to go for a smaller publisher to land your edgy material. If you are an established author looking to make the leap to Big 5, you’d have the best bet with a fairly controversy-free manuscript from the race or gender aspect. “White savior writing” is a thing, and sensitivity readers are rejecting it. Google the term and read about it for yourself.

Meanwhile, many mystery and crime readers are looking for gritty authenticity, using nomenclature that coincides with a hardboiled PI or criminal.  Already, you can see how S-readers may chill the edgy, provocative material that underscores much of the best mystery writing.

Express Yourself

As an editor, I’m about preserving the integrity of the writer’s vision, intent, art and freedom to write. I am not a censor for political correctness. For example, I’m horrified by third-wave feminist Andrea Dworkin’s contention that every act of sex is an act of rape. Would I edit a story with a character in it who held that belief? Most definitely. I’m not a censor, I’m an editor. My job is to preserve the writer’s vision, even if I disagree with it.

My best advice is to avoid writing to trends and never write to satisfy sensitivity readers. Take my client Chrome Oxide, winner of two coveted Writers of the Future awards. He’s a humorist making fun of big government and bureaucracy—using the sci-fi and fantasy genres as a backdrop. He came to me thinking there was zero chance of getting a publisher—self-publishing would be his only option. But there are so many alternative publishers now for everything from comic books to novels, that a good agent, or an editor wearing many hats like me, can find a market.

If your agent says there’s no market for what you’ve written, it’s time to get another agent. For Chrome Oxide I had to go to Superversive Press out of Australia, but the terms were the best I’d seen anywhere. The terms almost made me cry, they were so beautiful. This publisher really, really wanted Chrome’s material.

Only you can assess where your manuscript and platform as a writer stand in terms of attractiveness to publishers who assess writers through sensitivity vetting. It’s a big world with many markets. Ultimately, what does not sell will take a diminished place in the market and readers will find what they’re looking for.

Bottom line, you must write who you are and what makes you tick, not what you guess sensitivity readers will approve. Express yourself freely and then find the market that matches your angle. It’s out there waiting if you look.

***

      Thank you Jonathan and Elaine. And here's my/Paul's previous post:

Here’s the pertinent part from my earlier article (see link above):

And now to the subject at hand: I recently came across an article in the Chicago Tribune titled “Publishers are hiring 'sensitivity readers' to flag potentially offensive content.” That, of course, piqued my interest. And I will say at the outset that I’m a free speech absolutist. If you don’t like something don’t read it, but don’t stop others from saying it or reading it.
http://www.chicagotribune.com/lifestyles/books/ct-publishers-hiring-book-readers-to-flag-sensitivity-20170215-story.html

After all, who’s to say what’s offensive? What’s offensive to me might not be to you and vice versa. That said, I see things every day that I disagree with. I don’t like to say that I find them offensive because I think that word is overused and I also think people tend to get offended too easily and by too many things.

As writers I think this is something we should be concerned about. Because, even if you agree with something that’s blue-penciled today tomorrow there might be something you write where you disagree with the blue-pencil. Where does it end? Also, as a writer, I want to be able to say what I want. If people don’t like it they don’t have to read it. I don’t want to be offensive, though perhaps something may hit someone that way. But we can’t worry about every little “offense” because there are so many things to be offended about.

It’s getting to the point where we have to constantly second guess ourselves as we worry who might be offended by this or that? In my novel, White Heat, I use the N word. And don’t think I didn’t spend a lot of deliberating about whether I should tone that down, because truly I did not want to hurt or offend anyone. But ultimately I thought it was important for the story I was trying to tell and people of all races seemed to like the book. I think context is important. But even without context, as a free speech absolutist, I think people should be allowed to say what they want. There used to be an argument that went around that the way to combat negative speech was with more speech, but that doesn’t seem to be the case today. As former Supreme Court Justice Louis Brandeis said, “Fear of serious injury cannot alone justify suppression of free speech and assembly.”

And, of course, publishers have the right to publish what they want. But limiting things doesn’t change much. It just goes underground.

The Tribune article says, “More recently, author Veronica Roth - of ‘Divergent’ fame - came under fire for her new novel, ‘Carve the Mark.’ In addition to being called racist, the book was criticized for its portrayal of chronic pain in its main character.” So now we have to worry about how we portray people with chronic pain. Again, where does it end?

I’ve dealt with chronic pain. Should I be offended every time someone says something about those things that I don’t like. Get over it, as the Eagles say in their eponymous song. The piece also talks about writers hiring people to vet their stories for various things, in one case transgender issues. If it’s part of one’s research I don’t have a problem with that. Or if it’s to make something more authentic. But if it’s to censor a writer or sanitize or change the writer’s voice, that’s another story.

There’s also talk about a database of readers who will go over your story to look for various issues. But again, who’s to say what issues offend what people? Do you need a reader for this issue and another for that? If we try to please everyone we end up pleasing no one and having a book of nearly blank or redacted pages. Or if not literally that then a book that might have some of its heart gutted.

That’s not to say we shouldn’t strive for authenticity but I think this kind of thing often goes beyond that. When we put out “sanitized” versions of Huck Finn or banning books like Alice Walker’s The Color Purple, which has also been banned and of which Wikipedia says, “Commonly cited justifications for banning the book include sexual explicitness, explicit language, violence, and homosexuality.”


The Wall Street Journal also talks about this issue, saying in part, “One such firm, Writing in the Margins, says that it will review ‘a manuscript for internalized bias and negatively charged language,’ helping to ensure that an author writing ‘outside of their own culture and experience” doesn’t accidentally say something hurtful.’ I’m not saying one should be hurtful, but I am saying one should write what they want to write. And if taken to the ultimate extreme then we would only be “allowed” to write about our own little group. And that would make our writing much poorer.

I’m not trying to hurt anyone. But I do believe in free speech, even if it is sometimes hurtful.

We should think about the consequences of not allowing writers to write about certain things, or things outside of their experience. Think of the many great books that wouldn’t have been written, think of your own work that would have to be trashed because you aren’t “qualified” to write about it. There are many things in the world that hurt and offend and that aren’t fair. And let’s remember what Justice Brandeis said.

In closing one more quote from the Journal article: “Even the Bard could have benefited. Back when Shakespeare was writing ‘Macbeth,’ it was still OK to use phrases like, ‘It is a tale told by an idiot, full of sound and fury, signifying nothing.’ But that is no longer so. The word ‘idiot’ is now considered cruelly judgmental, demeaning those who, through no fault of their own, are idiots. A sensitivity reader could propose something less abusive, such as, ‘It is a tale told by a well-meaning screw-up, signifying very little but still signifying something. I mean, the poor little ding-dong was trying.’”

***
     In conclusion:

So there you have it, three arguments for freedom of speech.


~.~.~

I’m thrilled – I’m Doubly Thrilled – to announce that my short story “Windward,” from the anthology Coast to Coast: Private Eyes fromSea to Shining Sea (edited by Andrew McAleer and me) is nominated for a Best Short Story Shamus Award – and that the anthology as a whole is nominated for a Best Anthology Anthony Award. Thank you to everyone involved!



~.~.~

My Shamus Award-Winning novel White Heat was re-released on May 21st by Down & Out Books. It’s available now on Amazon.

Publishers Weekly calls White Heat a "...taut crime yarn."



Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com



13 February 2018

Rage, Rage Against the Dying of the Light


by Paul D. Marks

This is going to be a rather morbid post, but it’s something that’s been on my mind for some time. It also might be a little bit unfocused as there’s so many things going round my head on this subject, but I think the main points will come across.

Lately, I’ve been noticing on Facebook a lot of people being sick to one degree or another and even some who’ve passed on. This has been happening since I joined FB but it seems like there’s more lately and that it’s happening more frequently. As I was thinking about this, I’ve also seen posts from other people who’ve noticed the same thing. Maybe it’s because we have more FB friends, maybe it’s because that’s just life or people are getting older? Either way, every time I see these messages—and even the ones about people’s pets—I get a pang of sadness. On the one hand, it’s part of life, still, on the other it hurts to see so many people going gently—or otherwise—into that good night.

It gives me pause. Maybe because my world is so much bigger, in some ways, thanks to FB. Therefore, I see more of this than I would in pre-FB days. I’ve had friends and relatives die since I was a little kid, of course. Some well before their time, either because of “natural” causes or war or in the case of my birth father, from being hit by a drunk driver. Somehow he made it through World War II, but not the mean streets of L.A.

So I wanted to talk a little about writers and recognition, both in our lifetimes and beyond: mortality and immortality. It’s an uncomfortable subject, maybe one of those that we don’t like to talk about in “polite” company, but maybe one that we think about on occasion.

We write for various reasons. To get our point of view out there, to entertain, to get fame and recognition, maybe even a little money...very little money 😉. And it might seem vain, but I think we also write because many of us would like that little chunk of immortality that leaving behind our words gives us. We want to think that in a hundred years or a thousand someone searching some “dusty” silicon chips (or whatever the current medium is) for a bit of nostalgia or a glimpse of how the world used to be might stumble upon our words. And just for that little moment in time we might live again. Of course, we also want to be recognized while we’re here—wouldn’t that be nice?

Some people say that writing in itself is its own reward—maybe, or to an extent. But, speaking for myself, while I enjoy the writing, creating stories, characters, settings, plots and putting it all together like a jigsaw puzzle, if no one else read it it would be like the sound of that famous tree falling in the forest—with no one there to hear it. So, aren’t we really writing for others—whether today or for posterity? Otherwise why share our work with anyone else? Writing for yourself is like eating a pizza by yourself (or watching a movie, playing cards or a game), it’s definitely enjoyable, but it’s often more fun to do with someone else. And if we’re writing for others our work can live on even if we can’t.

In Sonnet 18, Shakespeare, whoever he was in reality, said…

So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.

…referring to his poem living on, making him immortal.



Does everyone think or hope they’ll be the next Jane Austen or Charles Dickens—or even Dan Brown? Did any of these people think they’d be remembered a hundred or more years later—maybe, or maybe not. They, probably like a lot of writers, just felt compelled to write—but maybe with one eye toward some type of immortality. For some of us, writing is like breathing. But are we really writing for a tiny audience of our wives, husbands and mothers? I don’t think so.

Jane Austen

Most people want to leave a mark—hopefully for something good or at worst neutral, though some prefer being known for their evil deeds (which gives us fodder to write about). Nobody wants to be ignored or forgotten. To some that means leaving children to carry on the family legacy and name, to others curing cancer, and yet to others leaving a piece of writing that will endure. But after a generation or two even our great grandchildren don’t really know us either, but our readers do.

If we don’t care about these things, both being known in our lifetimes and beyond, why do we get upset when our work is rejected, when we can’t get agents, etc.? Sure, part of it is ego, no one likes being rejected. But maybe part of it is also losing another shot at a little piece of immortality. 

At some points in our lives, particularly when we’re younger, I think we don’t see the possibility of not being here anymore. We know it happens intellectually, but we don’t like to think about it. Which brings to mind these lines from Flowers Never Bend in the Rainfall, by Paul Simon:

So I'll continue to continue to pretend
My life will never end,
And flowers never bend with the rainfall.

And that also brings me to one of my favorite songs about mortality:

There's no place in this world where I'll belong when I'm gone
And I won't know the right from the wrong when I'm gone
And you won't find me singin' on this song when I'm gone
So I guess I'll have to do it while I'm here



So, do it while you’re here, do it now and don’t put it off ’cause you never know what will happen. And hopefully it will last. And, like Dylan Thomas said, Do Not Go Gentle Into That Good Night.

***

And now for a little BSP that will hopefully help me on the road to immortality: Mind Blowing News: My story “Windward” from Coast to Coast: Privates Eyes from Sea to Shining Sea (edited by Andrew McAleer and Me, published by Down & Out Books) has been selected for the 2018 Best American Mystery Stories edited by Louise Penny & Otto Penzler. It will be out in the fall. To say I’m blown away is an understatement. Also selected for Best American Mysteries from this collection is John Floyd’s “Gun Work,” and Art Taylor’s “A Necessary Ingredient” has been nominated for an Agatha. Not a bad batting average for one book 😁.

And a shoutout to SleuthSayers Michael Bracken and David Edgerly Gates, who also have stories in the Best American Mysteries, and Barb Goffman on her Agatha Nom. SleuthSayers is cleaning up!

https://www.mysteriousbookshop.com/blogs/news/best-american-mystery-stories-2018 


Also, my Shamus-winning novel, White Heat, is being reissued in May by Down and Out Books. It’s available for pre-order on Amazon. Here is the new cover reveal:

 

Also, there’s a fun and interesting article on Alfred Hitchcock in the Washington Post (and other places) from Associated Press writer Hillel Italie: Alfred Hitchcock Remains an Influence on Crime Writers. It includes quotes from Linda Landrigan of Alfred Hitchcock's Mystery Magazine, Mike Mallory, SJ Rozan, A.J. Finn, Otto Penzler.......and even me! Enjoy!

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