Showing posts with label amreading. Show all posts
Showing posts with label amreading. Show all posts

10 March 2020

Paperback Writer


Dear Sir or Madam, will you read my book?
It took me years to write, will you take a look?
It's based on a novel by a man named Lear,
And I need a job,
So I wanna be a paperback writer…
            — John Lennon / Paul McCartney


I always wanted to send a query to an editor and start it off with those words. Probably would have worked better a while back when more people would have recognized it than today. It still seems like a fun thing to do.

But that’s not what I’m writing about today. I am, however, writing about the Beatles.

Most people who know me for more than five minutes or more than just on the surface know how much I love the Beatles. I could run on and on here about just how much. But the main point is that, even though they’re music and I’m a writer, they had (have) a great influence on me.


The main thing they gave me (along with many other things) is a desire to be the best. I do play some music and if I had my druthers, if I could ever figure out what the hell a druther is, I would have wanted to be a rock star. Who wouldn’t? But as much of an ego as I might have—or had cause it’s shrinking all the time…—I knew I didn’t have the chops to make it in music. I had some fun. I played in some bands. See the home made, or should I say artisanal, card here from our first band. It might be artisanal, but I’m almost embarrassed to show it—very DIY. Anyway, I knew enough to know I couldn’t be a professional musician.


So I had to figure out something else to do with my life. Hmm? Astrophysicist. Architect. Archeologist. Anthropologist. Astronomer. Astrologer. You see whatever it was it had to start with an “A”.  Well, actually one of those might be something I considered. It might have had something to do with designing buildings. But I never really pursued it.

My parents, of course, always wanted me to have a “real job” and something to fall back on. But being the rebellious sort I went my own way. And that way took a left turn at Hollywood and Vine, especially since I was born the proverbial hop, skip and jump from there. So maybe it was fate that I wanted to try my hand at writing.

It wasn’t an easy row to hoe. And without going into specifics, it took lots of persistence, many rejections, some chutzpah (and if that isn’t a Hollywood word I don’t know what is). But eventually I carved a niche for myself doing rewriting. And the day I got into the (screen) Writers Guild was one of the best days of my life. However, my father never really understood what I did because I got no screen credit and without something tangible like that he didn’t quite get it.

From there I branched out to writing short stories and novels. And again started with many rejections and lots of persistence. Each rejection made me angry. After all, wasn’t I the greatest writer since Charles Dickens, or in our field, Hammett and Chandler? These people who kept rejecting me clearly had no taste. But after my little tantrums I would go back to the drawing board and either rework the rejected story or work on something new. I wanted them to be good. I wanted them to be good enough to sell.

And the Beatles, because I love them so much, and because they were so good and always pushing the envelope and trying new things, made me want to be better every time out…like them. I’m not putting myself in the same rarified air as them, just saying that they inspired me. Of course, they weren’t the only thing that lit the fire in the belly, but they were certainly part of it.

The time I made a producer cry after leaving him a treatment because it touched him so much was a highpoint for me—to get that kind of reaction meant I was doing something right.

There’s a bit in the movie As Good As It Gets, where Jack Nicholson says to Helen Hunt:

Melvin Udall (Jack Nicholson): I've got a really great compliment for you, and it's true.

Carol Connelly (Helen Hunt): I'm so afraid you're about to say something awful.


Melvin: Don't be pessimistic, it's not your style. Okay. Here I go. Clearly a mistake.


(shifts in his seat uncomfortably)


Melvin: I've got this, what, ailment? My doctor, a shrink that I used to go to all the time, he says that in fifty or sixty percent of the cases, a pill really helps. I hate pills. Very dangerous thing, pills. Hate. I'm using the word "hate" here, about pills. Hate. My compliment is, that night when you came over and told me that you would never... all right, well, you were there, you know what you said. Well, my compliment to you is, the next morning, I started taking the pills.

Carol: I don't quite get how that's a compliment for me.


Melvin: You make me want to be a better man.


(pause)

Carol: (stunned) That's maybe the best compliment of my life.

And just as she made the Nicholson character want to be a better man, the Beatles (and others) made/make me want to be a better writer. A better paperback writer.

I’m not saying I’m the greatest writer in the world, far from it. But listening to the Beatles, and reading great mystery and fiction writers made me strive to be the best that I could be. And when I’d get rejections I’d be upset, but it would also make me try harder with an “I’ll show you” attitude. I’m still not where I want to be, but I keep working on it. And what I am saying is shoot for the stars and maybe get the moon or even just a mountain top. Shoot for nothing and you get nothing. But while you’re shooting for the stars, hone your craft.


And I’m writing this not to talk about myself per se but to share my experiences for others who may be on the same path and might need a little encouragement. I’d love to hear your stories in the comments.

~.~.~

And now for the usual BSP:

Coming June 1st from Down & Out Books - The Blues Don't Care:

“There are all the essential elements for an engrossing read: good guys, bad guys, gangsters and crooked policemen, and through it all, an extremely well written sense of believable realism.”
            —Discovering Diamonds Reviews, Independent Reviews of the Best in Historical Fiction (https://discoveringdiamonds.blogspot.com/)



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

15 October 2019

Call Down the Thunder – with Deitrich Kalteis


Today I’d like to welcome Dietrich Kalteis to SleuthSayers. Dietrich is the award-winning author of Ride the Lightning (bronze medal winner, 2015 Independent Publisher Book Awards, for best regional fiction), The Deadbeat Club, Triggerfish, House of Blazes (silver medal winner, 2017 Independent Publisher Book Awards, for best historical fiction), Zero Avenue and Poughkeepsie Shuffle. 50 of his short stories have been published internationally, and his next novel Call Down the Thunder will be released October 2019. He lives with his family on Canada’s west coast.

Take it away Dietrich.


Paul D. Marks: Call Down the Thunder is your seventh book by my count. It takes place in Kansas in the 1930s. You’re Canadian—what made you choose 1930s Kansas?

Dietrich Kalteis: Being a time of great hardship, the dust bowl of the thirties seemed the right setting for the story. The initial idea started off with a couple at odds with each other while trying to survive on their desolate farm, and the drought and dust storms added a layer to their desperation and struggle.


How did you do research for that long-gone era? And did you learn anything that surprised you or that you never knew before?

I went through years of archived newspapers, historical accounts, personal memoirs, and I viewed hundreds of images of the damage inflicted by the dusters and drought. The Kansas Historical Society along with several websites were great resources. I enjoyed the digging, learning about the people and how they survived and adapted to whatever came.

How did you come up with the characters of Sonny and Clara Meyers? Are they based on anyone you know or knew?

Sonny and Clara simply started as a young couple at odds with each other, and their characters and backstories just evolved through the first draft. And no, they weren’t based on anyone I’ve ever known.

What’s your method? Do you get the idea first, the characters, some neat plot twist? How does the story all come together?

It started with a single scene where Sonny is alone splitting firewood in his yard, and he gets to wonder about his supper, and why Clara isn’t home yet from the general store fixing it like she always does. And he gets a feeling that maybe she isn’t coming back. The story grew from that scene, and I switched back and forth from his and her POVs. One scene led to the next, and subplots and backstory just filled in as I kept writing that first draft. When I started I had a different outcome in mind, and a better one came along as I got into the second draft.

You don’t write a series character. Is there a reason for that? Any plans to do one in the future?

So far when I’ve finished a story, all the ends have gotten tied up. Sometimes key characters aren’t with us anymore, or they’ve achieved their goal, learned a life’s lesson, and there’s just no more story to tell.

By the time I’ve finished one story, I usually have ideas for the next one, and so far they’ve been unrelated to the ones before. Who knows, maybe the right character(s) will show up, and I’ll have them stick around for a while.

And your books are set in a variety of different places and deal with a variety of characters. Which I think is kind of cool in that you’re not limited to a certain set of characters or locales. Is there a reason you chose to go this way instead of writing a series or staying in one or two locations?

I come up with what I feel is the best setting for each story. Sometimes the setting is familiar to me, places I’ve lived, and sometimes I have to take a trip and do some research until I feel like I know the time and place.

Often the settings add a character-like feel. For instance, the fires in House of Blazes started to feel like an antagonist, and really drove the pace. And the dusters helped create the feeling of isolation in Call Down the Thunder. I don’t think either of these stories would have worked as well set anywhere else.

When I think up a scene for a story I just add the character(s) I’d like to see handle the situation, and they just take shape from there.


You’ve won several awards, which is really cool. Do you think it’s made a difference in the way you write, what you write, how your writing is received, etc.?

I don’t know if it’s made a difference in the way my writing is received, but I can tell you it’s encouraging and gives me the feeling I’m on the right track.

What’s your background? Do you have a day job? Or did you—what is/was it? And does it come to play in your writing?

For years I worked as a commercial artist, but not much of my former career has come into my writing.

You could say writing is my day job, except it never feels like a job. That would seem restrictive, too nine to five. I don’t have any set rules about it. Usually the mornings are the best time, so I write until around noon, then maybe again for an hour in the evening.

Does your Canadian background make your books different than books from American crime writers? If so, what do you think the difference is and why?

I don’t think my background really comes into it. If I’m writing a story set in Canada, then I have to play to regional customs, dialects, that sort of thing. The same goes for a story set somewhere in the States. All that matters is that the story is convincing to the reader.

Who do you like reading? And who’s inspired you?

In the crime genre I like reading George Pelecanos, Dennis Lehane, Carl Hiaasen, S.J. Rozan, Don Winslow, James Lee Burke and James Ellroy. And I’ve been inspired and have read just about everything by past-masters like Elmore Leonard, George V. Higgins, James Crumley, and Charles Willeford.

Do you read outside of your genre?

Outside of the genre I enjoy reading Patti Smith, Margaret Atwood, Hunter S. Thompson, J. K. Rowling, Charles Bukowski, and from time to time I like to revisit the classics by Harper Lee, John Steinbeck, Charles Dickens, Mark Twain, J.D. Salinger—some books I can’t read too often.

Is it hard for you to write characters who aren’t like yourself. Women, for instance, like Clara in Call Down the Thunder. Or Frankie del Rey in Zero Avenue. How do you get inside a character’s head when they’re completely different from yourself?

I think if a character were hard to write, I’d have to abandon that one. As each individual’s personality and backstory takes shape through the early stages, that character becomes real and believable. Gender or how different they are from me doesn’t matter. I write from their perspective and just turn them loose on the page and follow their actions, letting them stay true to their own nature.

Do you edit your own work? Hire a professional? Writing group? Friend?

I write three or four drafts without anybody looking at it. I want each story as polished as I can make it before I send it off to my publisher. From there, it’s in the hands of the professionals. I’ve been fortunate to be teamed with a great editor ( and a wonderful author) Emily Schultz. She’s edited all seven books with ECW Press, and she’s always spot-on and just amazing to work with.

What’s next?

The next two novels are in queue with my publisher. The first one is set in present-day Vancouver and involves a cheating couple being pursued by a gangster husband who’ll stop at nothing to catch them. It takes readers through northern BC and up into Alaska. The one after that is based on a pair of lesser-known, real-life bank robbers who were at large in the central States in the late 1930s. I don’t have release dates for either story yet.

Currently, I’m working on one set in present-day Vancouver involving a retiree, a runaway, a couple of casino crooks and one killer motor home.

Where can people find you and your books?

My website is http://www.dietrichkalteis.com/, and my publisher’s site is www.ecwpress.com.

My blog is Off the Cuff: http://www.dietrichkalteis.blogspot.ca/

And I regularly contribute at 7 Criminal Minds: http://www.7criminalminds.blogspot.ca/

You can also find me on Facebook: http://www.facebook.com/dietrich.kalteis/

and Twitter: http://www.twitter.com/dietrichkalteis/

And I’d like to thank you Paul for having me as a guest on SleuthSayers. It’s been a real pleasure.

It’s my pleasure, Dietrich.
~.~.~

And now for the usual BSP:

Check out my Duke Rogers Series:





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

23 July 2019

The Future of Writing


by Paul D. Marks


Many of us have nostalgic, warm feelings of curling up with a book in the rain. For a lot of us here at SleuthSayers it’s more than likely a mystery or a thriller, though I’m sure we all read many different kinds of books, mainstream fiction, non-fiction, a little of everything.

But how many of our kids have that warm feeling? How many of our kids enjoy reading just for the pleasure of it? How many people read paper books anymore? And are young people reading these days? They do seem to read YA books, maybe on Kindle and iPad but not often in paperback. But they are reading less than previous generations and spending more time playing games on their phones, texting and watching movies instead of reading. More distractions and shorter attention spans. They’ve grown up with everything being faster and getting instant gratification. Do they ever read classics or history or something that’s a stretch for them? And how many never read anything longer than a  Facebook post or Tweet?


My wife, Amy, who takes the train to work, says, “I notice on the train a lot of people staring at their phones. Some are reading, but the really serious readers have paperbacks or Kindles and don’t read on their phones. Most are texting or playing games. And it’s time that could be spent reading but they don’t. And that’s scary. I understand wanting to do something mindless and entertaining for a little while, but we also need to exercise and stretch our brains and imaginations sometimes, too.”

It seems to me that, while there are still some places to buy books besides Amazon, and that people still read, I’m not sure how many people read or what they’re reading. So the question is, is fiction a dying art? And how does that affect our writing?

Many people, of all ages, would find Don Quixote slow to come to a boil. Nothing happens for too long. That’s the way it is with a lot of books from earlier times and not even all that earlier. Hemingway was known for his “streamlining” of the language, but many people these days find his books slow going.

The same applies to movies. Even movies made 20 or 30 years ago are too slow for many people today. And when they watch movies they often watch them on a phone with a screen that’s five inches wide. How exciting is that? And many movies today are of the comic book variety. I’m not saying no one should read comic books or enjoy comic book movies, but it seems sometimes like that’s all there is in the theatres.

And novels have become Hollywoodized. I like fast paced things as much as the next person, but I also like the depth a novel can provide that movies or TV series often don’t. And one of the things that I liked about the idea of writing novels was being able to take things slower, to explore characters’ thoughts and emotions.

In talking to many people, I often find there’s a lack of shared cultural touchstones that I think were carried over from generation to generation previously. That also affects our writing. Should we use literary allusions, historical allusions? If so, how much do we explain them? And how much do we trust our audience to maybe look them up? The same goes for big words.

Way back when, I was writing copy for a national radio show. Another writer and I got called on the carpet one time and dressed down by the host. Why? Because we were using words that were “too big,” too many syllables. Words that people would have to look up. So, we dumbed down our writing to keep getting our paychecks. But it grated on us.

But in writing my own books and short stories I pretty much write them the way I want to. I’m not saying I don’t stop and consider using this word instead of that. But I hate writing down to people. When I was younger I’d sit with a dictionary and scratch pad next to me as I read a book. If I came on a word I didn’t know I’d look it up and write the definition down. And I learned a lot of new words that way. Today, if one is reading on a Kindle or similar device, it’s even easier. You click on the word and the definition pops up. That’s one of the things I like about e-readers, even though I still prefer paper books. But I wonder how many younger people look up words or other things they’re not familiar with.

And what if one wants to use a foreign phrase? I had another book (see picture) for looking those up. But again, today we’re often told not to use those phrases. Not to make people stretch. I remember seeing well-known writers (several over time) posting on Facebook, asking if their friends thought it was okay to use this or that word or phrase or historical or literary allusion because their editors told them they shouldn’t. That scares me.

So all of this brings up a lot of questions in my mind: What is the future of writing? Are we only going to write things that can be read in ten minute bursts? And then will that be too long? What does all this mean for writers writing traditional novels? Will everything become a short story and then flash fiction?

In 100 years will people still be reading and writing novels? Or will they live in a VR world where everything is a game and they can hardly tell reality from fantasy?

So, what do you think of all of this?

~.~.~

And now for the usual BSP:

My story Past is Prologue is out in the new July/August issue of Alfred Hitchcock Mystery Magazine. Available now at bookstores and newstands as well as online at: https://www.alfredhitchcockmysterymagazine.com/. Hope you'll check it out.




Also, check out Broken Windows, the sequel to my Shamus Award-winning novel, White Heat.



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

15 January 2019

The Gardner Museum Heist of 1990 – And He Seemed Like a Nice Enough Guy


by Paul D. Marks

A long time ago, in a galaxy far, far away or at least it seems that way since I’m talking about the 1990s, I met a guy through the Writer’s Guild (WGAw) who claimed he knew what happened at the Gardner Museum. In case you don’t remember, on March 18, 1990 there was an audacious theft at the Isabella Stewart Gardner Museum in Boston. Two guys dressed like cops stole thirteen works of art valued at a mere 500 million dollars (or 300 million according to some reports, but what’s a couple of mil between friends?). It seemed like pretty easy cut & run heist. And they still haven’t recovered the stolen works and no one’s been thrown in the slammer for it.


The missing artworks are: The Concert by Vermeer (c. 1664–1666); Self-Portrait by Rembrandt (c. 1634); The Storm on the Sea of Galilee by Rembrandt (1633); A Lady and Gentleman in Black by Rembrandt (1633); Landscape with an Obelisk by Govert Flinck (1638); Chez Tortoni by Édouard Manet (c. 1878–1880); Cortege aux Environs de Florence by Degas (c. 1857–1860); Program for an Artistic Soirée 1 by Degas (1884); Program for an Artistic Soirée 2 by Degas (1884); Three Mounted Jockeys by Degas (c. 1885–1888); La Sortie de Pesage by Degas (date unknown); An ancient Chinese gu (vessel) (c. 1200–1100 BC) ; A bronze eagle finial (c. 1813–1814).

"The Concert" by Vermeer

Now, just to set the scene, this is the top ten from Billboard magazine’s Top Hot 100 songs of 1990: "Hold On,” Wilson Phillips; "It Must Have Been Love,” Roxette; "Nothing Compares 2 U," Sinéad O'Connor; "Poison," Bell Biv DeVoe; "Vogue," Madonna; "Vision of Love," Mariah Carey; "Another Day in Paradise,” Phil Collins; "Hold On," En Vogue; "Cradle of Love," Billy Idol; "Blaze of Glory," Jon Bon Jovi.

These weren’t what I was listening to then, except maybe Billy Idol (I was and still am more into alt music) and some of these may have come out after March, but just so you remember – or don’t – what was going on back then.

"A Lady and Gentleman in Black" by Rembrandt

Also, Dances with Wolves got Best Picture, Seinfeld was on in first run. Jurassic Park, the book, came out in 1990. Postmortem (Kay Scarpetta, #1) came out in 1990. And we were using Windows 3.0 (introduced in May). Cell phones were ancient by today’s standards. In 1989 the first really portable cell phone came out, the Motorola Microtac 9800X. And, remember dial-up modems and that chhhhhhh sound and getting disconnected every five minutes.

So back in the day, as they say, back before Facebook, Twitter and even before the Google Search Engine started (1997), we had this thing called BBSes – computer bulletin boards. You could log onto them and chat back and forth in green or amber text, depending on your monitor. The Writers Guild had one. I used to chat with a lot of people about a lot of things there. And somehow I met a guy named Brian McDevitt and we became friendly over the BBS. He seemed like a nice enough guy with a story to tell.

"Chez Tortoni" by Edouard Manet
Turned out he had a production company – and a nice house in a good part of town. He invited me over and we became friends or friendly, if not fast friends. I didn’t know about his past then, though I did know he claimed to know something about the Gardner break-in.

I remember sitting out by his pool, talking scripts and Hollywood and other BS. I think I was hoping he might option a screenplay for his company. And he seemed like a nice enough guy.

I went there a few times. We shot the breeze, ate, had a few beers. He seemed to have a lot of money and definitely wasn’t playing the role of the starving artist. He seemed like a nice enough guy.

"La Sortie de Pesage" by Degas
As time went on, controversy blew up in the Guild over him. Some Guild members were seeing cracks in his façade, starting to see through his act. They tried to get him removed from a committee chairmanship, and maybe even from the Guild – hard to remember after all these years. But not for his involvement or knowledge of the Gardner heist, but because he lied to the Guild about his background. Ultimately, I believe they were unable to have him removed.

Before the Gardner heist, McDevitt was involved in another theft: According to the LA Times: “McDevitt also spent time in jail in connection with the 1979 theft of more than $100,000 in cash and bonds from a Boston bank and was charged with two separate felony thefts from Massachusetts department stores in 1989 and 1990. He was convicted of one and pleaded guilty to the other.” All of which actually might make him perfect for Hollywood, though they like their crooks out in the open. So, if he had just been honest he might have been accepted. And he could have gone to rehab and written a book. Maybe one of the majors would have optioned the book and made it into a movie.

Napoleonic Bronze Eagle Finial
And though there were other suspects, because of his background with the previous theft, he became a suspect in the Gardner heist, though he was never charged. Unfortunately, he died in 2004 without giving up any information on the robbery, though he did claim to know where some of the paintings were.

I remember him telling me he knew something about the theft, but not that he had participated in it. Of course, this was before his backstory came out. But he seemed like a very nice guy.

The heist remains unsolved and there is a handsome reward for anyone with info on the whereabouts of the stolen art. From the Gardner’s website:
“The Museum is offering a $10 million reward for information leading to the recovery of the stolen works.

Despite some promising leads in the past, the Gardner theft of 1990 remains unsolved. The Museum, the FBI, and the US Attorney's office are still seeking viable leads that could result in safe return of the art.

The Museum is offering a reward of $10 million for information leading directly to the recovery of all 13 works in good condition. A separate reward of $100,000 is being offered for the return of the Napoleonic eagle finial.

Anyone with information about the stolen artworks or the investigation should contact the Gardner Museum directly. Confidentiality and anonymity is guaranteed.”
So, if you have some info now’s the time to get into gear, get that Rembrandt out of your basement, and get that reward.

I’m not sure why this popped into my head recently. Maybe I heard something somewhere. Or maybe it just bubbled up from the deep like the bubbles at the La Brea Tar Pits. But either way, the crime has never been solved. The art has never been returned. My “friend” never came clean. He died young, apparently taking his secrets to the grave. And to this day, no one knows for sure who stole the artworks.

He might not have been all he seemed to be – and was maybe more on some levels. But he seemed like a nice enough guy. But isn’t that always the way with con men?

~.~.~

And now for the usual BSP:

Dave Congalton of KVEC Radio interviewed me. Check out the podcast here. My part comes in at 20 minutes, 30 seconds into the recording.

***

As awards nomination season is upon us, just a gentle reminder that I've got the following short stories that are eligible for 2018:


"There's An Alligator in My Purse" from the "Florida Happens" Bouchercon 2018 Anthology.

"The Practical Girl's Guide to Murder" from Mysterical-E - Spring 2018.

And in the novel category, Broken Windows:

And Broken Windows has been getting some great reviews. Here's a small sampling:


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!"


"Broken Windows is extraordinary."

***

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

02 October 2018

The Impossible Dream


by Paul D. Marks

Today is a big day for me. The Best American Mystery Stories of 2018, edited by Louise Penny and Otto Penzler, hits the shelves. And my story Windward, originally published in Coast to Coast: Private Eyes from Sea to Shining Sea (from Down & Out Books, edited by Andrew McAleer and me), is in it.


It is truly one of the biggest thrills of my writing life and my life in general. I’m still in disbelief – still pinching myself. Still floating on air.

When we embark on this writing journey we have things we want to achieve. It’s a given that we want to write good and compelling stories. But aside from that I think most of us want to attain some kind of recognition, both from our peers and from a general audience. To that end we might have certain goals: getting published at all, getting published in more prestigious/bigger circulation magazines. Maybe winning an award or two. And getting into The Best American Mysteries series.

Otto Penzler
I woke up one morning a few months ago to find an e-mail from Otto Penzler saying that Windward had been selected for BAMS. Michael Bracken wrote a couple of weeks ago about his tears of joy upon hearing the news. My first reaction was total disbelief! I thought someone was scamming me, spamming me. Playing a prank on me. I’m so paranoid about being scammed and I believed this so much that I e-mailed fellow SleuthSayer and BAMSer John Floyd a copy of the e-mail asking if he thought it was legit. He did! So with his imprimatur I responded to the e-mail, relatively sure that I wasn’t going to be talking to a Nigerian Prince trying to scam me out of my Beatles and toy collections.

Louise Penny
Once I found out it was for real it was like fireworks on the Fourth of July, Old Faithful blasting towards the sky, the Ball dropping on New Year’s Eve. My wife Amy and I celebrated with a fancy dinner of take-out pizza and ice cream – because what’s better than pizza and ice cream 😃 ? (I’m not joking here.)

Windward was a fun story to write, partially because it’s set in Venice Beach, one of the most colorful areas of Los Angeles. Here’s an excerpt of the end-notes I wrote about Windward for the anthology:

Venice is a little piece of the exotic on the edge of Los Angeles. That got me thinking about setting my story there and showcasing the colorful and sometimes dangerous streets of Venice Beach in my story “Windward” for Coast to Coast: Private Eyes from Sea to Shining Sea. So I gave Jack Lassen, my PI, an office (complete with 1950s bomb shelter), amid the old world columns and archways of Windward.

With a setting like that I needed a crime that would be equally intriguing and what better fodder for crime than the façade of the movie business, where nothing is what it appears to be and a hero on-screen might be a monster offscreen.

Ultimately, Venice is more a state of mind than a location. But either way, a great setting for a story.


The stories in the book are arranged alphabetically by the author’s last name. Since my last name begins with M, the exact middle of the alphabet I always end up in the middle. I remember in school how for whatever things they were doing they often went from A to Z, but sometimes they switched it up so that the people whose names started at the end of the alphabet got to go first. But the Ms in the middle always stayed in the middle. So I’m in the middle again in the book. But that’s fine with me. I’m just glad to be in it, amongst such august company.

It’s a true thrill to be in this book along with Michael Connelly, Lee Child, Joyce Carol Oates – and all the other terrific writers, including my old professor at USC, T.C. Boyle, who I took classes from even though I was a cinema major. (And I was just going through some boxes from our storage facility and came across a postcard from him, which was a trip in itself.)

It’s also a thrill to be with friends and fellow SleuthSayers. And I’d also like to congratulate John Floyd, whose story Gun Work, also from Coast to Coast: Private Eyes, is in this year’s BAMS. And to fellow SleuthSayers Michael Bracken and David Edgerly Gates, who also have stories in it. And to pal Alan Orloff.

So these last few weeks have been very eventful for me, winning the Macavity for Windward, and with Broken Windows coming out and now BAMs. And I want thank everyone who voted for Windward, who bought Coast to Coast, the authors in it, the folks at Down & Out, and the same for those who reviewed Broken Windows, talked about it, bought it, etc. And thanks to our own Rob Lopresti for his review of There’s An Alligator in My Purse, my story in Florida Happens, the 2018 Bouchercon anthology. Wow! What a time!

***

And if that wasn’t enough of a BSP trip:

Here’s a small sampling of excerpts from reviews for Broken Windows:

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!"

Betty Webb, Mystery Scene Magazine:

"Broken Windows is extraordinary."

11 September 2018

The Broken Windows Tour of L.A.


by Paul D. Marks

“It is through that broken window that we see the world...”
                                                                                                  –Alice Walker

A while back I did a tour of some of the locations in White Heat. Now, since it’s Hot Off the Presses—it came out yesterday from Down & Out Books—it’s the Broken Windows Tour of L.A. One of the things I really enjoy is writing about Los Angeles in the context of a mystery-thriller. In Broken Windows, P.I. Duke Rogers and his very unPC sidekick, Jack, are on the hunt for the killer of an undocumented worker.

Briefly, a little about Broken Windows: While the storm rages over California’s infamous 1994 anti-illegal alien Proposition 187, a young woman climbs to the top of the famous Hollywood sign—and jumps to her death. An undocumented day laborer is murdered. And a disbarred and desperate lawyer in Venice Beach places an ad in a local paper that says: “Will Do Anything For Money.”—Private Investigator Duke Rogers, and his very unPC partner, Jack, must figure out what ties together these seemingly unrelated incidents. Their mission catapults them through a labyrinth of murder, intrigue and corruption of church, state and business that hovers around the immigration debate. And that turmoil is not unlike what’s roiling the country today—in fact it might be seen as a precursor to it.

Hope you'll give it a read. And Reviews would be greatly appreciated...especially if they're good ones :-) .

Realtors say the most important thing is Location Location Location. I wouldn’t go that far in terms of writing. But location is important. So, hop on the bus for a handful of the many SoCal locations in Broken Windows:

View from behind the Hollywood sign (1)

The Hollywood Sign:

The story opens with a young woman climbing to the top of the Hollywood Sign.

The Hollywood Sign beckoned her like a magnet—or like a moth to a flame. The sign glowed golden in the magic hour sun—that time of day around sunrise and sunset when the light falls soft and warm and cinematographers love to shoot. Like so many others, Susan Karubian had come here seeking fame and fortune, hoping to make her mark on the world. Oh hell, she had come to be a star like all the others. And she would do it, just not quite in the heady way she’d anticipated.


When a friend and I hiked up to the sign before the fence was put around it,
 so you could actually get to the sign


The Santa Monica Pier:

Duke, looking for a little R&R, takes his new dog, Molly, to the pier:

The Santa Monica Pier used to be one of my favorite places to go to while away time, do some thinking on cases when things weren’t breaking right. I still liked it, but not as much as before. They’d remodeled it, turning it into a mini Disneyland, new rides, new chain restaurants. Just another mini-mall-amusement-park, but with a saltwater view, with kitschy chain restaurants featuring Cowabunga Burgers and a food court, for crying out loud. And a lot more people. Tourists. Families with their kids. Freaks of all kinds. Still, the air was clean. And I thought Molly should get a taste of it.

A view from Santa Monica pier of Santa Monica looking north (2)
At the pier, he runs into Marisol, whose brother Carlos, an undocumented immigrant, has been murdered. Later, Duke takes on the case of trying to find out who killed Carlos and why.

We headed back down the pier. In the distance a woman with coal black hair sat on a bench staring out to sea, her back to me. The wind pitched her hair over her face; she swept it away with a backhand. Something seemed familiar about her. When we got closer I saw that it was Marisol. She didn’t see us and I debated whether to approach her. “Days like this are my favorite time at the beach,” I said. She turned around, looking up at me through a tangle of hair. It looked like she had been crying…

Venice and the Venice Beach Boardwalk:

The bad part of Venice is where Eric, a disbarred lawyer, lives in a not so nice place compared to what he had been used to:

He opened a window, could smell the briny ocean air and hear the waves booming in the distance. This was Venice, California—crammed onto the SoCal shore between tony Santa Monica and haughty Marina del Rey—but not the Venice of the tourists and beach people. And this certainly wasn’t what Abbot Kinney had envisioned when he wanted to recreate Italy’s Venice in Southern California, complete with canals and gondoliers. No, Kinney must be rolling over in his grave these days. This was the other side of Venice. No canals here. No bathing beauties. Unless cockroaches had beauties in their midst, maybe to another cockroach. Miss Cockroach of 1994. Would she want world peace too? Or just a crumb of leftover bread?

Venice Beach (3)
Eric puts an ad in the paper. At first we’re not sure how he ties into the main story of Duke trying to find Carlos’ killer…

And he [Eric] opened the L.A. Weekly underground paper. Today was the day his ad was due out. He scanned a few pages until he came to it:

“Contact Eric,” it said, and gave his phone number. So far the phone hadn’t rung, but it was early. Breakfast time. He figured he’d sit by the phone today and hope for the best. If something didn’t come along, he wouldn’t even be able to pay the rent on this hell hole.

He looked at the phone, willing it to ring. When it didn’t, his eyes shifted back to his ad, to the headline: “$$$ Will do anything for money. $$$”.

At one point, Duke also finds himself down in Venice:

When Abbott Kinney founded Venice, California, south of Santa Monica, in the early nineteen hundreds, he had big dreams for it. Modeled after Venice, Italy, complete with canals and gondoliers, it was supposed to be a place of high-minded culture. Maybe it was, a hundred years ago. I don’t think so. And certainly not today. Now it was divided between the Hollywood Haves, who filled many of the little, but exceptionally expensive homes along the canals, and the low-rent people a few blocks away, whose homes were the gangs they belonged to more than the houses they lived in. Los Angeles Schizoid Dream.

Man on Venice Boardwalk (4)
The Café Noir:

A down on its heels bar on Sunset Boulevard, where Duke hangs out sometimes:

I opened the Café Noir’s door, a flood of velvet blackness enveloping me as I entered. The transition from daylight, even overcast daylight, to the Noir’s dimness made me close my eyes for a few seconds. Nat King Cole’s “The Blues Don’t Care” sinuously threaded its way from the jukebox. The bartender nodded. I nodded back. I settled in a corner at the far end of the bar, hoping no one I knew would join me. It wasn’t crowded at this hour, but you never knew. And right now I just wanted to get lost in a drink and the shadows, in the music and the anonymity of a dark corner.


The Cafe Noir


Smuggler’s Gulch:

In the 1990s, Smuggler’s Gulch near San Diego was just what its name implies, a major smuggling point for people coming over the border. Jack and Duke have a “meet” there that goes bad and later Duke returns to the “scene of the crime,” so to speak:

I figured Jack wouldn’t be back and I knew I wouldn’t be able to sleep so I packed Molly in the Jeep and hit the freeways. Southern California’s become one long rush hour for the most part, but at that time of night, traffic moved at a good clip. We drove south, toward the border. Landed back at Smuggler’s Gulch. Rocky Point. I surveyed the area with night-vision binoculars, making sure no cops, Border Patrol, or even some of Miguel’s friends were there. I knew Jack had hidden the body well, but you can’t be too careful. When I knew the coast was clear, we walked to the rock. I sat there with Molly on the same spot where I’d been shot. She’d been getting stronger by the day and I thought she might enjoy getting out of the house.


Smuggler's Gulch / Tijuana River Valley, San Diego, CA (5)


***

So, there’s a mini tour of just some of the L.A. and SoCal locations in Broken Windows. Hope you might want to check the book out—it’s available now.

***



And now for the usual BSP:

Broken Windows released on September 10th and is available now at AmazonBarnes & Noble , Down & Out Books and all the usual places.



Peter Anthony Holder interviewed me for the Stuph File. It’s short, 10 minutes. You might enjoy it. It’s episode 0471 at the link below. And check out the Stuph File too:

https://tunein.com/podcasts/Comedy/Peter-Anthony-Holders-Stuph-File-p394054/?topicId=123713643

www.thestuphfile.com

And I was also interviewed by Dave Congalton at KVEC radio:

http://www.920kvec.com/davecongalton/posts/air-date-aug-27-2018-seg3-mystery-writer-paul-d-marks.php 


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


____________________

Photo attributions:

(1) Hollywood sign photo by Caleb George (https://unsplash.com/seemoris), Unsplash.com: https://unsplash.com/photos/5NslKuaHTJo

(2) A view from Santa Monica pier of Santa Monica looking north photo by Korvenna

(3) Venice Beach, photo by InSapphoWeTrust from Los Angeles, California, USA 

(4) Man on Venice Boardwalk, photo by Sean Stratton seanstratton - ttps://unsplash.com/photos/dEEMyIa4zPc

(5) Smuggler's Gulch / Tijuana River Valley, San Diego, CA, USA, photo by Roman Eugeniusz, https://www.panoramio.com/photo/127934179




21 August 2018

Casting Call


by Paul D. Marks

When I write a story or novel, I picture it as a movie in my head, as I’m sure many of you do. In fact, I don’t outline per se but I often write the first draft as a screenplay—more on this in a future blog. But today I want to talk about casting my stories. And since Broken Windows, the sequel to my Shamus-winning White Heat is coming out on 9/10, I’ll start with that.

Jack Nicholson
I’m an “old movie” guy, so I often think of classic movie stars for parts. But since Humphrey Bogart is at that great café in the sky I don’t think he’s the ideal actor for the lead right now. But there was a time when I would often either picture Bogart or Jack Nicholson for many of my leading male characters. When I’d write the characters I’d hear their voices in my head. Once, while working on a script with a producer he suggested Harrison Ford and Michelle Pfeiffer for the leads and who was I to argue with that, especially since he’d worked with them and it was a real possibility. Ultimately, that didn’t get made. But it was nice while it lasted.

So in my mind I might visualize Jack Nicholson or Humphrey Bogart delivering a line of dialog but I can't write that in my novel. I have to convey that feeling, the essence of that character without writing "now imagine Jack Nicholson saying this line." But it does help to have that visual image in my mind as I write dialogue  and description and describe the actions.

Now to my perfect casting:

Broken Windows is set mostly in Los Angeles in 1994, during the fight over California’s notorious anti-illegal alien Proposition 187—a precursor to the immigration fights going on in the country today. While the storm rages over Prop 187, a young woman climbs to the top of the famous Hollywood sign—and jumps to her death. An undocumented day laborer is murdered. And a disbarred and desperate lawyer in Venice Beach places an ad in a local paper that says: “Will Do Anything For Money.”—Private Investigator Duke Rogers, and his very unPC partner, Jack, must figure out what ties together these seemingly unrelated incidents.

Ryan Gosling
So, who would I cast in the main parts? Of course this changes as time slips by. My ideal casting for Jack would have been Nick Nolte in his prime. But these days, I’m thinking John Cena or maybe Michael Fassbinder or Christian Bale. And for Duke, Mark Wahlberg or Ryan Gosling. Maybe Jeremy Renner, as Duke’s not a big dude. For Eric, the disbarred lawyer, Amy suggested Robert Downey, Jr., and he would be perfect. Maybe a little older than the character, but those things often change from book to movie. Eric’s girlfriend, Lindsay, AnnaSophia Robb.

AnnaSophia Robb
For the mysterious Miguel, who responds to the lawyer’s ad to do anything for money, maybe Antonio Banderas. Possibly Edward James Olmos or Andy Garcia. And for Marisol, who sets the plot in motion when she asks Duke to investigate the murder of her brother, Catalina Sandino Moreno. For Myra Chandler (guess who that’s an homage to), an LAPD detective that Duke and Jack run into in both Broken Windows and White Heat, and who’s a bit more sympathetic to them than her partner, Haskell, I’m thinking Jennifer Aniston. Why not? It’s my fantasy. And for Susan Karubian, the woman who jumps from the Hollywood sign, I picture Mila Kunis, although I would hate to kill her off so early in the film….

Catalina Sandino Moreno

Jennifer Aniston

Jesse L. Martin
Ghosts of Bunker Hill series: A series of short stories that have appeared in Ellery Queen. Howard Hamm is the lead detective in this series of stories that take place in the Bunker Hill and Angelino Heights areas (as well as other neighborhoods) of L.A. Howard “inherits” a lovingly restored Bunker Hill Victorian that’s been moved to Angelino Heights when its owner and his best friend is murdered. He’s a modern, high tech guy who, initially lives in a high rise condo on Bunker Hill. In fact, maybe where his current house formerly lived before being moved. There’s only one person I ever thought of when writing this part: Jesse L. Martin of Law & Order fame. When I’m writing Howard, I’m thinking Jesse. There’s a female cop that Howard comes across on cases—and off—Detective Erin Bowen. I think Natalie Portman, with darker hair, would be perfect for her.




***

Casting is a strange thing and truly an art. If you’ve ever seen different actors in the same part you know what I mean. One person brings something that the other doesn’t. Sometimes it’s better and sometimes not. And sometimes it’s just that we’re used to someone in a part, so if someone else takes it over it’s not that they’re better or worse, just different. At the same time, a good or bad—or just the right—actor in a part can make all the difference for a character.

Who would you cast for your tales, and why?

~.~.~

And now for the usual BSP:

Broken Windows releases on September 10th and is available for pre-order now at Amazon, Barnes & Noble and Down & Out Books.


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