Passport to Murder! Announcing...the Bouchercon 2017 Anthology Competition

First, a bit about Destination:TORONTO

Toronto the Good
Hogtown
The Big Smoke

Toronto has had a lot of nicknames, but I like this description best:
Toronto is “New York run by the Swiss.”  (Peter Ustinov, 1987)

He meant that in a good way, of course!  Toronto is a big city - the Greater Toronto Area is more than 6 million.  Our restaurant scene is second to none.  We may be the most diverse city in the world.  How great is our diversity?  When I worked in health care, our government agency had 105 dialects spoken by staff! 

It's my great pleasure to be part of the Bouchercon 2017 Committee.  Many of you know my friends Helen Nelson and Janet Costello, who are the conference co-chairs.  With these gals in charge, you know it will be an unforgettable conference.  Come to our town, for a great Crime Time!

You can check all the details here:  www.bouchercon2017.com

 DRUM ROLL......  announcing PASSPORT TO MURDER,

the Bouchercon 2017 Anthology

Even if you aren't registered for Bouchercon 2017, you can still enter the anthology competition!

Our theme is the convention theme—Passport to Murder—so include a travel theme with actual travel or the desire to travel with or without passports. And it must include at least a strong suggestion of murder or a plan to commit murder…. All crime sub-genres welcome.

Publication date: October 12, 2017.
Editor: John McFetridge
Publisher: Down & Out Books

All stories, by all authors, will be donated to the anthology as part of the overall donation to our literacy charity fundraising efforts. All profits on the anthology (including those of the publisher) will be donated to our charity.

Guests of Honour for Bouchercon 2017 will be invited to contribute to the anthology. For open submissions, preliminary selection for publication will be blind, by a panel of three judges, with final, blind selection by the editor.

The details:

• The story must include travel and at least a strong suggestion of murder or a plot to commit murder.
• Story length: a maximum of 5000 words
• Electronic submissions only.
• RTF format, preferably double-spaced
• Times New Roman or similar font (12 point)
• Paragraph indent .5 inch (or 1.25 cm). Please do not use tabs or space bar.
• Include story title and page number in document header.
• Maximum of one entry per author
• Open to both writers who have been previously published, in any format, and those who have never been published.
• The story must be previously unpublished in ANY format, electronic or print.
• Please remove your name or any identifying marks from your story. Any story that can be associated with the author will either be returned for correction (if there is time) or disqualified.
• Please include a brief bio in your submission form (max 150 words) and NOT in the body of your story.
• After Bouchercon 2017 and Down & Out Books expenses have been recovered, all proceeds will be donated to Bouchercon 2017’s literacy charity of choice.
• Copyright will remain with the authors.
• Authors must be prepared to sign a contract with Down & Out Books.
• Submissions must be e-mailed no later than 11:59 P.M (EST) January 31, 2017. Check the website (www.bouchercon2017.com) for full details and entry form.

Turnabout is Fair Play

Okay, time for me to piss everyone off. Well, at least some agents and editors I’m sure. I want to air some pet peeves about the above-named people. They have their peeves about us, so turnabout is fair play, right? They think it’s a crime if we don’t follow their guidelines—and everyone has a different set of guidelines. And I think it’s a crime that there’s no set standard so that we’re constantly scrambling to change our manuscripts every time we submit to a different person.

Peeve #1: No simultaneous submissions. Sure, I’ll send you my story or novel and I’ll just sit around for the next year and a half waiting to hear back from you....if I hear back from you at all. And lately, a lot of agents and editors are saying something to the effect of “if you don’t hear back from us within six weeks that means we’re not interested.” Nice. Whatever happened to manners—yeah, I know. But how hard is it to send a form e-mail saying thanks but no thanks. And if we never hear from them how do we know they got the story, especially if it was sent over the net. And then they put the fear of God into you if you dare follow up or contact them again. I think authors should rebel against the no simultaneous submissions policy and just submit everywhere you can. Then what? You go on some agent/editor blacklist that says “don’t accept anything so and so sends.” But what’s the alternative? Sit around and wait and grow old.

Peeve #2: Every editor or agent seems to want a different thing. The first 50 pages or the first three chapters. Some want a one page synopsis, some 2 pages. Another wants no more than one paragraph. Others want detailed outlines, another a summary. I don’t know about you but I get sick and tired of having to reinvent the wheel every time I submit something to someone. I understand they need guidelines, but do they realize how difficult they make it for us when there’s no set standard? So what if you send a 3 page synopsis instead of two pager? Or 2½ pages? You’re a malcontent. A subversive. It’s time for the balance of power to shift. Our time is valuable too. How about an industry-wide standard, so we don’t have to start over every time?

Peeve #3: They all have things that turn them off before you even get off the ground. There was a producer once who said if you submit a script with ellipses in it he would automatically reject it. Why? Did that make it a bad story? If a writer submitting to him, on their own or through their agent, would have taken out all the ellipses would that have made it a better story? Some agents or editors don’t like prologues. Well, what if there is a need for a prologue? Coming from a film writing background I understand the need to get into a story quickly. But one of the joys of books is that you can—or used to be able to—take a little longer to get off the ground. And sometimes a prologue is necessary. But I do know about cutting to the chase. In my rewriting gig I once chopped off all of Act I of a script and started on Act II, using just a few tidbits from the first act, inserting them where I could. I understand when the prologue is used for exposition and only exposition that’s not a good idea, but sometimes that’s what works for that particular project.

 
Peeve #4: Everyone has a different opinion, so when you get notes from someone, but without a commitment, should you rewrite your manuscript every time? What if they still don’t like it? Or the next person who reads it doesn’t like the things you just changed for the last person? Write your story not theirs. That’s not to say you shouldn’t be open to criticism, but only if you agree it’s valid. I once optioned a script to a producer. He loved the dialogue. It was the best dialogue he’d ever heard. He gushed on and on about it. He gave it to a director who hated the dialogue. Magically and overnight the producer hated the dialogue. Another script I optioned several times went to an agent, early on, who complained that a scene was set in Union Station in L.A. “Nobody takes trains anymore,” he said. Should I have changed that? Would it have made all the difference and he would take me on? Well, I didn’t and he missed the whole point of why it was set in a train station, which was to contrast the “old” vs. “the” new in the context of a main character stuck in the past in some ways. So if you rewrite for everyone who has an opinion you’ll spend your whole life doing that. You can’t please everyone so please yourself. Like Rick Nelson said in his song “Garden Party,” “It's all right now, yeah, learned my lesson well, You see, ya can't please everyone, so you got to please yourself.”

I’m not saying it’s wrong to have guidelines and rules, but they should be consistent and not so rigid that you lose before you even get in the door. Sure, margins should be an inch. Manuscripts should be carefully proofread and edited. But just like everyone one wants one inch margins, they should all be on the same page (pun intended) with other things so we aren’t starting from scratch every time we submit to them.

Whew! Glad I got that off my chest. Let the arrows fly.

***

A little bit of BSP: My short story “Howling at the Moon” from the November, 2014 issue of Ellery Queen has been nominated for an Anthony Award. I’m very grateful to those who voted. And it certainly came as a surprise. Very cool, but very unexpected. If you want to read the story, click here and scroll down to the Short Story section. All of the short story nominees are here: http://bouchercon2015.org/anthony-awards/

Hope to you see at the California Crime Writers Conference

(http://ccwconference.org/ ). June 6th and 7th. I’ll be on the Thrills and Chills (Crafting the Thriller and Suspense Novel) panel, Saturday at 10:30 a.m., along with Laurie Stevens (M), Doug Lyle, Diana Gould and Craig Buck.

And please join me on Facebook: www.facebook.com/paul.d.marks and check out my soon-to-be-updated website www.PaulDMarks.com

Subscribe to my Newsletter: http://pauldmarks.com/subscribe-to-my-newsletter/

"Ricky Nelson free" by The original uploader was Mind meal at English Wikipedia - Transferred from en.wikipedia to Commons.. Licensed under CC BY 2.0 via Wikimedia Commons - http://commons.wikimedia.org/wiki/File:Ricky_Nelson_free.jpg#/media/File:Ricky_Nelson_free.jpg

All right, Mr. Demille, I'm ready for my close-up

Los Angeles City Hall - 2013, Photo by Michael J Fromholtz

Or at least Los Angeles’ art deco city hall is ready for its close-up.

In its heyday, MGM’s slogan was more stars than there are in heaven. Well, there’s one movie location that’s starred in just about as many movies or TV shows as there are stars in heaven, Los Angeles’ City Hall.

From the time it was built in 1928 until today it can be seen in dozens, maybe hundreds, of movies and TV shows, including many crime films. One of my favorites is as the Daily Planet building in the 1950s TV series The Adventures of Superman with George Reeves.
Besides the exterior, the interior rotunda, as well as hallways, offices and the council chambers, have all been used in many movies/TV shows as well.

George E. Cryer, LA’s 43^rd mayor, urged the residents of the city to build "a monument to the enterprise and progressiveness of the people of Los Angeles. Let us build a City Hall that will be a credit to the metropolis of the great West.”

LA’s new city hall was completed in 1928, with dedication on April 26^th of that year. It has 32 floors and is 454 feet tall. The concrete used is made of sand that comes from each of California’s fifty eight counties and the water to mix it from each of the twenty-one Spanish missions in the state. Until 1964, it was the tallest building in LA, via the city charter.

Supposedly it made its film debut shortly after it was completed in Lon Chaney’s While the City Sleeps. And it’s been a star ever since.

Not only has it played itself in movies, but it’s doubled for the Vatican and New York City, and for a municipal building in San Francisco. In Flags of Our Fathers, director Clint Eastwood doubled up, using one side of City Hall for a building in Baltimore. He used a different side of the building for a scene of a rally in a different part of the country.

It even makes an appearance in the video games, Grand Theft Auto: San Andreas, Grand Theft Auto V and LA Noire, and others.

Since 1940 it has appeared on the LAPD’s badges. There’s even a scene in the 1960s version of Dragnet where a police officer from another state admires Joe Friday’s LAPD badge.
In 2006, there were about 50 shoots at LA’s city hall. Everything from movies to commercials to TV shows, causing workers to dodge the lights, cameras and action.

Here are some shots from various movies and TV shows “starring” Los Angeles City Hall.

War of the Worlds (1953) – in this one city hall was blown to smithereens by invading Martians – well, okay, they blew up a miniature of it:


The Black Dahlia


Gangster Squad


LA’s City Hall – interiors and/or exteriors – has also appeared in:

• Adam 12
• Alias
• Another 48 Hours (1982)
• Atlas Shrugged, Part I
• Barton Fink
• Beverly Hills Cop
• Black Dahlia, the (2006)
• Bodyguard, The (1992)
• Cagney and Lacy and Kojak had it filling in for New York City
• Changeling (2008)
• Chinatown had a scene with Jack Nicholson in the council chamber.
• Crash (2005)
• D.O.A. (1950 – the good version of this story) – one of my favorite noir films and imho the ultimate in “high concept”
• Die Hard 2 (1988)
• Dragnet – where it played police headquarters
• Eraser (1996)
• Escape from LA
• Evan Almighty
• Eye for an Eye (1996)
• Get Outta Town (1959)
• Internal Affairs (1990)
• Jimmy Hoffa Story, The – where it played the US capitol
• LA Confidential
• LA Law
• Liar Liar (1997)
• Matlock
• Mildred Pierce – the 1945 Michael Curtiz/Joan Crawford version
• Mission Impossible (TV show) (1972)
• Mission Impossible III
• Mobsters
• Naked Gun, The
• Nancy Drew
• National Treasure: Book of Secrets
• Perry Mason
• Ricochet (1991)
• Rockford Files, The
• Speed
• Straight from the Shoulder (1936)
• Thorn Birds, The – doubling for the Vatican
• Usual Suspects, The – substituting for a NY police station
• V
• West Wing, The
• XXX: State of the Union

And this is only a tiny sampling of the movies and TV shows that have been shot at LA’s city hall, Los Angeles’ real movie star.

***

Hope to you see at the California Crime Writers Conference
(http://ccwconference.org ). June 6^th and 7^th.
I’ll be on the Thrills and Chills (Crafting the Thriller and Suspense Novel) panel, Saturday at 10:30am, along with Laurie Stevens (M), Doug Lyle, Diana Gould and Craig Buck.

And please join me on Facebook: www.facebook.com/paul.d.marks and check out my soon-to-be-updated website PaulDMarks.com
Subscribe to my Newsletter: http://www.pauldmarks.com/subscribe.htm

The HIGHS and Lows of being an Author

(This was the second half of my Mattress of Ceremonies (MC) address at the Bloody Words Mystery Conference Gala in Toronto this June.  Which was a blast and a half.  I even have a photo of me giving this address.  It actually looks like me, which will be explained below. The Spanish Flamenco outfit cannot be explained.)

We all know the highs.  Those delirious times when you win awards and/or get a royalty cheque that takes you and your family to Europe rather than McDonalds.

I’ve had a few highs this year, winning the Derringer Award and the Arthur Ellis Award in Canada.  And I’m exceedingly grateful for them.

Because - thing is - authors get a lot of lows.  It's not just the bad reviews and rejection slips.  For some reason, most of my lows seem to cluster around that scariest of all activities: the book signing.

Some people think the worst thing that can happen is nobody shows up.  Or when you’re on a panel of 4 authors, and only three people show up.

But that’s not the worst.

1.     Worse is when five people show up for your reading.  And they’re all pushing walkers. And half way through, when you’re right in the middle of reading a compelling scene, one of them interrupts, shouting, “When does the movie start?”

Sometimes, even large crowds don’t help.

2.     I did an event this year with two hundred people in the audience.  I was doing some of my standup schtick, and it went over really well.  Lots of applause, and I was really pumped.  I mean, two hundred people were applauding me and my books!  A bunch of hands shot up for questions.  I picked the first one and a sweet young thing popped up from her seat and asked in a voice filled with awe, “Do you actually know Linwood Barclay?”

3.    Another ego-crusher:  I was reading in front of another large crowd last year.  Same great attention, lots of applause.  I was revved.  Only one hand up this time, and she said, in a clearly disappointed voice:

“You don’t look anything like your protagonist.”

So I said, “Sweetheart, not only that, I don’t look anything like my author photo.”

4.     One of the best things about being a writer is getting together with other writers to whine about the industry.  I was at The Drake in Toronto this year with a bunch of other Canadian crime writers, Howard Shrier, Robbie Rotenberg, Dorothy McIntosh, Rob Brunet… who am I missing?

We were whooping it up in the bar, moaning about the book trade.  Someone bought a round.  And another.  And then I bought a round.  And soon, it became necessary to offload some of the product, so I went looking for a place to piddle.  You have to go upstairs in the Drake to find washrooms, so I gamely toddled up the stairs, realizing that I couldn’t actually see the steps.  I was probably not at my best. 

I made it to the landing at the top and scanned a door in front of me.  It had a big “W” on it. That seemed sort of familiar, but fuzzy, you know?  Then I saw the door to my left.  It had an “M” on it.  So I thought, ‘M for Melodie!’ and walked right in.

Howard, I think you had probably gone by then, but the guy at the urinal asked for my number.

Melodie Campbell writes funny books, like The Artful Goddaughter. You should probably buy it because she, like, writes about the mob.

The Good Old Days

Today is June 9, 2014. How did it get to be half a year so quickly. We just had Christmas last week, didn't we? No, that was Valen...no, my birthd...no, Mother's Day. Man time flies when you're having fun and even when you're not.
Never really thought I'd like to be a writer, particularly, but I always liked to write and always made perfect grades writing essays or stores for English classes. But I decided to be an X-ray technician when I was about 12. I started to X-ray School on Monday morning after I graduated from high school on Friday night.  I enjoyed my career of diagnostic x-ray and radiation therapy. But after kids were almost grown, I began writing mostly for myself. Eventually, I thought I'd write a book.

Guess I wrote about half of a novel before I realized I had no earthly idea how to write or complete a novel. My late husband, Elmer and I lived in Houston, think this was about 1980, and were fairly close to a library. So I got myself over there and checked out an armload of books to How To Write, mostly how to write a mystery. Oh, yes. Always knew it would be a mystery and it would be a female private eye book.

 The book was titled, April Anger and my main character was Jenny Gordon, P.I.
John D. MacDonald had books with color in the titles. This was just before Sue Grafton came out with "A is for Alibi." Someone else had numbers, don't remember who, but just thought months would be a good take. After I read Sue's Alibi and the "B is for Burglar" was on it's way, I still felt that months would be the way to go.

After studying the how-to books and following as many directions and tips as I could cram into my brain, I completed my first novel. This was written mostly in long-hand on a yellow legal size tablet, then transferred to print with my electric typewriter. If I'm not mistaken, I had managed to acquire an IBM Selectric.  Some of you may remember it had a print ball than danced around as you typed the words.

One of the Houston TV stations did a little news story about a writing conference held at Rice University. It was a two day event and I could stay at the University's Hotel college. The cost was something like $80. Right then I didn't have the extra money to attend. I was really upset but, I saved my money for a whole year and then registered for the Southwest Writing Conference. In the meantime I kept writing.

It was a great conference, featuring a number of editors and agents from New York. They held classes and gave great advice and the main thing you were networking. These editors and agents would pull your book or story from the slush pile once they got back to NY because they had met you in Houston.

I remember an agent from Avon paperback books telling us a story about going to conference after conference and aspiring writers asking for the secret to getting published. She said they wouldn't believe that you had to write well and write a different and intriguing story. We all nodded, more or less believing that it was true, that there had to be some magic formula or some magic answer to getting published.

Finally, she asked someone in our class to check to see if anyone was standing outside or around our door. Someone checked then she said, in a hushed voice, "I'm telling you all the secret. But you can't ever, ever let anyone know I told you because I'll get fired."

In a voice, barely above a whisper, she said, "When you sent your manuscript in to me, put the stamps on  upside down."  We laughed a bit and realized she'd been putting us on. "You'll never know how many envelopes full of manuscripts I got that year with upside down stamps on them." Of course, these were the days when you sent a full printed copy of your manuscript to an editor. But only after you sent a query letter and they responded yes, you may send your mss in to me.

At that time, there was another way, if you didn't have an agent to send your mss to an editor and that was to send it in cold 'over the transom'. In the very early days, an editor's room had a door with a small window that could be opened for air circulation. Supposedly someone could throw an mss over the transom into what was called a "slush pile." The slush pile continued but it came from the mail room and a pile of opened manuscripts were put on the editor's desk. Every so often the editor would go through that pile and for one reason or the other, interesting title or great first paragraph and
on this rarest of occasions the editor would find a manuscript they liked and would buy it. A few years after that an editor told me, she once had to buy a mss because it had too many coffee stains on it where she had placed her mug and she was too embarrassed to return it in that condition. Take that statement with a grain of salt. It could be true, I knew the editor fairly well and I could see her doing something like that.

I wound up attending the SW Writing Conference three years, they were held in August. An editor from Wichita Falls City Magazine greeted me and we discussed a short story I wanted to send to her.  In December, she called me and said she wanted to publish my story. In fact, it had already been published and she was sending me copies and a $100 check. I was thrilled to say the least. A couple of months later, another editor I had met published a humorous article in a little magazine that went out all over the country to be local businesses magazines. I got a check for $85 for that.  Neither of these were mysteries but they were publications. I was sure I was on my way.

Good thing I didn't quit my day job because I didn't sell anything else for five more years. I did have two mystery short stories published both in small subscription magazines. The first was in Detective Story Magazine and featured my private eye investigators, Jenny Gordon and C.J. Gunn, titled "Kiss or Kill." In fact, the story was chosen for the cover. I looked in my bookcase and found a copy of the magazine and hope I'll be able to put them at the end of this article.

The second story was published in Dark Starr, "A Friend To Remember." Also found that one in my bookcase. And guess what I had forgotten the story so I had to reread it.  Both stories were published in 1989.

Those all really are some of my good old days as an aspiring writer.

Daddy's Girl Weekend

Sounds like the name of a drive-in movie from the 1960s, right? Not this time. The Daddy's Girl Weekend I'm referring to is an annual writers' conference hosted by my friend and prolific mystery novelist Carolyn Haines. Carolyn was kind enough to invite me to be on the "faculty" for this year's DGW, which was held several weeks ago in Mobile, Alabama. Here's a link to the conference info.

Since the Gulf Coast isn't far from our home, my wife joined me for the trip--we drove down on the afternoon of Thursday, April 3, and spent three nights and three days at the Riverview Plaza Hotel in downtown Mobile. It rained most of the time we were there, but at least it wasn't cold: I've had quite enough of the Winter of 2013/2014. Until recently, I suspected that the weather gods had confused Mississippi with Minnesota.

As for the conference itself, I thoroughly enjoyed it, and--as I do at all events like this--met some truly interesting folks. One attendee was a former writer for Saturday Night Live and the screenwriter for many of the Eddie Murphy movies; one was a New York Times bestselling author of "cat mystery" novels; one was a cardiac surgeon who'd just sold his second medical thriller; another was an author, agent, and ordained priest; several were former bookstore owners; and so on and so on. I've often heard that writers might be weird but they're always fascinating. And one of the best things about DGW is that it's a readers' as well as a writers' conference. As any Bouchercon attendee will tell you, having fans there makes a big difference.

The time passed quickly. Each night after the final session my wife and I went out for some great meals (usually seafood), and during the daytime hours at the conference I was a member of four different panels, I was moderator of another, I was interviewed by a lady from Suspense Magazine, and I signed and sold a lot of my books, all of which was fun. I also learned some useful things about writing and marketing. Actually, I don't think it's possible to spend several days in the company of dozens of other writers and NOT learn something useful about either writing or marketing or both.

In my case, and on the off-chance that this might be helpful to others as well, here is some of the information I came away with:

E-predictions

One of the panels I attended included the founder of a publishing company that deals in both printed novels and e-books. He mentioned to the group that although all of us realize that electronic publishing is here to stay, it is not necessarily "the way of the future." In fact he said sales and e-sales have recently begun to level out, and that it appears that e-books will not completely take over the publishing world as was once predicted. Disagree if you like--this was one man's opinion--but he insisted that the traditional novel will remain with us, side-by-side with its e-counterpart, for the foreseeable future.

To most of us who were present, this view was not only interesting but encouraging. I love my iPad and I enjoy e-books--especially when traveling--but it pleased me to hear an expert in the field say that the old-fashioned printed novel will still be around for a while.

Untangling the Web

In another session, a lady who spoke about blogging and social media happened to mention a place called Weebly.com, which provides a free, easy, and effective way to build a personal or business web site. This captured my attention, since for twenty years now both writers and readers have been telling me I need my own site. Deep down, I knew they were right, but I just never got a round tuit. I had several reasons not to take the plunge: on the one hand I didn't want to find and hire a webmaster and I didn't want to then have to sit around and wait for him or her every time I decided changes needed to be made to the site; on the other hand, I damn sure didn't want to take the time to learn how to design the whole thing myself. Besides, slacker that I am, I've always just pointed folks to my page at my publisher's site.

But I had to agree that this sounded good. Bottom line is, when we returned from the conference I Googled the Weebly program and decided to give it a try. As a result, I put together my own web site in a matter of hours, and at no cost. It's nothing flashy and is still a work in progress, but it's functional and I'm satisfied. If you have time, visit www.johnmfloyd.com and take a look.

Curses--foiled again!

The third piece of information that stuck with me wasn't something I didn't already know, but it's something that all of us occasionally need to be reminded of. A person who worked for a publishing company told the group that writers shouldn't be overly discouraged when their novels or short story manuscripts get rejected. She pointed out that publishing is a business. We writers tend to forget that. Publishers have employees just like other companies, and have payrolls to meet. When they decide to pay a writer an advance and produce a novel, they have to be reasonably certain that enough of his or her books will sell to exceed the amount they spend. Similarly, when a major magazine buys a story, the editors need to be confident that that story will help them sell copies, not only of that issue but of other issues in the future. If these things don't happen, that publisher or editor or product won't be around very long. The decision-makers are right when they say it's nothing personal.

Does it hurt when we're rejected? Sure it does. But rejections should prod all of us to persist and work harder. If this whole writing gig was easy, anyone could do it.

Denouement

On the Sunday that ended the DGW conference my wife and I drove back home (it was still raining, all the way), and when we got here I couldn't help feeling a bit like the traditional story character, returning to his routine after his mythical adventures, a little older and wiser than he'd been beforehand.

I just hope they invite me back next year.

Magna Cum Murder

I spent last weekend among old friends.  I attended Magna Cum Murder, a mystery conference that's been held in Indiana for the past nineteen years.  For at least its first decade, Magna was based at the Roberts Hotel in Muncie.  The Roberts was a great old pile from the 1920s, with a potted-palm lobby out of an Edward Hopper painting.  One of the conference legends has Mary Higgins Clark and friends singing around a lobby piano being played by Les Roberts (the PI writer, not the guy who owned the hotel).  The Roberts also had the perfect bar for a small conference: big enough to hold a bunch of mystery writers and small enough to make them rub elbows.  I fondly remember sitting at that bar with Ralph McInerny, watching a World Series game.  Can't remember who was playing.

View of the Roberts Lobby, Showing the Mary Higgins Clark Piano

When the Roberts Hotel closed, Magna soldiered on using Muncie's convention center and a collection of satellite motels.  But as the Bouchercon occasionally proves, it's hard to do a convention without a central hotel.  This year, Magna moved to Indianapolis, to a private club older than the Roberts, the Columbia Club.  Though the club is private, it was open to Magna attendees, and the result was something very like Magnas of old.

The Columbia Club, New Home to Magna Cum Murder

The driving force behind Magna is Kathryn Kennison, a great friend to mystery writers and book lovers in general.  Kathryn set Magna's classy and welcoming tone back in 1994, and has maintained it ever since.  And every year she works the miracle of drawing a big-name guest of honor to a small Midwestern conference.  This year's honoree was Steve Hamilton.  Our banquet speaker was Hank Phillippi Ryan.  They still come to Indiana for Kathryn.



Guest of Honor Interview:  Hank Phillippi Ryan and Steve Hamilton

A big advantage of a small conference for the writer is the opportunity to speak with a good percentage of the attendees.  That's assuming you "work the room," making yourself available to fans and doing such daring things as sitting down at a table full of strangers.  It's not the easiest leap for some writers to make, including this writer.  Small conferences are good for the fans and for aspiring writers (as yet unpublished writers, someone called them this weekend) because of this same intimacy.



Magna's First Panel: John Desjarlais, Albert Bell, Molly Weston, William Kent Krueger, and Unidentified Moderator 

One of the reasons I sometimes fail to work the room at Magna is that I'm too busy catching up with writers I only see there. (I'm not naming names for fear of leaving someone out.) As important as book promoting is, it's also important for me to keep in touch with writers I admire, to be encouraged by success stories and to condole over the frustrations of the writing life. This year, I even got to watch another World Series game in another Magna bar.  (And yes, I do remember who was playing.)

Two Award-winning Writers, Sandra Balzo and Ted Hertel, Jr.,and Two Distinguished
 Critics, Gary Warren Niebuhr (holding his favorite book) and Ted Fitzgerald

Next time you're on Facebook, check out the Magna Cum Murder page.  You'll see some very professional photos of the attendees and of the Columbia Club (unlike the grainy group shots reproduced here, which were made with my very small camera.)  And if you're looking for a weekend away with new old friends next fall, consider Magna's twentieth anniversary celebration in October.  Next year's details should be available soon on Magna's web site, along with an online registration form.  I'll remind you later.   

Writers on the River

by John M. Floyd

"I'm away from the office right now--leave your name and number and I'll call you back."

That answering-machine message, thank goodness, isn't one I use anymore. Mainly because my only office these days is my home office, and also because I seldom venture too far from it. After all the globetrotting I did in my job and in the military, I now try to avoid any trip that might take me beyond the boundaries of my zip code. Imagine Paladin's card with the words HAVE GUN WON'T TRAVEL on it. (Also imagine Paladin unemployed but stress-free.)

Today, though, I am traveling--or, more accurately, I'm already there. While you're reading this, I'm participating in a two-day writers' conference in Vicksburg, Mississippi. (Only fifty miles west, but still away from wife and home and easy chair and mystery DVDs.) Here's a link to the conference info.

I've been told I'll conduct two sessions this morning--one on writing short stories and one on marketing them--then I'm supposed to be the speaker at lunch, then this afternoon I'm scheduled to repeat the morning session, and then I'll take part in a panel discussion and a book signing. I have a feeling that tonight I'll be ready to prop my feet up higher than my head and shift my brain into neutral for a while. Actually my brain will probably be in neutral during the day as well; maybe nobody'll notice.

Conference call

Truth be told, I've been looking forward to the conference and I feel fortunate to have been invited. It's being run by a good organization and has become an annual event that draws aspiring and established writers from throughout the South. (Everyone seems to know by now that a writer can't open his or her car door in Mississippi without bumping into another writer. Our literary history includes Faulkner, Welty, Willie Morris, Tennessee Williams, Grisham, Shelby Foote, Carolyn Haines, Thomas Harris, Richard Ford, Stephen Ambrose, etc. – there must be something in the water, down here. Either that, or there just isn't much else to do.) Anyhow, as with any conference, it's a chance to see old friends again and to meet new ones, especially some authors that I might have read but have not yet had a chance to get to know.

I'm also aware that many of the attendees will be poets and writers of nonfiction. As a fiction writer, I always enjoy meeting those folks, but I admit to being a little intimidated by them. I've always felt that authors of poetry and nonfiction are more perceptive and more serious and more, well, dedicated than I am. After all, most contemporary poetry is so profound I can't even understand it, and writing nonfiction seems more like work than play– sort of like the term paper that you know you have to finish by Monday or you'll flunk the course. In other words, I respect those writers but I can't really relate to them; I feel as if I'm the little kid with the lollipop and the cowboy hat in the amusement park and they're the adults who make sure everything works and runs the way it's supposed to. (But, since we're being honest here, it's also the kids who have the most fun.)

Dreamers Anonymous?

As for the authors of fiction--whether they're short or long writers of short or long fiction--I find them not only interesting but helpful. I've gotten a lot of great information from fellow fiction writers, both in and out of the classroom environment, and if you've ever taught school, or night courses, or even conference workshops, you know that the instructor sometimes learns as much from the students as the students learn from you. The bottom line is, it's just fun to meet and visit with others who like the same kinds of things you do, whether it's in a seminar or on a cruise ship or on a barstool. Writing has always been a lonely pastime, and I believe no one understands fiction writers except other fiction writers.

Which brings up several questions. What kind of writers' conferences have you attended, or do you attend regularly? Have you found them worthwhile? Too long? Too short? Too expensive? Do you prefer main-tent presentations where everyone attends, or smaller concurrent sessions geared to specific topics? What do you think of "fan" events that include readers as well as writers? Do you ever pay extra to schedule individual one-on-one sessions with editors? Publishers? Agents? If so, have you found that to be productive? Do you prefer genre conferences like Worldcon or Bouchercon, or those that feature all flavors? Do you get tired of SleuthSayers who ask too many questions?

Great Expectations

One more thing, regarding writing conferences/workshops. A few months ago I received an e-mail from the Gulf Coast Writers Association (a well-run group, headed up by my old friend Philip Levin) asking me to come down to the Coast and conduct a two-hour fiction-writing seminar. I replied with an e-mail saying I'd be happy to come and thanks for inviting me, and included a question of my own: What would you like for me to cover? I said I could discuss any of several topics: plot, characterization, POV, dialogue, style, manuscript formatting, marketing, etc.– just let me know. Well, several days passed, and when I'd heard nothing back from them, I checked their web site. Imagine my surprise when I found this announcement there: "John Floyd will be at the Biloxi Public Library on Saturday, February 23, 2013, to teach a fiction-writing workshop from 11:30 a.m. to 1:30 p.m." It listed the street address and the price of attendance and added, "Topics John will cover are: plot, characterization, POV, dialogue, style, manuscript formatting, and marketing." Whoa.

I wound up covering all those things, and all within the two-hour time period. For the fifty or so students in attendance, it probably felt a bit like drinking from a fire hose, but we did it, and they seemed to like it, and we had a good day. It did teach me, however, to be careful what I propose, when I agree to a session like that. You know what they say about best-laid plans.

Thankfully, I shouldn't have that kind of problem today in Vicksburg. They told me I could talk about anything I want to.

Maybe I'll cover mystery movies …

On the Road Again

Last weekend was a little unusual.  I didn't mow the lawn, I didn't doze off in the backyard swing, I didn't attend a sporting event that included our four-year-old grandson, and I didn't watch a single Netflix movie.  What did I do?  Well, I think you'll be proud of me: I went to a writers' conference.

The truth is, I've never been particularly fond of conferences.  There are exceptions--I've thoroughly enjoyed the Bouchercons I've attended, and I'm planning to go to this year's event also, in Cleveland--but in general I've viewed most writers' conferences in the same way that I viewed sales meetings in my business days: they were a nice way to get together and have refreshments and see everybody, but they didn't often accomplish a whole lot.  All in all, I'd rather be working than talking about working, and I'd rather be writing than talking about writing.  Besides, literary conferences are usually far-flung, and I'm no longer enthused about the idea of traveling.  The half-zillion miles I logged with the Air Force and IBM have made me perfectly content to stay within my own zip code.

But I've decided I might've been a little too hasty.  The conference I attended on July 13th, 14th, and 15th has made me rethink my position on the matter.

Hop along to Cassity

About six months ago I was fortunate enough to be invited to be one of five "featured authors" at the second annual Turner Cassity Literary Festival this past weekend.  Sponsored by the local Cultural Arts Center, the three-day festival is a gathering of writers and readers from all over the southeast and beyond, held in a rambling century-old home on tree-lined Campbellton Street in Douglasville, Georgia.

My wife Carolyn and I left home early last Friday (the 13th!?) to drive the four hundred miles to Douglasville, a small town about twenty miles west of Atlanta.  The weather wasn't the best--we were greeted with the same kind of afternoon/evening thunderstorms we had left behind in Mississippi, and even when it wasn't raining the humidity made us feel right at home--but it was a great weekend anyway.  The food was good (and plentiful), the accommodations comfortable (and conveniently located), the conference site beautiful (and appropriately "literary"), the people friendly (and smart), and the subject matter . . . well, the subject matter involved what you might expect: an appreciation of the writing of others and the improvement of your own.

The unusual suspects

The guest lineup of authors consisted of three poets (Dan Veach, Annmarie Lockhart, and Alice Lovelace), one novelist (Patricia Sprinkle), and one short-story writer (guess who).  Each of us taught two ninety-minute workshops and held individual critique sessions on Saturday, and then participated in readings and signings and Q&A's on Sunday.

I knew I would have a good time with Patti Sprinkle because we think the same way, she and I.  Not only do we both write fiction, we both write mystery fiction, and we had already swapped a number of e-mails over the years.  I wasn't so sure about the poets.  (As I think I've mentioned before, both here and at Criminal Brief, I'm not a poet and I noet.)  But I was pleased to find that I liked the poets and their work.  Dan Veach, I discovered, is not only a talented writer and illustrator, he's the editor of Atlanta Review--and the two ladies are gifted poets as well as outstanding speakers; Annmarie delivered the kickoff speech and Alice the closing address.  Both presentations gave me goosebumps . . . and remember, I'm too uncouth even to understand most contemporary poetry, much less enjoy it.

Friends and countrymen

On the first of our three rainy nights in Georgia, I found out that one of the attendees--actually, the wife of the head fred--had graduated a year behind me in high school, back in Kosciusko, Mississippi.  (Tell me it's not a small world, after all.)  I hadn't seen her in more than forty years, and after we caught up on which of our classmates were still alive or in rehab or out on parole, she and my wife hit it off and spent much of the conference talking about everything from grandchildren to politics to quilting projects.  I also met some delightful and interesting "aspiring" writers, and began what I hope will be longtime friendships.

When Carolyn and I finally arrived back home Monday afternoon, I told her the same thing I mentioned to you at the beginning of this column: I now have a different view of that weird phenomenon we call writers' conferences.  I still think it's more fun to just sit down and write--no question about that--but now and then, if the time's right and the stars are aligned correctly . . . it's also fun just to talk about writing.

I'm hoping they'll invite me again.

A word to the wordsmiths…

What are some of your favorite writers' conferences?  Which, if any, do you attend regularly?  Do you choose conferences based mostly on genre?  Location?  Cost?  Featured speakers?

Also, who's planning to go to this year's Bouchercon?

Save a seat for me.