Showing posts with label mystery. Show all posts
Showing posts with label mystery. Show all posts

04 January 2018

Cultivating Hysteria with Pleasure and Terror


A couple of weeks ago, right before Christmas, I read "A Passion for Paris:  Romanticism and Romance in the City of Light" by David Downie, and learned a great deal about Parisian geography, architecture, and the Romantics.  I already knew most of the who was sleeping with whoms - as an historian, I've kept up with all kinds of gossip across the ages - but what fascinated me was the literary exchanges.
               "I have cultivated my hysteria with pleasure and terror." - Charles Baudelaire

For example, Charles Baudelaire (considered by many to be the modern French poet, and the French poet of modernity) was obsessed with Edgar Allan Poe. 

Charles Baudelaire in 1848,
portrait by Courbet
"In...1847, I came upon a few fragments of Edgar Allan Poe, and felt a strange sort of shock...[.] I discovered, believe me if you will, poems and stories that I had already thought of, but of which I had only a vague, confused and disorganised idea, and which Poe had managed to pull together and perfect...."  (Source

And Baudelaire promptly dropped (almost) everything, and spent his most productive years (1856-1865) translating Poe’s works into French.  Now he wasn't the first to do translate Poe, but he was the one who made Poe's work sing in French.  (Baudelaire's Translations at Gutenberg Press for free.)  And his translations became the standard throughout Europe.

First note:  Despite his obsession with Poe, when Baudelaire named his poetry collection Les Fleurs du Mal -- Flowers of Evil in English -- it was in homage of Nathaniel Hawthorne's highly appropriate Rappaccini's Daughter.  (Link here to read on-line)

Second note:  In Memoirs of a Drudge, James Thurber reminisces about working at the Riviera edition of the Chicago Tribune in Southern France.  (And why didn't my guidance counselor ever tell me about this job?)  Anyway, there were regular printers' strikes, and after one of them, the whole press room, half-tanked, got on a train for Cannes.  Promptly another argument broke out, this time over which was better, the original or the French translation of Poe's The Raven?  And would a real raven be more likely to say, "Jamais plus" or "Nevermore"?  "He returned with the claim the claim that our fellow-passenger to a man were passionately on the side of Jamais plus."  Betcha the translation was Baudelaire's...

"Remarks are not literature" - Gertrude Stein

Another interesting connection was between Gertrude Stein and Gustave Flaubert.  Apparently, Stein set out to translate Flaubert's Three Tales into English to improve her French, but it turned into her own Three Lives, which is certainly nothing like Flaubert's subtle, supple prose.  (I have tried to read her work, but found everything other than The Autobiography of Alice B. Toklas to be breathtakingly, redundantly boring...) 

On the other hand, praises be to Gertrude Stein, whose gatherings in the Rue de Fleurus brought together almost every artist and writer of the early 1900s, launching friendships, love affairs, movements, feuds, innumerable rumors, and most of what we consider modern art.

"Be regular and orderly in your life, so that you may be violent and original in your work." 
             - Gustave Flaubert

G. LEROUX.jpgSpeaking about original violence, meet Gaston Leroux (1868-1927), the author of  original Phantom of the Opera.  Maybe you haven't read the book, but I'm sure you've seen one of the 14 film versions and 4 stage versions...  (I remember seeing Lon Chaney Sr.'s version when I was a child - nightmare city!)  BTW - Some parts of Phantom are based on reality:  the "Paris Opera House" is based on the real Opera Garnier in Paris, which has underground tunnels and an underground lake. (To visit to the Opera Garnier, go Here.)  A chandelier did fall and kill someone.  There are a couple of stories about the Phantom himself:   one is that it's the ghost of a man whose skeleton was used (I don't know why or how) in a 1841 production at the Paris Opera of Der Freischütz.  The other is the sad story of Erik, one of the architects of the Opera Granier (who may or not have been disfigured - depends on the legend), but who ended up living underneath the Opera Garnier in his own apartment, with his own passages that led to his own "Box Number 5". 

          Phantom.jpg

Phantom alone should have ensured M. Leroux's fame, but he wrote more than that.  His 1907 super best-seller The Mystery of the Yellow Room has the singular honor of having spurred Agatha Christie to write mysteries.  She and her sister Madge were talking about various detective novels they liked, and The Mystery of the Yellow Room came up, which they both loved.  Christie said she'd like to write a detective novel herself, and Madge said “Well, I bet you couldn’t.” “From that moment I was fired by the determination that I would write a detective story.” 
  • (A number of Leroux's works are available for free on Gutenberg here, some in French, some in English translation.)  
While I'm at it, a few more interesting bits about Agatha Christie:

Did you know that she was a surfer?  She and her first husband, Archibald Christie, went on a trip from South Africa to Hawaii in 1922, and along the way they learned how to surf.  It's speculated that they were the first English surfers to surf standing up.  Now if I could only find a picture of THAT.  

Studio publicity Gene Tierney.jpg
Did you know that The Mirror Cracked is based not just on Tennyson's The Lady of Shalott but on the actress Gene Tierney?  In 1942, she was volunteering at the Hollywood Canteen when a fan sneaked out of a rubella quarantine to meet her. Tierney was pregnant, and yes, she got rubella, and the result was that her daughter, Daria, was born deaf, partially blind, and severely mentally disabled. It broke her heart, and the child had to be institutionalized.  A couple of years later, Tierney was approached by the fan at a garden party who proudly told her what she'd done: "Everyone told me I shouldn't go," the starstruck woman told Tierney years later at a tennis match, not realizing what she was responsible for, "but I just had to go.  You were my favorite."  (Biography)  

Did you know that Agatha Christie qualified as a "dispenser" (a/k/a pharmacist) in 1917?  That's certainly one way to learn all you want to know about poisons...

Supposedly, she ‘saw’ Hercule Poirot twice in her life, once lunching in the Savoy and once on a boat in the Canary Islands.  And Miss Marple was based on her maternal grandmother who, just like Miss Marple, "always expected the worst of everyone and everything, and were, with almost frightening accuracy, usually proved right."  

Speaking of "seeing" a detective, how about "seeing" an author?  Look at the three portraits below. 


McKee Dagurreotype of Edgar Allan Poe  


These are all (supposedly) Edgar Allan Poe.  You tell me how Edgar Allan Poe's physical appearance went from the first daguerreotype (the McGee portrait, 1843 or earlier) to the middle portrait (an 1845 painting by Samuel Stillman Osgood) to the final, most famous, one (the "Ultima Thule" daguerreotype) taken in 1848.

And go a step further:  check out the various Poe portraits at the Edgar Allan Poe Organization website.  Frankly, most of them - except the last - look nothing like the image I've always had of Poe.  Who was this shape-shifter, anyway?  Was that why he was found delirious, in great distress, and in clothes that didn't belong to him?  Was there a possession of some kind?  I don't know.

“I was never really insane except upon occasions when my heart was touched.” ― 
Edgar Allan Poe

But he was always a master of cultivating terror with hysteria and pleasure...





















12 September 2017

Editing An Anthology Electronically: Stronger Stories, Deeper Relationships


When I agreed to serve as editor of Where Crime Never Sleeps, the fourth volume of the Murder New York Style anthology series from the New York/Tri-State Chapter of Sisters in Crime, I knew the process had to take place online. I had been a professional editor myself for many years. I had used Track Changes, the editing feature of MS Word, with editors of my own fiction. Furthermore, in my “other hat,” I am an online therapist, a pro at text-based communication and relationships in cyberspace. Yet the alchemy of the online editorial process produced benefits that came as a complete surprise. One was stronger stories than I believe could have been achieved by the passing back and forth of marginal scribbles and a couple of rounds of sticky notes. Another was a dialogue between editor and individual authors that took on depth and complexity throughout the process and created bonds that would not have existed otherwise.

Essential to the process was Track Changes. Compared to paper sticky notes (and before that, marginal slips you had to lick—remember those?), Track Changes balloons are infinitely expandable. It wasn’t just a matter of my offering a suggestion, making a correction, or asking for clarification; of the author complying, explaining, or offering an alternative. We could engage in an ongoing dialogue. In a sense, the margins became a mini-chat room. If we needed to converse at greater length, we could move on to emails at any time. The intensive electronic editing process—three rounds of edits—lasted from early April to mid-May. Then came a final trickle of queries through mid to late June, as I noticed unresolved issues, some quite important, while preparing to send the manuscript to the publisher, Level Best Books. In one case, when I got no answer to my email, I phoned the author, thinking the number I had, with a New York area code, must be her land line. Oops. It was her cell phone, and she was at a funeral in Montana—but she answered my question.

Our dialogue touched on many important elements of storytelling: voice, attribution, pace, when to start a scene, when to use backstory, how to introduce a character, what doesn’t need saying, what kinds of details readers skip over. For example, as an aspect of voice, a character mentioning the Brooklyn Bridge would not describe it in terms that might appear in a guidebook. In introducing a character, it’s awkward at best to inject a description of the new character’s appearance into the attribution:
"Stop, or I'll shoot!" the six-foot, blue-eyed, blonde police officer said.
Physical characteristics are better integrated into the narrative or left out altogether.

Certain small flaws cropped up in story after story, including my own. These were stage directions that failed to offer fresh language or to advance the plot.

He nodded.
She looked up.
He turned.
She stood up.
He sat back.
She shook her head.

I kept highlighting these brief sentences, noting: “Delete. Adds nothing, slows the pace.” I was an offender like everybody else. On the final pass, I found the following passage in my own story.

Jimmy and I looked at each other.
“She’s got a point, Mr. Jones,” he said.
“She is good at asking questions, Mr. Bones,” I said.

Out came “Jimmy and I looked at each other.” It wasn’t needed. Why hadn’t I seen that before? I hadn’t edited sixteen other stories before.

Since the New York/Tri-State Chapter of Sisters in Crime is responsible for the Murder New York Style anthologies, the contributors come from quite a small pool. Those of us who have been around for a while know each other. On the other hand, many of those who submit stories are relative newcomers. I couldn’t have put names to the faces of some of the authors whose stories I edited, though I might have met them at one or two of our monthly meetings. But after working intensively with them online, I did know them, and they knew me. We had developed a relationship.

As a psychotherapist with long-term online clients, I can assure you that genuine emotion, relationship, and personal growth are possible in text and in cyberspace. People who have greeted online writer friends with a hug the first time they met them face to face at Bouchercon or Malice know what I’m talking about. Did you ever hug an editor with whom you’d only exchanged query letters and paper manuscripts? Our SinC chapter ends the season with a party in June at a delightful venue, the Cowgirl Hall of Fame in Greenwich Village, before breaking for the summer. This year, every anthology author present whom I hadn’t known before had the same impulse I did: we peered at each other’s name tags, laughed, and flung our arms around each other.

Besides editing Where Crime Never Sleeps: Murder New York Style 4 (Level Best Books), which includes her story, "Death Will Finish Your Marathon," Elizabeth Zelvin is the author of the Bruce Kohler Mysteries, set in New York City, and the Mendoza Family Saga, historical fiction about a Jewish brother and sister who sail with Columbus and later find refuge in the Ottoman Empire. Liz's short stories have appeared in Ellery Queen's Mystery Magazine and Alfred Hitchcock's Mystery Magazine. They have been nominated twice for the Derringer and three times for the Agatha Award for Best Short Story.

29 August 2017

2017 Macavity Award Short Story Nominees Dish on Their Stories


by Paul D. Marks

Today I’m giving over my post to the 2017 Macavity Award Short Story Nominees. There’s six of us and I’m both lucky and honored to be among such truly distinguished company. It’s mind blowing. Really!

The envelope please. And the nominees are (in alphabetical order as they will be throughout this piece): Lawrence Block, Craig Faustus Buck, Greg Herren, Paul D. Marks, Joyce Carol Oates and Art Taylor. Wow!

I want to thank Janet Rudolph who puts it all together. And I want to thank everyone who voted for us in the first round. If you’re eligible to vote there’s still a few days left – ballots are due September 1st, and I hope you’ll take the time to check out the links below and read all the stories.

But even if you’re not eligible to vote, I hope you’ll take the time to read the stories. I think you’ll enjoy them and maybe get turned onto some new writers. Our Bios are at the end of this post.

So without further ado, here’s our question and responses:

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“What inspired your Macavity-nominated story? Where did the idea and characters come from?”

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Lawrence Block: “Autumn at the Automat,” (In Sunlight or in Shadow, Pegasus Books). Story link: http://amzn.to/2vsnyBP 



When I got the idea for an anthology of stories based on Edward Hopper paintings, the first thing I did was draw up a list of writers to invite. I explained the book’s premise and invited each to select a painting.

The response surprised me. Almost everyone on my wish list accepted, picked a painting, and went to work. Now it fell to me to go and do likewise, and I began viewing the paintings and waiting for inspiration to strike. I considered several works—everything Hopper painted somehow manages to suggest there’s a story waiting to be told—and when I looked a second time at “Automat,” the germ of the story came to me.

But there was a problem. “Automat” was off the table. Kristine Kathryn Rusch had already laid claim to it.

I tried to find a way out, but all I could think of was the story that had come to me, as it evolved in my mind. So I emailed Kris, explained where I was, and asked her how strongly committed she was to that particular painting. Had she begun work on a story?

She could not have been more gracious, replying at once that she’d picked “Automat” because she’d had to pick something, that she hadn’t yet come up with a plot and characters, and could as easily transfer her affections to something else. I thanked her, and that same day I sat down and started writing. If I remember correctly, an increasingly tenuous proposition with the passing years, I wrote the story in a single session at the computer. It was already there in my mind, waiting for my fingers to catch up with it.

Kris promptly selected another painting, “Hotel Room 1931,” and knocked my socks off with her story, Still Life 1931, which she elected to publish under her occasional pen name, Kris Nelscott.

So that’s the story.

***

Craig Faustus Buck: “Blank Shot,” (Black Coffee, Darkhouse Books). Story link: http://tinyurl.com/BlankShot-Buck 

“Blank Shot” was the result of two writing issues coming together in the right place at the right time. I'd been asked by someone to blog about openings, so I'd been thinking about my favorite way to start a story, which is with a bang. So I wrote an example: "His face hit the pavement hard."

I wrote my blog and found myself wondering what happened next to the hapless fellow in my example. At the same time, I'd been reading a Cold War thriller about Berlin in the time of the Wall, and I wondered what Berlin had been like before the Wall went up, but after it had been divided after WWII. I did a bit of research and became fascinated with this period of a divided city that had open commerce and transportation between the sides, yet still maintained a heavily guarded border without barriers between them.

I decided to take my opening line, put it in 1960 Berlin, and see what happened. The result was a hoot to write and full of surprises for me as my characters developed. The ending really came as a shock. Of course, I had to do a lot of back-filling and tap dancing to motivate it and make it work, but that was the fun part.

Once again, writing by the seat of my pants, instead of outlining, turned the work of writing into play. I truly believe that when authors allow their characters to do the driving, the journey is more enjoyable for both writer and reader, and the destination is more likely to delight.

***

Greg Herren: “Survivor’s Guilt,” (Blood on the Bayou: Bouchercon Anthology 2016, Down & Out Books). Story link: https://gregwritesblog.com/2017/07/21/cant-stop-the-world/ 

My story was inspired, in part, by the stories I heard from people who did not evacuate from New Orleans before the levees failed; what it was like to be up on the roof, running out of water, and drinking alcohol because that was all that was left while waiting to be rescued. A married couple—friends of friends— got divorced because the wife had wanted to evacuate and the husband didn’t; they were on their roof for four days. That dynamic—the blame and guilt—fascinated me, as did the mental anguish. That kind of trauma changes people.

As I listened to the husband tell his story, through my horror at what they endured, I thought: what if they had argued and he’d accidentally killed her?

After all, the victim’s body wouldn’t have been found for months, and by then, the water and decay would have certainly done a number on the corpse; and the bodies weren’t autopsied. It seemed almost like it would be the perfect crime. The body might not ever be identified, and the husband could just disappear, as so many did in the vast diaspora that followed.

As for the characters in my story, I had started with the story and worked backward. I made them blue collar, because of most of the people who lived in the lower 9th were, and began piecing together who they were, and what their marriage had been like. It all just kind of fell into place as I wrote the story.

***

Paul D. Marks: “Ghosts of Bunker Hill,” (Ellery Queen's Mystery Magazine, Dec. 2016). Story link: http://www.elleryqueenmysterymagazine.com/assets/3/6/EQMD16_Marks_BunkerHill.pdf 

My story “Ghosts of Bunker Hill” is partly inspired by the Bunker Hill section of Los Angeles. Bunker Hill was L.A.’s first wealthy residential neighborhood, right near downtown. It was filled with fantastic Victorian mansions, as well as offices, storefronts, hotels, etc. After World War I the swells moved west and the neighborhood got run down and became housing for poor people. It wasn’t shiny enough for the Powers That Be, who wanted to build up and refurbish downtown. Out with the old, the poor, the lonely, in with the new, the young, the hip. So in the late 60s they tore it down and redeveloped it. Luckily, some of those Victorians were moved to other parts of L.A. If you’re into film noir you’ve seen the original Bunker Hill. And when I was younger I explored it with friends, even “borrowing” a souvenir or two. And that place has always stayed with me.

In the story, P.I. Howard Hamm is investigating his best friend’s murder and, while the murder takes place today in one of those “moved” Victorians, “ghosts” of the past influence the present.

As it says in “Bunker Hill Blues,” the sequel to “Ghosts of Bunker Hill,” which is in the current September/October 2017 issue of Ellery Queen, but which also applies to the first Bunker Hill story:

“Howard might not have believed in ghosts, but they were everywhere if you knew where to look for them: There are more things in heaven and earth, and all that jazz. Not creatures in white sheets like Casper, not malevolent apparitions like in Poltergeist. But ghosts of the past, ghosts of who we were and who we thought we wanted to be. Ghosts of our lost dreams. In some ways those ghosts are always gaining on us, aren’t they?”

***

Joyce Carol Oates: “The Crawl Space,” (Ellery Queen’s Mystery Magazine, Sep.–Oct. 2016). Story link: http://www.elleryqueenmysterymagazine.com/assets/3/6/EQM916_Oates_CrawlSpace.pdf 

(Note: I couldn’t reach Joyce Carol Oates, but Janet Hutchings, editor of Ellery Queen Mystery Magazine, provided me with the following and with Ms. Oates’ bio at the end of this piece.)

Joyce carol oates 2014
Photo by Larry D. Moore © 2014
“The Crawl Space” by Joyce Carol Oates was written in response to an invitation from Ellery Queen’s Mystery Magazine to contribute to its special 75th-anniversary issue, September/October 2016. The author explained the seed for the story when she spoke at the EQMM 75th Anniversary Symposium at Columbia University in September 2016:

“‘The Crawl Space’ . . . gives me a shiver because it’s set in my former house…. There was a crawl space in that house. If you know what a crawl space is, it’s some strange part of a cellar—it’s not completely filled in. Sometimes there is a cellar and the crawl space goes out from it, but this particular house didn’t have a cellar. It only had a crawl space. There were things stored there, and I think repairmen would have to crawl in there and do things—and I think they never came out again....If you have an imagination, you can just imagine how horrible it would be to be in a crawl space. So the story’s about that dark fantasy that comes true for someone.”

Ms. Oates added, that despite being set in her former home, the story is “NOT autobiographical”!

***

Art Taylor: “Parallel Play,” (Chesapeake Crimes: Storm Warning, Wildside Press). Story link: http://www.arttaylorwriter.com/books/6715-2/ 

My story “Parallel Play” centers on new parenthood, both the stress and anxieties surrounding it and then the idea of parental protectiveness—the thought that most parents will do whatever it takes to protect their children. The opening to the story is set at a kids play space which I call Teeter Toddlers, and the idea of the story actually first came to me when I was taking my own son, Dashiell, to his weekly Gymboree classes. I was the only father who regularly attended, and while the moms there were certainly welcoming to me, they did seem to form quicker friendships, share more quickly, with one another than with me—some small gender divide, I guess, and probably not surprising, but I did start wondering about various dynamics and situations, letting my mind wander (as we crime writers do) into darker twists and turns. Another inspiration was the prompt from the anthology Chesapeake Crimes: Storm Warning, which required weather to play an important role. The Gymboree had big plate glass windows surrounding the play space, and I remember one day watching a thunderstorm roll into view. That image plus one more element—a forgotten umbrella—and the rest of the story was suddenly in motion. I hope that readers will appreciate where it all goes.

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BIOS:

Lawrence Block has been writing award-winning mystery and suspense fiction for half a century. His series characters include Matthew Scudder, Bernie Rhodenbarr, Chip Harrison, Evan Tanner, Martin Ehrengraf, and a chap called Keller. His non-series characters include, well, hundreds of other folk. Liam Neeson starred in the film version of his novel, A Walk Among the Tombstones.  Several of his other books have also been filmed, although not terribly well.  In December Pegasus Books will publish Alive in Shape and Color, a sequel to his Hopper anthology In Sunlight or in Shadow. LB is a modest and humble fellow, although you would never guess as much from this biographical note. http://lawrenceblock.com/ 


Author-screenwriter Craig Faustus Buck's short crime fiction has won a Macavity Award and has been nominated for a second, plus two Anthonys, two Derringers and a Silver Falchion. His novel, Go Down Hard (Brash Books), a noir romp, was First Runner Up for the Claymore Award.  The sequel, Go Down Screaming, is coming out whenever he writes his way out of the second act. CraigFaustusBuck.com  

Greg Herren is the award-winning author of over thirty novels, and an award-winning editor, with twenty anthologies to his credit. He has published numerous short stories, in markets as varied as Men magazine to the critically acclaimed New Orleans Noir to Ellery Queen's Mystery Magazine, and his story "Keeper of the Flame" is scheduled for an upcoming issue of Mystery Week. He has written two detective series set in New Orleans. His most recent novel, Garden District Gothic, was released in September 2016. He lives in New Orleans with his partner of twenty-two years, and is currently finishing another novel. http://gregherren.com/ 

Paul D. Marks is the author of the Shamus Award-Winning mystery-thriller White Heat. Publishers Weekly calls White Heat a “taut crime yarn.” His story Ghosts of Bunker Hill was voted #1 in the Ellery Queen Readers Poll and is nominated for a Macavity Award. Howling at the Moon was short-listed for both the Anthony and Macavity Awards. Midwest Review calls his novella Vortex “…a nonstop staccato action noir.” His short stories can be found in Ellery Queen and Alfred Hitchcock Mystery Magazine/s, as well as various periodicals and anthologies, including St. Louis Noir. He is also the co-editor of the Coast to Coast series of mystery anthologies for Down & Out Books. www.PaulDMarks.com 


Joyce Carol Oates is a winner of the National Book Award, two O. Henry Awards, and a National Medal of the Humanities (among many other honors). One of America’s most celebrated literary writers, she is the author of more than fifty novels and dozens of short stories, most under her own name but a number employing her crime-writing pseudonyms Rosamond Smith and Lauren Kelly. Her honors in the field of crime fiction include two International Thriller Awards for best short story. https://celestialtimepiece.com/ 


Art Taylor is the author of On the Road with Del & Louise: A Novel in Stories, winner of the Agatha Award for Best First Novel. He has won three additional Agatha Awards, an Anthony Award, a Macavity Award, and three consecutive Derringer Awards for his short fiction, and his work has appeared in Best American Mystery Stories. He is an associate professor of English at George Mason University. http://www.arttaylorwriter.com/ 

###


And now for the usual BSP.

I’m happy to say that my short story “Bunker Hill Blues” is in the current Sept./Oct. issue of Ellery Queen that hit newsstands Tuesday of this week. It’s the sequel to the 2016 Ellery Queen Readers Poll winner and current Macavity Award nominee “Ghosts of Bunker Hill”. And I’m surprised and thrilled to say that I made the cover of the issue – my first time as a 'cover boy'! Hope you’ll want to check it out. Available at all the usual places.




My story “Blood Moon” appears in “Day of the Dark, Stories of the Eclipse” from Wildside Press, edited by Kaye George. Stories about the eclipse – just in time for the real eclipse on August 21st. Twenty-four stories in all. Available on Amazon.



18 July 2017

Bestseller Metrics with Editor & Author Elaine Ash


Today I’d like to welcome Elaine Ash, editor, writer and friend. Elaine was born and grew up in eastern Canada, but calls L.A. home these days. Under the pen name “Anonymous-9,” Elaine’s crime fiction is included in numerous “Best of” lists every year. Anonymous-9 was invented as a blind for her hard-hitting, experimental short stories. Her work has been praised by T. Jefferson Parker, Ray Garton, Johnny Shaw, Douglas Lindsay, Josh Stallings, Robert Randisi and many others.

But Elaine also edits fiction writers, from established authors to emerging talent. As the former editor-at-large for Beat to a Pulp webzine, Elaine worked directly with writers of all genres to develop stories for publication. Some of those writers went on to fame and fortune such as recent Edgar nominee Patti Abbott (Polis), Jay Stringer (Thomas and Mercer), Chris F. Holm (Mulholland), S.W Lauden (Rare Bird), Kieran Shea (Titan), Hilary Davidson (Macmillan) Sophie Littlefield (Minotaur, Delacorte) and many more.

Today, she works with private clients, helping them shape manuscripts, acquire agents and land publishing deals. She also ghostwrites and edits for industry clients.

Elaine has a new book out called BESTSELLER METRICS. It’s a different approach to writing novels so I thought it might be of interest to people here and I asked her some questions about it:



Paul: What made you decide to write Bestseller Metrics?

Elaine: I saw that if writers could get novel structure right before hiring an editor, everybody would win. Well-structured stories attract bigger agents and land better publishing deals. That might sound like a sales pitch, but it’s the truth. 


How did you develop it and how did you figure out what it takes to have Bestseller Metrics?

I developed it over years of editing novel manuscripts. In my view, people who give hard-earned money for an editor’s opinion deserve proof that the changes will move them closer to publication. I had metrics in my head for many years before I wrote them down. The key here (that you may not know about) is based on my personality type. The Myers-Briggs personality scale reveals that I’m an INTJ, “Introverted, Intuitive, Thinking, Judging personality. There are 16 types and INTJ females make up 0.8% of the population. Males make up 2% of the population (https://www.16personalities.com). We are called “The Architects” and our brains never stop categorizing and creating systems out of information. For kicks. Really. Don’t I sound like a fun date? A colleague of yours and mine, the indubitable Dana King says I “put into words what’s been sitting in plain sight.” Metrics patterns have been showing up in books for a hundred years at least. Nobody was oddball enough to document them in terms of novel structure until I came along. 


I understand that you’ve trademarked your plan, what is so different about it that it deserves a trademark?

The system has registered patent pending status from the US Patent Office, which is different than a trademark. That may be changing, however, after my conversation with Dr. Gregory Benford, a physicist and professor at UC Irvine, also a Nebula Award winner for his science fiction. He told me about a genetics testing company that operated under trade-secret law. It’s nothing strange or new—the Kentucky Fried Chicken recipe is a trade secret. So I came up with a plan. I’ve released the initial part of the system to the general public in the book, while other parts are being developed as publishing industry software that will operate as a business trade secret. It sounds great, but as Dr. Bentham said as he walked away from me, “Just remember, every mook with a gat thinks he’s a tough guy.” So we’ll see if the plan actually works in the real world. 


What one thing holds back most unpublished manuscripts?

Structure. There so little information for aspiring authors. For decades, I’ve seen manuscripts with sparkling prose, 3-D characters and great premise ideas fail solely on structure. It’s not because writers don’t want to learn—they’re paying for books, classes, conferences and workshops. They’re breaking their fingernails to get it right. But structure is rarely taught, or it’s taught in a way that is not accessible to large numbers of learners. My greatest wish is that educators will pick up this book and start teaching it. On my to-do list is to create teacher-support materials for use in classrooms. I’ll work with any teacher who contacts me.




You talk about “Imaginary Memory.” What is that and how does it affect writers and their writing.

The Imaginary Memory tricks a writer into thinking details are on the page that aren’t really there, or are only partly there. As an author reads his or her own writing, a parade of stored memories and images flood the mind, filling in missing plot points and smoothing over missing descriptions. A cold reader can tell something’s missing immediately, but the writer feels like everything’s complete. Imaginary Memory is a trickster. That’s why a writer can be convinced they’ve just turned in a tremendously vivid piece of work to a writers’ group, and reaction falls flat. I invented tests to help short-circuit IM and give the writer clear indicators of what’s missing.


How is Bestseller Metrics different from the average how-to book on writing fiction?

It’s a window on the creation of novels. It offers a series of tests for writers of every genre to find how close they are to the metrics of bestsellers. If you can count from 1 to 10 you know enough math to do the tests. The book has crystal-clear diagrams, cartoon line drawings, detailed analyses, and a sprinkling of humor and encouragement so it stays interesting and entertaining.


You talk a lot about numbers of characters in best-selling novelscan you tell us a little about that. Character countingwhat is that? And why is it important?

Too often, good manuscripts are flawed by a carousel of characters dropping into a chapter and then vanishing, never to be seen again. Too many characters create confusion and complicate the plot. Successful novels have basic and measurable numbers of characters that track from beginning to end. Key information a writer needs is, “What’s the right amount of characters?” I’m talking about average-sized novels around 100,000 words or less. Epics and sagas with huge word counts like A Game of Thrones have their own metrics, and there are separate chapters on that.

Leaving the literary leviathans aside, there is a predictable amount of characters that appear in the first quarter of the books I examined. The first quarter of a story is golden—it’s the time when readers get to know the main character and “the world.” Inside the books on my list, in every genre, between 25 and 53 characters appear in the first quarter, no matter if the book is 62,000 words (The Color of Magic by Terry Pratchett) or  146,000 words (Gone Girl by Gillian Flynn). Flip to the last quarter of each book and you’ll find a range between 4 and 22 characters that made it through to the climax and ending. Will you find novels that don’t match these metrics? Of course! Art isn’t set in stone. But for the beginning novelist, trying to craft a manuscript for sale, these guidelines are tried and true. They will help you create a story that works. Like I say in the book: “Learn the rules, land a publishing deal, and then break all the rules you want.” 



You talk about discovering the secrets of best-selling books like— 

Bridget Jones's Diary - Helen Fielding, The Big Sleep - Raymond Chandler, Gone Girl - Gillian Flynn, The Color of Magic - Terry Pratchett, Interview with the Vampire - Anne Rice, A Game of Thrones - George R. R. Martin, Harry Potter - J.K. Rowling, A Confederacy of Dunces -John Kennedy Toole, The Shining - Stephen King, Lady Chatterley’s Lover - D. H. Lawrence, The Hunger Games - Suzanne Collins, The Devil Wears Prada - Lauren Weisberger, The Lincoln Lawyer -Michael Connelly, Monster Hunter International -Larry Correia, The Other Side of Midnight - Sydney Sheldon, Kill Shot - Vince Flynn 

—what are those secrets?

I examine each cast of characters and their relationships to one another. I provide simplified outlines for some books and point out the major plot elements. Nailing the first and second act plot twists can be tricky, and as far as I know, no book has distilled this information before. Hollywood does these breakdowns for films all day long, but nobody’s done it for novels. This is the kind of information I longed for and searched everywhere for as a first-time writer. A career novelist email me yesterday and said, “If I’d had this book 20 years ago, I could have saved a lot of time.” That was a pretty big compliment.


Anything else that you’d like to say?

Friend me on Facebook and ask any questions you like. Visit me at bestsellermetrics.com. You can email me there, too. Look inside the book at https://www.amazon.com/Bestseller-Metrics-Novel-Writing-Structure/dp/1546524886. FYI, there is no e-book and there likely won’t be one. This is a full-size workbook meant to be written in.

Thank you for joining us, Elaine.

***


And now for the usual BSP:

My short story “Blood Moon” will be coming out in Day of the Dark (Stories of the Eclipse). Edited by Kaye George. Releasing July 21, 2017, one month before the big solar eclipse on August 21st. From Wildside Press. Available for Pre-Order on Amazon: https://www.amazon.com/dp/B073YDGSL5


www.PaulDMarks.com

04 April 2017

Cornell Woolrich: The Forgotten Man


by Paul D. Marks

Cornell Woolrich was one of the most popular writers of crime/mystery fiction in the mid twentieth century. He also wrote under the names William Irish and George Hopely. Today he’s largely forgotten at least on the written page. But I’m not going to talk about him as a writer per se. I’m going to talk about him as the hardboiled or noir writer who’s had more stories adapted for film than any other.

To give some idea of his popularity on celluloid, on IMDB there are 103 movies credited to him, including foreign movies. Chandler has 37. Hammett: 33. David Goodis 19. Mostly these are “based on” credits, but Chandler, Goodis and even Hammett actually wrote screenplays (the latter for Watch on the Rhine, not a mystery or noir, but a World War II propaganda flick).

The first movie based on a Woolrich story (writing as William Irish) was The Haunted House in 1928. The credit reads “titles,” so I assume that means he was writing the titles for a silent movie. The first flick credited to a story of his is Children of the Ritz (1929). The last movie listed on IMDB based on one of his stories is She’s No Angel (2002), based on I Married a Dead Man, which had been filmed several times before both domestically and in other countries. The American version was called No Man of Her Own (1950).

So 1928 to 2002 is a pretty good run, with over a hundred adaptations. And I suspect it’s not the end of his run.

Woolrich started out writing Fitzgerald-like stories, but found his niche in the mystery-suspense field, writing both short stories and novels. He spent some time in Hollywood but eventually returned to New York, where he lived in a hotel with his mother until she died, then he moved to another hotel. In the early days of his return to NYC he socialized with fans and MWA members. But alcoholism and the loss of a leg to gangrene because of a too tight shoe and the infection it caused, plus not going to the doctor soon enough, turned him into a recluse. A closeted homosexual, he spent the last years of his life alone and lonely. Nobody attended his funeral in 1968.

Here’s a handful of noir and mystery movies based on his work:

Phantom Lady, 1944: A man (Alan Curtis) and his wife have a fight on their anniversary. He takes a powder and picks up a woman in a bar. When he finally returns home he finds his wife strangled with one of his ties, the police crawling all over his place. And guess who’s the prime suspect? At first the only person who really seems to believe in him is his secretary, the bewitching Ella Raines. Curtis was seen by several people while out that night, but when Rains or the police talk to them they deny it. Eventually Curtis’ best friend (Franchot Tone) returns from South America (I hope I’m remembering this right) and Ella hopes he can help out. Noir icon Elisha Cook, Jr. has a great turn as a crazed drummer. A pretty good B flick, directed by Robert Siodmak.



Black Angel,1946: Blackmailer Mavis Marlowe is murdered. Kirk Bennet, a married guy with a loyal wife, is sentenced for the crime. His wife teams up with Marlowe’s ex-husband, an alkie composer and pianist, Dan Duryea, to try to find the real killer before the state executes her husband. Peter Lorre does a turn as a sleazy nightclub owner. Hey, it’s Peter Lorre, can the club owner be anything but sleazy? And any noir with Duryea is worth watching.



The Chase,1946: From the No Good Deed Goes Unpunished school of storytelling. Down on his heels World War II vet Robert Cummings returns a lost wallet to gangster Eddie Roman. Roman rewards him with a job as his chauffeur. Eventually Cummings volunteers to help Eddie’s wife, Michelle Morgan, escape her crazy husband. Will they get away to sail into the sunset together?

Deadline at Dawn,1946: A sailor wakes up with a stash of cash after a night of heavy drinking (hey, he’s a swabbie, what do you expect). With the help of dance hall girl Susan Hayward he tries to find the woman it belongs to, and does. Just one problem: she’s dead. He’s not sure if he did the deed or not. And now they only have a few hours to find out the truth before his leave is up.

Fear in the Night x 2, 1947 & 1956: A man (who should have been in outer space—DeForest Kelly) dreams he committed a murder in a strange mirror-covered octagonal room. He wakes up with unusual marks on his throat, blood on his sleeve. His cop brother-in-law tries to convince him that it was just a dream—but he’s freaking out. The cop, his wife, DeForest and his girl go on a picnic to a weird house in the woods…and find a mirrored room just like the one he dreamt about. What the hell’s going on?—I have to admit that, while I like all the movies here, I really love this low-budget flick. I’m not saying it’s even good. There’s just something I like about it. The sort of surreal aspect maybe. Remade as Nightmare (the title of the story it’s based on) with Edward G. Robinson and Kevin McCarthy in ’56. Almost an exact remake, but it lacks something, IMO, that Fear in the Night has.



The Window,1949: Woolrich’s version of the boy who cried wolf. It’s hot and sultry in the city, so 9 year old teller-of-tall-tales Tommy decides to sleep on the fire escape, but instead of doing it outside his apartment he does it at a higher one to get a better breeze. While there, he sees the Kellersons murder someone. But no one will believe him because he’s the boy who cries wolf. Well, the Kellersons believe him and they want to silence him...

Rear Window x 2 – 1954 & 1998: POSSIBLE SPOILER AHEAD. Forget the 1998 version, though it does have one unique thing. Christopher Reeve plays the wheelchair-bound photog played by Jimmy Stewart in the original. And he’s really confined to a wheelchair because of his fall off of a horse. That’s interesting, but the movie doesn’t touch the original. And for those out there who’ve never seen it, L.B. “Jeff” Jeffries (Stewart) is confined to a wheelchair in his apartment because of a broken leg. He likes to spy on his neighbors in the voyeuristic way that Hitchcock loves so much (Oh, did I forget to mention this is a Hitchcock flick?) So he’s watching his weird, wild and sad collection of neighbors across the courtyard when he sees someone who looks suspiciously like Perry Mason murder his wife. He soon involves his girlfriend (Grace Kelly) and his nurse (Thelma Ritter) in trying to ferret out what happened. Rear Window is one of Hitchcock’s 1950s string of great and classic flicks that includes Vertigo, Strangers on a Train, The Man Who Knew Too Much, North by Northwest and more.

Besides movies, Woolrich’s stories have also been adapted for various radio and television shows, including The Alfred Hitchcock Hour, Suspicion, Thriller and Fallen Angels.

I picked this group of films from the huge selection of Woolrich adaptations because to one degree or another (not including the Rear Window remake) I like them all and would recommend them as decent adaptations of his work.

Woolrich was very successful, but ultimately lived a life somewhat like his stories, sad, friendless and abandoned. There’s something very noir about the way his life played out.

***

And congratulations to O’Neil, Herschel, B.K. and R.T. on their Derringer noms! Good luck!

And now for a little BSP:

I’m thrilled to announce that my short story, “Ghosts of Bunker Hill,” was voted #1 in the 2016 Ellery Queen Readers Poll. If you’d like to read it (and maybe consider it for other awards) you can read it free on my website: http://pauldmarks.com/stories/ 

Coast to Coast: Private Eyes from Sea to Shining Sea is available at Amazon.com and Down & Out Books.


14 November 2016

Getting Away with Murder – and Other Things


I have always believed that writers should try to get away with everything they can as far as plot, characterization, and style go. Experimental writers, naturally, have this as their basic brief and a straining after originality is the usual result. But genre writers and contemporary novelists like to push the envelope as well, and two well received recent novels provide good illustrations of blending genres for striking effect: Liz Moore’s The Unseen World and Ben H. Winters’ Underground Airlines.
Both incorporate elements of mystery and science fiction. Moore’s novel begins as a sensitive account of Ada, a bright little girl in a distinctly unconventional household. Folks looking for thriller velocity here may be disheartened but my advice is to stick with the story. When Ada’s father shows signs of early onset dementia, the novel morphs into a quest mystery with a good deal of information about artificial intelligence.

Sounds like maybe too rich a blend? Actually, no. Moore skips in time from Ada as a child and an adolescent in the 1980’s, back to her father in the 1930’s and 1950’s, and forward to the 21st century. At the center of Ada’s search is Elixir, her computer scientist dad’s experiment in artificial
intelligence. Elixir was designed as a machine that can learn, and precocious Ada, was one of the many people in her father’s lab who ‘talked’ to the program so that it would increase its vocabulary and eventually pass the Turing Test, that is, communicate in a way indistinguishable from human.

As a result, Elixir not only learns a lot of facts about the world, it learns a great deal about the personalities and histories of its lab friends. I won’t spoil how this works out in the novel, but Moore’s conclusion is imaginative and entirely satisfying.

In a quiet way, The Unseen World is a thriller, the novel structured as an investigation with high stakes on the outcome. The Elixir program and even the various generations of computers that Ada uses to connect with it, have surprising personalities, as do the principle characters, Ada, her father, David, his kindly co-worker and neighbor, Liston, and her family.

The Unseen World is a contemporary novel with what I consider welcome genre elements. Underground Airlines is perhaps the reverse, a thriller with serious literary chops that mixes mystery and science fiction with alternative history. In Winters’ novel, the Civil War was averted by a compromise following the assassination of Abraham Lincoln. Four Southern states are still slave states; Texas is contested ground between an abolitionist faction and the federal government, bound by the constitution to protect the ‘property rights’ of the so called Hard Four.

The protagonist is a former PB – person bound to labor – who has a kind of quasi-freedom as a federal investigator. He’s a cracker jack detective but as his whole focus is runaways, Victor is a modern version of that hated 19th century figure, the fugitive slave catcher.
   
The character of Victor has attracted notice because Winters’ himself is not African-American, but he has certainly made Victor a complex character with a rich interior life. Further, the detective is not exactly our contemporary. He operates in an environment at once recognizable even in matters of race and politics, and peculiar, rather like the Alternate Universe in the old Fringe series or one of Philip K. Dick’s odd cities.
   
Part of Underground Airlines is straight detective work. Victor is a master of aliases and disguises, and, leashed by a tracking chip in his neck, he mostly focuses on his cases even though the poor souls he finds mirror his own experience and fears. His stoic indifference only begins to weaken after he meets Martha, a harried young white woman desperate to find her recaptured PB lover, and Lionel, their charming inter-racial son. But Victor’s rebellion really develops when a new case with an unsatisfactory file opens up unusual moral and physical dangers as well as unprecedented opportunities.

Victor is preoccupied with the various identities and schemes that comprise the mystery/thriller elements of the plot, but increasingly memories of his terrible slave childhood resurface. Later, certain sci fi elements are added to the mix, not, to my mind entirely successfully, but there is no doubt that they add a chilling note and bring into question Victor’s decision to focus on his own self interest.

The Unseen World and Underground Airlines are two novels with literary ambitions but strong genre elements. I think the mix strengthens both.

12 September 2016

Father and Daughter Act


by David and Bridgid Dean

Part One: Father Knows Best

If I had to choose a few adjectives with which to describe my life, it might be these: fortunate…blessed…lucky…providential. It’s not that I haven’t had a few set-backs and trials along the way—I wouldn’t be human if that weren’t true, but I have a lot to be grateful for—I have Bridgid… my daughter.

Don’t get me wrong, I’m grateful for her siblings, too: older sister, Tanya, and younger brother, Julian. But, Bridgid and I, over the years, have forged a writing connection. I’ve shared a reading connection with all of them, but Bridgid evolved into a writer and that, as the Wizard says, “Is a horse of a different color.”

In order to properly train her for her chosen profession I’ve required that she read and edit nearly everything I’ve written over the past decade. This was not done, as some may suspect, because I am one of the cheapest SOB’s on the planet, but in order to provide depth to her appreciation of fine literature (mine) and round out her college education. The fact that her editorial eye virtually removed the element of chance in my story acceptance ratio is neither here nor there. I would have done her this fatherly kindness in any event. Plus, I did pay for that education. Now she’s gone and penned a novella.

Yes, for those of you who suspected this was going to be a shameless plug for mylatest non-selling novel, you were wrong. It’s a shameless plug for Bridgid’s book, The Girl In The Forest.

No, it’s not crime fiction like her old man pens, but it does contain intrigue, shady characters, and betrayal. Something we can all relate to. My daughter’s story is set in a world in which the border between reality and myth blurs and no one you meet is exactly whom they may appear to be. It’s fast-moving, readable, and features a very sympathetic heroine. As to how it came about, well, that’s a story I’ll leave for Bridgid to tell, as it’s as unique as the book she’s written. Oh, by the way, I finally returned the favor by helping to edit this, her first published work.

I also want to thank mighty Leigh Lundin for suggesting this post in the first place. Thanks, Leigh!



Part Two: When Life Serves You Lemons…

by Bridgid Dean

Bridgid Dean
Bridgid Dean
The idea behind The Girl in the Forest was born of a rather unfortunate event. In August of 2011, shortly after we were married, my husband and I had a tree fall on our house. Not a limb, and not a small tree, but a massive oak.

We were at a dinner party at my in-laws when it happened; when we drove around the corner and saw our little hundred year old house, half smushed, my Volvo buckled under a thousand pounds of oak, I could only laugh. A crazed, reality-is-standing-on-its-head kind of laugh.

My husband went inside and found the house full of gas. We waited in the back yard for the fire department to arrive, our cat Zelda looking from us, to the tree, to the house, as though asking, "Do you see this?"

After the fire department turned off the gas connection my husband drove us back to his parents' house. We spent the next ten weeks living in their guest room before we acknowledged that this process was going to take a really long time, and we'd better rent something. In the end it was almost a year before our house was fixed and we were able to return home.

Volvo
smushed
Those first two months were incredibly stressful, but things began to look up when we found our rental, the little cottage in the woods. We'd never lived outside of town before- we loved it!

Our landlord had a grand old home on what felt like hundreds of acres, with three rental cottages on the property. Ours was a five hundred square foot cottage surrounded by trees. It had a green metal roof, wisteria climbing the porch railings, and was so small as to be almost one room. We slept in a loft that looked out over the great room and the huge wood stove. As night fell you could sit on the porch and watch the sun set over the Blue Ridge Mountains, linger while the stars came out, then hurry inside when the coyotes started to howl.

The combination of natural beauty, isolation- and even something about the self-contained quality of a house that small- had me, before long, thinking about fairy tales. In so many of them, there is something magical about the cottage in the woods. I suddenly felt I was experiencing a bit of this first hand. Inspired by the surroundings, (and with the peace and quiet to really think!) I began to write the first draft of “The Girl in the Forest.”

This novella is a modern retelling of the Hansel and Gretel story, set it in a town not unlike Charlottesville, VA, where I currently live. The protagonist, Jolie, is new to the town, having moved there after her mother's death. She feels alienated and lonely, friendless at a crappy job, with only a cat for company. The recurring nightmares keep her from sleeping well, and she eventually gets fired from her job. At a bookstore she meets Jamie, a strange man with a past who secures her a job at his friend, Greta's, bakery. As Jolie starts to learn the ropes at this new job, the questions stack up quickly: What are Jamie and Greta planning? Who is Greta running from? And what is the creature that Jolie sees in her dream each night? And, perhaps most puzzling, why is Jolie the only one who can see the cottage in the woods?

It was not until I'd finished writing the fourth draft and handed it to my dad that I realized I'd written something of a Fantasy/Mystery crossover. You might think, after editing so many of my dad's stories, that a fact like this would not sneak up on me. Yet somehow it did, in the same way, I hope, that the inevitable conclusion to my story will sneak up on the unsuspecting readers. Like a coyote, or a wolf, or some other hungry creature, waiting in the shadows of the forest.



Thank you to Leigh Lundin and the SleuthSayers audience for the opportunity to tell my story-it's been a privilege!

30 August 2016

Lizabeth Scott: Queen of Noir


Recently at SleuthSayers I did a post ( http://www.sleuthsayers.org/2016/07/a-noir-summer.html ) suggesting some lesser-known movies for a noir summer. Two of those movies, Too Late for Tears and The Strange Love of Martha Ivers starred Emma Matzo… better known as smoky-voiced Lizabeth Scott. Doing that post made me think I should do a post on Scott. And even though she only has about 30 film and TV credits, she is one of the Queens of noir. 

Her noir canon consists mainly of these movies:
  • Dead Reckoning
  • Pitfall
  • Too Late for Tears
  • The Racket
  • I Walk Alone
  • Dark City
  • Two of a Kind
  • The Strange Love of Martha Ivers
Mostly they’re pretty good and mostly they’re actually noir.  My faves are:

Dead Reckoning: one of my favorite noirs. In fact, several of her noirs fall on my fave list. Along with Dead Reckoning are Pitfall, Too Late for Tears, The Strange Love of Martha Ivers. All good. Some people find Dead Reckoning a rather pedestrian noir, but for me it’s got everything a noir needs. Humphrey Bogart and his buddy are soldiers heading to DC so his buddy can be awarded the Medal of Honor. For some reason, the buddy doesn’t want to be the center of attention and takes a powder, leaving Bogart to try to figure out what happened. He ends up in Gulf City. Enter femme fatale Coral Chandler (Scott): noir ensues.


Pitfall: Dick Powell continues his escape from juvenile leads (actually he’s long away by now) as an insurance exec and family man married to Jane Wyatt (Margaret Anderson on Father Knows Best, so you know she’s a wholesome wife and mom, even though the movie came first). Checking out a case and working with slimy P.I. Raymond Burr, Powell meets femme fatale Scott. Noir ensues.


Too Late for Tears: As I’ve said, this is one of my favorite noirs, period. Scott’s so evil in this one that even Dan Duryea, who’s pretty good at being rotten himself, can’t take her. A husband (Arthur Kennedy) and wife (Scott) are driving their convertible when someone in another car throws a suitcase full of cash into their car. She wants to keep it, he not so much. Noir ensues.

Good, low budget noir. I like this one a lot. Some nice LA locations. It was written by Roy Huggins, who later created The Rockford Files and The Fugitive (TV series), though David Goodis might dispute that. And it’s just recently come out in a new, fancy-dancy restored Blu-ray/DVD edition.

Strange Love of Martha Ivers, The: Scott’s first noir and only her second movie. In this one she’s not the femme fatale, but she’s getting her noir footing down. Van Heflin winds up in his hometown, now run by his childhood sweetheart, Barbara Stanwyck, and her D.A. husband (Kirk Douglas in his first movie). Scott and Heflin have a thing for each other, but Stanwyck has other ideas. You know what happens next: noir ensues.

I Walk Alone: Frankie (Burt Lancaster) gets out of prison, expecting to go back to his old life of crime and high times with Kirk Douglas and Wendell Corey. But Kirk has other plans for his old pal. Things just ain’t the same for Frankie after fourteen years in prison, even if he did take the rap for Kirk. Enter Kay Lawrence (Scott) who’s been told by Douglas to find out what it is Frankie really wants. Guess what: noir ensues.


Becoming a Queen of Noir is a long way from Scott’s seminary upbringing in Scranton, PA. And her life wasn’t without controversy. She had an on again off again relationship with her boss and mentor Hal Wallis, one of the major producers of all time. It was rumored in a 1954 Confidential Magazine article that she was a lesbian and that her name was found in the Rolodex of a notorious Los Angeles madam. Some claim her career was ended by the scandal. 

According to the New York Times: “Ms. Scott sued for $2.5 million, contending that the magazine had portrayed her in a “vicious, slanderous and indecent” manner. The outcome was never made public, but the suit, filed in 1955, was believed to have been settled out of court for an undisclosed sum. The scandal, however, was nearly ruinous.” You can find the full article here:   http://www.nytimes.com/2015/02/07/movies/lizabeth-scott-film-noir-siren-dies-at-92.html?_r=0

I don’t think it was ever really proven one way or another, and it certainly doesn’t matter to us today, but at that time it was a big deal and probably one of the reasons her career slowed down. Whatever the truth was, she was an independent woman who didn’t give in to the pressures to put on an act or be something that Hollywood wanted her to be. 

She never married and lived alone in the Hollywood Hills until her death on January 31, 2015 at the age of 92. Lizabeth Scott left a legacy of several great noir films and is definitely one of the Queens of Noir.

***


Please check out my story Deserted Cities of the Heart in Akashic’s recently released “St. Louis Noir.”


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