Showing posts with label novels. Show all posts
Showing posts with label novels. Show all posts

02 June 2019

Setting the Hook… or the Barb


An article by Barb Goffman prompted today’s column. Barb comes up with wonderfully catchy opening lines and, as she explains, imaginative openers determine whether your audience will read beyond the first sentence or two.
Once upon a time, The American Book Review came up with a list of American classics. From this list, they pulled the opening sentence from each. In the days of Criminal Brief, I made a game of it, trying to identify the novel… or author… solely from the first line. Rather than skip back and forth with the answer sheet, simply pop the menu to grade yourself or refresh your memory.

In the spirit of full disclosure, I scored (ahem) in low double digits. I blame that on the paucity of mystery titles. Where’s Dashiell Hammett? Raymond Chandler? Mickey Spillane? John MacDonald? Michael Bracken? O'Neil De Noux? John Floyd? Steve Liskow? LarryMaddox? Barb Goffman herself? Yeah, so there.

It’s 13 o’clock. Let’s begin…

100 Best First Lines of Novels
Selected by American Book Review
Call me Ishmael.
It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
A screaming comes across the sky.
Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.
Lolita, light of my life, fire of my loins.
Happy families are all alike; every unhappy family is unhappy in its own way.
riverrun, past Eve and Adam’s, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.
It was a bright cold day in April, and the clocks were striking thirteen.
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair.
I am an invisible man.
The Miss Lonelyhearts of the New York Post-Dispatch (Are you in trouble?—Do-you-need-advice?—Write-to-Miss-Lonelyhearts-and-she-will-help-you) sat at his desk and stared at a piece of white cardboard.
You don’t know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain’t no matter.
Someone must have slandered Josef K., for one morning, without having done anything truly wrong, he was arrested.
You are about to begin reading Italo Calvino’s new novel, If on a winter’s night a traveler.
The sun shone, having no alternative, on the nothing new.
If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.
Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo.
This is the saddest story I have ever heard.
I wish either my father or my mother, or indeed both of them, as they were in duty both equally bound to it, had minded what they were about when they begot me; had they duly considered how much depended upon what they were then doing;—that not only the production of a rational Being was concerned in it, but that possibly the happy formation and temperature of his body, perhaps his genius and the very cast of his mind;—and, for aught they knew to the contrary, even the fortunes of his whole house might take their turn from the humours and dispositions which were then uppermost:—Had they duly weighed and considered all this, and proceeded accordingly,—I am verily persuaded I should have made a quite different figure in the world, from that, in which the reader is likely to see me.
Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.
Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.
It was a dark and stormy night; the rain fell in torrents, except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the house-tops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.
One summer afternoon Mrs. Oedipa Maas came home from a Tupperware party whose hostess had put perhaps too much kirsch in the fondue to find that she, Oedipa, had been named executor, or she supposed executrix, of the estate of one Pierce Inverarity, a California real estate mogul who had once lost two million dollars in his spare time but still had assets numerous and tangled enough to make the job of sorting it all out more than honorary.
It was a wrong number that started it, the telephone ringing three times in the dead of night, and the voice on the other end asking for someone he was not.
Through the fence, between the curling flower spaces, I could see them hitting.
124 was spiteful.
Somewhere in la Mancha, in a place whose name I do not care to remember, a gentleman lived not long ago, one of those who has a lance and ancient shield on a shelf and keeps a skinny nag and a greyhound for racing.
Mother died today.
Every summer Lin Kong returned to Goose Village to divorce his wife, Shuyu.
The sky above the port was the color of television, tuned to a dead channel.
I am a sick man… I am a spiteful man.
Where now? Who now? When now?
Once an angry man dragged his father along the ground through his own orchard. “Stop!” cried the groaning old man at last, “Stop! I did not drag my father beyond this tree.”
In a sense, I am Jacob Horner.
It was like so, but wasn’t.
—Money . . . in a voice that rustled.
Mrs. Dalloway said she would buy the flowers herself.
All this happened, more or less.
They shoot the white girl first.
For a long time, I went to bed early.
The moment one learns English, complications set in.
Dr. Weiss, at forty, knew that her life had been ruined by literature.
I was the shadow of the waxwing slain / By the false azure in the windowpane;
Ships at a distance have every man’s wish on board.
I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.
Ages ago, Alex, Allen and Alva arrived at Antibes, and Alva allowing all, allowing anyone, against Alex’s admonition, against Allen’s angry assertion: another African amusement . . . anyhow, as all argued, an awesome African army assembled and arduously advanced against an African anthill, assiduously annihilating ant after ant, and afterward, Alex astonishingly accuses Albert as also accepting Africa’s antipodal ant annexation.
There was a boy called Eustace Clarence Scrubb, and he almost deserved it.
He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish.
It was the day my grandmother exploded.
I was born twice: first, as a baby girl, on a remarkably smogless Detroit day in January of 1960; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of 1974.
Elmer Gantry was drunk.
We started dying before the snow, and like the snow, we continued to fall.
It was a pleasure to burn.
A story has no beginning or end; arbitrarily one chooses that moment of experience from which to look back or from which to look ahead.
Having placed in my mouth sufficient bread for three minutes’ chewing, I withdrew my powers of sensual perception and retired into the privacy of my mind, my eyes and face assuming a vacant and preoccupied expression.
I was born in the Year 1632, in the City of York, of a good Family, tho’ not of that Country, my Father being a Foreigner of Bremen, who settled first at Hull; He got a good Estate by Merchandise, and leaving off his Trade, lived afterward at York, from whence he had married my Mother, whose Relations were named Robinson, a very good Family in that Country, and from whom I was called Robinson Kreutznaer; but by the usual Corruption of Words in England, we are now called, nay we call our selves, and write our Name Crusoe, and so my Companions always call’d me.
In the beginning, sometimes I left messages in the street.
Miss Brooke had that kind of beauty which seems to be thrown into relief by poor dress.
It was love at first sight.
What if this young woman, who writes such bad poems, in competition with her husband, whose poems are equally bad, should stretch her remarkably long and well-made legs out before you, so that her skirt slips up to the tops of her stockings?
I have never begun a novel with more misgiving.
Once upon a time, there was a woman who discovered she had turned into the wrong person.
The human race, to which so many of my readers belong, has been playing at children’s games from the beginning, and will probably do it till the end, which is a nuisance for the few people who grow up.
In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since.
You better not never tell nobody but God.
“To be born again,” sang Gibreel Farishta tumbling from the heavens, “first you have to die.”
It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York.
Most really pretty girls have pretty ugly feet, and so does Mindy Metalman, Lenore notices, all of a sudden.
If I am out of my mind, it’s all right with me, thought Moses Herzog.
Francis Marion Tarwater’s uncle had been dead for only half a day when the boy got too drunk to finish digging his grave and a Negro named Buford Munson, who had come to get a jug filled, had to finish it and drag the body from the breakfast table where it was still sitting and bury it in a decent and Christian way, with the sign of its Saviour at the head of the grave and enough dirt on top to keep the dogs from digging it up.
Granted: I am an inmate of a mental hospital; my keeper is watching me, he never lets me out of his sight; there’s a peephole in the door, and my keeper’s eye is the shade of brown that can never see through a blue-eyed type like me.
When Dick Gibson was a little boy he was not Dick Gibson.
Hiram Clegg, together with his wife Emma and four friends of the faith from Randolph Junction, were summoned by the Spirit and Mrs. Clara Collins, widow of the beloved Nazarene preacher Ely Collins, to West Condon on the weekend of the eighteenth and nineteenth of April, there to await the End of the World.
She waited, Kate Croy, for her father to come in, but he kept her unconscionably, and there were moments at which she showed herself, in the glass over the mantel, a face positively pale with the irritation that had brought her to the point of going away without sight of him.
In the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains.
“Take my camel, dear,” said my Aunt Dot, as she climbed down from this animal on her return from High Mass.
He was an inch, perhaps two, under six feet, powerfully built, and he advanced straight at you with a slight stoop of the shoulders, head forward, and a fixed from-under stare which made you think of a charging bull.
The past is a foreign country; they do things differently there.
On my naming day when I come 12 I gone front spear and kilt a wyld boar he parbly ben the las wyld pig on the Bundel Downs any how there hadnt ben none for a long time befor him nor I aint looking to see none agen.
Justice?—You get justice in the next world, in this world you have the law.
Vaughan died yesterday in his last car-crash.
I write this sitting in the kitchen sink.
“When your mama was the geek, my dreamlets,” Papa would say, “she made the nipping off of noggins such a crystal mystery that the hens themselves yearned toward her, waltzing around her, hypnotized with longing.”
In the last years of the Seventeenth Century there was to be found among the fops and fools of the London coffee-houses one rangy, gangling flitch called Ebenezer Cooke, more ambitious than talented, and yet more talented than prudent, who, like his friends-in-folly, all of whom were supposed to be educating at Oxford or Cambridge, had found the sound of Mother English more fun to game with than her sense to labor over, and so rather than applying himself to the pains of scholarship, had learned the knack of versifying, and ground out quires of couplets after the fashion of the day, afroth with Joves and Jupiters, aclang with jarring rhymes, and string-taut with similes stretched to the snapping-point.
When I finally caught up with Abraham Trahearne, he was drinking beer with an alcoholic bulldog named Fireball Roberts in a ramshackle joint just outside of Sonoma, California, drinking the heart right out of a fine spring afternoon.
It was just noon that Sunday morning when the sheriff reached the jail with Lucas Beauchamp though the whole town (the whole county too for that matter) had known since the night before that Lucas had killed a white man.
I, Tiberius Claudius Drusus Nero Germanicus This-that-and-the-other (for I shall not trouble you yet with all my titles) who was once, and not so long ago either, known to my friends and relatives and associates as “Claudius the Idiot,” or “That Claudius,” or “Claudius the Stammerer,” or “Clau-Clau-Claudius” or at best as “Poor Uncle Claudius,” am now about to write this strange history of my life; starting from my earliest childhood and continuing year by year until I reach the fateful point of change where, some eight years ago, at the age of fifty-one, I suddenly found myself caught in what I may call the “golden predicament” from which I have never since become disentangled.
Of all the things that drive men to sea, the most common disaster, I’ve come to learn, is women.
I am an American, Chicago born—Chicago, that somber city—and go at things as I have taught myself, free-style, and will make the record in my own way: first to knock, first admitted; sometimes an innocent knock, sometimes a not so innocent.
The towers of Zenith aspired above the morning mist; austere towers of steel and cement and limestone, sturdy as cliffs and delicate as silver rods.
I will tell you in a few words who I am: lover of the hummingbird that darts to the flower beyond the rotted sill where my feet are propped; lover of bright needlepoint and the bright stitching fingers of humorless old ladies bent to their sweet and infamous designs; lover of parasols made from the same puffy stuff as a young girl’s underdrawers; still lover of that small naval boat which somehow survived the distressing years of my life between her decks or in her pilothouse; and also lover of poor dear black Sonny, my mess boy, fellow victim and confidant, and of my wife and child. But most of all, lover of my harmless and sanguine self.
He was born with a gift of laughter and a sense that the world was mad.
Psychics can see the color of time it’s blue.
In the town, there were two mutes and they were always together.
Once upon a time two or three weeks ago, a rather stubborn and determined middle-aged man decided to record for posterity, exactly as it happened, word by word and step by step, the story of another man for indeed what is great in man is that he is a bridge and not a goal, a somewhat paranoiac fellow unmarried, unattached, and quite irresponsible, who had decided to lock himself in a room a furnished room with a private bath, cooking facilities, a bed, a table, and at least one chair, in New York City, for a year 365 days to be precise, to write the story of another person—a shy young man about of 19 years old—who, after the war the Second World War, had come to America the land of opportunities from France under the sponsorship of his uncle—a journalist, fluent in five languages—who himself had come to America from Europe Poland it seems, though this was not clearly established sometime during the war after a series of rather gruesome adventures, and who, at the end of the war, wrote to the father his cousin by marriage of the young man whom he considered as a nephew, curious to know if he the father and his family had survived the German occupation, and indeed was deeply saddened to learn, in a letter from the young man—a long and touching letter written in English, not by the young man, however, who did not know a damn word of English, but by a good friend of his who had studied English in school—that his parents both his father and mother and his two sisters one older and the other younger than he had been deported they were Jewish to a German concentration camp Auschwitz probably and never returned, no doubt having been exterminated deliberately X * X * X * X, and that, therefore, the young man who was now an orphan, a displaced person, who, during the war, had managed to escape deportation by working very hard on a farm in Southern France, would be happy and grateful to be given the opportunity to come to America that great country he had heard so much about and yet knew so little about to start a new life, possibly go to school, learn a trade, and become a good, loyal citizen.
Time is not a line but a dimension, like the dimensions of space.
He—for there could be no doubt of his sex, though the fashion of the time did something to disguise it—was in the act of slicing at the head of a Moor which swung from the rafters.
High, high above the North Pole, on the first day of 1969, two professors of English Literature approached each other at a combined velocity of 1200 miles per hour.
They say when trouble comes close ranks, and so the white people did.
The cold passed reluctantly from the earth, and the retiring fogs revealed an army stretched out on the hills, resting.

How did you fare? Our enquiring minds want to know.

14 May 2019

Hollywood: Land of Broken Dreams


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


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

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

Prologue (Disjointed) Excerpts:

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

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

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

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


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

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

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

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

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

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

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

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

~.~.~

And now for the usual BSP:

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



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

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


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

18 March 2019

Terra Incognita


by Steve Liskow

A few weeks ago, I saw a submission call for "Detective Mysteries" in the 2000 to 4000-word range, and with what now passes for a generous pay rate. Alas, the deadline was only two weeks hence, and I know how I work well enough to know I couldn't produce a salable story in such a short time. My stories rarely go out in less than the sixth draft, and the first one usually takes me about a week.

I went through my colossal file of unsold stories and WIP. Of 23 unsold stories (some of which were heavily revised into something that did sell), several were "crime" stories, but only two or three involved detection and a sleuth. That holds true for my published short stories, too. Two or three feature Trash and Byrne, who star in my roller derby novels and support Zach Barnes in his series. Two others feature Woody Guthrie from my Detroit series. But most of my stories, sold or not, are one-offs, and they tend to focus on people who get away with something...or not.

My novels include six featuring Connecticut PI Zach Barnes, four featuring Woody Guthrie (a fifth is in a complete second draft), two roller derby novels with Trash and Byrne, and two standalones, one a quasi-police procedural and the other a coming-of-age novel that revolves around a crime.

The point was brought home to me strongly this past weekend when I presented my short story workshop, one of my most popular offerings.

In that workshop, I point out that one of the advantages of the form is that it gives writers the chance to experiment with new characters and techniques without committing a huge amount of time or effort. A novel takes me about 15 months in several installments, and with revisions, between 1200 and 1500 pages. That's a major undertaking.

My average short story runs about 4000 words, between 15 and 20 pages. Even with revision, that's several weeks and maybe 100 pages. I seldom print ANYTHING out until the third or fourth draft because it's not worth the paper yet.

That means if you don't want to use the same characters or setting and try something different, this is your chance to do it. Try that unreliable narrator with the odd speech pattern. Try the factory or sports setting you've avoided. Introduce that young, old, or opposite-gendered point of view. Try humor or present tense. Try second person or a new genre.

"Little Things," which eventually won Honorable Mention for the Al Blanchard Award, came from a failed story featuring Max and Lowe, two homicide cops from the Woody Guthrie series. The first part was in the point of view of a seven-year-old boy and the rest came through Maxwell. It didn't work, but the kid was a revelation. He was bright, but he lacked the life experience and sophistication to understand what was happening. Not long after that, I overheard two children arguing at a miniature golf course and Brian and Amy, two bright kids who don't understand the significance of Amy's innocent chatter, materialized on the spot.

"Susie Cue" was an experiment that came from meeting a former classmate at my high school reunion. None of the characters is at all like a real person, but the name "Susie Cue" popped into my head after meeting a real Susie. Johnny, a mentally challenged 19-year-old, fought his way to the front of the line, and he had a crush on Susie. It took me a long time to find what made him tick, and eventually I found that all his images were either tactile or edible. A fellow writer praised me for giving him such a limited internal life, and it worked. Nobody seems to notice that the 3600-word story only has ten words that are more than two syllables long, and that four of them are proper names. The story took me over a year because I didn't recognize Johnny's potential at first.

"Teddy Baer's Picnic" is an exercise in low comedy, which you can see from the title. I enjoy irony, but seldom aim at outright humor. Here, puns and rimshots fly like bees in a rose garden. All the characters have names that are puns on different kinds of bears: Bronwyn, Grizelda, Ursula, Kodiak...The story is a comic mass murder. I wrote it for a particular submission call, but the market didn't take it and Mystery Weekly grabbed it last fall. Several readers left positive comments, so maybe I should try something like that again.

Brian, Susie, Johnny and Teddy Baer's daughters and ex-wives couldn't sustain a whole book. Some techniques don't, either. Jay McInerney's "Bright Lights Big City" is a novella rather than a full-length novel because you can only sustain second-person POV and present tense for so long.

But in a short story...

28 January 2019

Questions, I Get Questions


Introducing the author who needs no introduction, guest star SJ Rozan

SJ Rozan
SJ Rozan
January 2019, I'm baaacckkk. Okay, only partially back. I pleaded, bribed, blackma… Really, I begged SJ Rozan if she would write something for me and she graciously agreed. Then I forgot to remind her and she forgot, but then I remembered to remind her and she promised she would and she did.

I've known SJ for close to thirty years. I had read her first published short story with Lydia Chin and Bill Smith in a little magazine, the name escapes me now. PI Magazine, maybe? Then her first book came along and I was blown away again. She not only writes a Lydia Chin book, then a Bill Smith book, she also writes stand-alone thrillers. Her books are as different as Lydia and Bill are, yet you know when you pick one up you are likely going to stay up all night reading.

In case you didn't know the "J" in her name stands for Jan (kidding) which is why we get along so well. Almost forgot she's a big basketball fan and she plays pick-up games every week. And she has a beautiful cat named, "Bella." Another reason we get along so well.

SJ Rozan has won Edgar, Shamus, Anthony, Nero, Japanese Maltese Falcon, and the Private Eye Writers of America Life Achievement Award. Her new, highly anticipated book comes out in time for summertime reading.
— Jan Grape

Questions, I Get Questions

by S.J. Rozan

I have a book coming out this summer.

This is a sentence I've said fairly often; this book is, after all, my 16th. I've never quite gotten used to it, though. Every now and then I look at my shelf and think, Good grief, who wrote those? The other thing I've never quite gotten used to is the experience of writing.

People – non-writers and new writers alike – tend to assume two things at once. The first is, as someone once put it to me in the form of a question, "Do you figure everything out in advance, or do you sit down and it just flows?" Er, neither.

I don't outline, except in the vaguest of terms. In SHANGHAI MOON, for example, I knew what and where the jewel was, and that the situation went back to the Jewish Ghetto in Shanghai during World War II. Those two things were the foundation of my interest in creating the world of SHANGHAI MOON. What I didn't know was the nature of the person who had the jewel, or anything else about the actual story that became, in the end, the book. I had to write the book to find all that out.

On the other hand, it certainly doesn't just flow. Oh, no, it doesn't. My process – and I believe this is true for many, many writers – is start-and-stop. When E.L. Doctorow famously said that when you're driving at night you can only see to the end of your headlights but you can get all the way across the country that way, he didn't mention how sometimes in a heavy fog you can't see anything at all and you have to stop and wait for it to clear. Or that you can take a totally wrong turn and find yourself at the edge of the swamp, and then you have to U-turn and go look for the road again.

But that's me: I'm a headlights-at-night writer. The way I deal with it is to have something in mind – say, the truth about the jewel, and what that means to the people around it – that glows through the fog and the dark like a neon sign up ahead. I aim for it.

The second thing non-and new writers tend to assume that it gets easier. Come on, the book I'm working on now is my 17th. It's called Paper Son, and it's in my Lydia Chin/Bill Smith series, of which it's the 12th, and though the publisher Pegasus Books, is new to me, I've worked with four previous publishers, so even this new-publisher thing is something I'm having to get used to. Each book is as hard as the first one. You just have to work through it.

Think of it this way: if you insist, as I do, upon driving across the country at night again and again, why would any trip be easier than the one before it? There's still the fog. There are still the wrong turns and the swamps. There's still each mile to be covered, no shortcuts – the distance doesn't change, nor the hills nor the blizzards, just because you've done it before.

But here's what has happened: I've learned not to panic. As bad as the weather, the road, or the wrong turn is, I've made this trip before. I can't get in any trouble I haven't been in already, lions and tigers and bears oh my, and somehow I've always managed to get out. Whatever the wall I've just hit (and in fact I've hit more than one in this book) there's a way over, around, or under it – or it'll dissolve when the fog lifts. That's what I've learned, and it's the most encouragement I can offer new writers: There's always a way. You just have to find it.

04 December 2018

Twice Watched Tales


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

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


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

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

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

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


Big Heat, The

Big Sleep, The

Blue Dahlia, The

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

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

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


Criss Cross

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

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

Dead Reckoning

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

Fear in the Night

His Kind of Woman

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

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

Kiss Me, Deadly – Much better than the book

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

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

Murder, My Sweet

Narrow Margin, The

Nightmare Alley

Out of the Past

Postman Always Rings Twice, The (original)

Scarlet Street

Somewhere in the Night

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

Touch of Evil

Where the Sidewalk Ends

Woman in the Window, The


Thrillers and Neo Noir

Clockwork Orange, A

Devil in a Blue Dress

Die Hard

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

Fracture – So clever, so good.

Kill Me Again

Last Seduction, The

Malice

Pacific Heights – Creepy.

Pelican Brief

Red Rock West

Sudden Impact – My favorite Dirty Harry movie.

Taxi Driver

Vertigo (and most Hitchcock movies)


Quirky (for lack of a better term)

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

Art School Confidential

Crimes and Misdemeanors

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


Lilies of the Field

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

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

Tender Mercies


Newer Classics

Chinatown

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

LA Confidential


Holiday Movies

Christmas Story, A

Miracle on 34th Street

Shop Around the Corner

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


Where Does This Fit?

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


Screwball/Classic Comedy

Awful Truth, The

Bachelor and the Bobby Soxer, The

Bringing Up Baby

His Girl Friday – Classic and hilarious

Holiday

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

Love Crazy

Monkey Business (Marx Brothers)

My Favorite Wife

My Man Godfrey

Philadelphia Story, The

Sullivan’s Travels

Thin Man series

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

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


Westerns

Monte Walsh (both versions)

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

El Dorado

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


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

Dracula (Lugosi)

Forbidden Planet

Haunting, The (original)

Invasion of the Body Snatchers (original)


The Beatles

A Hard Day’s Night

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

Let It Be


Newer Comedy

After Hours

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

In-Laws, The (original)

Manhattan

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

Reuben Reuben – A treasure!

Sting, The


Musicals/Music:

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



Singin’ in the Rain

Wizard of Oz, The

***

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

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

~.~.~

And now for the usual BSP:

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

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

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

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

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

***


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

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

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


23 October 2018

To Speak or Not to Speak


I have several speaking gigs of one type or another coming up. And I’m looking forward to them. That said, it’s said that one of the greatest fears Americans have is speaking in public. I don’t really get nervous or uptight about speaking. But if I have to read a selection from my works then the palpitations begin. I don’t know why reading causes me so much anxiety, when just speaking doesn’t. I could speak to a group of 500 people and not be nervous, but if I read to a group of ten I would be. You’d think it would be just the opposite since when you’re reading you don’t have to come with answers on the fly. As the saying goes, go figure.
Newhall Library panel: Ellison Cooper, Carlene O'Neill (moderator, standing),
Patty Smiley, Connie di Marco, Paul D. Marks, Paddy Hirsch

I recently did a well-attended panel at the Old Town Newhall Library, that even included a dinner, with a moderator and four author-panelists. The moderator kept things moving, asking questions and everyone on the panel was fun and interesting and didn’t hog time, which sometimes happens. I sold more books than I usually do at these types of things. I was also recently on two panels at Bouchercon. I always feel lucky to get on panels at conventions since everyone is vying for those spots.

Coming up are several different kinds of gigs: One is another library event at the Studio City Library, a trivia night (https://www.lapl.org/whats-on/events/trivia-night-mystery-lovers-0) where a group of eight authors rotate tables with library patrons and try to answer trivia questions. I did this event last year and it was a lot of fun. Then another library event at the Agua Dulce Library (https://www.friendsacton-aguadulcelibrary.org/ )where I’ll be with one other writer, Connie di Marco. And instead of each of us just getting up and talking about ourselves, giving our this is the “wonder of me” speeches, we’ve decided to talk about each other, ask each other questions, and liven it up a little.

After that is Men of Mystery (https://www.menofmystery.org/ ), which is as their brochure proclaims, “the grandest gathering of gentlemen in the genre,” and which usually gets a huge crowd. Everyone has to stand up and tell a little about themselves. Last time I told about the time I pulled a gun on the LAPD and lived to tell about it. Afterwards a couple of law enforcement officers came up to talk to me about that... I wonder what I can do to top that?


Next up is The Palos Verdes Woman’s Club (http://pvwomansclub.org/home/fundraising-and-events/ ), which usually gets a few hundred people. I’ll be one of five authors there. I’ll have to speak about myself a little, which is always awkward. Fun, but awk.


And rounding out this bunch of events is a speaking gig at the Southern California Writers Association (http://ocwriter.com/ ). I’ll be talking about incorporating screenwriting techniques into the writing of short stories and novels.


I’ve also done a bunch of radio interviews lately to help promote the release of Broken Windows. It’s always fun doing these, whether in-studio or on the phone.

Each event is a little different, so the question is, how do I prepare for these events? For some, there really is no preparing, you just have to wing it. But sometimes, since I tend to even forget the names of my characters, I might give a quick glance to some cheat sheets I’ve made up over the years. It’s always embarrassing when someone asks you a question about this or that character or story and you have that deer in the headlights look, trying to figure out who the hell that is and what story they were in—and what it was about. For events where I’m actually giving a talk, I prepare notes on the subject of the talk. I can wing much of it, of course, but it always helps to have a plan and something to help keep you on track.

I always enjoy these events and it’s part of being a writer. A good part in that you get to interact with readers instead of hiding away in our writing caves. And I’m looking forward to all of these upcoming events. Hope to see some of you there.

What are your thoughts on preparing for events?

~.~.~

And now for the usual BSP:


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

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

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

Kristin Centorcelli, Criminal Element

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

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

John Dwaine McKenna, Mysterious Book Report:

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

Betty Webb, Mystery Scene Magazine:

"Broken Windows is extraordinary."


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


02 October 2018

The Impossible Dream


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


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

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

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

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

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

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

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

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


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

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

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

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

***

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

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

Kristin Centorcelli, Criminal Element

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

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

John Dwaine McKenna, Mysterious Book Report:

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

Betty Webb, Mystery Scene Magazine:

"Broken Windows is extraordinary."