Showing posts with label short stories. Show all posts
Showing posts with label short stories. Show all posts

24 June 2019

The Times, They Are A-changing

by Steve Liskow

Some time ago, I pointed out that writers have to change with the industry, especially if they're self-pubbed.

About ten years ago, I attended a conference where an agent warned the audience that he and his colleagues wouldn't even look at submissions from writers who had self-published. At that time, prevailing wisdom said writers were self-pubbed because their work couldn't meet industry standards.

Mystery writer Joe Konrath and others disputed that claim, saying they were treated badly by the traditional monopoly and could make more money on their own. That argument gained weight when NYT bestseller Barry Eisler turned down a half-million-dollar advance from his traditional house and began publishing his books himself. It's worth noting that because of his successful track record, Eisler had thousands of followers, an advantage the average writer can't claim.

Everything influences everything else, and sometimes that's not a good thing. Self-publishing continues to grow, and it takes a substantial bite out of traditional sales. Last year, nearly a million self-published books appeared. Even if they each only sold one copy, that's a million books that the Big Five didn't sell, and it affects their bottom line.

Traditional markets have consolidated or disappeared. Since there are fewer paying markets, the remaining ones are swamped, for short stories as well as novels. Alfred Hitchcock Mystery Magazine receives over 1000 submissions a week. Even if you read only the first page, 1000 minutes is over 16 hours, which means the slush pile grows more quickly than the rejection letters can go out.

The numbers hamper novelists, too. There are five independent book stores within thirty miles of my condo, and while they all say they support local writers, they do it by charging fees for shelf space and offering consignment splits that range from generous to usurious. They have two reasons for this.



First, self-pubbed authors won't offer the same 60% discount and free shipping and returns for a full refund that traditional publishers do. Bookstores need that break...unless they can stage an event that guarantees lots of sales. If it rains, snows, is too hot, or another event nearby falls on the same day, audience may not show up. a large audience doesn't mean large sales anyway.

Second, traditional publishers take manuscripts that have already been vetted by an agent and will edit them professionally, maybe more than once. It's no longer true that all self-pubbed books are terrible (see Eisler, above), but the only way to find the good ones is to read them. How long would you need to read one million pages to make your choice?

Most libraries follow the same reasoning. I offer a discount and free delivery for libraries that order several of my books, but few accept my offer because their guidelines in the face of annual budget cuts insist they focus on Lee Child and Stephen King because they know the demand is there. It makes sense, but it deprives the patrons of finding new authors to enjoy.

I suggest to those libraries that they buy digital copies of my work because the price is lower and people can borrow several copies simultaneously. That's not making headway either, but I'm trying to offer more options so my work gets read. Besides, if more people read my stuff, I might get more workshop gigs. Those have tapered off because of those same budget cuts.  I'm finding new venues and splitting fees, but nobody is making out like Charlie Sheen here.

If your book is on a shelf somewhere, it needs an eye-catching cover. My cover designer does brilliant work. He's also my largest set expense, and I'm not selling enough books at events to break even.

More change...More adjustments...

My next novel, due out at the end of this year, will probably be my last paper book.

I have four stories at various markets and four more in progress. By the end of the year, I may be releasing the unsold stories in digital format. I'm studying GIMP so I can design my own covers.

When you're a writer, you always live in interesting times.

What are you doing differently now?

20 April 2019

Please Consider the Attached Story . . .


by John M. Floyd




A lot has changed, in the 25 years I've been submitting short fiction for publcation. The best thing, I suppose, is that almost all manuscripts are now sent electronically, and the worst is that it seems there are fewer short-story markets out there to submit to. Everything considered, I think we writers still have it better now than we did in 1994.

One of the things about marketing short stories, though, has remained the same: our need for the submission guidelines--also called writers' guidelines--of whatever publication we target.


The not-so-thrilling days of yesteryear

For those of you who weren't around, or who don't remember, this was the way short-story writers once obtained submission guidelines:

1. Find a publication you want to submit to
2. Write a letter to them, requesting guidelines
3. Snailmail it to them, along with an SASE
4. Wait a couple of weeks
5. Receive the guidelines via return mail

This reply usually contained a list of requirements about story formatting and content. Sometimes the guidelines were short and sweet, maybe a three-fold brochure; others were long and detailed. I remember requesting and receiving the guidelines for Weird Tales (I think I still have them)--and they were four printed pages, single-spaced.

(Oddly enough, the more detailed the guidelines, the better off you usually were, because there were always those who didn't bother to read them. Those who did--and who followed the instructions--had a definite advantage over the competition.)


Fast-forward to (how's that for a cliche?) the Present Day

Now, obviously, we can locate guidelines merely by accessing the publication's website and clicking on the "submissions" page. Here are some typical pieces of info we might find there:

- wordcount requirements
- font requirements (usually TNR, sometimes Courier or others)
- spacing requirements (single or double)
- editor's name (for the cover letter)
- preferred file type (usually .doc or .rtf)
- whether reprints are considered
- submission deadline (if an anthology)
- genre and theme requirements, if any
- submission type (email, snailmail, website submission box, etc.)
- payment information


Occasionally there'll be further requirements:

- the character(s) you should use to indicate a scene break (usually # or ***)
- what you should put in the header of each page
- what you should type at the end of your story (END, THE END, -30-, etc.)
- what you should use for a dash (hyphens, em dash, etc.)
- whether you should underline or italicize to indicate emphasis
- what you should put in the subject line (if email)

Nitpicky, you say? Maybe so. But they're the buyers and we're the sellers, so they have the right to make the rules. (It's good to be da king.)


Their wish is my command

One quick story, on that subject. I once received guidelines that included this: "Staple your manuscript in the upper righthand corner." That confused me a bit. Guidelines NEVER tell you to staple a manuscript; one of the first things I learned was to always use a paper clip--or if the story was more than 25 pages, a butterfly clip. But I did what they said, and I sold them a story. The obvious question: Why would they put such a strange request in their official guidelines? Was the entire editorial staff left-handed?

I never found out for sure, but I suspect they did it as a test. The writers who complied proved that they could do what they were told. Those who didn't comply proved that they couldn't or wouldn't follow directions, or hadn't even bothered to check the guidelines at all.

I saw an old poster the other day of Mr. T saying, "I pity the fool who doesn't read the submission guidelines." Me too.


Random points

I know what you're thinking. If you submit stories only to large and respectable publications, you don't need to worry much about guidelines for style and formatting. Just do the standard stuff: double-space, Times New Roman, one-inch margins all around, indent every paragraph, etc. Right?

Not necessarily. To use just a couple of examples, AHMM and EQMM still prefer underlining rather than italics, and they also prefer a centered pound-sign to indicate scene breaks. And BJ Bourg at Flash Bang Mysteries likes single-spacing and using two adjacent hyphens instead of an em dash. Small things, yes, but you want to format your manuscript exactly the way the editor wants it.

Another thing: Woman's World has several times changed their maximum wordcount. Romances were once 1500 words and mysteries 1000. Those were lowered years ago to 800 and 700, respectively, and recently the mystery max was lowered again, to 600 or so. Requirements sometimes change when the editors change, so you can't rely on old guidelines.


Resources

This is probably a good place to mention Shunn's Proper Manuscript Format, because in their guidelines many publications still point writers to that site and to the sample manuscript page shown there. I don't follow that model the way I once did--I now always use TNR and em dashes and italics and one space after a period unless told otherwise--but Shunn's is still considered by many to be the industry standard.

Last but not least: I'm not sure I could get by without my friend Sandra Seamans's My Little Corner website. It's a great place to find anthology calls and writers' guidelines for publications in many different genres. I check her site at least several times a week, and as a result I've sold a lot of stories to markets I probably wouldn't even have known about otherwise.

That's my pitch for today. Good luck and good hunting! May the odds be ever in your favor.






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...

06 March 2019

A Textbook Case: Advice For Fiction Writers

Courtesy Western Libraries
by Robert Lopresti

You can call this my good deed for the day, or an act of flagrant narcissism.  Possibly it is both.

A while back a friend asked if I had ever written any tips on writing short stories and I had to answer yes and no.  Or rather, no and yes.  I had never written any formal advice on that subject but in ten years of blogging I had covered a lot of related topics.

So here is my informal textbook, selected from several different blogs.  It leans heavily toward mystery fiction, naturally, and some of it is about novels rather than short stories.  But hey, you can't beat the price.  I will probably add links when I write something new on the subject.

I hope some of you find it useful.  Enjoy.



CHAPTER 1: THE WRITER'S MIND

How It Works.  Creativity requires two parts of your brain.

How to Make It Work.  Getting the parts of your brain to cooperate.

From The Shiny New Desk.  Applying the thoughts above to some advice from Ken Rand.

The Four Seasons.  An author's mental year.


CHAPTER  2: THE WRITING HABIT

Dominating the Submission.  Five tips for people about to submit stories for the first time.

A Page A Day. Finding time to write.

Working Vacation.  Time off gives you a chance to think about your work habits.

Have Suitcase, Will Plot.  More about writing on the road.


CHAPTER 3: INSPIRATION

Time to Accessorize. Five sources for story ideas.

Missed Connections. Getting (or not) story ideas.

Seventeen Minutes.  Do something with that idea!

Light Bulbs, A Dime A Dozen.  A great idea is not enough.

Gutter Dwellers and Chair Thieves.  When is plagiarism legitimate?


CHAPTER 4: PLOTTING

The Hole Truth. Creating conflict.

Telling Fiction From Fact. Stories based on true events.

Two Plots, No Waiting. A complicated entwined plot.

The Rising Island Method.  Writing a long story out of order.

Unlikely Story.  The power of foreshadowing.



CHAPTER 5: PLOT PROBLEMS

New Choice! Avoiding plot cliches.

Get Off The Premises.  An unbelievable premise can kill your story.

Time Warp.  What year do you think you are writing about?

http://criminalbrief.com/?p=1061Refrigerator Questions.  Which plot problems don't need fixing?

Enter the Villain.  One way to ruin a mystery novel.


CHAPTER 6: STYLE

Suddenly I Got A Buzz.  Words to avoid.

There's Only One Rule. How experimental or mainstream should you be?

See If I Care.  How do you make the reader care what happens?

Good Cop Story, Bad Cop Story.  The old rule: show, don't tell.

Would You Rather Be Framed or Flashed?  Structural devices.

Salute To The Unknown Narrator.  A method of creating suspense.

Filling In The Landscape.  Use a real place, make one up, or compromise?

The Pain of Others.  Great stories tend to have at least one of these three characteristics.  (I have since added a fourth.)


CHAPTER  7: CHARACTERS

The Motive Motif.  About characters and their motivation.

Rosencrantz and Guildenstern Want Something.  Every character needs a motive.

The First Two Pages: The Chair Thief.  Using dialog to establish personality.

Naming the Detectives.  Selecting names for your characters.

Backtalk.  Taking advice from your characters.

Necessary Evils.  Turn a plot necessity into a great character.

Who Do You Trust?  Unreliable narrators.


CHAPTER 8: TITLES

Insert Clever Title Here.  How to choose one.

Title Fight.  Examples of great titles and what makes them so.

Beat Cop.  A long title should scan.


CHAPTER 9: BEGINNINGS, ENDINGS

Opening Bottles and Books. The purpose of opening lines.

The First Two Pages: Greenfellas.  Introducing many characters early. (PDF)

With A Twist.  The power of twist endings.

Right Way To Do The Wrong Thing.  Good and bad endings.


CHAPTER 10: SERIES

The Story I Said I Would Never Write.  About writing a sequel to a (supposed) standalone.

But I've Told You This Before.  How to deal with backstory in a series.

Meeting Some Old Friends.  Keeping track of series characters.

A Plea For Unity.  In what ways do a series of stories need unity?


CHAPTER 11: EDITING

Get Me Rewrite! The joys and pains of editing.

Flunking the Oral Exam.  Why you should read your work out loud.

Send Me In, Coach!  Working with a first reader.

The Joy of Rewriting.  No, Revision.  No...  How to polish your work without killing it.

Last Rites.  The final edit.



CHAPTER 12: IF YOU CAN MEET WITH TRIUMPH AND DISASTER...

An Hour In Purgatory.  It can't be said too often.  It can't be said too often.

 Lost Weekend. The inevitable.

Beautiful Day.  The preferable.

Smile!  Your Story Has Been Rejected.  Ten doses of lemonade.

30 January 2019

Besty McBestface 2018

by Robert Lopresti

I was somewhat surprised to discover that this is my tenth annual list of the best short mysteries of the year, as determined by me.   I will have to do something to celebrate that  in a month or two.  I should remind you that these reviews are taken from the longer weekly summaries I do at Little Big Crimes.

This year was 16% worse than last, insert political joke here, based on my best-of list dropping from 18 to 15.  Writers, was it you or was it me?   Speaking of writers, eleven were men, five women.  (One story had two authors.)  Two authors were British, one Canadian.

The big winner this year was Alfred Hitchcock's Mystery Magazine, with four stories.  Three other sources supplied two each: Akashic Press's Noir Cities series, Mystery Weekly Magazine, and the anthology Deadlines: A Tribute to William E. Wallace.

Three stories are historical, two are funny, and one has fantasy elements.   Six have surprise endings.  Remarkably, five of the authors are making repeat appearances.  All right, let's dig down into the data.

Brookmyre, Chris, "The Last Siege of Bothwell Castle,"  in Bloody Scotland, edited by James Crawford, Pegasus, 2018.

There's a historical reenactment going on at Bothwell Castle in Scotland and the place is crowded with tourists.  Some very bad people take advantage of the confusion, and soon they are taking hostages and making demands.

The cops arrive but the hostages's best chance for rescue might be Sanny and Sid, two young sneak thieves who were scooped up with the tourists.

Brosky, Ken. "The Cold Hunt," Mystery Weekly Magazine, August 2018.

Roxy is a young American biologist, studying tigers in Siberia.  She and her mentor, Dr. Siddig, have been called to investigation what appears to be a killing by a big cat.  The evidence of footprints and corpse show that the tiger had a big meal of the flesh of a local man.  But the evidence does not prove that the man was alive when the tiger arrived.

The villagers are ready to hunt and kill the beast.  Can the scientists prove it is innocent of the killing - if indeed it is?

Day, Russell, "The Icing on the Cake," in Noirville, Fahrenheit Press, 2018.  

Gareth is a gofer for Mr. Driscoll, a British crime boss.  Today his mission is to drive a Jaguar dow to a prison where the car's owner, Harry the Spider Linton, is being released after seven years for robbing a post office.  It turns out that Harry thinks he owes his incarceration to the stupidity of Mr. Driscoll.

Harry's rage is so feverish that it seems like the trip may end prematurely.  Gareth might be in danger.  What will happen if/when Harry arrives at his old mate's mansion, and encounters the man he sees as the cause of his lost years?


Greenaway, R.M. "The Threshold,"  in Vancouver Noir, edited by Sam Wiebe, Akashic Press, 2018.

The publisher gave me a free copy of this book.  

Blaine is a photographer.  Perhaps a bit obsessive about it.  And one morning, just at sunrise, he's out snapping pictures at the Vancouver waterfront and he find a very fresh corpse.  Of course he knows he should call 911, but the lighting is perfect for capturing the corpse, and how long will that last?  Surely it won't hurt if he just changes lenses and takes a couple of artful frames...

And then the body twitches, and things get complicated.



Hallman, Tom, Jr. "Kindness,"  in Mystery Weekly Magazine, April 2018.

Phil's family moved to an inner city neighborhood that is gentrifying.  Great house, nice neighbors.  But then the old man across the street dies and his house is inherited by a jerk who parties all night The jerk is a huge guy who "reminded me of one of those men featured on cable shows taking viewers inside America's roughest prisons."

When this guy takes an unhealthy interest in Phil's teenage daughter things seem really desperate.  But  then Phil meets Deke, a member of a criminal motorcycle gang, and helps him with a problem...  Twice I thought I knew where this story was headed. Twice I was wrong.

Lang, Preston, "Top Ten Vacation Selfies of Youtube Stars," in Deadlines: A Tribute to William E. Wallace, edited by Chris Rhatigan and Ron Earl Phillips,  Shotgun Honey, 2018.

Michael Roth used to be a reporter.  Or maybe we should say he is currently a reporter without a job, struggling to survive as a freelancer, writing Internet clickbait. (See the title of this story.)

He gets a call from somebody named Brack who used to be a hitman.  Would he like to meet and talk about Brack's illustrious career?   He would.  But Brack, as it turns out,  has another, more dangerous offer to make...


Law, Janice, "The Crucial Game,"  in Alfred Hitchcock Mystery Magazine, January-February 2018.

This is the fourth appearance on my annual best-of list by my  friend and fellow SleuthSayer.  No one else has made it to the top of the heap more than three times, so far. 

Since his wife died Frank has been lonely and somewhat obsessed with hockey.  Walking through Manhattan he sees a "little makeshift stand offering sports CDs and DVDS..."  The merchant is "thin, almost gaunt, and very dark so that his large eyes gleamed above the bold cheekbones and the wide, and to Frank's mind, somewhat predatory nose."  Sounds a bit spooky?  How about when he calls out: "I have what you need"? 


Neville, Stuart, "Faith," in Blood Work: Remembering Gary Shulze: Once Upon A Crime, edited by Rick Ollerman, Down and Out Books, 2018.

The day I lost my belief was the same day Mrs. Garrick asked me to help kill her husband.

The narrator is an Irish clergyman, five years a widower. Mrs. Garrick's husband was brutally maimed in a terrorist attack.  Our protagonist tries to comfort her and one thing leads to another.

Classic noir, right?  But Neville has a surprise or two up his sleeve.

Page, Anita,  "Isaac's Daughters," in Malice Domestic Presents: Murder Most Geographical, edited by Verena Rose, Rita Owen, and Shawn Reilly Simmons, Wildside Press, 2018.

This is Anita Page's second appearance on the winner's list.

The narrator is an old woman, relating  how she came to America from Russia at the age of fourteen in 1911.  The reason for the voyage is that her mother has just received a message that "your Isaac has taken up with a whore from Galicia."

They start out on the difficult voyage, and things happen. The family is divided between the father and narrator who you might describe as new-world rationalists, and the mother and sister who are subject to old-world superstitions, believing in demons and lucky charms.  Which side, if either, will win? 

Perks, Micah, "Treasure island,"  in Santa Cruz Noir, edited by Susie Bright, Akashic Press, 2018.

The publisher gave me a free copy of this book.  

Mr. Nowicki is, he tells us, "a seventy-two-two-year-old retired middle school assistant principal who has lived in Grant Park for forty years."  He is furious about what is happening in his neighborhood so he has gone to a website called Good Neighbor!(tm) to report what he sees.

And he has strong opinions about that.  For example he has a problem with his neighbor who is (the internal quotation marks are his): "a 'writer' who 'works' from home.  ('Writer' always takes morning tea on his porch in his pajamas and at five p.m., takes cocktail on porch, still in his pajamas.  You've probably seen him on your way to and from actual work.)"

Pronzini, Bill and Barry N. Malzberg, "Night Walker," in Alfred Hitchcock's Mystery Magazine, March-April 2018.

This is Pronzini's second appearance on my annual Best-of bash.

Henry Boyd's life changed forever when a moment of his own carelessness destroyed his family.  He hoped to be sent to prison but the courts thought otherwise.  He can't face the thought of suicide so now he walks through the night, hoping some criminal will do to him what he lacks the courage to do to himself.  But something else happens.

Richardson, Travis, "Plan Z," in Deadlines: A Tribute to William E. Wallace, edited by Chris Rhatigan and Ron Earl Phillips, Shotgun Honey, 2018.

This is a simple story of three guys who "decide to up their game from B&E and liquor stores."  We don't learn much about them except what positions they played in Little League.

So, not a lot of character development.  What the story has is a wonderful way of unwrapping the adventures of our luckless trio.  Plan A is to rob a check-cashing joint.  They throw that over for Plan B which is to rob an armored car that Uncle Arnie drives.  But Arnie gets fired which leads to Plan C.  When Arnie shows up drunk we move on to Plan D...


Rusch, Kristine Kathryn, "The Wedding Ring,"  in Ellery Queen's Mystery Magazine, March/April 2018.

Rusch is making her third appearance in Best-of Land.

Serena is a classics professor and after a bad breakup she goes to Las Vegas for what she calls her Liberation Vacation.  There she meets the man of her dreams.  Shortly after that they are married.  Shortly after that he disappears, taking her cash, self-confidence, and much more.  One cop says about the crooks: "They're not in it for the money.  They're in it to destroy their marks."

Serena replies.  "They didn't destroy me...  I'm right here. And I'm going to destroy them right back."


Rutter, Eric, "Hateful in the Eyes of God,"  Alfred Hitchcock's Mystery Magazine, July/August 2018.


This is Rutter's second appearance in my best-of lists.

It is London in the 1830s.  John Alcorn is a freelance reporter, a "penny-a-liner."  His specialty is the criminal courts because, then as now, scandal is always popular.  He is in the gallery when Charles Stanbridge is brought into the courtroom.  This fine, outstanding married gentleman has been accused of indecent assault, which is a reduced version of the charge of "the infamous crime,"  alias, homosexuality.  That greater offense could get a man sentenced to exile or even death.

Alcorn offers to sell his story on the case to the defendant rather that to the press, a form of extortion which was perfectly legal.  But when Stanbridge apparently kills himself the reporter feels guilt and tries to learn more about the case.  And so he, and we, find out a good deal about the secret life of what we would call gay men, but what in this era were called sods or Mary Anns.


Thielman, Mark, "The Black Drop of Venus," in Alfred Hitchcock's Mystery Magazine, July/August 2018.

This is Thielman's second appearance here, both for historical mysteries that won the Black Orchid Novella Award.

It is 1769, deep in the South Pacific.  Our narrator is Joseph Banks, chief naturalist on the HMS Endeavour, which has been sent on a scientific investigation to observe the Transit of Venus.  When one of Banks's assistants is found with his throat cut just as they arrive at Tahiti, Banks is ordered to investigate the crime by none other than Captain James Cook.  He is handicapped by his lack of knowledge of navy ways and nautical  vocabulary, but he brings back the facts which allow Cook to cleverly determine the identity of the murderer.

22 January 2019

I've Crossed A Line -- Warning: Rated X for Expletives

by Barb Goffman

You can take the girl out of New York, but you can't take the New York out of the girl. That's my explanation for why I often pepper my speech with expletives. Anyone who read my 2017 column  titled "The Intersection of Plotting and Cursing" knows I'm quite comfortable with the word fuck. I've used it and other curse words in my stories without issue.

How often? I just ran a search of my published stories, and here are the results:

  • Asshole -- used in two stories (6% of all my published stories).
  • Fuck -- used in two stories (6%). A surprisingly low number. I'll have to work on that.
  • Shit -- used in four stories (12%).
  • Bastard -- used in five stories (16%).
  • Bitch -- used in fifteen stories (48%!). I might have to tone this one down.
Given these results, you'd think I didn't often write light cozy stories. And yet there's one big curse word missing from the list. One word that, until last week, I had never used in a published story. Can you figure out what it is? Here's a hint: it rhymes with the word for the smallest animal in a litter. See, I have so much trouble with this word, I'm squeamish about even typing it here, in an academic (ish) discussion about using curse words in my fiction. The word is ...

Cunt. There I said it.

And I'm cringing.

There is just something about this word that, to me at least, crosses a line. I know some of you are reading this thinking I must have no lines. But I do. And cunt crosses it. That's why I never say it. And until now I've never used it in my fiction.

So why did I make this exception? And was it a good choice?

To answer these questions, let's turn to the story in question. It's my newest story, "Punching Bag," which was published last week in the Winter 2019 issue of Flash Bang Mysteries, an e-zine that showcases crime flash fiction. I'm delighted that not only did editors BJ and Brandon Bourg choose to publish it, but they also chose it as the cover story and as the editors' choice story for the issue. It's the story of the darkest day in an emotionally abused teenage girl's life.

Let's stop here for a moment. I'm afraid that anything I say from here on will ruin the story for you if you haven't read it. So please go do so. The story is only 748 words long--the equivalent of three double-spaced pages. You can read it really quickly by clicking on the title in the prior paragraph. Then come back.

Okay, you've read it? Good. (I hope you liked it.)

You'll notice that the use of curse words is minimal. Toward the end the mom says the daughter is stupid and calls her a "disappointing, ungrateful bitch," and other unspecified names. That was all I planned to say about the matter originally, figuring readers could extrapolate from there. But one of my trusted beta readers told me she didn't think the girl was justified in killing her parents. She thought the girl came across as spoiled and selfish. I was surprised. I definitely didn't want that. I wanted readers to understand this girl, to be on her side, despite that she does a horrible thing. So I felt I needed to up the ante. That's when I added the part about her mom calling her a "self-centered cunt."

I figured if anything in this story was going to turn readers' perception of this girl from spoiled to sort-of justified, it would be that. If the word cunt crosses a line for me, I hoped, it would cross a line for readers, too--at least any readers whose line hadn't already been crossed by the mom's behavior.

So I submitted the story. But I worried. Was the use of the word cunt too much? Would it keep the story from being accepted? Then, once the story was accepted, I worried about readers. Would the word turn them off? Especially readers who know me primarily for my lighthearted, funny stories? The answer: So far, so good. I've gotten some feedback on "Punching Bag," and it's all been positive, with no one mentioning my use of that word. This response has helped me feel better about my choice, despite that the word still makes me cringe.

What do you think? Would you have been on the girl's side at the end if I hadn't included the "self-centered cunt" line? Or did the line push you onto the girl's side? Or do you think I went too far? What words cross your line?

One final note to my fellow SleuthSayer Robert Lopresti: Last week you wrote briefly about your newest flash short story (which is fewer than 700 words long), saying you were keeping things short because only English professors could get away with writing something about a story that is longer than the story itself. Ha ha, Rob! I have proven you wrong, because this blog about "Punching Bag" (excluding this paragraph) is 29 words longer than the story itself, and I am no English professor. Do I get a prize? Please don't make me become an English professor. I wouldn't last. I'd surely get written up for cursing in front of my students.

11 January 2019

Stick to the Path? Wander A Little? (On short stories, subplots, points of view, and more...)

By Art Taylor

In a little over a week, the new semester begins at George Mason University, and I’ll be leading an Advanced Fiction Workshop for the first time—emphasis on Advanced. I’ve taught Intro to Creative Writing in years past, and more often now I’m teaching the standard Fiction Workshop—each of those courses focused on building the skills and honing the tools for students beginning to write short stories: crafting character, shaping scenes, navigating a plot through conflict, climax, and resolution. Stepping stones, each course. Walk before you run, as a friend of mine recently told me.

So how to put the Advanced into the Advanced Workshop? beyond simply admitting students who are already bringing as much skill as enthusiasm to their work?

Back over the holidays—just before Christmas, then just after the new year—a couple of questions online got me thinking about specific aspects of short story writing, how I teach students to write them, and how I write them myself. First, Amy Denton posted a question on the Sisters in Crime Guppies message board: “Depending on the length, is there enough room in a short story for a subplot?” Responses ranged widely, and the discussion was extensive, but with no clear consensus.

Then, reviewing a couple of short stories from a recent issue of Alfred Hitchcock’s Mystery Magazine, Catherine Dilts wrote, “A rule beginning writers encounter is that multiple points of view can't be used effectively in short stories…. How does telling a tale through more than one narrator work?” A story by fellow SleuthSayer Robert Lopresti, “A Bad Day for Algebra Tests,” offered Dilts one example of how well that approach can succeed.

Another of our SleuthSayers family—Barb Goffman, a master of the short story herself—has a great piece of advice for writers: namely that the short story is about “one thing.” (I’ve heard other writers repeat her words and I've repeated them myself down the line.) And our good friend and former SleuthSayer B.K. Stevens and I were both big fans of Poe’s ideas about the “single effect” in the short story, that everything in a tale should be focused toward one goal, toward having one effect on the reader: "In the whole composition," Poe wrote, "there should be no word written, of which the tendency, direct or indirect, is not to the one pre-established design."

When I’ve taught workshops on short story writing, I often put Poe’s words and Barb’s on back-to-back PowerPoint slides, emphasizing the resonance between the two points. (Both authors are in good company!) And several assignments in my classes are geared toward these ends. I have students write a six-sentence story as a first day exercise, for example. When they turn in their full drafts, class discussion begins with charting out the escalation of rising conflicts (Freytag’s Triangle, not to be too academic!) and ferreting out anything that doesn’t fit. And as we move toward revision, I have them reduce those drafts down to three sentences (three sentences of three words each!) to crystallize their understanding of the story’s purpose and arc.

Focus on the “one thing” is always the goal. Efficiency along the way, that’s key. “A short story is about subtraction,” I tell them. “Cut away anything that doesn’t belong.”

And yet…

Many of the stories that have stuck with me most vividly over the years are those that maintain that focus on “one thing” and yet also stretch further beyond it too: multiple points of view, intricate time shifts, a braiding together of several other elements in addition to whatever the central plotline might be. Here’s a sample of some favorites just off the top of my head:


  • “All Through the House” by Christophe Coake, with multiple points of view and a reverse chronology
  • “Ibrahim’s Eyes” by David Dean (one more SleuthSayer!), balancing two time frames with storylines that each inform the other
  • “The Babysitter” by Robert Coover, a wild story in so many ways, veering off into fantasies, desires, and what-ifs while still circling back to what actually happened (I think)
  • “Billy Goats” by Jill McCorkle, which is more like an essay at times, drifting and contemplative—in fact, I’ve passed it off as nonfiction in another of my classes
  • How I Contemplated the World from the Detroit House of Correction and Began My Life Over Again” by Joyce Carol Oates (full title of that one is “How I Contemplated the World from the Detroit House Of Correction and Began My Life Over Again—Notes for an Essay for an English Class at Baldwin Country Day School; Poking Around in Debris; Disgust and Curiosity; a Revelation of the Meaning of Life; a Happy Ending” so you can see how plot and structure might be going in several directions)

(All of these are about crimes—though some of them would more likely be classified mysteries than others. (Don’t make me bring up that “L” word.)) 


Even looking at my own fiction, I find that I’ve often tried to push some boundaries. My story “The Care and Feeding of Houseplants,” for example, alternates three different points of view, three characters bringing their own pasts and problems to bear on a single dinner party—with a couple of secrets hidden from the others, of course. Another recent story, “English 398: Fiction Workshop”—one I’ve talked about on SleuthSayers before—layers several kinds of storytelling, centered around a university-level writing workshop, with a variety of voices and tones in the mix. (The full title of the story makes a small nod toward Oates in fact: “English 398: Fiction Workshop—Notes from Class & A Partial Draft By Brittany Wallace, Plus Feedback, Conference & More.”) And a story I just finished revising earlier this week, “Loose Strands,” also has three narrators, an older man and two middle school boys, their stories coming together around a schoolyard fight, colliding, combining, and ultimately (at least I’m aiming for this) inseparable.

As I commented in the discussion forum in response to Amy Denton’s question: “I often try to think about how the characters involved each have their own storyline—the storylines of their lives—and how the interactions between characters are the intersections of those storylines. And I challenge myself to try to navigate a couple of those storylines as their own interweaving narrative arcs, each with its own resolution, where somehow the end of the story ties up each thread.”  
Maybe the idea of multiple points of view and subplots collapse together in several ways, thinking again of Catherine Dilts’ review of Rob’s story and of another, “Manitoba Postmortem” by S. L. Franklin. And in my workshops at Mason, I’ve used Madison Smartt Bell’s terrific book, Narrative Design, to explore modular storytelling, experimenting with shifts in chronology and points of view, layering several strands of story together. Some students catch on quickly, love the opportunities provided by this kind of storytelling. (But as beginning writers, it’s important—as I stressed—for them to build a firm foundation first in storytelling elements, techniques, and more straightforward structures. Walk those stepping stones first.) 

So in thinking about the discussion Amy’s question sparked and the review Catherine wrote and my teaching and my writing, I find myself pulled in a couple of different directions: committed to Barb’s (and Poe’s!) ideas about the short story, always striving to stick as close to the core armature of a story as I can, but also occasionally testing those boundaries, pushing them to see what happens.

So… some questions for readers here and for my SleuthSayer buddies as well: How would you answer the questions above about subplots and multiple points of view? How closely do yourself stick to the idea of the single-effect in the short story—to the story being about one thing? How do you balance those demands of the form with interests or ambitions in other directions?

As for my advanced fiction workshop ahead… I’m still going to keep the students concentrating on the “one thing” that’s the core of their stories—focus and efficiency always, and credit again to Barb. But as much as a workshop should be about learning the rules and following best practices, it should equally be a place to take some risks and have some fun. And so I also want them to play with structure and storytelling, to stretch their talents wherever they want, and to see where it takes them.

Any suggestions for the course—those are welcome too!



05 January 2019

Short Memories: 2018 in Review

by John M. Floyd


Happy New Year! I realize I'm a little late, and that the new year's almost a week old now--but since it's my duty here at the SleuthSayers office to post a column every first, third, and fifth Saturday, and since December had five Saturdays, well, here I am again, and I'm finding that I'm not yet in a 2019 frame of mind.

Looking back, 2018 had its ups and downs, but on the literary front things held pretty steady. Readingwise, I consumed several good novels: Past Tense, Lee Child; The Reckoning, John Grisham; Bluff, Michael Kardos; The Outsider, Stephen King; Gravesend, William Boyle; Escape to the Biltmore, Patricia Gaddis; Blind Spot, Reed Farrell Coleman; Give-A-Damn Jones, Bill Pronzini; Elevation, Stephen King; and eleven books in the Hap & Leonard series by Joe R. Lansdale (I really like Joe Lansdale). Writingwise, I produced no novels of my own, just more short stories--and, as I did at the beginning of last year, I've put together some statistics on those.


The 2018 story board

According to my hi-tech method of recordkeeping (a three-ring binder I rescued from the office trashcan when I retired from IBM years ago), I had 32 stories published in magazines and anthologies this past year and 30 more appeared in a collection from my publisher Joe Lee, of Dogwood Press, in October. And if you're interested in short-story markets--especially mystery markets--I've also noted the publications that these stories appeared in. Here's my list:


"Scavenger Hunt"--Alfred Hitchcock Mystery Magazine, Jan/Feb 2018 issue
"Lights Out"--Flash Bang Mysteries, Jan 2018
"Molly's Plan" (translation)--Inostrannaya Literatura, Jan 2018
"Two in the Bush"--Black Cat Mystery Magazine, Issue #2. 2018
"While You Were Out"--Flash Bang Mysteries, Spring 2018
"True Colors"--Kings River Life, April 14, 2018
"Mockingbird Thief"--Woman's World, April 18, 2018
"Cornbread Cookoff"--Woman's World, May 21, 2018
"Fun and Games"--Woman's World, June 11, 2018
"Runaway Bouquet"--Woman's World, June 25, 2018
"A Musical Clue"--Flash Bang Mysteries, Summer 2018
"Too Good to Be True"--Woman's World, July 16. 2018
"Diversions"--Black Cat Mystery Magazine, Issue #3, 2018
"The Blue Delta"--Sanctuary anthology, Darkhouse Books, July 2018
"Foreverglow"--The Strand Magazine, June-Oct 2018
"Easy as Pie"--Woman's World, August 8, 2018
"Lucy's Gold"--Saddlebag Dispatches, Spring/Summer 2018
"The Winslow Tunnel"--Bewildering Stories (serialized, Issues 767-768), 2018
"According to Luke"--Children of the Sky anthology, Aug 2018
"Home Delivery"--Woman's World, Aug 20, 2018
"The Music of Angels"--The Saturday Evening Post, Sep/Oct 2018
"Lightning"--Mystery Weekly, Sep 2018
"Frontier Justice"--Florida Happens (Bouchercon anthology), Sep 2018
"Half-Baked Plan"--Woman's World, Oct 1, 2018
"Gun Work"--The Best American Mystery Stories 2018, Oct 2, 2018
"Ye Olde Crime Scene"--Flash Bang Mysteries, Fall 2018
"Lucifer"--Under the Full Moon's Light anthology, Owl Hollow Press, Oct 2018
"Lucian's Cadillac"--The Strand Magazine, Oct 2018-Jan 2019
"Getting Out Alive"--Landfall anthology, Level Best Books, Nov 2018
"Cracking the Code"--Woman's World, Nov 19, 2018
"Annabelle"--Deep South Magazine, Nov 2018
"Disorganized Crime"--Woman's World, Nov 26, 2018

And . . .

The Barrens--a hardcover collection released Oct 30, 2018, by Dogwood Press. It includes two of my original stories ("Dawson's Curse" and "The Barrens") and 28 of my previously published stories.


NOTE: I also had two stories published in December--"On the Road With Mary Jo" in Ellery Queen Mystery Magazine and "Poetic Justice" in Woman's World--but I didn't count them here because the issue dates are Jan/Feb 2019 (EQMM) and January 7, 2019 (WW).


Behind-the-scenes numbers

Of my 62 stories that were published in 2018, 19 appeared in print magazines, 6 in print anthologies, 7 in online publications, and 30 in the collection mentioned above. Of the 32 stories published outside the collection, 28 went to paying markets, 24 to repeat markets, and 8 to new markets. One was selected for inclusion in Best American Mystery Stories and all the rest were unsolicited submissions. Genrewise, one story was a western, one was science fiction, one was fantasy, one was a romance, and 28 were mysteries (although some were cross-genre--mystery/western, mystery/fantasy, mystery/romance, etc.). Of those 32, 25 were original stories and 7 were reprints. As for settings, 17 took place in my home state of Mississippi and 15 were set elsewhere, and 16 were installments in a series (five different series, actually) and 16 were standalone stories. POVwise, 29 were third-person and 3 were first-person. Finally, 14 of the stories were less than 1000 words, 9 were between 1000 and 4000, and 9 were more than 4000.

As of this moment, 15 other stories have been accepted and will be published shortly and 36 more have been submitted and are sitting in various to-be-read queues and slush piles, awaiting a decision.

In the "alas and alack" department, I also received 28 rejections last year, from 17 different markets. Sad but true.


Questions

To any writer friends who might still be reading this post, how was 2018 for you? Did you sell a novel or a collection or a short story, or have one (or more) published? What great stories/novels did you read? Do you write an ongoing series, in either novels or stories? Do you have specific writing projects in progress, or upcoming in 2019? If you're a short-story writer, did you try to target only markets that pay professional rates?

Also, and selfishly: Do any of you know about mystery markets that I'm overlooking? As always, I try to check Sandra Seamans's wonderful blog My Little Corner regularly to find targets for my submissions. If you don't use that resource, you should!


That's it for this column, and for my literary memories of 2018. Best of luck to all of you, and may this new year be your best ever!

21 December 2018

The Best of Brittain

by Josh Pachter

One spring day when I was in the ninth grade, my English teacher — Mary Ryan — handed me a copy of the June 1966 issue of Ellery Queen’s Mystery Magazine and told me she thought I might find it interesting. She was right, and her thoughtful gift wound up changing my life.

That first EQMM basically dropped into my hands, like manna from Heaven. The next month, though — and every month thereafter until I graduated from high school and went off to college — I had to pedal my bike up Old Jerusalem Road in Levittown, New York, to the candy store a mile away to buy a copy of the new issue (along with the latest Mad, of course) from their magazine rack.

My second issue, dated July 1967, contained a delightful story called “The Woman Who Read Rex Stout,” by someone named William Brittain. It was the fourth entry in a series that had begun the previous year, with Brittain’s “The Man Who Read John Dickson Carr” and “The Man Who Read Ellery Queen” appearing back to back in the December ’65 issue.  (The third “Man Who Read” story, intriguingly titled “The Man Who Didn’t Read,” came out in May ’66, just before I became a regular reader.)

A fifth story, “The Boy Who Read Agatha Christie,” was published in December ’66, and the next year Brittain created a new series character, Leonard Strang, science teacher at Aldershot High School. Mr. Strang featured in three 1967 stories, and a fourth case for the science teacher and a sixth “Man Who Read” story came out in 1968.

Mr. Strang’s fourth adventure was in the December 1968 EQMM, and that was a very special issue for me, since it also included my own first-ever published piece of fiction, “E.Q. Griffen Earns His Name,” written when I was sixteen years old and published shortly after my seventeenth birthday, when I was a high-school senior.

Since I was now officially a “professional” author, I was eligible for membership in the Mystery Writers of America. I joined, and — though I was too young to drink the cocktails — began taking the Long Island Rail Road into Manhattan for the MWA’s monthly cocktail parties in its offices in the shabby old Hotel Seville. The membership — all at least a couple of decades older than me — treated me with amused tolerance, and I became friendly with an assortment of people who, over the previous couple of years, had become my heroes: Dorothy Salisbury Davis, Hilary Waugh, Lawrence Treat, Robert Bloch, Hans Holzer, Chris Steinbrenner (who tended the bar and could be counted on to slip me a couple of those cocktails I wasn’t old enough to drink), and others.

Four married couples — in each of which it was the husband who was the crime writer — took me under their wings and made me feel as if I was truly a member of a warm extended family: Ed and Pat Hoch, Stan and Marilyn Cohen, John and Barbara Lutz … and Bill and Ginny Brittain.

Bill wound up writing a total of eleven “Man Who Read” stories and thirty-two featuring Leonard Strang, all published in the pages of EQMM between 1965 and 1983. Between ’64 and ’77, he also penned twenty-nine standalones, eight (including a pair credited to “James Knox”) to Queen’s, twenty to Alfred Hitchcock’s Mystery Magazine (which ran his first-ever story, ironically titled “Joshua,” in its October ’64 issue, fourteen months before Bill cracked EQMM), and a single tale, his last published short story, “The Ferret Man,” to Antares.


After that, Bill decided to try his hand at writing books for younger readers, beginning with All the Money in the World in 1979 and ending with The Wizards and the Monster in 1994; bookended between those two were an even dozen others, including the Newbury Honor winner The Wish Giver in 1983.

Meanwhile, I went to college and grad school, taught for a year and a half at what was then Slippery Rock State College (now Slippery Rock University) in — I’m not making this up — Slippery Rock, Pennsylvania, and in 1976 I moved overseas, first to The Netherlands and eventually to Germany.

Bill and Ginny and I exchanged transatlantic snail mail for several years, but eventually lost touch.

And, to my regret, I never picked up the thread of our friendship after returning to the US in 1991. By then, Bill — himself a teacher, though he taught English at the junior-high level, not science to high-schoolers like Mr. Strang — had retired, and he and Ginny settled in Asheville, North Carolina, where they lived until his death on December 16, 2011, his eighty-first birthday. Not long after he passed on, Ginny returned to upstate New York to be close to their daughter, Sue Brittain Gawley.
 
Two years ago, in 2016, Dale Andrews and I decided to co-edit The Misadventures of Ellery Queen, a book I’d originally proposed to Frederic Dannay — who was half of the Ellery Queen writing team — in the early ‘70s. The book (which was published by Wildside Press earlier this year, and which you can order in hard cover, paperback, or for Kindle apps and readers here) consists of three sections: Pastiches (which are serious recreations of the Ellery Queen characters), Parodies (which poke fun at EQ, turning him into such bizarre incarnations of himself as Celery Keen and Elroy Quinn), and Potpourri (which includes stories inspired by Ellery the author, Ellery the editor, and Ellery the character).

One piece I knew had to be included in the Potpourri section was my old friend Bill Brittain’s “The Man Who Read Ellery Queen.” So I did some sleuthing of my own, and came up with a phone number for Ginny, who doesn’t use email. I called her, and we talked for an hour, our first conversation in decades. We had a wonderful talk, and she was happy to grant Dale and I permission to use Bill’s story in our book.

So happy, in fact, that I asked her how she’d feel about a possible collection of only Bill’s stories. That idea rocketed her straight up to Cloud Nine, and as soon as we got off the phone I emailed Doug Greene and Jeff Marks, the publishers at Crippen & Landru, to suggest a book I wanted to call The Man Who Read Mr. Strang: The Collected Short Fiction of William Brittain.

Within an hour, I had enthusiastic yesses from both of them, and I got to work.

A volume containing all eleven “Man Who Read” stories and all thirty-two of the Mr. Strangs would have been prohibitively expensive to produce, so we ultimately agreed to include all of the “Man Who Read” tales and seven of the Mr. Strangs (three from the ‘60s and two each from the ‘70s and early ‘80s).

Janet Hutchings, Jackie Sherbow, and Deanna McLafferty of EQMM graciously scanned and emailed me most of the stories, and Charles Ardai, Jon Breen, Mike Nevins, Bill Pronzini, and Arthur Vidro provided the rest of them. I typed them up and edited them lightly and wrote an introduction, Sue Gawley wrote a nostalgic afterword, and at Robert Lopresti’s suggestion I researched and compiled a comprehensive checklist of all of Bill’s publications for the back of the book.

In June of this year, I took my brand-new Kia Sportage out for its first road trip and drove from my home in Northern Virginia up to Rochester, New York, to have dinner with my old friend Patricia Hoch. The Hochs and the Brittains had been friends in Rochester before either Ed or Bill began to publish and had remained close for many years after both writing careers began, but they, too, had lost touch after the Brittains moved to North Carolina. So the next day I took Pat to Buffalo to have a splendiferous Italian lunch with Ginny and Sue., and this was the first time Pat and Ginny had seen each other in thirty years.

The original plan was for my book of Bill’s stories to come out in September, and I was eager to hand-deliver copies to Ginny and Sue. The book wound up delayed by a couple of months, though — due to no fault of the fabulous folks at Crippen & Landru! — and, by the time it finally came out last month, now titled The Man Who Read Mysteries: The Short Fiction of William Brittain, it was Thanksgiving weekend and I couldn’t get away. If you’d like a copy, you can order it directly from C&L here; I’ve arranged that whatever income I would normally receive for having edited the book will go directly to Ginny, so I hope you’ll buy lots of copies! It is now also available on Amazon.

I’ll go up to Buffalo and Rochester again in the spring, to share more time with Ginny and Sue and Pat and schmooze about the old days when I was a punk teenager just getting started in this crazy business and Ed and Pat and Bill and Ginny were much kinder to me than I could possibly have deserved. I’m looking forward to that.

Meanwhile, Dale and I are working on The Further Misadventures of Ellery Queen, and Doug and Jeff tell me that, if The Man Who Read Mysteries sells as well as they think it will — according to Doug, Bill is “one of the authors most requested by Crippen & Landru readers throughout its 25-year history” — they’d like me to do a second volume, including the rest of the Mr. Strangs.

I can’t wait!