Back in the Saddle

by Steve Liskow

 I used to conduct several writing workshops during the course of the year. My normal venue was libraries, moving to a couple of local writing retreats after Connecticut cut library budgets. The pandemic killed those workshops, too. Now, as more people get vaccinated, events are opening up again, some live and some remaining online.

I prefer live events because I like connecting with the audience. It's much easier to have a question and answer session live than online because you don't have to mute or unmute several people. It's easier to conduct writing activities and distribute handouts (I like handouts) or write on an easel for everyone to see. I can sell books, too.

In two weeks, I will join another crime writer for an online workshop through a library. We batted ideas around a few days ago and will have another phone session later this week. We want to come up with a coherent handout and some activities the participants can do online instead of merely listening to an hour-long lecture (Shudder...), but it's still going to be less interactive than a live show. I will hold up one of my books and encourage people to order it. So much for promotion.

What concerns me most is that the audience gets its money's worth. Some people may not figure out how to navigate Zoom, and others may show up late. Several may be the passive TV audience my theater friends and I used to carp about at intermission when we hadn't heard a response through the entire first act. 

When I taught drama, I gave my students a handout on theater etiquette, and I'm modifying it only slightly here for people attending a workshop or reading.

1.  Know what you've signed up for. We are crime writers discussing a pre-chosen topic, so don't ask us about poetry, memoir, or how to set up your website.

2. Show up on time. I once conducted a 90-minute workshop where a man arrived 25 minutes late. When I finished, he wanted me to re-cap what he'd missed. I had a 2 1/2 hour drive home ahead of me, so I declined. Ironically, when he reviewed the workshop, he complained that I didn't discuss the very topics he missed by being late.

3. If you're online, mute yourself except to ask questions. If you're live, silence your phone.

4. Feel free to ask questions. Questions show me where I need to be clearer or more specific if I do the same presentation again. Make your question a question and not an editorial. 

5. I like to provide hand-outs at my workshops, but please don't ask for extras. The libary prints up as many copies as there are people who signed up for the event, or I bring that exact number with me. I don't bring extras, and some of them need explanation anyway. If your friend wanted one, he should have joined you so I could answer HIS questions, too.

6. If you're going to comment on my looks or fashion sense, do it out of my earshot.

7. Try to find it in you heart to buy a book. Or, better yet, persuade the librarian to buy one for the library so other people can find out about me. Yes, I DO take credit cards.

8. I distribute bookmarks and business cards. They list my website, and the bookmarks have my novels listed on the back. If you don't want them, give them back or to the librarian so he or she can put them on display. Don't simply drop them under your chair so somebody has to pick them up after you leave.

9. Feel free to come up afterwards to say hello or buy a book. But use a little tact or common sense. Years ago, I was selling my first roller derby novel at a roller derby bout, and a man suggested that I write a book about some other topic. I don't remember what that topic was, but I asked if he'd buy it. He told me he didn't read. I had several responses on the tip of my tongue, but I restrained them. I did kill the guy off in a later book, though.

I love writing. I love doing workshops and meeting people even more. Especially the nice ones.

Dinner and Death

Last Saturday evening, I dined in a real restaurant for the first time since the coronavirus broke upon our shores. That same evening at the same restaurant in the heart of Orlando’s International Drive tourist center, a man was murdered.

It didn’t particularly surprise anyone. Most attendees expected something of the sort because homicides occur frequently at Sleuths Mystery Dinner Show.

Our show, not our cast

The occasion was Haboob’s birthday party arranged by her daughter who invited me (thanks, Kathy). I’d never attended a mystery show and looked forward to it.

Murder 1

The first mystery involved parking. The car lot was full. Shops and restaurants surrounding the theatre share a garage with Icon Park, a 20-acre entertainment complex, which includes a Madame Tussaud’s and a London Eye-type ride called The Wheel, approximately 122m (~400ft) in diameter.

Here, developers confused ‘arcade’ and ‘parkade’. The garage is loaded with exit signs, none of them useful. This results in cars milling like microbes, trying to decipher a way out. One unfortunate Hyundai has been circling since 2017. Family members rope up buckets from below and tote gasoline up stairs to refuel it. My friend Geri and I could have happily murdered the garage’s architect, but mayhem was supposed to occur in a dining establishment, not a garage.

A constable Connie, not our
scare-your-pants-off Connie

Murder 2

Sleuths operates two theatres and we found ourselves led to slaughter in Theatre II, a surprisingly large hall with a shallow stage along one side. There, a couple of dozen round tables accommodated up to ten guests. Real tablecloths, cloth serviettes, and real butter provided nice touches.

Let it be said, visitors don’t come for the dining experience. Chicken and vegetarian options were available, but our entire party ordered prime rib, a $6 extra disappointment. I could offer two or three smartass comments, but the less said, the better. Our neighbors ordered lasagna and voiced no complaint. Desserts were tasty and the wine was unexpectedly drinkable.

Waitress Nicole supplied us with tea and soda, and as far as I could discern, took no notes when doling out drinks and desserts to the correct parties. While I’m in a complimenting mood, thanks to Miss DeSantis (no relation to our dreadful governor) for help, kindness, and patience making reservations.

Staging a Death

In interactive murder mysteries, guests participate in the experience. They mingle with victims and suspects, and handle and inspect clues. This was not those.

Rather we are presented with one of five abbreviated plays, a comedy where four actors play five rôles. The skit takes place in an English Inn, placing the actors at risk of murdering the mother tongue worse than I. Fortunately, the cast treats dialect with a light touch.

Late update! @ Chris Sowers
The REAL Constable Connie
who owned the rôle

We meet the characters. Murder ensues. The law makes her entrance.

Holy Chautauqua!

The clear star of the show is Constable Connie Crabtree, whose actor also plays the crotchety murder victim. This doesn’t tell half of it and the masculine noun is not an affectation. Although the victim is male, the constable is female and… no, wait. See, the heavily made-up and considerably frightening Constable Connie is played in drag by an actor I wouldn’t want to meet in a dark alley.

But funny, hilariously funny. Political correctness has robbed our society of so much humor, it’s refreshing to let down our guard and enjoy witty innuendo and double entendres without clubbing us with correctness. God save the Queen.

On With the Show

The play draws to a close. The cast invites the audience to help solve the mystery by formulating questions– one per table– of the characters, mostly concerning conversational threads left dangling.

The audience was paying attention; several queries were highly pertinent. Despite my great renown as a world famous SleuthSayer, my question about parentage wasn’t chosen by my table, although it turned out to be the heart of the mystery. (So there!) Constable Connie’s acidic tongue kept questions moving, especially when a couple of tables had enjoyed a bit too much of the not-too-bad wine.

mystery worksheet

WhoDunWhat?

The play is not The Mousetrap. I found two chinks in the mystery itself, both unexplained gaps– or sudden leaps. Actors abruptly drop a comment that the victim fathered another character without us being previously presented with that fact. In the free-wheeling delivery of the play, was it overlooked?

Likewise, the audience had almost universally settled upon one cast member as the murderer, but the constable informed us it was quite another without linking evidence. Unless another clue had been left out, the choice of perpetrator seemed almost random. Perhaps we missed hearing a hint, but if we did, so did our half of the room.

I haven’t seen the script, but possibly a bit or two was inadvertently omitted. Still, we figured out the key to the plot and motive, and besides, the real point was the comedy. You don’t read Janet Evanovich for the plot, you read her stories for the laughter. Same with this play, Squires Inn.

Mouths of Babes

A number of young children sat near the front and loved it. Although one character in the play had paid heavily and labored for years to purchase the inn, the play’s sole woman (not counting Connie) inherited it, leaving the man with nothing. The constable asked the kids if the woman should share the inn with the man and they– almost entirely girls– shouted out a resounding No!

Oh sheesh. They’ve been listening to their mothers.

The theatre awarded birthday gifts and door prizes of a surprisingly useful magnifying glass. That was a superb touch.

At nearly 10:30 that night, I helped Geri find her car in the garage. I am not in the least kidding– cars were still queued snailing on the third level, trying to find their way out.

Verdict

From the viewpoint of a professional crime reader and writer, Squires Inn didn’t come off as a fair-play mystery with clues that pointed unambiguously to a single perpetrator. But as Hamlet said, “The play’s the thing.” It is a lot of fun and definitely worth the trip. You might not solve a mystery, you could die laughing.

Have a happy and safe 4^th of July!

Hope to Hear from You Soon

  

If you write and sell short fiction, there are three steps you have to take, over and over again: (1) write the story, (2) send it off, and (3) wait for a reply. That third task is the only one you can't control, and often seems to be the hardest.

No one likes to wait a long time to hear back from a story submission. I mean, you've created a masterpiece and you're ready to share it with the reading world, right NOW, and here you sit, waiting for months for some editor to decide if it's worthy. The final insult is that in some cases the best publications can take the longest time to respond. What's an impatient writer to do?

The simple answer: Don't send stories to those publications. Send only to those that respond promptly.

The problem is, that doesn't work for me. I want some of my stories to be featured occasionally in those long-responding publications. So my answer is, submit to them anyway. Send the stories off and wait, like everyone else. But meanwhile, also send stories to places that don't take so long. As in most things in life, it's a balancing act.

In the case of markets for mystery short stories, which ones take the longest to respond? Which are the quickest? Here are my thoughts on that, based on my own experience, for a few of what I consider to be prime markets in terms of quality and/or compensation.

Ellery Queen's Mystery Magazine -- Editor Janet Hutchings usually responds to my submissions fairly quickly. It might be a rejection note and it might be an acceptance (I'll let you guess which I get most often), but either way, I usually know within three months, and sometimes two or less. One of my acceptances came after four months, so maybe longer can be a good sign--has anyone else noticed that, or was this a fluke? FYI, payment for accepted EQMM stories is pleasingly prompt, but it might be months before your story is published.

Alfred Hitchcock's Mystery Magazine -- Linda Landrigan makes no secret of the fact that it takes her a long time to respond to story submissions. For me, that's usually been around eleven months, for both rejections and acceptances. A few of my stories have been accepted after a shorter time, and a few have taken a full year--but eleven months seems to be about right. Do I still send stories to AHMM, despite the long wait time? I sure do--and so do a lot of other writers. (The thrill and satisfaction of an AH acceptance is enough to outweigh the delay.) Also, be aware that AHMM, like EQMM, usually has a backlog such that publication might not happen for many months.

Strand Magazine -- Andrew Gulli is not known for responding right away to submissions, and in fact he sometimes never responds unless he wants to buy the story. When he does want a story, he usually tells you right away, within a few weeks. I have to agree with those who say it can be frustrating to never hear back from a submission--but remember, if you don't like that policy, don't submit a story. I choose to submit to them anyway. If a story's accepted, great, and if it's not, I write them a polite withdrawal note after several months and then send the story elsewhere. On the plus side, my accepted stories at the Strand have usually been published right away, in the next issue.

Black Cat Mystery Magazine -- Editor Michael Bracken often makes all this a bit easier by announcing when he'll be open to new submissions. When the window is open, I've found that he's fairly prompt in responding, and payment is prompt as well. It can sometimes take awhile until your accepted story is published--most magazines plan way ahead, on this kind of thing--but it's worth the wait. Something else I should mention: BCMM, like most of the others I've listed here, seems to be a popular source of award-nominated and "best-of-the-year"-selected stories.

Mystery Weekly -- Kerry Carter is another who responds quickly, and there's the added benefit of having a submission status link that can tell you how many stories are ahead of yours in the reading queue. My response time there, for both acceptances and rejections, has usually been less than three weeks, but--once again--publication of accepted stories can take a while.

Woman's World -- Editor Alexandra Pollock still publishes mini-mysteries (they call them Solve-It-Yourself mysteries now), and although I don't submit to WW as much as I used to, I still send them stories from time to time. In my experience, they either respond after a few weeks or they (like the Strand) don't respond at all, and if I haven't heard from them in three months I send a withdrawal note, after which I change the "format" of the story and submit it elsewhere. Again, I don't complain about their no-response policy--that's just the way the mop flops. If you don't like it, don't send them anything. But be aware that when they do accept a story, payment is quick and generous (for a mystery, it's $450 for less than 600 words) and publication comes soon afterward, usually within a couple of months.

 

Remember, don't take the above observations as fact. I think they're good indicators of recent response times, but they're all based on my own stories to these markets--and besides, I suspect those wait times could change at any point. What are your experiences, with the short stories you've submitted to these and other markets? If you would, let me know in the comments section.

 

Meanwhile, do what I do. I'm not the most patient person in the world, but when I send a story out, I then try to forget about it and work instead on writing and submitting more stories. That's the best way I know to relieve response-time stress. And when you do get a reply, may your answer be a contract and not a rejection.

That's the best medicine of all.

Ear Reading

Source: audible.com

Once upon a time, I only consumed books via paperback and hardcover. Ebooks either were not a thing yet. When they were, they were kind of lame in the era before Kindle. Then there were audiobooks. But producers worked a bit too hard to turn them into radio plays. To me, reading was words on paper. End of discussion.

And then, during my waning days as a pizza delivery driver, someone took me to a store down the hill from my apartment at the time. It was the early 2000s, so cassettes still existed. My first audiobook, an unabridged version of Loren Estleman's A Smile on the Face of the Tiger. It came on eight cassettes that, amazingly, my cassette deck didn't eat it. Or any of the other books I rented on cassette. Or borrowed from the library.

About that time, producers of audiobooks had struck the right balance of simply reading the book and having the reader perform. Sometimes, the wrong reader could have hilarious results. For instance, the 80-something William Windom reading a Spenser novel. It was like grandpa hitting on Susan Silverman. On the other hand, Burt Reynolds nailed Spenser by basically reading him as a parody of...

Burt Reynolds.

But for me, it expanded my reading lists. At the time, I didn't need to expand my reading list. I regularly could read a book a week, and this was before speed reading. So, are you really reading a book when you listen?

There are some differences. When I reviewed books, I sometimes had to email authors to get the spelling of a name or a word. Especially if it was science fiction. On the other hand, listening to a book is passive. Load up your book, and someone reads it to you. Reading print or ebooks takes effort. (And really, in terms of content, I no longer differentiate between ebook and print. You still have to scan the text.)

This passivity has become a godsend. For the past two years, I've had to add caregiver to my many hats, as well as working two jobs. Audiobooks let me make up the shortfall as I couldn't read as many print books anymore.  

And the Audible subscription is the absolute last thing that goes when I have to tighten the belt. A credit a month gets me any book I want. But does the reader make a difference?

Well, there's a difference between RC Bray reading The Martian and Wil Wheaton reading it. I bought both versions. Bray can fake an Indian accent without making it sound like a parody. Wheaton just imbues Kapoor with his own world-weary sarcasm.

But while it's listening instead of seeing, I consider it to be the same as reading a book. The delivery does make for a different experience, but I am consuming narrative. For the longest time, I listened mainly to nonfiction on audio and read fiction. Over time, it became audio for scifi and reading everything else. Now both are an eclectic mix. 

Recently, I learned to speed read, which let me get through King's 11/22/63 in just over a week. Contrast that with when I read Under the Dome, which took months.Currently, I'm reading Blacktop Wasteland in hardcover. And frankly, I like the option of slowing down when I read an author with a distinctive voice. Audio might not actually work for me on this one. I need to hear SA Cosby unfiltered. On the other hand, the reader of Iain Banks's Consider Phlebas manages to stay out of the way of the narrative. It's a thin line the readers have to walk.

A Short Evocation of a Lesser Common Narcissist

(Based on true events, but the names and cities have been changed to protect… you know how it goes.)

Many years ago, a guy named Kirk came to visit us for New Year's in Laskin, SD, bringing with him an Internet friend, Rona. The last time we'd seen Kirk was over ten years before, when we still lived on the East Coast. Since then he and his wife, Anna, had split up. According to Kirk, she went crazy, and I mean literally crazy. This may be true - Anna always seemed a little strange to me - but I can also assure you that living with Kirk didn't help. Kirk was profoundly convinced of his ability to do anything, superbly, without practice or study. And shared his expertise with everyone. The latest iteration was computer: 

"You remember how I used to be into hacking? Made me the expert on security issues. I get messages from people and companies all around the world wanting me to fix their stuff. Make it impervious to scammers. Set up firewalls no hacker can breach. I could make a mint, but I'm picky about who I work for. But they all know what I can do. They all want me." 

Why, then, after Kirk and Anna split up, he went to Arizona, looking for the six figure dot-com job,  I have no idea.  Apparently no one had ever told him about Silicon Valley. He didn't find the job or any other, except some side gigs. I'm not sure he actually looked. After all, his repute was such that sooner or later the perfect job would find him, right? 

Meanwhile, he couch-surfed from friend to friend, apartment to apartment.  And he searched for love on the internet, and found Rona, from Serbia, and headed off to see her in Texas. 

Rona was getting her doctorate in plant cellular microbiology at Southern Methodist University. How she got from Serbia to Dallas is a whole 'nother story, but let's just say Dallas was major culture shock. She ended up retreating into her studio apartment and spent most of her time outside of classes and labs on-line. She told me that meeting people via the Internet was safe in Europe. "You meet normal people." Then came Kirk. Who sounded like every other lad looking for love on-line.

She was lonely and he was lonely, and she invited him to come to Dallas and visit for a few days. Along the way he called us and invited himself and Rona to visit for New Year's. He implied that he had met Rona in Dallas and something about Christmas with her family in Fargo.  We had no idea he had (1) never been to Dallas before, (2) never physically met her at all, and (3) that she had no family in the Americas. 

So we said sure, come on up, and he said, "Well, we should be there in an hour."  

And they were.  

I liked Rona at once. Physically, she looked tired and worn out, not just from the trip, but from her whole life. She grew up and lived in Belgrade throughout the whole breakup and the Kosovo bombings and the subsequent craziness of rebuilding. And now she was in a strange country, and even though American TV is universal, living here is different than watching it on TV. She chain smoked (but then so did we back then), and had a terrible cough.  She was also very intelligent and had goals and the drive to fulfill them.  The plan was to get her doctorate and become a scientist and make a good living. 

Meanwhile, I had forgotten how exhausting Kirk was. He paced and postured and never, ever, ever shut up. Mostly about himself.  Mostly his amazing track record with jobs, knowledge, and women, all of whom always developed a major crush on him.  

But not Rona.  Definitely not.  In fact, she was completely weirded out by him, and wanted to get away from him ASAP.  Per Rona's desperate request to me (almost as soon as she hit the front door), they had separate sleeping arrangements the entire visit.  Kirk was offended, because - as he repeatedly said - they were just friends and that’s all that he had in mind.  He'd never even thought about her "that way".  By the second night of the visit he was obsessed with it.  I know, because he talked to me for 3 hours straight:

"I don't know what I did.  Why is she so upset?  What is her problem?  You know, she's really very domineering and aggressive.  I don't like that in a woman.  Maybe I should have just gone for a one-night stand, maybe that's what she really wants.  I'm not that kind of guy, you know that, everyone knows that, but sometimes you've got to do what they want, whether they know it or not, you know?"

Repeated, over and over and over again on a bitterly escalating loop that was disturbing, and made me afraid for Rona after they left our place.  

But Rona had survived worse things than Kirk.  They left Monday morning, and a couple of hours later Rona walked out on him at a coffee shop in Sioux Falls.  (I had asked her to call me to let me know if she was okay: she did and she was.) She got a taxi to the airport, where she planned to stay until she got a flight. Any flight. She could do that because she had credit cards.  

Kirk did not.  All he had was the rental car. So he called us and said he was broke and that he needed some money, and could we come down to Sioux Falls and give him some? And if not, how about if he turned around and came back and spent some more time with us? Granted, it was a very small-time extortion, but it was neatly done.   

Of course we drove down and gave him $75, and said, "Well, it's been great, but we've got to get back to work, and so do you, and have safe journeys, traveling mercies, and, uh, next time maybe give us a heads up before you come to town."  

Kirk took the money, but his feelings were clearly hurt.  

"Well," he said, right before he drove off, "as I remember it, you invited me."

---

BSP

Read "The Sweet Life" in the July/August Issue of Alfred Hitchcock Mystery Magazine.

Also, my story "Collateral Damage" is in Murderous Ink Press' Crimeucopia: We're All Animals Under the Skin. Available at Amazon.

---

Lending Library

 

 Last summer we had a minor household disaster.  The water heater burst and half of our possessions spent several months in a storage unit in our driveway while flooring was removed, new doors installed, etc.  Everything is fine now, better than ever.

But I had an interesting experience when I was reorganizing the fifty or so shelves of books that reside on our lower floor.  Specifically I noticed a certain category of books scattered throughout.

These are the books we have more than one copy of.  There are a few books that I buy an extra copy of whenever I spot it in a used book store.  Why?  So I can give them away, and not worry about getting them back.

As a dedicated reader and a recovering librarian I have a strong desire to proselytize, to tell people "You just HAVE to read this book!"  Not surprisingly they tend to be books I reread every few years.  So let's talk about a few of them, in chronological order.

Don Marquis.  archy and mehitabel.  (1930)  Marquis wrote a newspaper column which, by God, had to be filled with something every day.  And so one morning he claimed to have found a cockroach jumping up and down on his typewriter keys.  The literary insect was archy (he couldn't reach the capital letters), a free verse poet who had been reincarnated as a bug.  mehitabel was his friend, an alley cat who claimed to have been Cleopatra in another life.  "you want to know / whether  i believe in ghosts / of course i do not believe in them / if you had known / as many of them as i have / you would not / believe in them either"

Walter M. Miller, Jr. A Canticle For Lebowitz.  (1959) One of the great post-apocalyptic novels, and a very Catholic one.  It concerns the bookleggers, an order of monks who salvaged the few remaining books from the anti-intellectual, anti-scientific riots that followed nuclear war.  Canticle consists of three novellas spread over a thousand years  - and one character appears in all three. 

H. Allen Smith. The Great Chili Confrontation. (1969)  One of the funniest nonfiction books I have ever read.  Smith wrote an article about chili which so offended some Texans that they challenged him to a contest.  And so the Terlingua Chili Cook-off came into existence - and Smith fell in love with the Lone Start State.  Here is a Texan discussing his wife's views on religion: "She believes things a mud turtle would blush to believe."

Donald E. Westlake.  The Hot Rock. (1970)  One of the funniest crime novels ever, it concerns a gang of burglars who have to steal the same emerald over and over.  "I've heard of habitual criminals, but never the habitual crime."  Westlake intended it to be a standalone novel but John Dortmunder was such a great character, the smart but luckless sad sack, that he appeared in a dozen books.

Russell Hoban.  Riddley Walker.  (1980) Another post-apocalyptic novel.  Thousands of years after a nuclear war progress is just beginning to show its head.  And that ain't necessarily a good thing.  What makes this book unique is the language it uses, a simplified English that is just starting to be written down again.  Take for instance one phrase that appears in the book several times: "the hart of the wud." Depending on context this could mean a deer in the forest, a kiln (hearth of the wood), charcoal (heart of the wood), or the human spirit (heart of the would) - or all of them at once.  It will blow your mind, just as it destroyed Hoban's ability to spell.

Thomas Perry. Island.  (1987) Harry and Emma are conmen who steal a ton of money from a very bad guy and flee to the Caribbean.  Their problem is how to invest their loot.  So they take an unclaimed island, barely high enough out of the water to stand on, and pile junk on it until it's big enough to be a country.  The plan is make a fortune off loose banking regulations and no-extradition laws.  But it turns out you have to think about other things, like: What should be illegal?  Do you accept refugees?  Turns out running a country is complicated.  Who knew?

Terry Pratchett.  Small Gods. (1992) A British reviewer said Sir Terry is the greatest satirist in English since Chaucer.  His Discworld books consist of at least seven separate (and interconnecting) subseries. I urge people to start with Small Gods because it is one of the best and because it is a standalone.  Brutha is a very minor novice in the Omnian religion so he never expects to meet the great god Om - especially in the form of a tortoise.  Om is having a bad millenium...  “The trouble was that he was talking in philosophy but they were listening in gibberish.”

Harry Turtledove.  Guns of the South.  (1992) The greatest alternative history novel I know.  Some Afrikaners build a time machine and decide to nip Black independence in the bud by selling machine guns to the Confederacy.  A brilliant piece of fiction and a meditation on American history.

So, what are the books you try to talk people into reading?

Bad Contracts

During the forty-plus years I’ve been writing professionally, I’ve heard no end of complaints about the bad contracts writers have signed.

I’ve also signed bad contracts, but I’m not about to complain. The difference between most complainers and me: I signed bad contracts knowing full well they were bad. I knew what I was getting into, and, when I balanced short-term benefits against long-term benefits, short-term benefits won.

Mostly during the early years, but continuing up until the mid-2010s, I sold all rights to more than 400 short stories because the promise of immediate payment meant food on the table and a roof over my family’s head. The possibility of potential additional income from the licensing of reprints and other subsidiary rights at some indefinable point in the future was insufficient to counter-balance immediate income.

(“Immediate” is a relative term: even with “pay on acceptance” publications, there’s often a several-week gap between returning a signed contract and receiving payment, and one publisher I worked with slowly stretched weeks into months before finally ceasing all payments.)

The stories for which I sold all rights were often published under pseudonyms or without any byline at all, and they were written in genres for which there was no perceived life after initial publication. So, unless I told you the titles of those stories and where they were published, you might never know they were mine, nor were you likely to see the stories in any form other than original publication.

Until now.

Print-on-demand and electronic books have changed publishing, making it easier and less expensive to release collections of reprints. At least two publishers that own defunct magazines that published my work are doing just that, gathering stories from their archives and assembling them into POD anthologies and eBooks available from various online bookstores.

During the past few years, I’ve been keeping an eye on these publishers’ releases, using Amazon’s “Look Inside” feature and my wife’s Prime account to search for reprints of my stories. Often the story titles remain unchanged, so my work is reasonably easy to identify. Even so, I occasionally find stories by other writers with titles identical to mine, which is why I use my wife’s Prime account to dig deeper than just examining story titles.

---

Recently, I discovered eight of my stories reprinted by two different publishers in three different anthologies: Falling in Love...Again (BroadLit) contains one story, Stroke of Midnight (True Renditions, LLC) contains one story, and Cupid’s Day (True Renditions, LLC) contains six stories. And this isn’t the first time I’ve found stories reprinted without my knowledge. So far, I’ve identified at least twenty.

I don’t expect to be notified when one of these stories is reprinted. The original publishers presented me with all-rights contracts that I willingly signed, and the current owners of those rights can do with the stories what they wish.

Even so, I likely will never sign another all-rights contract (which, for those who don’t know, is not the same as a work-for-hire contract), but, who knows, there may be another bad contract in my future. And if I sign it, I’ll have no one to blame but myself.

---

In other reprint news: “Mr. Sugarman Visits the Bookmobile,” originally published in Shhh...Murder! (Darkhouse Books, 2018) was released in May 2021 as one of Wildside Press’s Barb Goffman Presents titles, and “Feel the Pain,” originally published in Flesh & Blood: Guilty as Sin (Mysterious Press, 2003) was reprinted in Modern Mayhem, June 7, 2021.

---

Why I Still Don't Outline

I am not and never have been an outliner. Short story writers don't use the contemptuous word "pantsers" (for "writing by the seat of the pants") for people who don't outline as much as novelists do. I prefer the term "writing into the mist." There's nothing wrong with writers who outline. I believe that most of us, the more experienced we become in our craft, realize that each of us has a personal process, applying structure and intuition in varying proportions, depending on what works.

Is it honing our craft to keep re-examining our own process, or is it gazing into the mirror à la Narcissus? Maybe a bit of both? With more certainty, I can say it's always worthwhile to hear about the process of others. If a writer admits to using a bit of intuitive magic, it helps me understand why I can't get the same results—I don't have the same gifts. If another writer shares a technique, I can try it. Maybe it will work for me. If it does, I've added to the tools of my craft. If it doesn't, I've gained understanding of the nature of my process and how it differs from that of other writers.

Here's how it works for me. I'm not saying I start by sitting down to a blank page. In fact, I never sit down to a blank page. That doesn't work for me, which is why some writers' tenets of writing every day, writing at a certain hour, or writing a certain number of pages daily wouldn't work for me. There's an "out of the mist" as well as an "into the mist," and "out of the mist" (otherwise known as inspiration, the Muse, the unconscious, or a Higher Power, depending on your belief system and what century you live in) is where the ideas that get me going come to me. It may be a title, a theme, the rough idea for a story, a line of narrative, or characters talking in my head.

This burst of creativity usually comes when my mind is relaxed—and when it's inconvenient to rush immediately to the computer. Some of my best stories have been born while I was lying on my back on the living room floor doing my stretches. But as soon as possible, I get down these initial thoughts and take them as far as I can until the mist closes in again. Sometimes I end up with a page of notes for a story, sometimes with the first page or two of the story itself with notes for where it's going. Now I know what I have to work on next time I sit down to write.

Why don't I outline now? you may ask. Wouldn't it make my task easier? Not if I want to bring the story to life. Over the years, I've finally learned to plot a twisty tale. But I know my greatest strength is character and all that goes into it: dialogue, humor, emotion, and relationships. And the process of creating them is completely intuitive for me. Until the main characters meet and interact with the secondary characters, and until I know who they are and what they'll say, I don't know exactly what the scenes will be and how the story will arrive at what I think will be the conclusion. I have a lot of "maybes" in my notes. But I know there'll be surprises.

I have two major sets of series characters with distinctive and entirely different voices. And I write standalones, mostly in first person, in voices that I try to make distinctive enough that they don't sound like my contemporary series protagonist's voice. I am bemused when I come across writing workshops that suggest aspiring writers learn to "build a character." Even when my notes identify the secondary characters in advance, an unexpected one may pop up—lively, quirky, even important to the plot. As for "building"—I could pre-plan appearance, but who cares about appearance? I could plan personality traits, but I want to "show, not tell." Nothing irritates me more than to read that a character has "a wicked sense of humor," and have that character say nothing more exciting than, "Pass the peanut butter."

There's a certain amount of anxiety in writing into the mist. Until I complete the first draft, even if I have an idea of the outcome, I'm never quite sure I'll make it until I get there. But the joy of creation is very much alive for me in the writing. I haven't squandered any of it in advance.

Blue Light Special

Back in the summer of 1980,Miami was an open town. The Cocaine Cowboys were riding high with cash, guns, killings and lots of product. Enterprising pilots, flying under the radar, clandestinely dropped parcels of cocaine and bundles of marijuana into the swamps to be recovered by ground crews. Mother ships loaded with marijuana out of Colombian ports ran the high seas headed north. Dealers used grocery sacks to take their money to the bank. Get in a wreck with a van load of marijuana on the Interstate? Walk away, there will be another load. Homicide cops responding to killings of major league dealers found large quantities of money. Temptation set in. After all, the owner of all that cash wasn't alive to complain about his loss. But, when those big payouts went dry, some entrepreneur cops decided to make their own killings. And, guess who did the homicide investigations on those deceased dealers? It could be an exciting time...... if you lived.

That summer, I caught a special and got loaned out to our office in Miami for a few months. Twelve of us agents from various offices across the U.S. were temporarily assigned to the same task force to replace the group of local agents who were being relocated further south to conduct surveillance on clandestine landing strips known to be on several islands in the Caribbean.

Part of our duties were to partner with U.S. Customs out of the port of Miami in order to intercept smugglers along the Florida coast at midnight as they tried running in from the Bahama banks. We hunted in wolf packs with go-fast boats and a Customs tug boat which operated a radar set. Whenever the tug's First Mate got a speeding blip on his radar screen, he radioed the information to the appropriate go-fast boats and the chase was on. At the time, Customs used a flashing blue Kojak light to signify their presence. Some smugglers then idled their engines and trusted to their hidden compartments to get them through. Others goosed their engines and ran for it.

Meanwhile, on the Gulf side of Florida a few enterprising redneck entrepreneurs who didn't have the cash nor connections to purchase large quantities of controlled substances on their own came up with the bright idea of acquiring their own flashing blue lights. This situation made for confusion and adrenaline, not to mention what you might call a touch of modern day piracy conducted under a false flag.

With all of this fodder for a short story, I couldn't resist when Mystery Weekly Magazine put out a submission call for humorous stories to publish in its Die Laughing anthology. My story, "Blue Light Special," was accepted earlier this month, the e-contract has been signed, PayPal has delivered the payment and now I'm somewhat patiently waiting to have the anthology in hand.

Yes, you may sleep easy in your beds at night. Worse thought-out plots of nefarious action have occurred on the high seas in the dark of night. So, pleasant reading to you and yours, and have a few laughs while you're at it.

PS ~415 stories were submitted to the anthology, 44 were accepted. A hearty congratulations to SleuthSayers Rob Lopresti and Bob Mangeot for making the cut.

How to Create a Great Villain

Ah, those students of mine.  Here I was, doing the lecture thing about motivation, how ALL your characters need to have believable motivation for what they are doing.  Especially, doncha know, your antagonist (villain, if you prefer.)  "No Cardboard Villains!" I profoundly announced.

And then the question...

"So, how DO you create a great villain?" he asked.

Bless his little heart.

"Em...." I said with scholarly conviction.  "Just what I'm going to cover next week!"

Next day, prof frantically writes a brand new handout, here presented.  With thanks to my beloved students for keeping me on my toes....

 HOW TO CREATE A GREAT VILLAIN

Let's go back to basics.  How many characters do you need for a novel?

Melodie says:  a minimum of three  (and yes, there are always exceptions.)

Your Protagonist.  This is your main character, your main viewpoint character.  We will be experiencing the story through her eyes throughout.

Sidekick.  Your protagonist (and your story) will likely benefit from having a sidekick, some friendly soul to share the journey with.  If you don't give your main character a sidekick, then she will be spending pages and pages talking to herself, which is boring for the read.  

Examples:  Sherlock Holmes and Watson.  In my Rowena Through the Wall series, Rowena and Kendra.  In The Goddaughter series, Gina and her loopy cousin Nico.

Antagonist.  Yes, usually you need someone to provide the conflict.  We might call them a villain.  Your protagonist wants something that isn't easy to get and often there will be a villain standing in his way.

 KILL OFF CARDBOARD VILLAINS

So many times, villains seem cardboard.  This is because the author hasn't spent time building them into believable characters.  Sure, your villain can be a psychopath who is simply insane, but that gets pretty boring for readers.  

The most interesting villains are those who have desires that we can relate to.

Have you ever wished someone harm?  Villains do so as well.  Why do they act on those desires when we would hold back?  THAT's what makes them interesting.

Checklist for creating a Great Villain:

1.  KNOW HOW A VILLAIN THINKS - The number one thing to keep in mind when creating your antagonist?  Villains never think they are villains.  To them, their actions are justified and rational.  They are acting in their own self-interest.  Others simply stand in the way of what they want and deserve.

Get that last word:  deserve. Often, villain feel they have been cheated of what they rightly deserve.

2.  BELIEVABLE MOTIVATION - Make sure your antagonist has adequate motivation.  Don't neglect this!  Why is he doing what he's doing?  What does he want?  Why is he taking the risk?  In many countries and past ages, murder comes with the death penalty.  What is so important to him that he would take that risk?

Motivations for villains:  Revenge for past wrongs, safety, monetary gain, business or professional gain, power of overs, sexual desire (particularly for the protagonist.)  All the traditional motivations for murders:  Revenge, sex and money.

3.  GIVE HIM BACKGROUND - Your villain didn't get the way he is out of nowhere.  He didn't start out a villain.  Make him three-dimensional, and for goodness sake, avoid using trite over-used dialogue ("Now I have you in my clutches...")  I advise doing a character sketch for your villain as well as your protagonist.

4.  A LIKEABLE VILLAIN?  Can you make your antagonist likeable?  Of course you can!  Soren, in Rowena and the Viking Warlord, is a demon summoned from Hell.  Old religions knew him as Baal.  He is scary as all get-out, when first introduced to the reader.  But as you get to know him more and learn his motivations, you might even start to like him.  He's not ALL bad.  Let me repeat that. Not all bad.  Think about that, when creating your villain.

5.  MAKE IT PERSONAL - Finally, when possible, give your villain a history with the protagonist.  Yes, you can write about a psychopath who picks victims at random.  But isn't if far more interesting if the antagonist has a history with the protagonist?  The bad-boy past boyfriend who returns suddenly to your heroine's life and puts it in turmoil?  The girl you hated in high school who is now the defense attorney standing in the way of your solving the crime... Past unresolved emotions can add more power to your manuscript.

Remember:  Your villain is there to provide CONFLICT in your novel.  Will your protagonist get what they want?  Readers keep turning pages to find out, so make sure you maintain that conflict until the very end.

Melodie Campbell has written several series in many genres, but you can always count on them being funny.  Books available at all the usual suspects.  www.melodiecampbell.com

 

 

 

4.      

Ugolino Revisited

It’s November 2020. The weather’s warm on this, the weekend before Thanksgiving, so we decide to drink a bottle of wine outside on the patio. For eight months we have patronized a wine shop that delivers right to our door. The wine guy knows our tastes so well that he now just picks bottles he thinks we will enjoy. My wife grabs a bottle of white out of the fridge and brings it outside with two glasses. We pop the cork and pour the wine. My eyes flit across the label, and suddenly I’m traveling back in time.

You know this kind of moment, don’t you? Marcel Proust wrote his masterpiece, In Search of Lost Time, on the strength of a single, now-legendary memory—experienced by his protagonist. When writers bandy about the adjective Proustian, they are referring to this scene.

Photo by Jonathan Pielmayer via Unsplash

“I carried to my lips a spoonful of the tea in which I had let soften a bit of madeleine. But at the very instant when the mouthful of tea mixed with cake crumbs touched my palate, I quivered, attentive to the extraordinary thing that was happening inside me. A delicious pleasure had invaded me, isolated me, without my having any notion as to its cause. It had immediately rendered the vicissitudes of life unimportant to me, its disasters innocuous, its brevity illusory, acting in the same way that love acts, by filling me with a precious essence: or rather this essence was not merely inside me, it was me.”

In Brideshead Revisited, Evelyn Waugh employs not taste but a word and a sight to trigger the reverie of his narrator. In the middle of World War II Charles Ryder awakes one morning in his army tent to find that his unit is encamped on the grounds of an old country estate. He asks someone where they are.

“He told me and, on the instant, it was as though someone had switched off the wireless, and a voice that had been bawling in my ears, incessantly, fatuously, for days beyond number, had been suddenly cut short; an immense silence followed, empty at first, but gradually, as my outraged sense regained authority, full of a multitude of sweet and natural and long forgotten sounds: for he had spoken a name that was so familiar to me, a conjuror’s name of such ancient power, that, at its mere sound, the phantoms of those haunted late years began to take flight.”

They’re at Brideshead, of course. Ryder will now take 14 chapters to tell us why the place evokes such a profound feeling (largely of loss) in him. I suppose 14 chapters isn’t a bad length to milk a memory. Proust needed seven whole volumes to do the same.

Most people would call these moments flashbacks, but Proust called them involuntary memory. In creative works such experiences have three important components: 1) they trigger a memory of one’s youth, 2) accompanied by feelings of melancholy/loss, and 3) that memory has to be so freaking important that your plot lives or dies by it.

In The Sopranos, mob boss Tony Soprano suffers panic attacks whenever he sees, smells, or eats meat. These puzzling attacks trigger medical intervention, and eventually psychotherapy—which becomes the entire conceit of the show. In therapy, Tony realizes that as a kid he first witnessed his father’s violence in the back room of a butcher’s shop, and later watched his parents become amorous after Pop brings home meat from that pork store. Sex, meat, violence—madonna mia!—no wonder the guy’s screwed up.

In my family, we refer to such moments as “The Ratatouille Whoosh Scene.” In the Disney/Pixar film, our tiny protagonist—Remy, a rat who dreams of being a chef—finally gets his big chance to cook a meal for the snootiest (and aptly named) Parisian food critic, Anton Ego. The critic is primed to hate the work of this new, unknown chef. The waiter brings out a plate of the classic peasant dish. A puzzled Ego pops a morsel into his mouth. Whoosh!—he’s transported to his childhood and some memories of his sweet Maman. The entire plot of the film—and the lives of all the characters, including the critic—are transformed by that reverie.

I’m unsure if my whoosh moment last November lives up to the Proustian ideal. It was far from life-changing, but it did remind me that as much we strive to live in the present, the past has a hold on us that we can never shake. And when we write fictional characters, it’s wise to layer in these types of memories.

The wine, you see, was Italian, and bore the name Ugolino.

When I was a kid in high school, learning Italian for the first time, our teacher had us read selections from Dante’s Inferno. And so we learned that in the Ninth Circle of Hell resided the tortured spirit of Ugolino della Gherardesca. In real life he’d been an Italian noble and military commander who was tossed in a dungeon with his sons and grandsons for the crime of treason. In Dante’s scene, Ugolino recounts how his starving kin begged him to ease his own pain (and theirs) by killing and eating them.

Apologies for inserting the grisly specter of cannibalism into a story that up to now has featured subjects as lovely as baked goods, vegetable dishes, country estates, capicola, and wine. Cannibalism appears in true crime, journalism, fiction, fairy tales, and filmed dramas, but this is the only example I can think of where the subject figures in epic poetry. Archeologists say the real Ugolino (and his family) did not resort to cannibalism in their cell. But Dante hints at it in his lines, and depicts Ugolino as chewing on the skull of his enemy, the archbishop who had him imprisoned.

Our teacher asked for volunteers to read these passages aloud. Finding our attempts lackluster, our teacher demonstrated for us what he considered to be a lively, animated declamation. He threw his arms in the air, and cried to the heavens in a high-pitched wail: “Ugolino!!!! Save yourself! Eat us! Eat us, father!” (Paraphrasing the heck out of this passage.)

The whole class burst out laughing. The teacher, you see, was morbidly obese. Probably one of the largest people I have ever known. The sight of his gigantic, quivering, gesturing body at the head of the room moved the entire class of pubescent shits, myself included, to moist-eyed peals of laughter.
And now, forty years later, my eyes were moist again for a different reason. Now, I could only feel how much that teacher cared about us. I recalled his proficiency in four languages. And remembered how he’d died when barely into his forties, a victim of his own overworked heart.

I hadn’t thought of that lesson in years. That the memory should pop into my mind in all its freakish glory—cannibalism and poetry entwined—because of a strangely named bottle of wine drunk eight months into a pandemic is one of those stranger-than-fiction scenes you’d never attempt to stick in a story. Or would you?

Photo by MadMax Chef on Unsplash

* * *

See you in three weeks!

Joe

josephdagnese.com