Location Location Location – In “The Blues Don’t Care”

In front of Club Alabam

Every time I have a novel come out I do a post about some of the locations in it. I try to set most scenes in the real world and give that world a sense of verisimilitude (remember, don’t use a small word when you can use a six syllable one). Much, though not all, of what I write is set in Los Angeles. As is The Blues Don’t Care (dropping on 6/1/20, and available now for pre-order)…but with a twist this time. Instead of being set in the modern L.A. of White Heat, Broken Windows and Vortex this one is set in 1940s L.A., with World War II raging in the background.

Bobby Saxon is a young white piano player whose ambition is to get a spot with the all-black Booker ‘Boom Boom’ Taylor Orchestra (big band) at L.A.’s famous Club Alabam. He gets his wish but at the price of having to help investigate a murder that one of the band members is accused of.

Like Randy Newman said, I love L.A. (well, more like love-hate, but overall love) and I really loved researching the locations and history of 1940s L.A. Bobby’s adventures take him on a wild ride through mid-century Los Angeles, from the swanky Sunset Tower apartments in West Hollywood to seedy pool rooms near downtown and the vibrant jazz scene of Central Avenue.

So here are some of the stops on Bobby’s journey:

The Club Alabam and The Dunbar Hotel: In the days when African-Americans couldn’t stay at most hotels and couldn’t go to just any “white” nightclubs—or other establishments—they formed their own businesses. In L.A. the heart of the black community during the mid-twentieth century was Central Avenue. Clothing stores, barbershops, restaurants, doctors, dentists and pretty much anything one could want could be found there. And the heart of Central was the Dunbar Hotel (formerly Hotel Sumerville), which featured an elegant lobby with arched windows and entry ways and Art Deco chandeliers. The Dunbar was where the cream of black society, entertainers, politicians, et al., stayed when they were in town. Duke Ellington kept a suite there. Right next door to the Dunbar was the most famous of the nightclubs (of which there were many) on Central, the Club Alabam. Bobby spends a lot of time at both the Alabam and the Dunbar. And it’s said that one night when W.C. Fields got drunk at the Alabam he stayed overnight at the Dunbar, accidentally integrating it.

Two shots of the Dunbar Hotel, interior & exterior.
It was formerly the Hotel Somerville.

Famous couple at Musso & Frank.

Musso & Frank: Has been a Hollywood watering hole for decades, since the 1920s. There was a back room bar where famous writers including F. Scott Fitzgerald, Ernest Hemingway, John Fante, Thomas Wolfe and William Faulkner hung out. Movies stars like Charlie Chaplin, Gary Cooper, Betty Davis, Ginger Rogers, Greta Garbo and Edward G. Robinson all dined there. It’s known for its red-coated waiters, many of whom have worked there for decades, probably since the time of the story (maybe?). In Blues, Bobby plays piano in exchange for a free meal, but pays dearly for that meal when he’s ambushed outside of the restaurant. Here’s a recent pic of Amy and me there. We didn’t get ambushed that night, but anything’s possible on Hollywood Boulevard.

Another famous couple at Musso & Frank ;-)

The La Brea Tar Pits: Located on Rancho La Brea lands, the tar pits were a major excavation site in the 1910s for paleontologists from all over the world. In the 1920s ranch owner, Hancock, donated the land to Los Angeles County with the stipulation that the tar pits be designated as a protected park and that the fossils found there be retained and exhibited. When I was a kid we’d go on picnics at the park surrounding the tar pits and I have fond memories of them, including the acrid smell of the tar. Since those days the George C. Page Museum was built and fossil excavation continues to this day. Bobby visits the tar pits in a scene in the book, and let’s just say not all the bones in the tar pits are that old….but you’ll have to read the book to find out what really happens there.

La Brea Tar Pits (photo by Kimon Berlin)

The Long Beach Pike: In the novel, Bobby and his “partner” Sam Wilde head down to the Pike in Long Beach, while looking for clues. For decades the Pike was an amusement park by the sea. It featured a wooden roller coast, The Cyclone, with two tracks so cars could “race” each other. Bobby and Sam ride the coaster in one of the scenes at the Pike.

Long Beach Pike

There was also a midway with arcade games, shooting galleries, fortune tellers and assorted shops. And because it was situated near Naval shipyards, it earned a reputation for being a hangout for rowdy sailors looking for girls. That’s the atmosphere that appealed to me as a setting for some of the scenes in Blues.

In the 1970s it fell on hard times, got seedy and eventually closed.

One of the challenges writing Blues was figuring out how Bobby and Sam got down to Long Beach in the 1940s, before freeways. I turned to the usual sources for help, the internet, books, etc. But the best source was buying old Los Angeles area street maps from eBay. They really helped in this regard and were just plain fascinating in general. My mom also helped with her memories of how to get from “here” to “there.”

Here’s a short excerpt of Bobby and Sam heading to the Pike. When Bobby first meets Sam it’s not exactly under pleasant circumstances and Bobby isn’t sure if Sam is on his side or not, so the long ride to Long Beach is a little tense to say the least:

Long Beach was a navy town south of Los Angeles, the Pike its oceanside amusement quarter. Bobby knew there’d be lots of sailors around, if they ever actually made it to the Pike. They’d have to pass through the Wilmington oil fields on the way and that was as good a place as any to dispose of a body. The oil fields were a well-known dumping ground. Bodies were always bobbing up through the greasy black muck that leached to the surface.

Bobby white-knuckled the steering wheel, gripping as hard as he could, mostly so Wilde wouldn’t notice his shaking hands. They passed through the oil field, with its forests of towering derricks—supplicants reaching for the sky. Safely past the dumping grounds, he loosened his grip on the wheel.

Pickwick Books (in case the sign didn't give it away :-) )

Pickwick Bookshop: I loved this place, which is, unfortunately, gone now. It was an institution on Hollywood Boulevard for decades. Three stories of books, books and more books. There was a time when there were a ton of bookstores on Hollywood Boulevard, most of them used or antiquarian. I think most are gone today, replaced by electronic stores and gimcrack souvenir shops in large part. And people running around dressed up like super heroes who, if you take their picture without paying some ridiculous fee will chase you down and… Bobby has occasion to go there in the story, but my favorite part of the scene there was cut. Supposedly this is a true story that actually happened there, but fictionalized to include Bobby. So here it is:

Bobby looked away.
“There are no second acts in American life,” the salesman said, as Bobby handed him a five dollar bill.
“No, I guess not.”
“Know who said that?”
“Can’t say I do.”
“F. Scott Fitzgerald, the famous writer.”
“I like his books,” Bobby said. “But I don’t know the quote.”
“A man came in here one day looking for Fitzgerald’s The Great Gatsby. You know our store here’s on three floors, the first is current titles, the second level is for rare and unusual books. The third floor is for used books, bargains and the like.”
Why was the salesman telling him all this?
“So anyway, this man comes in and asks for Gatsby. The salesman tells him, ‘We don’t stock the work of dead authors on this floor. You’ll have to try upstairs.’”
“So did he find the book upstairs?”
“He did. And do you know what his name was?”
“No.”

Pickwick Books (interior)

“F. Scott Fitzgerald. I didn’t even recognize him and it’s been making me sick ever since. Especially since he died shortly after that. Another customer who knew him told me my not recognizing him and thinking he was dead had a catastrophic effect on him.” The clerk looked at the book Bobby had set on the counter. “Thomas Wolfe. No, you certainly can’t go home again.”
“Neither you nor me.”
The clerk finished wrapping Bobby’s book in brown paper, tied it with string. He handed it to Bobby with a wink. “Here’s your change.”

Max Factor Building: Bobby has occasion to go to the Max Factor building in Hollywood on Highland near Hollywood Boulevard. Max Factor is the famous Hollywood makeup artist, who branched out into a line of cosmetics that I think you can still buy today. He also had a salon where anyone could make an appointment and you might run into someone rich or famous while there. Bobby goes there on business, but feels a little funny, and maybe not for the obvious reasons. Today it’s the Hollywood Museum, so luckily here’s one building the Powers That Be didn’t tear down as happens so often in the City of Angels.

Max Factor building (the pic doesn't do it justice)

Cocoanut Grove: The Cocoanut Grove nightclub in the Ambassador Hotel on Wilshire was one of the premier, if not the premier nightclub in L.A. for ages. On a darker note, the Ambassador is also where RFK was shot by Sirhan Sirhan in 1968. Bobby takes Margaret, a woman he’s interested in and someone who might know more than she’s saying about the murder, on a date there. It might not have worked out so well for him…

Cocoanut Grove

Clover Field (A.K.A. The Santa Monica Airport): Douglas Aircraft worked out of Clover Field in the heart of Santa Monica. As such, during the war Warner Brothers technicians and artists came out from Burbank to camouflage the airfield so it couldn’t be seen from the air. Movie magic applied to real life. Bobby, his pal Sam Wilde, and Margaret wind up there when they’re chased by a mysterious car and end up almost breaching the base’s security, not something that is taken lightly by the MPs on duty. But what happens after that makes Bobby wish they’d been arrested by the MPs.

Clover Field: the center/bottom half of the pic is the concealed Douglas Aircraft

Cars parked under the camouflage tarp

Bradbury Building (photo by Jay Walsh)

The Bradbury Building: With its atrium, caged wrought iron elevator and marble and brick is one of my favorite places in Los Angeles. I’m sure you’ve seen it ’cause it’s been in many movies, especially the interior. Generally, one can’t go above the mezzanine as it’s still a functioning office building. I had a meeting there one time and felt special to be able to go up the elevator and walk the upper hall. Someone Bobby has an interest in has an office here, too. I don’t think his visit was as pleasant as mine… I did a whole SleuthSayers post on it some time back so if you want to check that out: https://www.sleuthsayers.org/2016/05/the-bradbury-building-screen-star.html .

These are a few of the places Bobby visits. I hope you’ve enjoyed this brief tour of 1940s Los Angeles. Stay tuned for more when the book comes out on June 1st. It’s available for pre-order now at Amazon, BarnesandNoble.com and iTunes.

~.~.~

And now for the usual BSP:

My short story "Fade-Out On Bunker Hill" came in 2nd place in the Ellery Queen Mystery Magazine Readers Poll. In lieu of the pre-Edgars cocktail party, we had a virtual awards ceremony. You can see the whole thing (including my bookshelves) on YouTube. I want to thank Janet Hutchings and Jackie Sherbow of Ellery Queen and, of course, everyone who voted for it!

Coming June 1st from Down & Out Books – The Blues Don't Care:

 “Paul D. Marks finds new gold in 40s’ L.A. noir while exploring prejudices in race, culture, and sexual identity. He is one helluva writer.”
                                                               —Michael Sears, author of the Jason Stafford series

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

Click here to: Subscribe to my Newsletter

The Sidekick Dilemma

The D Case by Carlo Fruttero and Franco Lucentini presents an intriguing bibliophile premise. They bring the great fictional detectives together at a consortium in Rome to re-read, analyze, and eventually solve the unfinished Charles Dickens novel The Mystery of Edwin Drood.

During the course of the action, we see Sherlock Holmes, Hercule Poirot, Arsene Lupin, Father Brown, Inspector Maigret, Pirfory Petrovich from Crime & Punishment, Philip Marlowe, Lew Archer, Nero Wolfe, and a few others. The only major sleuths I don't remember seeing are Ellery Queen and the cops of the 87th Precinct.

I remembered my introduction to many of these characters from my parents' bookshelves and coffee table. My mother loved Agatha Christie, Margery Allingham, and Rex Stout. I read all the existing Hardy Boys books between my tenth and eleventh birthday and receieved The Complete Sherlock Holmes for my twelfth birthday. I still have that book. As you can see, the binding is held together by duct tape.



Even at an early age, my reading ear was well-developed and I had definite likes and dislikes. I never liked Agatha Christie much, and I know now that it was because her dialogue sounded wooden and her characters felt like cardboard. The women were all either 12-year-old virgins or latent doms. I liked the early Holmes stories, but felt they went downhill after he went over the Reichenbach Falls, probably because Conan Doyle himself lost his enthusiasm. I discovered Nero Wolfe when I was 12 or 13, and always liked those books more. Now I know that Rex Stout was also from the Midwest, so our rhythms were similar.

Reading The D Case showed me something else that I'd never thought about. Another reason I never cared much for Poirot or Holmes is that Hastings and Watson always came across as so profoundly dull. They were the stereotypical stolid Englishmen with no imagination or creativity, and they bored the hell out of me. They spent page after page in arias extolling the brilliance of their companions, but did little else for the stories. Well, Watson had his service revolver. But they were so dull they weakened their heroes.

It's pretty much axiomatic that a hero gains his stature from the strength of his antagonist. A great villain demands a great hero. But if the people trying to solve the case can barely dress themselves, the guy solving that crime only needs to be able to tie his shoes.

All the cops in the 87th precinct were good detectives who spoke human dialogue and had real-life problems. Ditto Mrlowe and Archer. Nero Wolfe was an insufferable egomaniac like Poirot, but Archie Goodwin, Saul Panzer, and the other operatives were sharp investigators in their own right, and Archie only  put up with so much of Wolfe's attitude before calling him out on it. I always liked Wolfe more because he really did have to be better than Archie and the Cops. Those cops were a little narrow-minded, but they weren't cretins like Lestrade.

Look at the detectives who had to carry the load themselves without a shuffling minion to look up to them. My current favorites include Lehane's Kenzie and Gennaro (now retired), Don Winslow's Boone Daniels, and Karin Slaughter's Will Trent, who has to cope with his dyslexia. All these characters are solid investigators with capable help and no fanboys in sight.

Call me elitist, but I like them a lot better.

COVID19 in America versus Canada

Anger is the biggest difference between America and Canada’s response to the coronavirus pandemic.

Many people have been discussing the difference between the response to the coronavirus pandemic by the United States and Canada. “When you look at per capita cases and deaths across the course of the entire outbreak, the comparison looks even worse: the United States has over two times as many confirmed coronavirus cases as Canada and roughly twice as many deaths.”

The factors impacting coronavirus infections and deaths in the two countries are complicated and will, I’m certain, be analyzed for years.

What I find impossibly sad is the level of anger in the United States that is not directed at this virus – because we should all be furious at this virus - but at each other.

While both countries are grappling with how to open up the country and help the economy recover, the stories in the two countries couldn’t be more different. As they say, a picture is worth a thousand words. 



In America: 

In Canada:

One obvious difference is that in Canada, we are not allowed to openly carry guns. However, aside from the guns, the differences are crucial and it is in the level of anger and intimidation in the United States.

In Ontario, my home province, the Premier responded to the protests by saying: “Ontario Premier Doug Ford says he’s furious at the “bunch of yahoos” who decided to flout physical distancing measures and emergency laws to protest outside Queen’s Park Saturday afternoon, calling them “irresponsible, reckless and selfish.”

For those who don’t speak Canadian, this is a very, very angry statement by a Canadian Premier. Also - he suggested consequences: “He said he hoped Toronto police would ticket them.
Not keeping at least two metres apart from someone not in your own household currently carries a fine of $880 in Toronto.”

In the end however: “A spokesperson for the Toronto police said no arrests were made and no tickets were issued following the protest, saying the crowd was compliant and exercised good social distancing.”

In other words, fairly polite and compliant protesters. 

It is more than not carrying guns. 

The politeness of Canadians has long been a joke among Americans. Although generalizations are never universally true, there may be something to this. However, there is one picture that explains a great deal:



In the United States, people are out of work and losing their healthcare and the financial assistance given appears to be piecemeal -both federal and state assistance- and many appear to be falling through the cracks.

In Canada, our universal healthcare system means that everyone remains covered for healthcare regardless of their employment status.

The federal government has delivered a strong set of financial protections for employees, self-employed, seniors and students. For example, if you are self-employed and have lost your job, you receive $2,000 per month for 4 months. These financial safety nets during COVID19, allow people to put food on the table. The provinces have all stepped up with other financial supports for citizens. 

In short: it is far easier to be less angry about the financial impacts of COVID in Canada than in the United States. 


There is more though. In Canada, there has been coordination between all levels of government in another area: information.

Our press conferences have been focused on Medical Officers of Health (federal and provincial) giving updates on infections, looking at models and doing the crucial work of informing the public about the new knowledge of this virus. This serves to increase scientific literacy in general. For example, prior to this pandemic, some Canadians did not understand that a virus cannot live outside of a cell for long and that is the reason for physical distancing.

The news in the United States has covered the politics of this pandemic and the disagreements between levels of government and within government. This type of coverage in Canada would be rather short - because there is general agreement about the need for physical distancing and to stay at home to defeat this virus.

So the difference in the two countries could not be more striking. In the United States the coronavirus has been a magnet for political anger. In Canada there is some of that certainly, as evidenced by the protests, but they have been small because, largely, our politicians are not fuelling them.

A virus has no politics, knows no party affiliation. It simply infects and kills. The wartime analogy has been used to describe the fight against this virus but this appears to be a strange war in the US, where there is little agreement if the enemy is dangerous, how to fight it or whether to bother fighting at all.

So, while Americans are dying, they appear to be very angry with each other. I wish they would get angrier at the virus.

You Know More Than You Think You Do

Pixabay

I’m taking a break from the Coronavirus news and trying to write more than I usually do every day. I live in Corpus Christi, Texas, where there are lots and lots of sandy beaches. There’s more than one bay beach between the city and Port Aransas and North Padre Island. We’re near Oso Bay. We often drive on a causeway over the Laguna Madre to North Padre Island to get to Port Aransas and drive on the thirteen-mile beach and maybe stop for a meal.

Obviously we like to go to the beach. They were all open for Spring Break. Breakers come from San Antonio, Austin, and as far away as the Dallas/Fort Worth area and even from Minnesota and other states way up north. We don’t go to the beach when the kids are here. Traffic is horrific.

Then they closed all the beaches for a few weeks, and now they’re open again with restrictions. We’ve stayed home, and so I have more time and inclination to write.

We used to own an RV lot in Port Aransas and usually parked there for a good part of the winter. We loved to walk over a boardwalk to the beach.

Then we sold the lot and our motorhome and moved into a “stick” house again. I’m writing more than I did when we traveled everywhere, but not as much as I am now.

So, I came up with this, and hope you find it helpful:

There’s an old adage about writing that is often given as a rule to new writers. The quote states, “Write what you know.”

I’m not here to argue that that’s bad or incorrect advice. I’m here to argue that you know a lot more than you think you do.

It’s implied by that statement that you should only write about what you know firsthand. For example, if you’re going to write about New York City, you should have lived there, or at least visited it. If you’re going to write about sailing a ship, you should have done so many times. And if you’re going to write about a crabby old man, you’d better be one.

Wait. That can’t be right. No, it means that you know enough about NYC by hearsay and researching to do a credible job writing about it. That you know a veteran sailor and can ask him to review what you’ve written for accuracy. And your uncle on your mother’s side (not saying which uncle) was a walking, talking human crab, and you can mimic him extraordinarily well  in your written opus.

If the advice were taken literally, no one could write a story. Writing about a woman, but you’re a man—can’t do it. Writing about a murderer—can’t do it unless you’ve murdered someone. Writing about the War of 1812—not unless you lived there and have come back from the dead or are a time traveler. This also, of course, rules out writing about zombies. Right?

Writers really do write about what they know. They start with certain knowledge, and then they let their imagination take off and carry them to different places, to meet different people, and to make up different situations to create a story. That’s what stories are, after all. They’re made up.

I personally know several men who write brilliantly in women’s points of view. I know other writers who can describe places they’ve never been better than I can, and I’ve been there. Others can spin a yarn that takes your breath away, made out of nothing, it seems. But all these writers are expert at one thing. Observation. The ones who write terrific characters have a great empathy and understanding of human nature. Those who do so well with descriptions have an artist’s eye and can translate what they see, either in real life, in a photo or canvas, or in their own imagination, onto the page. And those who can plot have observed life as a story unfolding before then, have probably read extensively, and learned the mechanics of plotting.

This means if you are determined enough, you can write anything your imagination comes up with and do an excellent job of making it come alive on the page and so believable that your readers can’t put the story down until they’re finished.

This means you can write anything at all, from children’s stories, to young adult stories, to romances, to fantasy, to science fiction, to mysteries, to horror, to suspense, to thrillers, to literary, or any of their subgenres, or make up a genre all your own.

This means you can write for audiences who are younger than six to over one hundred and six years of age. It wouldn’t hurt to read a few books in the genre you want to write in, and to read books in the age range you’re interested in.

So, don’t let the phrase, “write what you know” stop you. Write about what interests you. If you’re unsure about anything you’re written, after some good research, ask someone who knows all about it to read that part of the story, or the whole thing. Read the children’s book to a six-year old. Ask your grandmother to read the one about the “old lady bridge club murders.” Ask a police officer to take a look at the murder scene you’ve written for accuracy. But first, you have to get it written down. Then you can get it vetted by those who know more than you do.

And sure, gloss over what you’re not positive about if it won’t hurt the story. The story is everything. The “known” details give it veracity. Start with something you know. Then let your imagination fly.

Just as I’d love to fly my kite again on the beach. Instead, for a while, it will be my fingers flying over the keyboard to keep me amused and out of trouble.

Stay safe everyone.

Pixabay

---

Writer of short stories (over 70 published), mystery novels (11 published) and non-fiction. Passionate about time management, personal organization, and writing of any kind. Check out my website for more info: www.JanChristensen.com and sign up for my newsletter there.

Deconstructing a Narrator

A few years ago, a writer friend forwarded me a call for submission for an eclipse-themed mystery anthology. Though my previous fiction writing focused on thrillers, this time I would venture outside my comfort zone, into a new-for-me sub-genre of mystery.

I tried my hand at writing the oh-so-trendy psychological suspense. And by psychological suspense, I mean that my story would be told by an unreliable narrator. Rather than have my narrator lie to the reader, my goals was that she (a desperate mother) legitimately believed she was not only in the right, but that there was no question in her mind that her twisted actions were morally justified.

After countless agonizing rewrites, I finally locked in on a royal flush of techniques to nail my narrator in my first ever attempt at psychological suspense.  The result was my short story, "To the Moon and Back," thus far the darkest piece I've ever written.

I was thrilled (still am!) that Kaye George, the anthology's editor, accepted my short story for DAY OF THE DARK, which was published by Wildside Press and released a few months before the 2017 solar eclipse.

As a newbie psychological suspense author, I invited Kaye into the virtual hot seat to objectively assess the effectiveness of the techniques I used to pull off the unreliable narrator in my story.

If you'd care to ride shotgun--pun intended since the story involves a road trip to see the total eclipse--you can read "To the Moon and Back" online <here>.

#1 . Voice. To pull off psychological suspense, I needed to immerse the reader inside my narrator's mind. But for some reason, writing in first person POV wasn't intense enough. So I decided my (unnamed) narrator would deliver a monologue, sometimes by thinking and sometimes by talking to herself, to her daughter, and to outsiders. 

Kaye - This worked extremely well. I think it was probably difficult to do the progression from kind of kooky babbling woman, at first, to...other aspects. The first alarm bell rang for me when she explained away the crowbar to her daughter. Then didn't have her purse with her.

#2. Timing. I kept the time span of the story to a minute-by-minute correlation between both the reader's and character's experience during the road trip. In effect, the entire story is encompassed in one scene (driving the car on a lonely back road in the middle of the night) lasting about twenty minutes. That said, I did use flashbacks.

Kaye - As I said above, I admire the development of this character and the way you revealed her to us, bit by bit by bit.

#3. Engineered perception. Rather than plot the sequence of events, I plotted the ideal beats for a reader's experience. I wanted the reader to make the following progression:

• First quarter - This character is normal but quirky
• Second quarter - Okay, she has baggage, but I understand why.
• Third quarter - Wait, I think she has a couple screws loose.
• Fourth quarter - This lady bought a one-way ticket on the crazy train years ago.

Kaye - No wonder it was done so well!  You planned this out meticulously. I started out liking her because she was a garrulous ditz and I know a lot of those. I become one myself sometimes. You also develop the daughter, or un-develop her, as we go along. That gets more and more alarming.

#4. Embedded crime. (No spoilers!) Within the psychological suspense genre, I needed to solve some kind of mystery. But instead of the crime being a product of my narrator's flaws, I wanted it to be a morally-justified solution that fit naturally within her warped view of reality.

Kaye - Total success! And that was revealed in baby steps, too. I admire this story so much and am so glad you sent it to my submission call.

#5. Generate empathy. Through this emotional journey, I wanted to leave the reader torn between right and wrong. To understand the pain this narrator had experienced in such a heartbreakingly unfair turn of events. By the end of the story, I'd have hoped the reader would reflect, what would I have done? 

Kaye - As I said above, I started out sympathetic to her. I don't think I ever entirely disliked her. I do think I understand her emotions and her actions, given what she was going through. BRAVA on this accomplishment!  I just reread the whole thing and still love it.

Thank you, Kaye, for revisiting my contribution to the eclipse-themed anthology. If you would like to know more about Kaye George, her novels, and DAY OF THE DARK, please visit her website <here>.

 

Have you written any psychological suspense?  What tips and tricks can you share to create an unreliable narrator?


Fun fact - Kaye arranged all twenty four stories in the DAY OF THE DARK anthology according to their location on the eclipse's actual Path of Totality across North America. Creative, eh?  Since my story was set on a road trip from Virginia to Greensboro, South Carolina, "To the Moon and Back" was the nineteenth story.


PS - Let's be social:
Twitter @KKMHOO
Facebook - Kristin Kisska
Instagram - @KristinKisskaAuthor
Website - KristinKisska.com

One Bite at a Time

Before COVID-19 I was a regular volunteer at the local penitentiary, what with AVP (Alternatives to Violence Project - Sioux Falls, of which I'm president) and the Lifer's Group (of which myself and my husband are the official volunteer supervisors).  This meant I was down there pretty much every week, and sometimes more than once.  Well, that came to an abrupt end.  No visitors, no volunteers allowed, for the foreseeable future.

Yes, I miss them.  And I've been trying to maintain contact.  I have permission to write to them, as long as the letters are non-personal and revolve around AVP or the Lifer's Group, and I do not put my personal address as the return.  And since I can't get in to get any responses they send to the in-prison chapel mailbox, it's a one-way communication.  Kind of frustrating.  But I keep doing it.

I know many people today feel - and say - that social distancing, and COVID-19 lockdowns are like being in jail.  To which, my simple answer is, no, it isn't.  Not at all.

Not unless you're spending your social distancing in a 6' x 8' concrete room with one wall that's nothing but bars, and inside the bars is a toilet, and against another wall are bunk beds, and you share this space with another inmate.  Who you may or may not like, but you probably have to live with, because if you refuse to share, that's a violation, and could land you in the SHU, which is an even smaller room, with even less stuff in it.  Not only that, there are guards who make sure you stay there up to 23/7, and enforce a wide variety of rules on behavior and speech that have to be read to be believed.

So, no. Staying at home is not at all like being in jail.

But we can learn a lot from inmates. And the first thing is how to do time.  It seems that to a lot of people, six weeks is way too long to have to be stuck indoors.  What if you had to do a year?  (There's a good chance there will be no effective vaccine for at least that long.)  What if you had to do more than that?  How does a person do a long stretch of time?  Well, one of our best inside facilitators, lifer Mighty Mark, said, "Well, it's like eating an elephant.  You take one bite at a time."

Every inmate has to learn - even if they're in for a short sentence - to NOT think too far ahead.  To NOT focus everything on their exit day (if any).  To NOT fume and fret and demand more than they can have.  To accept, in other words, what their situation is.  And then live, as much as humanly possible (and we are all human and frail) in the moment.  Right now.  This bite.  Chew.  Swallow.  Bite.  Repeat.

The big mistake most people do when they find themselves in confinement is to focus all their attention on:
(1) how horrible their situation is.
(2) how unfair the lawyer / judge / sentencing system is.
(3) how are they going to survive the next ____ months / years?
(4) how much the next ____ months / years is wasted time, time they'll never get back, no matter what, and it's just unbearable.
(5) how everyone has abandoned them.
(6) how alone they are.
(7) how useless / hopeless / tasteless everything is.
And on down the a long, long, long negative list of emotions, facts, realities, that are indeed unmistakable and undeniable.

A lot of them - especially the young men - lash out, towards themselves (there's a lot of cuttings, self-harm, and attempted / successful suicides in prison), towards other inmates (a lot of aggressive posturing, attacks, fighting), and even towards the COs (which never ends well for the inmate).  Some of it - even sometimes the self-harm - is showing off, to themselves and others that they've still got what it takes.  That they're the man, and no one better mess with them.  Rising in the pack, hopefully, to Alpha male.  The angriest - and ironically the most wounded - spend the most time in the SHU (solitary confinement), because not only is isolation the punishment for violence, but it's also where they put the suicidal.  (And those who are contagious.)

But, as the young inmates age, many of them come to realize that it doesn't work.  That sinking into violence or despair, aggression or depression, does nothing but make the time go longer and longer and longer...  And they realize (especially the lifers) that they have to make a life, a whole life, where they are.

Including friends.
Including hobbies.
Including goals.
Including education, perhaps even a career.
Including happiness.

BTW, a rip-roarer of book is Alexandre Dumas' The Count of Monte Cristo.  Meet Edmund Dantes, sailor, who is falsely accused of treason and imprisoned for life - in solitary confinement - in the Château d'If (which still exists - see photo on the right).  After 8 years of solitary, he's suicidal, but then the Abbé Faria - digging his way out, a poor sense of direction - ends up at Edmund's cell.  Over the next 8 years, Faria teaches Edmund everything - language, culture, mathematics, chemistry, medicine, and science - so well that, after Faria dies and Edmund escapes (read how yourself), Edmund can pass easily as a Count, welcomed everywhere and anywhere.  This is one of the great swashbuckler thrillers, especially as the Count ruthlessly, tirelessly pursues his revenge - but the opening chapters are also a master class in how to survive doing serious time.  And how important education can be.

Another master class is Viktor Frankl's Man's Search for Meaning, an account of his years in the camps and how people survive horror beyond imagination.  He was an Austrian neurologist and psychiatrist who survived the  Holocaust - barely.  (See the Wikipedia summary HERE or, better yet, read it yourself.  I've read it more than once, and gained something new every time.)

"The way in which a man accepts his fate and all the suffering it entails, the way in which he takes up his cross, gives him ample opportunity — even under the most difficult circumstances — to add a deeper meaning to his life. It may remain brave, dignified and unselfish. Or in the bitter fight for self-preservation he may forget his human dignity and become no more than an animal. Here lies the chance for a man either to make use of or to forgo the opportunities of attaining the moral values that a difficult situation may afford him. And this decides whether he is worthy of his sufferings or not."

Remember, this is from a man who survived four - yes FOUR - concentration camps.

And there's a story about Viktor Frankl in another book called The Monks of New Skete:  In the Spirit of Happiness.

We had a friend who was in a Nazi concentration camp in the Second World War, a dog breeder, and he was digging in the trenches with the psychiatrist Viktor Frankl, and Victor Frankl told him:  "This is where you've got to find your happiness - right here in this trench, in this camp." ...  For this is where we're supposed to find our happiness - where we are now, wherever that might happen to be, in all that we do, in whatever circumstance we find ourselves.  To experience happiness is to experience freedom.  No matter what may happen in life, nothing will be able to touch true happiness. ...  So we have come to understand that happiness is not only in our power to attain, it is our duty to attain.  - The Monks of New Skete, pp. 312-313

A handy list to help:

And a wonderful video of how they do it in prison, Path of Freedom, with Fleet Maull, a former inmate:

One bite at a time.
One beat at a time.
One breath at a time.
And repeat…

And now for some blatant self promotion:  My latest story "Brother's Keeper", set in Laskin, is in the May/June issue of Alfred Hitchcock Mystery Magazine.  I share space with many of my fellow SleuthSayers - Robert Lopresti, Elizabeth Zelvin, Michael Bracken, Mark Thielman, Janice Law, and many other fine writers.

A New York Minute of Silence and Smiling

A NEW YORK MINUTE OF SILENCE AND SMILING


by James Lincoln Warren

On Thursday, April 23, I received the following text message from Charles Todd:

“Angie has gone into septic shock and is not expected to last the day. Barry was allowed to gown up and go in a few hours ago. He will try to reach out to you in the next few. He appreciated everyone’s thought and prayers.”

Barry Zeman never did reach out to me.  But that’s because his beloved wife and my good friend Angela had died of COVID-19 even before I received Charles’s text. I found out the next morning after calling Charles, who gave me the dreadful news.

I’d known both of the Zemans for years, having met Barry first at an Edgar Banquet, and Angela about a year later. It didn’t take long before they weren’t just people I liked. They were dear friends, both of them, Barry for his gentlemanly demeanor, high intellect, and obvious adoration for his wife, and Angela at first because we agreed on almost everything regarding our creative passion: the crime fiction short story.  Later I learned to love both of them simply for who they were.

In the early 2000s, the newfangled thing among writers for publicity was this internet web log thingy.  I had tried on three occasions to get one off the ground without success, mainly, I think, because of a lack of name recognition—we genre short storyists are rarely among the most sparkling stars in the firmament. That all changed when I encountered the first “rotating” log by a group of midlist authors, and realized that short story writers are stronger together than we are separately. I approached Robert Lopresti and asked him if he would co-create with me such a blog for short story writers.  We both did a lot of recruiting and wound up with a stellar lineup—many of our regulars are regulars here on SleuthSayers—and decided to call the blog “Criminal Brief.”

One of my recruits was Angela Zeman. Not just because she was my friend, but because she was a damn fine writer with complete mastery of her craft. Her tenure at CB was short, because as long as I knew her, she had major and recurring health problems, although you wouldn’t know that from looking at her. She always looked fabulous.  Criminally brief as her membership among the merry band of bloggers may have been, it was brilliant.  Her column was called “New York Minute.”

Barry intends to have a “celebration of life” service for her after this debilitating plague finally abates, because, he says, he knows that Angela would much prefer that to solemn grief. She would want to be remembered with smiles and laughter, as I will always remember her when she invited a group of us to dine at the Friars Club in New York, where she was a member, for one of the most memorable evenings I’ve ever experienced.

And I agree with Rick Helms that a writer is best remembered for the words she left with us. So here are some excerpts from her brief career as a blogger that paint a pretty clear picture of her grace, wit, and thought.  Enjoy!

FIGHTING OVER THE GUN August 18, 2007

[ . . . Barry] requested I state clearly that the bad guy fired his gun. I had written that the protagonist found the gun later. My view was the police (NYPD), being shrewd types, would swiftly deduce (using information I won’t include here) the bad guy had taken a shot at the good guy. I’m being vague on purpose—the story will publish in a few months. Don’t want to reveal any spoilers.

Barry’s view was that I must fire the gun right out in print, to make sure the reader understood what happened. He insisted it would be a mistake to believe all readers would conclude the gun had been fired just because it made sense to me—and the cops. He insisted that if the reader didn’t catch on, the protagonist would seem like a murderer, not someone who acted in self-defense—thus blowing my ending. . . .

I thought it over, and then capitulated. I fired the gun, but my way. Instead of taking his advice to say, using non-cliché words, “a shot rang out,” I imagined instead what my protagonist would see, feel, hear, and think. Well, it was dark and snowing. The protagonist literally saw the bad guy reach out as if offering something to her, and she saw a flash.     


VIOLENT REACTION August 25, 2007

Story tellers often use violence and its sibling, pain, to entice the reader into making an emotional connection because violence and pain are practically the building blocks of character, and common to the human condition. Maybe sad, but definitely true. And as writers know, if the reader cares nothing about any part of our story, we’ve failed both story and reader.

I’ve heard readers say they refuse to read fiction (or view movies) that incorporate violence. Nobody questions their right to do so. (Note: media violence for children is a different subject.) However, could writers have genuine cause when they include violence in their fiction? Stanley Ellin wrote, and he’s definitely worth listening to: “I would never write about someone who is not at the end of his/her rope.”

If the conflict driving the plot is slight, the response will be slight. If the conflict is fraught with deep emotion—for instance, pain derived from violence—then the response will be deep, even if the response is rejection. Readers will always draw their individual lines in the sand; no writer can please every reader and would be crazy to try.


SPEAK LOUDER, PLEASE September 1, 2007

Last week I went to (no, not Manderly again) a neighborhood party. A fun party. I have fun neighbors. Not unexpectedly, because I live about twenty seconds south of Wall Street, I met some men and women who work in the Financial Sector. Now these lovely people were not 24 year old junior brokers. No, they were older “management” types from some fine institutions. After some chatter that included exalted names, large numbers, and planned IPOs, my turn came to introduce myself. I said, “I’m a mystery writer.”

I am. What else could I say? Conversation stopped. Who among you can guess their next question?

“Where do you get your ideas?”

You’d think all those Masters Degrees could ask something more original, but . . . they waited breathlessly for my answer, and I’m not that fascinating.

I possess a perverse nature, my friends. I considered saying: “I get my best ideas from listening to conversations like yours!” True. But I played ditzy blonde. I said vaguely, “Everywhere. I find ideas everywhere.” Still true, but somehow reassuring to them. (I only lie for money.) Their relief was visible, and, in my opinion, amazingly gullible. Think how many stories are written in a year. Include in that tally stories of all lengths, in all forms. In such a saturated field, how do writers produce fresh ideas? We dig, we read, we listen, we notice lots and lots of details. I mean, duh!


HAPPY BIRTHDAY MISS MACY! September 8, 2007

Today is my granddaughter’s first birthday . . . So out of my sore heart, I dedicate this column to her: in anticipation of all the stories I will read to her in future years. . . .

As Macy grows, she’ll play with marvelous toys and have access to a treasure-house of books. I’m sure of this, because I’m well acquainted with her parents, especially her mother! Miss Macy and her big brother Mr. Evan, 4, enjoy the fruits of their parents’ love and wise attention. However, soon it will be my particular pleasure to introduce the world of “Once Upon A Time…” to them both (and to their cousin, grandson Luca!), and to pass down the legacy my mother bequeathed to me: the universe.


CONJUNCTION JUNCTION October 6, 2007

In the recent flurry of newsprint devoted to Philip Roth, didn’t a critic mention Roth’s literary preoccupation with his penis? Wonder what emotion Roth’s penis made him feel, to which his fan base related?

Yes, I do happen to know my theme, but regretfully it has no relation to a penis, which might have been kind of fun.


MAKE ME LAUGH! October 13, 2007

And lest ye think that Joan [Hess]’s Maggody, population 755, relates in no way to reality, let me tell you about my Aunt Virgie, a hairdresser in Heath, Kentucky. Now, Heath merited the attention of few roadmaps, but it could be found. It bellied-up neatly to East Paducah, a larger tract of civilization which in turned closely nudged Paducah itself. Everybody’s heard of Paducah. Aunt Virgie practiced her art in the back yard of her little house. My uncle Phil had built her the shoppe out of cinder blocks. The interior was painted in her favorite color, violet—as was her own hair, and also the bathroom in their house.

When my mother took me to visit Uncle Phil, who was her brother—known to her as “Brother”—and Aunt Virgie, I spent much time hiding, fearful of Aunt Virgie’s styling repertoire. (My mother, ever bargain-minded, considered any free haircut a good haircut—for me, not herself.) Aunt Virgie often and loudly despaired of me ever catching a man, flat-chested as I was (at eleven.) She’d put her hands on the back of her hips and shake her Aqua Net cemented, violet curls in sorrow over my misfortune.

Maggody lives. Joan Hess—not only a storyteller, but a historian.
           

A River Runs Through It

Although I’ve written and sold short stories in a variety of genres, my crime fiction primarily fits within the subgenres of private eye, hardboiled, and noir. I’ve written many stories in which violence is on the page, sex is on the page, and the climax involves someone getting shot. (The crime fiction I wrote for men’s magazines—prior to their demise as viable markets—often involved climaxes of a different sort.)

While I’ve done well working within these three subgenres, I realize restricting myself to them limits the number of publications that might use my work and relying on shooting someone for a climax lends a certain predictability to my stories.

So, during the past handful of years, I’ve made a conscious effort to expand my crime fiction into other subgenres. “Sleepy River,” in the May/June issue of Alfred Hitchcock’s Mystery Magazine, is a good example.

STORY GENESIS

I envy fellow short-story writers—Art Taylor, John Floyd, Robert Lopresti, and several others—who write wonderful essays about the inspiration behind this story or that story. I often find those kind of essays difficult to write because I rarely know where my ideas come from.

For example, all I can find in my notes is that I created a Word document for “Sleepy River” on June 19, 2018, and I had, at some point prior to that, roughed out five pages of handwritten notes. There is nothing to indicate where the idea came from, but the key elements of the story—including a rough sketch of the dock where the story begins and ends—are in the notes.

GENRE-CHALLENGED

I’m uncertain what sub-genre “Sleepy River” fits into, but it’s clearly not private eye, hardboiled, or noir.

It’s about what happens to two young girls idling away their time during summer break. There’s no sex, no bad words, and only muted violence. But there are good guys, bad guys, and a dead guy. And nobody gets shot in the climax.

Enjoy.

Crime Writers, Give Me Magic—And Don't Explain It Away

When I shared the good news of the acceptance of a hard-to-place cross-genre short story on the Short Mystery e-list, I said: "I didn't even consider some of the usual mystery markets. When I write—or read—magic, I don't want it to be explained away at the end." I was thinking, for example, of Black Cat Mystery Magazine's submission guidelines, which stipulate: "We do not want stories that feature supernatural elements...unless thoroughly debunked by story’s end." My comment intrigued SleuthSayer Rob Lopresti, who wrote to invite me to write a piece in defense of magic in crime fiction.

The short story in question, "Roxelana's Ring," just out in the current issue of The J.J. Outré Review, is part of my Jewish historical Mendoza Family Saga. It involves jewel theft and a visit to my longtime protagonist Rachel Mendoza by one of her present-day descendants. Readers of the series first met Rachel as a 13 year old in hiding in 1493 after the expulsion of the Jews from Spain. Two stories about an older Rachel solving mysteries in 1520s Istanbul had already appeared in Black Cat. (Two more are currently in press, one with BCMM, the other in Jewish Noir 2.) But for this particular tale, I had to send the 21st-century Rachel back in time, and I couldn't explain it any other way than magic.

Some novel readers complain that stories are too short to satisfy them. They say a story doesn't give them time to engage fully with the characters or that it ends just as the reader is getting to know them. I try to write each story to refute such charges. For me, stories are like little novels. Complete in themselves, they must be rich in language, plot, and especially character. My novels contain more elaboration and complexity of plot and structure. But all my characters are as whole, as lifelike, as moving, as eloquent, and as much fun as I can make them, whether I'm presenting them in five thousand words or seventy-five thousand. The key to satisfaction, for me, is my commitment to character-driven fiction, both short and long—and as both writer and reader.

So to create plausible magic or supernatural beings that don't need to be debunked or treated differently from any other element in fiction, make them character driven. Charlaine Harris does this superbly. Her characters are as real as bread, so what does it matter if they're falling in love with vampires or hearing the dead speak under their feet? To me, those traits are more probable than their hitting their mark with every shot or disarming bombs at the last moment like the heroes of plot-driven novels. What I love about the best character-driven urban fantasy, SF, crime fiction, and cross-genre work mixing any and all of these is that it is first and foremost about the people and their story, their relationships, and that spark that makes us care about them, call it soul or heart or moral center or what you will. If the characters have that, neither the genre nor the length of the manuscript matter as much as we think they do.

I feel the same way about murder methods as I do about magic. Like most crime fiction authors, I enjoy discussing clever ways to kill people a bit too loudly in restaurants. But when I'm writing, I tend to keep it simple: a cord around the neck, a pillow over the face, a bang on the head with the proverbial blunt instrument. Let's do it fast and get on with the story.

In "Roxelana's Ring," the modern Rachel is holding a necklace that once belonged to her progenitrix, the first Rachel Mendoza, when she is unexpectedly whisked back to the 1520s. How? I have no idea, and I don't care. I'm much more interested in the fact that she comes to in the midst of a wriggling, giggling pile of Suleiman the Magnificent's concubines, "dressed," as she puts it, "not unlike sorority sisters at a come-as-your-dream-self slumber party." Aren't you?

20 to Go

Experts suggest the COVID-19 coronavirus took root in the US sooner than believed, possibly as early as January. Personally, I believe it infected state and federal executive branches much, much earlier.

I’ve been astonished to learn of deep-seated efforts to fire Dr Anthony Fauci. Thus explaineth the lovely Haboob:

Far left and right conspiracy theorists reach remarkably similar conclusions. Both insist Dr Fauci masterminded a Clinton Foundation-funded Deep State effort to develop a virus fabricated in a Wuhan lab. Their profit motive was to make lots of money selling the world a co-developed vaccine, but the virus got away from the Chinese. Parting from the left’s hypothesis, the ultra-right maintains that the greatest intellect the White House has ever known leapt into action, averting an Obama-driven disaster in which tens of victims might have perished were it not for this great man who saved the planet. Or something like that.

We don’t do politics or low crimes and misdemeanors, just death and destruction. It takes great writing to top the tales coming out of national and state capitals. Gathered here are twenty exquisite murder mysteries, some new, some classics, some unusual, many recommended by others (thanks Sharon), most lengthy for that immersive read.

As viruses simmer in the summer cauldron, enjoy reading in a cool arbor bower.

The Cartel	Don Winslow
Cult X	Fuminori Nakamura
The Eighth Girl	Maxine Mei-Fung Chung
The Historian	Elizabeth Kostova
The Honourable Schoolboy	John le Carré
L.A. Confidential	James Ellroy
The Last Tourist	Olen Steinhauer
The Luminaries	Eleanor Catton
The Man Who Loved Dogs	Leonardo Paduro
The Name of the Rose	Umberto Eco
Natchez Burning	Greg Isles
The Rule of Four	Caldwell & Thomason
The Secret History	Donna Tartt
Shantaram	Gregory David Roberts
Six Four	Hideo Yokoyama
Three Hours in Paris	Cara Black
What’s Left of Me is Yours	Stephanie Scott
The Witch Elm	Tana French
2666	Roberto Bolaño
and the novel that started it all…
A Study in Scarlet	Arthur Conan Doyle

What are your favorites?

Strange but True

My SleuthSayers colleague Melodie Campbell and I were swapping emails last week about how nice it is to receive a bit of good news and encouragement now and then, during these fearsome times. Melodie's writing news, in case you haven't heard, is that her novella The Goddaughter Does Vegas has been shortlisted for the Arthur Ellis Award. (Congratulations again, Melodie!)

This got me to thinking about some of the surprises and unusual things, both good and bad, that have happened to me in my 26-year writing "career." Here are a few that come to mind:

Believe it or not . . .

- Four of the first five short stories I ever submitted to magazines were accepted and published. (Boy this is easy, I thought.) The next thirteen--thirteen in a row--were rejected.

- On two separate occasions, due to printing errors, my stories appeared in a national magazine under someone else's byline. After one of those I received an email from a confused reader asking if I also write under the name Elizabeth Hawn.

- I once gave a presentation at a rural library and 75 people showed up. Several months later I did a similar talk at another library and two people attended, besides me. Both of them were library employees.

- I have twice received acceptance letters for stories I didn't write. File that under Excitement and
Then Disappointment.

- I have on three occasions been paid for stories in advance (before they were written). I wish that happened more often.

- When our oldest son's wife and their children were bumping across Africa on a tour last year, they saw another passenger in their van reading one of my books. That was a happy (for me) piece of vacation news.

- A customer at a chain-store signing once asked me to sign one of my books for him but not to personalize it, because he said he might change his mind before he checked out.

- Another man at one of my signings told me he'd enjoyed several of my books, especially the first one: A Time to Kill. He was less than pleased when I informed him that he had the wrong John.

- Bad surprise: Long ago, a movie project based on one of my stories was suddenly cancelled two weeks before filming was to begin. Cast and crew and locations were ready, original music was written, etc.--and everything stopped. Good surprise: In January 2019, fifteen years later, a Hollywood producer contacted me via my website to express interest in another of my stories (which thankfully wound up getting optioned). I almost didn't see his email--it went to my spam folder.

- I once submitted a short story (electronically, to the UK) and received an acceptance three hours later. Two other stories (to Kansas and to Michigan) received acceptances almost three years later. Rejections--too many to remember--have ranged from two days to two years.

- My payment for one of my stories was a lifetime subscription to the magazine. (A mixed blessing.)

- The agent I acquired to market my novels has instead helped me sell several short stories and the film rights and foreign rights to other stories. My novels remain unsold.

- I once (only once) shared a literary short list with Michael Connelly, Dennis Lehane, Doug Allyn, and Gillian Flynn. Flynn won.

- A friend once told me she takes my books with her when she drives, and reads the stories at stoplights. I asked her not to mention that in accident reports.

- My magazine credits include The Shantytown Anomaly, Appalling Limericks, Barbaric Yawp, and Volcano Quarterly.

- Another booksigning incident: A lady who said we'd met long ago thanked me for using her as a character in one of my stories (although the character had a different name). I told her it was my pleasure. I had no idea who she was, so the whole thing was news to me.

- One of my stories was rejected two dozen times, and on the 25th try I sold it for $ 900. (Never give up!)



From Russia with royalties

Back to what Melodie and I were discussing the other day, which is the fact that bright spots often pop up during dark times . . .

The strangest and most surprising thing to happen to me lately came as a result of an email I received from a book publisher in Moscow last month. It came in via my website and (once again) landed in my spam folder, which--believe me--I have learned to check every day. Messages my computer thinks is junk sometimes turn out to be manna from Heaven.

This email informed me that the publishers had seen my short stories in the print edition of The Saturday Evening Post and would like to reprint those stories in a bilingual collection. We signed the contracts about two weeks ago. The book, to be called Selected Stories by John M. Floyd, will be released in both print and electronic formats by Publishing House VKN Limited, later this year. I'm told that one of the markets for the book will be readers who want to learn English--the stories will be featured with the original English text side-by-side with the literal translation into Russian with grammatical, lexical, and phonetical commentary.

Several of my writing buddies, including my fellow SleuthSayer Robert Lopresti, have secured unexpected book deals with publishers overseas, and even though I've had a number of individual stories translated and published in foreign magazines, this particular kind of arrangement is new territory for me. I owe sincere thanks to the publisher for its interest, to my agent for handling all the details, and to The Saturday Evening Post for featuring these stories in the first place.




A reborn identity

Like Melodie's recent award nomination, news of my upcoming book of stories is especially gratifying because it's further recognition of work that is already out there and had already achieved its intended purpose. When something you've created and sold and was published goes on to take on new life afterward, it's a good feeling, and an inspiration to keep sowing those seeds. And there are plenty of opportunities for that. You never know when or if something you've written might be seen and selected for an award, a movie adaptation, a best-of anthology, or some other kind of unexpected bonus.

Some of those bolts-from-the-blue can not only earn you more money, they can reach a whole new audience. My first exposure to the fiction of Tom Franklin, Annie Proulx, Brendan DuBois, and others came not from their novels or magazine appearances but from reprints of their shorts that I found in annual anthologies like Best American Mystery Stories and Best American Short Stories.



Lockdown in the boondocks

My point is, all of us writers have highs and lows, some experiences that are happy and some that are miserable--but patience, like hard work, usually pays off, in both the literary world and the real world. If you wait long enough (and shelter-in-place long enough?) good things will eventually happen.

Be safe, everybody. Keep writing.