TATORT ("Crime Scene")

In my ongoing quest for something watchable, meaning a bingeable series – and preferably crime – I stumbled across Dresden Detectives, streaming on PBS Masterpiece.

Police procedural, of course, and (yes) German.  Not that much like an American or Brit show, though, even if the basic lineaments are familiar.  (I suspect that a goodly number of UK productions are made with an eye to export, to the US, or to Commonwealth countries, Australia and New Zealand, which return the favor.) In the case of Dresden Detectives, a crime occurs, and the cops show up, but after that, the rhythms shuffle and change pitch.  Not that it seems distinctly German, to my less-than-Europeanized ear and eye, but neither do they seem to be homogenizing it, or repackaging it for a different market. 

I noticed the same thing with Dahad, the Hindi cop show, and I liked the fact that it was unapologetically Indian in concept and execution.  These cross-cultural currents are interesting in and of themselves – although it obviously makes all the difference when the storyline, like Dahad, is compelling, as well.

Dresden Detectives is a team of two women, mid-thirties, working for Kripo, the equivalent of CID, who catch serious crime: the Murder Squad, essentially.  You get some domestic, single-mom stuff, but it’s mostly shop – more Barney Miller than Candice Renoir.  They work under an older, male supervisor, who’s stuck somewhere in the later Stone Age, which allows for some labored workplace chauvinism, played for laughs but unhappily unfunny, a trope that does feel German, to me.  My apologies, but I never got German cabaret humor; it always seemed underdone and overbearing, mockery at the expense of a captive audience.  On the other hand, the dynamic between the two women cops is quite genuine, sympathetic but competitive, a real sense of a work relationship that isn’t static.

As the series goes on, there’s thankfully less to the running joke that Schnabel, the senior cop, is a fool, or a Neanderthal.  The actor playing him was actually born in Dresden, in 1967, when it was still the DDR, East Germany.  The actresses who play the leads, in contrast, were both born in West Germany, but less than ten years before reunification.  Point being, that Schnabel, the character, would have spent his formative years – into his early twenties – under the East German regime of informers and toadies, and that’s when he would have joined the police.  This disconnect is a subtext to the show, any German viewer would realize it immediately and instinctively.

In other words, there’s a tension, here.  In spite of the lame office humor, and the more authentic shuck-and-jive going on between the two cops hitting the pavement, you can feel a kind of thickness in the air.  I don’t know how actually real the procedural stuff is.  I always thought German cops worked more hand-in-glove with prosecutors, and less independently, on the streets, but I could be wrong.  The cops also seem more diffident than I’d imagine they are in life, less sure of themselves.  Dramatic license?

Dresden Detectives is actually excerpted separate episodes from a larger, umbrella series called Tatort (or “Crime Scene,” in German), which has been running since 1970, if you can believe it.  This gives it longer legs by far than Law & Order, or even Gunsmoke, in this country.  Midsomer Murders, in the UK, has only been running since 1997, which makes it still in short pants. 

The overall conceit of Tatort is cop shows done on location in different German cities, Hamburg, Cologne, Frankfurt, West Berlin, Munich, and so on, produced by locals.  Everybody gets one, a dozen or more, and the locations themselves become a character in each story.  Austria and the German-language arm of Swiss TV got in on it, and it was a big enough hit that East Germany cloned it.  Now, since reunification, cities from the former East are part of the package, Dresden, Leipzig, and others.  At last count, there are some 1200 episodes of the show, and with a 90-minute runtime, they’re basically made-for-TV movies.

Dresden Detectives is running thirteen episodes on PBS Masterpiece, one of the Amazon Prime channels.  Tatort, the whole series, is available on MHz Choice, with Prime. 

Road Trip!

I insert myself into Hico.

I have a story due to an anthology editor by December 31. For the past several months, I have been writing and researching what I thought was a great story. Unfortunately, the more I wrote, the more the story read like a term paper with dialog; the more I researched, the more I realized the two ideas I was trying to merge mixed as well as oil and water.

This morning, Sunday, November 5, I threw in the towel. I needed a new concept, a new set of characters, a new setting, and a new plot. And that meant:

Road trip!

Several years ago, Temple and I discovered we could generate stories—sometimes just general concepts but more often rough plots with characters and important background details—while I drive and she takes notes. Sometimes the resulting story is primarily mine, sometimes it is primarily hers, but most often it is a healthy mix of both our ideas. When we return home, I enter her handwritten notes into a Word document and write the story.

Backroad driving is better for story generating than driving on interstate highways, and we live in a part of Texas where there are several interesting small towns within a one- to two-hour backroad drive.

(Our previous road trip generated two story ideas—one, our first official collaboration, for an anthology, and another that has no specific market in mind.)

But our road trips are for more than story generation. They allow us to unplug from the world around us, to avoid having household chores demand our attention, to escape the siren song of other distractions, and to stay connected to each other.

For this morning’s trip, we selected Hico, where we lunched at The Chop House in the Midland Hotel, walked around the shopping district, and then stopped for handmade chocolates at Wiseman House.

The result was an enjoyable day spent together, a story that should meet the anthology requirements while utilizing much of the research I’ve already done, and, as a bonus, this SleuthSayers post.

I call that a win.

My story “Spilt Milk” appears in the November/December issue of Alfred Hitchcock’s Mystery Magazine.

Later this week, I’m attending Crime Bake. If you see me there, please introduce yourself.

---

Life in the Fast Lane

You can’t exactly call a car an inanimate object, since you can use it to drive to San Francisco, or to the 7-Eleven, so clearly animated.  Though it’s not alive, not in the fashion of a German Shepard, goldfish or your Uncle Lou. 

I grew up in a car family, imbedded in a surrounding car culture, in the 1950s and 60s.  My father worked hard at his job, maintained our house, and worked on cars, to the exclusion of everything else.  To us, cars were no less creatures who lived with us than our various dogs and cats, and to a lesser degree, the children.  Our cars had names and the tradition was honored by my friends as well, so I spent satisfying time in Alice Blue, the Blue Max (no relation), Vinnie the Volkswagen, Dudley the Dodge, The Silver Goose, the Silver Queen (also no relation), Mr. B (my car) and Tootles, my mother’s name for her 1947 Plymouth which she drove fast enough to frighten Mario Andretti. 

    We all fixed our own cars in those days.  You only consulted a mechanic in the direst of straights.  And they needed a lot of fixing.  I had to change the spark plugs and distributor points on Mr. B on a regular basis, replace brake shoes and pads, and attend to the constant disintegration of exhaust systems, batteries, carburetors, starter motors, solenoids, and rocker panels, which I patched with sheet metal salvaged from an old refrigerator.

Safety was never a consideration.  Seat belts had yet to be required, and occasionally slamming your head into the dashboard was considered encouragement to improve your driving skills. 

I don’t remember learning to drive, since my brother and I had hurled whatever junkers were cast about the house through the trails and fields of our neighborhood from the time we were tall enough to look out the windshield. 

    What does all this have to do with writing, the mission of this blog?  When I created Sam Acquillo, my first and most enduring protagonist, I gave him a 1967 Pontiac Grand Prix, an impossibly oversized and stupidly over-powered hunk of Detroit iron, because that was the type of car I was raised on.  It was an obvious thing to do.  I made his father a mechanic (like mine, though my dad was an Ivy League graduate and corporate executive, which did nothing to dilute his thuggish devotion to internal combustion, in his cars and himself.) 

I’m sure you can be a male American mystery writer and never include a dumb car in the narrative, but not if you’re from my world.  It’s as essential as a divorced spouse  or an everyday bartender. 

Cars today are serenely smooth, quiet and efficient.  They are computers with engines attached, and I don’t know the first thing about fixing them.  The average minivan could probably smoke a souped up ’67 Mustang off the line, but there’s something missing.  I’ve had a string of Audis, and some have sparkled with personality, including the two aging versions my wife and I still cling to.  The Subaru that’s now my everyday ride is even more refined, and I love it, but it’s too good.  There’s no rattle and roll, no coughing start, no deafening wind noise, errant squeaks or intermittent, mysterious surges of power.  There’s a big digital screen filled with functionality I’ve barely scratched, ways to drive without holding the steering wheel, a four-cylinder turbo-charged engine (four-cylinder?!) that leaps from green lights, and constant reminders to behave in a more responsible and socially conscious manner.

In other words, entirely tamed.  And taming.  We’re better off for it, but I’m grateful that I got to live in the Wild West of unfettered, lethal and exhilarating car-crazy abandon, when I was too young to know how lethal, and too lucky to suffer any permanent harm. 

Prohibition Peepers part 3 — How to create closed captions

0085 00:03:48.800 --> 00:03:51.200
  Leigh, let’s wrap our slideshow how-to
  discussion talking about closed captions.

  Leigh, let’s wrap our slideshow how-to  
discussion talking about closed captions. 

0086 00:03:52.000 --> 00:03:53.225
  Sure, why not?

 Sure, why not? 

Closed Captioning

We return with the final how-to tutorial of creating a slideshow for Michael Bracken’s Prohibition Peepers. I doubted any of the tens of trailer viewers would rely upon subtitles, but I wished to expand my skills working within a non-critical environment I could share with you. This is largely technical, so feel free to read more interesting essays by my colleagues.

Subtitles include a multiplicity of flavors and formats. They presently have no one standard, nor even a mere two or three.  The most common kind is .srt, which stands for SubRip. I chose to work with its close cousin, Web Video Text Track. The .vtt format is newer, more featured, and natively supported by the HTML5 standard. It also uses the decimal point standard found in most English-speaking countries.

Subtitles can be married to videos in three different ways: physically separate files, embedding, and burning. YouTube and smart television programs can work with multiple files, usually bearing the same name but different suffixes:

ThePrisoner.mp4

ThePrisoner.srt

ThePrisoner.vtt

You might also see files for languages and variants, say, British and American English, French and Canadian français, Cuban and Mexican español. File names may be labeled like this:

ThePrisoner.en-UK.vtt	ThePrisoner.fr-FR.vtt	ThePrisoner.es-CU.vtt
ThePrisoner.en-US.vtt	ThePrisoner.fr-CA.vtt	ThePrisoner.es-MX.vtt

Burning Questions

Once you’ve created a closed caption file, then what? Depending upon your target platform, you may have three choices.

1. Associating Files

If you use a computer to peek closely at a movie DVD or a downloaded smart television movie, you’ll find numerous files. These include the movie itself in one or many segments, perhaps a preview, sound tracks in one or more languages, and closed caption files also in one or more languages. Separate files permit the viewer to adjust synchronization of sight and sound. YouTube also works with multi-file uploads, so I separately uploaded the slide show video and CC files, which YouTube accepted without complaint.

2. Embedding

Still curious, still expanding, I went beyond uploading multiple files to YouTube. I used an embed technique to create standalone videos, i.e, combined video and captions in a single .mp4 file. Videographers can embed subtitles with iMovie, independent apps like Shutter Encoder, or a web site that combines closed caption files with movie files. This results in a nice and convenient single file for viewers.

3. Burning

You may also see mention of ‘burning’, not to be confused with making DVDs. This method permanently overlays video images with text; that is, subtitles become an unalterable part of the picture. Only two advantages come to mind, (a) aiming for older platforms that don’t support closed captions, or (b) control over how subtitles look independent of the player.

Excelling

Throughout the audio/video process, I relied on spreadsheets in several ways. I used Excel for odds and ends like building an authors list, preparing scenes and maintaining the script, but spreadsheets turned out to be a key tool for closed captions.

Although the .srt format is older and therefore more common, the .vtt format has a distinct advantage for North Americans, Britons, Swiss, Asians, and Oceanians. We use a dot ‘.’ as a decimal point and a comma ‘,’ to visually group digits. Most of Europe, Africa, and South America do the opposite.

This quirk arises in subtitle files. A primary difference is .srt uses decimal commas and .vtt uses decimal points. More significantly, the English version of Excel understands the decimal dot, which means it works nicely with .vtt files.

In theory, we could work with a default time format, but a slight modification provides finer time codes. Select Custom from Excel’s number format window and use either of these format codes:

hh:mm:ss.000

or

hh:mm:ss.000;@

Thus, a one hour, twenty-three and three quarter minute time code might look like:

01:23:45.678

Nitty-Gritty

Closed caption files are plain text that can be opened in TextEdit, BBedit, WordPad, and so on. For the most part, white space consisting of blanks, tabs, and single lines of code are all treated the same. The following are equivalent:

86
0086 00:03:52.000 --> 00:03:53.225
Sure, why not?

00086 00:03:52.000 --> 00:03:53.225 Sure, why not?

Each of these is called a cue. Each cue is separated by a double-spaced blank line. Leading zeroes can be omitted, including the hour:

86 3:52.0 --> 3:53.23 Sure, why not?

Subtitles can be positioned on the screen, and they can be formatted with common HTML codes and CSS. I didn’t have a need for the latter, but I used HTML <i>italics</I> in a few places.

Down and Dirty

Some high-end programs and web sites offer audio-to-text timelines– usually for a fee– to build closed caption files. I wasn’t impressed and since my project was small, I stepped through the video and made notes the old-fashioned way– by hand.

In addition to the formatting above, the rules are straightforward. Obviously, the ending time of a cue must come later than the beginning. Likewise, each start time has to be greater or equal to the start time of the previous cue.

Although rarely used, the rules allow for cues to overlap or persist on-screen. That could be useful when off-screen action can be heard but not seen.

A number of closed caption apps can be found on-line, most still using the .srt format. If you happen to use one of these and want .vtt, you may be able to selectively scan-replace decimal commas with decimal points.

Try to save your captions as a .vtt file, but you may find it safer to save as a .txt file and rename it.

ThePrisoner.txt

➨

ThePrisoner.vtt

Adding closed captions is easier than it sounds. Consider it for your next video. And be sure to pick up a copy or two of Prohibition Peepers for Christmas.

More information follows.

Hitchcock and Sherlock

  

Like many of our readers here at SleuthSayers, I love short stories. I love reading them and writing them, and I've been doing both for a long time. Writing shorts, for me, started thirty years ago--I submitted my first stories in late 1993--and even then I leaned toward mystery/crime stories. I also wrote some westerns, science fiction, etc.--and still do--but I especially like mysteries. 

I won't get into a lot of things about markets and marketing, but I will mention that two of my stories have appeared in the past few weeks in two of my favorite mystery publications: Alfred Hitchcock's Mystery Magazine and Sherlock Holmes Mystery Magazine. AHMM, as most of you know, has been around since the 1950s and publishes once every two months, and SHMM started out maybe a dozen years ago and publishes irregularly--but both have been good to me and both have editors I like and admire. 

My story in AHMM (Nov/Dec 2023 issue) is "The Zeller Files," and is different in a couple of ways from what I usually write. This story is a mix of two genres--crime and science fiction. It's about a guy named Eddie Zeller, who once survived an alien abduction and was told by his captors that they would return for him someday. When he and his wife Lisa discover that another couple supposedly kidnapped in the past by these same otherworldly beings have recently moved to the town where the Zellers live, Eddie fears that these alien forces might be gathering all the onetime abductees together so they can again be taken, in one swoop--and maybe this time for more than just observation and release. There is also a crime involved, and there's a fair amount of the chasing and zapping and paranoia that you usually find in an X-Files kind of story.

The second difference about this particular tale is that it's one of only a few stories I've sold that were set during the height of the Covid-19 pandemic, with the characters wearing masks and avoiding crowds and dealing with a whole different kind of paranoia. I think both these oddities made the story more fun to write, and--who knows?--might've been what appealed to the editor. At any rate, I was grateful but surprised when AHMM bought it.

The other story is "The Three Little Biggs," in Sherlock Holmes Mystery Magazine (Issue #32). Its a little different also, from my usual, but it's on the other end of the spectrum from the AHMM story. "The Zeller Files" is longish (5600 words), it's more SF than mystery, it's sort of intense, it's set in the (recent) past, it has only a few characters, and it's a standalone story. "Biggs" is short (900 words), it's a whodunit, it's lighthearted, it's present-day, it has a lot of characters, and it's a series story. In fact it's the umpteenth installment of what I long ago started calling my "Law and Daughter" mysteries, featuring small-town sheriff Lucy Valentine and her bossy mother Frances. 

In this story, Lucy and Fran investigate the strange death of wealthy rancher Elijah Biggs, whose three weird offspring have gathered at the ranch to celebrate his birthday and found his dead body instead. There's a lot of inheritance-squabbling between the siblings in this story (I told a friend last week that it's a bad-heir-day mystery), and if you read it I hope you'll find that the solution fits Aristotle's famous description of endings that are "both unexpected and inevitable."

Quick questions. Everyone reading this probably knows about AHMM, but are all of you familiar with Sherlock Holmes Mystery Magazine? (It's a publication of Wildside Press and the editor is Carla Coupe.) Have any of you submitted stories to them, or been published there? If so, have you found them easy to work with? Please let me know in the comments. I really like the magazine, I've had a number of stories published there over the years, and I hope it'll be around for many more.

How could anyone resist two magazines with those names in their titles?

Coming attraction: In two weeks my friend Josh Pachter will be here to tell you about his--and several of our--experiences with a new short-fiction market called Storia.

See you then.

Three Indigenous Mysteries for Kids

From Rez Detectives

This past summer, my wife and I visited nearby Cherokee, North Carolina, for that city’s annual 4th of July powwow, billed as one of this continent’s largest gatherings for Native American singing, dancing, and drumming competitions. We’ve gone before, because the event is spectacular on its own, and because the history of the region—best experienced in the museum, craft co-op, living village, and long-running stage show—is fascinating.

It is also excruciatingly sad. The U.S. federal government forcibly removed 11,000 Cherokee from the American Southeast in the 1830s, consigning them to the notorious Trail of Tears and the so-called Indian Territory in what is now Oklahoma. Many Cherokee resisted that government order, hiding in the nearby mountains. Their descendants, and others who returned, comprise what is known today as the Eastern Band of Cherokee Indians (ECBI).

The times we’ve visited the Qualla Boundary, the Cherokee land trust, we always stop in at Talking Leaves Bookstore, which exclusively features books and other media devoted to many indigenous cultures. The mystery section prominently displays, for example, the works of Tony and Anne Hillerman. The store also carries some DVDs of TV series such as Dark Winds, based on Hillerman’s series in Navajo country, and Reservation Dogs, about Muscogee Nation teens mourning the loss of a friend and grappling with life in rural Oklahoma.

The latter got me thinking: are there mysteries for kids that feature indigenous characters? There are quite a few, yes. I picked up three, which I thought I’d share with you today as we start Native American Heritage Month here in the United States. Let’s see what we’ve got.

The Rez Detectives: Justice Served Cold, text by Steven Paul Rudd, Tvli Jacob, illustrations by M.K. Perker. (Literati Press Comic & Novels, $12.99).

In the gentlest of the three books—a hardcover comic book—fifth grader Tasembo wakes on a hot summer day craving a delicious ice cream cone. When the ice cream truck doesn’t show up, all the kids in this Choctaw neighborhood are naturally concerned. Turns out, all the vendor’s stock has been stolen! Determined to crack the case, Tasembo teams with the smartest girl in his class, the sweetly nerdy Nuseka, who sports a lab coat and totes forensics equipment in a suitcase. 

Nuseka collects footprints with plaster molds, dusts for prints, and sets traps to collect both from suspects. Along the way, we learn interesting tidbits about reservation life, tribal councils, and the kids’ attitudes about them. When Tasembo comments that the ice cream man has a stellar record for punctuality, Nuseka quips, “Maybe he overslept. Indian time finally caught up with him.” When Nuseka lapses into pig latin to avoid sharing a secret with others, Tasembo replies: “Are you speaking Kiowa or something?” 

The characters directly address the fact that many Native Americans are lactose intolerant. (Eighty percent of African Americans and Natives are.) They speculate that the theft is the work of the Kowi Anuk Asha, little people who dwell in the forest. Alas, the culprit proves to be all too human. 

A very fun story with charming illustrations. Author Judd (Kiowa/Choctaw) is a clothing designer, writer, and visual artist; his collaborator Jacob (Choctaw) is a producer, director, and clinical professor of psychiatry. Intended for readers aged 10-13, grades 4-6, though I think it could skew younger.

The Case of Windy Lake, by Michael Hutchinson (The Mighty Muskrats Mystery Series, Second Story Press, $10.95). 

When an elderly white archeologist goes missing while doing some routine work for a local mining company on the lands of the Windy Lake First Nation in Canada, four young cousins known as the Mighty Muskrats team up to find the poor fellow before he expires in the harsh wilderness. 

This series is five books strong at this point, and Hutchinson (Misipawistik Cree, Treaty 5 territory) says he was inspired by the old Three Investigators series attributed to Alfred Hitchcock but written by Robert Arthur Jr. and a team of ghostwriters. 

That said, The Mighty Muskrats plots are strongly influenced by Hutchinson’s work as an investigative journalist. In this volume, we witness a community struggling with a classic dilemma: do they preserve the old ways and their land, or allow a despoiling mining company to bring much-needed jobs to the region? The cousins—Atim, Sam, Chickadee, and Otter—display a warm, loving relationship with each other and with others in their nation. Their uncle is a tribal cop. Their Grandpa is a wise respected Elder. Their older cousin is an angry activist. A larger cast of uncles, aunties, council Elders, and older cousins and sibs chime with offhand comments that turn out to be vital clues. Everyone is skeptical of the motives of Anglo archeologists, rapacious corporations, and the Canadian government. 

In this case, the kids’ deductions hinge upon an understanding of the behavior of local birds of prey, the rise and fall of lake water levels due to the nearby hydro dam, and modern meteorology. Readers will come away with a powerful understanding of many concepts dear to this community, among them the value of vision quests: “Once you see the world beyond your needs, it becomes easier to see your dreams and how you can contribute.” A Junior Library Guild Gold Standard Selection. Ages 9-12, grades 4-7.

Firekeeper’s Daughter, by Angeline Boulley (Firekeeper’s Daughter series, Macmillan, $14.99). 

Eighteen-year-old Daunis is a young woman living near Sault Ste. Marie, Michigan, who dreams of going off to college to become a doctor. She’s forced to put her dreams on hold when her grandma suffers a stroke. Born out of wedlock to a white mom from a wealthy family, and an Ojibwe hockey player dad, she has always felt like she doesn’t quite fit in. When Daunis witnesses a murder, the FBI compels her to go undercover to smash a drug ring that is devastating the community. Now she’s really caught between two worlds. 

Author Boulley (Sault Ste. Marie Chippewa) labored 10 years on the book, while raising her kids, enduring a divorce, and serving as the director of the Office of Indian Education at the U.S. Department of Education in DC. She told one interviewer that she often wrote scenes while sitting in the stands at her kids’ hockey games.

Unusual for a debut novel, the book hit No. 1 on the New York Times Bestseller list upon release, and racked up a slew of starred reviews and awards. Reese Witherspoon picked it for her book club, the Obamas are producing a Netflix series based on the title. The second book is set in the same region, and features some of the same characters. (I have not read that one.)

Tell me: when was the last time you’ve seen a book garner more than 12,000 Amazon or 135,000 Goodreads ratings, largely glowing? That said, this is a doorstopper—nearly 500 pages—and filled with all the things that frighten witless adults about YA books: sex, drugs, crime, language, you name it. Ages 14-18, grades 10-12.

I’m sorry to say that these only scratch the surface of what’s available out there in the genre. If you know of other titles, please share them. 

From Rez Detectives

See you in three weeks!

Joe

josephdagnese.com

Crime and Punishment

There was a curious symmetry of crimes committed last week eastern South Dakota:  one was by a 19 year old, and the other by a 91 year old.  

The 19 year old was wanted for possession of two stolen vehicles. Granted, we could say a lot about the fact that both vehicles had keys inside at the time they were stolen, like 

LOCK YOUR DAMN CARS FOLKS!  THIS AIN'T MAYBERRY ANY MORE!  

But anyway, the police investigation led to them following a van where the driver parked and went inside a store, while the suspect sat in the van.  The officers blocked the van with two violent crime unit vehicles — one in the front and one behind the van - and at that point the suspect jumped into the driver's seat and rammed both police cars, trying to get out.  Didn't work.  Also, I'm sure, pissed them off.

Then he jumped into the backseat and got a handgun, grabbed a one year old (who was in the van somewhere) and held the child in his lap (he's going to prison for that alone, folks), and that's when the SWAT team and negotiators came.  A little after midnight, he released the child, and about an hour later he got out of the car, and as he did his gun went off and he shot himself in the foot.  They still don't know if the shot was intentional or accidental, but I'm leaning towards the latter.  He seems incompetent enough. So they took him to the hospital, but he's in jail now, where he's going to be until his ultimate passage to the pen. (LINK) 

On to the 91 year old:  

HEADLINE:  A 91-year-old Canton man is behind bars after shooting his son.

On Saturday, October 21, Arnold March, 91, was arrested for attempting "without authority of law and with a premeditated design" to kill his son.  In other words, he shot him.  Mr. March is sitting in jail with a $500,000 cash bond.  There's been no update on the son's condition since.  In fact, there's been radio / TV / internet silence about the whole thing ever since.  For a week.  Something is going on there, but our news outlets have decided we know enough for now...  (So South Dakota...)  (LINK)

In any case, there's a good chance that both the 19 year old (for sure) and the 91 year old (maybe) will end up in the same place:  

THE SOUTH DAKOTA PENITENTIARY

The DOC has finally bought land for the new men's prison in Lincoln County (a large chunk of which is southern Sioux Falls these days, and another chunk is the town of Harrisburg).  But it's a big county (most South Dakota counties are), with a large rural area, and the rural residents of Lincoln County are having a fit.  The farmers around are afraid for their families, it will hurt the growth of Harrisburg, it will decrease property values, and basically, NIMBY.  And they're all shocked that the land the DOC bought was already owned by the State of South Dakota through the Office of School and Public Lands.  Apparently everyone thought that it was owned by a farmer.  No, it had been rented to a farmer, because why shouldn't the State make some money while they try to figure out what to do with the land?

Pro tip:  before you buy land, or a house, or move anywhere, do some due diligence.  Go down to a Register of Deeds and find out whose property is all around you.

Anyway, the Lincoln County opponents - NOPE! Neighbors Opposing Prison Expansion! - wrote DOC SOC Kellie Wasko to urge her to consider another site.  She responded politely but firmly.

I was discussing this with some opponents of the new location earlier and they raised the same argument about population. "Well, was it that way when the pen was built?" In other words, wasn't it in the middle of nowhere then? Well, when the pen was first built, in 1881, Sioux Falls had about 2000 people, and there was already a Queen Bee Mill operating in the Big Sioux River directly south of the pen. The Warden, of course, lived on the premises (along with his family). And all the workers, both at the Mill and the Pen, would have lived within walking distance, because no one had cars. There were no cars. And you didn't drive a wagon to work to leave your horse standing outside all day. So actually, there would have been about 2000 people living within a half a mile of the pen, and those numbers would have kept growing as in 1909 John Morrell's meatpacking opened up right down river from the Pen and the Mill. Lot of employees, lot of housing.  

Anyway, the new pen won't be finished until 2025 or 2028 (no one's sure which).  No one knows or is telling what they know about what's going to happen to the old building from 1881.  I just hope they won't turn it into luxury condos because it will be seriously haunted.  After all, Florence isn't going anywhere.

What's It All About?

 I've been thinking about what individual stories are about.  I don't mean plot.  Do I mean theme? Maybe so.

What brought this to mind was an interview with  Tim Minchin, Australian comedian. singer, and composer of the bestselling musical Matilda.  He said that all of his work is about the same thing: How do you lead an ethical life?

As you see, that's a deeper "about" than just plot.  So let's play around a bit...

The very first mystery story, Poe's "Murders in the Rue Morgue" is about the triumph of rational thought.

Shirley Jackson's "The Lottery" is about evil lurking under the surface of the ordinary (definitely a recurring theme for her).  Or is it about atavistic hangovers in civilization? Certainly a tale can be about more than one thing.

Susan Glaspell''s "A Jury of Her Peers" and Roald Dahl's "Lamb the the Slaughter" are both about men's inability to see things from women's point of view.  

Donald E. Westlake said "I believe my subject is bewilderment.  But I could be wrong."

My own first published story, which you can read here, is about the effects of  betrayal.  My story "Why" is, logically enough, about motive.

I suppose my favorite "about," which comes up again and again in my writing and my favorite stories is the possibility of redemption: someone trying to fix a mistake.

The reason I am pondering all this is that "When You Put It That Way" appears in the November-December issue of Alfred Hitchcock's Mystery Magazine.  It is my fortieth story there.  

And it is about economics.

What?  Capitalists versus socialists?  Evil corporate monopolies? Progressive versus regressive taxation?

None of the above.  I have heard economics defined as "the study of the  allocation of scarce resources,"  

In my story, that resource is personnel.

My protagonist is a district attorney faced with an unsolvable dilemma.  1. A billionaire just killed two people.  2. The sheriff thinks she has evidence of a serial killer.  

The dilemma: Both crime scenes need a lab technician immediately and he only has one to send.  I put plenty more obstacles in his path, but that's the essence of the problem. Scarce resources.

As I was writing this blog I was reminded of something I was told by a friend who is in the biz: "An economist is someone who, after a battle, shoots the wounded."

Come to think of it, "Shooting the Wounded" would have been a pretty good title for my story.  But I like "When You Put It That Way."

I hope you do too.


 

What is Real Courage?

Earlier this week, Melodie Campbell ran a column here at SleuthSayers about courage—how it takes guts to be a writer. She mentioned Harper Lee's groundbreaking book, To Kill a Mockingbird, which addressed what true courage is in a conversation between Atticus, the father in the story, and his son, Jem. Atticus says, "I wanted you to see what real courage is, instead of getting the idea that courage is a man with a gun in his hand. It's when you know you're licked before you begin, but you begin anyway and see it through no matter what."

Interestingly, I was planning to write about the same subject today. I have a new story that should be available soon titled "Real Courage," inspired in part by the same goal that Harper Lee mentioned, showing what real courage can be. My story doesn't involve a good man standing up to a town full of racists. Harper Lee did that better than I ever could. In my story, you'll see some courageous acts that are big and others that might seem small, but they all take guts. Here are some of them:

• Standing up for yourself when the other person can ruin you
  
• Following through with a promise to help a friend no matter what, even if the "no matter what" is risky—something no one would expect of you
  
• Covering up a crime to protect your child
• Risking your future to make things right

"Real Courage" is told linearly from four points of view, starting with a teenage girl in the 1980s, moving on to her child more than thirty years later, then onto her husband, and ending with the perspective of another teenage girl, one the mother tried to help. It's a story about the ramifications of a seemingly insignificant incident and how it winds up affecting so many lives over so many years. It's a story about unexpected consequences. And it's a story about courage.

I don't want to go into too many details. I'd rather you read the story and be surprised. But I will say that one thing I wanted to illustrate with the story is that sometimes what seems right yet difficult, what can be courageous to do, is also the wrong choice. Not always but sometimes. 

"Real Courage" is included in issue 14 of Black Cat Mystery Magazine. The issue is listed as available for purchase on Amazon, but due to some behind-the-scene issues, the only current seller is a bookshop in England. I'm told Amazon itself should show up as the seller soon (I believe, I hope, that means in the next week or two), enabling people in the US to get local delivery.

Finally, a bit of BSP before I finish: I'm happy to share that last week my story "Beauty and the Beyotch" won this year's Macavity Award for Best Mystery Short Story. The story also won the Agatha Award in the spring and the Anthony Award in September. It originally appeared in issue 29 of Sherlock Holmes Mystery Magazine. I'm beyond thrilled by the reception the story has received. If you haven't read it yet, I hope you will.

Our Spook Houses

My late husband, Elmer Grape, loved Halloween as much as Christmas, maybe even a little more. He always said kids liked to be scared. Nothing to hurt them, just something fun scary. So when Halloween rolled around, he was like a little kid himself. Every October 31^st, I think of our Spook Houses in the mid-1970s. Our house in Houston had a sidewalk leading from the driveway to the front door located under an overhang eve, a little wider than the walkway. Elmer was a commercial construction superintendent and had access to rolls of black plastic, Visqueen. Like garbage bags but thicker and blacker. He hung the plastic from the overhang making a dark corridor to our front door where an evil looking Jack-O-Lantern sat. Kids would have to walk the ten feet to the front door and ring the doorbell. I dressed in a long black dress and ratted my dark hair out, giving me a witchy look as I opened the door. Kids were surprised that someone in costume greeted them.  

Elmer sat up in our dark garage, which had small glass windows where he could look out at the kids who walked up our driveway to ring the doorbell and say "Trick or Treat." He'd rigged up a PA system and with his normally deep voice he'd say, "Fee Fie Fo Fum, I Smell The Blood of an Englishman." Parents standing at the bottom of the driveway, were giggling and encouraging their kids to go to the front door. I usually had to open the front door and coax them to come up the walkway corridor to get candy. He would usually add, "I'll grind his bones to make my bread." 

One little boy about 6, was hesitant so I finally walked halfway to him to give him candy. The boy walked back to mom and safety. Then Elmer said, "I'll get him next year." The little boy looked up at mom and said, "Let's don't come back here next year." I could hear Elmer smothering laughter.

The next year we had moved to Memphis, Tennessee. We joined the PTA and discovered the PTA had a fall festival in mid-October, as a fund raiser, for school. It was their version of a Halloween Carnival. The previous year they'd had very successful a spook house. 

Without thinking twice about it, Elmer and I signed up to be the chairpersons for this one. I won't detail what all we did, because this article is about "OUR" spook houses, but I will say, Elmer built a wooden coffin to use in the school event. It was shaped like the ones you'd see in all those old Western movies. You know, with the angles at the top end. He painted it flat black, and it was long enough for him to lay his 6 foot, two inch body down inside. As kids came inside the room they saw the coffin, as they got near, he'd raise up, sometimes laughing maniacally. Our school spook house was a huge success, at 25 cents a ticket many kids came through multiple time.

Two weeks later was October 31^st, "Halloween." Mr. Grape had already planned for it with that coffin. Again using the black Visqueen, he turned our carport into a spooky room. Of course we didn't charge kids anything. I was once again dressed witchy, in my long black dress. 

I had a little story, inviting kids inside, telling them of my friend who had been killed in a horrible accident. If they wanted, they could view his body and his parts if they would just come inside. 

I had a box with for them to put their hand down into with a bowl of cold wet spaghetti to feel like guts. Another box held a bowl with cold peeled grapes for eyeballs and brains. 

E. had added one new feature to his coffin, which was resting on a couple of sawhorses and draped with the black plastic, he cut an opening in the coffin side in order to stick his arm out and pretend to grab at a kid's arms or hand. He was also wearing a horrible rubber mask with a plastic eyeball hanging out. It had slits in order from him to see. As a kid got close he could raise up or grab, whichever seemed to work.

As the doorkeeper, I would have 2 or 3 kids come in at once. Usually, they were traveling in groups. Kids had so much fun, they went home and got their mom and dad to come see the spook house. No one in this neighborhood had ever done such a thing. 

One mom got so shook at the coffin watching another mom scream and jump, she said, "I think I just wet my pants." 

Elmer heard this and when he raised up, was laughing so hard he had trouble making a scary sound.

The next year we had to change it all up. We set up our living room with the coffin against the far wall. We had put a large cloth dummy inside.

We also had big moving blankets on the floor so when you walked in the floor felt squishy to walk on. Dim lights barely lit the room. A carved, evil Jack-O-Lantern had a battery electric candle inside. As kids rang the doorbell, yelling “Trick or Treat,” I opened the door, letting only 2 or 3 inside, they could see the coffin across the room but couldn’t see inside it.

Elmer never dressed up for Halloween
but one time his little sister made him
up for her grandson's birthday party,
the only pic I have of him in costume.

I’d tell my little story of my friend who had the terrible accident and had the "guts and eyeballs" for them to feel. Then I’d steer them to the coffin and while they're concentrating expecting Elmer, he’d come out of the coat closet by the front door, moaning like a ghost. Wearing his horrible mask, and a flashlight in his belt shinning up towards his face, he was scary.

Some of the parents came inside, then neighbor lady started screaming, "Damn you, Elmer Grape, I thought you were in that coffin."

That year was when mean people put razor blades or poison in candy treats and it became too dangerous for kids. Elmer and I both were angry and disappointed. The fun of Halloween was dead.

However, in the nineties after we moved back Austin we had a few kids walking their own neighborhood with parents. Our niece Dona and her family lived behind us. Her young daughter Tiffany and Tiff's best friend, Amber would walk around the block with their moms. Somewhere along the way, Uncle Elmer would jump out and scare them.

Along the whole way, they were expecting him but never knowing exactly when or where. The girls are now adults with nearly grown kids of their own but at Halloween they always tell the story of being scared by Uncle Elmer.]

So is it any wonder I write mysteries? Or that we owned a mystery bookstore for nine years? It's just a shame there are no photos or videos. People didn't have cell phones or digital cameras then and even if I'd thought of it, I was too busy telling the story and handing out treats.

Going to Bouchercon

I assume that others will write about the Bouchercon held in San Diego long before this article gets published, therefore I will report mainly on our encounters at the conference.

The first step toward attending the conference was writing a story ("Shanghaied") for their anthology and submitting it before the deadline. Unfortunately, it didn't make the cut. Oh well, can't win them all. "Shanghaied" is the third story in a new series set during the California Gold Rush. It now rests in the AHMM e-slush pile for future determination. First in the series, "Sydney Ducks," was published in the West Coast Crime Wave e-anthology and the sequel, "Sydney Coves," was published in AHMM's July/Aug 2023 issue. Two out of three ain't bad and gives me hope for this third one to find a home.

Upon registering for the conference, I discovered two other writers with the last name of Lawton, Rob & Robin, on the List of Attendees. To my knowledge, we are not related, but I could see the possibility for some confusion. Sure enough, several months after registration and we still hadn't made the List of Attendees. I sent an e-mail mentioning this oversight, plus the difference between the two groups, just in case the conference planners thought we were already listed. Kim e-mailed back that she would take care of it. More months passed before our names were finally listed.

On the first of July, I was placed on a short story panel, but when the schedule came out in print, it said Rob Lawton, who is a novelist. I e-mailed Kim to explain the problem. In a return e-mail, she said she would fix it. I checked the schedule later and it said R,T, Lawton. I don't think I've ever seen anyone use commas with their initials. E-mails ensued. Kim explained she hadn't had her morning coffee yet.

We had learned in earlier travels to always build in an extra day when flying somewhere. It seems the weather and/or the airlines seldom co-operate anymore in getting the passenger to his destination on time. Therefore, we arrived on Tuesday. Many of those flying in on Wednesday found themselves stacked up over the San Diego airport due to thick fog. Some flights were even diverted to other airports to refuel. Our MWA Chapter President ended up at the nearby Ontario airport and was left behind along with some other passengers in the airport restaurant when the aircraft resumed its flight. They rented a car to finish the trip. She missed the panel she was supposed to be on.

Kiti and I had an excellent cab driver from the airport to the conference hotel. He spoke perfect American English which he learned in a school in Somalia. We had a great conversation in which I learned about his culture, to include food on their menu. I have eaten some exotic food, but never camel meat, a staple in Somalia. Arriving at the hotel, we over-tipped our driver, but he was worth it.

Our room on the 16th floor of the South Tower had a tremendous view of the marina, the bay and the naval harbor. It was worth the extra $20 a night, especially when the large Navy ships were gliding past our window on their way out to sea.

Wednesday morning, we had breakfast at Richard Walker's House of Pancakes with Rob & Teri Lopresti and Michael & Temple Bracken. Good company, good conversation and good food. My bacon and Havarti cheese omelet was so good that Kiti and I returned to the restaurant the next morning for a rerun on another omelet.

Wednesday evening was supper at Roy's with the Brackens, James & Dawn Hearrn, and Hugh Lessig & his partner Shana. Once again, good company, good conversation, good food. Roy's is one of those first class restaurants where the online menu shows no prices, however our macadamia nut encrusted Mahi-Mahi turned out to be quite tasty.

The panels were entertaining, the conference rooms convenient, the hospitality room well stocked with coffee, muffins and pastries. The Marina Bar inside the hotel was handy for appetizers, drinks and a good place to find old writer friends, which is one of the best reasons for attending a B'con.

So there I was leaning against a wall in the hotel while Kiti made a shopping foray into a store when this guy walked by. He stopped, looked at me and said, "I know you." If I was working undercover in the old days when I heard those words, then it became a tense time until we figured out whether or not he really knew me.

Most of the time the speaker of those words did NOT know who I actually was, It appears I have a common face, or resemble someone they knew. Whew. This guy and I talked for a while, but couldn't place each other. We exchanged business cards. It was only much later that I realized Frank Zafiro, a retired police captain, and I had met at the Left Coast Crime Conference in Vancouver. I was with several authors celebrating the publication of Brian Thornton's Die Behind the Wheel anthology and signing copies, while Frank knew and conversed with several of the writers.

L to R: Walker, Taylor, Hearn, Steinbock, Loomis, Lawton
(don't know the white-hat guy down in front)

And then, there was Steve Steinbock who had the misfortune to fumble his cell phone while in the elevator on the 8th floor. Yep, it slipped through that narrow opening between the floor and the elevator. The hotel was going to charge him for the cost of the elevator company making a service call to retrieve the phone, but fortunately Steve had insurance on the phone, in which case replacement was considerably less expensive than the elevator service call would have been.

One morning in the hospitality room, I saw a lady arranging the muffins. When I noticed she was wearing a purple t-shirt from the New Orleans B'con anthology from a few years back, I approached her and mentioned that I too had a t-shirt from that B'con anthology. Turned out she was a current volunteer at the San Diego conference. She told me that other volunteers were also wearing B'con anthology shirts. I thanked her for her service. Writers conferences need lots of volunteers in order for events to go smoothly.

There were many new and old writer friends that came to the San Diego Bouchercon. Too many to name individually. Just know that we enjoyed conversing with you all, and hope to see you at another conference in the future.

The Guts that it Takes to be a Writer

"I wanted you to see what real courage is, instead of getting the idea that courage is a man with a gun in his hand."  Harper Lee

As I sit at my desk looking out the window at the black October lake, it occurs to me that I've been contemplating how to write this post for a long time.  Perhaps I was waiting for a suitable trigger [sic].  Ironically (just can't resist these puns) I sold the last of my gun collection after Sandy Hook, and no longer engage in sport shooting. For that reason, and perhaps the fact that I also no longer fly small craft and gliders, a person close to me hinted that I had become rather conventional.  

For some reason, that bothered me. Dagnabbit, was he equating conventional with boring?  That got me thinking about being a writer.  And frankly, I don't think any of us are conventional.  We are the very opposite of that.

The point of this post:

I've always told my classes that you need three things to be an author:

Talent -  the ability to come up with new story ideas again and again

Craft -  the dedication to learn the craft of writing, which takes time, instruction, and what I like to call an 'apprenticeship'

Passion - the determination to spend hours alone at your keyboard, creating those stories

I've known a lot of adult writing students who have talent.  I've been able to teach them the craft.  But if they don't have the passion that being an author requires, then the first two don't mean much.  It takes me nearly 1000 hours to write an entire novel, in final form.  That's a lot of butt-in-chair passion. 

In addition, I have taught people who show talent and passion, but won't take the time to learn the craft.

But lately, I've come to recognize something I've overlooked, something absolutely critical for a writer to stay in the game.  I'm adding a fourth essential to the list:

Courage.

I didn't fully understand how much courage it took to be a writer, until after I'd been published a dozen or so times.  Now, with more than 60 short stories and 18 novels, perhaps 200 humor columns and comedy credits, I've found my courage faltering at times.  But what exactly do I mean?

Voices stronger than mine have said that writing is easy - you just open a vein and bleed.  I can attest that my protagonists, while different from each other, often have my moral beliefs and views on life.  They put forth and discuss issues of ethics and politics that support a Canadian woman's viewpoint.  Mine.

So that when I am writing fiction or humour, I am not only demonstrating (for better or worse) my talent as an entertaining writer.  I am also exposing the things that are important to me and that I believe in.  What it boils down to is this:  not only is my writing open to being criticized, but my personal beliefs and morality are also up for grabs.

For this, I have - like many female writers - been hounded by trolls on social media.  Usually men (but not exclusively) who wish to make me uncomfortable, to diminish me in some way.  To erode my confidence, and hopefully make me fearful.  In all cases, they wish to silence me.  They hide behind the screen of anonymity.

In the old days (by this I mean pre-Amazon) we took criticism from professional critics, plus our editors.  In a way, it was a jury of our peers, and we accepted that.  Now, to use a military analogy, we can't see the enemy.

It takes real courage to put your work out there, and take the slings and arrows of  criticism from unknown players, many of whom have sinister intent.

It takes guts.  

Harper Lee said it best.

Melodie Campbell writes from the northern shore of Lake Ontario.  Mainly mob capers, but also classic whodunits like The Merry Widow Murders, online and at most bookstores.

Historical Inaccuracy

Historical Inaccuracy in movies is nothing new. It's called poetic license.

Historical Inaccuracy in non-fiction articles is not usual and not good. If there are facts, get them right.

Case in point was the article put up on Google Alerts from The Loveland-Reporter Herald of October 21, 2023. A review of the movie THE BUCCANEER (Paramount Pictures, 1958) with historical notations.

There's no problem with the writer expressing opinions about the movie. I agree with many of them. The casting of Yul Brenner as Jean Lafitte was a good choice, so was Charlton Heston as Andrew Jackson, Charles Boyer as Dominique You and Claire Bloom as pirate Bonnie Brown. However, the wonderful Inger Stevens, who plays Louisiana Governor William C. C. Claiborne's daughter who has a love affair with Lafitte, well, Claiborne did have a daughter at the time but she was three years old.

However, the article describes the "well done" battle scenes, which were clearly filmed on a Hollywood sounds stage where the dialogue and sounds of horses and bagpipes echo from the walls of the sound stage. British troops wearing kilts march slowly in a wide line to their deaths, when in fact they marched at the quick-step in two long columns. There were no kilts worn at the Battle of New Orleans. The Scottish 93rd Regiment of Foot (Sutherland Highlanders) wore trews, tartan trousers – their winter uniform as the Battle of New Orleans, The battle itself involved six engagements from December 14, 1814, through the climactic battle on January 8, 1815, to the final engagement south of New Orleans at Fort St. Philip, January 9-17, 1815. It occurred in one of the coldest winters in Louisiana history. Hence, no kilts.

As much as the writer of the article suspects "there is a grain of truth in the song" The Battle of New Orleans sung by Johnny Horton, the British did not run after the battle as the song goes, “They ran through the briers and they ran through the brambles/ And they ran through the bushes where a rabbit couldn’t go/ They ran so fast that the hounds couldn’t catch ’em/ On down the Mississippi to the gulf of Mexico.” This is untrue.

In fact, the British withdrew to its original position at the start of the climactic battle, the de la Ronde Plantation, and waited to see if General Jackson was dumb enough to come out from behind his formidable fortifications to try and destroy the British army. Jackson was too asute to try this. His job was to protect New Orleans and he remained behind his fortifications between the British army and the city.

The new commander-in-chief of the British Expedition (Generals Pakenham and Gibbs were killed at the battle and third-in-command General Keane so severly wounded he was supposed to die), GeneralJohn Lambert conducted a disciplined, orderly withdrawl of his defeated army back through the swamp to the Royal Navy ships outside Lake Borgne. He was decorated for this strategic withdrawl. He left Louisiana to capture Mobile, which highlights the fallicy (restated in the article) that The Battle of New Orleans was fought after the war ended.

While U.S. and British representatives agreed to end hostilities, initially signing a peace treaty at Ghent, Belgium, on December 24, 1814, the British and Americans were already fighting outside New Orleans. They just finished the second engagement on December 23, 1814 and fought again on December 28 and January 1, before the climactic battle on January 8. The Treay was not ratified by the U.S. Senate and Parliament until February 17, 1815, ending the War of 1812.

OK, it's a review of an inaccurate movie. Just don't add historical inaccuracies in an analysis.

I worked long hours accumulating 72,000 words of historical research before I wrote my epic novel BATTLE KISS. I made it as accurate as I could make it, so much so, my 16,303 word  January 8 battle scene was published in the historical journal SOUTHEAST LOUISIANA REVIEW (Vol. 4, Winter 2012/2013).

The article THE BUCCANEER can be found at: https://www.reporterherald.com/2023/10/21/trivially-speaking-the-buccaneer-seized-a-place-in-movie-history/

The book:

https://www.amazon.com/Battle-Kiss-Novel-New-Orleans-ebook/dp/B0069VMOI0/

Thanks all for now.

  www.oneildenoux.com