Meet My Character Blog Tour

I've been tagged and invited by my friend, Paul D. Marks, Shamus Award winning author of White Heat, to join the Meet My Character Blog Tour. Each author who is asked writes about their character answering questions on their blog, then tagging one to five other authors to join. Not only do you find out about interesting or intriguing characters you also learn a little about an author. One you might not know anything at all about, you also promote your work and their work on your blog and then they promote it on their blog site. It sounds like fun so I agreed to be tagged. I think it would be best if you contact the person you plan to invite to see if they will agree. Also you can only invite one person if that's what works best, but it's going to be more fun if you at least invite two or more.
Paul recently posted his and you should check it out: www.pauldmarks.blogspot.com
Paul's website is: www.pauldmarks.com

Here goes:

1. What is the name of your character? Is he or she fictional or a historic person?

My Austin Policewoman is named Zoe Barrow. Barrow is my maiden name and I chose it to honor my late father. She is fictional but a little of several female police officers that I met while attending the Austin Citizen's Police Academy. Austin was one of the first cities to have an academy for citizens to learn about the police department and understand  a bit of how they worked and the problems they faced. Most of the people who attended were folks who were going to be watch captains in their Neighborhood Watch Programs and were held back then out at the Police Academy. The classes were held once a week for ten weeks, each program was one and a half long with a break, then another one and a half hour and taught by either the head of the department or the second in charge We had classes in Bunko-fraud, Firearms, Robbery-Homicide, Fingerprints & Ballistics, Sexual Crimes, SWAT, Victim Services, District Attorney, etc. We took a field trip to police headquarters to see all the division offices and to learn about Fingerprints from their AFIS computer, automated fingerprint identification. We saw how weapons and firearms and bombs were handled. We saw how the K-9 unit worked, watching the dogs work, outside on their training grounds. One of the final classes before we got to ride with a patrol car for a full eight hour shift was the Firearms Training Simulator aka FATS. These were "Shoot, Don't Shoot" scenarios, a video of a person plays on the screen and you have a laser gun. The person can be a good guy or a bad guy and when the action starts you must shoot or don't shoot by whatever the action is. I did quit well until my last scenario and I shot a guy in the butt. The patrol ride was especially enlightening as the officer never know when getting as call what can or will happen. We went to an abandoned Winnebago type trailer on a neighborhood street. A dog was tied up outside. The officer I was with made me stay in the patrol car while he checked the place out. No one was in the trailer but there could have been and someone could have come out shooting. My officer had given me instructions on how to operate the vehicle's radio if he got shot and needed help. Many of my readers have asked if I ever was a police officer after reading AUSTIN CITY BLUE the first in the series. I never have been, but besides the Citizen's Academy training, one of my officer friends read and vetted my manuscript.

2. When and where is the story set?

Guess I pretty much answered this in the previous answer. Austin, Texas in the present day.

3. What should we know about him/her?

Zoe is dedicated to her job and to helping people. She works with other officers who are also dedicated and their main object is to keep their city safe. Austin is a great place to live but I have to admit since I first wrote these two books, ACB and DARK BLUE DEATH, Austin had grown by leaps and bounds. The police department has undergone many changes. I hope most of them are to help the citizens and police to work to keep crime and the bad guys out of our city and that we have a safe city that is as safe as possible. I have a huge respect for our law enforcement officers and I do understand a tiny portion of what they deal with every day, every hour.

4. What is the conflict? What messes up his or her life.

At the beginning of the book, Zoe has had to shoot a suspect. She didn't know it at the time but he is the gang-banger who accidentally shot her SWAT officer husband, Byron Barrow, in a drive-by shooting. Byron took the bullet in the head. It didn't kill him but left him in a vegetative state. He resides in a nursing home. She has to try and deal with the Internal Affairs Division who sound as if she knew this suspect and killed him out of revenge. Then she has to deal with the guilt of killing a young man.

Her personal conflict, is in dealing with her husband and the semi-coma state that he is in. How she visits him almost daily, talking to him, but he doesn't answer back. (This relationship was my tip of the hat to my friend Jeremiah Healy, who's private eye character, John Cuddy goes out to the cemetery and talks to his dead wife.) Besides dealing with her work and her husband Zoe meets a man who is a private investigator that she's somewhat attracted to but she still feels married although everyone including the doctors tell her that for all practical purposes her husband Byron is dead.

5. What is the personal goal of this character?

Besides trying to resolve her guilt and deal with her husband.  A friend of her father-in-law asks her help because he thinks his wife is trying to have him killed.  Dealing with the pressures of her job each day she's just trying to survive it all.

6. Can we read about this character yet?

Both of the Zoe books have been published, AUSTIN CITY BLUE and DARK BLUE DEATH are
in hardcover from Five Star/Cengage. They both were published in audio form from Audiobooks. They're available in libraries and in some mystery bookstores. I'm trying to get them formatted to e-books so more people can read them since they are out of print. ACB was also published in paperback and you might find copies in a used book store. I'm hoping one day to finish the third in the series, BROKEN BLUE BADGE. After my husband passed away, I had a number of health problems and am only now getting back to writing again. I'd like to finish that Zoe book and sorta wrap things up for Zoe Barrow, Austin Policewoman.

7. A stand alone mystery that I had published, also from Five Star/Cengage is WHAT DOESN'T KILL YOU. The main character is Cory Purvis.  A sixteen year old girl who lives with her uncle in a very small town in west Texas. (think not far from Big Bend.) She and her friend who is half-white and half Native American find the body of a young woman who had been a classmate of the two. The dead girl is in an old abandoned mansion which is supposedly a haunted house. The dead girl is naked and tied up. Almost immediately Cory discovers her friend, TyTy had a brief sexual with Vickee the dead girl and he is put in jail for the murder. Cory doesn't believe TyTy killed the girl and she goes against her uncle and the county sheriff and tries to find out who did kill Vickee.  Although the heroine is only sixteen, this is an adult book, not for very young people due to explicit language and scenes.

This book may be available in mystery bookstores also.

(A note regarding the FATS system you can look online and find short videos on YouTube showing some of the training the officers get.)


My plan now is to invite Fran Rizer, Bill Crider, Alafair Burke, Jinx Schwartz, Kaye George. I haven't had a chance to get in touch with any of these authors so please excuse me if it doesn't work exactly. But I will include them in my next blog time.

An Homage To Poe

After struggling with the article on the colon, I once again turned my attention to the stories in the anthology The Dead Witness and selected “Arrested on Suspicion” by Andrew Forrester because the author pays homage to Poe. The narrator explains, “Of course I do not wish to hide from the reader that I was trying to copy Edgar Poe’s style of reasoning in this matter; for confessedly I am making this statement to show how a writer of fiction can aid officers of the law.”

In his brief introduction to the story the editor discusses the public’s attitude to detective stories, and the publication of the stories in “yellowbacks,” cheap magazines similar to the penny dreadfuls. Naturally, I had to see what the “yellowbacks” looked like. To Google once more I went. 

 Since the anthology was compiled in 2012, I assumed the editor also had access to Google. I therefore was somewhat skeptical of his claim that he couldn’t verify the  author’s birth and death. He also claims, “Andrew Forrester was a pseudonym employed by an important early writer whose real name is lost.” I looked up Andrew Forrester on Wikipedia. His actual identity was unknown until recently when a story of his, “A Child Found Dead: Murder or No Murder?” was discovered, reprinted, and published as “The Road Murder” under the name J. Redding Ware (1832-1909). He was a writer, novelist, and playwright, and created one of the first female detectives. He was apparently one of those writers whose works didn’t survive into the twentieth century, for I couldn’t find any of his books on the Project Gutenberg site. I did find on Google Play a book of stories, The Female Detective, that he edited.  

“Arrested On Suspicion” is a puzzle story with echoes of “The Purloined Letter” and Poe’s essay on ratiocination in the beginning of “Murder in the Rue Morgue.” John Pendrath, the narrator/protagonist, must free his sister Annie who has been arrested on suspicion of shoplifting a blue-stone ring. He employs Poe’s method of ratiocination to identify and catch the real thief or thieves. John refuses to give the reader his profession, but he apparently has some pull with the local police because he requests and is given an officer to help him catch the real thieves. Could he be a “writer of fiction?”

The arrest is a case of mistaken identity. Shortly after Mrs. Mountjoy moved in the apartment above John and Annie, he saw a blue-stone ring on Annie’s finger. Annie couldn’t afford to buy such a ring and certainly wouldn’t steal it. Mrs. Mountjoy’s  daughter, Mrs. Lemmins, sometimes visits her and looks enough like Annie to be her sister. Because of their strange behavior, John suspected Mrs. Mountjoy and her daughter were criminals from the day they moved in. He suspects Mrs. Lemmins stole the ring, and Mrs. Mountjoy gave it to Annie.

The puzzle has two parts. In the first part, John must find the piece of paper containing the message that Mrs. Lemmins sent to Mrs. Mountjoy in a laundry basket. John doesn't help the officer search the room because  he needs to hunt “with his brains.” To get into Mrs. Mountjoy’s mind, he sits in the same chair she occupied when she heard the officer coming up the steps.
In the second part, he decodes the message, which is written in criminal slang, to determine the criminal duo’s next move. With charts inviting the reader to try his or her hand at what, for John, is a simple code, the decoding takes up most of the story. Since I don’t normally like puzzle stories because I’m not very good at solving puzzles, I didn’t accept the invitation.

 “Arrested on Suspicion” is a nice example of an early writer following Poe’s rules. For me, not knowing how the theft was committed was a little disappointing.

Why Writers Drink

“Recent studies show that approximately 40% of writers are manic depressive. The rest of us just drink.” (I sold this to a comedian during my comedy writing years.)
THE ARTFUL GODDAUGHTER launches this Monday on Amazon, Kobo and in bookstores.

This is the third book in the Derringer and Arthur Ellis Award-winning comedy series about a reluctant mob Goddaughter who can’t seem to leave the family business.

As it happens, I also finished writing the 4th book of the trilogy <sic> this week.  I am now in that stage of euphoria mixed with abject fear.  Here’s why:

Below are the 8 stages of birthing a novel, and why fiction writers drink.

THE STAGE OF:
1.  JOY – You are finished your manuscript.  Damn, it’s good!  The best thing you’ve written, and it’s ALL DONE and on deadline!  Time to open the Glenlivet.

2.  ANGST -  You submit manuscript to your publisher.  Yes, even though they’ve already published 5 of your novels, you still don’t know if they will publish this one.  Will they like it?  Is it as funny as you think it is?  Is it garbage?  Glenlivet is required to get through the next few days/weeks.

3.  RELIEF - They send you a contract – YAY!  You are not a has-been!  Your baby, which was a year in the making (not merely 9 months) will have a life!
Glenlivet is required to celebrate.

4.  ASTONISHMENT – The first round of edits come back.  What do they mean you have substantive changes to make?  That story was PERFECT, dammit!  They got the 15th draft, not the 1st.  Commiserate with other writers over Glenlivet in the bar at The Drake. 

5.  CRIPPLING SELF-DOUBT – The changes they require are impossible.  You’ll never be able to keep it funny/full of high tension, by taking out or changing that scene.  What about the integrity?  Motivation? And what’s so darn bad about being ‘too slapstick,’ anyway?  This is comedy! 
Can’t sleep.  Look for Glenlivet.

6.  ACCEPTANCE – Okay, you’re rewriting, and somehow it’s working.  Figured out how to write around their concerns.  New scene is not bad.  Not as good as the original, of course (why couldn’t they see that) but still a good scene.  Phew.  You’re still a professional. 
Professionals drink Glenlivet, right?

7.  JOY – They accept all your changes!  YAY!  All systems go. This baby will have a life. 
Celebrate the pending birth with a wee dram of Glenlivet.

8.  ANGST -  Are they kidding?  THAT’S the cover? 

Melodie Campbell drinks Glenlivet just south of Toronto, and lurks at www.melodiecampbell.com.  To be clear, she loves the cover of The Artful Goddaughter (Orca Books).  

Quen's Comic Caper

By Dixon Hill

Here on SleuthSayers we've often discussed the difficulty of getting published, particularly when it comes to a novel or book manuscript.  So, I thought it might be nice to mention a venue that's helping young, or "new" writers sell their work.

The idea for this article occurred to me while reading Leigh's post, on Sunday.  I realized, then, that I ought to tell you about something my youngest son, Quentin, recently accomplished.

The first printing of his new comic book series sold-out, last week.

Now, don't get the idea that my eleven-year-old writes for DC Comics, or something.  Or that he sold hundreds of copies.  He created his comic book using a pencil on printer paper, then ran off five copies, which he stapled together in book format, gluing a strip of paper over the staples to protect his readers' fingers.  But, he also convinced a local comic book store to carry them on a trial basis, pricing the books at $1.00 each.  And, as of last Saturday, all five had been sold!

Frankly, I was surprised, but not by the fact that he sold some comic books.

This wasn't the first time Quen has written and sold comic books, after all.  It is, however, the first time he's sold them through a store.  In the past, he sold his books to his friends, and sometimes to neighbors (door-to-door).  Primarily, though, he relied on my wife to sell them at her office.  There, company execs, eager to encourage the entrepreneurial spirit in a young kid, insisted on paying $5 to $20 for each copy.

My wife and I were happy to see Quen's excitement, the first time this happened.  And we were grateful to those executives.  We also assumed that if our son continued trying to move his comics through my wife's office, those execs would soon tire of the game and quit buying them.

Quen, meanwhile, seeing the much greater profitability of using my wife as his sales agent, wrote more comics for her to sell at work.

Madeleine took them down, she and I both thinking our son would probably get a useful lesson in the economics of "diminishing returns."  But those execs surprised us.  Instead of thumbing their noses at buying more comics, they began to offer double-the-money if Quen would sign the comic books they bought.  When my wife balked at the idea, one man told her: "Hey, I think it's worth it.  I mean, if he's doing this at nine, he might be the next Warren Buffet by the time he's forty.  If that happens, a signed copy of one of the first items he made and sold would be worth a fortune! Might not happen, but let me take that risk."

As time went on, though the asking price remained flat, the purchase prices -- set by execs who refused to by them for less -- skyrocketed.  Quen was doing Cheeta flips!

We, on the other hand, were a bit worried.  The payment received for one comic book had been $50.00.  Where would it all end?  And what was our son learning?

Until that point, I'd been giving Quen printer paper from my computer without charge, and letting him use pencils we purchased for his school work.  Consequently, his gross basically equaled his net, meaning there was no incentive for saving or reinvesting in his operation.  He spent the money on Legos about as fast as he made it.

Now Legos aren't a bad investment for an eleven-year-old, but -- as long as he was in business -- I wanted him to learn a few business lessons.  At the same time, my wife grew concerned about a potential boomerang effect at work, due to my son's comic book sales there.

So, being the cruel ogres that we are, we announced: (A) Quen would have to purchase his own comic book supplies in the future, and therefor needed to hang onto some of his income from previous sales if he intended to continue in the business, and (B) My wife would only sell comics for him, at work, twice a year, in order to alleviate her concerns about the potential for folks to get upset with her about constant sales.

Quen took it pretty well, all in all.  For an eleven-year-old who had already made over $300 on comic book sales, that is.  Twice a year, he created a new comic and had my wife sell copies at her office. And, the purchase prices held pretty steady.

Then, I took him to a comic book store near our new apartment.

Pop Culture Paradise, located across University Drive from Arizona State University, isn't much to look at from the outside.  And, inside, it's still not terribly prepossessing in my opinion.  The store sells comic books -- both new and vintage -- as well as sci-fi knick-knacks like Dr. Who lunch boxes or action figures, and role playing game paraphernalia:  Magic the Gathering cards, Dungeons and Dragons handbooks and action figures, a ton of multi-sided dice, that sort of stuff.

They hold game tournaments there, too, just about every evening, often lasting into the early morning hours.  My sons played Magic the Gathering there once or twice a week, over the summer, and Quen got to know the shop fairly well. So did I, as I idled away time waiting for him to be sure a game was being held on some particular evening, or waiting for him to finish playing before I drove him home.

And we both noticed something.

The shop has a section of shelves devoted to original manga and comic-style artworks painted or drawn by local college artists, as well as comic books made by similar folks.  Many of the comics are printed on glossy paper, using services available through the internet: The artist pays a fee, emails the comic pages to the printer, and they print them up and ship them to his home.  Some of the artwork is original, while others are prints of the original; I have no idea how they produce the prints.

These locally produced artworks and comics sell for pretty good prices at Pop Culture Paradise.  A comic might go for $1.50 to $5.00, and a painting or print might be priced from $15 to $50, with a few art works going for much more.

Quen asked me if I thought they might carry his comics as well.

I told him I didn't know,and asked him why he wanted to sell them there.  I figured I knew, but wanted to see what he was really thinking.  He explained that he wanted to sell his comics in stores, and this might be a way to do that.  I reiterated that I wasn't sure they'd take his comics, but encouraged him to give it a shot.

He considered it over time -- probably two or three months -- mentioning that his drawings probably weren't good enough.  I suspected they didn't measure up, but explained that I really didn't know; if he wanted an honest answer, he'd just have to ask the owner or a manager.

Frankly, I can't even draw stick figures.  So I thought Quen's comic books weren't bad, for an eleven-year-old.  However, I figured an employee would probably turn him down, pointing out his spelling errors, and a lack of quality in his drawings, hopefully while providing tips and suggestions my son might benefit from.  At the very least, I figured Quen would learn something from the experience.

Quen made five copies of a new comic and asked for my input.  I gave it my best shot, but explained that I really don't know much about comics, not having read any since I was a kid -- except for his, or those of my older son.  Quen also asked me whom he should approach at the shop, and how he should do it.  We discussed these and other issues, and role-played potential approaches and conversations so he could get a little practice.

When we got to the store, and finally stood before a manager, the man looked at me.  I turned to Quen.

Quen stared at me, unsure what to do and looking quite nervous.

"Explain what you're here for, Quentin.  You're on buddy."

Quen had practiced saying: "I've been a customer here for a while.  I buy comics and other stuff, and play Magic here too.  I saw that you sell comic books made by local artists.  I make comic books and have sold some to neighbors and at my mom's work, and I wanted to see if you would agree to carry some of my comics in your shop.  I made five copies of a new comic book I just invented, called Pie Man.  It's supposed to be sort of funny.  It's like Bat Man, but he doesn't dress like a bat; he dresses like a pie."

Unfortunately, after I said, "You're on buddy," Quen got as far as: "I'm your customer."

Then he stopped.  I suspect the enormity of what he was trying to do simply overwhelmed him.  His mouth hinged open and he began stammering, "Uh ... uh ... uh..."

"He's made some comic books," I said.

Quen recovered then, nodding his head.  "Yeah.  I made five copies.  It's called Pie Man.  It's brand new.  It's all my idea.  I thought maybe I might be able to sell them here, 'cause I saw that you sell comics made by local artists."

The manager's eyes lit up.  "Let's see them!"

The guy looked them over, then looked at Quen.  "I like what I'm looking at here."

He must have seen the look on my face, because he turned to me and said, "It's rough, but a lot of people like this sort of rough comic book art.  It looks like he just used a pencil -- Did you use a pencil? -- That's what I thought.  It's got a pretty good look, to me."

He turned to Quen.  "What we do, when we get a new comic artist who comes in and wants to sell his books here, is this:  we ask him or her to donate a few -- these five would work.  We take those five and put them on the shelves.  If they sell, then maybe we'll start buying from you."  He looked at the cover.  "Looks like you want to price them at a dollar each.  Is that right?"

"Yes."

"Well, if you're willing to donate this first batch of five, I'll put them on the shelf with our other local comics, and we'll see if they sell.  If they sell pretty fast, we'll probably start buying them from you.  Are you willing to take the risk?  You won't be paid for these first five.  Is that okay with you?"

Money had been mentioned!  Suddenly Quen was in business mode.  His ears pricked up and his face firmed.  His jaw sort of squared-off. "If they sell, then you'll start buying them from me?"

"If they move pretty quickly, yes.  If they sit around for months, probably not.  If I put them out tonight, and they're all gone in the morning, and your dad's not the only one who bought them, then we'll be happy to buy them from you in the future.  But, it's a new comic, so that's not going to happen.  People don't know it and they have to decide how much they want to read it.  We'll have to see if they sell, and how long it takes.  Then we'll talk.  Okay?"

He then went on to make suggestions about how Quen might improve his next issue, saying he should use a straight edge to create the boxes that housed his pictures, and write more clearly to help the reader follow the story more easily.  He broke out some professional comic books and pointed at what he was talking about, to illustrate his points as he spoke.  Quen leaned forward, peering closely, nodding from time to time.

And I was thrilled!  He was getting the input I'd hoped for, and they were going to put his comics on the shelves!  He wouldn't get paid, but the response had been much more positive than I'd been expecting.

The next afternoon, when Quen and I visited the shop and saw his comics sitting on sale beside others, I think we both had to pinch ourselves.  But, the real shocker came when we last visited, and saw that all five were gone.  They'd been sold!

Now, Quen is prepping for his potential sales discussion.  He's asked me questions about percentages and things like that.  I can't wait to see what happens next.  And I thought you guys might enjoy the story, and like learning that places such as Pop Culture Paradise still exist.

See you in two weeks!
--Dixon

Jalepeno Culture

So I was watching the morning news and there was a commercial where two guys walk into a fast food joint and see the sign for a Double Jalepeno burger.  With, of course, lots of cheese.  And they smile at each other, order one each, and life is bliss.  My husband, who has an Irish stomach, winced.  Myself, I was thinking, that's American cuisine today:  you want flavor with that?  Here's some cheese and hot peppers. What more do you want?

Not the burger, but
I don't want to get sued.

That's what we're known for.  Cheese and hot peppers.  Slathered all over everything.  The cheese runs thick on the tongue, smothering most of the taste buds.  The hot peppers add shock value.  Cheap, filling, and one hell of a lot less trouble than actually, say, making a mole sauce, or a bechamel.  Although nowadays what you'll be given for bechamel sauce is generally Alfredo sauce, thick and pasty with flour and, you guessed it, cheese.  In other words, tarting it up with cheese and hot peppers is easier than getting involved in the time-consuming artistic complexity of producing flavor.

It's the same in entertainment.  Sex and violence.  If things get slow, throw in a naked woman.  Or an explosion.  Or a riff of automatic weapons.  (Speaking of which, I'm sure you heard about the 9-year-old girl at a shooting range outside Las Vegas who accidentally killed the instructor with the Uzi he was showing her how to use.  9 year olds and Uzis, what could possibly go wrong? We don't even let 9 year olds drive, even here in South Dakota, where 14 years old get learner's permits, so what the hell was he thinking... Okay, enough rant on that...)

Back to sex and violence.  Much safer.  Now I understand that sex and violence are what titillates the masses, including you and me, but sometimes I want something more:  plot; wit; character; nuance. By the way, I watched an interesting review of "Outlander", the new series based on the Diana Gabaldon time-traveling fantasy series, in which the sole woman on the panel pointed out that, while this show was obviously being marketed to heterosexual women (hot men in kilts and all that), when it came down to it, there were a heck of a lot of naked women in it and no naked men. Now what's that about?  Couldn't it even occur to the producers (6 out of 8 male) that (most) women prefer naked men?  

Okay, back to character.  I've been binge-watching Michael Gambon's 1990's Maigret, and enjoying it heartily.  (I love reading Maigret, too - it's one of the main reasons and ways that I've learned to read French.) And I noticed something that hadn't really struck me before:  Jules Maigret is normal.  He's a good, decent, bourgeois man who drinks/eats/smokes a little more than he should but not too much, who loves his wife, and who really likes his co-workers (except for the examining magistrates).  He likes people generally, including most of the petty criminals he deals with.  And yet he's absolutely real, grounded in details and mannerisms and nuances that are very subtle.  In other words, he's an old-fashioned hero.  It's very refreshing.

But I think too many "heroes" have been run through our jalepeno culture.  I've seen too damned many lead characters who are damaged addicts (alcohol/drugs/gambling/sex), and/or whose significant other was brutally murdered by a mysterious serial killer, and/or who are promiscuous to hide their longing for love or their lack of ability to love, and/or who has significant PTSD and/or traumatic childhood experiences and/or mental illness and/or OCD/bi-polar/etc., and almost ALL of them are obnoxious to everyone around them (and yet are mysteriously loved despite of it)...  Folks, that isn't character, that's a laundry list.  What started out as an exception - with the ability to shock, startle, amaze, entertain - has become the norm, which means... well, cheese and jalapenos on everything.

Hollywood meth-makers

Real meth-maker

And it's often taken to the point where there's no one to root for. Everyone is lousy, including their kids.  Everyone is crooked. Everyone will do anything, anywhere, any time to get ahead.  Nobody even tries to be pleasant, much less good. And don't even get me started on "Breaking Bad":  I do not, repeat, DO NOT watch shows or read books where serial killers and/or drug manufacturer killers are the heroes. I'm an old-fashioned girl at heart.  Besides, the villains are even more alike than the defective detectives: always brilliant, always brutal, always cold, always with superhuman timing, and the only difference is how they do it and whether or not they eat their kill.  Boring...

At the same time, I can enjoy a good noir with the rest of them, and God knows in Dashiell Hammett's and Raymond Chandler's world, everyone is crooked as they come, and that's fine with me.  Because Spade and Marlowe longed for heroism and decency, like thirsty men for water, and tried to be knights errant, even if their armor was more tarnished than shining.  That's what I want in my hero, at the very minimum.  I want them to recognize honor when they see it, like Silver-Wig in "The Big Sleep", and to be able - at least some times - to resist treachery and temptation, like Brigid O'Shaughnessy in "The Maltese Falcon."  I want them to know the difference between good and evil, in the world and in themselves.  I want them to care about the difference between good and evil, in the world and in themselves.  I want them to want to be a hero, even when they fail.

Maigret.  D. C. Foyle.  Miss Marple. Guido Brunetti.  Nancy Drew. Columbo.  V. I. Warshawski. Archie Goodwin.  Perry Mason.  Endeavour Morse.  And many others, rich in variety, style, wit, character... Excuse me, I have some more reading to do.  And tonight - another Maigret!

The Law & Tommy Rodella

I've written more than a few stories about the political climate in New Mexico, and in particular about Rio Arriba county. Rio Arriba translates to 'upriver,' just as Rio Abajo translates to 'downriver,' and back in the day of the Spanish conquest, that was all there was. These days, New Mexico comprises 33 counties, with Rio Arriba one of the largest in area, but lightest in population density, and it has a troubled history.

In living memory, there's the Tierra Amarilla courthouse siege, which I used in a Benny Salvador story. And there are other examples. Rio Arriba is a poster child, not for corruption, per se, but for a New Mexico habit of mind, the hand-in-glove, where Who You Know counts for everything.

Which brings us to Tommy Rodella, the current sheriff of Rio Arriba, and a disgrace to his office. I might have to tell this story back-asswards, so bear with me. It's an uneasy narrative, without a through-line. In other words, you have to fill in the gaps. Tommy's a slippery guy. His record shifts, like a prism, when you hold it up to the light, and it reflects the eye of the beholder. Whose ox is being gored? I don't have a dog in the fight, but Tommy Rodella's dirty. I don't have a problem saying that.

Okay. Tommy and his son just got busted by the FBI, in relation to a road-rage incident, and abuse of office. Ran a guy off the road, shoved a gun in his face, put him in handcuffs, and lied on the police report. Two sides to every story. Maybe the guy lipped off. He says he asked to see some ID, and Tommy punched him in the head with his badge. "Don't you know who I am?" Now, if it were me, I wouldn't give mouth to Tommy Rodella. I'd lose whatever teeth I had left. He's a loose cannon. Don't you know who I am? Kiss of death.

Sounds like some crazy-ass noir plot from the 1940's - cop with a hair across his ass busts a drifter climbing off a freight train - or FIRST BLOOD, drop some long-hair in the tank, and live to regret it. But unhappily for Tommy, this is the last in a long line.

Let's go back, as I said. BAD DAY AT BLACK ROCK. No joke. Tommy Rodella's a once-upon-a-time state cop. Later, he gets appointed as a magistrate by former governor Bill Richardson. A pal of Tommy's gets busted for DWI. Tommy goes up to Tierra Amarilla - on a weekend, mind - and bonds the guy out. This raises some questions. Richardson, who has his own issues (pay-to-play crashes his hopes of a cabinet post with Obama), calls Tommy on it. Tommy figures he can bluff it out. The gov fires him, anyway. State supreme court backs the gov, rules Tommy is ineligible to hold office as a judge again, but then Tommy wins the primary, and gets elected sheriff. Nothing the governor can do about this, although it must chafe his ass. Richardson is trying to mend fences with the Clinton camp, and Obama. Tommy Rodella is the least of his problems. Is it even on his radar?

I grew up in Cambridge, Massachusetts. North Cambridge, Tip O'Neill's old district. All politics is local, he famously said. Really? You look at Boston, or Baltimore. Chicago. Machine politics. THE LAST HURRAH.

New Mexico is the back of beyond. It's a Third World country. Tommy Rodella's wife, Debbie Rodella, is a state legislator. Cheap shot, maybe, but it points up the intersection of family, and influence, and inertia.  We had a mayor, she appointed her brother to the post of city manager. The new guy on the city council called her on it, and she told him, "Oh, you just got off the bus."

It's not that it's only us. That's not what I'm saying. And it's nothing new, either. It's as old as the pyramids. You know those contractors padded their invoices. Old stone, fresh slaves. Tommy's small change. Every guy like this, every cheap asshole like him, whether it's Iraq or Rio Arriba, trades on lives. No joke. The illegals in Espanola, the cartels in Mexico, the migra - all that crap? You gonna tell me we have no responsibility. Right.

Every dirty cop. Not that it's common. Like a slippery priest, not that common, either. But it gives you pause, a guy like Tommy Rodella. You know what it is? No accountability. He imagines it slides off a duck's back. Typical of New Mexico. He's a dirty secret. The back side of the so-called Land of Enchantment.

Pull up your big boy underpants. We're not in Kansas anymore, Dorothy. It's all about the shoes. I'm going to post this, and will Tommy Rodella come after me? He in fact might, the kind of guy who carries a grudge, if I even care. He can kiss my ass.

There's a long game.

We win. They lose. Doesn't seem like it, I know. Feels as if the bastards wear us down, over time. In the end, it ain't true.

They sell despair, our percentage is hope. All those Tommy Rodellas? We'll beat the ticket.

The Long of the Short of It

 "It was a dark and stormy night..."

"The scent and smoke and sweat of a casino are nauseating at three in the morning."

"It was about eleven o'clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills." 

"Mr. and Mrs. Dursley of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much."

"I write this sitting in the kitchen sink." 

"Call me Stephen."

The above might give you the impression this little piece is about opening sentences in books. Nope, it was just a nice way to start. This is about book beginnings, but it's only about the beginning of one book: my book. Like many writers of short stories, I too am working on a long story. I've been working on it for several years, and part of the reason I've been working on it all that time is because it started life as a short story.

I wrote a nice little story back in 2005: a thriller/mystery. It clocked in at about 6000 words, and I sent it out to the usual suspects. There was no sale. After nine rejections, I moved the story into a new folder on my PC labeled THINK, and there it sat (for several years). I wasn't concerned, I knew it would be a hard sell, but more importantly, I had the feeling there was a better story that could be had from it. This has actually become my preferred working method: Think up an idea, get some way into plotting or writing it, and then put it to one side for cogitation. And to be honest, most of the time an idea gets put to one side is because it's hit a roadblock. But that's another story altogether.

I returned to the short story several times and made improvements. I widened the plot and added a new main character (previously it had been shared between three). I rewrote the story in first person. I twice changed the main character's occupation. I tried different settings and time periods (the original had been set in New Zealand in 1969). I rewrote it set in Germany in 1950. I then went back to third person and tried it out in England in the 1930s. For three months, I thought of adapting what I had as a screenplay for a locally-set TV drama. For three months after that I thought it might make for a decent novella. Then, finally, I slammed my head into my desk and surrendered. What I had was a novel.

I had been thinking that all along, but I had kept putting it off for the fear of commitment. Writing a novel is a serious undertaking. It's like joining the Foreign Legion for a tour of duty, or flying to Mars. Once you sign on for the ride, it's you and the devil, baby.

I spent the summer of 2012-13 mapping out the novel's plot (Summers in New Zealand are over Xmas/New Year). I moved the story back to 1969 and its setting to California. I then tweaked that by bringing the story into the present day. Despite the story's original setting and time period, for the bigger story that had evolved, it was a perfect fit. And frankly, there are commercial considerations here. I'm not writing this book to print it out on my dot matrix to pass it around friends. I'd like to sell it, and I want to give it the best chance it has in the marketplace.

Books set in foreign countries are fine, but in my experience, trying to sell a book (to a publisher) in the US, that isn't set in the US, is like trying to climb the Chrysler Building in nothing more than flippers and a bunny rabbit onesie. Short stories, by contrast, can be set anywhere, as long as you know the setting and can bring it to life for the reader.

So, I devised a decent plot for the book a year and a half ago, why haven't I now finished writing it..? Because I've been working on the book's opening.

Stephen's Writing Flowchart

I define "opening" as a book's first quarter. For me, it's the most important part of the book, as everything that occurs in the following three quarters must have its roots back in the first. Shotgun over the fireplace in the first quarter -- someone pulls its trigger in the last quarter. To most writers, this is a no-brainer. I'm a slow learner.

I've written the book's opening about six times. I say about, because I've lost count. And with every new draft, I had the sense I had finally gotten it right. However, a little voice inside me kept saying: "No" (like that "little man" inside Edward G Robinson in the movie Double Indemnity).

The first problem was the story's origin as a short story -- it took me a long time to break free of it. The first draft of the book retained it almost entirely intact, with scenes simply added in and around it.

Little voice said: "No."

I expanded the beginning and wrote a new, and what I considered to be a perfect, first chapter. The three people who read it remarked the same thing: That's a nice first chapter, Stephen. But it still didn't work. And despite my knowing it didn't, I hung onto it like the pair of us were hooked up to mutual life support.

Little voice said: "No."

The chapter didn't work because it was a prologue. It described events that happened thirty years before the rest of the story. Subsequently, chapter two felt like the book was starting all over again. A brick wall for many readers. Eventually, I incorporated the events of the prologue into later chapters, where they were actually relevant to the progressing story.

Another problem I had was that I was holding too much back from the reader about the main character. It was as though I didn't want anyone to know anything about him. He's the MAIN character; we should know something about him! We should know his thoughts!

Little voice said (with a hint of weariness): "No."

A rereading of Stephen King's On Writing kicked me back on course on this one. To paraphrase King: Don't keep secrets from your readers. As a side note, I've read a pile of books about the craft of writing, and King's book is the one I keep coming back to. So, after another restart, my main character is now more engaging -- he actually does things, and we get inside his head -- the book flows a lot more smoothly as a result.

Today (late August 2014), I'm about two weeks out from finishing the book's first quarter, and almost everything in the first quarter of the book now takes place before the events in the short story, with almost none of the short story (as it was originally written) making it into the book.

I've learnt a couple of valuable lessons in the last year and a half. Be ruthless with your writing. Kill your darlings. Give them a pair of cement slippers and row them out into the harbor at midnight. And don't write a book in denial of the truth, especially when the truth is right under your nose. So, when will this book be finished? Now that my writing pocket watch has come off glacier time, hopefully within the next year. I have a rough draft already for most of the rest of it (I didn't spend all of that year and a half entirely on the first 20,000 words).

Little voice says: "Och, we'll see about that, laddie!" (my little man is a Scotsman).

On my tombstone will be engraved either Tenacious, or Fool. Or as a friend cheerfully suggested: Both.

Be seeing you!

Bonus Quiz: Can you name the books each of the opening sentences (at the top of this piece) are taken from?

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