Police and politics have been in the news here in Cincinnati in recent weeks. We've been spared the latest round of shootings followed by riots that seems to have overtaken other cities. (Twice in the case of Cleveland, just four hours north of here.) But other problems have arisen.
Our police chief is a man named Jeffery Blackwell, who came to the Queen City from Columbus. Blackwell was named near the end of the previous mayor's term. Three weeks ago, it became news that the Chief would resign after two years on the job, then changed his mind. Despite denials from Blackwell, Mayor John Cranley, and other officials, stories of discord between city hall and the police department are rampant. Then this week, in the wake of a rash of shootings in the Avondale neighborhood, the city demanded Blackwell come up with a 90-day plan to reduce violence. I've seen this before.
It was a recurring theme on The Wire.
To recap, David Simon's Baltimore had a police department hamstrung by senior officers jockeying for position to become the next commissioner. Division captains and lieutenants found themselves terrorized by promotion-minded assistant chiefs at "comstat" meetings, where they had to explain why the crime rate was so high and what they planned to do about it. Never mind that the criminals causing all the trouble had to cooperate. Many of the plans and the personnel moves were tied to politics. Watching the news, I can't help but notice that so are the real-life moves in Cincinnati.
For starters, the increased crime in Avondale, while horrifying, belies a crime rate lower than in past years. There have been increased shootings on the West Side as well, but they make the news as individual incidents, not as a sudden spike in gun crime in one part of the city. But Avondale is two neighborhoods away from downtown and Over-the-Rhine, far enough out to spare the business district and the gentrifying neighborhood to the north of it, but close enough to the stadium to spook city leaders. Why are they spooked?
The All Star Game is coming in a couple of weeks. And so, with the local stations harping on Avondale's rise in shootings, city leaders have turned to that time-tested means of looking like they're on the job: Tell the police to do something, dammit. So Chief Blackwell was given a week to solve a problem that has been building since last year.
Sound like The Wire?
Then we have the hostility between city hall and the CPD. Chief Blackwell replaced James Craig, who left to take over the police department in his native Detroit. However, Blackwell started shortly before the last mayoral election, which means Mayor Cranley did not have a hand in choosing the chief. The current city manager also did not have a hand in the decision. One has to wonder if the administration's need to put its stamp on the police department is outweighing the need for stable leadership in the CPD.
That is speculation, of course, but every time Chief Blackwell, Mayor Cranley, or some council member opens their mouth now, I can't help but think back to Mayors Royce and Carcetti ripping some hapless commissioner a new one on The Wire. Cincinnati does not have all of Baltimore 's problems. If anything, we manage our police-race relation issues better than cities that looked at us funny during the 2001 riots. But when politicians fall all over themselves on the eve of a major sporting event, I can't help but wonder if life is imitating art. It wouldn't surprise me. Some of the cops and criminals depicted on The Wire were also writers and actors on the show.
11 June 2015
10 June 2015
Heavy Breathing
Warning: NSFW
About a third of the way into writing VIPER, my Cold War novella - which is about the antiwar movement in Berlin in the 1970's, a KGB deception, and a love affair, among other things - I realized I had to do a SEX SCENE. I'd boxed myself in, there was no way around it. It couldn't happen off-stage, you had to see these people doing the horizontal mambo. Otherwise, the story wouldn't make any sense.
Now, let's face it, this can be a deeply embarrassing prospect. How many writers do you know who've done it convincingly? With the possible exception of D.H. Lawrence, my own feeling is that women are better at erotic material than men. Harold Robbins? Gimme a break. Or maybe Norman Mailer, THE TIME OF HER TIME? You might as well just call a plumber, since it's all about leaky pipes.
Twist Phelan has what amounts almost to a comedy routine, talking about writing sex. She says, you avoid at all costs an overwrought euphemism, 'the scepter of love,' for instance. On the other hand, you should steer clear of clinical description - you don't actually have to use the word 'cock.' If you manhandle, so to speak, a turn of phrase like, 'she took me in her lips,' the astute reader can probably imagine she's not hanging onto a subway strap. Less, at least in this situation, is probably more.
I like the way Deb Coonts deals this particular card, and she deals it from the bottom of the deck. Near the end of LUCKY CATCH, there's a really hot scene. First of all, she sneaks it up on you. You're not ready for it at all. You're going, like whoa! Secondly, she doesn't cheat your expectations. She goes all the way. And last but not least, she defuses it afterwards with a laugh line. Who'd expect you could make sex funny? Then again, why is it always taken so seriously, or in books, anyway? C'mon. We're supposed to be enjoying it.
Craig Johnson tells a story. Somewhere around the third Longmire book, he puts two major characters in bed together. Of course, this has consequences, but the point is that Craig gets them in and out of the sack in maybe three sentences. ("Which shows you how much of a pussy I am," he says.) Down the road, he's at a reading, and he's taking questions, and a woman raises her hand, and says, we need to talk about that sex scene. Craig says okay. She says, it went on forever.
Craig gives this a long beat, and then he asks her, well, how many times did you read it?
Which brings us back to VIPER. The novella is 17K words. The sex scene takes up two pages, so I lapped Craig. Then again, those two pages took me something like three or four days to write. I was sweating bullets. It was as though I'd set myself a hurdle. Writers do this, of course. You sometimes trick yourself, and set something up, and then you have to do it. (For example, the dive sequence in "Cover of Darkness." That's basically the whole story, and because you're underwater, there's no dialogue. It's all physical action, it's nothing but description. Try it some time - you'd be surprised how hard it is.) Anyway, by the time I got done, I was completely exhausted. I'd been having sex for four days. But the end result works. It's not a complete embarrassment. How many times did I read it aloud to myself? It seemed to go on forever.
Here's the thing, though. The real point of the scene is that these two people are invested in each other. If it doesn't have emotional resonance, it's just plumbing. And that was the tricky part. The grappling, the earthiness, showing skin, all of that is to no purpose, if you're just waving it around in a warm room. The money shot was making their physical hunger count for something. Martina tells herself afterward, I surrendered, this was rescue. And if I haven't convinced you of that, it's a dry hump.
What it comes down to is purpose. Why do you need it in the story? Anybody in their right mind would turn and run. Unless you're into whips and chains. Let's be honest. Doing it is terrific. It's consuming, It lights you on fire. But trying to convey that sensation is like pushing water uphill with a rake. In this case, it was utterly necessary. Do you have to ask, would I do it again? Bring on the whips and chains. I'm putty in your hands.
About a third of the way into writing VIPER, my Cold War novella - which is about the antiwar movement in Berlin in the 1970's, a KGB deception, and a love affair, among other things - I realized I had to do a SEX SCENE. I'd boxed myself in, there was no way around it. It couldn't happen off-stage, you had to see these people doing the horizontal mambo. Otherwise, the story wouldn't make any sense.
Now, let's face it, this can be a deeply embarrassing prospect. How many writers do you know who've done it convincingly? With the possible exception of D.H. Lawrence, my own feeling is that women are better at erotic material than men. Harold Robbins? Gimme a break. Or maybe Norman Mailer, THE TIME OF HER TIME? You might as well just call a plumber, since it's all about leaky pipes.
Twist Phelan has what amounts almost to a comedy routine, talking about writing sex. She says, you avoid at all costs an overwrought euphemism, 'the scepter of love,' for instance. On the other hand, you should steer clear of clinical description - you don't actually have to use the word 'cock.' If you manhandle, so to speak, a turn of phrase like, 'she took me in her lips,' the astute reader can probably imagine she's not hanging onto a subway strap. Less, at least in this situation, is probably more.
I like the way Deb Coonts deals this particular card, and she deals it from the bottom of the deck. Near the end of LUCKY CATCH, there's a really hot scene. First of all, she sneaks it up on you. You're not ready for it at all. You're going, like whoa! Secondly, she doesn't cheat your expectations. She goes all the way. And last but not least, she defuses it afterwards with a laugh line. Who'd expect you could make sex funny? Then again, why is it always taken so seriously, or in books, anyway? C'mon. We're supposed to be enjoying it.
Craig Johnson tells a story. Somewhere around the third Longmire book, he puts two major characters in bed together. Of course, this has consequences, but the point is that Craig gets them in and out of the sack in maybe three sentences. ("Which shows you how much of a pussy I am," he says.) Down the road, he's at a reading, and he's taking questions, and a woman raises her hand, and says, we need to talk about that sex scene. Craig says okay. She says, it went on forever.
Craig gives this a long beat, and then he asks her, well, how many times did you read it?
Which brings us back to VIPER. The novella is 17K words. The sex scene takes up two pages, so I lapped Craig. Then again, those two pages took me something like three or four days to write. I was sweating bullets. It was as though I'd set myself a hurdle. Writers do this, of course. You sometimes trick yourself, and set something up, and then you have to do it. (For example, the dive sequence in "Cover of Darkness." That's basically the whole story, and because you're underwater, there's no dialogue. It's all physical action, it's nothing but description. Try it some time - you'd be surprised how hard it is.) Anyway, by the time I got done, I was completely exhausted. I'd been having sex for four days. But the end result works. It's not a complete embarrassment. How many times did I read it aloud to myself? It seemed to go on forever.
Here's the thing, though. The real point of the scene is that these two people are invested in each other. If it doesn't have emotional resonance, it's just plumbing. And that was the tricky part. The grappling, the earthiness, showing skin, all of that is to no purpose, if you're just waving it around in a warm room. The money shot was making their physical hunger count for something. Martina tells herself afterward, I surrendered, this was rescue. And if I haven't convinced you of that, it's a dry hump.
What it comes down to is purpose. Why do you need it in the story? Anybody in their right mind would turn and run. Unless you're into whips and chains. Let's be honest. Doing it is terrific. It's consuming, It lights you on fire. But trying to convey that sensation is like pushing water uphill with a rake. In this case, it was utterly necessary. Do you have to ask, would I do it again? Bring on the whips and chains. I'm putty in your hands.
09 June 2015
Building the Brand
by Janice Law
I went to a mystery writers’ convention this past weekend. A nice event, well run, full of mystery fans and valiant souls willing to present their heart’s blood – i.e. manuscripts and query letters – to the scrutiny of big city agents and editors. Everyone was pleasant, but, sad to say, the event marked a passage in my life. Sitting listening to people busy with Instagram, Smashwords, Kindle, and Pinterest, all in the interests of building their brand, I felt myself slipping from being a woman of a certain age to a certified old fart.
There is no doubt over the years I’ve been a writer that the publishing business has changed for better and for worse simultaneously. Feeling grumpy, I wondered when some of these so very with-it literary entrepreneurs actually have time to write – or as much to the point, think of something new.
But then I considered that branding and self-promotion have always been part of the literary game, at least for some writers. Certain of our predecessors would have been naturals for Twitter. Think of Papa Hemingway at the Seville bull ring with iPhone in hand. He was made for the tech.
And consider the Fitzgerald’s, the gayest of the gay celebs of the roaring twenties. Selfies, anyone? If F. Scott would maybe have reservations (he wanted to keep everything for his readers, including Zelda’s diaries), I think she would have enjoyed snapping those bathtubs full of gin and folks kicking up their heels doing the Charleston.
Across the water, we have Colette and wouldn’t she have enjoyed posting her cats’ pix on Pinterest? Not to mention a shot or two of the lover of the moment. George Sand, one of the great galley slaves of nineteenth century prose, would surely have had enough energy for blogging, as would that master of the serial novel, Charles Dickens, who reveled in responses from his many fans.
Earlier times had their own blatant forms of self-promotion. Whitman wrote positive reviews of Leaves of Grass when sufficient praise wasn’t forthcoming, and the eighteenth century Scot, James Boswell, was also known to ghost a glowing review when his prose required one.
Boswell, indeed, should probably be enshrined for his extraordinary literary selfies: the wonderful early London Journal and his monumental biography of Dr. Samuel Johnston. But though tolerant of his assiduous biographer, the creator of the English dictionary would not, I think, have indulged in blogging or tweeting, declaring famously that “none but a blockhead ever wrote except for money.”
Shakespeare, the greatest poet of all, might have had a different tack. Although raised to literary divinity in the centuries since he strode the boards and scribbled up the greatest plays in our language, Shakespeare was very much the entrepreneur and hard-headed businessman. If a blog would bring more patrons to the Globe, I suspect he would have churned out the copy and posted it everywhere.
But do these brand-conscious eminences reconcile me to the new world of catering to reader curiosity and sharing my inner thoughts with my Facebook “friends”? Not really. I must confess I prefer to think of those whose “brand,” if we have to use the term, grew naturally. I find it hard to imagine what the withdrawn and eccentric Emily Bronte would have tweeted. Walked on the moor with Keeper? (her mastiff)? Storm brewing over the hills? Great idea for an irresistible anti-hero? Not very likely.
Jane Austen, though a sociable person, devoted to family and friends, would be even less likely to share her thoughts with the world or to update strangers with accounts of local whist parties, carriage rides, and balls. Ladies simply did not wish to be known in such a way, although the Divine Jane was as fond of literary advances and royalty payments as any other writer.
And what about our own American recluse, Emily Dickinson? Though her short poems are certainly tweet length, and she claimed that they were “her letter to the world,” I don’t think we could expect any great revelations from the Belle of Amherst, who also wrote that “my wars are laid away in books.” Passion, regrets, losses, sorrows, angers she had in plenty, and tweet-able phrases, too, but she did not spend her emotions so easily or carelessly. Rather she distilled them into the poems that still perplex and fascinate today.
So although money is good and a recognizable brand can be profitable, I’m not convinced that the assiduous tending of an image is a wholly good thing. It is all too easy to be type-cast in this world, and I suspect that it is also easy to diffuse one’s ideas and energy into catering to fans and indulging in a writerly form of busyness instead of focusing on the hard work of writing.
I went to a mystery writers’ convention this past weekend. A nice event, well run, full of mystery fans and valiant souls willing to present their heart’s blood – i.e. manuscripts and query letters – to the scrutiny of big city agents and editors. Everyone was pleasant, but, sad to say, the event marked a passage in my life. Sitting listening to people busy with Instagram, Smashwords, Kindle, and Pinterest, all in the interests of building their brand, I felt myself slipping from being a woman of a certain age to a certified old fart.
But then I considered that branding and self-promotion have always been part of the literary game, at least for some writers. Certain of our predecessors would have been naturals for Twitter. Think of Papa Hemingway at the Seville bull ring with iPhone in hand. He was made for the tech.
And consider the Fitzgerald’s, the gayest of the gay celebs of the roaring twenties. Selfies, anyone? If F. Scott would maybe have reservations (he wanted to keep everything for his readers, including Zelda’s diaries), I think she would have enjoyed snapping those bathtubs full of gin and folks kicking up their heels doing the Charleston.
Earlier times had their own blatant forms of self-promotion. Whitman wrote positive reviews of Leaves of Grass when sufficient praise wasn’t forthcoming, and the eighteenth century Scot, James Boswell, was also known to ghost a glowing review when his prose required one.
Boswell, indeed, should probably be enshrined for his extraordinary literary selfies: the wonderful early London Journal and his monumental biography of Dr. Samuel Johnston. But though tolerant of his assiduous biographer, the creator of the English dictionary would not, I think, have indulged in blogging or tweeting, declaring famously that “none but a blockhead ever wrote except for money.”
Shakespeare, the greatest poet of all, might have had a different tack. Although raised to literary divinity in the centuries since he strode the boards and scribbled up the greatest plays in our language, Shakespeare was very much the entrepreneur and hard-headed businessman. If a blog would bring more patrons to the Globe, I suspect he would have churned out the copy and posted it everywhere.
But do these brand-conscious eminences reconcile me to the new world of catering to reader curiosity and sharing my inner thoughts with my Facebook “friends”? Not really. I must confess I prefer to think of those whose “brand,” if we have to use the term, grew naturally. I find it hard to imagine what the withdrawn and eccentric Emily Bronte would have tweeted. Walked on the moor with Keeper? (her mastiff)? Storm brewing over the hills? Great idea for an irresistible anti-hero? Not very likely.
And what about our own American recluse, Emily Dickinson? Though her short poems are certainly tweet length, and she claimed that they were “her letter to the world,” I don’t think we could expect any great revelations from the Belle of Amherst, who also wrote that “my wars are laid away in books.” Passion, regrets, losses, sorrows, angers she had in plenty, and tweet-able phrases, too, but she did not spend her emotions so easily or carelessly. Rather she distilled them into the poems that still perplex and fascinate today.
08 June 2015
What Goes On In Your Town?
by Jan Grape
1960s AUSTIN GANGSTERS Organized Crime That Rocked the Capital by Jesse Sublett. The History Press 2015
I may have mentioned this book before, not sure, but I just finished it this week and am still intrigued. Mainly, I guess because I was in and around Austin, TX during the 1960s. No, I didn't moved to Austin until the last 60s and then only for about 16 months. I moved here for twelve years beginning in 1987. My Dad and Bonus Mom moved to Austin in 1957. They both worked at the State Offices of the State Employment Commission (now known as Texas Workforce Commission.) And because my family lived in Austin, I visited often. I'm sure I knew like most people that Austin had a certain criminal element, but Organized Crime?
Mr. Sublett's true crime book is outstanding for the history buff and for the crime writing gang. Okay, the Austin mobs weren't exactly like the old Italian mobs I've read about in crime stories and saw in movies like The Godfather. But the elements of crime were organized even if it could be considered a rather loose organization. Mr. Sublett says it was called a White Trash mafia.
Two high school football players, Tim Overton of Austin TX had every thing a young footballer could ever hope or dream for and yet threw it all away for a life of crime. Tim Overton a youngster from the wrong side of town whose mother died from a brain tumor when he was a senior in high School was a big offensive guard and Mike Cotton,a running back. from the more affluent side of town both received athletic scholarships from the new head coach Darrel Royal. Mike Cotton stayed out of the crime business, but Tim was drawn deeper and deeper into that world.
Tim Overton didn't just go nuts after his mother died, although some people thought he was really never the same. He did go on to college and was making decent grades that first year. After his first problems with the police, Coach Royal helped Tim and gave him more than one opportunity. Overton idolized Coach Royal and felt the coach turned his back on him. Probably harder on the coach than Tim Overton ever realized.
Before long, Tim and his associates or crew were driving Cadillacs, wearing diamond pinkie rings and running roughshod over prostitutes, pimps, banks and small businesses. Tim was involved with crooked lawyers, pimps and used car dealers. Smuggling and prostitution rings were high on the White Trash Mafia's plans and crimes. Murder often came into play and trying to outsmart the police was a big order of the day.
Mr. Sublett has done fantastic research, with court transcripts, police files, Austin History Center files, talking to people who were around then and knew the players. He was able to also come up with photos of the players, their families, their victims and suddenly you realize while you're reading that you are totally involved with this story. Not to romanticize these criminals, but to be interested in the history of a town you've been in and around for over fifty year and a history you actually weren't aware of and in a way surprised about it.
If you have a chance and are interested in the history a small time frame of the capitol of Texas, I strongly advise you to pick up a copy of 1960s Austin Gangsters by Jesse Sublett.
A little personal note: Here's a photo of the beautiful Sage Award that was presented to me on May 17th from the Barbara Burnett Smith Aspiring Writers Foundation. It's lucite and has a silver colored star on top and is engraved. My picture wasn't the best but I think you can get a sense of it.
1960s AUSTIN GANGSTERS Organized Crime That Rocked the Capital by Jesse Sublett. The History Press 2015I may have mentioned this book before, not sure, but I just finished it this week and am still intrigued. Mainly, I guess because I was in and around Austin, TX during the 1960s. No, I didn't moved to Austin until the last 60s and then only for about 16 months. I moved here for twelve years beginning in 1987. My Dad and Bonus Mom moved to Austin in 1957. They both worked at the State Offices of the State Employment Commission (now known as Texas Workforce Commission.) And because my family lived in Austin, I visited often. I'm sure I knew like most people that Austin had a certain criminal element, but Organized Crime?
Mr. Sublett's true crime book is outstanding for the history buff and for the crime writing gang. Okay, the Austin mobs weren't exactly like the old Italian mobs I've read about in crime stories and saw in movies like The Godfather. But the elements of crime were organized even if it could be considered a rather loose organization. Mr. Sublett says it was called a White Trash mafia.
Two high school football players, Tim Overton of Austin TX had every thing a young footballer could ever hope or dream for and yet threw it all away for a life of crime. Tim Overton a youngster from the wrong side of town whose mother died from a brain tumor when he was a senior in high School was a big offensive guard and Mike Cotton,a running back. from the more affluent side of town both received athletic scholarships from the new head coach Darrel Royal. Mike Cotton stayed out of the crime business, but Tim was drawn deeper and deeper into that world.
Tim Overton didn't just go nuts after his mother died, although some people thought he was really never the same. He did go on to college and was making decent grades that first year. After his first problems with the police, Coach Royal helped Tim and gave him more than one opportunity. Overton idolized Coach Royal and felt the coach turned his back on him. Probably harder on the coach than Tim Overton ever realized.
Before long, Tim and his associates or crew were driving Cadillacs, wearing diamond pinkie rings and running roughshod over prostitutes, pimps, banks and small businesses. Tim was involved with crooked lawyers, pimps and used car dealers. Smuggling and prostitution rings were high on the White Trash Mafia's plans and crimes. Murder often came into play and trying to outsmart the police was a big order of the day.
Mr. Sublett has done fantastic research, with court transcripts, police files, Austin History Center files, talking to people who were around then and knew the players. He was able to also come up with photos of the players, their families, their victims and suddenly you realize while you're reading that you are totally involved with this story. Not to romanticize these criminals, but to be interested in the history of a town you've been in and around for over fifty year and a history you actually weren't aware of and in a way surprised about it.
If you have a chance and are interested in the history a small time frame of the capitol of Texas, I strongly advise you to pick up a copy of 1960s Austin Gangsters by Jesse Sublett.
A little personal note: Here's a photo of the beautiful Sage Award that was presented to me on May 17th from the Barbara Burnett Smith Aspiring Writers Foundation. It's lucite and has a silver colored star on top and is engraved. My picture wasn't the best but I think you can get a sense of it.
07 June 2015
Dread Pirate Roberts
by Leigh Lundin
Day in history, 1 October 2013: A half-cocked Texas Tea Party senator shut down the federal government for seventeen days. The resulting outcry in Washington, panic on Wall Street, and consternation in world markets eclipsed another important news story. Outside of crime and tech circles, the public barely took notice of the seizure of Silk Road, the largest, most far-reaching criminal enterprise in the world, and the arrest of its young founder, Ross Ulbricht, aka, Dread Pirate Roberts.
A few days ago, a judge sentenced Ulbricht to two life terms.
Joshuah Bearman and Tomer Hanuka of Wired Magazine have created a fascinating and comprehensive article. I recommend checking their story, part 1 and part 2. Their article reads like a crime novella… and a Greek tragedy.
Recap
The hallmark of a Greek tragedy is hubris, encapsulated in mythology because of human (and human-like) failing. The putative Greek hero ascends, attaining glory and fame, only to be brought low by his (or her) own weaknesses and arrogance.
Such happened to Ross Ulbricht, an entrepreneur, ardent libertarian, former Eagle Scout and non-violent idealist… until the day he wasn’t. He began what he called a libertarian experiment, an on-line drug bazaar, a better eBay than eBay. He named the enterprise Silk Road after the ancient Asian trade routes.
Silk Road didn’t sell only drugs, they sold collectibles, electronics, and other goods much like Craig’s List. The web site also featured Silk Road chat, Silk Road forums, Silk Road wiki, Silk Road exchange, Silk Road credit union, Silk Road market, Silk Road bookstore, and Silk Road libertarian musings by its founder.
Ulbricht promoted trust, partly through anonymity, and partly through BitCoin exchange, but also through efforts to see customers were treated right. He devised an on-line escrow (which eBay should have done years ago), provided reviews and customer support. Ulbricht is noted for writing in his journal “This is more than a business to me. It’s a revolution and is becoming my life’s work.”
Security and anonymity were provided by software originally created by the US Navy. TOR, an acronym for The Onion Router, offered encryption for web sites behind the curtain that hides both legal and illegal activities, as seen in this video Inside the Dark Web or the recent movie, The Deep Web.
Ulbricht used a clever pseudonym as suggested by his mentor, Variety Jones. That alias was Dread Pirate Roberts, from the novel and subsequent film, The Princess Bride. In the story, Dread Pirate Roberts isn’t merely one person but, like Lee Falk’s The Phantom, a series of leaders who hand off the reins and the DPR name to a chosen successor when they become rich enough to retire. In conjunction with Silk Road, the sobriquet obscured who DPR was. Indeed many people believed Roberts was multiple people.
Operation Onion Peeler
The FBI geeks who went after the leader of Silk Road faced an intriguing challenge from a guy who made few mistakes… but a couple of errors was all it took. The digital police didn’t use a battering ram to get their man, they used finesse– or, as one described it, a form of ballet.
There’s little question Ulbricht ran Silk Road nor doubt he deserved a prison sentence for his misdeeds. But two life terms? The judge succumbed to pleas from the prosecutor to “send a message.”
Not all of us are fans of judicial messaging and over-sentencing, but a few other issues need to be considered. One is conspiracy and intent to commit the murder of at least one person and possibly five others who had stolen from the enterprise. That certainly shatters the image of the gentle idealist who wanted freedom for everyone.
However, the murder charge is murky. A Silk Road employee named Curtis Green had supposedly stolen $350,000. Ulbricht lamented how to handle it, writing that he didn’t want to use violence if Green would simply return the money. But Variety Jones, his mentor, urged Ulbricht to kill Green and referred to Green as the ‘organ donor’.
But the plot sickens. It turns out the money was actually stolen by Secret Service agent Shaun Bridges and facilitated by DEA agent Carl Force, who are being charged with the theft as well as other crimes, including laundering another half million dollars in BitCoins.
In other words, two federal agents stole funds using Green’s account, implicating him in the eyes of Ulbricht and moving him to homicide. One wonders if this constitutes entrapment, tipping Ulbricht over the edge of using violence to protect his interests. The only good part was that Green was in custody and not in imminent danger.
Ulbricht’s attorney is appealing the verdict.
Day in history, 1 October 2013: A half-cocked Texas Tea Party senator shut down the federal government for seventeen days. The resulting outcry in Washington, panic on Wall Street, and consternation in world markets eclipsed another important news story. Outside of crime and tech circles, the public barely took notice of the seizure of Silk Road, the largest, most far-reaching criminal enterprise in the world, and the arrest of its young founder, Ross Ulbricht, aka, Dread Pirate Roberts.
A few days ago, a judge sentenced Ulbricht to two life terms.
Joshuah Bearman and Tomer Hanuka of Wired Magazine have created a fascinating and comprehensive article. I recommend checking their story, part 1 and part 2. Their article reads like a crime novella… and a Greek tragedy.
Recap
The hallmark of a Greek tragedy is hubris, encapsulated in mythology because of human (and human-like) failing. The putative Greek hero ascends, attaining glory and fame, only to be brought low by his (or her) own weaknesses and arrogance.
Such happened to Ross Ulbricht, an entrepreneur, ardent libertarian, former Eagle Scout and non-violent idealist… until the day he wasn’t. He began what he called a libertarian experiment, an on-line drug bazaar, a better eBay than eBay. He named the enterprise Silk Road after the ancient Asian trade routes.
Silk Road didn’t sell only drugs, they sold collectibles, electronics, and other goods much like Craig’s List. The web site also featured Silk Road chat, Silk Road forums, Silk Road wiki, Silk Road exchange, Silk Road credit union, Silk Road market, Silk Road bookstore, and Silk Road libertarian musings by its founder.
Ulbricht promoted trust, partly through anonymity, and partly through BitCoin exchange, but also through efforts to see customers were treated right. He devised an on-line escrow (which eBay should have done years ago), provided reviews and customer support. Ulbricht is noted for writing in his journal “This is more than a business to me. It’s a revolution and is becoming my life’s work.”
Security and anonymity were provided by software originally created by the US Navy. TOR, an acronym for The Onion Router, offered encryption for web sites behind the curtain that hides both legal and illegal activities, as seen in this video Inside the Dark Web or the recent movie, The Deep Web.
Ulbricht used a clever pseudonym as suggested by his mentor, Variety Jones. That alias was Dread Pirate Roberts, from the novel and subsequent film, The Princess Bride. In the story, Dread Pirate Roberts isn’t merely one person but, like Lee Falk’s The Phantom, a series of leaders who hand off the reins and the DPR name to a chosen successor when they become rich enough to retire. In conjunction with Silk Road, the sobriquet obscured who DPR was. Indeed many people believed Roberts was multiple people.
Operation Onion Peeler
The FBI geeks who went after the leader of Silk Road faced an intriguing challenge from a guy who made few mistakes… but a couple of errors was all it took. The digital police didn’t use a battering ram to get their man, they used finesse– or, as one described it, a form of ballet.
There’s little question Ulbricht ran Silk Road nor doubt he deserved a prison sentence for his misdeeds. But two life terms? The judge succumbed to pleas from the prosecutor to “send a message.”
Not all of us are fans of judicial messaging and over-sentencing, but a few other issues need to be considered. One is conspiracy and intent to commit the murder of at least one person and possibly five others who had stolen from the enterprise. That certainly shatters the image of the gentle idealist who wanted freedom for everyone.
However, the murder charge is murky. A Silk Road employee named Curtis Green had supposedly stolen $350,000. Ulbricht lamented how to handle it, writing that he didn’t want to use violence if Green would simply return the money. But Variety Jones, his mentor, urged Ulbricht to kill Green and referred to Green as the ‘organ donor’.
But the plot sickens. It turns out the money was actually stolen by Secret Service agent Shaun Bridges and facilitated by DEA agent Carl Force, who are being charged with the theft as well as other crimes, including laundering another half million dollars in BitCoins.
In other words, two federal agents stole funds using Green’s account, implicating him in the eyes of Ulbricht and moving him to homicide. One wonders if this constitutes entrapment, tipping Ulbricht over the edge of using violence to protect his interests. The only good part was that Green was in custody and not in imminent danger.
Ulbricht’s attorney is appealing the verdict.
06 June 2015
Proper Care and Feeding of Authors – in which our writer tries to be serious for a few minutes…
(Bad, bad girl!)
Here’s part one of the series (reprinted with permission):
What NOT to ask an author… (especially a Crime Writer who knows at least twenty ways to kill you and not get caught)
There is nothing I love better than meeting readers, both those who already know my writing, and those who are new to my books. But recently, I was asked to talk about those things that are touchy for an author. So here goes…a short list of No-Nos!
1. Do not ask an author how many books she has sold.
Trust me, don’t ask this.
Really, you don’t want to. It wouldn’t help you anyway.
Because honestly, I’ll lie.
I’m amazed that complete strangers regularly ask this. Would you ask a lawyer how much money he makes?
Because here’s the bottom line: most of us with traditional publishers make about a buck for every book sold, whether paperback, trade paperback or ebook. Sometimes, it’s less than that. (Yes, we were shocked too, when we found out.) So by asking how many books we’ve sold, you can pretty well figure out our income. And frankly, I don’t want you to. You see, I write comedies, and it would depress both of us.
Also: our royalty statements are at least six months behind (at least mine are.) We don’t KNOW how many books we’ve sold to date on new releases. Which is probably a good thing for our egos, if we want to keep writing.
Dare I say it? The supreme irony is: the only ones likely to make a living in the writing biz are those on the business end. The agents, and those editors and others employed by publishers, booksellers and libraries. Sadly, you can't expect to make a living in the arts if you are a creator.
2. Do not ask an author to read your manuscript and critique it for free.
So many times, I’ve been asked to do this, in a public place, with people overhearing. Sometimes, by people who don’t even have the decency to buy a single book of mine first.
Why this is bad:
First: I am in a place that has been booked for me to sell my books and meet with readers. That’s what I’m there for. You are taking precious time away from me and my readers. Believe me, my publisher won’t be happy about this. Ditto, the bookseller!
Second: Every hour I spend critiquing an aspiring author’s book is an hour I can’t spend working on my own books and marketing them. Like most novelists, I have a day job. That means every hour I have to work on my fiction is precious. Most of us do critique – for a fee. And many of us teach fiction writing at colleges.
I’m happy to critique my college students’ work. I’m getting paid (mind you, meagerly) to do so. And that’s what I always recommend: take a college course in writing. You’ll get great info on how to become a better writer, and also valuable critiquing of your own work.
3. Do not ask an author to introduce you to her publisher or agent.
Want to see me cringe?
Similar to number 2 above, this puts the author in a very awkward position. You are in fact asking for an endorsement. If the author hasn’t read your book, she cannot possibly give it (an honest endorsement.)
Second: You are asking the author to put HER reputation on the line for you. Do you have the sort of close relationship that makes this worthwhile for her?
4. Do not ask an author: where do you get your ideas?
Okay, be honest. You thought I was going to lead with this one.
Actually, you can ask me this. I’ll probably answer something fun and ridiculous, like:
From Ebay.
Or: From my magic idea jar.
Or: They come to me on the toilet. You should spend more time there.
Because the truth is, we don’t know exactly. After teaching over 1000 fiction writing students at Sheridan College, I have discovered something: some students are bubbling over with ideas. Others – the ones who won’t make it – have to struggle for plots. It seems to be a gift and a curse, to have the sort of brain that constantly makes up things.
I’ve been doing it since I was four. My parents called it lying. That was so short-sighted of them.
Opening to THE GODDAUGHTER’S REVENGE (Orca Books) winner of the 2014 Derringer (US) and Arthur Ellis (Canada)
Okay, I admit it. I would rather be the proud possessor of a rare gemstone than a lakefront condo with parking. Yes, I know this makes me weird. Young women today are supposed to crave the security of owning their own home
But I say this. Real estate, shmeel estate. You can’t hold an address in your hand. It doesn’t flash and sparkle with the intensity of a thousand night stars, or lure you away from the straight and narrow like a siren from some Greek odyssey.
Let’s face it. Nobody has ever gone to jail for smuggling a one bedroom plus den out of the country.
However, make that a 10-carat cyan blue topaz with a past as long as your arm, and I’d do almost anything to possess it.
But don’t tell the police.
Here’s part one of the series (reprinted with permission):
What NOT to ask an author… (especially a Crime Writer who knows at least twenty ways to kill you and not get caught)
There is nothing I love better than meeting readers, both those who already know my writing, and those who are new to my books. But recently, I was asked to talk about those things that are touchy for an author. So here goes…a short list of No-Nos!
1. Do not ask an author how many books she has sold.
Trust me, don’t ask this.
Really, you don’t want to. It wouldn’t help you anyway.
Because honestly, I’ll lie.
I’m amazed that complete strangers regularly ask this. Would you ask a lawyer how much money he makes?
Because here’s the bottom line: most of us with traditional publishers make about a buck for every book sold, whether paperback, trade paperback or ebook. Sometimes, it’s less than that. (Yes, we were shocked too, when we found out.) So by asking how many books we’ve sold, you can pretty well figure out our income. And frankly, I don’t want you to. You see, I write comedies, and it would depress both of us.
Also: our royalty statements are at least six months behind (at least mine are.) We don’t KNOW how many books we’ve sold to date on new releases. Which is probably a good thing for our egos, if we want to keep writing.
Dare I say it? The supreme irony is: the only ones likely to make a living in the writing biz are those on the business end. The agents, and those editors and others employed by publishers, booksellers and libraries. Sadly, you can't expect to make a living in the arts if you are a creator.
2. Do not ask an author to read your manuscript and critique it for free.
So many times, I’ve been asked to do this, in a public place, with people overhearing. Sometimes, by people who don’t even have the decency to buy a single book of mine first.
Why this is bad:
First: I am in a place that has been booked for me to sell my books and meet with readers. That’s what I’m there for. You are taking precious time away from me and my readers. Believe me, my publisher won’t be happy about this. Ditto, the bookseller!
Second: Every hour I spend critiquing an aspiring author’s book is an hour I can’t spend working on my own books and marketing them. Like most novelists, I have a day job. That means every hour I have to work on my fiction is precious. Most of us do critique – for a fee. And many of us teach fiction writing at colleges.
I’m happy to critique my college students’ work. I’m getting paid (mind you, meagerly) to do so. And that’s what I always recommend: take a college course in writing. You’ll get great info on how to become a better writer, and also valuable critiquing of your own work.
3. Do not ask an author to introduce you to her publisher or agent.
Want to see me cringe?
Similar to number 2 above, this puts the author in a very awkward position. You are in fact asking for an endorsement. If the author hasn’t read your book, she cannot possibly give it (an honest endorsement.)
Second: You are asking the author to put HER reputation on the line for you. Do you have the sort of close relationship that makes this worthwhile for her?
4. Do not ask an author: where do you get your ideas?
Okay, be honest. You thought I was going to lead with this one.
Actually, you can ask me this. I’ll probably answer something fun and ridiculous, like:
From Ebay.
Or: From my magic idea jar.
Or: They come to me on the toilet. You should spend more time there.
Because the truth is, we don’t know exactly. After teaching over 1000 fiction writing students at Sheridan College, I have discovered something: some students are bubbling over with ideas. Others – the ones who won’t make it – have to struggle for plots. It seems to be a gift and a curse, to have the sort of brain that constantly makes up things.
I’ve been doing it since I was four. My parents called it lying. That was so short-sighted of them.
Opening to THE GODDAUGHTER’S REVENGE (Orca Books) winner of the 2014 Derringer (US) and Arthur Ellis (Canada)
Okay, I admit it. I would rather be the proud possessor of a rare gemstone than a lakefront condo with parking. Yes, I know this makes me weird. Young women today are supposed to crave the security of owning their own home
But I say this. Real estate, shmeel estate. You can’t hold an address in your hand. It doesn’t flash and sparkle with the intensity of a thousand night stars, or lure you away from the straight and narrow like a siren from some Greek odyssey.
Let’s face it. Nobody has ever gone to jail for smuggling a one bedroom plus den out of the country.
However, make that a 10-carat cyan blue topaz with a past as long as your arm, and I’d do almost anything to possess it.
But don’t tell the police.
On Amazon
05 June 2015
One Hero's "Masque" May Be Another's Costume
As well as being a writer, I'm also a husband and dad. I spent this past weekend (May 28th through 31st) at Phoenix ComiCon with my 12-year-old son, and gained some very interesting insight there.My youngest son, Quentin, likes to practice Cosplay. Cosplay is a compound word created by the combination of Costume and Play (or player), and hence denotes a person who is play-acting that s/he is the character (sci/fi or anime usually) s/he is dressed as.
Cosplayers may spend hundreds of dollars on their costumes, and work diligently to achieve detailed accuracy (similar to a Civil War reenactor I once knew). And, at conventions such as this, the prizes for best costume can run into the hundreds or even thousands of dollars.
Believe it or not, there are Professional Cosplayers who earn big bucks by dressing as characters from video games, television shows, or even movies. They earn this money not only by winning cosplay contests, but also by doing work for sponsors. I suppose this shouldn't have come as a big surprise to me; after all there's a guy who frequents the cigar store, who earns a six-figure annual income by portraying Sean Connery at business conventions or on the radio. Pro Cosplayers earn money in a very similar manner.
I once posted here about an activity my youngest son, Quentin and I engaged in, last summer, called ICon ("eye-con"). At that convention, Quentin cosplayed (dressed and acted) as Edward Elric, the title character of the anime TV series The Full Metal Alchemist.
ICon was not a particularly giant convention, recalling (in my mind) the gaming conventions my older son, Joe, had attended when he was in middle school. There, Joe and his buddies played Dungeons and Dragons or other board games for several days straight.
But, ICon lasted only one full day.
The Phoenix Comicon, however, lasted four days and was held at the Phoenix Convention Center (very close to where Left Coast Crime will be held in 2016). Last year, over 15,000 people attended Comicon, and this year the numbers were believed to be even larger. Having been there, I believe it!
The Venues Included Writers!
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| Storm Troopers posed for free with folks. |
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| Quen being tossed into Batman's Arkham Asylum |
Writers and pros had booths in the underground area, where steampunk and cosplay items competed for sale against Star Trek, Star Wars and other Sci-Fi and Fantasy memorabilia.
There were also movie and TV stars galore, available for autographs (about $40 to $60 each, additional cost) or to pose in photos with you (that would set a person back a hundred or two hundred bucks each), The local Dr.Who society was on the top floor (by the stars) with their Tardis, two life-sized Daleks (one of which moved and had a suspicious-looking "Sidekick" badge taped to the front!), and a remote-control K-9. On this floor also, one could find the Delorean from Back to the
 |
| Q sits with "Greedo" on Star Wars "set" |
Cosplay filled a lot of con space also, with classes and panels that ranged from how to buy and style wigs, how to sew costumes or make realistic-looking armor that wouldn't weight you down, to panels of professional cosplayers giving tips on the contests and how to make money at cosplaying.
Membership is NOT Cheap
An adult membership for all four days cost about $97.00 (a significant savings!), while a "sidekick" ticket for a kid 12-or-under cost $10.75 for the full four days.
 |
| Lunch for 2 = $45.00 LOL |
By the time it was all said and done, I purchased two adult memberships for Thursday ($30 each) so Q wouldn't have to wear his embarrassing Sidekick badge, two adult memberships for Friday (about $47 each) so my wife could go with him in the morning while I was at work, and my older son's girlfriend could join her until I relieved my wife, three adult memberships for Saturday ($57 each) so my older son, Joe, could attend with his girlfriend and myself, while Q used his Sidekick badge (and the older kids could go to the Steampunk ball or some other adult venue that night), and an adult membership for Sunday ($35) so I could go with Quen on my day off.
COSPLAY (Hmmm.......)
 |
| A Family of Dr. Who's . . . Plus a Cyberman son .... Talk about dysfunctional teen years! LOL |
The main catalyst for our going, of course was that Quen wanted to participate in a Cosplay Contest. The problem was: Though we downloaded Comicon info from their website to our cell phones, months in advance, and that info kept updating over time, we NEVER saw anything labeled: "Cosplay Contest."
Instead, there was a "Cosplay Fasion Show" on Thursday morning, and a "Prejudging for Masquerade" at 4:00 pm on Saturday, and a "Masquerade" at a local Hotel, where the steampunk venues were being held, at 9:00 pm Saturday night.
Was the Cosplay Fashion Show a contest? Evidently not. Was "Masquerade" the contest, or was this a codeword for something dealing with steampunk? We didn't know. Nor could we find out ahead of time.
 |
| At one point, we ran into the evil "boss" from Kingdom Hearts. You can't see it, but there is a crowd jumping up and down and screaming behind me. |
To that end, for over a month, Quentin worked with my wife as she diligently followed his instructions, as well as online pics, to sew a Sora costume for him. We bought a pair of too-large shoes at Goodwill, then he and I turned them into Sora's shoes using paint, tape and paper mache. He and I constructed a "KeyBlade": Sora's primary weapon, using PVC pipe, cardboard, Styrofoam, paint, a small chain, etc. My wife even styled his hair to match Sora's.
Thursday afternoon, Q and I entered the convention, neither of us in any costume. Our plan was to orient ourselves to the premises, attend a few panels on cosplay or some other things, and form a strategy for the weekend. Unfortunately, the maps in the program, cross-indexed with the buildings we were in, didn't make sense to me. In fact, I'm embarrassed to admit that I -- an ex-SF Sergeant, known for finding my way for miles across empty and inhospitable terrain using only a map and compass -- never did quite manage to orient myself inside those buildings until the end our last day there.
 |
| It was not a stationary battle. Q is waving his keyblade as the "boss" waves his arms in attack. |
I didn't blame him. And, since he was the reason we were there, we did what he wanted to do -- while I scratched my head a lot and tried to figure out where we were on the myriad of seemingly unrelated maps inside my program.
By Thursday night, at last, I figured a few things out. So, on Friday morning, my wife, Madeleine, and our son's girlfriend, Suzanne, knew where they had to take Q for the fashion show, while I was at work. My daughter, Raven, wound up there to cheer him on, too.
 |
| Suzanne fixes Q's "Sora" hairstyle. |
front of hot lights and hundreds of people -- which I have no doubt was a good experience for him. He encountered stage fright, but dealt with it on his own --HUWAH!! I got there too late to see the show, but heard all about it from the kids. My wife went back to work, while Suzanne, Raven and I took Q back into the con. The younger folks decided to wander around together for awhile.
One panel I attended alone was called, "How to be the parent of a Comicon Nerd." Quen had protested his attendance, saying the adults on the panel would make jokes about kids in cosplay.
He couldn't have been more wrong!
From the Mouths of Babes
This panel was made up of a half-dozen kids ranging in age from about 14 to 17. The theme of their panel was essentially: "What sort of Comicon Parent are you: Supportive, Disinterested, or Abhorrent?" (Yes, they actually used the word "abhorrent." LOL)
First, each speaker explained a different facet of what a parent's comicon kid might be "into" and why it was usually "really nothing to be worried about." They covered comic books, films, TV series, online comic books (webcomics, such as Homestuck), cosplay and other things.
They stressed the idea that "forbidding" a kid to play a game or watch a show wouldn't keep that kid from playing the game or watching the show at a friend's house. Instead, they stressed open communication as the best way to address parental concerns. Finally, each kid on the panel told us what her parents were like (supportive, disinterested, or abhorrent) so that we could compare ourselves to them, and adjust our actions if need be.
I was deeply moved when the girl with two supposedly "abhorrent" parents, wiped her eyes as she told us about her dad making fun of her cosplay outfit, and of how her mother refused to drive her to the con, making her take the bus, because "...that stuff is Devil worship -- you can burn in Hell alone!" (Maybe her parents weren't really that bad, but her perception was that they were. And, the really heart-rending part, was that I could hear how much she loved her parents and wanted to connect with them.)
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| Some feel EMPOWERED by cosplay. |
The really eye-opening part of this program, however, was that I saw the impact of cosplay on some of these kids' lives. Several of the panel members were dressed in cosplay outfits, which surprised me at first. Later, however, a couple specifically said words to the effect of, "I'm pretty shy, and I don't ever speak up at school or anything. But, when I wear this cosplay, I can cosplay that I'm this strong character. While I'm dressed like (this character), I act like (this character) and that's what gives me the ability to speak to you in front of this room, like this. I could never do that, if I was just me."
It wasn't just what they said, either. I could see it in their mannerism; their conviction was clearly evident, as was the importance of what they were doing, and why they wanted to speak to parents about their concerns. Frankly, I wished that more than five or six parents had come to the panel. I also made sure to ask questions when it came time for Q & A: I wanted the kids to know I valued what they were doing.
And, I got to see one mother obtain relief when she asked, "Please tell me, what the heck is this Homestuck? Why is my eleven-year-old daughter going to school with gray paint on her face and hands, and orange horns on her head!?!"
All the girls on the panel, along with a few kids sitting in the audience, screamed with joy, then laughed and sighed and comforted her, assuring her that it was alright, that they had all been into Homestuck and painted themselves gray at eleven and twelve. At one point, one girl held up her arms and said, "See? No more gray paint on my face or arms. I outgrew it and she will too. It's okay. It won't hurt her. Your daughter is fine and happy." Then, they gave the mom tips, such as: "The important thing is to keep her from getting in trouble at school, by getting paint on the walls if it rubs off her hands. The way you do this is to seal with ...(I don't remember: something about baby powder and stuff -- but the mom took notes!)
I Realized:
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| Entrance to Cosplay Lounge. Sign for Diversity Lounge in background. |
I also realized why taking photographs inside the Cosplay Lounge was so carefully forbidden -- because cosplayers take off their costumes in there; they are naked and themselves; they have lain their defensive bulwarks to one side and are vulnerable until they gird themselves, once more, in the armor of their character.
As the kids also pointed out: People (adults and children, both) engage in cosplay or other comicon activities for hundreds of different personal reasons. Not every cosplayer is looking for a strength or defense that eludes him or her in real life. Many, like my son, Quentin, just enjoy playing the part of fictional characters -- something I do, every day, when I write. And I can understand this; I always have.
But, thanks to those brave kids, I now understand more about the genre, and the factors that may be at play in other practitioners lives.
But What About the Cosplay Contest???
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| Door to PreJudging Room No Entrance W/O Permission |
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| The hallway outside, 2.5 hours later. |
A particularly humorous encounter I witnessed at the con occurred during lunch one day. Q and I were eating, out on a sort of bench under shade, and there was a male-female couple in their late twenties not far from us. The woman dressed as a Harry Potter character insisted (for some reason, I wasn't sure) on giving her husband/boyfriend a hard time about wanting to watch World Wrestling Federation on TV at home. When the guy finally griped, "What's wrong with wrestling?" she responded, "It's completely
FAKE!" At which point, he looked at her and mumbled, "Right. And like you go to Hogwarts!"
For the Hill family, though, Phoenix Comicon and the lead-up -- gathering info, making the costume -- all of it, was a family activity. And, in the end, our family really enjoyed it. So, chalk-up a win this time!
See you in two weeks,
--Dixon
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