Would I Lie To You?

If a story uses a first person narrator, the most important action in that story is the telling. The narrator arranges the people and events in a way that serves his purpose. Since he has a stake in the story, sometimes he cheats. That's where the fun begins.

Many of the classics gain their power from the irony of a dissembling story-teller. Lockwood, the secondary narrator of Wuthering Heights, is too conceited to understand that Nelly Dean passes the buck in her tale of Heathcliff and Catherine's star-crossed love. Through negligence or prejudice, she causes every tragedy in the book and blames Heathcliff, whom she admits she loathed at first sight.

Dickens's Great Expectations thrives because Pip believes that Miss Haversham is polishing him to be worthy of Estella. By the time he understands that Magwitch is his real benefactor, he also realizes that Estella is a miserable woman who would be a horrible match for him.

Critics have argued about Henry James's The Turn of the Screw since its serialization in 1898, and James did little to settle the argument, calling his story merely a "pot-boiler to catch the unwary." His prologue (He almost never used a prologue) shows us a series of narrators who are either biased, lazy, or irresponsible, and the story seems to be an exercise in covering everyone's tush. Is it a ghost story, or did the governess hallucinate the shades of Miss Jessel and Peter Quint? The visions first appear when she daydreams about the handsome master who hired her under strange circumstances, so I tend to side with the Freudians even if they do get heavy-handed. I used to love assigning this story in my honors American Lit classes, especially those who had read Shakespeare's A Midsummer Night's Dream the previous year and picked up on the allusion to Peter Quince, the rude mechanical who wrote the hilarious play they perform at the end. Musician Quince Peters, who appears in my two novellas with Woody Guthrie, comes from the same source.

The danger of using irony is that readers may not understand. Contrary to increasingly popular mis-reading, Huckleberry Finn is NOT a racist novel (for that, I suggest Uncle Tom's Cabin, which portrays the black characters as docile and stupid, more like Labrador retrievers than people). Huck has been raised by a white-trash drunk and he repeats what he's heard about black people all his life. At the same time, he shows us that Pap, Tom, Boggs, Sherburn, the Grangerfords, the Shepherdsons, and the King & the Duke are lazy, greedy, stupid, violent, dishonest, or most of the above. Jim, on the other hand, is brave, loving, loyal, honest, and patient.

Never trust what someone tells you if he shows you something else.

If you write mysteries, the unreliable narrator should be near the top of your bag of tricks. Agatha Christie showed how far you can take this idea in The Murder of Roger Ackroyd (1926). You don't have to go as far as Dame Agatha, but since people lie in mysteries, why deprive the narrator of so much fun?

Remember, you have to let the reader understand that something is rotten in the State of Denmark. A careless reader won't catch on (so much the better), but if you play fair and suggest along the way that narrator X spins more than bottles, you have lots of possibilities.

So, how do you play fair?

One way involves having the narrator say right up front that he prevaricates. In Kesey's One Flew Over the Cuckoo's Nest, Chief Bromden is a paranoid schizophrenic in a mental hospital. He ends the first chapter by telling us, "It's the truth, even if it didn't really happen."

How much clearer can you get?

Holden Caulfield is a direct literary descendant of Huck Fin and a close relation to Chief Bromden. It still surprises me how many readers of Catcher in the Rye miss that Holden delivers his narration to a therapist after he's had a nervous breakdown.

Mary Katherine Blackwood, the narrator of Shirley Jackson's underappreciated We Have Always Lived in the Castle, is almost as crazy as Chief Bromden, but not as straightforward. "Merricat" tells us on page one that she's often thought she should have been a werewolf and that she likes Richard Plantagenet and the death's-head mushroom. We see her obsessive rituals to ward off "trouble," too. She lives with her sister Constance and her uncle Julian; the rest of the family died from eating sugar laced with arsenic on their strawberries. The small town shuns the family because they believe Constance evaded prison because of insufficient evidence. It's nearly the end of the book when those townsfolk trash the sisters' home and Merricat snarls, "I will put death in their food and watch them die." Constance says, "The way you did before?" and Merricat answers, "Yes."

She hasn't lied to us before about who poisoned the sugar. The subject simply hasn't come up in conversation. By the time it does, we've had ample opportunity to see that Mary Katherine Blackwood has more issues than the archives of the New York Times.

Gillian Flynn is equally clear in Gone Girl. Early in the book, Nick Dunne starts counting the lies he tells other people. This implies that he lies to us, too. Sure enough, when the police and Amy's parents call him out on various inconsistencies, he admits the truth...eventually. What makes the book so powerful is that Amy, the missing wife, lies even more than Nick...and even more skillfully.

Sometimes, the narrator shows you subterfuge without actually saying he lies. Chuck Palahniuk gives us a huge disconnect two page into Invisible Monsters. The macabre tableau involves Edie Cottrell's wedding reception--and Brandy Alexander bleeding out at the bottom of the stairs from a shotgun blast. Palahniuk's scene is horrific because it's so specific. Then the narrator shows her true colors: "It's not that I'm some detached lab animal just conditioned to ignore violence, but my first instinct is maybe it's not too late to dab club soda on the blood stain."

He's even clearer in Fight Club. 200 words into the story, he says, "I know this because Tyler knows this." Think about it. He repeats the comment throughout the book, too. That's fair.

Some narrators don't deliberately lie, but their background cause a bias that clouds their vision. I've mentioned Huck Finn, but think also of Nick Carraway, narrator of The Great Gatsby. Nick tells us his family is wealthy. His unconscious bias against the poor explains his letting Gatsby take the blame even though they both know Daisy drove the car that killed Myrtle Wilson. It's worth pointing out that Nick, who tells us he's the most honest person he knows, has two affairs during the book and came east to avoid marrying the woman he seduced back home.

Never trust what a character tells you if he shows you something else, remember?

In The Perfect Ghost, Linda Barnes shows us apparently agoraphobic Emily Moore, who mourns the death of her writing partner, killed in what might not have been an accident. At the same time, she starts sleeping with the famous director she and her partner were interviewing so they could write his biography. It may not be dishonest or unethical exactly, but it's poor enough judgment to make us examine the rest of her story more carefully.

Barnes, Flynn and Fitzgerald all use flashbacks, which delay the revelations because an altered chronology puts more pages between the contradictory details so readers are less likely to notice them. I generally avoid flashbacks, but nothing is off-limits if you do it really well. All three of these writers do it really well.

Another way to justify an unreliable narrator is to make him dumb or naive. Ring Lardner's short story "Haircut" (1926) features a barber telling a stranger about the events in a small Midwestern town. The story lasts as long as the customer's haircut, but Whitey the barber is too thick to understand how the people and events he describes fit together. By the end of his story, we understand that a murder has been committed. We know who did it, how, why, and that he will get away with it, too. Great stuff. And the unreliable narrator is the only way to make the story work.

Lardner's tale inspired my own story "Little Things." The two main characters are a bright eight-year-old boy and a shy six-year-old girl who meet when their respective single parents bring them to a miniature golf course. Amy lacks the wider knowledge to know that her experiences are not "normal," and Brian is too young to grasp the significance of what she tells him. Amy's mother and Brian's father are wrapped up in each other and don't even hear the little girl's revelations.

Everybody lies. But first person narrators do it better.

Trust me.

Who'd a Thought?

SOUTH DAKOTA - East River

It was Super Bowl Sunday 1980, when the bartender paged me to the phone. My boss was calling to let me know that a four-engine aircraft had come down in a wheat-stubble field just west of the Missouri River during the late afternoon. He then made a strong suggestion that I go to the scene.

SOUTH DAKOTA - West River

Just as the sun was peering over the horizon, I drove up out of a shallow ravine and there in the wheat-stubble field sat a four-engine aircraft with oil slicks from each engine dripping off the aft edge of both wings. The plane's fuselage was loaded with bales of marijuana, 26,000 pounds of the stuff.

As we later pieced it together, it seems that a group of entrepreneurs had purchased a couple of four-engine aircraft in Spain and had at least one of them flown to Panama where it was worked on. According to regulations, whenever a plane departed the airport in Panama, it was supposed to file a flight plan as to its destination, however there is an exception to that rule if the flight crew was merely going to take off, fly around to check out the maintenance work and then immediately land. So, that's what the aircrew told the tower they were going to do. They took off like they'd said, but then kept on going south, all the way to a clandestine airstrip in Colombia, an airstrip guarded by Colombian Army soldiers. Corruption at its finest.

The plane got loaded with pot bales and the aircrew was going through a pre-flight check list, when a jeep load of soldiers drove up and told the pilot to take off NOW. The pilot politely explained that it was too early to leave, that he had a certain two-hour window in which he was to take off in order to arrive at his destination at the correct time. At that point the conversation deteriorated.  The Colombian soldiers pointed their automatic weapons at the pilot and insisted it was time for him to depart their clandestine airstrip. Not having any weapons of his own, the pilot quickly cranked his engines and took off. The tenseness of this experience rattled the aircrew's nerves enough that shortly after wheels up on the landing gear, they commenced the consumption of rum.

Somewhere over the Gulf of Mexico, the plane lost oil pressure. This necessitated the crew chief hooking up a 55-gallon barrel of oil and hand-pumping oil to each of the four engines. They entered U.S. airspace at the Texas border and allegedly flew north over Omaha, Nebraska, over SAC Headquarters without our Air Force scrambling fighter jets to intercept them. So much for our national border security in 1980.

Meanwhile, the ground crew, out of Minneapolis, was busy that late afternoon, laying out a landing strip in the wheat-stubble field with lights hooked up to car batteries, when they suddenly heard the approach of a large aircraft. They immediately got on their radio and told the airplane they had arrived too early and therefore were supposed to fly into North Dakota and return after dark before landing. However, the pilot having been threatened with automatic weapons, having consumed a quantity of rum for his nerves, and tired from having flown a leaky aircraft for several hours in air space he wasn't cleared to be in, made a heated reply, something to the extent of they were landing now, so get the hell out of the way. And, they did.

Airplane Number

South Dakota people are friendly folk and have a tendency to help people in distress, thus the ice fishermen on the Missouri River (America's true first line of national border defense) saw the airplane come down in the field, and in their concern for their fellow man, they immediately put down their fishing poles and drove over to assist these unfortunate souls downed in the middle of nowhere. Turned out, the aircrew members were not grateful for this offered assistance. The fishermen became suspicious and one brave guardian of America's borders let the air out of the plane's front tire, and state radio then got a call.

Now, the pilot, having been previously involved in these types of operations, had it in his contract that he would be driven to a motel to wait out the unloading process, after which he would be driven back to the wheat-stubble field and would then fly out the airplane. He never went back. Also, a fuel tanker and a flatbed semi with hay bales on the trailer were on a side road nearby to refuel the aircraft and offload the pot bales to then be concealed among the hay bales. They never got to perform their functions.

That's me in brown coveralls
and black wool watch cap

Back at the wheat-stubble field, seeing that all was not going according to plan, the ground crew scattered into the hills. Being city boys, they were not suitably prepared to spend the night in the great outdoors. By morning, most of them stumbled out as best they could to country roads. Cold, shivering, some with hay sticking out of their hair and clothes from burrowing into hay stacks to keep from freezing, these future felons begged to get arrested just to get warm again. For them, their grand pot plane adventure was over. Their court adventure was about to begin.

A few months later, DCI Agent Tommy Del Grosso and I flew down to Tampa, rented a car and drove over to a county jail where the pilot had taken up temporary residence. He agreed to talk to us if we'd take him out for a real meal. Guess he didn't care much for jail cuisine. Tommy and I signed him out in leg irons and took him to a local restaurant. When his meal came, I watched him pick up the salt shaker and pour it all over his salad. Having not seen this act before, I inquired as to what he was doing. His explanation was that it was terribly hot in that Florida jail, no air-conditioning for the summer heat, therefore the inmates sweated a lot and the jailers did not provide any salt or salt tablets, so he was taking this opportunity to load up. We got a lot of details from him on the smuggling operation, so he was worth the price of a meal and an empty salt shaker.

In the end, we had an airplane from Spain, flown out of Panama by an aircrew from Florida and loaded with marijuana from Colombia. The ground crew, fuel tanker and flatbed semi came from Minnesota, The wheat-stubble field was scouted out by a local boy from West River. A group of Eskimos from Alaska helped fund this pot plane endeavor, and if all had gone well, then three more smuggling flights were planned.

It was several years later, when I learned from another source that one of the higher up pot plane conspirators, that we didn't know about at the time, who was from the Dutch Antilles, took a long walk off one of the upper floors of a high rise in Singapore. The rumor in the drug world at the time was that someone in upper management wanted to ensure that his own name never got mentioned for some of their clandestine marijuana deals.

In retrospect, will we ever win this war on drugs? Probably not, but then most of us working agents figured the best we could do on the streets was to try to keep the lid on the garbage can.

                                                                           #

On September 30, 2017, my old boss and I took a road trip to Pierre, South Dakota, to attend the first and only Pot Plane Reunion. I got to meet and shake hands with the now 98 year old rancher/ice fisherman who let the air out of the plane's front tire. Also listened to the defense attorney who represented the pilot from Florida all those years ago. Unfortunately, too many law enforcement and others who had participated in the case had already passed on and there was one more of us who probably wouldn't make it to January in order to have the reunion on the actual anniversary date.

South Dakota. Super Bowl Sunday. A wheat-stubble field. Who'd a thought?

Bad Girl Book Club –the book club you may want to join!

Yes, there really is a Bad Girl Book Club (although it might also be known as the Lazy Bookclub.)

Right here, in Southern Ontario, a group of gals meet twice a year (hence the ‘lazy’) to lay out a set of criteria for a year of reading.

Okay, yes, there might be booze involved. And possibly a pig-out of gargantuan portions. But reading’s supposed to be fun, eh?

Here’s the thing: Our ranks include two association CEOs and senior execs. We aren’t the sort of people who like to be told what to do. So we don’t all read the same book every month. Instead, we draw up a set of criteria that we agree to meet.

Want to try it yourself? Get together a bunch of reading mates (buds if you’re American) and try this list:

2017 Reading Challenge

Readers must read at least 12 out of 14

1. A book publisher this year
2. A book you can finish in a day
3. A book recommended by your local librarian or bookseller
4. A book chosen by your spouse, partner, child or BFF
5. A book you previously abandoned
6. A book that has won a major award within the last five years
7. A book that is based on or is a true story
8. A book that was made into a movie
9. A book that was translated from another language (forcing us all to leave North America)
10. A book in a genre you never read
11. A book about travel adventures
12. A book written from a non-human narrative perspective
13. A Giller Prize Winner
14. A book that starts with the same letter of your first name

Alternative criteria from the 2016 list:

• A book published before you were born.
• A book you should have read in school but didn’t.

At each meeting we compare books read, and make recommendations. This year, I added a new dimension to my list.

Increase the number of books that feature female protagonists written by female writers, to 75%. That is, 75% of the books I read this year should be written by women and should feature female protagonists.

How am I doing on that issue? I tried hard. I really did. I’m sitting at 61 books out of 95 read. Not quite 75%. Very simply, I’m having a hard time finding books that meet this criteria outside of cozies and romance, both of which I’m not keen on.

Female crime writers often write male protagonists. Even our bestselling author at Crime Writers of Canada – Louise Penny – writes a male inspector. We have secretly discussed among ourselves whether she would have been as successful if Gamache had been a woman. That’s a heated discussion for another day.

What is notable is that there seems to be a trend for male writers to write female protagonists. These may be good books, but they aren’t women’s stories in the way that I mean. They are written with a different lens.

So I’m struggling to find 75 books in year that I want to read, that are by women telling women’s stories.

How did I do on the rest of the list? 14 out of 14, of course! And the wonderful thing – I forced myself out of the usual crime ghetto, to read an assortment of books that I never would have read otherwise. Some – like The Nightingale and The Alice Network – were terrific.

If you’re interested in the list of books I read to meet the above criteria, let me know and I’ll post it here.

Have a wonderful year of books in 2018!

(Here's the book everyone in my group read for the "A book you can read in one day" category:

Throwing Raspberries

by O'Neil De Noux

In 1940, the last year of F. Scott Fitzgerald's life, only seven copies of THE GREAT GATSBY were sold.

Edgar Allan Poe sold THE RAVEN for $20.

I have 36 books in print and many times my monthly sales are low. That happens. I haven't learned the tricks of selling online, but I'm still young. Writing well is more important to me than selling well, I suppose.

HOWEVER -
The next person who says I must be rich because I'm a writer with all those books in print will get a raspberry from me. Not the tongue-vibrating raspberry. I'm going to the grocery to buy raspberries to throw at people. Especially relatives who see me arrive at a family gathering in my 2004 Saturn SUV.

My writer friends know what I mean. We don't do it for money. We write because we were put on this earth to be writers. And don't think it's the quality of writing that makes those big-name writers sell more books than most of us. It's good marketing and readers too lazy to try someone new. Kudos to those writers who sell lots of books.

FOR YEARS I've been asking friends and relatives, acquaintances, people on the street, people on social networks to buy books as Christmas presents, birthday presents. Don't even go to a store. Just go online and order and it's delivered to your house. Books are ease to wrap. Books make people THINK and FEEL something, maybe even drag them away from depression into another world for a short while. If it's a good book, it'll remain with the reader. May even make them laugh or cry.

Remember IT'S A WONDERFUL LIFE - when you hear a bell ringing an angel got his/her wings?

Each time you buy a book, you're helping support someone who has struggled with our limited means of communicating to weave a tapestry of ideas and sensation and scenes that can be unforgettable.

I recommend books I've read all the time to acquaintances, friends, passersby, family. I buy books as presents.

Funny note about family. All of my books are dedicated to someone, often family members who I dutifully give a copy of the book to, family members who politely ask me at the next family gathering how my writing is going. I ask them if they liked the book I dedicated to them and they find lint to brush off their shoulder or a hem to straighten or a belt to pull up or they have to go to the bathroom.

Time to go to the grocery for raspberries.

Just as I put this posting together, my high school English teacher from ARCHBISHOP RUMMEL HIGH SCHOOL in Metairie, LA is so proud of me dedicating my latest book to him, he sent a notice to the school. Check it out.

Some people do appreciate a dedication.

---

www.ONeilDeNoux.com

R.I.P. Ursula K. LeGuin

by Brian Thornton

Ursula K. LeGuin

Acclaimed fantasy and science fiction author Ursula K. LeGuin died last Monday at her home in Portland, Oregon. She was 88.

LeGuin was, by any measure, a great writer. I tore through her Earthsea trilogy while still a teenager. From there I moved on to her science fiction, which really didn't hold my attention. I daresay adolescent boys weaned on adventure fiction were probably not her intended audience while writing those works. Either way, I suspect the shortcoming was mine, and not hers.

When she added to the Earthsea chronicles decades after finishing the original trilogy, I tried the next book out, and didn't finish it. Again, I suspect the shortcoming was mine.

That said, I was, and continue to be, blown away by what is arguably her greatest work, A Wizard of Earthsea, the first book in her Earthsea series. Completed in the late 1960s, it has never been out of print since.

And with good reason.

The book's plot pays homage to a whole raft of ancient and medieval hero cycles while also anticipating the likes of Harry Potter. It is the story of Ged, a poor boy from a poor island, who early on demonstrates a talent for magic, and so is hustled off by his bemused (and discomfitted) family and neighbors to the BIG TIME: a school for wizards.

Once there he (stop me if you've heard this before) makes friends and enemies, fails and succeeds at a variety of challenges set in his path, demonstrates tremendous potential and youthful arrogance which so often accompanies such potential. And then while showing off he makes a colossal (and freudian) mistake. Said mistake scars him both literally and figuratively. This mistake's immediate consequences are rectified only at tremendous cost to others. The long-term costs are borne almost solely by Ged himself.

The other two books of the trilogy, The Tombs of Atuan and The Farthest Shore are terrific books in their own right, but don't really stand alone the way A Wizard of Earthsea does.

But for all that, LeGuin was a master stylist, with interesting and very public ideas about writing. She mentored several generations of writers, and was not shy about giving her opinion about the nature of inspiration, and the state of the publishing business itself.

I was reminded of this while working on this post over the last couple of days, and reading a fair number of wonderful tributes to Ms. LeGuin. While reading the indispensible Chuck Wendig's own take on this, I followed a link he posted to LeGuin's extended response to the question: "How do you make something good?"

I'll close with the portion of her response that speaks directly to the concerns of emerging writers concerned about catching on in the publishing business:

There are “secrets” to making a story work — but they apply only to that particular writer and that particular story. You find out how to make the thing work by working at it — coming back to it, testing it, seeing where it sticks or wobbles or cheats, and figuring out how to make it go where it has to go.

At this stage, having the opinion of readers qualified to judge, or a trusted peer-group, can be tremendously useful. Other eyes can see what you’re too close to your work to see, give perspective, open up possibilities.

On the other hand, the pressure of opinion — from readers, classmates, teachers, in a MFA program or a workshop, from an agent, from an editor — may end up as worse than useless. If your manuscript doesn’t follow the rules of what’s currently trendy, the rules of what’s supposed to be salable, the rule some great authority laid down, you’re supposed to make it do so. Most such rules are hogwash, and even sound ones may not apply to your story. What’s the use of a great recipe for soufflé if you’re making blintzes?

The important thing is to know what it is you’re making, where your story is going, so that you use only the advice that genuinely helps you get there. The hell with soufflé, stick to your blintzes.

We make something good, a blintz, a story, by having worked at blintzmaking or storywriting till we’ve learned how to do it.

With a blintz, the process is fairly routine. With stories, the process is never twice the same. Even a story written to the most prescriptive formula, like some westerns or romances, can be made poorly, or made well.

Making anything well involves a commitment to the work. And that requires courage: you have to trust yourself. It helps to remember that the goal is not to write a masterpiece or a best-seller. The goal is to be able to look at your story and say, Yes. That’s as good as I can make it.

And that, in and of itself, is pretty damned good.

To Have and Have Not

Hemingway published To Have and Have Not in 1937, the picture was released in 1944. The book isn't unreadable, but the movie's a lot better. Watching it again, I'm reminded of a couple of things. Bogart and Bacall falling in love. Howard Hawks never shot a scene that dragged in his entire career. William Faulkner was one hell of a script doctor, drunk as a skunk or otherwise.

The story Hawks tells is that he was out on a hunting trip with Hemingway. Hemingway starts bitching about how Hollywood can't get his books right. Hawks says he's selling his books to the wrong people. "Hell," Hawks says to him, "I could take your worst book and make a terrific picture." We can imagine the long, stony pause. "Yeah?" Hemingway says. "What is my worst book?"

Going in, it's obvious they won't get past the censors, and Faulkner isn't even convinced there's a movie in it. What if, Hawks suggests, we wind the clock back and tell the story that led up to the book? They bring Jules Furthman on board. Furthman's got what, a hundred credits, give or take? According to Hawks, they come up with enough back story for a whole other picture (actually made in 1950, The Breaking Point, with Garfield).

Betty Bacall was eighteen when she made the cover of Harper's Bazaar, and her picture caught the attention of Hawks' wife Slim. It was Hawks who wanted her voice to be lower in register, and it became her trademark, a smoky, throaty purr. "You know how to whistle, don't you, Steve?" Bogart rolled over and paddled his paws in the air.

The echoes of Casablanca weren't accidental.  It's wartime Martinique, but it's still Vichy. Bogart throws in reluctantly with the Resistance. His common sense isn't blunted by sentiment. When de Bursac's wife loses her temper and snaps at him, it's Frenchy who apologizes. "Forgive her," he says, "she's not herself." Bogart shoots him a look. "Oh?" he asks. "Who is she?"

Another common Hawks signature: the apparent throwaway scene, which is integral to character - character being everything, in Hawks. Here, the musical numbers, Bacall and Hoagy Carmichael, "How Little We Know" (which signals what we've already guessed from her body English) and "Am I Blue?" Seriously, you have to ask? It might put you in mind of Rio Bravo, Dean Martin and Ricky Nelson, Walter Brennan on harmonica. The drunk, the kid, the gimp, each of them missing a piece, you might say. And then John Wayne, self-sufficient and contained. Or you make a different calculation, that Chance is not only set apart, but isolated. The other three have a vulnerability, a soft spot he doesn't get to show. Or share.

I saw The Big Sleep first, before To Have and Have Not, and The Big Sleep has a lot of the sexual dynamic, not to mention a better score by Max Steiner, but it doesn't have quite the same energy. It doesn't have the invention, or the novelty. The way the two of them look at each other. There's nothing contrived about it. It ain't the lighting, or the soft focus. Bogart and Bacall are there.

Movies are an artifice, a construction. The camera catches reflections. The images have already been decided, and they're waiting to be arranged. But as with all things, we have to allow for happy accident. Accidentally, To Have and Have Not is a document. We watch two people get lucky. You learn how to whistle.

The Wound

Keenan Powell was born in Roswell, New Mexico, several years after certain out-of-towners visited. Her first artistic endeavor was drawing, which led to illustrating the original Dungeons and Dragons when still in high school.

A past winner of the William F. Deeck-Malice Domestic grant, her publications include Criminal Law 101 in the June 2015 issue of The Writer magazine and several short stories. She writes the legal column, Ipso Facto, for the Guppies’ newsletter, First Draft, and blogs with the Mysteristas.

She lives and practices law in Anchorage, Alaska. When not writing or lawyering, she can be found riding her bike, hanging out with her Irish Wolfhound, studying the concert harp, or dinking around with oil paints.

— Leigh  

Karma and the Trial Lawyer
by Keenan Powell

My first job after law school was an associate with a formidable old trial lawyer.

In my very first jury trial, I sat second chair for her. Second chair is the young lawyer who sits beside lead counsel in court and doesn't speak. Second chair's job is to take notes and make sure that lead counsel has the exhibit she wants when she wants it.

The trial was a federal felony: a bank teller charged with embezzlement. On the last day of evidence, my boss told me I was doing the closing argument the next day. I was terrified. I had no idea what I was supposed to say. I was convinced our client was innocent and that if I screwed up the closing, she could be wrongfully convicted. Not only that, I had never seen a closing in real life before. In the wee hours of the next morning, I dreamt the entire argument, got up, and wrote it down. That morning, I delivered the argument I had dreamt. The jury came back with an acquittal in three hours.

Maeve Malloy debuts in Deadly Solution. After drinking sidelined her Public Defender career, attorney Maeve defends an Aleut Indian accused of beating another homeless man to death. With no witnesses and a client with bruised knuckles who claims no knowledge of the murder, the outlook appears hopeless.     The unfolding case brings Maeve and her investigator Tom Sinclair to urban homeless camps, rough roadside bars, and biker gangs. Maeve finds more than enough people with motives for wanting the victim dead.     The case takes an unexpected twist when the forensic pathology report shows the victim died of a prescription overdose, not a beating. Maeve and Tom link the murder to a string of earlier deaths among the homeless that had been ruled ‘natural causes.’

    Maeve Malloy debuts in Deadly Solution. After drinking sidelined her Public Defender career, attorney Maeve defends an Aleut Indian accused of beating another homeless man to death. With no witnesses and a client with bruised knuckles who claims no knowledge of the murder, the outlook appears hopeless.
    The unfolding case brings Maeve and her investigator Tom Sinclair to urban homeless camps, rough roadside bars, and biker gangs. Maeve finds more than enough people with motives for wanting the victim dead.
    The case takes an unexpected twist when the forensic pathology report shows the victim died of a prescription overdose, not a beating. Maeve and Tom link the murder to a string of earlier deaths among the homeless that had been ruled ‘natural causes.’

That was encouraging.

After knocking around for a few years doing different kinds of law, I found myself associated with another sole practitioner, a venerated criminal defense attorney. I had decided criminal defense was what I wanted to do: stand in front of a jury like Clarence Darrow and fight the good fight for truth and justice, just as I had for that bank teller.

One day, my boss told me that he and another criminal defense lawyer were taking me out to dinner that Friday. Oh, my, I thought, I've hit the big time! I had visions of a steak dinner on linen overlooking the glittering waters of Cook Inlet. Instead, they took me to pizza chain restaurant. I don't think those two guys even knew how to order, much less eat, a pizza. (I got the salad bar.)

As it turns out the purpose of the gathering was to warn me about karma, and it was a conversation that they didn't want overheard – which is why they took me to a virtually empty restaurant. (Later I checked the restaurant's health rating. It wasn't good.)

The gist of their warning was: Sure, you feel good when you win. But sometimes, and it can happen to anyone, you can get an acquittal that results in a bad guy going free and then that bad guy does truly evil things. One of those attorneys had, in fact, obtained an acquittal of a murderer who went on to kill three more people including a woman and her child. (He was later found in a ditch.)

Decades later, an idea struck me for a legal mystery. I wrote and I wrote. In 2015, I won the William F. Deeck – Malice Domestic grant.

With the grant, I attended the Book Passages Mystery Writers Conference in Corte Madera where my pages were critiqued by a renowned author, who said, "Your protagonist must have a wound."

So, my protagonist, Maeve Malloy, got two wounds: a childhood event that spurred her into criminal defense, and then, while working at the public defender's office, a good trial result that leads to devastating consequences.

Maeve will make her first appearance in Deadly Solution (Level Best Books, 23 January, 2018).

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