Crime in Translation

Introducing special guest Ken Wishnia…

Part of the Bcon panel:
Wishnia, Lopresti, and Jason Starr,
photographed by Peter Rozovsky

We have a special guest today. I first met Ken Wishnia at a Prohibition-themed nightclub in Chicago named Tommy Gunn's. It was Bouchercon weekend and the Private Eye Writers of America was having its annual Shamus banquet. Years later Ken edited Jewish Noir for PM Press and found a place in it for one of my stories. This led to me being on a panel about the book, one of my favorite Bouchercon experiences.

His novels include 23 Shades of Black, an Edgar Allan Poe Award and Anthony Award finalist; Soft Money, a Library Journal Best Mystery of the Year; Red House, a Washington Post Book World “Rave” Book of the Year; and The Fifth Servant, an Indy Notable selection, winner of a Premio Letterario ADEI-WIZO, and a finalist for the Sue Feder Memorial Historical Mystery Award.

His short stories have appeared in Ellery Queen, Alfred Hitchcock, Queens Noir, and elsewhere. He teaches writing, literature and other deviant forms of thought at Suffolk Community College on Long Island. He appeared briefly at SleuthSayers once before, but this is his first guest star appearance.

— Robert Lopresti

CRIME IN TRANSLATION
by Kenneth Wishnia

I was thrilled when my publisher announced their plan to bring out Blood Lake, the last novel in my series featuring Ecuadorian-American female investigator, Filomena Buscarsela, in Spanish translation. Latin American readers would finally get to read this novel based on my experiences living in Ecuador for three years, during which time so much crazy crap happened to me that I couldn’t even fit it all into one book. And I would actually get to work closely with the translator.

Good thing, too. Aside from some simple misreadings--a “flaming sword” somehow became a “famous sword,” and a beat-up old car described as a “rattletrap” was translated as un ratonero, a “mousetrap,” which is definitely not the same thing--you might never realize just how many culturally-bound idioms you use in a story, much less a full-length novel, and just how hard they might be for a native of another culture to understand. Let’s just say that most native Ecuadorians have no idea what “Super Bowl Sunday” is. We also had quite a bit of trouble finding the Spanish equivalent of “thick-bladed front-opening lock-back stilettos with good balance and throw weight.”

Can’t imagine why.

I learned some fun stuff, too, like the fact that a police APB (All Points Bulletin) is called a “descubrir y aprehender” in Spanish. Remember that: Someday it may save your life.

I learned the Spanish for “freaking” is freaking.

And you’ll be happy to learn that the Spanish title of the classic 1950s sci-fi movie, It Conquered the World is El conquistador del espacio. You’re welcome.

I also had fun working in some of my own experiences with language during the writing of this novel. For several months, I was a civilian employee teaching English to members of the Ecuadorian Army, and at one point during classroom conversation, I used the word “fear,” and they gave me nothing but blank looks. When I pressed them on it, none of them knew what the word meant. I praised them for their bravery, citing this as proof that “The Ecuadorian army does not know the meaning of the word ‘fear.’”

But it wasn’t all fun and games, alas. Ecuador is a beautiful country continually wracked by natural and man-made disasters—landslides, floods, food shortages, protests, crackdowns—and one corrupt government after another. Although these circumstances are not as life-threatening as the dangerous and destabilizing conditions that have led to so much migration by Central American refugees to the United States, such distinctions don’t matter much when these desperate people reach Long Island, where I live and work.

Several years ago, Ecuadorian immigrant Marcelo Lucero was murdered by some “nice” kids from stable, middle-class suburban homes who hopped into an SUV one night and drove to the town of Patchogue looking for a “Mexican” to jump. Another Ecuadorian immigrant in the news recently is Pablo Villavicencio, an immigrant who came to the US illegally in 2008, but who never committed a crime, who is married to a US citizen, has two children who are US citizens, and who applied for a green card in February: he’s the guy who was arrested by Immigration and Customs Enforcement officials and held for deportation after delivering a pizza to Fort Hamilton in Brooklyn.

That’s one of the things that attracts me to crime literature in the first place: it puts us in someone else’s shoes, so we can experience the shared humanity of the “strangers” among us. It poses basic questions about crime and punishment, about justice and injustice, about who gets caught and who gets away with murder. Studies have shown that reading any kind of well-written fiction, no matter what genre, increases the reader’s empathy toward others.

And we all need a little empathy now and then, don’t we?

The Inspiration Panel

Next week was supposed to be the Bouchercon in Sacramento.  Alas, it had to had to move to virtual  due to you-know-what. Some of you are no doubt mourning for all the panels you won't get to attend in person, the bars you won't get to close, etc.

I can't help you with the bars, but maybe I can cause you to miss the panels a little less. Last year I wrote a play inspired by many panels I attended at mystery, science fiction, and library conferences.    I present it here for your amusement.  (And by the way, if anyone wants to perform it... contact me.)

Jewish Noir panel, Raleigh Bouchercon*

THE INSPIRATION PANEL

The stage is set for a typical conference panel: two tables together lengthwise, covered with black tablecloths.  Water pitchers and five glasses.  Three microphones.  Five chairs behind.

EVE walks onto the stage, with a great sense of purpose. She is forty, dressed flashily, but not expensively.  She carries five name tents which she carefully places on the tables.  From left to right they read: EVE BROCKHURST, CHARLES LEMMON, DEBORAH DRAKE, BILL FONTANA, AMY KITE. 

As EVE is going around the table to her seat DEBORAH arrives. She is in her thirties, dressed in business attire.  She reads the tents, stiffens, and then switches her tent with CHARLES’.  As she comes around to her seat the others arrive, read the tents, and take their places.

After a beat EVE looks down the line, nods at the panelists and then smiles at the audience.

EVE
Welcome, everyone!  Have you been enjoying our annual writer’s conference?  Good, good!  This is the Inspiration Panel, just in case you boarded the wrong flight.  (She laughs at her own joke.)  My name is Eve Brockhurst and I am the author of six books of poetry, including The Falling of the Dew, which our local newspaper called “remarkably sincere.”  The fact is, I was surprised to be asked to moderate a panel, even one as distinguished as this.  I figured the committee would need me to speak on the Poetry Panel, or the Nature Panel.  Or even the Marketing Panel.  (Brightening by sheer will power.)  But Fraser, our dear director, told me that what he needed most was a strong personality who could keep these ferocious characters in line!

Readers Recommends panel, Toronto Bouchercon

She gestures at her panel.

DEBORAH looks irritated. 

CHARLES is slumped in his seat. He is sixty years old and wears a sports coat with no tie. 

BILL is all coiled energy. He is in his thirties, dressed in business casual. 

AMY is glowingly happy.  She is in her late twenties and dressed younger.

EVE
But that’s more than enough about me.  It’s time to introduce our wonderful panelists who will inform and, dare I say it, inspire you today.  First on my left is Charles Lemmon.  He is-

She looks left and realizes for the first time that DEBORAH is sitting next to her.  She does a quick check down the line to see that everyone else is there.

EVE 
Whoops!   My mistake. Someone did a little shuffle on me.  (She sorts her notes.)  First in line is Deborah Drake, the author of the new romance novel—

DEBORAH
Women’s fiction.

EVE
Excuse me?

DEBORAH 
Women’s fiction.  It’s about real-life problems.  Not the kind you can solve by going to bed with a man whose chest size is higher than his IQ.

EVE
O-kay.  I can see you have a lot on your mind today.  Deborah’s woman’s fiction -- Woman’s?

Short story panel, Bouchercon 2017

DEBORAH
Women’s.

EVE
Thanks. It’s about a woman suffering from Reynaud’s Syndrome and it’s called The Girl With Cold Fingers.  The first time I met Deborah was at a conference just like this three or four years ago.  She came up after a panel to tell me how much she had enjoyed my book The Dancing of the Leaves, and I complimented her on her taste.   It’s so wonderful to see a person one has mentored becoming a success.  Deborah, our subject is inspiration.  In general, what inspires you?

DEBORAH
Great question, Eve.  I find that there are sparks all around if you know how to look for them.  I’m thinking right now that my next book might be about a woman with a stalker, maybe a former lover who is too self-centered and frankly too thick to take no for an answer.

BILL is getting more and more agitated.

EVE
Well, that is certainly the sort of real-life problem many of us women have had to face.  Is this based your personal experience or something you’ve heard about or…

DEBORAH
As you said we all face this sort of thing from time to time.  Men who think they have a right to your attention, who don’t understand when they are not wanted—

BILL
What about the men who have been led on?

DEBORAH
Sometimes a man simply refuses to—

EVE
Just a moment, dear.  Bill – this is Bill Fontana, everyone – You had something to add?

BILL
I just think a writer needs to look at all sides.  Modern readers don’t want set pieces with cardboard characters where one person is all right and the other is all wrong.  If you’re writing for grown-ups characters need to be nuanced.

DEBORAH
In your latest book the villain tried to strangle a kitten. How nuanced is that?

EVE
Bill, you’ll have your chance.  Deborah, do you want to finish your thought?

DEBORAH
That would be nice, wouldn’t it?

EVE
I’m sure.  Our next panelist (DEBORAH does a doubletake.) is my dear friend, one of our most distinguished, most senior, a veritable elder statesman-

CHARLES
Please!  I’m not dead yet.

EVE
Of course not.  I just wanted to point out that you have written so many books.  Even more than my six volumes of poetry.  Charles Lemmon, your most recent book is historical fiction, The Battle of Sattleford Creek.  What’s it about?

CHARLES
(Pause.) It’s about the Battle of Sattleford Creek.

EVE
I might have guessed that, I suppose.  So many titles are ironic these days, don’t you think?  My book The Fire Sonnets contains no sonnets, and never mentions fire!  I suppose that’s why the critics found it so surprising.  One of them said “Eve Brockhurst has-”

CHARLES
Eve?

EVE
Yes?

CHARLES
How are we doing on time?

EVE
Good point.  Charles, at this place in your long career, how do you still manage to find inspiration?  What moves you to keep writing?

CHARLES
The credit card companies.  Something moves them to send me bills.

EVE
Oh, come now.  Do you really mean you are only writing for the money?

CHARLES
I’d better not be, because there’s precious little of it.  And security, don’t make me laugh.  You teach English at the college, don’t you?

EVE
I do.  I have the honor of opening up the minds and hearts of—

CHARLES
You can get tenure.  Then you have work for the rest of your life if you want it. What I wouldn’t give for that.  A publisher can kick you out in the snow after you give them the best years of your life.

BILL
Wow, that is one bad cliché.

CHARLES
Shut up, Bill. 

DEBORAH
I’m glad I’m not the only one he interrupts.

EVE 
Actually. I’m an adjunct professor.  No tenure, I’m afraid.

CHARLES
Then you’re in the same boat as us professional writers.  I don’t know how a publisher can sleep at night, when they fire an editor you’ve been working with for – well, a long time, and suddenly you’re an orphan and no one wants to promote your book because the last guy picked it.

EVE
So do you find that—

CHARLES
No ads.  No tours.  No publicity.  And you know damn well that when the book doesn’t sell, they’ll say it’s the fault of the writing.  Never the publisher’s, oh no.  I might as well give up on quality and start self-publishing crap.

EVE
Now, come on, Charles!  That attitude is very old-fashioned.

CHARLES
Don’t call me that!

EVE
Some of the best, most original work coming out today is self-published.  My fourth book--

BILL
And a lot of the worst stinkers, too. 

DEBORAH
You’d know about that.

BILL
Oh, I’d forgotten.  Men aren’t allowed to talk at this panel.  Go right ahead.

EVE
Come on, Bill.  We value everyone’s opinion.

BILL
Hell of a way of showing it.

DEBORAH
Bill isn’t very good at taking cues, I’m afraid.  At understanding what people are trying to tell him.

EVE 
All right, Bill.  Since you’re so eager to talk, tell us.  How do you find inspiration?

BILL
That’s a stupid question, Eve.  Isn’t it really just the old cliché: how do you find your ideas?

Short stories panel at Left Coast Crime, Vancouver

DEBORAH
See?  He doesn’t listen.

BILL
Not so, Deborah!  A good writer, a great writer, is always listening.  That’s how he comes up with dialog that sounds true. 

EVE
So you get your inspiration from the people around you…

BILL
That’s right.  And I get so much more.  Like insight into personality.  How a person will say one thing and mean something completely different.  For example, maybe they’ll claim for months that they want to leave their husband and start a new life, but when their lover offers to take them up on it, it turns out they were just teasing him along—

DEBORAH
And this is your idea of honest observation?  No wonder Kirkus hated your last book.

CHARLES
Kirkus hated everybody’s last book.

EVE
You know, I think we’ve been neglecting one of our panelists.  Amy Kite is a fresh new face on our city’s literary scene.  She is the author of The Dragons of Zanzanook—

AMY
(Correcting the pronunciation) Zanzanook.

EVE
Sorry!  Her book is a fantasy novel which has attracted major support from the publisher.  There’s an ad in the Times.

CHARLES
Oh my God.

EVE
An author’s tour.

CHARLES moans.

EVE
And I believe you are booked on one of the morning shows next week.  Is that right?

AMY
Two, actually.

CHARLES
Jesus.

EVE
Sorry.  I must have missed one.  Let’s talk about what inspires you…

AMY
Thank you so much, Eve.  I just want to say how inspired I feel simply by being here with all of you today.  What an honor!  This is my first time at a writer’s conference, you know, and here I am with Charles Lemmon!  I’ve been reading his books since I was a little girl.

CHARLES
Well, that’s wonderful.  You young whippersnapper.

AMY
And Deborah, what was the name of your novel about the girl with Irritable Bowel Syndrome?

DEBORAH
Twists and Turns.

AMY
Yes!  My mother loved that one!

BILL
Oh, I can hardly wait.

AMY
Mr. Fontana.

CHARLES
Here it comes.

AMY
When I needed a break from writing my book I would read your novel in which the psychotherapist turns out to be the serial killer.

BILL
Which one?  I wrote two of those.

AMY
Three actually.

BILL
I didn’t…  Oh yeah.

CHARLES
And there it is.

Setting as Character panel, Left Coast Crime, Vancouver

AMY
I’m afraid I don’t remember which one I read most recently.

CHARLES
Boom.

BILL
Let’s not forget our moderator, Amy.  What do you think of Eve’s poetry?

AMY
I’m afraid I haven’t read it yet.

EVE
You probably don’t read poetry.  So few young people do these days.

AMY
Oh, but I do!  I must get around to yours.

BILL
Yes.  Do get around to it.

EVE
Well, that’s very sweet, Amy.  Let’s start another round.  Deborah, what is the inspiration for the book you’re working on now?

DEBORAH
We covered that, remember?  Stalker?

EVE
Oh.  Right.  (Checking her notes.)  Well, what inspired you to start writing in the first place?

DEBORAH
I’d say it was Greg.  My darling husband.

BILL
Oh, brother.

DEBORAH
He is my biggest cheerleader.  He knew from the moment we first met that I was a creative soul and he has always encouraged me to—

BILL
Point of order.

CHARLES
Point of order?  Is this a congressional hearing?

EVE
What is it, Bill?

BILL
I’m just wondering if this is the same husband you told me hasn’t opened a book since he got his MBA.

DEBORAH
I never said any such thing.  And frankly, I resent you constantly interrupting me.

EVE
Well, Fraser was certainly right about this group needing a strong hand, wasn’t he?  Deborah, I think it’s wonderful that you have such a supportive husband.

Ecology Panel, Left Coast Crime, Vancouver

DEBORAH
 I can’t imagine how I could go on without him.  We truly are soulmates.

BILL
I thought you didn’t write romance fiction.

DEBORAH
You know, Bill, I think I know why you model all your villains on your psychotherapists.

EVE
I think we’re running out of time, so we had better move along.  Charles, can you tell us a little about what inspires your current work in progress?

CHARLES
I’m not sure I have one, Eve.  I write historical fiction and that means two or three years of research for each book.  By the time my next one is ready my publisher will probably have burned through five or six editors, and all that any of them care about are the latest trends.  The new expert, straight out of some Ivy League day care center, wants me to write a Civil War novel with zombies.

BILL
You’re kidding.  Zombies are like five years past their sell-by date.

EVE 
And Bill, you already talked about your plans, so any other thoughts about inspiration?

BILL
Great question!  As a thriller writer I’m concerned with revealing the truth of the human heart.  By which I mean that people are totally and remorselessly evil. 

CHARLES
Jesus.  I thought zombies were depressing.

BILL
That goes doubly so for the female heart, of course.

CHARLES
And publishers.

EVE
Moving right along.  Amy.

AMY
Yes, Eve?

EVE
Let’s get back to your debut novel, The Dragons of Zanzanook-

AMY
Zanzanook.

EVE 
Thank you so much, dear.  Would you say you were more inspired by J.R.R. Tolkien or George R.R. Martin?

AMY
(Laughing.)   Neither one, Eve.  My starting point was my doctoral dissertation on late medieval monasticism in a military context.  I just threw in dragons to make it commercial.

CHARLES
(Inspired.) Damn it, girl, we have to talk!

Short Story panel, Left Coast Crime 2015

AMY
I’d love that!

EVE
Now we have time for a few questions from the-- Oh, I’m told we don’t.

BILL stalks off in disgust.

EVE
Please join us in the vendors’ room, where all the authors will be happy to sign their books for you, and I will be happy to take pre-publication orders for my seventh book of poetry, Life, Be Not—

The microphone is shut off.  She frowns at it.

*Photo by Peter Rozovsky

Interview with Medical Thriller Author John Burley

by Melissa Yi

Scene: book signing at Left Coast Crime 2016. Melissa Yi and Kenneth Wishnia are fighting off hordes of Jewish Noir fans. Suddenly, a six-foot-one man eases his way to the front of the line.

John Burley: I’d like to introduce myself. My name is John Burley. I’m an emergency doctor and a writer.

Melissa Yi: Are you serious? So am I. You’re the first one I’ve ever met. I’ve met other doctor-writers, but not emergency doctor-writers.

JB: Likewise.

John and Melissa size each other up and shake hands.

Kenneth Wishnia: I want to know about that thing where you take a pen and stab someone in the neck so that they can breathe.

MY: The cricothyroidotomy.

KW: Where do you do it?

MY: Between the thyroid and cricoid cartilage.

JB: Just below the Adam’s apple. You feel it?

KW nods.

MY, to JB: You ever done one?

JB: I’ve done five.

MY: Are you serious?

JB: Yes. The last one was the most challenging, because of congenital malformations and previous tracheal surgery.

MY: Holy crap. That’s crazy. [To Ken] We talk more about crics than we actually do them. So, John, tell me about your latest book. 

JB: My latest novel is titled The Forgetting Place. It's a dark psychological suspense thriller that's told from the perspective of a female psychiatrist who works at a correctional hospital for patients who've committed heinous crimes but have been deemed not guilty by reason of insanity. But there's more to this place than she suspects. At Menaker State Hospital, no one is safe for long. 

MY: And why do you feel the need to write? Isn’t it enough, to be an emergency doctor?

JB: I write for the same reason that most of us do: there's something inside of us that we have to get out. Being an emergency doctor creates more grist for the mill. There's a physical and emotional intensity to the job that shouldn't be bottled up for too long.

MY: I’ll ask you the question everyone asks me: how do you find the time?

JB: It's like anything that you love, I guess -- like any obsession you can't live without. You make time for it, make sacrifices along the way. Everything has its price. 
MY: And would you ever quit medicine, if the writing took off?

JB: I don't think so. Not completely, anyway. Being a writer is an isolated and often lonely profession. Medically speaking, emergency medicine is the antidote. I look forward to my shifts in the ER. It's a chance to help people, to use a different skill set. Also, it gets me out of my own head for a while. For the sake of maintaining one's sanity, I think that's pretty important. 
MY: Did you do any other work before emergency medicine?

JB: Yes. I was a firefighter and a paramedic. Being a firefighter was the best job I ever had. It was like something every little boy dreams about. Hanging out with my friends, racing with lights and sirens to the scene of an emergency, crawling around in burning buildings, using hydraulic tools to free people who are trapped in the wreckage of a crumpled car. Swooping in and saving the day. In terms of job satisfaction, it doesn't get any better than that.  
MY: Okay, you’re officially a superhero. Wait, some fans want to ask you some questions.

Fan #1: Are you ever going to write a series?

JB: When I finish a book, I feel like I’m kind of done with that world for a while. It’s possible, but I like doing new things with every novel.

Fan #2: Are you ever going to set a book entirely in the emergency room?

JB: It’s hard to set a 400-page book in the emergency department. I've set scenes in the ER before, but not a whole book. Besides, I spend enough time there already.

MY: Any final words you want to share with your present and future readers?

JB: Thanks for your love of books, for lending us your imaginations and joining us in the worlds we've created. You make it all worthwhile, and we love hearing from you. Without readers, it would all fall apart. Nothing else in this business would matter.

MY: There you have it, folks. The fans are craving more series, more emergency room carnage, and more John Burley. Can’t exactly blame them. If you’re super lucky, maybe you can go to a conference and have sushi with him. (In Phoenix, I recommend Harumi Sushi.) In the meantime, you can check out his books and the latest happenings at www.john-burley.com.

How much of a misfit can a writer be?

I have never been able to write harmless fiction. My characters, their backgrounds, and their motivations keep drifting outside the lines. And by "harmless," I don't mean just harmless cozies with cupcake-baking divorcees trading quips with hunky police chiefs over the latest corpse. I also mean harmless noir: PIs in Humphrey Bogart hats slouching in out of the mean streets and trading quips with femmes fatales with "legs out to here" and four-inch stiletto heels. ("Out to here," if you want an exact measurement, is twice the length of an average Ashkenazic Jewish woman's legs, ie my kind of legs.)

In today's publishing, there are a lot of rules based not on literary values but on the marketplace, as the industry tries to predict the unpredictable and control the uncontrollable. The underlying rip current is fear, determined by neither art nor business but by the chaotic politics of the moment. How far outside the lines am I allowed to color? As far as I want? Or only up to a limit defined by others?

In recent years I've become interested in writing from a Jewish perspective in my fiction. But anti-Semitism is on the rise globally. Jews are not getting a clear message that we're included under the sheltering umbrella of "diversity." So can I tell as many stories as I want, or just a token number? When will I be told that it's enough?

I've recently become interested in writing about trans people. I'd like to see trans characters integrated into crime fiction the way they are in speculative fiction. I have had one such story published, but I was disappointed when the editor allowed my preferred title to be vetoed by a low-level staff member who was trans. My 62-year-old nonbinary nibling (formerly my niece) commented: "I loved your title. The word police are mostly under forty."

How careful am I supposed to be with titles from now on? Will I be free to inform the development of all the characters I write with the full measure of my empathy and imagination? Does the publishing industry realize that the younger generation doesn't know anything? I remember trying to tell a young woman that the derogatory term "boujee" came from the word "bourgeois," for middle class. "No it doesn't," she said. "It's just itself." I didn't argue. People believe what they want to believe.

At this point in my life, I'm happy writing short stories. If I ever wrote another novel, it might be about two lifelong friends, a Jewish girl with Communist parents and a Black girl from Harlem with roots in what she calls a "good family" in the South, who first meet in the early1950s. But I have no incentive to write it. I wonder why not?

Making An Impact

It may take me a while to respond to comments on today's blog for the best of reasons: I'll be hanging out with readers. The readers are students in Professor Ken Wishnia's Intro to Lit class at SUNY Suffolk, and we'll be talking about my story, "Never Again," in Me Too Short Stories, an anthology I edited. Ken is himself an accomplished crime fiction author, whose anthology, Jewish Noir II, including my story, "The Cost of Something Priceless," will appear early next year. The students are a truly diverse group in age and socioeconomic status as well as ethnicity, race, and gender. Some come from troubled families; many must struggle to achieve a community college education.

"Never Again" is a challenging story. We learn on the first page that Valerie's father abuses her sexually from the age of four. For ten years, her attempts to speak out and get help fail. We also meet Frances, abused by the preacher's son at age nine in her close-knit churchgoing community. She hides her pain in compulsive overeating and obesity and marries an alcoholic who abuses her physically, verbally, and emotionally. Two intolerable situations, one girl, one woman who say, "Never again!" and embark on a collision course. What will happen when they collide?

I've visited Ken's classes, whose students have not only read the story but written a one-page paper on it, several times, both virtually and in person. Ken has said, "These stories [in the Me Too anthology] are the first pieces of fiction to truly come alive on the page for some students." He and I have discussed how academic assignments had changed since our own youth, when Shakespeare and Victorian novels were the norm, and how the first wave of "relevant" reading material, beginning in the Sixties, ran to books like Catcher in the Rye, whose protagonist these students would see as a bored rich white kid with no problems worth mentioning.

Last year, to illustrate the students' visceral response, he shared with me some comments from their papers.

Not a lot of literature has really brought me to tears, but her story had me close to fully crying.
This story had me genuinely tearing up and putting the book down after the first few sentences, which is something that has never happened before.

Sometimes the writing in a story is so good that you physically react and that’s what happened.

Never Again demonstrates the lack of voice that women have when speaking up about sexual abuse. People question why victims exposed to any abuse cannot speak up. These victims want to tell someone that they are suffering, but it is hard for them to confide themselves to someone who will listen to their story.

Do I write in the hope of moving readers this powerfully? You bet I do. Did I write "Never Again" to make an impact? Absolutely. I'm awed and grateful that these young readers were so receptive.

One more comment, from a young man whose opinion I'd rather have than a New York Times reviewer's:

I cant even compare this short story to the others because this one is by far my favorite. By the end of the first page i was instantly hooked, the darkness of this story is absolutely wild. The way how the author describes so specifically the dark twisted things that go on in Valerie's household puts me on the edge of my futon that i was reading this on. The fact that i wanted to rip the father out of the pages and beat him up for touching and treating his daughter like that was a feeling Ive never felt before reading a story.

I can hardly wait to find out what this year's crop of students have to say.

2020 Foresight

Congratulations!  If you are reading this you successfully navigated into the year 2020!  We hope the champagne hangover is not too painful.

One of the great traditions of New Year's Day is making predictions for the year to come.  Another is mocking the idiotic predictions people made last year.  Maybe we can try the latter in 2021, but for today a bunch of SleuthSayers and some of our favorite mystery writers have pulled out our Ouija boards and tried to tell you where to invest the rent money.  Or at least give you something to ponder until the Alka-Seltzer kicks in.  Enjoy.

S.J. Rozan: My prediction for crime writing in 2020: the field will continue healthy, getting a new jolt of energy with the continued erosion of the white male as the default character and writer around whom women, people of color, LGBTQ people, and disabled people orbit. We're a long from there but the field will continue to move along the path of everyone's stories being equally valuable and equally interesting. 

For my prediction for myself I turned to that 21st century Magic 8 Ball, the iPhone's predictive text. I typed in "In 2020 my career" and let the phone finish the sentence. Uh-oh. "In 2020 my career is in my mind and I’m not going on the right side because I have a plan."

Marilyn Todd: 
What’s ahead, you want to know.
Noir? Thriller? Short storio?
I predict that from PIs to history
To a nice cozy mystery
Publishers still make all the dough.

Melodie Campbell: 2020 will be a year of great vision.

Josh Pachter: I predict that, truth being stranger than fiction, 2020 will see a whole lot of true-crime books detailing the antics of current and former members of the Trump administration, plus a lot of nasty name-calling during the months leading up to Election Day.

Steve Liskow: First, the traditional publishing industry will double down on what it sees as winners and ignore everything else. Established writers with a large following won’t be affected, but newbies wanting to break in will either write those genres or go indie.

As bookstores need the discount from big houses, they will be less and less inclined to carry work by unknowns or indie writers.  That will drive more Indie writers to publish strictly in digital format. Readers who want more choice than the trads and bookstores offer will push the digital model even farther.

Kenneth Wishnia: I predict that JEWISH NOIR 2 will come out in September!

Steve Hockensmith: I boldly predict that 2020 will be a year of corruption, scandal, zealotry, lies, hyperbole, hypocrisy, vapidity, vulgarity, outrage, spin and animus. In related news, I predict that I will drink a lot.

Gary Phillips: As "Watchmen," "Mr. Robot," and "The Daily Show," have demonstrated, the wall between fantasy and reality will melt completely and only the misguided and misunderstood in crime fiction will be able to point the way out.

John M. Floyd: In 2020 I’ll be publishing a book that’s far from anything I’ve ever done.  More on that later.

Robert Mangeot: 1.We’re living in a glorious age of crime fiction. The genre has never been more diverse and talent-rich. Great authors are treating us to their best work, and in 2020 I’ll read a steady stream of amazing stuff.  2. Much Diet Coke will summon a first draft should actual ideas fail me. 3. I’ve recently bought a working Bat Signal for the writing office. It’s even money that I’ll need it.

Paul D. Marks: Instead of novels about cats and cupcakes, the next new trend in publishing will be slumgullion. The Cat Who Ate the Slumgullion. The Missionary Who Drowned in the Slumgullion. Girl Gone Slumgullion. The Slumgullion in Cabin10. The Slumgullion on the Train. The Slumgullion On the Blue Dress

I also predict that there will be a surge in reading. People will throw away their cell phones in favor of paperback books – about slumgullion. People will stand about staring at paperback books, not looking at the Rembrandt hanging behind them. Not looking at each other. They’ll go to dinner and be reading madly instead of talking to each other.

Rabbi Ilene Schneider: On April 1, 2015, I posted on Facebook: “I was sworn to secrecy until April 1, but I can now announce my Rabbi Aviva Cohen books have been optioned as a movie by Spielberg, as a series by HBO, and as a musical by Sondheim. Bette Midler will star in all 3 productions. And Mel Brooks is teaming up with Gene Wilder and Carl Reiner to adapt my Talk Dirty Yiddish as a PBS special.” I predict that in 2020, my announcement will go from April Fool’s joke to reality.

Travis Richardson: I'm not sure what to predict that's not politically dire. Maybe, due to AI, hacking, and electronic invasion of privacy 2020 will see a surprising demand in typewriters and stationery.

Charles Salzberg: As a kid, when my parents were otherwise engaged—in other words, paying no attention to me--I’d tune into the Tonight Show. One of Johnny Carson’s favorite bits was Karnak who, wearing a garishly bejeweled turban, held a sealed envelope to his temple and mysteriously divined the contents. For some reason, perhaps it’s the alliteration, the one that sticks with me was his prediction of “Tics in Tennessee.”  Knowing there’s no way I can top that one, I can only offer this: as successful as I will be avoiding work in every creative way possible, I will still manage to complete a new novel and it will probably, once again, piss off mystery reader purists.

Mary Fernando: Sex in the New Year:
*Women have spoken out in #MeToo and #TimesUp. Women leaders like New Zealand’s Jacinda Ardern have redefined what women do on the world stage: they are strong and they are compassionate. New leaders like Greta Thunberg are showing us what women will do in the future.
*These changes impact men too in the growing #HeforShe movements, where men admire this new, strong and compassionate woman.
*How will this change writing? I suspect that some old roles women and men played in fiction will go the way of ‘Blackface’ portrayals, as a different type of woman and man are written.

Michael Mallory:  I predict the widespread trend of setting mysteries and thrillers in the past will continue, and for one reason: it circumvents the cell phone problem. Who today can disappear, be abducted, or even face danger when all they have to do is call 911 on their cell, or be called by others? What detective needs to follow clues when all he/she has to do is Google information on their smartphone? Cell phones are a hindrance to mystery plotting, and rather than struggling to explain why a character doesn’t use one, it’s just easier to set the story in pre-cellphone times.

Signora Eva di Vesey di Neroni (AKA Eve Fisher): As the definition of what is criminal behavior becomes increasingly elastic, the fiction market will primarily be:
(1) hardcore noir, where everyone knows everyone is rotten;
(2) Amish and Heartland detectives, all male, whose purity and probity are incontestable.  They always catch the criminal, win all the hearts, and then go home to Sarah;
(3) More Presidential vampire / zombie slayers.
(4) More Presidential vampires / zombies, being slain by others

T.K. Thorne:
Bookstores will thrive again as people reconnect with the tactile experience of ‘real’ books. Digital offerings will give more choices for the paths of plot. As for murder, I predict it will continue.

Stephen Ross: I predict for 2020 that I will, once again, fail to come up with an ending for a long-time resident in my short story WIP folder. It's a science fiction story I wrote a couple of years ago. It's a really cool, funny story, with a couple of great characters... but it has no ending.

Kate Thornton: I think we are going to see much in the way of public rebellion against the dismantling of the rule of law which will be reflected in fiery discourse, massive public engagement, and a triumph of reason over mindless greed. This will be a field of dreams for writers of both crime fiction and chroniclers of true crime. The field will sprout with book after successful book, delighting us with engaging characters who may have been deemed boring in the past, villains who would have seemed extreme a few scant years ago, and crimes more complex and insidious than the usual whodunit. I urge my fellow writers to get ready for an explosion of creative crime, as we do what we have always done: use our art to right the world, our words to restore the balance once more.

Craig Faustus Buck: I predict no new books from Agatha Christie in 2020. Once again, the Grand Dame shall be resting on her laurels. The same can most likely be said for my lazy self.

Jan Grape:  I predict, there will be another 392 new authors in the Mystery genre in 2020 that I won't know.  I predict that Harlan Coben, Lee Child, & Michael Connelly all will have block buster thrillers and new movies out on various mediums in 2020. I predict our SleuthSayers authors will have more award wins. Finally, I predict, and this better be in your column, Rob or I might have to call you a Texan, I predict I'll finally learn how to use my new 4 month old laptop and my printer/copier/scanner/ dishwasher/microwave/laundry duo so I may get a short story written, be nominated and win an award in 2020 myself.

James Lincoln Warren: I predict that all the predictions I make about 2020 will be wrong.  And when they all are, the fact that this particular prediction will turn out to be true will result the complete breakdown of causality, and time will cease to exist.  After that, either the universe will explode, or I will win the Oscar for Best Prognostication.

Robert Lopresti: The Mystery Writers of America's Edgar Awards committees will continue to demonstrate their  shameful prejudice against mystery writers who happen to be left-handed Italian-American librarians.

Brendan Dubois: 1. The popularity of novels involving vampires will finally wane, 15 years after I first predicted it.  2. Novels featuring windows, girls, and trains will no longer be popular.  However, novels featuring doors, boys, and Greyhound buses will see an upswing. 3. If you thought the presidential election of 2016 was wild, 2020 will say, "Hold my beer."

Criminal success: Success and/or Challenges You've Faced in Writing Crime

Kris Nelscott: I’m amazed at how easy it is to find information that I shouldn't be able to find. In my Smokey Dalton series, the books are set in the late 1960s. One book, The War At Home, deals with bomb-making. I found, in a memoir by a former member of the Weathermen, the recipe for their bombs. I used a part of it, but left out several ingredients on purpose. My NY copy editor added them back in. No, nope. No. I'm not going to give anyone a roadmap into bomb-making. Or other crimes, for that matter.

Rebecca Cantrell: I love meeting readers, although I once had a reader come up to me and say: "Your mystery is so good! I bet you could even write a real book!"

Annie Reed: The challenges for me pretty much all stem from having to step inside the head of a truly bad person in order to write from their point of view. Basically putting myself inside the head of a psychopath to write from that person's perspective.  Oogy stuff. The successes come from writing something that forces me to write outside my normal comfort zone.

O’Neil de Noux: The greatest challenge was learning my craft. No one can teach you how to write. You can learn the basics, the ‘how to’, but you have to do it yourself to get it done.
Successes are few. Sales have never been big. A little recognition in the media at the start of my career was nice. The awards are certainly nice. Being recognized by my peers. My writing has been awarded a SHAMUS Award, a DERRINGER Award, the UNITED KINGDOM SHORT STORY PRIZE. Two of my mystery stories have appeared in the BEST AMERICAN MYSTERY STORIES and my novel JOHN RAVEN BEAU was named Police Book of the Year by police-writers.com.

Dean Wesley Smith: I suppose that at first I thought it would be too complex for me to figure out. Turns out, for me and how my mind works with puzzles, they are the easiest books to write.

Melissa Yi: My definition of success keeps changing.

First, I desperately wanted a professional publication, because it meant that I was a “real writer” in my mind. I was good enough that someone wanted to pay me for my words.

Then I was anxious to sell repeatedly, for more money, in more magazines. 

My next skill leap was jumping from short stories to novels. I had to talk myself into it by saying, “Look, novels are just connected short stories … “

So then the next rung was selling my novels and making some money.

In 2010, my collection of light-hearted medical essays, The Most Unfeeling Doctor in the World and Other True Tales From the Emergency Room, hit the Amazon bestseller lists. For the first time in my life, I was reaching lots of readers, and money hit so quickly that I ended up with a bunch of cheques in British pounds that I didn’t even have a bank account to accommodate.

Now I was ringing the money bell, certainly not to the tune of six figures a month, the way some writers seemed to, but way beyond anything I’d accomplished before or since. But it didn’t make me as happy as I thought it would. My fiction wasn’t getting the same audience, and I got a lot of blowback in the form of hate mail and vigorous one-star reviews. So I made up a new definition of success: Writing connects me with people, places, and things that excite me.

You can see my evolving definition of success here, which is sort of a writing bucket list. When I look back at it, I realize that in 2010, writing was giving me money, but no fun. Once the critics came out with their knives, I froze up a bit at writing non-fiction. 

Since then, I’ve made a point of having fun. Or at least trying new things. Probably the most bizarre thing I did was a two-day Ido Portal handstand workshop when I’ve got minimal upper body strength and rarely hang out upside down. But I also went to Los Angeles twice as a finalist for the Roswell Award, and I headed down to New York and Boston for the Jewish Noir book tour. All awesome.

However, now that I’ve had some fun and can no longer crack Amazon’s algorithms, I’d like to make a living with my writing. Or, as I put it on my bucket list, I want to be able to say, I could quit my day job and write full-time, whether or not I choose to do this.

And for success, I’m thrilled to report that Canada’s national book show, CBC Radio’s The Next Chapter, chose Human Remains as one of the great summer must-reads of 2017!

(If you’d like to join the Human Remains party, the e-book's only $3.99 on all platforms. You can download it for free on Kobo with the code HRemains. This code only works on Kobo, not Amazon, and will only last until July 31st.)

Looking at my fellow writers' opinions, I see that a lot of my writing goals and dreams are very external. I don’t have a lot of control over which editors publish my work, how much money flows to me every year, or how my books are reviewed. 

I should set some writing goals that I can control, like how many words I write per week, or how many stories I submit to magazines, or craft goals, like improving my setting.

What about you? How do you define writing success and/or challenges?

Face the Music: Public Readings and How to Survive Them

Thomas Pluck

There are few terrors greater than being faced with reading your work in front of an audience, particularly when they are strangers, or not even fans of the genre. Public speaking is a skill, and I don't want to hear writers whinging that they are introverts and just want to stay at home with their cats. No one forced you to write your book. If you were so private, it would be sitting on a closet shelf like Emily Dickinson's poems. Cut the humble shy wallflower act. Being nervous about what people will think of your book doesn't mean you are a selfless monk devoid of ego in the temple just waiting for enlightenment to strike.

It's natural to be nervous about it. However, you are doing yourself, your readers, and your colleagues a disservice if you do not practice reading aloud when you're home alone with your bored cats, whimpering dogs, and headphone-wearing partners and children. We can tell when you show up having never read this story aloud before, unless you are very well practiced at reading in public in general. Some have the knack, the gift of gab, the desire to have an audience, willing or not. And good for them. I remember the first time I read poetry in front of the Rutgers-Newark English department. I gripped that podium so tightly I thought it would shatter into timbers. Before that, remember reading a presentation in 5th grade on deer, where I was shaking like a sizzling slice of bacon in a pan, having to say "urine" with a straight face in front of my classmates. I got a little hammy after that, the class clown act in middle school and high school, doing silly spoofs of Shakespeare. That confidence faded the moment I had to read something I had written in front of people who read books for a living.

Practice does help. "Noir at the Bar" readings, where you can socially lubricate if necessary, can be a good start as long as you don't let the drink in your hand become a crutch. Invite your friends, they'll mimic their rapt attention, or look at their phones and say they were posting a photo of you to Instagram to boost your social media presence. Join a writer's association like the Mystery Writers of America, Sisters in Crime, and so on, and you can ask to be a reader at their events, surrounded by friendly writers who know what it's like to be up there. I did all of that. I even hosted Noir at the Bar in Manhattan for the longest year of my life-- that's another column, but if you host one of those events, you suddenly become every writer's unpaid publicist-- and all those accomplishments helped:

Now I can say "urine" in front of a crowd of strangers and not even snicker.

I had a stealth strategy, helped along by some of my pub family. They like karaoke. Some of them even insist on pronouncing it like they're in Tokyo, where it's done differently, in a private room among friends. You can do this in Koreatown in Manhattan as well, and I'm sure in other cities with such neighborhoods, if you prefer privacy, but to me that misses the point. It helps to have grown up in and around bars. My uncle ran bars for the Jewish mob in Manhattan for thirty years. I never visited one, to my chagrin--I wanted to be a bouncer, like Sascha the Slovenian, who busted knees with his club and smashed The Infamous Urinal Pooper's face on a car hood--but it was not to be. I did sit on a stool at Grandinetti's next to my grandfather and drink a Coca-Cola before Sunday dinner, while he nursed a Pabst. And I've been to every tavern in northeastern New Jersey so my father could drink while we kids had burgers and fries. Bar patrons often have the blues, and when you have the blues, you want to sing about it.

So, American karaoke is more about flipping through a binder full of songs until you find the one that reflects your soul, and belting it out in front of a bunch of people who just want to drink and not hear your caterwauling. And what better way to get a thick skin about reading in public? So what if you can't sing, few can. Even the good ones can maybe belt out one song or singer, and know not to step out of their wheelhouse. Or should. I don't. I'm a tenor. I've sang everything from Elvis to Guns 'n Roses, growled out John Fogerty, flopped terribly trying to keep up with the Ramones, serenaded my wife with a gender-bent version of the DiVinyls "I Touch Myself", and done duets of "Love Shack" by the B-52's that brought down the house, and been hugged by strangers on their birthdays for my emotional rendition of "You Oughtta Know" by Alanis Morrissette.

Comedians know. Sometimes you kill, sometimes you bomb. More often, you face a storm front of indifference. That's the ugly truth. Even if you silence a room with your reading, it doesn't mean that they are waiting with bated breath for the climax. It's a better sign than the audience talking amongst themselves, but don't get cocky. Unless it's a book event for you, they may not even be there to hear you. Even if it is your event, they may only be there to ask how they can get their epic about their Uncle Oogie and his funny-looking foot made into a movie with Tom Hanks. Hey, you write the script, use my idea, we'll both be billionaires. But it's more likely for people to show up to your events if you are a practiced reader who respects the audience.

Some advice:
Keep it short. This is another reason you practice reading at home. A "short" story of 2500 words can take 15-20 minutes to read, which is an eternity. Read excerpts. Read the good parts. Give a short introduction and start where stuff happens.

Be entertaining. If you want to read a nuanced and powerful piece, by all means do so, but read the room. If you're not alone, and the writer before you just read about a puppy who died defusing an atom bomb, you might want to chat a little bit about your book or what inspired the story so they can finish wiping their eyes and put away their tissues. Bring a backup story. I didn't do that for my only reading at Noir at the Bar D.C., where Josh Padgett brought in a great crowd. An older crowd. I had read host Ed Aymar's stories, Nik Korpon was there, they both are a little raunchy. So I brought my story "Gunplay," a hilarious poke at gun fetishism. (It went really well when Hilary Davidson read it at Shade in Manhattan, for our story swap.) I'm no Hilary Davidson. I read it to be funny, but the groans from the audience told me that a couple who cosplays as Union soldier and Scarlett O'Hara with live ammunition in the bedroom wasn't their cup of sweet tea!

I finished anyway, took a bow, and lost the audience favorite in the voting. But they will remember my name. It's not always so bad, I've had many readers come up and tell me how much they liked a story at a reading. It's a great way to introduce yourself to a new audience. It's part of the job. Even if you never do readings, chances are you will be on a panel, flanked by witty and seasoned writers, and you will have to hold your own. Or worse, you'll be next to That Guy who hogs the mike and bullies the moderator into making it a one-man show, and you will need the chutzpah to interrupt and grab the wheel of the bus so you and your fellow writers can get a word in edgewise. To some people this comes naturally. For the rest of us, practice makes passable. Read to your cat. Sing to your dog.

And be thankful for the printing press, or we'd all be reciting our stories like Homer. Maybe we'd be so good the king would pluck our eyes out so we couldn't wander off.

What I Really Think About Sensitivity Reading

I've been a mental health professional and psychotherapist for 35 years, a published writer of novels and short stories for 13. I live in New York with its kaleidoscopic population. For almost 20 years, I've conducted my therapy practice in cyberspace, ie all over the world. Either personally or in one role or another, I've known a vast variety of people intimately. I've heard the secrets and the candid thoughts and feelings of people of every race, ethnicity, and socioeconomic background, from homeless to celebrity, from nun to murderer, from serving military to self-proclaimed anarchist, from survivor of child molestation to convicted pedophile. I've worked with prostitutes and flashers and gamblers as well as the whole spectrum of sex and gender. I've heard from dozens of cops how 911 really felt to them. I've helped hundreds of alcoholics and drug addicts get clean and sober.

Empathy and imagination are the tools of my trade-—or let's call them my superpowers. My body of work attests to my high degree of competence at my trade, indeed, both my trades. If I were a surgeon setting your broken leg, would you insist I couldn't do it without instruction from you because I'd never had a broken leg myself? If you don't like that analogy, consider this: I've spent my whole personal and professional life living with, interacting with, working with, treating, writing about, loving, and in one case raising successfully the ultimate aliens: men. And male writers have been doing the same with women, with varying success. [Pause while I resist the temptation to name names.]

How those who haven't walked the walk, especially of the marginalized, can possibly write authentically about such characters has become one of the burning questions of our time. I don't think censorship by the thought police, aka sensitivity reading, is the answer. Redaction in the name of reverence is the enemy of creativity and pure poison to art itself.

In the 1980s and 1990s, when I worked as a clinical social worker in and later directed alcoholism treatment programs in New York, many staff were recovering alcoholics who used their own experience as an integral part of their treatment technique, much like sponsorship in AA. Credentialing for counselors was in its youth. Many clients in treatment also went to AA, where they were told that "only an alcoholic can help another alcoholic." (At the time of AA's founding, no effective treatment for alcoholism existed.)

I made a conscious decision not to "confirm or deny" when asked if I was an alcoholic myself. Rather than using that stuffy expression, I told them they would have to find another way to decide whether or not to trust me. My professional experience taught me that some clients wanted to hear I was just like them, but others wanted to be assured I wasn't as damaged as they were. Some of my clients were the deeply hurt or angry partners and family members of alcoholics, who wanted to hear I was not another alcoholic. And how about the bipolar clients, the ex-prostitutes, the survivors of child abuse and sexual trauma I treated? Did every one of them need to hear I was like them-—or not like them? Once I lost control of disclosure about myself, it would be gone forever. The only solution was not to disclose anything about my personal experience.

When my first novel about recovering alcoholic Bruce Kohler was published, I knew that I'd be asked the same question: "Are you an alcoholic?" I made the same decision again. By then, 2008, readers were looking authors up on the Internet and so were potential clients for the online therapy practice I was now engaged in. One mention on Facebook of what I was or wasn't, and once again, I'd lose control over who knew what about me. And it would unquestionably affect people's judgment about whether I was qualified to write what I wrote, treat whom I treated, or know what I knew I knew. As I've learned over and over, people believe what they want to believe. So I had and have no intention of making myself vulnerable to their judgment.

It's not only online that people continually try to break the boundaries I've set for myself. I wish they wouldn't, although I'm no longer amazed at the way people think they have a right to personal information about someone they don't know. Unfortunately, one of the "family rules" of our society is that it's okay. I've had AA members who've read and enjoyed my book tell me so on the street, which is lovely, and then ask if I'm in the program myself-—demonstrating their imperfect grasp of the concept of anonymity. I've given a reading from my story in Me Too Short Stories and had someone come up, tell me it was wonderful and they're going to buy the anthology, then say, "Was it based on personal experience?"-—oblivious to the fact that they've just asked a perfect stranger in a crowded public place, "Were you molested as a child?"

I'm no longer flustered by such questions. I have a standard way of dealing with them firmly but kindly. I say, "I don't disclose that information." If more is needed, I say it's a policy that I apply to everyone. I may even explain it as a matter of my being a mental health professional. But it's really about my right to myself as my own intellectual property, which is akin to my integrity as a therapist and my creative material as a writer. Only I control what anyone knows about my personal experience. Anonymity means that a person in 12-step recovery has the sole right to share that information outside a meeting room. Confidentiality means that only the client has the right to decide who knows what he or she tells a therapist. And intellectual freedom mean that only I as a writer have the right to decide what I write. Short of hate speech, anything else would be kowtowing to the thought police. I'd give up writing rather than settle for appeasement to such an Orwellian distortion of the concept of freedom of speech and creativity.

Elizabeth Zelvin is the author of the Bruce Kohler Mysteries, the Mendoza Family Saga, and three dozen short stories. Most recently, she edited the anthology Me Too Short Stories. Liz's stories have been nominated three times each for the Derringer and Agatha Awards and appeared in Ellery Queen's Mystery Magazine and Alfred Hitchcock's Mystery Magazine. In 2020 so far, her stories will be published in AHMM and Jewish Noir 2.