Quotes at the Marina

Two weeks ago I reported on my adventures at Bouchercon in beautiful San Diego.  As usual I had my trusty notebook with me and was jotting down words of wisdom, and other words as well.  Here are the results...

 "If the book begins with three dead girls on the floor of an Irish bar you know where you are.  It's not a sweet little romance.  So stop giving me those one-star reviews." - Linda Sands

"This novel started as a 700-word piece of flash fiction." - Hugh Lessig.

"My first novel is Dead Lawyers, which was therapeutic." - Judith Ayn

"When my book was published it was like I sent a child out into the world.  Go make friends.  Some people are going to hate you.  I'm going on to do something else." - Sadie Hartmann

 

"Writing a book is cheaper than therapy." - S. A. Cosby

"People like to talk to writers and they tell me things they wouldn't if they were sober." - Jeffrey Seger

"My bio on Amazon indicates I'm 25 years old and all I ever did was go to college." - G.M. Malliot

"I spent nine months in New Zealand and everywhere I looked there was a murder that needed writing." - Sara E. Johnson

"All the members of my family think the people in my books are based on other members." - S.A. Cosby 

"My protagonist is Japanese-American like me but I don't think that gives me any kind of advantage, like there's some kind of ancestral memory." - Scott Kikkawa

"The murder people are the nicest people." - Erin Flanagan

"This is a first person book so all the swearing is his fault." - Jo Perry

"How did I deal with a bad review?  I stopped reading reviews." - Cara Black

"There is a small subgenre of stoner noir." - J.D. O'Brien

"I've already written a draft.  It's currently a big pile of garbage on my editor's desk." - Lina Chern

"How many times have you come up with the perfect comeback at three in the morning?  There's still time to put it in the book." - Donna Anders

"English teachers don't kill themselves without leaving a note." - Lori Robbins

"No one has a baby and gets a one-star review." - Lee Matthew Goldberg

"The funniest thing is really death.  It's the big banana peel we all slip on." - Jo Perry

"My work is pretty dark and I look like a middle school teacher so  get asked a lot if I'm okay." - Meagen Lucas

"The talk in small towns: I love the poetry of profanity." - Bobby Mathews

"Lips may lie but teeth never do." - Sara E. Johnson

"I love reading a book where I disappear.  For me that's a book that starts with small decisions." - Mark Stevens

"Pantsers terrify me." - Keir Graff

"It took me about forty years to figure out that people were laughing with me, not at me. - Greg Herren

"Eat. Pray. Barf." - Wendall Thomas

"My first goal is to entertain.  No, that's not true.  My first goal is to break your heart and make you cry."   - Meagen Lucas

"Wanna lose sixty pounds in a hurry? Die." - Jo Perry

"We don't call it a sensitivity reader.  We call it someone who knows things." - Donna Anders

"One-star reviews also sell books." - Sadie Hartmann

"My husband said you better have an agent look at that contract.  I said why? I'm going to sign it anyway." - Cara Black

"A friend said 'your book is so good I forgot you wrote it.'" - Heather Chavez

"Jewish grandmothers, Black grandmothers, Italian grandmothers, all sing the same song." - Cheryl M. Head

 

"I was stinking it up with sincerity." - Jamie Mason

"Historical fiction is allegorical, like science fiction." Scott Kikkawa

"I don't remember agreeing to [edit the anthology]. I drink a lot at these things." - Greg Herren

"Our children own history and we owe them accuracy." - Vanessa Riley

"Ellery Queen doesn't want your robot erotica.  At least they didn't want mine." - E.A. Aymar

"'Write about what you know' gets a bad rap.  If you don't know do the research and then you know." - Barb Goffman

"I don't personally poison people." - Heather Chavez

"If I was historically accurate I would write in three languages and four dialects, and that would be hard on the publisher, much less the reader." - Ovidia Yu

"I don't think anything I have ever written has matched the bright and shining vision I have in my head." - Eleanor Kuhns

"The 1990 Pride and Prejudice is the best version.  If you bring up that 2000 thing I will meet you outside." - Vanessa Riley

"My secret belief is that writers like short stories more than readers." - E. A. Aymar

"Families: you can't really kill them.  Usually." - S. A. Cosby

"There's nothing better than my next book because the one I am writing now is always crap." - Mike McCrary

"What's superstition? Everyone knows if you take pork over the Pali your car's gonna stall." - Scott Kikkawa  

"I think I still don't know what I didn't know then." - Scott Von Doviak

Be Careful What You Wish For

Hanging out at
Bouchercon San Diego.

I swore I would never edit an anthology of “crime fiction inspired by the songs of —.” That’s Josh Pachter’s lane. He’s created several excellent anthologies with this premise, and I’ve contributed to four of them: Joni Mitchell, Jimmy Buffet, Billy Joel, and the Beatles. Other editors have also ventured into this lane, and I’ve contributed to some of them, as well: an Alec Cizak anthology inspired by the songs of Waylon Jennings and a Sandra Murphy anthology inspired by songs of the 1960s. I’ve also been invited to two more inspired-by anthologies I’ll name later if my stories get accepted.

But last Wednesday (September 20), while driving home from an out-of-town dinner with Temple, I thought of Aerosmith’s song “Janie’s Got a Gun” and knew it would make a great anthology title. When I returned home, I did a quick search on Amazon and Google to see if anyone had done an anthology of crime fiction inspired by the songs of Aerosmith.

I couldn’t find any.

So, at 8:51 Wednesday night, I posted this on Facebook and X-Twitter:

Has anyone produced an anthology of crime fiction inspired by the songs of Aerosmith? “Janie's Got a Gun” would be a great title. You a publisher? Hit me up, maybe we can do this.

I expected a few people to say, yeah, that would be cool.

Instead, the post blew up on Facebook. By the time I shut down for bed at 10:22, I had a publisher and several potential contributors. When I awoke Thursday morning, I had more potential contributors than the anthology could possibly accommodate.

By Saturday morning, after swapping a handful of emails with the publisher—overall word count, number of stories, deadline for submission, potential release date, etc.—we had a handshake deal. I wrote contributor guidelines and sent the information to all the interested writers.

A few dropped out after seeing the guidelines and the due date for delivering stories to me, leaving sixteen writers to fill sixteen slots. By Sunday afternoon, every slot had been filled. About half the contributors are writers with whom I have previously worked, many of the rest are writers I am familiar with in one way or another, and a few are new to me.

Putting this project together ran contrary to my established process. I usually have a plan, and I stick to the plan. This came together unexpectedly and quickly, and it’ll be interesting to see how well the anthology turns out.

So, look for Janie’s Got a Gun: Crime Fiction Inspired by the Songs of Aerosmith on November 8, 2024, the anniversary of the song’s release.

BUT WAIT, THERE’S MORE!

Though I have written and edited nonfiction and have written fiction in multiple genres, writing and editing short crime fiction has become my raison d’être.

For much of the last year, Temple and I have been exploring ways to give back to the community of short crime-fiction writers. We considered everything from scholarships to new-writer awards, and each time we ran up against potential barriers, among them: Who would manage these? Who would ensure the scholarships or awards were presented appropriately? And how does presenting something once a year to a single writer each time benefit the community as a whole?

We had no answers.

Then, Stacy Woodson entered the conversation. Temple could not attend the Edgar Awards with me this year, so Stacy became both my guest at Edgar-related events and my guide, getting me from New York to North Bethesda for Malice Domestic, and we spent a fair bit of time discussing what Temple and I were hoping to do.

The upshot from all our conversations was that one of the best ways to recognize and advance short crime fiction and its writers is by increasing publishing opportunities. What many writers want most is to be published. What many writers want second most is to be paid.

Over the following months, we brainstormed various ways to make this happen. Starting a magazine or a publishing company from scratch, while a beautiful dream, seemed impractical. I have years of experience on the editorial side, Stacy has experience with logistics, and Temple has organizational skills, but all of us lack experience in the business side of publishing.

As a small start to increasing opportunities for writers, Stacy and I developed two anthology concepts. I have edited or co-edited several projects for Down & Out, and I have co-edited one for Level Best (Murder, Neat: A SleuthSayers Anthology, coedited with Barb Goffman, due out in 2024). So, we pitched one anthology to each publisher, and both anthologies were greenlit.

Then came Bouchercon San Diego.

Remember the advice I gave earlier this month in “Make Time for Meet-Ups”? Well, Stacy, Temple, and I met-up with many people during the convention, including Shawn Reilly Simmons of Level Best Books. Stacy spent much more time with Shawn then we did, and she organized a post-Bouchercon Zoom call where we discussed, among many other topics, how Stacy and I could work with Level Best to create more markets for short crime fiction.

The upshot? Stacy and I now have an agreement to produce several anthologies for Level Short, the new anthology imprint from Level Best Books. See the press release for more details.

Giving back by creating opportunities—that’s one of the best ways to support the community.

The extra workload is also a reminder to be careful what you wish for. You might get it!

“Neighbor Boy” appears in Unnerving Magazine 18.

Queer Bait (Book 2 of the Men in Love and Lust series) was released by Deep Desires Press.

Prohibition Peepers: Private Eyes During the Noble Experiment was released yesterday by Down & Out Books. Contributors include Susanna Calkins, David Dean, Jim Doherty, John M. Floyd, Nils Gilbertson, Richard Helms, Hugh Lessig, Steve Liskow, Leigh Lundin, Adam Meyer, Penny Mickelbury, Joseph S. Walker, and Stacy Woodson.

That San Diego Treat

 I am writing this on the plane back from San Diego after having enjoyed the 2023 Bouchercon.  It is, I think, the eighth I have attended  and it was at least as well-run and fun as any of the others.

Here is one big improvement they came up with (at least, I have never been to a con where they did this).  Instead of stuffing the attendees’ swag bag with free books, each member was given three tickets which they could take to a room called the Book Bazaar (NOT the dealer's room) and swap them for any three new books they chose.  Once the organizers knew how many books were coming from publishers the freebie count went up to five.  As you can imagine this resulted in a lot of boxes of swag being shipped back home.  I myself made a little pilgrimage to UPS.

One of the highlights of the weekend (for me) was a panel I moderated.  I stole the idea from the World Science Fiction Conference where it is called “45 Panels in 60 Minutes.”  We called our version “20 Panels in One.” The idea is that audience members write down topics and toss them into a hat and panelists pick them out and have less than a minute to bestow their wisdom on that subject.  

At Worldcon this turns toward comedy but here the questions were serious and the brave panelists (Mike McCrary, Eleanor Kuhns, Steve Von Doviak, and Keir Graff) did a great job.  The result seemed to me to be close to an mini-unconference.  Instead of the usual panel arrangement (moderator asking questions for 40 minutes, followed by 10 minutes from the audience) this was 40 minutes of audience queries, with me finishing up. 

Sample questions: “What is your protagonist most afraid of?  What are you?”  “Donald Westlake. Discuss.” 

It was an interesting experiment.    One audience member told me she thought it should be repeated at every con, but I don’t plan to be at the Nashville con, so someone else would have to take that on. I can think of two improvements: instead of using a floppy sun hat, I should have brought the dapper fedora you see in the picture.  And instead of going down the row each time I would ask the panelists to speak up if they have anything to contribute on the topic.

And speaking of reactions… I have mentioned that I was once on a panel with a very chatty moderator.  Afterwards a stranger came up and said “I attended your panel.  I wish I’d gotten to hear you.”

Well, after “20 Panels in One” a stranger said “I wish you had spoken more.”

I replied “The moderator isn’t supposed to.”

“But in this case it would have been okay.” Maybe she was right, since none of us had been chosen for our expertise on the topics.  

I also got to be a panelist on “What Librarians Wish Readers and Writers Knew,” with Sarah Bresniker, John Graham, Leslie Blatt, and Michal Strutin.  This turned out to focus on three main topics: how to get books and book events into libraries, doing research in libraries, and coping with the recent attacks on libraries by conservative groups.  The question period turned into mostly passionate defenses of libraries from audience members.  One author said it was the most useful panel of the weekend. And being librarians we even created a webpage with useful resources to go with it.

Librarians Panel

Still on the subject of libraries, I did an Author Spotlight (one person blabbing for 20 minutes) on how we caught the guy who stole rare books from over 100 libraries.  I had good attendance which I attribute to creating posters (that is, 8x11 pages).  I left 20 on a freebies table, they were all picked up, and 15 people came.  That’s a good sell-through rate.

I attended two panels on short stories (three if you count the Anthony nominated anthologies panel, and four if you include Josh Pachter’s Spotlight about editing music-themed anthologies.)  

More highlights were two humor panels, one of which featured one of the best and rarest conference moments: the point at which all the panelists suddenly discover something together.  

An audience member had asked if any of the panelists used a sensitivity reader for their books.  All of them said no.  Then each of them got thoughtful and acknowledged:  “But when I write about a certain group, I ask my friend to read it…” Donna Anders summed it up: “We don’t call them sensitivity readers.  We call them people who know things.”  When I told my wife this she said “Volunteers are undervalued.”

Another highlight: there were more people of color than I have ever seen at a mystery event.  This may be in part because of the geography, but I’m sure some of it is due to Crime Writers of Color.  CWoC sponsored a reception called Underrepresented Voices and bragged that while they started with 30 members in 2018 they are now over 400.  That’s great.

As former president of the Short Mystery Fiction Society I had the honor of announcing the Derringer Award winners and giving out the medals and certificates to those present.  I was especially delighted to give Martin Edwards the Edward D. Hoch Memorial Golden Derringer Award for lifetime achievement.

One great point of any con is making new friends and meeting up with old ones.  I won’t try to name all the ones I shared a meal or a chat with, except to mention fellow SleuthSayers Michael Bracken, R.T. Lawton, Travis Richardson, and Barb Goffman.  I left Barb for last so I could single her for congratulations: she won a well-deserved Anthony Award for her short story “Beauty and the Beyotch.” Whoo-hoo!

Let me end with one more gathering of friends.  Jackie Sherbow, the managing editor of both Ellery Queen and Alfred Hitchcock Mystery Magazines, invited all of the Dell magazine writers present to join her poolside for a drink.  I won’t try to name them all but if you read AHMM and EQMM you would recognize the 20 or so names.  

I looked around and said: “Boy, if a bomb went off right now the face of mystery short fiction would be changed forever.”

Because, hey, that’s the way we think, isn’t it?

Join me here in two weeks for my favorite quotes from San Diego.

Oh, one more thing: I have a story on TOUGH which you can read for free.

Bouchercon takeaways: being a successful panelist

Like some of you reading this, I recently attended this year's Bouchercon, which is touted as the world's largest mystery convention. It's held in a different city each year. This year, approximately 1,700 crime/mystery readers and writers converged in San Diego, where--among other things--we participated in and attended panels devoted to crime fiction. 

I like panels. I like learning new things and finding new-to-me authors whose books I'm excited to read. I probably attend more panels on average than many other people do at conventions like this. Some people actually leave the convention hotel to tour the city! Me, wherever we go, I attend the panels. This is partly a byproduct of having been the program chair of Malice Domestic from 2008 - 2014. If you live and breathe panels for as long as I did, you get attached and you like going to ones that sound good. Of course, I became program chair because I loved going to panels and thought I could do a good job at creating and scheduling them, so I guess this is a chicken-or-the-egg situation. But I digress.

Bouchercon started on Wednesday afternoon this year instead of the usual Thursday morning. The extra half day of panels really made a difference. It made the convention seemed less rushed. It enabled more authors to be on panels. It gave attendees more chance to see panels on topics they were especially interested in because there often was more than one panel on a similar topic. For instance, this year they had several panels devoted to short stories, to which I say: two thumbs up.

This is all a lead-up to say that I attended a lot of panels at Bouchercon, and I noted some problems occurring in panel after panel after panel. The biggest one: too many panelists far too often do not speak into the microphone. That makes it difficult for people in the audience to hear you or hear you clearly. So, for future reference, here are my handy dandy tips for being a successful panelist:

• 
  Speak into the microphone. Either move the microphone so it is CLOSE to your lips or EVERY TIME you speak lean forward so it's close to your lips. If the mic is sitting in the middle of the table and you're sitting with good posture, chances are your mic is a foot away. That's too far. It will not pick up what you're saying well. Pretend the mic is your high school crush. Get up close and personal. A couple of inches between mouth and mic is about right.
  
  
• Speak to the audience. Look to the front. When you do that, you have a much better chance of speaking into the microphone. I can't tell you how many times panelists turned their head, talking to their panel moderator or fellow panelists when answering a question. When they did that, their lips were not near their mic. I understand the inclination to want to look at the person you're responding to, but this is not a conversation between two friends. Think of the moderator as a stand-in for the audience. Look at the moderator if you like when the question is posed, but then look to the audience when you answer. They're the ones who chose this panel to hear what you have to say. Make it easy for them.

• 

  Image by rawpixel.com

• If you're considering standing your book up on the table during the panel so audience members can see it, make sure it is not a hindrance to the audience seeing your face. If a book is a short mass market paperback, it probably won't block you. If it's a hardback, it very well might. And if you set your book on a little holder, the chances are even greater you'll be blocked by your book. So, before the panel starts, set your book up and have a friend sit in various spots in the audience and let you know if you're visible. If your book is blocking you from any spots in the audience, then I would hold it up while you are being introduced and then set it down. You might think you don't care if the audience can see you, that you want your book to be seen. But as an audience member, I beg to differ. It can be hard to connect with an author if I'm annoyed that I can't see them, no matter what they say or how charming they are. Think of the audience as your annoying relative who brushed your hair from your eyes when you were a kid. Bubby, we want to see your face.

• When an audience member asks a question, repeat it before answering it. This is a moderator responsibility, but sometimes questions are posed directly to a particular panelist, and the panelist will jump in to answer. If you do, try to remember to restate the question first (speaking into the mic) so everyone in the audience can hear it. I know it can be easy to forget to do this. I'm guilty of it myself. All we can do is try our best to remember.

• The best panels I attend often have conversations between the panelists. Rather than having a question posed and each panelist answer it down the line, saying their piece and waiting quietly until the next question is posed, see if you have something to add to what other panelists say. Engage in conversation.You'll probably end up with more interesting and less canned answers. (But don't talk too much. If you are talking twice as long or twice as often as anyone else, it will be noticed by the audience members and not in a good way.)
  

  

  Thanks to photographer
  John Thomas Bychowski.

  
  

I hope to see (and hear) you at Bouchercon next fall in Nashville (and Malice Domestic next spring in North Bethesda, Maryland, as usual). 

And before I go, a little BSP: I was delighted to win the Anthony Award for Best Short Story of 2022 at Bouchercon for "Beauty and the Beyotch," originally published in issue 29 of Sherlock Holmes Mystery Magazine. Thanks to the magazine's editor, Carla Coupe, who helped make the story better.

Make Time for Meet-Ups

Temple, I think we’re
going to need more luggage.

Though this will appear after our return, I’m writing this a few days before Temple and I leave for Bouchercon San Diego. Planning for seven days away from home—who’ll collect our mail each day, how many bags will we need for our clothes and the books that will return with us, and at what temperature should we set the thermostat so the Texas heat doesn’t cause our house to spontaneously combust while we’re away?—plays second fiddle to planning our time at Bouchercon.

When Temple and I attended Bouchercon New Orleans in 2016, our first convention together and my second mystery convention (my first was Bouchercon Austin 2002), our only planned meet-up was a lunch at the Napoleon House organized by O’Neil and Deb De Noux for Short Mystery Fiction Society members. At each subsequent Bouchercon and at each Malice Domestic, which we now also attend regularly, our scheduled meet-ups have increased.

Some meet-ups (usually over a meal) are with my editors and publishers, some are with writers I’ve edited and published, and some are with friends Temple and I have made over the years. (And some of the people we’ll be spending time with belong in every category.) Of course, there are also unofficial meet-ups in the hallways, at the late-night poker games, and in the bar.

What this means is that—despite my moderating a pair of panels—we have less time to attend all the wonderful programming. There just aren’t enough hours during the convention to do everything we want to do and spend time with everyone with whom we want to spend time.

OPPORTUNITIES ABOUND

At every in-person Bouchercon since Toronto 2017 and at every in-person Malice Domestic since 2018, I have returned home with an opportunity I might never have had, had I not attended and made a concerted effort to speak with other attendees. I don’t go with the intention to pitch this project or ingratiate myself with that editor, but proximity to so many talented writers, editors, and fans is like being in an idea incubator. An idea bounced off a fellow writer over lunch and pitched to a publisher that evening over drinks became the serial novella anthology series Guns + Tacos. An anthology idea pitched to a publisher on the fly in a hallway became Jukes & Tonks. A discussion over lunch with a writer who had never collaborated with anyone became the short story “Dogs of War.” The examples seem endless.

What I take away from this is how important attending conventions can be to a mystery writer’s career, and I realize it’s something that’s out of reach of many writers. It was certainly out of my reach until Temple and I married in 2015.

I was only able to attend Bouchercon Austin in 2002 because I could drive to the hotel each day. I barely had enough money for meals, and I had no money for books and other expenses. Additionally, my previous spouse was neither interested in nor involved in my writing career. Then, during the many years between marriages, I struggled to support myself as a freelancer, so things like house payments, electricity bills, and health insurance took priority. Now, with dual incomes and a supportive spouse, Bouchercon, Malice Domestic, and maybe other mystery conferences and conventions in the future, are or can be on my calendar.

That it took so long to learn the value of convention attendance makes me wonder what might have been had I been able to regularly attend Bouchercon and other conventions when I was younger. Might I have had similar opportunities twenty or thirty years ago?

At the same time, I think about all the would-be and beginning writers who—like me when I was younger—can’t attend Bouchercon or other conferences, especially if they live in areas with no other writers in proximity. What if they don’t have supportive spouses, can’t find childcare, can’t get the time off work, don’t have the money, or have any of dozens of other reasons that put convention attendance out of their reach? How hard will they have to struggle to make the connections—big and small—that will help them advance their writing careers to the next level and the levels beyond?

Active participation in social media may give them a leg up, but nothing beats breaking bread with like-minded fellow writers, editors, and publishers, especially those who aren’t from your neck of the woods.

So, if you’re a mystery writer struggling to find a way to attend mystery conventions, consider these opportunities:

The Bouchercon Scholarship Award Program is a start. It’s too late for the Bouchercon that just ended, so watch the Bouchercon 2024 website for information about applying next year.

The William F. Deeck-Malice Domestic Grant for Unpublished Writers is another option. Watch the Malice Domestic website for information about applying for 2024.

And if readers know of similar opportunities at other mystery conferences and conventions, please add them in the comments.

---

My Derringer-winning story “The Downeaster ‘Alexa’” is reprinted in Black Cat Weekly #100, July 30, 2023.

My Derringer Award-winning story “Getting Out of the Box” is reprinted in Illicit Motions (Unnerving).

“Smitty’s Roadside Diner,” a collaboration with Sandra Murphy, appears in the September/October issue of Alfred Hitchcock’s Mystery Magazine.

All-American Male (Book 1 of the Men in Love and Lust series) was released by Deep Desires Press.

You Can Be the Judge

At conferences like Malice and Bouchercon, I hear about the techniques authors use to memorialize their thoughts. Story ideas don't come to us only while we're sitting at the laptop. Rather, they pop out of billboards we pass or from snippets of conversation overheard at a restaurant. Most of the panelists reported texting or emailing themselves. Wise ones recommended using a standard naming convention for messages. Some deliberately misspell a word. They type "Knotes," for instance, in the subject so that they can quickly locate the stash of ideas they've compiled. Each time I hear about these techniques, I admire the forward-thinking of my fellow writers. 

I scribble on scraps of paper. 

Sitting in the courthouse basement, when I run across the odd bit that gives me pause, I'll hurriedly jot it down, tear the note from the legal pad or Post-It note and return to work. At the end of the day, I'll empty my pockets--phone, keys, and odd scraps. Post-Its, by the way, offer the added benefit of cleaning pocket lint. 

The following are a few random notes harvested from police reports and fermented in my pocket. 

Typos?

    In law enforcement, minor traffic offenses provide police with the legal opportunity to observe the contents of a vehicle and its occupants in more detail. Higher and better charges may then arise. In the police report following a methamphetamine arrest, the officer noted that the car had a detective brake lamp. Was it a typo or an acknowledgment of the pretext stop? You can be the judge. 

    In another case, the unemployed driver was pulled over operating a vehicle owned by a female passenger. The police report noted that a woman with him was his finance. I think the officer intended to report that the two were engaged to be married and, thus, she was his fiance. But the plain reading may also be correct. You can be the judge. 

    (This one may only be funny locally.)

    The suburban county just north of Dallas is Collin. When the Fort Worth officer arrested the man on the Colon County warrant, was it an inadvertent voice-to-text error, or did the police offer a comment on a Dallas stereotype commonly held by people living on the western side of the Metroplex. You can be the judge. 

Scattershooting:

    Blackie Sherrod, a legendary local sportswriter, published a regular column of random thoughts entitled "Scattershooting." It seemed a good title for the following unrelated notes gleaned from police reports. Each one briefly interrupted the flow of county business. 

• As I approached the vehicle, I observed the pungent odor of marijuana wafting from the open passenger window. 

Pungent? Wafting? This is not the typical prose of a police report. I think that the officer yearns to be a writer. Look for her debut novel soon, available on Amazon. 

• J. and his girlfriend have been dating a little more than a week and they live together at...

But at least they were rushing into things. 

• I encountered S. sitting on his porch with his service dog, Capone. 

The family's cats, Manson, Kaczynski, and Gotti, were undoubtedly inside the house. What service, I wondered, does a dog named Capone perform? 

• I identified the defendant as Chase T. and charged him with evading arrest. 

Chase was charged with running from the police. Does name determine destiny? Just ask Paz charged with disturbing the peace. Or the meth user named Krystal. 

And, because Memorial Day marks, for many, the unofficial start of summer. 

The police were called to the scene of a domestic violence offense. A fight broke out between two brothers during the family barbecue. The officer observed and interviewed both men attempting to determine who was the primary aggressor. The officer reported, 

• I could not tell whether the substance on D's shirt was evidence of a bloody nose or barbecue sauce. 

Two things worth noting in the above sentence. First, dinners at this house get raucous. And a trained observer can't tell if it's blood or the family's barbecue sauce. If they invite you to dinner, I'd recommend politely declining. Secondly, you might have a new way to hide blood evidence in your next story. 

Besides a bit of fun, I think there is a lesson for both writers and criminal justice professionals. The participants in the system--lawyers, officers, defendants, and their families--are all human. Stories tend to focus on the big mistakes. The little errors, like those set out above, might make characters more like real people. 
  

Until next time. 

Caution: Writer at Work

When you're pulled in too many directions at once, it's nice to have a friend who is willing to pinch hit for you. So today, instead of offering my own (cough cough) words of wisdom, I'm delighted to share a behind-the-scenes look at writing from my friend Donna Andrews, author of the New York Times-bestselling Meg Langslow mystery series. Take it away, Donna! 

 Caution: Writer at Work

by Donna Andrews

I will start the first draft of my next book on Thursday, June 1. Note that I’m not saying “I plan to start” or “I hope to start.” I will be starting it then, because that’s when I need to start to finish it, revise it, and turn it in on time.

And I’ve got my spreadsheet ready.

Yes, I consider my trusty spreadsheet an essential writing tool. I start with my actual deadline, the date I have to deliver the manuscript to my editor, and then set my own deadline for finishing the first draft--optimally four to six weeks before the real deadline. Then I construct a schedule that lets me work at a comfortable pace, writing on weekdays and taking the weekends off to recharge--or catch up. I tinker with the spreadsheet--building in breaks for times when I hope not to be writing--trips to Malice Domestic and Bouchercon, for example. And then--voila! I know what day I need to start my draft.

It helps if I do this process far enough ahead that I don’t finish the spreadsheet and then realize that I should have started five weeks ago.

Don't be fooled. That's not Donna.
She'd never write without Diet
Coke by her side.

Once I start writing . . . (June 1) . . . the spreadsheet helps keep me sane. When I sit down at my computer every day, I don’t have to think about how much I’ve written and how much I still have to write and whether any of it’s any good. I just have to write that day’s quota. As long as I write however many words I’ve assigned myself for the day, I’m allowed to celebrate.

And for this next book, the magic day is June 1. Sorry if I keep repeating that, but as my start date creeps closer, reminding myself helps me focus on everything I need to do before then. Because I’m a planner--or plotter, if you prefer. If I’m on my game, by June 1 I will know how the book starts. I will know who done it, and who got done, and how, and why. I will know who else had a motive, and how Meg, my heroine, unmasks the real killer, and what happens in the dramatic final scene. I’m already over the first hurdle--finding a bird-themed punning title that my editor likes. Now I’m doing my research, scoping out the cast of characters, working out the plot.

If it sounds as if I know what I’m doing . . .yeah, I do. Sort of. After all, I’ve done this before--38 times before. That doesn’t mean I’m all relaxed and “whatever” about it. It doesn’t ever get easy. (Apologies to newer writers, but it really doesn’t.) Some parts of it get easier. But there's still the challenge of trying to write a book that's better than the last. Not to mention that with every single book, at some point I reach what I now call the “it’s all crap” phase. Knowing this happens every time doesn’t make it feel any better. So what do I do when that awful feeling creeps over me?

I write the day’s quota. It doesn’t necessarily get rid of the “it’s all crap” feeling. But it gets me one day closer to finishing. I remind myself that if I keep going, the feeling will eventually vanish. And that you can edit crap, but you can’t edit a blank page.

Ahhhhh! A blank page!

And what do I do when I sit down at the computer feeling singularly uninspired? Same thing. I do my quota. Inspiration is overrated. I don’t write because I’m inspired; with luck, along the way, I’ll get inspired. But if I don’t--at least I’ve done my quota.

I take comfort in Lawrence Block’s example. In one of his books--don’t ask me which, because I like his take on writing and have several of them--he recounts how, when he began writing full time, he made himself write every day. Some days he couldn’t wait to get to the keyboard, and other days he wanted to do anything else. He wrote anyway, figuring if it was really bad, he could always throw it out. But over time he found that he rarely had to. Sure, what he wrote when he wasn’t inspired needed revision and editing. So did what he wrote on the good days. He’d learned to write at a certain level--a professional level.

Really wish I could find the essay in which he said this. Some days it would help, reading it before I put my fingers on the keys and write anyway.

I was able to find another favorite quote on writing, from Kenneth Atchity’s A Writer’s Time:

I haven’t mentioned the Muse, the mythic word for “inspiration.” She is the last person you want to depend on. Professional writers generally speak of her with a mixture of affection and tolerance. Discipline, not the Muse, results in productivity. If you write only when she beckons, your writing is not yours at all. If you write according to your own schedule, she’ll shun you at first, but eventually she won’t be able to stay away from your workshop. If you deny her urgings, she will adopt your discipline. Nothing attracts her more than a writer at work on a steady schedule. She’ll come around. In other words, you become your own Muse, just as you make the clock of life your clock.

Useful book, A Writer’s Time. Along with Block’s books on writing, like Spider, Spin Me a Web and Telling Lies for Fun and Profit. I sometimes reread parts of them when I need encouragement. And then I write my quota.

If this sounds boring . . . I prefer to think of it as a comforting routine. Starting June 1, every day--well, every weekday--I'll get up, stumble downstairs to my computer, open my spreadsheet, open my manuscript . . . and do my quota.

And now back to all those things I need to do before June 1. Is my villain’s motive believable? Do I have enough red herrings? Too many? Wait, have I created a perfect crime, one that will be impossible for Meg to solve? Or is the twist too obvious? What if--

You know, I’m actually looking forward to June 1.

---

Barb again, thanking Donna for finding time in her well-planned schedule to show you how she sets--and keeps--her schedule.

And now for a little BSP, I'm thrilled to share that at the end of April I won the Agatha Award for my short story "Beauty and the Beyotch," which appeared in issue 29 of Sherlock Holmes Mystery Magazine. And last week, this story was named a finalist for this year's Anthony Award, to be awarded in September at Bouchercon. If you're interested, I have it up on my website for your reading pleasure. Just click here.

Guest Post: Authors Helping Authors

It's been a year and a half since my friend Judy Penz Sheluk posted here at SleuthSayers, to talk about the third book in her Superior Shores Anthology series. I remember that post well--here's a link--and I also recall the enthusiastic response she received from our readers. Judy's been a busy lady since then, with all kinds of writing projects, and today I'm pleased to welcome her once more as a guest columnist. I hope you'll again join me in making her feel at home.

--John Floyd

Authors Helping Authors

by Judy Penz Sheluk

My visit on SleuthSayers today is thanks to John Floyd, who graciously gave up his regular spot so I could talk about my latest book. I've only met John once, at Bouchercon Raleigh in October 2015. It was at a sandwich/diner kind of place, where the food was fast but decent, and members of the Short Mystery Fiction Society, of which we are both members, had arranged to meet for lunch.

I was a debut author in 2015, with two published short mystery stories (2014) and a cozy mystery that had released that July, and to say I was intimidated to be in the presence of so many talented storytellers would be the understatement of the year, and yet all I experienced was kindness. I recall John telling me he worked at IBM and me telling him my good friend and running buddy also worked at IBM, albeit in Toronto. A minor connection, but a connection, nonetheless. And I remember the late B. K. Stevens inviting me to post on her blog. I couldn't believe it. The B. K. Stevens! I'd been reading her short stories forever.

There were many others who reached out to me, and memories of that lunch, and many others along my author journey, have made me acutely aware that the one thing that makes the writing life special is the way authors help one another. If there's jealousy among Derringer, or other, award nominees, I'm unaware of it. Rather, we applaud those whose work we admire, often from afar. It's enough to be able to say, "I'm an author," and be part of the club.

I've come a long way since 2015. Today, I'm the author of two mystery series (seven novels), the editor/publisher of three multi-author anthologies of mystery and suspense (John's stories are in two of them), and a handful of short stories. But while I'm grateful for every day of those seven-plus years as an author. It hasn't always been an easy journey, and I've taken my share of missteps along the way.

I've also been "orphaned" by two publishers, one defunct, the other closed to all work but her own. I've very nearly been orphaned by two other publishers I'd queried with "close, but no cigar" results. Both are now no longer in business.

In February 2018, I started my own publishing imprint: Superior Shores Press, and I've discovered that I love being an indie author (I tend to be a bit of a control freak, which helps). Since then, I've also been published by WWL Mystery (a division of Harlequin, which is a division of HarperCollins), and sold some foreign language rights, most recently Skeletons in the Attic, to a Taiwanese publisher for the Chinese market. 

Fast forward to January 2022, when my local library asked if I'd do a presentation for their patrons on publishing paths. I liked the idea of sharing what I'd learned, and the result was an hour-long webinar, Finding Your Path to Publication, which I followed up with Self-publishing: The Ins & Outs of Going Indie. Both were well received, and that sparked an idea. What if I took my hard-earned knowledge and wrote a book? One that demystified the publishing world, provided statistics, and tips on query letters and types of publishing paths, from traditional to self- to social? Unlike my usual mystery writing pantser ways, I'd actually have an outline. 

The result is Finding Your Path to Publication: A Step-by-Step Guide, which released on May 2 in paperback, hardcover, e-book, and large print. If all goes according to plan, Self-Publishing: The Ins & Outs of Going Indie will release this fall.

Authors helping authors. At the end of the day, that's really what it's all about.

Universal buy link: https://books2read.com/FindingYourPathtoPublication

About the book: The road to publishing is paved with good intentions . . . and horror stories of authors who had to learn the hard way.

For the emerging author, the publishing world can be overwhelming. You've written the book, and you're ready to share it with the world, but don't know where to start. Traditional, independent press, hybrid, self-publishing, and online social platforms--all are valid publishing paths. The question is, which one is right for you?

Finding Your Path to Publication is an introduction to an industry that remains a mystery to those on the outside. Learn how each publishing option works, what to expect from the process start to finish, how to identify red flags, and avoid common pitfalls. With statistics, examples, and helpful resources compiled by an industry insider who's been down a few of these paths, this is your roadmap to decide which path you'd like to explore, and where to begin your author journey.

About the author: A former journalist and magazine editor, Judy Penz Sheluk is the bestselling author of two mystery series: The Glass Dolphin Mysteries and Marketville Mysteries, both of which have been published in multiple languages. Her short crime fiction appears in several collections, including the Superior Shores Anthologies, which she also edited. Judy is a member of the Independent Book Publishers Association, Sisters in Crime, International Thriller Writers, the Short Mystery Fiction Society, and Crime Writers of Canada, where she served on the Board of Directors for five years, the final two as Chair. She lives in Northern Ontario. Find her at www.judypenzsheluk.com.

Story Mining

I don’t often write about the genesis of my stories because I often don’t know or don’t remember much about how they came to be. My stories don’t exist, and then they do.

On the other hand, “Denim Mining” (scheduled for publication in the May/June issue of Alfred Hitchcock’s Mystery Magazine), has a distinct, three-part path from concept to finished story.

THE BEGINNING

In early 2019, I read several articles about the value of vintage blue jeans—especially Levi’s—and how collectors scour abandoned farms and mines looking for denim treasure. Particularly significant finds can be worth several thousand dollars, as CNN reports in an October 13, 2022, article about a pair of 19th century Levi’s found in a mine shaft that sold for $87,000. Silver mines in Arizona, California, and Nevada seem to be particularly good locations to find vintage Levi’s. I printed hardcopies of some of the articles and made a few notes about a possible story, and stuck everything into a file folder.

Not long after that, I read some articles about silver mining in Texas, and was fascinated to learn that Franciscan friars discovered and operated several silver mines near El Paso, Texas, around 1860, concealing the mines when they feared they would lose control of them to the Jesuits, and that several silver mines operated in Texas well into the 1950s and sporadically since then. Of particular interest was Jim Bowie’s lost silver mine near Menard, Texas, which legend says may contain a billion dollars’ worth of silver.

So, I began writing a story about two men—one an assistant professor of Texas history who believes he has identified the locations of several abandoned and forgotten Texas silver mines—who go in search of vintage denim.

THE MIDDLE

Around this time, Bouchercon announced the theme of the 2019 anthology, Denim, Diamonds and Death. So, I wondered what might happen if my denim-mining duo stumbled upon a cache of diamonds in one of the silver mines. I made more notes and wrote more bits and pieces of a story, and then...nothing. I returned to the story repeatedly, well past the deadline for the Bouchercon anthology. I figured out how the diamonds came to be in the mine, and I sort of knew what I wanted to happen, but the story wasn’t progressing. It had no ending.

THE END

I rarely discuss stories-in-progress with other writers, but mid-summer 2020, I posted something here about having a few stories that had hit brick walls. Fellow SleuthSayer Leigh Lundin offered to look at one of them, and I took him up on his offer. He read what I had written and made several suggestions—an important one having to do with weapons of the past—that broke down the wall and allowed me to bring “Denim Mining” to a satisfying conclusion.

One interesting note is how I structured this story. Most of my stories are linear, with one event happening after the other. “Denim Mining,” though, alternates between the past and the present. The scenes from the past tell the story of how the diamonds wound up in the mine while the scenes in the present tell the story of how the diamonds are discovered. In a sense, “Denim Mining” is two separate stories woven together, but what happens in the past clearly impacts what happens in the present.

For those of you who like to track these kinds of stats: “Denim Mining” was submitted to AHMM on 8/20/20, accepted 7/29/21, and will be published in the May/June 2023 issue.

---

Released yesterday: More Groovy Gumshoes: Private Eyes in the Psychedelic Sixties (Down & Out Books), the sequel to last year’s Groovy Gumshoes. This rollicking romp through the sixties features stories by Michael Chandos, Wil A. Emerson, Jeff Esterholm, John M. Floyd, Nils Gilbertson, Wendy Harrison, Dave H. Hendrickson, gay toltl kinman, Lynn Maples, Jarrett Mazza, John McFetridge, Robert Petyo, Graham Powell, Bev Vincent, Joseph S. Walker, Stacy Woodson. If you haven’t already read the first volume, why not order both?

First we had Malice in Dallas. Now, things are Reckless in Texas

Earlier this month, Reckless in Texas—the second book in the Metroplex Mysteries anthology series—was published. It follows last year's Malice in Dallas. If you think these titles are fun, wait until you read the books. (Joseph S. Walker's story in Malice has been chosen to appear in The Mysterious Bookshop Presents the Best Mystery Stories of the Year 2023. But you don't have to wait for that anthology to come out this autumn to read Joe's story. Malice in Dallas is available now. Just click here.)

But back to Reckless in Texas. It has ten stories plus a foreword written by my fellow SleuthSayer John M. Floyd. I've had the pleasure of editing both anthologies for the North Dallas Chapter of Sisters in Crime, and I wanted to tell you a bit about the Reckless stories. But rather than talk about them myself, I decided to put the anthology's ten authors on the hot seat. I asked them to (1) talk a little about their stories, (2) share their favorite thing about their stories, and (3) tell where in the Dallas/Fort Worth area their stories are set and why. And here we go:

The book opens with "Monster" by Shannon Taft

Elizabeth believes that her mother-in-law, Alberta, did not have an enemy in the world the night she was stabbed to death. But if that is true, then who killed Alberta—and what do they want now?

 

My favorite thing about this story is that the victim appears to be a wonderful person. In many mysteries, the victim is universally loathed with masses of people who want them dead. The lack of apparent motive makes for a different sort of challenge.

 

I chose Highland Park because I needed a place where wealthy characters might live and it offered me loads of landmarks to work with, including Teddy Bear Park, Turtle Creek, and the Dallas Country Club. 

The next story is "The Prime Witness to the Murder of Dr. Malachi Samson" by Derek Wheeless

He would be murdered by one of the four women he trusted most in all of Dallas. He would be killed in the most fabulous mystery library in all of Texas, surrounded by the most magnificent first-edition tomes in all the world. And best of all, Dr. Malachi Sampson, the leader of the Women of the Arcane Mystery Book Club, would approve of his murder.

My favorite part of the story is the library. I would LOVE to have a library like the one in which Dr. Malachi Sampson is killed. Come to think of it, I wouldn’t mind dying in a library like that either!

The story is set on Swiss Avenue, a very historic street just east of downtown Dallas with very grand and stately homes that came about during the first several decades of the 1900s. One day, as I drove along the two and half miles of Swiss Avenue admiring the Mediterranean, Spanish, Georgian, Craftsman, and other styles of architecture, I wondered what it might be like if one of these old grand dames had the most spectacular mystery libraries inside. I also wanted to try writing a story in reverse, where the ending came first and the beginning came last. I’d seen an old Seinfeld episode like that and wondered if I could pull off a short mystery with the same approach, yet leaving some twist for the reader to enjoy in the final paragraphs. So I put the two ideas together and thus was born “The Prime Witness to the Murder of Dr. Malachi Sampson.”

 

Next up is "Traction" by Terry Shepherd

 

When a police detective ends up in traction after pushing a perp out of harm’s way, she discovers a mystery with tendrils connecting two of the city’s most prominent families. It’s a web of deception and murder she has to untangle from her hospital bed with only her wits and the spider who keeps her company.

I love puzzles where the only tool we have to solve them rests in our brain. Constructing a scenario where someone with a sharp mind who's sidelined by a broken leg solves a crime was great fun.

This Dallas tale is unique as it never leaves the protagonist’s hospital room. We meet people who do things in different parts of town, but the adventure begins and ends in the same spot.

 

Our fourth story is "The Laundry Larceny" by ML Condike  

 

A retired SMU professor who recently moved Sign Point, a life-plan community, is drawn into a murder investigation when the community's manager is found dead in a laundry room in Memory Care. How will Maggie solve the mystery when the only witness thinks he's Xerxes the Great, a king of the Achaemenid Empire?

My favorite thing about my story is that it shows the camaraderie and friendships formed in an age-in-place senior-living facility. I also love the way Maggie, my protagonist, reconciles the fact that Xerxes may not be the person he used to be, but he's happy with his new life.

 

I chose to set my fictional Sign Point on Preston Road in Dallas because the proximity to Southern Methodist University makes the relationships in the story more believable. 

 

Up next is "Who Shot the Party Crasher?" by Amber Royer

 

When ex-rock star Manda takes a road trip home to Texas with her aunt and her aunt's besties to see where the TV show Dallas was shot, she gets more than she bargained for when they find a dead body in their RV. Can she figure out who shot the guy who kinda looks like J.R.?

 

I love how this story echoes themes from my long-form work. Television and media and our relationship to them are a big part of the Chocoverse space-opera series in which my protagonist's mom is an intergalactic celebrity chef and my protagonist is hiding out from the paparazzi—while basically living inside a telenovela on the page. And Felicity, the protagonist of my Bean to Bar Mysteries, has an ambivalent relationship with her shop's image (after it becomes the site of a murder, in the first book) and social media (especially after a killer learns of Felicity's crime-solving exploits via a podcast and calls her out in book five).

 

This story is set in the north part of Dallas/Fort Worth. I've lived up this way for around six years, and it's an interesting mix of quaint city squares, urban areas, wildlife-friendly parks (we saw a beaver the last time we went walking at night on the path around Towne Lake!) and landmarks—including Southfork Ranch, the house used for the television show Dallas. I didn't want to set a murder at the actual landmark, so I used it just for inspiration.  

 

Our sixth story is "Stood Up" by Dänna Wilberg

 

Who killed Lanky Dave? After being stood up for a date by a local actress, a Dallas detective agrees to sacrifice his night off to investigate a drug dealer's gruesome murder. During his investigation, he discovers fate can be cruel, blood is thicker than water, and things aren't always as they appear to be. 

 

My favorite part of writing "Stood Up" was creating unusual characters, incorporating local history into the backstory, and weaving many interesting locations, spanning from Frisco to downtown Dallas, into the plot.

 

Although I'm from Sacramento, California, I was fortunate to attend a speakeasy in Frisco and dine at Campisi's legendary restaurant. But truth be told, I fell in love with Dallas's potential for staging a murder after taking a city tour on a souped-up golf cart.  

 

Next comes "Steer Clear" by Mark Thielman

 

The sudden disappearance of Bluebonnet, Forth Worth's prize steer, has the mayor demanding answers. To avoid the wrath of his lieutenant, Detective Alpert must shake off his hangover long enough to find Cowtown's favorite bovine. "Steer Clear" is a locked-barn mystery. 

 

I'm combining questions two and three. My favorite part was setting a story in my city, Forth Worth. Although we're the other half of Dallas/Fort Worth, we sometimes get overlooked. I wanted a story that featured Cowtown. Putting a big bovine in the heart of the tale seemed the best way to do that.

 

Up next is "Risk Reduction" by L. A. Starks

 

If your family was threatened, how far would you go to save them? When her new boss makes a shocking request of her, a young financial analyst must reduce the risk to her family in the only way she can—by calculating the odds.

 

My favorite thing about writing this story was giving a taste of the cool, complex mix of people, neighborhoods, and cultures in the Dallas/Fort Worth metroplex.  

 

A key setting for my story is Munger Place in Old East Dallas. When I lived there, residents' aspirations and striving, like those of the main character in the story, were exemplified by a sign at a used-car lot: Su trabajo es su crédito. "Your job is your credit." 

 

Our penultimate story is "Road Rage" by Pam McWilliams

 

A road-rage killing is more complicated than it first appears, especially when the  detective's lost love appears at his door with information that sheds light on the case. 

Two of my favorite characters from "Two-Legged Creatures"—my story in Malice in Dallas—couldn't stand each other for most of the story. But they reappear in "Road Rage," now with a complicated romantic history that took place in between the stories. I also like the way the road-rage killing is about a lot more than two angry drivers. 

Both the victim and the killer live north of the city in affluent areas, and I-75, where the road-rage incident takes place, is one of the fastest ways to get there from downtown, particularly late at night after an evening out.

And we wrap up the anthology with "The Mysterious Disappearance of Jason Whetstone" by Karen Harrington

A Garland journalist explores the disappearance of a mediator at Highland Park's Remedy Clinic—a venue that referees petty or odd disputes—and unfurls the truth about his last two clients: sisters at odds over a family memory. Would one of them commit murder to win the argument?

The story unfurls from a journalist's point of view as she collects various interviews and records about the disappearance of Jason Whetstone, culminating in the kind of true-crime article you might find in a magazine. Writing it that way was challenging and fun as I'm a huge fan of that type of article. 

The crime is solved in Garland, Texas, where I grew up and also where the film Zombieland opens. That should tell you everything.

Barb again: And those are the ten stories in Reckless in Texas. We hope we've enticed you to pick up the anthology, which you can find on Amazon in trade paperback and ebook formats. Just click here. If you've read any of the anthology, we'd love to hear what you think. 

Finally, a little BSP before I go: I'm delighted to share that last week my story "The Gift" was named a finalist for this year's Thriller Award in the short story category. The story involves a high school principal who has always believed in setting a good example. But sometimes the line between right and wrong blurs—especially when family is involved.

"The Gift" was published last autumn in Land of 10,000 Thrills: Bouchercon Anthology 2022. Thanks to Greg Herren, who edited the anthology, and Down & Out Books, which published it, for including my story. You can buy the anthology through the usual online sources, including here. The Thriller Award winners will be announced on June 3rd.