John Floyd and I have both said before that Jack Ritchie was one of the greatest writers of short humorous mysteries. I just discovered that his Edgar-winning story "The Absence of Emily" was adapted into an episode of the British TV series Tales of the Unexpected. And here it is!
14 December 2019
The Absence of Emily
John Floyd and I have both said before that Jack Ritchie was one of the greatest writers of short humorous mysteries. I just discovered that his Edgar-winning story "The Absence of Emily" was adapted into an episode of the British TV series Tales of the Unexpected. And here it is!
29 September 2012
Mystery Week
by John Floyd
Now what did I do with that remote . . . ?
18 February 2023
A Sense of Entitlement
by John Floyd
Creating titles is something all writers have to tackle at some point, whether you do it before or after the story, whether you want to or not, whether you're good at it or not. Every baby has a name and every story has a title. And yes, some sound better than others.
I enjoy the process of coming up with story titles. I guess I do an okay job of it--I think my titles accomplish what I want, and that's to describe (at least to some degree) what the story's about or to make a reference to something in it. Having said that, I confess I'm not madly in love with some of my own titles. I do like a few of them--one was "The Early Death of Pinto Bishop," the title of a story I first published in a Canadian literary magazine and is still available (I think) at Untreed Reads. Others were "The Starlite Drive-In," "The Daisy Nelson Case," "Rhonda and Clyde," "A Surprise for Digger Wade," "Eight in the Corner," "Andy, Get Your Gun," "The Delta Princess," and a few more. I also liked "Take the Money and Ron," the title of a story about a robbery/kidnapping, but the editor chose to change that one. I wasn't thrilled about the substitute, but I happily took the money and ran (leaving Ron behind).
As for other writers' titles, there are many, many of those that I love. Some are classics that I would guess everyone likes: East of Eden, Gone with the Wind, Atlas Shrugged, The High and the Mighty, Double Indemnity, Back to the Future, etc.--that list is as long as a politician's nose.
My absolute favorites, though, are those I've listed below. Some are funny, some have double meanings or hidden meanings, some are just cool. All of them are titles I wish I myself had come up with.
NOTE: The titles of movies and books are in italics, short-story titles are in quotes, and movies have the release dates attached. There's a lot of overlap--some are movies adapted from novels or stories.
See if you remember these:
Bring Me the Head of Alfredo Garcia -- 1974
Don't Worry, He Won't Get Far on Foot -- 2018
"The Perfect Time for the Perfect Crime" -- Edward D. Hoch
Let's Hear It for the Deaf Man -- Ed McBain
The Lady in the Car with Glasses and a Gun -- 1970
Here's Looking at Euclid -- Alex Bellos
Before the Devil Knows You're Dead -- 2007
"The Saints Go Stumbling On" -- Jack Ritchie
The Hitchhiker's Guide to the Galaxy -- 2005
Tequila Mockingbird -- Tim Federie
"Lamb to the Slaughter" -- Roald Dahl
Don't Look Up -- 2021
Apocalypse Pretty Soon -- Alex Heard
Once Upon a Time in the West -- 1968
Me and Earl and the Dying Girl -- 2015
"The Kugelmaas Episode" -- Woody Allen
A Walk Among the Tombstones -- Lawrence Block
Shangai Noon -- 2000
Lie Down with Lions -- Ken Follett
"Mary Poppins Didn't Have Tattoos" -- Stacy Woodson
At Play in the Fields of the Lord -- 1991
A Big Hand for the Little Lady -- 1966
"The Last Rung on the Ladder" -- Stephen King
"Dark They Were, and Golden-Eyed" -- Ray Bradbury
The Devil at Four O'clock -- 1961
The Sidelong Glances of a Pigeon Kicker -- Ron White
Don't Tell Mom the Babysitter's Dead -- 1991
The Adventures of Buckaroo Banzai -- 1984
Midnight in the Garden of Evel Knievel -- Giles Smith
One-Eyed Jacks -- 1961
Shoot Low, Boys--They're Riding Shetland Ponies -- Lewis Grizzard
"Boo Radley College Prep" -- Karen Harrington
A Hearse of a Different Color -- Tim Cockey
How to Win Friends and Influenza -- Edward Kurtz
They Shoot Horses, Don't They? -- 1970
That's the kind of list an avid reader/moviegoer could update several times a day, and I probably will, but for now that's my best effort.
To wrap up this title wave . . . What are some of your favorites? Let me know in the comments below (include your own titles, if you like).
And make your next title your best ever.
02 May 2015
Pace Yourself
by John Floyd
"Because a story is a metaphor for life, we expect it to feel like life, to have the rhythm of life. This rhythm beats between two contradictory desires: On one hand, we desire serenity, harmony, peace, and relaxation, but too much of this day after day and we become bored to the point of ennui, and need therapy. As a result, we also desire challenges, tension, danger, even fear. But too much of this day after day and again we end up in the rubber room. So the rhythm of life swings between these poles."
We all know that in a short story or a novel, the proper pacing is vital to its success. And in the case of mystery/crime fiction, the pace has to be fast. Nobody likes being bored, and nothing is so boring to a reader as a story that drags along and doesn't do something.
Ideally, this building of suspense has to happen throughout the narrative. A good, exciting opening is always important, but the challenge is then to keep up that pace afterward as well. Personally, I'd almost rather read a story or novel that starts slowly than one that starts strong and then bogs down in the middle; if it has a poor beginning I can at least stop reading sooner. As I've said before, there are too many good books and stories and movies out there for me to waste my time reading one or watching one that doesn't hold my interest.
So yes, good pacing is essential. But--as the little boy said to the magician--how do you do it?
At the risk of oversimplifying, here are three ways that we writers can control the pacing of our fiction.
1. Style
- Dialogue speeds things up; description slows them down
- Short, simple sentences speed things up; long, complex sentences slow them down (think Hemingway vs. Faulkner)
- Action verbs speed things up (sprinting vs. running, slamming vs. closing, gulping vs. eating, stomping vs. walking)
- The overuse of certain kinds of punctuation (commas, ellipses, parentheses, etc.) slows things down
- Active voice speeds things up; passive voice slows them down
- Short scenes/chapters speed things up; long scenes/chapters slow them down (think Patterson vs. Michener)
2. Action
As mentioned earlier, the best way to keep the reader interested is to make things happen--preferably exciting things and preferably often. There should be plenty of confrontations, obstacles, and setbacks. Internal struggles of course create tension, but in genre fiction the conflicts should be external as well. According to Jessica Page Morrell in her book Thanks, but This Isn't for Us: "If too many scenes in your story feature a character alone, the story won't work. Especially if in most of the scenes the character is thinking, musing, recalling the past, or sighing. Especially sighing."
3. Reversals
I'm a big fan of plot twists--and by that I don't just mean O. Henry-type surprise endings. I love it when the story takes a sharp and unexpected turn at any point, even near the beginning. It keeps me guessing and therefore keeps me reading. (Or watching. Reference the shower scene in Psycho.) I can't remember who said it, and I'm paraphrasing here, but if you're the writer and you think things might be moving too slowly, that's a good time to have someone burst through the door holding a gun.
Those are just a few thoughts--please feel free to contradict them or to add to the list.
Finally, no discussion of pacing would be complete without at least mentioning the concept of "scene and sequel." Scenes are units of story action, and sequels (in terms of writing) are breaks in the action--rest periods when the hero/heroine takes a timeout to think about what just happened and to consider what might happen next. Properly alternating scenes and sequels is a pacing mechanism, to allow the reader to--along with the protagonist--catch his breath and calm down a bit before facing the next challenge.
If you want to read some really fast-paced mystery fiction, I suggest stories and novels by the following authors: Lee Child, Harlan Coben, Robert B. Parker, Janet Evanovich, James Patterson, Jack Ritchie, Joe R. Lansdale, and Elmore Leonard.
It won't take you long.
24 November 2012
The Next Big Thing
by John Floyd
16 October 2019
Ten Things I Learned Writing Short Stories
Photo by Michael Fowles |
1. Editors don't reject you. They reject words you have written. So don't take it personally, and try again. I was rejected by Ellery Queen Mystery Magazine 76 times before they bought a story.
2. When in doubt, don't throw it out. If a story doesn't sell does it mean that it stinks? No, it means that on a given day it didn't meet that market's needs. Really. So tuck it away and see what happens.
I wrote a story about a TV actor who kills a rival. All my favorite magazines rejected it. Years later the Mystery Writers of America announced an anthology to be titled Show Business is Murder. "On The Bubble" found a happy home.
3. Flattery and bribery are good for you. I don't mean that you should apply them to your editors, reviewers, or even readers. I am talking about the Miner, which is what I call the part of the brain that comes up with story ideas. (The other creative part of your brain is the Jeweler, which turns the raw material into something pretty and publishable. When an author says "I don't even remember writing it!" that means the Miner did ninety percent of the work.
Most people have trained the Miner to be lazy. How do you that? By ignoring the ideas he offers you. You can flatter him by taking those ideas seriously. Even if you don't have time to start that novel today, write down the concept. Spend five minutes brainstorming the idea. Don't in short, look a gift horse in the mouth.
And how do you bribe the miner? Spend money on him! Buy a writing text, get that new desk chair, go to a writing conference. Convince him that you are taking your writing career (yes, let's use that word) seriously. Who knows? Maybe you'll convince the rest of your brain as well.
(Interesting example: I gave this talk on Saturday. Monday morning I woke up with two new ideas for short stories. The Miner obviously liked the attention.)
4. It's okay to plagiarize. Sometimes. I'm talking about what Lawrence Block called "Creative plagiarism." That's when you take someone else's idea and use it differently.
Many years ago Fletcher Flora wrote a short story called "The Seasons Come, The Seasons Go." It appeared in Ellery Queen in 1966. The plot involved a wealthy man, his useless nephew (who narrated), an attractive young woman, and a plot to kill someone in the family.
The first story I ever sold to Alfred Hitchcock was originally called "My Life as a Ghost," but they changed it to "The Dear Departed." (The only time one of my stories was retitled, so far.) My story involved a wealthy man, his useless nephew (who narrated), an attractive young woman, and a plot to kill a family member. It also featured a similar twist ending.
Stop thief, I hear you cry. But the truth is, my version is completely legitimate. The murder and motive are quite different, and my victim is a person with no parallel in the original. If you read the two in quick succession you would probably have a suspicion about how the second story would end, but that happens all the time. There are only so many possible endings.
5. Self-publishing doesn't work. Unless it does. Since no one seemed to be clamoring to publish a collection of my short stories I did it myself. Shanks on Crime includes 13 stories about mystery writer Leopold Longshanks, most of which had already appeared in Alfred Hitchcock Mystery Magazine. I hired a professional book designer and produced it both as a paperback and an ebook.
How did I do? I lost a couple of hundred bucks on the deal. Nothing that would keep me from buying dinner or make me lose sleep, so I was fine with it.
Then I received an email from a literary agent asking if I would like to sell the Japanese rights to Tokyo Sogen, the oldest mystery publisher in that country. I said, why sure. The amount they paid me would be less than a rounding error for, say, James Patterson, but it is the most money I have ever made on a piece of writing. And they were so happy with sales that they just published a collection of some of my otherwise uncollected stories later this year.
Would any of that have happened if I hadn't bit the bullet and self-published my book? Nope.
6. Mash-ups are delicious. In computing a mash-up is an app that combines data or functions from two sources. Classic example: you create a Google map using the addresses in a database of customers.
When I refer to a mash-up I mean taking several different sources to create something new. For example, I have published six stories about Uncle Victor. These stories are a mash-up of The Godfather, I, Claudius, and Jack Ritchie's Henry Turnbuckle stories. Uncle Victor is the eccentric relative of a mob boss. Like Claudius, he survives in a deadly family because no one takes him seriously enough to kill him. And his major asset as a private eye is the one he shares with police detective Henry Turnbuckle: self-confidence that is completely unjustified by reality.
Another example is my story "Brutal," which appeared in Alfred Hitchcock. It combines Jim Thompson's The Getaway - about a robbery that goes perfectly, followed by a disastrous attempt to escape - with Neil Simon's movie The Out-of-Towners. My story is about an assassin who completes his job perfectly and then is crushed by a series of average city-dwellers who are just carrying on with their lives, completely unaware of who they are dealing with.
7. Be nice to your editors and they may be nice to you. Obviously good manners are important. I am sure most editors have a list (at least in their heads) of writers who are Too Much Trouble To Deal With. But I want to give a specific example.
A few years ago I wrote a story which looked at the very first mystery, Edgar Allan Poe's "Murders in the Rue Morgue" from the viewpoint of the murderer (that's right; the orang-outang). I sent it to a magazine with which I had an excellent relationship. And then I saw a notice for an anthology of Poe-related stories. A perfect market for my tale! I didn't want to withdraw my already submitted story and risk the relationship with an on-going customer. So I wrote to the editor I had already submitted to and explained my plight. I said I would be delighted to have my tale in their publication, but would it be possible t jump the queue and get an early decision so if they don't want it I could try the anthology?
And the editor went above and beyond by pulling my story out of the long stack and giving it a quick read. Turns out they didn't want it, which was fine. I submitted it to nEvermore! and not only was it accepted but it was reprinted in two best-of-the-year collections. But this was only possible because the editor was willing to do me a favor by giving me a special read.
8. One-market stories are dangerous temptations. Ideally you want to write a story that could find a happy home in many different locations. But sometimes an opportunity comes up for a niche market, usually an anthology. Whether that's a good idea depends on a number of factors including: the speed you can write, the possible reward, and how intriguing you find the concept. After George W. Bush was elected someone announced an anthology called Jigsaw Nation, in which all the stories would take place in the United States after the blue and red states separated.
I thought it was a great concept and wrote "Down In The Corridor," about the consul from the Pacific States of America dealing with a nasty situation in the San Diego Corridor which connected the greatly diminished USA to the ocean. It was a crime story (my specialty) as well as a science fiction (or alternative almost-history) story. It sold to Jigsaw Nation which was great but the book was pretty much ignored by the world. Ah well.
A few years ago several cartoonists created an anthology called Machine of Death, with an intriguing concept. You put a drop of your blood in this machine and it tells you how you will die. Not when; just how. Car crash. Gunshot. Mary. Yeah, but which Mary? Your wife Mary or Hurricane Mary? Like all good oracles the machine is wickedly ambiguous. Suicide could mean that somebody jumps out a window and lands on you.
I loved the concept so much I wrote two stories for it: a historical and a police procedural. The editors rejected both. Those are two stories I can never use anywhere.
9. Network, network. Also: network. There are fine organizations out there looking for members: Mystery Writers of America, Sisters in Crime, International Thriller Writers, Private Eye Writers of America. There are conferences: Bouchercon, Left Coast Crime, Malice Domestic. And here is a shocking secret: a lot of mystery writers are friendlier than you might expect. They DON'T want to read your unpublished manuscript but they might be happy to hear what you liked about their latest masterpiece. And if you see a lonely author sitting alone at a signing table, go up and chat. It doesn't obligate you to buy anything. And don't forget to read SleuthSayers!
Well, that's nine jewels of wisdom down. In two weeks I will return to polish the last gem.
17 September 2013
SleuthSayers' Second Anniversary! Part 2
If I jumbled anyone's title or misspelled a name, I apologize. Those of you who use a middle initial may find that it comes and goes (as they seem to do on the blog). I'd also like to thank Dale for his leadership on this project. He's a good man to follow on a desperate enterprise. He doesn't daunt easily.
September 2012 - Part Two
Notes from the Penitentiary – September 2012 -- Eve Fisher's offbeat and insightful notes.
Five Red Herrings III -- Robert Lopresti on truth stranger than fiction.
A Bouchercon Mystery -- Dale C. Andrews draws us in.
Adventures in South Africa -- Leigh Lundin reports from South Africa.
Playing Detective -- Deborah Elliott-Upton offers a paean to hardboiled men and women.
October
A Non-iconic Writer -- Louis Willis remembers Shell Scott and Richard S. Prather fondly.
The Gifted Child -- John M. Floyd writes a great fan letter.
Things That Go Bump in the Night -- Dale Andrews stories for ghost story season.
The Shrink is in . . . Cyberspace -- Elizabeth Zelvin's fascinating day job.
The Dadaist Enigma of Claire DeWitt -- Dixon Hill offers a unique take on an author's "mistakes."
Mariel -- David Dean introduces one fascinating muse.
Developing the Series -- R.T. Lawton's great advice on keeping your friends close and your editors closer.
You Say Sensation, I Say Mystery -- Eve Fisher discusses the prehistory of the genre.
Great Sentences -- Jan Grape's good writing on good writing.
November
Ghost and the Machine -- Dixon Hill contrasts ghost stories and mysteries.
"The Unicorn in the Garden," or God Bless You, Mr. Thurber -- Eve Fisher remembers two comic geniuses: Thurber and Benchley.
Sometimes It's Magic -- Robert Lopresti reveals the true thing that keeps a writer going.
Distractions -- Deborah Elliott-Upton battles our common enemy.
Alan Furst: The World at Night -- David Edgerley Gates makes the case for Alan Furst.
The Great and Billowing Sea -- David Dean on great sea stories and a jaw bone.
Known Only to God -- Fran Rizer offers thoughts on Veterans Day for every day.
Not Being Preachy -- Elizabeth Zelvin on characters who carry the burden of an author's themes.
December
Literary Mystery -- Leigh Lundin examines a Hemmingway mystery.
We're No Angles -- Eve Fisher on a minor Christmas classic.
Maze of Bones -- Dixon Hill spreads contagious enthusiasm about a series for young readers.
I Never Saw a Strange Red Cow -- Robert Lopresti's fascinating fragments of lost stories.
Cold War Berlin: A Whiter Shade of Pale -- David Edgerley Gates evokes lost times and places.
The Dark Valley of Unpublished Stories -- David Dean describes a trip to a place where all writers have strayed.
Old Dogs and New Tricks -- John M. Floyd on old pros changing things up.
Tradecraft: Surveillance 101 -- R.T. Lawton provides information every crime writer should know.
January 2013
The Art of Detection -- Dale C. Andrews' review of a new book on Ellery Queen sparks thoughts on a writer's immortality.
Chekhov Wrote Crime Stories? -- Louis Willis offers a new way of looking at a master of the short story.
Rosemary &Thyme -- David Edgerley Gates celebrates a guilty pleasure.
Location, Location, Location -- David Dean's thoughts on location and the trap of writing from experience.
Doubt -- Janice Law explores the value of doubt in the mystery.
The Last Five Minutes -- Eve Fisher's last words on last words.
Professional Tips - John Lutz -- Leigh Lundin meets a favorite writer and discusses his writing tips.
The Silence of the Animals -- Dixon Hill tells a great story.
A New Project for the New Year -- Fran Rizer announces a very early Christmas present.
February
Bruce Lockhart: Memoirs of British Agent -- David Edgerley Gates delivers another great history lecture.
Ripped from the Headlines -- Jan Grape shares more stranger-than-fiction truth.
I Was Just Wondering -- Louis A. Willis on the toughest job a "fictioneer" faces.
An Anniversary -- Elizabeth Zelvin provides great pictures, word pictures and real ones, on her parents' wedding anniversary.
I Owe It All to Rilke -- Brian Thornton devotes his SleuthSayers debut to the networking challenge.
Readers Choice -- David Dean places his literary future in the hands of his readers.
And the Beat Goes On -- John M. Floyd on Robert B. Parker's second coming.
Gone South (with Travis McGee) -- Dale C. Andrews on John D. MacDonald's return to print.
And Where is THAT? -- Fran Rizer discusses some fabulous real estate.
March
Stalker -- Dale C. Andrews on extreme fandom.
SleuthSayers, SleuthSayers -- Robert Lopresti shows off his poetry chops.
Setting as Character -- Brian Thornton discusses the importance of setting in the mystery.
Doyle When He Nodded -- Terence Faherty's debut explores Sir Arthur's fascinating lapses.
Framed -- John M. Floyd on a favorite story structure.
The IDES Are Coming -- R.T. Lawton lets the ides have it.
The Dean of SleuthSayers -- Leigh Lundin on David Dean and his new book.
No Goodbyes -- David Dean's last regularly scheduled post, for now.
April
I Found My Thrill -- Fran Rizer explores the thriller.
Creating Deception -- John Floyd gives tips on building a solid short story collection.
The After Story -- R.T. Lawton on continuing a story beyond the climax.
Gratuitous Violence -- Dale C. Andrews thoughts on violence that interrupts the story.
Reading to Learn -- Jan Grape shares writing lessons she learned by reading.
A True Story of Crooks and Spies -- Dixon Hill reviews a true tale of wartime intrigue.
Rosencrantz and Guildenstern Want Something -- Robert Lopresti reveals the secret to creating great characters.
The Current Crop of Clichés -- Elizabeth Zelvin considers the continuing devolution of the language.
May
Memorial Day 2013 -- Jan Grape on Memorial Days present and past.
He Wasn’t The Best But He Was Good Enough -- Louis A. Willis on an almost-master, Carroll John Daly.
The Bank Robbery -- R.T. Lawton describes a bank robbery that never was.
Random Observations -- Eve Fisher's thoughts on travelling away from oneself.
The Double Dippers -- Terence Faherty revels in big screen minutiae.
Losing the Edge -- John M. Floyd examines the burnout phenomenon.
The Beachcomber -- David Edgerley Gates recreates a memorable interview.
Some Thoughts on "Cosplay" Fiction -- Brian Thornton coins a term for anachronistic characters in historical fiction.
June
Dumbing Down: Self-fulfilling Prophecies about the Loss of Culture -- Elizabeth Zelvin's title describes it and her essay nails it.
Some Thoughts on the Importance of Plot, Character and Conflict in Fiction -- Brian Thornton minces no words in his discussion of the interaction of plot and character.
Stay Creative - Jan Grape passes on some good advice from Holiday Inn.
Adolescent Sexist Swill? -- Fran Rizer pulls a Tom Sawyer on her friends with the help of Richard S. Prather.
Jesse James and Meramec Caverns: Another Route 66 Story -- Dale C. Andrews considers the line between history and legend.
The Haunted Wood -- David Edgerley Gates sets another record straight.
The Death of Laura Foster -- John Edward Fletcher tracks a North Carolina legend.
Beginners -- Janice Law on the art of learning a craft.
July
Show Don't Tell -- Dale Andrews on the difference between paper and flesh and blood.
Voice? -- Fran Rizer talks about good writing's most elusive quality: voice.
The Detroit PI -- Louis Willis on Loren Estleman's Amos Walker.
Who's on First -- Terence Faherty addresses the challenges of the PI point of view: first person.
Hiaasen on the Cake -- John Floyd's tribute to Carl Hiaasen.
Two Writers, One Set-up -- Robert Lopresti on Jack Ritchie and the starting gun.
The Crazy Crawl -- Dixon Hill on yet another technological innovation that makes life less intelligible.
Pam, Prism, and Poindexter -- Leigh Lundin hits a nerve with the subject of domestic spying.
August
Marketing 101 -- John M. Floyd reveals his marketing secrets in this very popular post.
You Can't Make It Up -- Eve Fisher opens her file of newspaper clippings.
The Hardy Boys Mystery -- Dale C. Andrews rediscovers a lost first love.
Going to Great (or Short) Lengths -- Janice Law on the lengths to which authors will go.
Lessons Learned -- Jan Grape discusses putting your writing on automatic pilot.
Fatherlands -- David Edgerley Gates on alternate histories.
Wherefore Art -- Toe Hallock on the fascination of words.
Some General Thoughts on Character -- Brian Thornton tracks down an elusive (definition of) character.
Anybody Down Range? -- R.T. Lawton helps mystery writers handle firearms.
September
Regrets, I've Had a Few.... -- Brian Thornton on the secret character ingredient: regret.
Suddenly, I Got a Buzz -- Robert Lopresti on words that need watching.
Criminal Book Covers -- Leigh Lundin on book covers that should be covered.