14 April 2015

Mariel– The Story, Part I


Some time ago I did a piece here on the writing of my story, "Mariel", which appeared in the Dec. 2012 issue of ELLERY QUEEN MYSTERY MAGAZINE. Finding myself overcome by events and coming up dry on the deadline for this month's entry in the SleuthSayers sweepstakes, I decided to make the story available (in two parts due to its length) to anyone who wants to read it. I hope that you will, if you haven't already, and that you enjoy meeting it's young heroine.

Mariel

THE NEIGHBOR watched Mariel approach through his partially shuttered blinds. She cruised down their quiet cul-de-sac on her purple bicycle, her large head with its jumble of tight curls swiveling from side to side. He thought she looked grotesque, a Shirley Temple on steroids. Mariel ratcheted the bell affixed to her handlebars for no apparent reason and stopped in front of his house. He took a step back from the window.

His house was one of three that lay along the turn-around at the end of Crumpler Lane and normally she would simply complete her circumnavigation of the asphalted circle and return to her end of the street. This time, however, Mariel’s piggish eyes swept across his lawn and continued to the space between his house and that of his neighbor’s to the north, who despised the child as much as he did, if that was possible. A crease of concern appeared on his freckled forehead and he took a sip of his cooling coffee.

Suddenly she raked the lever of her bell back and forth several times startling him, the nerve-wracking jangle sounding as if Mariel and her bike were in his living room. He felt something warm slide over his knuckles and drip onto his faux Persian carpet.

Hissing a curse about Mariel’s parentage, he turned for the kitchen and a bottle of stain remover. “Hideous child,” he murmured through clenched teeth, “Troglodyte!” What was she looking for? More than once he had chased her from his property after he had found her snooping around his sheds and peering in his windows. Though he had complained, her mother had proved useless in controlling the child. She was one of those ‘single moms’ that seemed to dominate the family landscape of late, and had made it clear that she thought he was overreacting.

He recalled with a flushing of his freshly razored cheeks, how she had appeared amused by the whole thing and inquired with an arched brow how long he had been divorced—as if the need for companionship might be the real motive behind his visit! He felt certain that on more than one encounter with the gargantuan and supremely disengaged mother, that he had smelled alcohol on her breath, cheap wine, if he had to hazard a guess.

But what now, he wondered? Usually, Mariel crept about in a surprisingly stealthy manner for such a large girl, but now she commanded the street like a general, silent but for the grating bell that even now rang out demandingly once more…but for what?

Forgetting the carpet cleaner, he set down his morning mug and glided stealthily back to his observation point at the window. He felt trapped, somehow, by this sly little giant so inappropriately named ‘Mariel’. What had her mother been thinking, he asked himself with a shake of his graying head, to assign this clumsy-looking creature such a delicate, feminine name? When he peeked out again it was to find Mariel’s bike lying discarded on his lawn, the girl nowhere to be seen. The crease between his eyes became a furrow and he rushed through his silent house to the kitchen windows.

Carefully parting a slat of his Venetian blinds, he looked on the path that led between his property and the next and on into the woods, a large head of curly hair was just disappearing down it and into the trees. A shudder ran through his body and beads of sweat formed above his upper lip like dew. ‘Damn the girl,’ he thought, feeling slightly nauseous as suspicion uncoiled itself within his now-queasy guts.

Unbidden, the image of the dog trotted into his mind, its hideous prize clasped between its slavering jaws. It had reeked of the rancid earth exposed by the recent torrential rains. He remembered with a shudder of distaste and a rising, renewable fury how it had danced back and forth across his sodden lawn, clearly enjoying its game of ‘keep away’. He remembered the shovel most of all, its heft and reach, the satisfaction of its use.

“That was her dog,” he breathed into the silent, waiting room, then thought, ‘Of course it was…it would be.’ His soft hands flexed as if gripping the shovel once more.



Mariel stood over the shallow, hastily dug grave and contemplated the partially exposed paw. The limb showed cinnamon-colored fur with black, tigerish stripes that she immediately recognized. She hadn’t really cared for Ripper, (a name he had been awarded as a puppy denoting his penchant for ripping any and every thing he could seize between his formidable jaws) but he had been, ostensibly, her dog.

Ostensibly, because as he had grown larger, his destructive capabilities, coupled with Mariel and her mother’s complete disregard of attempting to instill anything remotely resembling discipline, had resulted in a rather dangerous beast that had to be kept penned in the back yard at all times. Mariel had served largely as Ripper’s jailer.

As she couldn’t really share any affection with the dog, or he with her, they had gradually grown to regard one another with a resigned antipathy, if not outright hostility—after all, she was also the provider of his daily meals which she mostly remembered to deliver. It was also she that managed to locate him on those occasions when he found the gate to his pen unlatched (Mariel did this from time to time to see what might happen in the neighborhood as a result) and coaxed him into returning. This was the mission in which Mariel had been engaged this Saturday morning in early November. She saw now that she had been only partially successful, Ripper would not be retuning to his pen.

Looking about for something to scrape the loose earth off her dog’s remains, she pried a rotting piece of wood from a long-fallen pine tree and began to dig into the damp, sandy soil. Grunting and sweating with the effort, her Medusa-like curls bouncing on her large, round skull, Ripper was exposed within minutes. Whoever had buried him had not done a very good job of it and the slight stench of dead dog that had first led her to the secret grave rose like an accusing, invisible wraith. Mariel wrinkled her stubby nose.

Ignoring the dirt and damage being done her purplish sweat shirt and pants that matched her bicycle, she seized the dead creature by his hindquarters and dragged him free of the grave. Letting him drop onto the leaf litter of the forest floor with a sad thump she surveyed her once-fierce companion.

She thought that he looked as if the air had been let out of him—deflated. His great fangs were exposed in a permanent snarl or grimace, the teeth and eyes clotted with earth. She pushed at his ribcage with a toe of her dirty sneaker as if this might goad him back into action, but nothing happened, he just lay there.

She thought his skull appeared changed and squatted next to him to make a closer examination. As she brought her large face closer, the rancid odor grew stronger yet, but Mariel was not squeamish and so continued her careful scrutiny. It was different, she decided. The concavity that naturally ran between Ripper’s eyes to the crown of his skull was now more of a valley, or canyon. Mariel ran a finger along it and came away with a sticky black substance clinging to it. The stain smelled of death and iron.

Having completed her necropsy, Mariel stood once more and surveyed the surrounding woods. The trees had been largely stripped of their colorful foliage by the recent nor’easter, but her enemy was not to be seen. Though she did not truly mourn Ripper’s untimely passing, she did greatly resent the theft of her property and its misuse, and concluded with a hot finality that someone owed her a dog.

She gently kicked Ripper’s poor carcass as a final farewell then turned to leave and find a wheel barrow in which to transport him home once more. She knew of several neighbors who possessed such a conveyance and almost none were locked away this time of year.

It was then that something within the dog’s recent grave caught her attention—something that twinkled like a cat’s eye in the slanted beams of daylight that filtered through the trees. Mariel dropped to her knees, thrusting her chubby hand into the fetid earth to retrieve whatever treasure lay within. When she withdrew it once more it was to find that she clasped a prize far greater than any she could ever have imagined—a gold necklace, it’s flattened, supple links glistening like snake skin and bearing a pendant that sparkled with a blue fire in the rays of the milky sun. Mariel had no idea as to what, exactly, she had discovered, but her forager’s instinct assured her that she clasped a prize worth having.

Without hesitation, she gave it a tug to free it from the grasp of Ripper’s grave, but oddly, found that her efforts were resisted. She snatched at it once more, impatient to be in full possession of her prize, and felt something beneath the dirt move and begin to give way. Encouraged at the results of this tug-o-war, she seized the links in both hands now and rocked back on her considerable haunches for additional leverage.

With the dry snap of a breaking branch, the necklace came free and Mariel found herself in full possession. The erupted earth, however, now revealed a yellowish set of teeth still lodged in the lower jawbone of their owner. Several of these teeth had been filled with silver and as Mariel had also been the recipient of such dental work, she understood that the remains were those of a human. A stack of vertebrae were visible jutting out from the dirt, evidence of the result of the uneven struggle, though the remainder of the skull still lay secure beneath the soil.

Mariel’s grip on the pendant never wavered as she regarded the neck of the now-headless horror that had previously worn the coveted necklace. With only a slight “Ewww,” of disgust, she rose in triumph to slip the prized chain over her own large head, admiring the lustrous sapphire that hung almost to her exposed navel while ignoring the slight tang of death that clung to it. She felt well-pleased with the day’s outcome, Ripper’s demise notwithstanding.

With her plans now altered by this surprising acquisition, Mariel dragged her dog’s much abused corpus back to the grave from which she had only just liberated him, tipped him in and began to cover Ripper and his companion once more. When she was done, she studied the results for several moments; then thought to drag a few fallen branches over her handiwork.

Satisfied with the results, she turned for home once more, pausing only long enough to slip the necklace beneath her stained sweat shirt. Mariel did not want to have to surrender her hard-won treasure to her mother, who would undoubtedly covet the prize and seize it for her own adornment. Besides, she had things she wanted to think about and did not want anyone to know of the necklace until the moment of her choosing, specially, the three men who occupied the homes on the cul-de-sac. It had not escaped Mariel’s notice that only those three had easy access to the path that led into the woods and passed within yards of the secret grave.



The neighbor watched her emerge from the trees and march past his house. He studied her closely but could read nothing from her usual closed expression. Other than her clothes being a little dirtier than when she went in she appeared the same as always and he breathed a sigh of relief.

It was silly, he thought as he saw her raise and clumsily mount her bike, how one unpleasant child could instill so much unease. It was because he was a sensitive man, he consoled himself—he had been a sensitive boy and with adulthood nothing had really changed. He had always resented the unfeeling bullies of the world, child or adult. Children like Mariel had terrified him when he had been a school boy and apparently nothing had changed in that respect either.

The sudden jangling of the bell caused him to gasp and his eyes returned to the robust figure of Mariel. She surveyed the surrounding houses with her implacable gaze, studying each of the three on the cul-de-sac in turn, coming at last back to his own. He shrank back from the window once more, his heart beating rapidly.

Then, with a thrust of a large thigh, her bike was set in motion and she pedaled from his sight with powerful strokes. “Damn her”, he whispered defiantly as his earlier concerns returned with such force that his blood suddenly roared within his ears.

Finding an overstuffed chair to settle into, he peered around the plush, dim room with its collection of his own paintings on the wall, while around him song birds began to chirp and sing from their cages as if to restore and calm him. He smiled weakly in gratitude at their effort even as Mariel’s imperious face returned to his mind’s eye with a terrible clarity. He closed his eyes against her, massaging his now-throbbing temples with his soft fingertips. If she had discovered anything in those woods, he asked himself, she would have come out screaming, wouldn’t she? He lowered his head into his sweaty hands, while a blood-red image of Mariel shimmered on his inner eyelids …wouldn’t she?



Mariel had no trouble engineering her encounter with Mister Salter. He worked on his lawn from early spring until the cold and snow of January finally drove him indoors. As long as there was any light she knew that her chances were good of finding him in his yard. So after she was delivered home by her school bus and enjoyed a snack of cream-filled cupcakes she pedaled her bike directly to the cul-de-sac and his property.

Salter watched her approach with a sour expression meant to ward her away, but Mariel was not troubled by such subtleties. She came to a sudden halt in his driveway causing a scattering of carefully raked gravel. She watched Salter’s expression darken at this, but he refrained from saying anything. He shut off the leaf blower he had been using and its piercing whine faded away. Man and girl observed each other from several yards apart as his corpulent Labrador waddled happily toward Mariel, thick tail wagging.

“Bruiser,” Salter warned menacingly.

The dog ignored him and continued on to Mariel, pleased to be patted on his large head. Salter’s complexion went darker yet.

“Can I do something for you?” he asked, his tone clearly inferring the opposite.

Mariel regarded him without answering, while fingering the necklace she had retrieved from its hiding place before going out. Salter fidgeted beneath her round-eyed stare. “Be careful of the dog,” he muttered hopefully, “he might bite.”

As Mariel had surreptitiously recruited Salter’s dog during her many secret forays, she knew this to be untrue. She often went into Salter’s garage where he kept the dog food and fed the animal while he was away teaching shop at the high school, Bruiser was always pleased to see her as a result. As if to emphasize their relationship, the dog laid its great head on her thigh, sighed, and stared adoringly into her eyes.

This was too much for Salter, who turned his wide back on her and went to pull at the cord that would start his treasured leaf-blower.

Mariel glanced at the well-worn path that led from Salter’s back yard and into the woods. “I have this,” she said, pulling the necklace from her shirt and allowing it to fall down over her plump stomach. The sapphire shone in the late day sun like a blue flame. Her eyes remained warily on Salter, even as her small mouth puckered into a smile of possessiveness.

Salter, glancing over his shoulder, halted, and turned slowly back. “Where the devil did you get that?” he managed. He took a few steps closer as Mariel backed her bike away an equal distance. Bruiser’s head slid off her thigh leaving a trail of saliva.

Seeing this, Salter stopped and studied Mariel’s prize from where he stood. “Did your mother say you could wear that?” he asked.

As the girl did not reply, but only continued her unsettling scrutiny, he added, “Does she even know that you have it? For that matter, how the hell could your mom afford something like that…provided its real, of course?” Forgetting himself, he took another few steps, but Mariel was already turning her bike to coast down his driveway.

“I know that you’ve been coming onto my property,” he called to her as she picked up speed with each stroke of her powerful legs. “You’d better stop sneaking around here…it’s called trespassing you know, I could call the cops.” His voice grew louder as she added distance between them. “And maybe I will the next time,” he offered.

“Did you steal that?” he called out meanly as she disappeared around the curve.

Mariel only looked back as she sped up the street and out of sight of the cu-de-sac. A small smile played on her puckered lips. She scratched Mr. Salter off her list of suspects.



Mariel surprised Mister Forster in his own back yard. She had glided silently across his still-green lawn to roll to a halt at the back edge of his house. Forster had his back to her and was busily feeding and talking to his flock of tiny bantam hens. He did not notice her arrival. The hens themselves restlessly pecked and grumbled within the pen he had provided them and gave her no notice as Forster continued to scatter feed amongst them.

Mariel enjoyed watching these birds, and had several times in the past attempted to better make their acquaintance. On one such occasion, Forster had found Mariel within the pen itself attempting to catch one of his miniature chickens, feathers flying about in the air amid a cacophony of terrified squawking. He had been livid with rage at her incursion and had joined the ranks of other neighbors who had visited her home to complain to her mother. Mariel had learned to be more careful since that encounter and had not been caught since, but neither had she been successful.

“They’re funny,” Mariel lisped quietly.

Forster spun around scattering the remainder of the feed from the bowl he was using. “Oh,” he cried, as the small, black fowl swarmed his shoes and cuffs for the errant seeds. “Oh,” he repeated; then focused on his unexpected visitor. He brought a hand up to his heart and gasped, “You scared me half to death, Mariel. I didn’t hear you come up and you nearly scared me half to…” he caught himself. “You usually ring that little bell of yours,” he finished with a limp gesture at her bike.

Man and girl regarded one another across several yards of mostly grassless, churned-up soil…evidence of poultry. A worn path into the woods separated them. Mr. Forster set the metal bowl down and opened the pen door to come out. Mariel clumsily rolled her bike into a half-circle that left her facing in the direction from which she had come.

The older man appeared to note the child’s wariness and slowed his steps, easing himself leisurely through the door and taking his time in carefully closing and latching the wire-covered frame. When he turned once more to Mariel it was to find her holding out a large jewel pendant that hung about her neck from a gold-colored chain. She reminded him of the vampire-slayers in horror films attempting to paralyze and kill their undead foes with a crucifix.

“My goodness, Mariel that is some necklace you have there. It’s lovely. You are a very lucky girl to have that.”

Mariel continued to fix him with both her gaze and the pendant while her lips vanished into a grim, pensive line. Forster stared back uncertainly. “Was there something that you wanted?” he thought to ask at last.

The sapphire wavered in her grip and she slowly lowered and slipped it once more beneath her top. It appeared to have no power over this man either. As she puzzled over her lack of progress in her investigations thus far, Forster took two steps closer.

Forster was only slightly taller than Mariel and had no more than fifteen pounds over the ten-year-old, so she was not as intimidated as she might have been with other men in the neighborhood.

“It’s the hens, isn’t it?” he ventured. “You appreciate them like I do.” He glanced back over his shoulder at the chicken coop. “I was probably a little hasty last time you were here,” he continued. “I should have thought…but when I heard all that commotion and came out to find someone in the pen…Well, I should have realized that you were just as fascinated by them as I am.” He studied Mariel’s broad, unintelligent face for several moments. “Would you like to hold one?”

Mariel’s gaze flickered just slightly at this invitation. The thought of actually holding one of the softly feathered birds had become something of a Holy Grail for her and her breath caught at the idea.

Forster turned and retraced his steps to the coop and within moments returned stroking a quietly clucking hen. Mariel smiled and reached out both arms for the coveted bird, but Forster stopped a few paces short of her. Still running his hand over the bantam’s glossy feathers, he nodded contentedly at Mariel, and said, “Show me that necklace again, why don’t you? I was too far away to be able to see it well. How about another look…I won’t touch it; then I’ll let you hold Becky.” He smiled widely at Mariel and held the bird a few inches away from his chest to indicate his willingness.

Mariel quickly retrieved the necklace from within her shirt and held out the pendant for him to study, her small greedy eyes never leaving the near-dozing hen. Forster leaned forward onto the balls of his feet and studied the stone silently for several moments. Finally, Mariel heard him exhale and murmur, “You should be very careful with that, Mariel. That’s exactly the kind of thing that grown-ups will want to take from you.” He leaned just a little closer and asked, “Does your mother know you’ve got that?” And when she fidgeted and didn’t answer right away, added, “I wouldn’t tell her, if I were you…she’ll want to wear it…and keep it…for sure. Any woman would.”

Mariel stuffed the necklace back down her shirt and thrust her arms out once more for the agreed-upon chicken. Forster carefully placed it within her thick arms and smiled as Mariel’s normally glum face began to light up with the tactile pleasure of the silken bird. In her enthusiasm, she began to run her sticky hand down the hen’s back with rapid movements, even as ‘Becky’ began to squirm and protest volubly at the excessive downward pressure of her strokes. The contented clucking quickly became the frenzied cackles of a terrified chicken in the clutch of a bear cub.

Forster, seeing that Mariel’s technique required more practice and refinement, made to take the bird from the grinning school girl, but she turned away with her prize as if she meant to keep Becky at all costs. With that movement, however, the hen was given just the opening she required in which to free her wings. Becky began to flap them frantically in her rapidly escalating desire for freedom.

Startled, Mariel released the bird, which in a whirlwind of beating wings and flying feathers covered the short distance to her coop in awkward bounds only slightly resembling actual flight. Mariel was left with nothing but a few of the errant feathers and her hot disappointment.

With a frown of both disapproval and resentment, she pushed off on her bike and made for Crumpler Lane. Behind her, Forster called out, “They just take a little getting used to, Mariel. Come back when you want and I’ll teach you to handle them!”

After she had gone away, he turned to his precious coop to insure that Becky was returned and properly locked in for the night. Then, with a sigh, went up the back steps and into his house, turning on the lights in room after room as true darkness fell.



Mister Wanderlei was next on Mariel’s’ list and she was not long in cornering him. She found him that very Saturday as he was painting the wooden railing of his front porch.

Stopping at his mail box, she gave her bike bell several sharp rings to gain his attention. He glanced over his shoulder and smiled at her.

“Hello, Mariel,” he called, while lifting a paint brush in salute. “Another few weeks and it will be too cold to do this.”

Mariel could think of nothing to reply and so rung her bell once more. Mister Wanderlei set the brush carefully on the lip of the can and stood, wiping his hands on the old corduroy pants that he was wearing. “Is that a new bike?” he asked amiably.

Mariel nodded her big head at this, then thought to add, “My Grandma bought it for me…I didn’t steal it.”

Wanderlei smiled and answered, “I never would have thought so.” He ambled down the steps in her direction.

Mariel fumbled with the necklace and only just managed it bring it out from beneath her top as he drew near. This caused Wanderlei to halt for a moment as he took in Mariel’s rather astounding adornment.

“Goodness,” he breathed at last. “That’s some necklace for a little girl. Where did you get that?” He ran a large knuckled hand across the top of his mostly hairless skull.

As she had done with Salter and Forster, Mariel realigned her bicycle for a quick escape should it prove advisable, one foot poised on a pedal. She remained silent.

Wanderlei fished a handkerchief from his pocket and set about wiping his face and near-naked pate. “Such things cause great temptation,” he said finally. “Of course, I know that you’re too young to understand what I mean exactly.” He glanced up and down the street; then turned his gaze onto her once more.

“Where I work, there are men who have killed for such baubles.” A slight frown crossed his face. “Do you know where I work, Mariel?”

In fact, Mariel did know, as one of her uncles had pointed him out to her during a visit between incarcerations. She nodded slightly.

Wanderlei studied her face with interest, then said, “Well, then you know that I’ve spent my life amongst a lot of very bad people.” His eyes had taken on a sparkle that was beginning to make Mariel uneasy. He took another step and she eased her rump upwards in preparation for escape.

“Are you Christian?” he asked gently. “Does your mother ever take you to church?”

Mariel frowned, unable to follow Mr. Wanderlei’s drift. Even so, she nodded involuntarily out of nervousness.

“Is that right?” he smiled, completely ignoring her necklace. “Really, what church would that be?”

“We go sometimes,” Mariel whispered, for some reason not wanting to lie outright to this man. “We’re Cat’lics.”

Wanderlei’s expression became one of disappointment. “Oh, I see,” he murmured. “That would explain the love of gold and baubles,” he said quietly, as if Mariel were no longer there.

Mariel rose up and pushed down on the waiting pedal, she had learned what she needed to know here.

Wanderlei looked up as she pulled away, his expression gone a little wistful now. “You and your mother are welcome to attend the services here at our house anytime that you want,” he called after her. “God accepts anyone that has an open heart. Do you have an open heart, Mariel?”



To be continued… Part II

13 April 2015

Helping Hands


Mentor - my google dictionary says :

noun
  1. a wise and trusted counselor or teacher
  2. an influential senior sponsor or supporter

As much as I'd like to say that first definition is me, I really fit the second definition better. At least once a month or so, when someone finds out that I'm a published author I hear these words.

  • "I've written a five hundred page memoir and now I need to know what to do."
  • "I'm working on a children's book. Everyone in my family think it's great. Do you think you could take a look at it and tell me what you think."
  • "I have a great idea for a thriller. If you write it we could split the money."
  • "I'm working on a mystery and would you like to look at it and let me know if it can be published.

I always try very hard to be nice to questioners… they are potential book buyers after all. So for the questioners asking about the memoir and children's books. I compliment them on their work so far.

I explain that I honestly know nothing about writing memoirs or children's books. I tell them about the Writers League of Texas, which is located in Austin. Tell them it's an International Organization and they have great information so just go to their website and see what you can find that will help you.

The person who wants you to write the book and split the money. Explain that you have a folder full of ideas and your writing schedule is currently full. Then laugh and say that writing the book is 99.5 percent of the work so that's likely what the split would be. Also tell them this is their story and they should be the one to write it. I again refer them to Writers League. Also tell them that there is an International Thrillers organization and think it would be worth it to check with that group.

To the mystery writer I try to encourage them to check into Mystery Writers of America. That they have wonderful information that can help all along the way. Again, I refer them to Writers League of Texas or Sisters-in-Crime.

If I can determine from their conversation they are serious, I might suggest they go to their library and look up books on writing a novel or writing children's or mystery/thrillers. That there is so much information available in books, e-books, or online. If they live anywhere a community college is located to check and see if there is a writing program offered.

Then there is the person you know and like and actually might want to help. This is the time when I want to "pay it forward." I had so much personal free help when I was starting out. I often felt guilty because I could never repay them.

One day I was having a conversation with my good friend, Jerimiah Healy (now deceased) and we were talking about all the help we had received along this journey to publication. And I made the statement that I could never repay these mentors.

Jerry told me about having this same conversation with none other than Mary Higgins Clark after his first book was published. Mary said you pay it forward. Jerry told me to do the same. I had already been doing that because I had learned many years ago when you find you're having some success in any field that you will be happier when you reach back and help someone climbing the ladder behind you. That was priceless advice and I've tried to keep it in mind.

I doubt that I am influential helper or mentor, but I am senior and I am a supporter of anyone who is writing, especially if they are writing mysteries.

12 April 2015

Death and Mr Pickwick


Stephen Jarvis
Stephen Jarvis
Mention Sidney Paget or John Tenniel and aficionados of Sherlock Holmes and Lewis Carroll’s Alice stories recognise the original artists who illustrated the characters we know and love today. But bring up Robert Seymour and puzzled looks abound. A new author, Stephen Jarvis, intends to change that.

I’m not sure how I stumbled across Stephen Jarvis, although Velma claims credit. Once I realized he was writing about Charles Dickens and Pickwick, I had to know more. Indeed, we’ve written about Pickwick’s manservant, Sam Weller, and when I realised a mystery was involved, I asked Mr Jarvis to write an article for us. After you read today’s column, take a moment to read about Jarvis
 and his wife’s 2005 detective work discovering Robert Seymour’s tombstone.

Stephen Jarvis was born in Essex. After dropping out of graduate studies at Oxford University, he quickly tired of his office job and began doing unusual things every weekend and writing about them for The Daily Telegraph. These activities included learning the flying trapeze, walking on red-hot coals, getting hypnotized to revisit past lives, and entering the British Snuff-Taking Championship. Death and Mr. Pickwick is his first novel. He lives in Berkshire, England.

— Leigh Lundin

Death and Mr Pickwick


Charles Dickens left behind two mysteries when he died: the well-known mystery of the ending to his unfinished last novel Edwin Drood, and the much lesser-known mystery of his illustrator Robert Seymour, who shot himself shortly after starting work on Dickens’s first novel, The Pickwick Papers. Why did Seymour kill himself? What happened when he and Dickens met? And what role did Seymour play in the creation of The Pickwick Papers? It is astonishing, when you consider all the thousands of academic papers, articles and books that have been written about Charles Dickens’s life and works – often on the most obscure subjects - that so little has been written about Seymour. For me, Seymour is THE key person in Dickens’s career; and in my forthcoming novel, Death and Mr Pickwick, which tells the story of the creation and subsequent history of The Pickwick Papers, Seymour is the main character.

But who was Robert Seymour?

Robert Seymour
Robert Seymour (1798-1836)
self portrait
Seymour was the most prolific cartoonist of his era, and he drew literally thousands of pictures. He was best-known for his political cartoons – even though Dickensians usually refer to Seymour as a “sporting artist”. Actually, his sporting pictures represented just a small fraction of his overall output. In his own time, Seymour was famous: he was called “the Shakespeare of caricature” and “the ubiquitous Seymour”. And yet today, Seymour is so little-known that I have been in shops that sell antique prints and even the proprietor has not heard of the artist. You would almost think that people deliberately want to hush up Seymour’s life – and indeed, there are some indications that that is so.

In the 1920s, an American called Dr Samuel Lambert came over to England, to investigate Seymour’s role in The Pickwick Papers. My opening statement about the two mysteries that Dickens left is a homage to Lambert, for that is what he said himself. Lambert approached the Dickens Fellowship in the course of his research – and soon discovered that the Fellowship was most unwilling to talk to him. What’s more, an attack on Lambert was published shortly afterwards, in the Fellowship’s journal The Dickensian, stating that the idea that Seymour had any significant role in the creation of Pickwick was “exploded long ago” and was not even worthy of serious consideration.

When I read that piece in The Dickensian, it sounded to me that the Fellowship was trying to steer people away from Seymourian research. A possible explanation is that Seymour may have been gay. In the 1920s, there were taboos about even mentioning homosexuality – and the idea of a gay man being associated with Dickens, and with the largely male cast of The Pickwick Papers, would in all likelihood have horrified Dickensians of that time.

Seymour’s wrapper design
for original serialisation
of The Pickwick Papers
But there is also the question of the role that Seymour played in the creation of The Pickwick Papers. At first, when I started doing research for the novel, I believed the statements that Dickens, his publisher Edward Chapman (of the firm Chapman and Hall, the publishers of Pickwick) and his biographer John Forster, made about the origins of Pickwick. In essence, they stated that Seymour had an idea for the adventures of a club of cockney sportsmen, called the Nimrod Club - but that Dickens overturned this idea, and that only vestiges of Seymour’s original plan remained, in the form of the sporting tastes of the character Mr Winkle. Moreover, Edward Chapman claimed that he was responsible for the visual image of the novel’s main character, Mr Pickwick, and that Seymour had followed instructions to base the image on the appearance of a man that Chapman knew. In other words, the role of Seymour was minimal. However, as I continued my research, I came to realise that this supposed origin simply could not be correct.

Contradictions started to emerge, and there was a complete lack of evidence for the statements made by Dickens and his associates. Also, contemporaries gave a rather different account of Pickwick’s beginnings – for instance, an engraver called Ebenezer Landells, who was working for Chapman and Hall at the very time Pickwick was published, said that Seymour created Sam Weller. The artist Robert Buss – who temporarily replaced Seymour as the Pickwick illustrator after the suicide – said that Seymour had created Mr Pickwick and the members of the Pickwick Club. Also, there were reports in the press that Dickens was “writing up” to Seymour’s pictures – the opposite of what Dickens later claimed. Nor were these simply wild allegations. If one looks at Seymour’s output, one can indeed find prototypes of the likes of Mr Pickwick and Sam Weller. And when I looked into the background of John Forster, I discovered firstly that he had written a number of historical works, and secondly that he had no reputation as a historian – he was quite prepared to fabricate material, and be fiercely partisan.

But what of the suicide? Most Dickensians simply deny that Dickens had anything whatsoever to do with Seymour’s death. They point to the artist’s suicide note, in which Seymour said he blamed no- one and that the suicide was down to his own “weakness and infirmity”. One Dickensian even said to me that Seymour “exonerated” Dickens in that note. Another distinguished Dickensian told me that “we must look elsewhere” for the causes of the suicide, not towards Dickens. What the Dickensians don’t point out, though, is that Seymour returned from a meeting with Dickens in a state of extreme emotional distress – and he immediately burnt his papers and correspondence about Pickwick.

Mr Pickwick Addresses the Club
by Robert Seymour
Another fact not usually told is the nature of the law surrounding suicide at this time. The law distinguished between suicide and felo de se, or self-murder: if an inquest decided that a suicide was a rational act, that is felo de se, then it would have the most terrible consequences for the victim and his family. In the first place, the victim would be denied a Christian burial, but also the victim’s family would instantly be reduced to destitution – because the Crown would take away all the victim’s property, leaving the wife and family to inherit nothing. So of course in a suicide note, Seymour wouldn’t blame Dickens - he would be unlikely to blame anyone at all – because if he had done so, he would be handing the inquest evidence that his death was felo de se, a rational escape from the problems of life. Seymour’s real feelings were communicated by the way he left his etching plates for his last drawings for Pickwick: He turned the plates to the wall, as though they disgusted him. And this was for a project which Seymour’s wife said was the artist’s “pet idea”. An idea which – until he came into contact with Dickens – was of immense personal importance to Seymour.

You will notice also that I said that Seymour returned from a meeting with Dickens. Not the meeting. For Dickens claimed that he met Seymour only once in his life. That, too, I believe to be a lie.

I am not trying to denigrate Dickens’s abilities as a writer. But I do say that he did not tell the truth about Seymour and he tried to pass off Seymour’s ideas as his own.

The Pickwick Papers catapulted Dickens to global fame and it went on to become the greatest literary phenomenon in history: it was the most famous novel in the world for almost a hundred years, with a circulation that was exceeded probably only by the Bible. And The Pickwick Papers would not have happened without Robert Seymour.

It is surely time to acknowledge Seymour’s great significance in the life and career of Charles Dickens. Death and Mr Pickwick sets the record straight.

Death and Mr Pickwick will be published on 21st May 2015 by Random House (in the UK) and on 23rd June by Farrar, Straus & Giroux (in the USA).

Further information can be found at DeathAndMrPickwick.com where there are also links to the publishers’ sites for pre-ordering.



Exciting news!

The publisher, Farrar Straus & Giroux, will provide two ARCs as prizes to SleuthSayers readers. ARCs are Advance Reader Copies, bound uncorrected proofs, available now in advance of the publishing release in May (UK) and June (US). Among readers, ARCs are considered collectors’ items. Not only are they rare and unusual and suggest you know someone who knows someone, they often give insight into the writing and editing process. For our readers, these come with a clever bookmark and a special address from the head of FSG.

Author Stephen Jarvis will magically select at random two non-SleuthSayers (I hear the sighs) from amongst the commenters. Here is where we need your help: Our blogging software doesn’t provide an invisible way for you to give us your email address without the risk of receiving spam offers for fake Rolexes, hangnail implants, and special financial deals from Nigeria. You must do the following so we can contact you from your comment:

  1. Under Choose an identity, select Name/URL
  2. Enter your name in the first field.
  3. Enter your email address with a ‘.’ (dot) substituted for the @.
    • For example, if we replace the ‘at’ symbol with a period/fullstop, Velma’s email address of Velma@SleuthSayers.org becomes Velma.SleuthSayers.org
Good luck!

11 April 2015

Go Away, Space Angel! I'm Trying to Write Crime


by Melodie Campbell

A funny thing happened on the way to the crime book: it became a comic sci-fi spy novella.

That’s the frustrating thing about being a fiction writer.  Sometimes you don’t pick your characters – they pick you.

I was sitting at my desk, minding my own business, when…no, that’s not how it happened.

It was far worse.

“Write a spy novel!” said the notable crime reviewer (one of that rare breed who still has a newspaper column.) We were yapping over a few drinks last spring.  “A funny one. Modesty Blaise meets Maxwell Smart, only in modern day, of course.”

“Sure!” I said, slurping Pinot by the $16 glass.  After all, crime is my thing.  I was weaned on Agatha Christie.  I had 40 crime short stories and 5 crime books published to date.  This sounded like the perfect 'next series' to write.

And I intended to.  Truly I did.  I tried all summer. I even met with a former CSIS operative to get the scoop on the spy biz (think CIA, but Canada – yes, he was polite.)    

Wrote for two months solid.  The result was…kinda flat.  (I blame the Pinot.  Never take up a book-writing dare with a 9 oz. glass of Pinot in your hand. Ditto good single malt.  THAT resulted in a piece of erotica that shall forever be known under a different name…  But I digress.)

Back to the crime book.  I started to hate it.  

Then, in the middle of the night (WHY does this always happens in the middle of the night?) a few characters started popping up.  Colourful, fun characters, from another time. They took my mind by siege.  “GO AWAY,” I told them. “I’m trying to write a crime book!”

They didn’t.  It was a criminal sit-in.  They wouldn’t leave until I agreed to write their tale.
So the modern day spy novel became a futuristic spy novel.  Modesty Blaise runs a bar on a space-station, so to speak.  Crime in Space, with the kind of comedy you might expect from a descendent of The Goddaughter.

Two more months spent in feverish writing.  Another two in rewrites.  Then another, to convince my publisher that the project had legs.

CODE NAME: GYPSY MOTH is the result.  Yet another crossing the genres escapade.

Written by me, and a motley crew of night visitors.

Now hopefully they will keep it down in there so I can sleep.

CODE NAME: GYPSY MOTH
“Comedy and Space Opera – a blast to read” (former editor Distant Suns magazine)
“a worthy tribute to Douglas Adams”  (Cathy Astolfo, award-winning author)

It isn't easy being a female barkeep in the final frontier...especially when you’re also a spy!

Nell Romana loves two things: the Blue Angel Bar, and Dalamar, a notorious modern-day knight for hire.  Too bad he doesn't know she is actually an undercover agent.  When Dalamar is called away on a routine job, Nell uncovers a rebel plot to overthrow the Federation. She has to act fast and alone. 

Then the worst happens.  Her cover is blown…

Buy link AMAZON
Buy link SMASHWORDS

The Toronto Sun called her Canada’s “Queen of Comedy.”  Library Journal compared her to Janet Evanovich.  Melodie Campbell got her start writing standup.  She has over 200 publications and nine awards for fiction.  Code Name: Gypsy Moth (Imajin Books) is her eighth book.

10 April 2015

My Writing Space


Our cats sometimes keep me company as I work.  The chair in 
this photo is the lawn chair I used to sit in while working.
A few posts ago, I mentioned that my wife had bought me a new chair.  I explained that, prior to that moment, I had been sitting in a plastic lawn chair to do my writing.

I write on my apartment's second-floor balcony, which overlooks trees, green lawns and a fountain pool below -- not to mention the barbecue pavilion I frequent several times each week burning steaks, chicken, jalapeno poppers (That's not a typo: J-poppers are hollowed-out peppers stuffed with cream cheese, etc. and wrapped in bacon.  When the bacon and peppers are good and black, they're done.), hot dogs and/or burgers for dinner.

Sometimes they get a bit nosy.
Or demand that I stop work and feed them!
At the time, several folks suggested they'd like a look at some photos of where I do my writing.  (Which, I have to admit, is also where I primarily do my reading.)

Taking people at their word, I decided to post pics of my writing area today -- sparse as it is.

Though I think the view is quite nice, it's starting to warm up here in the Valley of the Sun, so I've put up a shade screen that I let down once the sun gets over the yardarm.

My computer is not in this photo, but perhaps those with eagle
eyes can tell that the magazine open on the shelf of my "desk"
Is the May issue of AHMM with R.T.'s story illustrated on cover.


Thankfully, I can still look out through the patio's openings.

I would caution the reader that I have never been known as a particularly "neat" person, having one friend who used to bring his dog over to my bachelor apartment, when I was in the army, so said dog could "surf"  used pizza boxes across my living room floor while my buddy and I watched his favorite bass fishing shows on TV.


A better shot of my "desk" perhaps.
My desk is a cupboard built by my oldest son when he took a
shop class. I have since mounted it atop a frame with casters,
sold at Home Depot for moving large or heavy furniture.




Marriage, however, perhaps like music, has tended to sooth some of the savagery out of this particular beast.  So, my writing aerie is kept in much better shape than the apartments or dorm rooms of my single years.







Having kids around naturally helps clutter the issue.  The newspapers on the floor, in the far right of this photo, were put there by my 12 year old, Quentin, who has been constructing a costume for the upcoming Phoenix Comicon.

And, yes, those are books stashed under the top shelf of my rolling desk -- along with magazines and other reading or reference material.


Below, you see the spot I actually occupy while writing: Diet Coke, cigars and pipe on my left, laptop computer more-or-less in front of me, keyboard on my thighs with the mouse on the right arm of my chair, fan in the background to keep the computer cool as the desert temperatures rise, and a nice view of the green lawn below through the X-braced trellis-looking detail in the center of the balcony wall.
Yes, my reading material spills over (literally "over") onto the top of my desk,
where you see The Spy Who Came in from the Cold and stacked issues of EQMM and AHMM.





















Well, that's it.  This is my writing space.

Now I'm waiting to see some of yours.

See you in two weeks,
--Dixon


09 April 2015

The True History of Nero Wolfe


Because I read everything, to the great detriment of doing almost anything else, occasionally I come across such obvious patterns, such amazing coincidences, that I have to share them with someone. Thus, I am happy to relate that I have found the true origins of Nero Wolfe. The only question is, whether it's genetics or reincarnation. I'll let you decide.
For those of you who have never met the one and only Nero Wolfe, he is the misogynistic, gourmet one-seventh of a ton detective who lives in a brownstone in New York City and only leaves it under extreme emergency conditions. He solves mysteries usually without leaving his chair, leaving the footwork to Archie Goodwin, his amanuensis, investigator, and general thorn in Wolfe's side. His brownstone is his haven, his castle, his fortress, in which he follows a rigid routine, cares for his orchids and his stomach, and is cared for by Archie and Fritz, his cook. (Theodore helps with the orchids, but let's face facts: nobody – not even Nero Wolfe – likes him.)



Some theories (and I get these straight from Wikipedia) are that Wolfe (born, according to Rex Stout and Archie Goodwin, in Montenegro) was the offspring of Sherlock Holmes and Irene Adler, who had an affair in Montenegro (why they chose that country to frolic in is undetermined). Others have said that if Wolfe was of Holmesian descent, it was via Mycroft, who was vast and logical, like him. Others have posited the thief Arsene Lupin as Wolfe's father. However, this is all gilding the lily, not to mention assuming that one detective (or thief) leads to another.

Samuel Johnson by Joshua Reynolds.jpgI believe that the origins of Nero Wolfe go all the way back to the early 18th century. Specifically to 1709, when Samuel Johnson was born, who grew up to be a man of exceptional mind and memory, a man to whom no place was so suitable to live as a major metropolis, in his case, London, and whose girth and eccentricities were as legendary as were his literary abilities. I speak, of course, of Dr. Johnson, lexicographer, poet, playwright, journalist, and wit.

What led me to correlate Nero Wolfe with Samuel Johnson was re-reading Boswell's "Life of Johnson". Their size, their reluctance to travel from their adopted great city (London for Dr. Johnson, New York for Nero Wolfe), their constant reading, and their love of food is identical. Both have remarkably similar amanuenses (Archie Goodwin, James Boswell) whom they find alternately useful, irritating, ubiquitous, and indispensable. Both Goodwin and Boswell are - to the urban dweller - from the sticks (Ohio and Scotland respectively). Both Goodwin and Boswell have had numerous amatory encounters, though Boswell was more graphic in his (secret) reminiscences than Goodwin. Essentially both write biographies, although neither are as educated, logical, or eccentric as their subjects.

James Boswell of Auchinleck.jpg
Archie to the left, Boswell above.


Yes, Dr. Johnson did marry (to a woman twice his age), while Nero Wolfe is, at first glance, the ultimate misogynist. (But even Nero Wolfe liked to look at women's legs: see The Silent Speaker, Chapter 20) But "Tetty" was Johnson's only known dalliance, and he was known to be as severe as Nero Wolfe in his judgments upon the fairer sex. (“Never accustom your mind to mingle virtue and vice. The woman’s a whore, and there’s an end on ’t.”) But they both were respectful of virtuous wives and mothers, as well as of professional women who were good at what they did: Dol Bonner and Jackie Jaquette, in Wolfe's world; the writers Charlotte Lennox and Fanny Burney in Johnson's world.

But to me, it was the use of language that cinched it. It is almost identical. See if you can tell who said what:
  1. "Some people have a foolish way of not minding, or pretending not to mind, what they eat. For my part, I mind my belly very studiously, and very carefully; for I look upon it, that he who does not mind his belly will hardly mind anything else"
  2. "What finally ruled [Voltaire] out was something that hadn't been mentioned at lunch at all: he had no palate and not much appetite. He was indifferent to food; he might even eat only once a day; and he drank next to nothing. All his life he was extremely skinny, and in his later years he was merely a skeleton. To call him a great man was absurd; strictly speaking, he wasn't a man at all since he had no palate and a dried-up stomach."
  3. "I know not why any one but a school-boy in his declamation should whine over the Common-wealth of Rome, which grew great only by the misery of the rest of mankind. The Romans, like others, as soon as they grew rich, grew corrupt; and in their corruption sold the lives and freedoms of themselves, and of one another"
  4. “We are all vainer of our luck than of our merits.”
  5. "The only end of writing is to enable the readers better to enjoy life, or better to endure it."
  6. “I will ride my luck on occasion, but I like to pick the occasion.”
  7. "Every man naturally persuades himself that he can keep his resolutions, nor is he convinced of his imbecility but by length of time and frequency of experiment."
  8. “A man may debar nonsense from his library of reason, but not from the arena of his impulses.”
  9. "[A] pessimist gets nothing but pleasant surprises, an optimist nothing but unpleasant.”
  10. "He is no wise man that will quit a certainty for an uncertainty."
  11. "Where there is no education, as in savage countries, men will have the upper hand of women. Bodily strength, no doubt, contributes to this; but it would be so, exclusive of that; for it is mind that always governs. When it comes to dry understanding, man has the better."
    "The true, strong, and sound mind is the mind that can embrace equally great things and small."
  12. “The more you put in your brain, the more it will hold -- if you have one.”
  13. "A fellow that makes no figure in company, and has a mind as narrow as the neck of a vinegar-cruet."
  14. "I never desire to converse with a man who has written more than he has read."
  15. “A person who does not read cannot think. He may have good mental processes, but he has nothing to think about. You can feel for people or natural phenomena and react to them, but they are not ideas. You cannot think about them."
  16. "It matters not how a man dies, but how he lives."
  17. “A guest is a jewel on the cushion of hospitality”
  18. "The right to lie in the service of your own interests is highly valued and frequently exercised.”
  19. “More people saying what they believe would be a great improvement. Because I often do I am unfit for common intercourse."
  20. "I have found you an argument; I am not obliged to find you an understanding."
  21. "A man is very apt to complain of the ingratitude of those who have risen far above him."
  22. “To pronounce French properly you must have within you a deep antipathy, not to say scorn, for some of the most sacred of the Anglo-Saxon prejudices.”
  23. "A Frenchman must be always talking, whether he knows anything of the matter or not; an Englishman is content to say nothing when he has nothing to say."
  24. “To assert dignity is to lose it.”
  25. "The law is the last result of human wisdom acting upon human experience for the benefit of the public."
  26. “Women don't require motives that are comprehensible to my intellectual processes."
(Answers at the bottom of the page)

For my final piece of evidence, I give you the novel Gambit, in which Nero Wolfe burns a dictionary - bought with a flammable cover on purpose - because it allows the use of "imply" in place of "infer". A passion for precise language was certainly passed down from the man who wrote "A Dictionary of the English Language".




Sadly, Dr. Johnson had no children. But he did have a brother, Timothy, who had children. The genes were put into the pool. Ladies and gentlemen, I give you twin sons, separated by time. So, was Nero Wolfe a descendant of Samuel Johnson's brother Timothy? Or is he a reincarnation?

Put a wig on the one, take the Tourette's away from the other, and we might just have the answer!














Nero Wolfe - 2, 4, 6, 8, 9, 13, 16, 18, 19, 20, 23, 24, 26
Samuel Johnson - 1, 3, 5, 7, 10, 11, 12, 14, 15, 17, 21, 22, 24, 25


08 April 2015

The Wolf at the Door


I was a big fan of the first two books in Hilary Mantel's trilogy, WOLF HALL and BRING UP THE BODIES, but I'm an easy mark for that kind of stuff. Historicals have always been high on my list - Mary Renault, Robert Graves, Bernard Cornwell, Patrick O'Brian, Norah Lofts - in part because you get to inhabit a foreign world, the past, and in part because they so often turn on the hinge of Fate, or a transforming moment: think Alexander the Great, the fall of the Mongol Empire, the Black Death.

The television adaption of WOLF HALL began its run on PBS this past weekend, and I'm queer for it already. Not that it's easy, mind. (Neither were the novels.) A broad canvas, a raft of competing characters, a complex political dynamic.


To cut to the chase, the Prime Mover of the narrative is Henry VIII's pursuit of a male heir, and everything follows from that. The rise and fall of favorites, Wolsey, Sir Thomas More, Cromwell, depend on the king's goodwill, and how effectively they manipulate the machinery of power, to get what he wants. When they don't, or can't, they're cast aside, left naked to their enemies, in Wolsey's phrase.  

The interesting thing to me about the Tudors - not Henry VII so much, but Henry VIII and Elizabeth I - is that they're about to step over the threshold of the modern age. Richard III, the last Plantagenet, was the last British king to die on the battlefield, and in a war of succession. This goes some way toward explaining Henry VIII's fierce obsession with generating a son. His pursuit of a divorce leads directly to his break with Rome, and the English Reformation. (Henry's place in folklore comes from sending two of his wives to the block.) The fracturing of the Church, and the authority of the Pope, erodes secular authority, as well. There is no Divine Right, and in two generations, Charles Stuart will meet the headsman. The religious issue becomes worldly. Henry creates this, He's a touchstone for the fall of kings. 

Another point WOLF HALL underlines is the rise of a commoner - Cromwell a blacksmith's son - to the office of Lord Chancellor. This is an enormous shift. promotion on merit, not the accident of birth. Ambition the spur, and Cromwell does make love to this employment, but he's neither a prince of the Church or a noble. He's nobody in the food chain, and beneath notice. A private secretary, Wolsey his patron. How he survives, and thrives, is in itself the story, that a man of mean antecedents can win the
king's confidence, not because he was born to it, but by his wits.  Not that he's entirely a ruthless bastard, either. He simply knows which side his bread is buttered on, and the currency he trades on is his service to the king, in all things. It gains him preferment, it lines his pockets, and it becomes his only purpose. He lives alone for it. This hasn't much changed, today. The difference is that Cromwell can even be chosen, in an earlier age.

WOLF HALL, the adaption, isn't for the faint of heart, any more than the books were. It helps if you know the basic storyline, and what's at stake. The politics, religion and its discontents, the maneuvering for advantage. You could get lost, and Cromwell himself is an unreliable narrator, a shape-shifter. You don't really know whether to trust him or not, and neither does anybody else. He seems all things to all men, but once you understand that what lies beneath is the fury of the king, and whether onstage or off, that it's Henry who whips the horses, then if they die in the traces, he's been well-served, at whatever cost. We hang on princes' favors, Wolsey says. (I'm quoting Shakespeare, here.)
     " ... I have ventured, 
     Like little wanton boys that swim on bladders,
     This many summers in a sea of glory,
     But far beyond my depth."

Is it a cautionary tale? Not exactly. It's about dangerous men in dangerous times, and treading water in the deep end of the pool.   



DavidEdgerleyGates.com

07 April 2015

Because Something is Happening Here But You Don’t Know What it is, Do You, Mister Jones?


by Paul D. Marks

One of the things that scares me most as a writer is an illiterate society. Not only illiterate in the sense of people being unable to read and write. But “illiterate” in the sense that, as a society, we have touchstones that everyone or at least most people are familiar with. Or I thought we did at one time. I’m not so sure anymore.

Let’s start with plain literacy on a personal and anecdotal level.

When my wife and I were looking for the house prior to our current house we noticed something odd, at least odd to us. We’d go in various houses in different parts of Los Angeles. But, unlike some of the shows on HGTV, you could still see the real people’s stuff in their houses. Their junk, ugly sofa, hideous drapes and kids’ toys strewn all over, laundry baskets, cluttered closets, etc. One thing we didn’t see much of were books. Sure, a house here or there had them, but the majority didn’t. And if they did they had a coffee table book or two of some artist they thought would make them look chic or intelligent or maybe a book of aerial views of L.A. One place we expected to see lots of books was in kids’ rooms or a potboiler on their parents’ nightstands. But, alas, the “cupboards” were bare.
This was twenty or so years ago, so well before smart phones, Kindles and e-readers. So, it’s not like all their multitudinous libraries were in e-form. No, there just weren’t many books to be seen.
We found this odd, as we have books stuffed to the rafters, as do most of our friends. Here, there and everywhere, in the living room or the dining room, library, the hallway, and even shelves upon shelves in the garage.

Flash forward: Cultural Literacy

29291When we went hunting for our current house, about ten years ago it was more of the same. By then there might have been some e-books and the like but the real revolution still hadn’t hit full bore yet.

Again this seemed odd. But more than odd, it’s scary. Especially for a writer. Because a writer needs readers. And if people aren’t reading, I’m out of a job, and maybe likely so are you. Even scarier though is the fact that, imho, we are becoming a post-literate society. And we are losing our shared background, some of which is gotten through books. Aside from the greater implications of that in terms of the country, it makes it harder as a writer because when we write we assume some shared cultural background. And we make literary or historical allusions to those ends. We mention composers or songs or symphonies. Books, authors, “famous” or “well-known” quotes that we assume most readers will be familiar with, some foreign phrases, even biblical references. Hemingway and even Bob Dylan songs (and I’m talking those from the 60s before he found religion in the 70s), as well as other writers, are filled with them. But often these days readers are not familiar with these references, so they miss the richness of the writing. So then we begin to question whether or not to include these references and sometimes end up writing to the lower common denominator. And that diminishes our works and our society, even if it sounds pompous to say that.

Maybe people won’t know who Rudy Vallee is, and that's understandable, but many also don’t know who Shakespeare is in any meaningful way.

743625500929_p0_v1_s600When I would go to pitch meetings in Hollywood I would often have to dumb down my presentation. I would try to leave out any historical or literary allusions. Hell, I’d even leave out film allusions because while these people may have heard of Hitchcock, few had seen his movies. And they were mostly from Ivy League type schools, but they didn’t have much of a cultural background. So when you have to explain basic things to them, you’ve lost them. They don’t like to feel stupid. And sometimes they’d ask me to explain something to them about another script they were reading by someone else. One development VP asked me to explain to her who fought on which sides in World War II, because she was reading a WWII script someone had submitted. The writer of that script already had points against him or her since the development VP didn’t even know the basics of the subject matter. And I would have thought before that incident that just about everybody knew who fought on which side in WWII. And this is just one example. I have many, many more experiences like this.

After college, the stats show that many people never—or very rarely—read another book. Literacy rates in the US are down. A lot of young people aren’t reading, but they think they’re smart because they look things up on Google. But looking something up on Google isn’t the same as knowing, though it’s better than nothing, assuming people do look things up. See: http://www.salon.com/2014/10/12/google_makes_us_all_dumber_the_neuroscience_of_search_engines/
Hw-shakespeare2
I’ve seen several authors, some very well known, ask on Facebook if they should include X, Y or Z in a novel because their editor says no one will get the references, even though the references aren’t that obscure. But even if they are, what’s wrong with using them and having people (hopefully) look them up. Isn’t that how we expand our knowledge? But nobody wants to challenge anyone in that way anymore. We’re dealing with generations now that have been told how wonderful they are without having earned it. So when we unintentionally make them feel stupid by using references they’re not familiar with, they turn off. Is it just me or does our society seem to have no intellectual curiosity, no interests or hobbies other than texting or watching the Kardashians? They don’t have the will to look further than the screens of their smart phones?

I know I’m generalizing and that there are pockets of intellectual curiosity (like the readers of this blog!), but I feel like we are becoming a minority.

And when you do a book signing or a library event, do you notice the average median age and hair color of the audience? More times than not they’re older and grayer. And where are the young people? That’s scary.

I wish more people would make New Year’s resolutions to improve their minds as well as their bodies, to exercise their brains as well as their muscles. So maybe we should do yoga for the brain as well as the body.

At this point I’d even settle for grownups reading comic books or graphic novels as long as there’s words in them.

All of this scares me, not just as a writer, who might not have an audience in the future. But for society as a whole. We need to have a shared background, a common knowledge, a literate society of people who are engaged. Not everybody can know everything, of course. But there should be some common background that we can all relate to.



Shakespeare picture: Licensed under Public Domain via Wikimedia Commons - https://commons.wikimedia.org/wiki/File:Hw-shakespeare2.jpg#/media/File:Hw-shakespeare2.jpg
Blonde on blonde album cover: "Bob Dylan - Blonde on Blonde" by Source. Licensed under Fair use via Wikipedia - https://en.wikipedia.org/wiki/File:Bob_Dylan_-_Blonde_on_Blonde.jpg#/media/File:Bob_Dylan_-_Blonde_on_Blonde.jpg

06 April 2015

Book Trailers: Friend or Foe?


When I first saw a few book trailers, I wasn’t impressed.
My writing friends jumped up and down, crowing over their short movie-ish ads for their books, while everyone else gathered ’round to praise them, I thought, You know who makes good movies? Hollywood. Bollywood. Nollywood (Nigerian film-making.) And I’d be remiss if I didn’t mention Hollywood North (Canada), but there’s a whole international list here.
You know who didn’t make the list? Writers.
And anyway, I’m not a huge TV or movie person. I like to read. I put my head down and continued to hone my writing skills.
But when Vuze approached me this year and suggested a book bundle, they specifically asked for book trailers.
I could’ve gone the easy route. On Fiverr, you can get one for $5. Some of them are not bad.
But I’m picky about how my work gets represented. I want better than not bad. So I started Googling, and this is what jumped out at me: you can make your own book trailer on iMovie for the Mac or Windows MovieMaker.
Artistic control, right at my fingertips. Right on. I already had images from my book covers and from poking around on morguefile.com. I researched free music for commercial use and particularly liked FreeMusicArchive.org. You can even tick off that you want commercial use. I wanted something upbeat, to contrast with the darker medical images, so I chose The Freak Fandango Orchestra’s "Requiem for a Fish."
Et voila!


Then I realized that, on iMovie, they have pre-made trailers, complete with pulse-pounding music and template suggestions. Of course, you run the risk of everyone else making the same trailers, but I chose unique images off of FreeStock.ca, DeviantArt.com, and well as my own photos. Just like I have an unusual writing voice, I have a (strange, deviant) eye, so I wasn’t worried that anyone else would copy me.
That way, I got the book trailer I love best of all, Notorious D.O.C Blogger can't handle movies larger than a gig, though, so BOO. You'll have to click on the link.
Finally, I wanted a fast and furious trailer for Terminally Ill (click to view). For the first time, I incorporated video instead of stills, and paid for some stock. Even better, though, a slackwire artist named Pierre Carrillo gave me permission to use footage of him starring as the escape artist in the book.
Making book trailers made me exercise a whole different part of my brain. I’m not going to lie, it took me hours, and may not be worth it to other writers/publishers with precious little time, but I seriously enjoyed it. One of my book club members said, “That was sick! Can’t wait to see the movie.”
But one of the other book clubbers said, “I don’t like movies. I like to imagine the characters in my head as I’m reading. I don’t want the movie to interfere with that.”
And of course, many serious readers think the book is better than the movie. You get more interior viewpoints, more complicated plots, more setting.
Here’s what I think: like most things in life, it’s a Venn diagram.


Since I want the world to discover my stories, ideally before I die, I’m going for as big a piece of the pie as possible. That means that, time permitting, I’ll make more movie trailers. And whatever else it takes. People who don’t like them can ignore them. The ones who like them? Maybe they’ll pick up my books. I got a different audience “liking” my trailers on Facebook.
And my eight-year-old son, Max, suddenly got interested in my books and asked to read them. I told them they were R-rated, but he was still curious, asking questions like, “Who is Hope Sze going to marry?”
Minister and author Kate Braestrup theorized that church is designed to stimulate the temporal lobe, using all the best tactics the 18th century had to offer—the beauty of architecture and stained glass and organ music—releasing hormones and making people want to come back to church…
I was like, Huh. I want to stimulate the temporal lobe and make them want to buy my stories. I’d better use the best tactics the 21st century has to offer.
I notice it working on me, too. My absolute favourite song of 2012 was Call Me Maybe, not because I’d heard it a billion times on the radio, but because of Steve Kardynal, the Chatroulette guy (if crossdressing doesn’t offend you). A visual component made all the difference. More recently, I hadn’t paid attention to Taylor Swift’s Blank Space until her video.
So what do you think? Yea or nay on book trailers?