Finding Your Niche

by R.T. Lawton

When I was chief judge for the Edgars Best Novel Award a few years back, I started to notice how many niche books were out there in the mystery genre. Our panel of judges read approximately 410 novels for that one year, so I would say that makes a fairly good sample of what was selling to publishing houses at the time. Some of those books I'll call craft books because they used knitting, quilting or some other craft as a background for the mystery story to be set in.

Cooking was another setting some authors used. These novels usually contained a recipe or more to enhance the cooking part of the mystery. And there were wine specialty backgrounds, presumably for wine connoisseurs who liked their mysteries consumed with wine. Evidently, for some, there is nothing like selecting the right wine to pair with the latest suspect. Plus, there are mysteries set in pet backgrounds with dogs or cats or birds, and of course horses for those equestrians among us in the mystery reading audience. In the past, I've even seen bird watcher series where deceased humans pile up as birds get watched.

As I recall, none of the niche books scored high enough  with our panel of judges to make it into the Nominee Round, HOWEVER, upon looking at the list of prior books written by some of those authors contending for that year's Edgar, some of those lists ran to ten or twelve published books. I don't know how much money these niche authors were making, but they had found a background category with a large enough readership, that some houses considered those niches profitable enough to keep on publishing in them.

So, where am I going with this thread? Here's my thoughts. If you want to be a published writer and really think you have the writing and marketing skills to produce the next Great American Mystery Novel and sell it to one of the big traditional publishing houses, then go for it. See if you can reach out and grab the gold ring on your turn around on the carousel.

BUT, if for some reason, you don't make the big time--after all, the top of that pyramid is rather small and not a lot of authors will fit up there--and, you still want to be published, then you may want to find yourself a niche of some kind that no one else is currently using. Most of the craft, cooking and pet backgrounds are already taken, so unless you've got a new twist on those categories, I'd suggest finding your own niche in a different category. Find something fresh, something mind-catching, something where a jaded agent or editor can raise their hands and say, "Eureka, an author with a story we can sell!"

Now the hard part. You do realize you are on your own to find your special niche? Personally, I would recommend brainstorming sessions with other writers and possibly some with non-writers who are big readers. Rum and Coke has been known to lubricate the creative process of brainstorming, each to his or her own. And, remember that no idea is totally wrong, it may just need tweaking to make it acceptable. Some ideas may take more tweaking than others.

Here's some of my niche examples. When looking at the historical mystery market in Alfred Hitchcock Mystery Magazine,  I found short stories set in ancient Greece, ancient Rome, medieval England, old China, old Japan and the Old West. All well taken by other authors. So, I researched other historical backgrounds with inherent conflict already in place; locations no one else was currently using. One of my series became the Armenian, set in 1850's Chechnya where the Russians had designs on moving into India and Afghanistan.  The Tsars in Moscow fronted off the Cossacks as border guards to fight the Muslim Chechens.  The Cossacks disliked the Russian troops quartered in their homes, while at the same time had much in common with the Chechen culture and standards, the people they were fighting. Over 150 years later, they are still fighting in Chechnya, so every time that area makes the news, I get free advertising. My Shan Army series set in the Golden Triangle with opium warlord rivalries during the time of the Vietnam War became another historical niche, as did my 1660's Paris Underworld series involving an orphan, incompetent pickpocket during the reign of Louis the Fourteenth, the Sun King.

Dave Zeltserman found a new short story niche by creating a new type of private detective sidekick, a miniature processor, named Archie, with the artificial intelligence capabilities of seeing and hearing. The human detective wears Archie as a stickpin on his clothes and uses him to gather clues in his cases. Naturally, since Archie has AI abilities, he tries to guess the solutions to various crimes in competition with his owner's decision as to who did it and why. For all the data available and the processing abilities Archie has, he is usually a mental step or two behind his human counterpart.

Chris Muessig found a couple of niches in AHMM and EQMM. One with his pro wrestling series and secondly with his Jake Miller during World War I series. I am a fan of Jake's journey from training camps on the East Coast to the ship taking troops across the Atlantic to the killing fields of France. There is always a great mystery involved.

Barb Nickless, a novelist, found her niche with her creation of a protagonist working as a railroad detective. When she needed access to a real-life railroad detective in order to do research for her series, I introduced her to one. It must have worked out, because she now has book four under contract. Her Ambush, book 3 is a great read.

All those examples noted above were niches other authors weren't currently using. And, they worked out quite well.

How about you? Any thoughts on the subject? Any niche that is working for you?

Don't be shy. We all love to hear about what worked, and...even what didn't work. As for me, my EZ Money Pawn Shoppe series, my Bookie series,  my 1900's Perfume River series and my 1900's Boer War series failed to make the cut. I'm still looking around for a new niche that piques my interest.

Themes in Novels (in which Bad Girl discovers she’s not so flaky after all…)

One of the great discussions in the author world is whether your book should have a theme or not. Of course it’s going to have a plot. (Protagonist with a problem or goal and obstacles to that goal – real obstacles that matter - which are resolved by the end.) But does a book always have a theme?

Usually when we’re talking ‘theme’, we’re putting the story into a more serious category. Margaret Atwood (another Canadian – smile) tells a ripping good story in The Handmaid’s Tale. But readers would agree there is a serious theme underlying it, a warning, in effect.

Now, I write comedies. Crime heists and romantic comedies, most recently. They are meant to be fun and entertaining. So you can imagine my surprise when I discovered recently that all of my books have rather serious themes behind them.

Last Friday, I was interviewed for a CBC (Canadian Broadcasting Corporation) mini-documentary featuring female Canadian crime writers. During this, the producer got me talking about the background to my most awarded series, The Goddaughter. This crime caper series is about a mob goddaughter who doesn’t want to be one, but keeps getting dragged back to bail out her inept mob family.

I know what it’s like to be a part of an Italian family that may have had ties to the mob. (In the past. My generation is squeaky clean.) The producer asked me If that informed my writing. Of course it did. But in our discussion, she stopped me when I said: “You are supposed to love and support your family. But what if your family is *this* one?”

Voila. There it was: a theme. All throughout the Goddaughter series, Gina Gallo grapples with this internal struggle.

So then I decided to look at my other books. The B-team is a spin-off from The Goddaughter series. It’s a funny take on The A-team television series. A group of well-meaning vigilantes set out to do good, but as this is comedy, things go awry. In fact, the tag-line is: “They do wrong for all the right reasons…and sometimes it even works.”

Was there a theme behind this premise? Was there a *question asked*? And yes, to me, it was clear.

In The B-Team, I play with the concept: Is it ever all right to do illegal things to right a wrong?

Back up to the beginning. My first series was fantasy. Humorous fantasy, of course. Rowena Through the Wall basically is a spoof of Outlander type books. Rowena falls through a portal into a dark ages world, and has wild and funny adventures. I wrote it strictly to entertain…didn’t I? And yet, the plot revolves around the fact that women are scarce in this time. They’ve been killed off by war. I got the idea from countries where women were scarce due to one-child policies. So what would happen…I mused…if women were scarce? Would they have more power in their communities? Or would the opposite happen. Would they have even less control of their destinies, as I posited?

A very strong, serious theme underlying a noted “hilarious” book. Most readers would never notice it. But some do, and have commented. That gets this old gal very excited.

I’ve come to the conclusion that writers – even comedy writers – strive to say something about our world. Yes, I write to entertain. But the life questions I grapple with find their way into my novels, by way of underlying themes. I’m not into preaching. That’s for non-fiction. But If I work them in well, a reader may not notice there is an author viewpoint behind the work.

Yes, I write to entertain. But I’ve come to the conclusion that behind every novel is an author with something to say. Apparently, I’m not as flaky as I thought.

What about you? Do you look for a theme in novels? Or if a writer, do you find your work conforms to specific themes?

---

Got teen readers in your family? Here's the latest crime comedy, out this month:

On AMAZON

Movies 1960-1963

My father, an army CID Agent, was stationed at Camp Passalaqua, SETAF, Verona, Italy, from 1960 to 1963. We lived off base in the city of Verona –  one of the great experiences of my life. I was 10 when we arrived in Italy and was immediately disappointed there was no American television. No TV for three years. It wound up being one of the best things that happened to me because I read and read and read – children's books, adult fiction, non-fiction. Fell in love with the school library and the post library. I attended Verona American School, Borgo Milano, Verona, and spoke fluent Italian by the time we returned to the states.

I also fell in love with movies. The post theater changed movies every other day and we saw nearly every movie released between mid-1960 and mid-1963. I still think of them as Verona movies. There was no motion picture codes back then - no PG and PG13 ratings. Parents figured out what we could watch, which meant I was not allowed to watch any Alfred Hitchcock movie (Psycho came out in 1960) and any James Bond movie because of the naked women. My father came back from seeing Dr. No and said we could have gone with him, assuring my mother there were no naked women in the film. Just a woman in a bikini. I did get to see some movies with mature themes.

Verona movies. Viewed now, some were good, some bad but we kids loved seeing them all.

I remember ...

This great adventure –




Young, hot Jane Fonda –



Another great war story. Jane Fonda? No. Great beauty Dana Wynter. Smart. Sharp. Kenneth More was dynamite in a subdued role. The scene in the claustrophobic room when they learned HMS HOOD had blown up was riveting –



OK. I was 11 years old and loved this one –



I thought this was the best movie ever made when I saw it as a kid. Still think it's great –



I looked for Sidney Poitier in all subsequent movies. Saw A RAISIN IN THE SUN in 1961 too –



Wow. Great flick. Lee Marvin was such a great bad guy –



Didn't realize I liked musicals until I saw this one –



Scariest werewolf movie I've ever seen. This werewolf was awesome –



Fun. Fun. Fun. Even had Fabian –



The song sold me but hard to take my eyes off Capucine. What? Fabian again?



Did not realize the genius of David Lean yet. The panoramas. Peter O'Toole was fantastic. Omar Sharif was the coolest –



Still don't know what all the fuss was about with this one. Never thought Ann-Margaret was the "young Marilyn Monroe." Wasn't bad but ... I mean the hero was Bobby Rydell –




My parents did not realize the content of this one. It was about our home town. A movie about a "stylish New Orleans brothel" may have been a bit much for kids. Capucine and young Jane Fonda together in this one –



When you're a kid there was JERRY LEWIS. We also saw CINDERFELLA  –



Another mature movie. Natalie Wood was wonderful. Wasn't crazy about pretty boy Warren Beatty –



They kept this one around a while –



Several Elvis movies came around, this was the best. We also had GIRLS! GIRLS! GIRLS! and BLUE HAWAII –



Glad I saw this when I was a kid. It left a big impression on me –



OK. Had a crush on Hayley Mills after this one –



Love this movie. Great songs. James Dean was the smoothest and got a crush on Deborah Walley.



So many other good movies came to the theater. Others I remember – THE LAST VOYAGE, THE LOST WORD (the one with Claude Rains), WHERE THE BOYS ARE, THE WACKIEST SHIP IN THE ARMY, THE MIRACLE WORKER, THE DAY OF THE TRIFFIDS, THE HORIZONTAL LIEUTENANT, MUTINY ON THE BOUNTY (Marlon Brando version), THE PHANTOM OF THE OPERA (Herbert Lom version), IT'S A MAD, MAD, MAD, MAD WORLD, ZOTZ!

That's all for now.

http://www.oneildenoux.com

That One Time Karen Carpenter Really Cost Me

by Brian Thornton

Two weeks ago I talked about my experiences on both fronts of the customer service industry: as a consumer and as a customer service rep. You can find that post here. In that post I alluded to the time when I worked for "someone who really put the 'ass' in 'assistant manager,'" a real jerk who wound up firing me.

I said then that this was a story for another time.

Well. Now is that time.

Everyone's worked for a lousy boss (or more than one!). It's kind of a rite of passage. Lord knows I've had more than my share.

This was especially true when I was working my way through college and grad school after I got out of the Navy. I worked a series of menial customer service jobs while getting my Master's and my teaching credential.

I remember thinking at the time that at least with these jobs, I could go home after work, and not just go below decks to my berthing (not like you can pull the ship over at night and just send everyone home). So even though these jobs pretty much universally sucked for one reason or another, at least I was a civilian again.

Plus, my final boss in the Navy had been a genuine piece of work. Incompetent, ignorant, and frequently mean, I thought I'd never work for his like again once I got out.

Then I went to work at a music store (look it up, millennials!). Now, this was in 1989, so it wasn't a "record store." They sold pretty much exclusively CDs and cassettes (although by this time cassettes were also on their way out).

This was in December, and I was hired as holiday overstaff help. Turned out I was pretty good at selling music. We had a bonus system which rewarded "suggested sales," where someone would come in looking to get something for a music-loving family (because, you know, Christmas) and need help finding something that family member would like.

Bonuses were handed out weekly, and the first four weeks I worked there, I won every week. This was in large part because I was (and continue to be) interested in and familiar with a wide variety of music. Not just pop and rock, but soul, jazz, funk, classical, even a fair amount of country music (hip-hop not so much. One of the other guys led in that category).

So people would come in looking to get something for their opera-loving grandmother, their country-loving uncle, their jazz-head cousin. And because they didn't share this relative's musical taste, they'd need help finding something that would be a hit as a gift.

I cleaned up. The people I worked with (with the exception of the guy who loved and knew hip-hop) didn't listen as widely as I did (and still do).

Now, the guy I worked for, I'll call him "Dick" (not his real name), was the assistant manager of the store where I worked. The manager was responsible for two different stores, and left the day-to-day management of this particular store to Dick. Dick seemed to relish his semi-independent status. He spent most of his time in the store in the back office doing paperwork, or standing half-way up the stairwell that led to said back office, feet spread, hands behind his back, staring out over the store the way I'd seen a ship's captain staring out over the deckhands scrambling to stations.

Dick and I were the same age, and had even attended the same community college, although our paths had never crossed there. I dropped out and went in the Navy, and he graduated from their music program (Dick was a drummer). I had a lot of musician friends. During the middle of my third week working at this store I happened to ask whether he knew a couple of these musician friends while we were busy stocking shelves.

You know. Just making conversation.

I didn't think much of it at the time, but when I mentioned one particular name (a sax player I'll call "Russ," because that is, in fact, his name), Dick hesitated for just a moment before saying, "Yeah, I know Russ."

A week later, I was stocking shelves in the rear of the store when one of the other sales associates approached me with a middle-aged lady in tow. Dick was in his customary spot on the stairwell, doing his Captain Ahab thing.

"Hey Brian," the other sales guy, whose name escapes me, said. "This lady is looking for the new Carpenters album."

"Karen Carpenter?" I said.

"No," the lady chimed in. "She's dead."

At that point Dick, who had been listening in, pointed in the direction of my head, made a cocking motion with his finger, and made a shooting sound. Both the other sales associate and the customer laughed.

Now, anyone who knows me knows how much I enjoy getting the last word. it doesn't happen all that often, but when it does, I savor it. I had no idea what moved Dick to "shoot me in the head," but I can admit I didn't really much like it. I mean, no one likes being called stupid. Not even stupid people.

So I said, "Yes, she is dead, Been dead since '83. But her brother just released a posthumous collection of her stuff called Karen Carpenter." And with that I reached over to the shelf, pulled down one of the new Karen Carpenter CDs I'd seen there, and handed it to the by-now very pleased middle-aged lady.

And then, because, again, I like getting in the last word, I turned back to Dick, and pointed at him and said, "So *sound of a gun going off here* yourself."

And then I went back to stocking shelves.

I was fired less than twenty minutes later.

The chain I worked for had recently adopted a "one write-up and you're gone" policy. So Dick wrote me up for "insubordination." And while I was still sitting there blinking at him, he told me, with a visible level of pleasure I had not seen from him in the month or so that I'd known him, that, because of their new policy, I was fired.

I was stunned.

So I left. And then I did what I ought to have done the week before.

I called Russ.

"Hey man," I said, "Do you know Dick (last name redacted)?"

"Dick (last name redacted)? Yeah. I know him," Russ said. "He's a thief."

Turned out that when my community college's full band had gone back east to play some music festival, they had been put up by the college hosting the festival. Russ was in the middle of getting his party on with the rest of the woodwind players when he'd seen Dick walk past down the hall carrying a brand-new, and very expensive-looking cymbal.

Russ had followed Dick down the hall, confronted him, asked where he got the cymbal, and then Dick tried to blow him off and tell him to mind his own business. Anyone who knows Russ knows that wasn't gonna work.

You see, my friend Russ is one of those guys who has a code and really lives it. It's one of the things I've admired most about him for the nearly forty years I've known him.

And Russ has no use for thieves.

Long story short, Dick put the cymbal back, none the worse for wear. The same could not be said about Dick once Russ was done with him.

After I in turn had filled Russ in on what Dick had done to make particular day memorable for me, he said, "Did he pay you?"

"No," I said. "Why?"

"State law is, they gotta pay you up if they can you. Day of."

Armed with this new knowledge, I called up Dick's direct supervisor, the manager who ostensibly ran the store where I'd worked. Turned out he'd been expecting my call.

"Sorry, Brian," he said, genuine regret in his voice. He was an older guy, all business. Not even all that interested in music. "You're good with sales, and I like you, but Dick is a good assistant, and I have to support him on this."

I said I understood, but that I wasn't calling to dispute my firing. I was calling to ask how I was going to get paid.

"Didn't Dick pay you up on your way out once he'd terminated you?"

I said he hadn't.

The manager swore. Then he apologized, and said, "If you come down to (name of store on other side of town redacted), I'll cut you a check."

I suggested going back to the store where I'd just been canned. That seemed to surprise him.

"That wouldn't bother you?" he said.

I said it wouldn't. Plus it was closer and way more convenient for me to get to that day.

He agreed. "Dick really ought to have paid up when he terminated you. I'll talk to him about that and tell him to have your check ready."

So within a half-hour I was walking back in to the store from which I had been so recently fired. Upon seeing me walk in, Dick, once again on station half-way up the stairwell to the back office, immediately motioned for me to follow him upstairs into the office.

"Got my check?" I said, all business. I'd gotten past shocked and was almost past mad. I just wanted to get paid.

"Yeah. Cute stunt, calling the boss," he said as he handed over a hand-written check drawn on the store's corporate account.

There was a problem, though. I hadn't been paid my final bonus for winning the suggested sales contest from the week before. It was fifty bucks, which was a lot of money to me back then, and I said so.

"You were fired. So you don't get that bonus."

"Who does, then?"

"The person with the second-highest total for last week."

"Let me guess," I said, doing everything in my power to keep a straight face. "That person is you."

Dick actually had the good grace to turn red at that, but he didn't say anything.

I sighed, pocketed the check, and said over my shoulder as I walked out, "Wow, Russ was right about you, Dick. You are a thief."

I'd like to say that getting that sort of last word like that was worth losing that extra fifty bucks. But I'm objective enough now to say it wasn't. That money would have gone a long way for me back then.

Ironically (or, if you prefer, karmically), Dick got himself fired not long after that. I heard a whole bunch of speculation as to why.

In the meantime I got my bachelor's degree and went to another local university in pursuit of my Master's. And I saw Dick on campus a lot there. He'd gotten divorced, grown his hair, and was playing in a reggae band while majoring in music.

Again, this was all stuff I heard. Mostly from Russ, who was wired in to the local musician scene (and still is). As for Dick, he and I passed each other on campus frequently. Never said another word to each other.

In retrospect, I hope the guy's mellowed with age. I have no idea what he's up to now. And I hope he did something nice for someone else with that fifty bucks he stole from me.

And yeah, I'm not perfect now and I certainly wasn't then. I did get cute trying to needle him back. But it was pretty harmless, and in no way "insubordinate." Then again, in retrospect I am pretty sure my being flip with him was just a pretext.

The point? I try to remember what it was like to work for someone like that. And to never act that way myself. I supervise a lot of people in my day gig. None of them deserve to be treated like that.

No one does.

And how about you? Who was your worst boss ever, and how did the experience of working for them affect you? Feel free to weigh in in the comments section.

See you in two weeks!

Metropolis

David Edgerley Gates


Fritz Lang's movie Metropolis was released in 1927. Paranoid and hallucinatory, it's the first feature-length dystopian SF picture, but of course its spooky Teutonic future is at right angles to the spooky present of a doomed Weimar.

Philip Kerr's last Bernie Gunther novel, Metropolis, came out this year. It's set in 1928, and sure enough, Fritz Lang's chilly breath hovers over the story. (His wife, the screenwriter Thea von Harbou, steps into the book to pick Bernie's brain for cop shop detail - she's turning over some ideas in her head for a serial killer story.) Bernie remarks early on that for all its grime and despair, his home ground of Berlin mirrors both the human condition and the German national character, and you can say the same about a book or a movie, so is it true of this book or that movie?

Lang had a problematic relationship with the Nazis. He'd been raised Catholic, but his mother was originally Jewish. It was an obvious pressure point. And while we're on the subject, Thea, the wife, was a Nazi sympathizer from early days. Hitler and Goebbels were huge fans of Metropolis, as it happens. But after Lang made The Testament of Dr. Mabuse in late 1932, and Hitler came to power in January, 1933, the Nazis banned Mabuse, which was pretty clearly aimed at Hitler. Goebbels, on the other hand, offered Lang a job as head of UFA, the biggest German movie studio. It was bait-and-switch. Lang was being invited inside the tent, but the price of admission was spelled out: he was selling his soul. Lang said he'd think about it, and beat feet for France. Thea stayed behind and divorced him. UFA went to Leni Riefenstahl.

The question is often raised in the Bernie books - in fact, it's the central spine of the stories - What would you do as the world disintegrated around you, as it lost all moral force, what choices would or could you make? Metropolis goes back to the beginning, chronologically. It takes place before March Violets, the first of the novels. But it looks forward. The foreshadowing is all there, On the other hand, Bernie doesn't comment on what he sees and does from a future perspective. This dramatic irony, which is used in a number of the books, isn't present here. Bernie is blessed with ignorance of the future, even though the choices keep lining up. The answer to the questions is, You compromise just a little every day, and it gets easier.

How can we know, how could we possibly predict whether we'd rise to the occasion, show grace under pressure, or simply cave? It seems, generally speaking, as if even the major life-changing decisions we make are essentially taking the path of least resistance. If you've followed Bernie's history, as I have, over the thirteen books leading up to Metropolis, you respect him not just for his survival skills, but for his generosity, and his self-respect, even if he sometimes loses confidence. Seeing him here, right as his life is about to take a walk off a cliff, is enormously affecting, because you know what's coming, and he doesn't. The future of Fritz Lang's Metropolis, as frightening as it is, can't begin to conjure up the waiting chaos, and the terror.

Metropolis, the novel, is a swan song. Phil Kerr died last year. This is one terrific run of books.

The Future of Writing

Many of us have nostalgic, warm feelings of curling up with a book in the rain. For a lot of us here at SleuthSayers it’s more than likely a mystery or a thriller, though I’m sure we all read many different kinds of books, mainstream fiction, non-fiction, a little of everything.

But how many of our kids have that warm feeling? How many of our kids enjoy reading just for the pleasure of it? How many people read paper books anymore? And are young people reading these days? They do seem to read YA books, maybe on Kindle and iPad but not often in paperback. But they are reading less than previous generations and spending more time playing games on their phones, texting and watching movies instead of reading. More distractions and shorter attention spans. They’ve grown up with everything being faster and getting instant gratification. Do they ever read classics or history or something that’s a stretch for them? And how many never read anything longer than a  Facebook post or Tweet?

My wife, Amy, who takes the train to work, says, “I notice on the train a lot of people staring at their phones. Some are reading, but the really serious readers have paperbacks or Kindles and don’t read on their phones. Most are texting or playing games. And it’s time that could be spent reading but they don’t. And that’s scary. I understand wanting to do something mindless and entertaining for a little while, but we also need to exercise and stretch our brains and imaginations sometimes, too.”

It seems to me that, while there are still some places to buy books besides Amazon, and that people still read, I’m not sure how many people read or what they’re reading. So the question is, is fiction a dying art? And how does that affect our writing?

Many people, of all ages, would find Don Quixote slow to come to a boil. Nothing happens for too long. That’s the way it is with a lot of books from earlier times and not even all that earlier. Hemingway was known for his “streamlining” of the language, but many people these days find his books slow going.

The same applies to movies. Even movies made 20 or 30 years ago are too slow for many people today. And when they watch movies they often watch them on a phone with a screen that’s five inches wide. How exciting is that? And many movies today are of the comic book variety. I’m not saying no one should read comic books or enjoy comic book movies, but it seems sometimes like that’s all there is in the theatres.

And novels have become Hollywoodized. I like fast paced things as much as the next person, but I also like the depth a novel can provide that movies or TV series often don’t. And one of the things that I liked about the idea of writing novels was being able to take things slower, to explore characters’ thoughts and emotions.

In talking to many people, I often find there’s a lack of shared cultural touchstones that I think were carried over from generation to generation previously. That also affects our writing. Should we use literary allusions, historical allusions? If so, how much do we explain them? And how much do we trust our audience to maybe look them up? The same goes for big words.

Way back when, I was writing copy for a national radio show. Another writer and I got called on the carpet one time and dressed down by the host. Why? Because we were using words that were “too big,” too many syllables. Words that people would have to look up. So, we dumbed down our writing to keep getting our paychecks. But it grated on us.

But in writing my own books and short stories I pretty much write them the way I want to. I’m not saying I don’t stop and consider using this word instead of that. But I hate writing down to people. When I was younger I’d sit with a dictionary and scratch pad next to me as I read a book. If I came on a word I didn’t know I’d look it up and write the definition down. And I learned a lot of new words that way. Today, if one is reading on a Kindle or similar device, it’s even easier. You click on the word and the definition pops up. That’s one of the things I like about e-readers, even though I still prefer paper books. But I wonder how many younger people look up words or other things they’re not familiar with.

And what if one wants to use a foreign phrase? I had another book (see picture) for looking those up. But again, today we’re often told not to use those phrases. Not to make people stretch. I remember seeing well-known writers (several over time) posting on Facebook, asking if their friends thought it was okay to use this or that word or phrase or historical or literary allusion because their editors told them they shouldn’t. That scares me.

So all of this brings up a lot of questions in my mind: What is the future of writing? Are we only going to write things that can be read in ten minute bursts? And then will that be too long? What does all this mean for writers writing traditional novels? Will everything become a short story and then flash fiction?

In 100 years will people still be reading and writing novels? Or will they live in a VR world where everything is a game and they can hardly tell reality from fantasy?

So, what do you think of all of this?

~.~.~

And now for the usual BSP:

My story Past is Prologue is out in the new July/August issue of Alfred Hitchcock Mystery Magazine. Available now at bookstores and newstands as well as online at: https://www.alfredhitchcockmysterymagazine.com/. Hope you'll check it out.

Also, check out Broken Windows, the sequel to my Shamus Award-winning novel, White Heat.

Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website  www.PaulDMarks.com

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When to Enter

Many moons ago, I discussed why I enter so few writing contests. If there is a hefty entry fee, I stay away. If I don't know the judges or feel comfortable with the criteria, ditto.
But sometimes, dumb luck gives you an advantage, and it's true of both contests and submissions to anthologies. If you're in the right place at the right time, there are ways to get an inside track.

Several years ago, I learned about the Black Orchid Novella Award. I had a short story that never sold, and I expanded it into a novella and won. Yes, writing a good story helps, but the Black Orchid Novella Award pays tribute to Rex Stout and his detectives Nero Wolfe and Archie Goodwin. My parents liked Stout, so I read many of his novels and novellas when I was young. We were both raised in the Midwest, so his voice and rhythm and characters influenced my own writing. In other words, writing a story that fit the contest's requirements was definitely in my skill set.

I've entered two stories in that contest, and won both times. Since it's an annual event, the submission dates are standard, which means I know when to have a story ready and have a whole year to come up with an idea (or not) and rewrite until it's worth sending. That means no rushing, important because I can't rush. I've written on demand, but it always takes me several revisions, which means lots of time.

My titles should tell you I like blues and rock and roll. Several years ago, I wrote a blog about plagiarism in rock music. Among other performers, I mentioned Led Zeppelin and their frequent "borrowing" from blues artists. That idea was fresh in my mind when the Mystery Writers of America posted a submission call for an anthology with the theme of "Vengeance," to be edited by Lee Child.

Well, Child's first novel is Killing Floor, a title taken from an old Howlin' Wolf blues classic. Led Zeppelin milked it dry for a song they called "The Lemon Song" on their second LP. Child has another novel called Bad Luck and Trouble, a line that appears in both "Born Under a Bad Sign" by William Bell and Albert King and "Double Trouble" by Otis Rush.

I figured Child was a fan of American Blues. What if I could write a story about a blues songwriter who stole a song and the results caught up with him? I called it "Hot Sugar Blues" and hoped the title would help the story get through the gatekeepers to Child himself. It appeared in the anthology and was later named a finalist for the Edgar Award.

Yes, I think it was a good story, but it still needed the right audience. You can help that happen.

Several years ago, I joined four other writers judging submissions for the Al Blanchard Story Award, sponsored by the New England Chapter of MWA. Let me share what that five-month stint taught me.

The submission time was three months, and we received 142 stories of 5000 words or less. Only a dozen came in during the first several weeks, and only 41 through the sixth week, so I read them all, Because I was used to reading lots of papers, I read EVERY story (even though I only had to read every fourth one) and took notes. (Some people have lives. I'm not one of them). I graded them all from 1 to 10 and made a spread sheet of my comments.

I didn't award any story a 9 or 10, but I gave NINETY-ONE stories a 1 or 2. That's right, nearly 2/3 of the entries earned that score, and for the same reason(s). They started with turgid--often unnecessary--backstory and most of them wallowed in description. They tended to tell rather than show, had little or poor dialogue, and a few had endings that came out of nowhere.

Don't do those things.

A whopping 41 stories came in the last day of the contest. Don't do that, either. By then, judges are in a hurry. They're looking for a reason to dump you and move on, so a typo, a badly-chosen name, or a cliche may be enough to knock you out on page one.

If a contest takes submissions for three months, I like to wait about six weeks. That gives readers time to go through enough entries to establish a personal standard of their own. They still have enough time to be flexible, though, so they'll give leeway to something a little different. When the time crush kicks in (the last two weeks), they may already have their personal favorites locked in and it's hard to dislodge them. Hit them when they're still comfortable.

Keep in mind that judging is ALWAYS subjective, no matter how specific the criteria, and no matter whether it's for a contest, an anthology, or a standard submission. Three of the five stories I rated the highest in the contest I judged didn't make anyone else's short list, but seventeen of the stories I rated a 1 or a 2 DID.

Not long ago, an editor turned down my submission because he liked the story but didn't like the golf that was essential to the plot. He never explained why. I sold the story elsewhere in two weeks. Maybe if I'd used tennis or Jai alai, it would have sold the first time out.

You never know. But some guesses are better than others.

A Public Service Announcement

Florida politicians are as environmentally sensitive as Jeffrey Epstein at Scott Pruitt’s Mar-a-Lago bachelor party. In the eighty years since Marjorie Kinnan Rawlings, Florida hasn’t exactly become a hotbed of environmentalism.

“Drain the swamps” is the rallying cry of misguided developers. Wetlands are Nature’s kidneys, filtering polluted water before it enters ever-depleting aquifers, shrinking underground rivers supplying the state’s water.

“Chop down the forests” isn’t heard quite as often these days, but I encountered a guy who still believes trees cause pollution and environmentalism is a dastardly plot. He forgets William F Buckley Jr mentioned conservation and conservatism share the same root words and meanings.

Imagine my pleasant shock when I began seeing posters and postcards from some Orange County government subversives with tips to save the environment. Bless their hearts. Here is an example:

Orange County Public Service Announcement Nº 4

However, those icons in the left middle of the page reminded me of a guy with a gun to his head and then possibly a gas pump. Nah. Eventually I settled upon pesticide sprayers in the land where roaches are the size of rats, rats are the size of cats, and a mouse the size of humans. But for fertilizer? At least their hearts are in the right place.

Florida housecat

Naturally my next thought concluded SleuthSayers would be remiss not to create its own public service announcement. But what should a criminal PSA include?

• It should pay homage to its inspiration.
• Orange County’s orange inexplicably went missing above, but we can fix that.
• It should respect the work the county put into theirs. After all, they should know what a PSA looks like.
• Therefore it should look attractive.
• Maybe it should be informative. Or not. But yes, let’s.

I considered a bit of humor made especially for the occasion:

Give a man a fish, you feed him for a day.
Give a man a puffer fish, you feed him for a lifetime.

Too subtle, huh? Maybe if I copyrighted it…

So after much head scratching, I came up with the following.

SleuthSayers Public Service Announcement Nº 1

What do you think? Have we succeeded in alerting the public? If not, it’s the fault of, uh, Orange County, yeah, that’s it.

A Saturday Post About The Saturday Evening Post

A few years ago I discovered a new market for my stories--or, more accurately, I was told about it. It wasn't a mystery market (those are the ones I usually look for), but one that is occasionally receptive to mysteries as well. It was a magazine whose name I recognized, but I had never considered submitting a story there.

When I think of The Saturday Evening Post, the first thing that comes to mind is probably Norman Rockwell's covers. But they do publish one short story in every bi-monthly print edition, and the one in the current issue is mine. (I would prefer they make things easier by just using one of my stories in every issue, but they might not agree with that idea.)

A little Post history

Like me, the SEP has been around awhile. It began in the 1820s, and I'm told it did pretty well until the 1890s, and then sank to a circulation of around two thousand. Then--under new leadership--it rose to around 250,000 in 1900 and a million in 1908. Apparently it continued to flourish until the 1960s, reaching a circulation of around seven million. In the late sixties, though, the Post had another downturn, and by 1982 it had become, according to its website, a non-profit entity focusing on health, medicine, volunteerism, etc. In 2013 it underwent a do-over, returning to its original policy of celebrating the storytelling, art, and history of America. I am now a subscriber and I truly enjoy the magazine.

One thing of interest to folks like me is that the Post--as I said earlier--features one piece of fiction in every print edition, and then makes those stories available online about two weeks after their appearance in print. My story in their current (July/Aug 2019) issue became available online this past week. I understand the SEP is also a market for strictly online stories, where a new story is featured every week. I have not investigated or sent anything to that venue, but I know several fellow SleuthSayers who have submitted and have been published there, and I would welcome their comments and information on that piece of the market.

What does all this have to do with mystery writing? Not much. Only three of the eight stories I've had published by the SEP are mysteries--or at least mysteries in the sense that a crime is central to their plots. (That remains the criteria by which Otto Penzler selects the content for his annual Best American Mystery Stories anthologies.) That of course means that more than half of my SEP stories are not mysteries. But most writers like to dabble now and then in other genres anyway.

My Post history

Looking back at the past several years, here are the short stories I've been fortunate enough to sell to the SEP, along with a mini-synopsis of each:


1. "The Outside World" -- 2600 words -- March/April 2013 issue. A mysterious old woman helps a
young man who's been blinded in an accident regain his hope for the future. I remember that I wrote this non-mystery story really fast, after the idea first entered my head.

2. "The First of October" -- 1600 words -- Nov/Dec 2013. Fate brings two college sweethearts back together after many years of hardship and separation. This was sort of a romance story with a twist, and one that I was surprised (but happy) that the Post accepted.

3. "Margaret's Hero" -- 5300 words -- May/June 2014. A white child, her beloved horse, and an African American foreman create an unlikely and strong alliance. This was fun to write because it was done in a familiar southern setting and about the kind of folks I grew up around.

4. "Saving Grace" -- 4500 words -- July/Aug 2015. A grown son estranged from his mother returns to his hometown to find that an unfortunate (and illegal) incident in his past has miraculously affected later events. The plot for this story, which includes some fantasy elements, came to mind after one of my many viewings of It's a Wonderful Life.

5. "Business Class" -- 1500 words -- Nov/Dec 2015. A confrontation between an executive and an employee shows a planeful of office workers what's really important in life. No crime in this story, just issues of professionalism and power and corporate ethics. A few memories of my IBM career in this one.

6. "The Music of Angels" -- 2000 words -- Sep/Oct 2018. A home-healthcare nurse visiting an elderly patient in a rural area makes a discovery that will change the lives of two people. A lot of this story was based on real events, both at the college I attended and in my hometown. Also, not that it matters, I gave the three main characters the first names of our oldest son's three children.

7. "Calculus 1" -- 4000 words -- March/April 2019. A wealthy engineering student convinces his cash-poor roommate to help him cheat on a college exam. Again, no crimes committed here, just dishonesty and deception.

8. "The A Team" -- 2300 words -- July/Aug 2019. A drugstore employee and her five-year-old daughter find themselves in the middle of an armed-robbery attempt. This is one of those "framed" narratives, where everything starts in the present, goes into the past to tell the story, and ends in the present again.


If anyone's interested in this kind of thing, six of those stories were written in third-person, two in first-person, all of them feature very few named characters, and all were written in past tense.

Editorial stuff

One odd thing that I've noticed about these stories: the SEP editors like to use numbers instead of spelling them out. My policy's always been to spell out numbers from, say, one to ten--"I'll pay you five dollars at two o'clock"--but when I do that, they always change it to "I'll pay you 5 dollars at 2 o'clock." From an editing standpoint, I think that's the only thing I've differed with them about. (They won.)

Contentwise, I usually try to send stories to the SEP that are family-friendly. Most of those I've seen in the magazine seem to be geared to a wide audience and have sort of a down-home, "all-American" flavor. If I do a crime-related story and it's at all gritty or controversial, I usually target one of the mystery magazines with it instead.

The SEP also tends to publish accepted stories almost immediately, unlike many other markets.

Questions

How many of you have read the Post lately? Have you ever submitted a short story there? A nonfiction piece? How often do you venture away from mysteries and into the other genres? Where do you usually choose to send those other-genre stories? Do you occasionally try the literary journals? Have you had success there? How often are your stories influenced by novels or movies or other shorts you've read?

Whatever the case, keep up the good work! I'll be back in two weeks.

Dubious Attractions

by Janice Law

I am sure I am not the only writer to be attracted to subjects or genres that I’d be better to leave alone. I write books and stories heavier on character and atmosphere than clever plotting, and my favorite protagonists share a humorous skepticism and a propensity to chat.

Rex Stout

The rational puzzle mystery in not my natural terrain. Sure, I know enough to avoid the locked room. I know my limitations. But just the same I have twice been seduced by the siren song of the Black Orchid Society’s contest. And this, despite the fact that I’m not even terribly fond of Nero Wolfe, however much I may admire Rex Stout’s ingenuity.

Both times, however, I was convinced I had worked out the format. My first attempt, A Taste of Murder, set immediately after WW I in Providence, RI, did have a great logical mind and various errands and investigations that had to be carried out. Just like Wolfe and Archie, right?

AHMM illustration for Taste of Murder

Or not quite. My detectives, and I realize now I had never intended to give one priority, were Professor Hodgkins, a good-natured and erudite history professor with an interest in historical mysteries, and his Aberdonian housekeeper, Jean Galloway. Widowed during the war, Jean has much less education than her employer but a much tougher and more logical mind.

She is a bow to the domestic servants I grew up among, many, like her, women whose men – or potential men – had been lost in the Great War. Hardworking and clever, they were underpaid “help” who, in fact, had all the skills necessary to run the equivalent of a boutique hotel with a demanding set of residents. Put together, Jean and her professor have the Nero Wolfe mind and, depending on the errand, either separately or together fulfill Archie’s evidence- gathering function.

Probably you can already see why A Taste of Murder did for fit the contest requirements, although it turned up in Alfred Hitchcock later. A Fine Nest of Rascals, my next attempt at one of the classic forms, met a similar fate, although I am happy to say it is the cover story of the current July/August issue of  AHMM.

July/August 2019 issue

This time, I believed that I was a closer to the mark, employing my series characters Madame Selina and her apprentice Nip Tompkins in what I’d decided would be their final outing. Readers like to know what happens to characters, and this was a way of showing the resourceful Nip thriving as a cub reporter on the New York Herald and Madame contemplating retirement in the face of the vulgarities of the Gilded Age.

Madame would be the Nero Wolfe character, the brains of the operation, and Nip, who narrates, would run errands for her just as he used to do back when he was operating the bellows and creating the “ectoplasm” that enhanced her seances. I had the lines of authority and command down this time with no subversive ideas about class or gender.

Alas, I had ignored two little difficulties: Nip’s initiative – especially evident with a young woman as charming as Lucy Devereux in jeopardy – and Madame’s signature resource, the seance with Augustus, her pipeline to the afterlife. However intelligent Madame Selina, however careful her ( and Nip’s) researches, a Madame Selina story has to dim the lights and summon the Roman emperor. I can hear Nero Wolfe snort!

Oddly enough I did not see any problems at the time, showing that writers can be blind when an idea is upon them. In both cases, I congratulated myself on constructing a big reveal scene before the assembled suspects and in a variety of small ways developing plots without the chases and action that I usually find so helpful in fleshing out a story.

In retrospect I have to admit that my Professor and Madame Selina, Jean Galloway and Nip Tompkins are maybe best described as Stout-ish characters. They’re doing their best but they are not really suitable for a traditional form relying strictly on logical deduction and, I suspect, most comfortable with clear social hierarchies.

Miscellany

by Eve Fisher

If you're looking for a logical sequence of events, this is not the blog for you.  The title means what it says.

So, to begin with,

The other night we streamed Mi Obra Maestra (a/k/a My Masterpiece) on Netflix.  You gotta love a movie that opens up with a guy saying, "I'm a murderer".  And then - what a delight! - every time I thought I knew where it was going to go... it didn't!  Dead pan, very black humor, slapstick, a maniac artist, plus the fun of seeing Buenos Aires and the World Heritage site of Quebrada de  Humahuaca.  (And yes, I had to look that up all for myself.)  You can't ask for much more than that.

Quebrada de  Humahuaca
Those are real, folks!!!!

I've also been thinking about mysteries / thrillers / etc. written by non-mystery writers.  Most of these are short stories.

There is, of course, also the classic The Turn of the Screw by Henry James.  Who really did what, and was/were there ghost(s), and if not, was the governess mad, or is it all one big fantasy, have been argued up one side and down the other for decades. (BTW, it's available on Project Gutenberg HERE.)  Personally, I've never cared for The Turn of the Screw.  If you want horror - albeit of a different kind - I recommend James' The Beast in the Jungle (HERE).

But Henry James is a bit literary for a lot of people, so try Haircut by Ring Lardner.   (Read it HERE)   I keep re-reading it, and each time, new questions:  How funny did Lardner's contemporaries think it was?  Was the scene in the movie Pleasantville, where the mayor comes in and takes the barber's chair away from someone else, taken from Haircut?  I do know that Grant Tripp's brother, Barry, is kind of based on Paul.  I also know that there are still a lot of Jim Kendalls around, especially in small towns.

Meanwhile, I'm a big Maeve Binchy fan.  Most people know her from her Irish novels, but she wrote a number of short stories.  I just reread "Queensway", an absolute gem from the anthology London Transports:

When Pat saw something like "Third Girl wanted for quiet flat.  Own room, with central heating" she had dark fears that it might be a witches' coven looking for new recruits.

But sometimes a coven would be better.  And "Queensway" provides a wonderfully subtle, terribly accurate depiction of a manipulative sociopath.  Check it out.  (No e-text available.)

"It's like their apartment is full of everything we once threw out, but it looks so good the way they have it." - Cornelia in While We're Young.

Speaking of manipulative sociopaths, I've been working my way through the films of Noah Baumbach ever since seeing The Meyerowitz Stories, and Dustin Hoffman certainly nailed the manipulative narcissistic sociopath in that movie.   Goodbye, Tootsie, goodbye...  As did Adam Driver in While We're Young.  Both are available for streaming on Netflix.

Meanwhile, looking forward to the Lodge 49 season 2 premiere on AMC, Aug. 12, 10 p.m.!  Watch the Season 2 Trailer HERE.

Finally, thank you, David Edgerley Gates, for mentioning John Crowley's Little, Big in your blogpost The Art of Memory.  I had never read that book, and I did, because I'm always fascinated by memory houses.  I have one, mostly for books, because I figured out early in the day that if I really was going to read all the books I wanted, then by God, I was going to have to set up some sort of mental filing system.  And I did, although I'm not sure how, but it works.  It supplies me the title, author, plot, major characters, most minor ones, and specific scenes of almost every book I've ever read.  (Which is a lot.)

Anyway, Little, Big stunned me.  Among the notes I wrote in my journal were "A fever dream of immanence."  You see, I've always been and still am the person - girl and woman - who walks looking for the path through the forest, the door in the tree, the cottage under the stones, the opening in the sky, knowing that some day it will be there, and I'll get to go through.  (Yes, I'm a huge fan of the movie Picnic at Hanging Rock.)  This will definitely go on the shelf of those books I reread, breathlessly.

BTW, a few others that have provided me similar fever dreams:  The Once and Future King (T. H. White); Centuries of Meditation (Thomas Traherne); La Morte d'Arthur (Thomas Mallory; the oldest translation you can stand); all fairy tales (believe it or not, the Hans Christian Andersen ones get better as you get older); Alice in Wonderland and Through the Looking Glass; Piers Plowman; The Old Ways (Robert MacFarlane) and Meeting the Other Crowd:  The Fairy Stories of Hidden Ireland (Eddie Lenihan)

And FINALLY finally, next blog post - the mystery and challenge of Little Shrimp Factory on the Prairie - because if you thought everything was going to go swimmingly <groan> to bring shrimp farming to the high prairies, you really have a lot to learn.

and FINALLY FINALLY FINALLY, just for the information soundbite, from the United States Equal Employment Opportunity Commission:

What you should know about National Origin Discrimination under Title VII

The law protects people against employment discrimination on the basis of their national origin. Following are some examples of employment discrimination based on national origin.

Harassment Based on National Origin

• Ethnic slurs and other verbal or physical conduct because of nationality are illegal if they are severe or pervasive and create an intimidating, hostile or offensive working environment, interfere with work performance, or negatively affect job opportunities. Examples of potentially unlawful conduct include insults, taunting, or ethnic epithets, such as making fun of a person's foreign accent or comments like, "Go back to where you came from, " whether made by supervisors or by co-workers.

Read more HERE.

Granted, this is probably another government agency that will soon be gutted, renamed, rehelmed, and/or dismantled, but there you are. For right now, that's the law of the land.