Music in the Time of a Private Eye

Music in the Time of a Private Eye
by O'Neil De Noux

Research for my private eye series set in the 1940s-1950s drew me to YouTube to learn just how bad popular music was before rock and roll. The radio was filled with dreck. In 1947 Perry Como had a hit with Chi-Baba Chi-Baba and Al Jolson was still around with The Anniversary Song. 1948 gave up hits like Mañana by Peggy Lee with a God-awful Spanish accent and The Andrews Sisters with the yodel polka Toolie Oolie Doolie. In 1949 we had a faux-western hit by Dinah Shore called Buttons and Bows where the "cactus hurts by toes" and Tommy Dorsey's brassy The Huckle-Buck. 1950 came with hits like Goodnight Irene by the Weavers and Perry Como was back with another polka Hoop De Doo. Wait, 1950 gave us Nat King Cole's Mona Lisa. Thank God for Nat.


The Weavers were back with a top hit in 1951 – On Top of Old Smokey. Lord, help us. Phil Harris had a big hit with The Thing (No, not from the 1951 movie The Thing from Another World, but a goofy novelty song). Perry Como was back with the sleep-inducing If and we had the tear-jerker Tennessee Waltz by Patti Page. I admit, I sorta like Tennessee Waltz.

1951 gave us the unforgettable Aba Daba Honeymoon by Debbie Reynolds and Patti Page's Mockin' Bird Hill, where the morning sun kisses roses on a windowsill. For some reason, I like Mockin' Bird  Hill. Hey, maybe I just like Patti Page. (I also like sugar songs like 1963 's Sugar Shack by Jimmy Gilber and the Fireballs and – please forgive me – 1969's Sugar Sugar by the Archies).

1951 hits did give us a good hit with Nat King Cole's Too Young, but watch out, it can put you to sleep. Tony Bennett's Because of You was OK, but not one of his best. He also had a hit with his cover of Hank Williams' Cold, Cold Heart but the original by Williams was far better. But that version was played on hillbilly radio stations. No way my cool cat PI would listen to country music, even though Hank Williams had dynamite songs.

The radio hits of 1952 were highlighted by Kay Starr with Wheel of Fortune and Vera Lynn's Auf Wiederseh'n Sweetheart and the Mills Brothers with The Glow Worm. Irish-American Rosemary Cooney gave us at hit with an horrendous Italian-accented Botch-A-Me.

According to Billboard, the No. 5 tune of 1953 was P.S. I Love You (No. Not the cool one by The Beatles – John was 13, Paul 11, George 10 and Ringo 13 at the time). This hit came from four singers wearing college freshmen beanies and sweaters with a big W on the chest. They were The Hilltoppers, hailing from Western Kentucky State College. At No. 2 sat another sleepy song, You, You, You by The Ames Brother.



Tony Bennett had a couple top hits in 1953 with Rags to Riches and Stranger in Paradise.

OK, what about Frank Sinatra? He was in a slump between 1946 and 1953. Dean Martin did have success with 1952's You Belong to Me and 1953's Sway. In 1953, he finally had a top 10 song with That's Amore at No. 2.

My private eye is saved by listening to jazz and rhythm and blues on the radio with New Orleans own Fats Domino's 1951 hit The Fat Man. Too bad my PI has to wait years for Bill Haley, Chuck Berry, Little Richard, Bo Diddley, Buddy Holly, Elvis, Jerry Lee Lewis and so many others.

Antoine "Fats" Domino 1928-2017

That's all for now.

http://www.oneildenoux.com

The Pharaoh Akhenaten: Or How to Get Your Own People to Destroy Every Trace of You After You’re Gone

Akhenaton: the criminal of Amarna.

                                                                                                 — Ancient Egyptian Saying

Akhenaten, the unexpected heir to the Egyptian throne, unsettled his people by glorifying one god instead of a pantheon. In return, they tried to pretend he never existed.

The “criminal of Amarna” didn’t start out as a criminal, or even as a pharaoh. Likely suffering from Marfan Syndrome, a disorder of the connective tissue (which would explain the elongated facial features and long, thin fingers on the statues of him that have come down to us extant), Akhenaten began life as a younger son of the great pharaoh Amunhotep III, whose rule lasted thirty-nine years, one of the most prosperous periods in Egyptian history.

Named Amunhotep (Ancient Egyptian for "Amun is pleased," a reference to the chief god of the Egyptian pantheon.) after his father, the young boy was probably initially intended for the priesthood. But when his elder brother suddenly died, young Amunhotep became heir to the throne, and succeeded his father in 1351 b.c. as Amunhotep IV.

For five years his reign was fairly conventional. Then in 1346 b.c., everything changed.

Amunhotep IV changed his named to “Akhenaten” (which means “The servant of the Aten”), stating that there were no other gods, that the Aten (the Sun itself, as opposed to the sun-god Re) was the sole holy being and that he himself, as pharaoh, was the Aten’s voice on earth. Then he shut down the temples of the other gods, declared their priesthoods dissolved and illegal, and made it clear how things were going to be in his new order: He would worship and serve his god, the Aten, and the people of Egypt would in turn worship and serve him. Akhenaten even cleared out of the capital city of Memphis, taking his family and royal retinue with him, founding a new capital city in the desert, about 200 miles south of present-day Cairo. The ancient name of the city, Akhetaten, means “horizon of the Aten” or “horizon of the Sun.” The city was later given the name “Amarna” by Bedouin tribes who settled nearby.

A modern artist's conception of Akhenaten's capital, Akhetaten.

For the next decade, Akhenaten continued to suppress public worship of the old Egyptian gods ignored his neighbors, didn’t bother with diplomacy, and showed not the slightest interest in doing anything other than glorifying the Aten in his new capital out in the desert, out of touch with everything earthbound, a veritable hermit in the midst of his own people.

The ruins of Akhetaten (Amarna) today.

Modern-day American presidents have made much of the fact that they live in a “bubble,” insulated from contact with most of the people in their country, and talk about how they try to pierce that bubble, to be able to understand their people, in order to better serve as their leader. Not so Akhenaten. He embraced the “bubble,” and if anything, made it harder to pierce. Not a very bright move for someone trying to make a sweeping fundamental change to a religious system that had flourished in the Nile Valley for millennia.

In the end, it cost him his very identity as king of Egypt.

After Akhenaten died, the resurgent priests of Amun gained control of his 9 year-old son and heir Tutaknhaten. Through this boy king they set about dismantling Akhetaten's cult and undoing his life's work: his religious reforms. His erstwhile subjects went even further; rebelling against his very memory, smashing his idols, abandoning both his cult and his new city, returning to Memphis and to Thebes, and to the old gods and their temples. His very name was scratched out of every place in the country where it had been chiseled into stone, be it stele or monument.

A remark that serves as an effective, if unintentional, epitaph for this “rebel pharaoh.” Unsurprisingly in light of the revenge taken by the priests of Amun after his death, Akhenaten himself quickly faded from Egypt’s memory for millennia, as did his son.

That son ruled a mere nine years (and probably never without a regent looking over his shoulder) before dying under mysterious circumstances at age 18. After his sudden death he was buried in a hastily-finished, and quickly forgotten tomb among the much more resplendent and extensive tombs of dozens of other monarchs in Egypt's Valley of the Kings.

Shortly after his father's death, the boy king's advisors, no doubt egged on by the priests of Amun, even forced him to change his name. Instead of "Tutanhkaten" ("The living image of Aten" in Egyptian) he would be known as "Tutankhamun" 9"The living image of Amun.").

When Tutankhamun's tomb was discovered in 1922 (untouched since being sealed up over three thousand years earlier), this minor pharaoh was catapulted to posthumous fame, becoming arguably the most famous pharaoh of all time, based solely on the splendor of the items found in his previously unlooted tomb.

Akhenaten's much more famous son

The irony of Akhenaten, a rebel at heart, languishing in obscurity while the son who (under duress or not) betrayed and undid everything his father believed became a household name throughout the world is a palpable one. One cannot help but wonder what the hard-headed religious zealot might have thought of it.

One of the rebel pharaoh's homilies is oddly insightful, without demonstrating any actual insight on his part at all: “True wisdom is less presuming than folly. The wise man doubteth often, and changeth his mind; the fool is obstinate, and doubteth not; he knoweth all things but his own ignorance.”

Maybe if he hadn't been so stiff-necked and dead certain about his "one true faith," it's possible the man once known as "Amunhotep IV" might have been better known than his short-lived, largely inconsequential son.

Ten Things I Learned Writing Short Stories

Photo by Michael Fowles

As I mentioned in an earlier column, October 2019 was a special month for me. Not only is it my fortieth anniversary as a published writer but - by coincidence - the Northwest Chapter of the Mystery Writers of America asked me to be the speaker at their meeting. They suggested I review highlights of my career but that sounded boring even to me. I countered with the title above, which gave me a chance to do such a review but make it of possible interest to my fellow readers. So now I am going to summarize the words of alleged wisdom I shared with those who attended.

1. Editors don't reject you.  They reject words you have written. So don't take it personally, and try again.  I was rejected by Ellery Queen Mystery Magazine 76 times before they bought a story.

2. When in doubt, don't throw it out. If a story doesn't sell does it mean that it stinks? No, it means that on a given day it didn't meet that market's needs. Really. So tuck it away and see what happens.

I wrote a story about a TV actor who kills a rival. All my favorite magazines rejected it. Years later the Mystery Writers of America announced an anthology to be titled Show Business is Murder. "On The Bubble" found a happy home.

3. Flattery and bribery are good for you. I don't mean that you should apply them to your editors, reviewers, or even readers. I am talking about the Miner, which is what I call the part of the brain that comes up with story ideas. (The other creative part of your brain is the Jeweler, which turns the raw material into something pretty and publishable. When an author says "I don't even remember writing it!" that means the Miner did ninety percent of the work.

Most people have trained the Miner to be lazy. How do you that? By ignoring the ideas he offers you. You can flatter him by taking those ideas seriously. Even if you don't have time to start that novel today, write down the concept. Spend five minutes brainstorming the idea. Don't in short, look a gift horse in the mouth.

And how do you bribe the miner? Spend money on him! Buy a writing text, get that new desk chair, go to a writing conference. Convince him that you are taking your writing career (yes, let's use that word) seriously. Who knows? Maybe you'll convince the rest of your brain as well.

(Interesting example: I gave this talk on Saturday.  Monday morning I woke up with two new ideas for short stories.  The Miner obviously liked the attention.)

4. It's okay to plagiarize. Sometimes. I'm talking about what Lawrence Block called "Creative plagiarism." That's when you take someone else's idea and use it differently.

Many years ago Fletcher Flora wrote a short story called "The Seasons Come, The Seasons Go."   It appeared in Ellery Queen in 1966.  The plot involved a wealthy man, his useless nephew (who narrated), an attractive young woman, and a plot to kill someone in the family.

The first story I ever sold to Alfred Hitchcock was originally called "My Life as a Ghost," but they changed it to "The Dear Departed." (The only time one of my stories was retitled, so far.) My story involved a wealthy man, his useless nephew (who narrated), an attractive young woman, and a plot to kill a family member.  It also featured a similar twist ending.

Stop thief, I hear you cry.  But the truth is, my version is completely legitimate.  The murder and  motive are quite different, and my victim is a person with no parallel in the original.  If you read the two in quick succession you would probably have a suspicion about how the second story would end, but that happens all the time.  There are only so many possible endings.

5. Self-publishing doesn't work.  Unless it does.  Since no one seemed to be clamoring to publish a collection of my short stories I did it myself.  Shanks on Crime includes 13 stories about mystery writer Leopold Longshanks, most of which had already appeared in Alfred Hitchcock Mystery Magazine.  I hired a professional book designer and produced it both as a paperback and an ebook.

How did I do?  I lost a couple of hundred bucks on the deal.  Nothing that would keep me from buying dinner or make me lose sleep, so I was fine with it.

Then I received an email from a literary agent asking if I would like to sell the Japanese rights to Tokyo Sogen, the oldest mystery publisher in that country.  I said, why sure.  The amount they paid me would be less than a rounding error for, say, James Patterson, but it is the most money I have ever made on a piece of writing.  And they were so happy with sales that they just published a collection of some of my otherwise uncollected stories later this year.

Would any of that have happened if I hadn't bit the bullet and self-published my book?  Nope.


6.  Mash-ups are delicious. In computing a mash-up is an app that combines data or functions from two sources.  Classic example: you create a Google map using the addresses in a database of customers.

When I refer to a mash-up I mean taking several different sources to create something new.  For example, I have published six stories about Uncle Victor. These stories are a mash-up of The Godfather, I, Claudius, and Jack Ritchie's Henry Turnbuckle stories.   Uncle Victor is the eccentric relative of a mob boss.  Like Claudius, he survives in a deadly family because no one takes him seriously enough to kill him.  And his major asset as a private eye is the one he shares with police detective Henry Turnbuckle: self-confidence that is completely unjustified by reality.

Another example is my story "Brutal," which appeared in Alfred Hitchcock.   It combines Jim Thompson's The Getaway - about a robbery that goes perfectly, followed by a disastrous attempt to escape - with Neil Simon's movie The Out-of-Towners.  My story is about an assassin who completes his job perfectly and then is crushed by a series of average city-dwellers who are just carrying on with their lives, completely unaware of who they are dealing with.

7.  Be nice to your editors and they may be nice to you. Obviously good manners are important.  I am sure most editors have a list (at least in their heads) of writers who are Too Much Trouble To Deal With.  But I want to give a specific example.

A few years ago I wrote a story which looked at the very first mystery, Edgar Allan Poe's "Murders in the Rue Morgue" from the viewpoint of the murderer (that's right; the orang-outang).  I sent it to a magazine with which I had an excellent relationship.  And then I saw a notice for an anthology of Poe-related stories.  A perfect market for my tale! I didn't want to withdraw my already submitted story and risk the relationship with an on-going customer.  So  I wrote to the editor I had already submitted to and explained my plight.  I said I would be delighted to have my tale in their publication, but would it be possible t jump the queue and get an early decision so if they don't want it I could try the anthology?

And the editor went above and beyond by pulling my story out of the long stack and giving it a quick read.  Turns out they didn't want it, which was fine.  I submitted it to nEvermore! and not only was it accepted but  it was reprinted in two best-of-the-year collections. But this was only possible because the editor was willing to do me a favor by giving me a special read.

8.  One-market stories are dangerous temptations.  Ideally you want to write a story that could find a happy home in many different locations.  But sometimes an opportunity comes up for a niche market, usually an anthology.  Whether that's a good idea depends on a number of factors including: the speed you can write, the possible reward, and how intriguing you find the concept.  After George W. Bush was elected someone announced an anthology called Jigsaw Nation, in which all the stories would take place in the United States after the blue and red states separated.

I thought it was a great concept and wrote "Down In The Corridor," about the consul from the Pacific States of America dealing with a nasty situation in the San Diego Corridor which connected the greatly diminished USA to the ocean.  It was a crime story (my specialty) as well as a science fiction (or alternative almost-history) story.  It sold to Jigsaw Nation which was great but the book was pretty much ignored by the world.  Ah well.

A few years ago several cartoonists created an anthology called Machine of Death, with an intriguing concept. You put a drop of your blood in this machine and it tells you how you will die.  Not when; just how.  Car crash.  Gunshot.  Mary. Yeah, but which Mary?  Your wife Mary or Hurricane Mary?  Like all good oracles the machine is wickedly ambiguous.  Suicide could mean that somebody jumps out a window and lands on you. 

I loved the concept so much I wrote two stories for it: a historical and a police procedural.  The editors rejected both.  Those are two stories I can never use anywhere.

9. Network, network.  Also: network.  There are fine organizations out there looking for members: Mystery Writers of America, Sisters in Crime, International Thriller Writers,  Private Eye Writers of America.  There are conferences: Bouchercon, Left Coast Crime, Malice Domestic. And here is a shocking secret: a lot of mystery writers are friendlier than you might expect.  They DON'T want to read your unpublished manuscript but they might be happy to hear what you liked about their latest masterpiece.  And if you see a lonely author sitting alone at a signing table, go up and chat.  It doesn't obligate you to buy anything.  And don't forget to read SleuthSayers!

Well, that's nine jewels of wisdom down.  In two weeks I will return to polish the last gem.

Call Down the Thunder – with Deitrich Kalteis

Today I’d like to welcome Dietrich Kalteis to SleuthSayers. Dietrich is the award-winning author of Ride the Lightning (bronze medal winner, 2015 Independent Publisher Book Awards, for best regional fiction), The Deadbeat Club, Triggerfish, House of Blazes (silver medal winner, 2017 Independent Publisher Book Awards, for best historical fiction), Zero Avenue and Poughkeepsie Shuffle. 50 of his short stories have been published internationally, and his next novel Call Down the Thunder will be released October 2019. He lives with his family on Canada’s west coast.

Take it away Dietrich.

—Paul D. Marks

Paul D. Marks: Call Down the Thunder is your seventh book by my count. It takes place in Kansas in the 1930s. You’re Canadian—what made you choose 1930s Kansas?

Dietrich Kalteis: Being a time of great hardship, the dust bowl of the thirties seemed the right setting for the story. The initial idea started off with a couple at odds with each other while trying to survive on their desolate farm, and the drought and dust storms added a layer to their desperation and struggle.

How did you do research for that long-gone era? And did you learn anything that surprised you or that you never knew before?

I went through years of archived newspapers, historical accounts, personal memoirs, and I viewed hundreds of images of the damage inflicted by the dusters and drought. The Kansas Historical Society along with several websites were great resources. I enjoyed the digging, learning about the people and how they survived and adapted to whatever came.

How did you come up with the characters of Sonny and Clara Meyers? Are they based on anyone you know or knew?

Sonny and Clara simply started as a young couple at odds with each other, and their characters and backstories just evolved through the first draft. And no, they weren’t based on anyone I’ve ever known.

What’s your method? Do you get the idea first, the characters, some neat plot twist? How does the story all come together?

It started with a single scene where Sonny is alone splitting firewood in his yard, and he gets to wonder about his supper, and why Clara isn’t home yet from the general store fixing it like she always does. And he gets a feeling that maybe she isn’t coming back. The story grew from that scene, and I switched back and forth from his and her POVs. One scene led to the next, and subplots and backstory just filled in as I kept writing that first draft. When I started I had a different outcome in mind, and a better one came along as I got into the second draft.

You don’t write a series character. Is there a reason for that? Any plans to do one in the future?

So far when I’ve finished a story, all the ends have gotten tied up. Sometimes key characters aren’t with us anymore, or they’ve achieved their goal, learned a life’s lesson, and there’s just no more story to tell.

By the time I’ve finished one story, I usually have ideas for the next one, and so far they’ve been unrelated to the ones before. Who knows, maybe the right character(s) will show up, and I’ll have them stick around for a while.

And your books are set in a variety of different places and deal with a variety of characters. Which I think is kind of cool in that you’re not limited to a certain set of characters or locales. Is there a reason you chose to go this way instead of writing a series or staying in one or two locations?

I come up with what I feel is the best setting for each story. Sometimes the setting is familiar to me, places I’ve lived, and sometimes I have to take a trip and do some research until I feel like I know the time and place.

Often the settings add a character-like feel. For instance, the fires in House of Blazes started to feel like an antagonist, and really drove the pace. And the dusters helped create the feeling of isolation in Call Down the Thunder. I don’t think either of these stories would have worked as well set anywhere else.

When I think up a scene for a story I just add the character(s) I’d like to see handle the situation, and they just take shape from there.

You’ve won several awards, which is really cool. Do you think it’s made a difference in the way you write, what you write, how your writing is received, etc.?

I don’t know if it’s made a difference in the way my writing is received, but I can tell you it’s encouraging and gives me the feeling I’m on the right track.

What’s your background? Do you have a day job? Or did you—what is/was it? And does it come to play in your writing?

For years I worked as a commercial artist, but not much of my former career has come into my writing.

You could say writing is my day job, except it never feels like a job. That would seem restrictive, too nine to five. I don’t have any set rules about it. Usually the mornings are the best time, so I write until around noon, then maybe again for an hour in the evening.

Does your Canadian background make your books different than books from American crime writers? If so, what do you think the difference is and why?

I don’t think my background really comes into it. If I’m writing a story set in Canada, then I have to play to regional customs, dialects, that sort of thing. The same goes for a story set somewhere in the States. All that matters is that the story is convincing to the reader.

Who do you like reading? And who’s inspired you?

In the crime genre I like reading George Pelecanos, Dennis Lehane, Carl Hiaasen, S.J. Rozan, Don Winslow, James Lee Burke and James Ellroy. And I’ve been inspired and have read just about everything by past-masters like Elmore Leonard, George V. Higgins, James Crumley, and Charles Willeford.

Do you read outside of your genre?

Outside of the genre I enjoy reading Patti Smith, Margaret Atwood, Hunter S. Thompson, J. K. Rowling, Charles Bukowski, and from time to time I like to revisit the classics by Harper Lee, John Steinbeck, Charles Dickens, Mark Twain, J.D. Salinger—some books I can’t read too often.

Is it hard for you to write characters who aren’t like yourself. Women, for instance, like Clara in Call Down the Thunder. Or Frankie del Rey in Zero Avenue. How do you get inside a character’s head when they’re completely different from yourself?

I think if a character were hard to write, I’d have to abandon that one. As each individual’s personality and backstory takes shape through the early stages, that character becomes real and believable. Gender or how different they are from me doesn’t matter. I write from their perspective and just turn them loose on the page and follow their actions, letting them stay true to their own nature.

Do you edit your own work? Hire a professional? Writing group? Friend?

I write three or four drafts without anybody looking at it. I want each story as polished as I can make it before I send it off to my publisher. From there, it’s in the hands of the professionals. I’ve been fortunate to be teamed with a great editor ( and a wonderful author) Emily Schultz. She’s edited all seven books with ECW Press, and she’s always spot-on and just amazing to work with.

What’s next?

The next two novels are in queue with my publisher. The first one is set in present-day Vancouver and involves a cheating couple being pursued by a gangster husband who’ll stop at nothing to catch them. It takes readers through northern BC and up into Alaska. The one after that is based on a pair of lesser-known, real-life bank robbers who were at large in the central States in the late 1930s. I don’t have release dates for either story yet.

Currently, I’m working on one set in present-day Vancouver involving a retiree, a runaway, a couple of casino crooks and one killer motor home.

Where can people find you and your books?

My website is http://www.dietrichkalteis.com/, and my publisher’s site is www.ecwpress.com.

My blog is Off the Cuff: http://www.dietrichkalteis.blogspot.ca/

And I regularly contribute at 7 Criminal Minds: http://www.7criminalminds.blogspot.ca/

You can also find me on Facebook: http://www.facebook.com/dietrich.kalteis/

and Twitter: http://www.twitter.com/dietrichkalteis/

And I’d like to thank you Paul for having me as a guest on SleuthSayers. It’s been a real pleasure.

It’s my pleasure, Dietrich.

~.~.~

And now for the usual BSP:

Check out my Duke Rogers Series:

Available on Amazon

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Writers Blocks Build Stories

Dennis Lehane is one of many successful crime writers who doesn't outline. He writes his novels on a legal pad (as did John Steinbeck) and types what he's produced into a computer at the end of the day (not like John Steinbeck). He says that when he gets stuck, rather than considering himself blocked, he knows he's made a wrong choice earlier in the manuscript and goes back through it to find what he did that shut down the action later on. When he finds the problem, he fixes it and surges ahead.

Many writers--lots of them practicing or formal journalists--point to the value of a regular deadline as motivation. The don't have time for writer's block and will produce on demand. I have written most of my life, but didn't sell my first story until I was 60. By then, I had several rejected novels and stories I could return to and play with if I couldn't find a "new" idea. Now that I've recycled most of those ideas that merited a second look, I find that I do get stuck sometimes.

Writer's Block actually comes in two versions. The one most non-writers mean is the lack of ideas to write about. Most of the writers I know agree that the people don't really lack ideas; they fail to recognize useful ones or set their sights too high. They have the seed of a good short story or poem, but they're looking for a blockbuster novel. Unfortunately, nobody, including publishers, can see these coming. Dan Brown wrote several mid-list novels before The Da Vinci Code caught his publisher and bookstores around the world by surprise.

The second version is the idea that doesn't work with your other ideas. Years ago, I interviewed several people to get the details right for what I thought would become the third Woody Guthrie novel...even though I hadn't sold the first one yet. Those notes sat on a floppy disc (remember those?) for several years until I thought the time was right. By then, the story had moved from Detroit to Connecticut and become a Zach Barnes story. Then it changed into a police procedural featuring Trash and Byrne. Six or seven years and several title changes later, I finally sat down to write.

Normally, when I write a first draft, I produce a scene or two daily, going faster as I get deeper into the book and know my way around better. My average scene is about 1600 words. Four weeks into this story, I only had about 50 pages, a quarter of my usual output, and none of it felt right. I put it away and tweaked a few other stories. When I came back, I saw something akin to Lehane's experience.

The story had two crucial premises that contradicted each other. Writer's Block, version 2.0.

The good news is that the time away also gave me a way to handle the problem. I recycled several of the characters, and the book turned into The Kids Are All Right, which was nominated for the Shamus Award for Best Indie Novel.

A few months later, I faced a similar situation. I was revising an early unsold Woody & Meg story from about 2004. A dozen years later, I understood why that premise didn't work and the book never sold, but I thought I'd learned enough to fix it.

After three days of pushing The Great Pyramid up a vertical slope, I finished page 4.

The notes, outline, character list, and pages went into seclusion on a flash drive. But, again, something else with a vaguely similar idea bubbled underneath. A week later, I recognized that bubble. I finished the first draft of a novella, 16,000 words in eight days. It became "Look What They've Done to My Song, Mom," which won the Black Orchid Novella Award.

Now I'm struggling with yet another idea that seems to be circling the drain.

I'm going to put it away for a few weeks...and hope history will repeat itself.

Dr. Frank Warsh: Coroner to Crime Writer

Dr. Frank Warsh is a coroner and the author of The Flame Broiled Doctor from Boyhood to Burnout in Medicine and Hippocrates:The Art and The Oath

Death is his job - literally - so how does his job inform his new foray into crime fiction? Many doctors will grumble at the unrealistic depictions of doctors in film and books. Doctors will grumble even more loudly at the depictions of patients and families - because that is the important part of medicine. So, does a coroner write crime fiction differently than a lay person?

• What is the actual job of a coroner?

“The core of the job is determination of cause and certifying the death.

“The cause of death is what killed you. The manner is part of the set of conventions we use to describe a death. The manner is what’s being referred to when a character on a cop show says, “the death was ruled a homicide”. That statement is screenplay silliness for two reasons. First, rulings come from judges, not Coroners or Forensic Pathologists. Second, the manner of death follows from the cause, rather than being determined independently.

“Unlike the myriad causes, there are only four manners by which a person can die: natural, accident, suicide, or homicide.

“Again, the manner follows from the cause. If somebody dies from a heart attack, that’s a natural death. If it’s a hanging, barring some very, very compelling evidence of foul play it’s a death by suicide. The old Coroner’s joke is calling a gunshot wound to the chest a natural death, because if you’re shot through the heart and lungs, naturally it will kill you.”

• Why would people want to read Coroners’ stories?

“Clearly there’s overlap between Coroner work and crime investigation. My job is quite literally the intersection between police procedural and medical procedural work.

“It’s hard to overstate how important the job of Coroner is and can be, speaking for the dead as the motto goes. Most untimely deaths are not the result of a crime, but rather workplace accidents, substance abuse, an individual’s traumatic upbringing, systemic problems in institutions, or failures by society as a whole. Obviously these stories matter to people in positions of authority and policymakers. But fictionalized, they can teach us a lot of truths about human nature and how far we still have to go. It’s a job that allows for genuine sober reflection, rather than just reacting to the daily noise of the news cycle.

“A former patient, who’s become a cherished friend since I left practice, had a daughter that died from an overdose after a long struggle with drug use. Happens every day, no question. But the young woman had been a repeat victim of sexual violence from a very early age. Worse still, she suffered years of trauma at the hands of a broken mental health care system the family desperately needed to work. We take it for granted that our institutions are the “good guys”, working only in the best interests of the sick and the vulnerable. That’s far from a guarantee, no matter what we’d like to think. Fiction is a perhaps a safer way to face these truths, because there are no real-life stakes to the story being told.

“Now that covers the interesting and important reasons to read Coroner stories, but I’d be remiss if I left out how entertaining, even funny, Coroner work can be.

“Setting aside gratuitous cartoon deaths you might find in a Quentin Tarantino film, death in and of itself isn’t entertaining. It’s death *investigation* I find entertaining. Some of the fun comes from the characters you meet – police, undertakers – that have personality quirks or morbid senses of humor you don’t find in health care settings. Sometimes it’s the loved ones of the dead who can throw you for a loop.

“And sometimes the investigation itself is full of absurdities, completely at odds with what we expect from all the highbrow detective stories we might read or see on TV. Closets full of Costco-size jars of weed. Bongs on display like sports trophies. Porn playing on a loop while you scour an apartment for medical records. You can’t make this stuff up.

“Earlier this year, I happened to attend six deaths in a row where the person had died on the toilet. To the individual families, those are tragedies. To the poor schlub Coroner – me – it’s a Saturday Night Live sketch, the absolute antithesis of the glamorous, high-tech investigations portrayed on CSI.

“Real life – or real death, I suppose – is stranger than fiction, and quite often funny as hell. These are the kinds of stories I’m now looking to tell, in short story form for the time being.”

• Thoughts on commercial success?

“You need your finger on the pulse of the audience to find fortune as a writer, and the only pulses I feel these days have stopped.”

Crime Scene Comix Case 2019-10-005, Meep-Meep

We welcome our criminally favorite cartoonist, Future Thought channel of YouTube, back to SleuthSayers. They produce more than one animated comic, but our favorite is Shifty.
Usually Shifty, our none-too-bright crook, the one who looks like a Minion in prison stripes, finds himself hoisted on his own pétard. Once in a rare while he manages to escape the law. Here our acme of antics channels the Roadrunner. meep-meep

 

 

 

 

© www.FutureThought.tv

 

That’s today’s crime cinema. Hope you enjoyed the show. Be sure to visit Future Thought YouTube channel.

In ME TOO Anthology, A Different Kind of Protagonist Fights Back

By now, many SleuthSayers readers know about Me Too Short Stories: An Anthology, SleuthSayer emerita Liz Zelvin's cunning plan to strike a blow for abused women and girls in short crime fiction, making them the protagonists of their own stories. Fifteen authors including Liz and SleuthSayer Eve Fisher created fictional sisters who take charge of their narrative. In this post and two more to follow, some of the anthology authors gather in cyberspace to discuss topics on this theme.

Moderator: Elizabeth (Liz) Zelvin Participants: Eve Fisher, V.S. Kemanis, Madeline McEwen, Rona Bell

Liz: Our anthology, Me Too Short Stories, has a log line that makes the common theme of the stories clear: "Crimes against women, tales of retribution and healing." Who is the protagonist in your story, and what makes her different from the usual women characters in crime fiction, whether sleuths, victims or killers?

Eve: In my story, "Pentecost," set in 1990, Darla is the first female pastor in Laskin, South Dakota, where a lot of people still don’t believe women should be pastors at all. Darla is a working class widow and mother, and she’s fought hard to become a pastor. How hard will she have to fight for acceptance in the small town in which she was raised? She’s changed, but the town hasn’t.

V.S.: In "No Outlet," Arlene is a widow in her sixties, a retired career woman. Suspicious activity in her neighborhood triggers memories of a tragedy from her college days that still haunts her. Her observations prompt her to help a young woman in trouble.

Madeline: Bobbie, the protagonist of "Stepping on Snakes," is a carefree youngster with more common sense than she appreciates. She relies on her instincts, which are those of a child: good and bad, black and white, right and wrong. As adults, we are often paralyzed by indecision. Kids just act on impulse.

Rona: The protagonist in “The Call Is Yours” is the kind of New York woman who dresses for the city and the life of the street. She answers a general call from the police that allows her to remember fully and to act. That concept of not fully remembering is a fascinating one to me. We remember when we have permission to remember. It's remarkable to me that a police force—the NYPD, with its The Call Is Yours campaign— captured that in a call to the populace.

Liz: What I'm hearing so far is that by and large, our protagonists differ from crime fiction regulars in that they are driven by memory as much as the need to investigate or even to avenge a crime. My two protagonists in "Never Again," a teen and an adult, were first abused at the ages of four and nine. Their experience and that of the other children in the anthology occurs frequently in real life. But crime fiction tends to avoid such protagonists. "No child abuse!" submission guidelines say. They avert their eyes, as if this were a virtue.

Eve: Like "No animal abuse.

Liz: Exactly. Everybody knows that crime fiction writers are not serial killers. But nobody denies that serial killing exists. Society reacts to the abuse of women differently, doesn't it, even in the age of the Me Too movement. That's why we need to bring the case for believing girls and women to crime fiction. Believe us when we say, "Me too!" Believe us when we say, "This hurt! This terrified us! A woman I loved is dead or damaged beyond repair because this happens all the time!" We're ambassadors for the imagination, and we want you to listen. So how did you choose your protagonist?

V.S.: Like most of my characters, Arlene is an amalgam of bits and pieces of my life. An incident that occurred in my neighborhood years ago was a catalyst. She embodies the regret for situations in which reluctance and timidity prevent personal involvement as well as pride for times when needed action is taken.

Eve: Darla comes from the women in the small town I lived in for twenty-seven years, who shared their secrets and shame among themselves—but not with the men—and from the little girl whose neighbor’s college age son tried to molest her.

Rona: I wonder if we choose our protagonist or the protagonist chooses us when as writers we are given permission to remember. I recall being taken to New York City as a very young girl and seeing the women who dressed for the street. I have always remembered one woman who was beautifully dressed and weighed down with department store bags, gripping one in each hand and bending to manage the weight. I remember her careful beauty and her utter sadness.

Liz: I'm a shrink in my "other hat," and sexual abuse and child molestation are unfortunately not rare. I have many stories, not only about abuse and the shame and isolation that linger long afterwards, but about denial and collusion in the community, which make the girl or woman's position unbearably painful. Last question: what would your protagonist like to say directly to the reader?

Madeline: Bobbie says, "If something happens to you or someone near you, don't freeze. Be bold—act now, think later. Mistakes can always be forgiven."

V.S.: Arlene says, "Trust your intuition, not only to protect yourself, but also to recognize when another woman may need help in escaping a situation with no outlet."

Liz: Valerie says, "Don't shy away from what kids like me go through. A conspiracy of silence only helps the molesters." Frances says, "Stop seeing fat women as throwaway people. We're not a bad joke, and we don't deserve your contempt."

Rona: "As fashion changes, times change. Sometimes courage takes a long time to solidify and meet up with a changed society."

Eve: "It isn’t fair, it isn’t fair, it isn’t fair! But it can be changed, if you’re willing to just light a match."

The Italian Job

I've been reading mysteries for a long time, and, like everyone, I love a good mystery series so that I can keep on reading, and reading, and reading… And rereading. And maybe watching and watching and watching. (And rewatching - my husband and I, when we run out of new stuff to watch, or it's been a bad day, often just throw on another episode of New Tricks. That or The Great British Baking Show.)

My choice in series is complicated by the fact that I don't like gore, and I want more than just non-stop action. I want complex characters, but I prefer detectives who aren't so damaged they can barely speak.

NOTE: I think detection is like any other job: you can get used to anything. Most morticians I've known are hilarious when you get them in the back room. Most of the people I've known in the judicial / law enforcement world have a good, rich, morbid sense of humor that allows them (among other things) to look at a written death & dismemberment threat and criticize its spelling, grammar, and the fact that the dumb-ass sent it from his prison cell.

But every once in a while I run across a writer whose detective is damaged, who covers crimes that are horrendous, sometimes gory, and I still love it because… Well, welcome to the world of Gianrico Carofiglio.


Mr. Carofiglio lives in Bari, Italy, and given the fact that he's a former anti-Mafia judge, the fact that he's alive at all is a miracle and a mystery to me. And oh, does he have stories to tell. I just finished The Cold Summer, which I gobbled down in 2 sit-downs (I do have work to do). The Mafia is all pervasive, and the central mystery revolves around a series of kidnappings, one of which ends up in the murder of a young boy. It also tells the truth that very few people want to face: you can't tell the criminals from the rest of us. I can assure you that's true.

To paraphrase Pietro Fenoglio, our protagonist, there are:

• criminals who are children: what they really want is attention, and they will do anything, including burning down the house, to get it;
• criminals who are adults: they do what they have to do to make a living, that's all, so don't take it personally;
• criminals who are adults: they enjoy what they do, and while some of their pleasures are truly horrific, they don't look any different than the other hard working adults in the room.

But what really impressed me about Carofiglio is that he understands hierarchy.

This is important, because a lot of life is hierarchy.

• Judges are God, at least to themselves, their court reporters are their acolytes, and everyone else is their subordinate.
• Depending on which county of which state you're in, the Sheriff can be just as much God as any judge.
• I think most people have worked in offices where there's always one supervisor who thinks s/he's God, and is the only reason that the most irritating person in the office (not necessarily the same person) is still working and/or alive. At the same time the person who really runs everything is usually the secretary, a/k/a administrative assistant, who's been there forever and knows exactly where each and every body is buried. When that person turns on you, you are well and truly screwed, no matter how high your rank.
• When I was a child, families were all about hierarchy. A common saying in AA is "alcoholics don't have families, they take hostages." And everyone keeps silence - omertà - without question. Small towns are the same way. It takes a long time for outsiders to find out what's really going on; who's really in charge. If ever.

Carafiglio is a master of hierarchies, and how people learn how to work with or around them.

The glance that a lower-level carabinieri gives a captain when the captain wants him to bring in a couple who are definitely criminals, i.e., well-connected Mafia:

"When you're the commanding officer of a station on the outskirts of town, you have to find a balance between asserting your own authority and showing cautious respect for people who are prepared to do anything. When you live and work round the corner from the homes and territories of highly dangerous criminals, you have to find a modus vivendi, accept boundaries and limitations that it's hard for those who come in from outside to grasp. Theoretical authority is one thing; the real world, where different rules apply, is another."

Giancarlo Carofiglio

Or when Dotoressa (Judge) D'Angelo demands the right to walk home alone without guards all around her - and everyone has to agree, but at the same time figure out a way to guard her, discreetly, so discreetly that perhaps she doesn't know about it, because a very dangerous man wants her dead. Or worse.

Or the question of why a Captain addresses everyone around him formally, full rank AND surname, when the rule is that's only for people above you. There's a whole back-story about why he does that, and it works.

Or the criminal who finally turns himself in, not because he regrets a damn thing, nor because he finally got religion or morality, nor the fact that his boss killed a friend of his. But - in the process of killing the friend - his boss killed the criminal's dog. Some things are unforgivable.

If you haven't yet, check out Carofiglio. I'm about to pick up another one at the library tomorrow, and I have a feeling my ILL list is about to expand like a balloon.

Capt. Blood

Captain Blood, famously, made Errol Flynn a star. It was the first of nine features Flynn did with Olivia de Havilland, and one of twelve with director Michael Curtiz. Flynn and de Havilland got along fine - she admitted the chemistry and spiked the rumors of a romance - but after a six-year run, ten of the twelve pictures delivering big box office, Flynn and Curtiz cordially loathed each other.

My own opinion is that the pictures Flynn made with Raoul Walsh in the 1940's are better movies, by and large, the best example being Gentleman Jim, but if not for the Curtiz swashbucklers, Flynn wouldn't have made it to the A-list. Curtiz was an awful bastard, by most accounts, but he brought home the bacon. Casablanca won Best Picture, and six of his other movies got nominated. He directed Cagney and Joan Crawford to Oscars, out of ten nominations overall for his lead actors.

Andrew Sarris, whose critical opinions I generally admire, feels that Curtiz had no genuine personality, as a director, that he basically ground out sausage, and that Casablanca was a happy accident, a sort of rebuttal to to the auteur theory, where the exception proves the rule. I'd beg to differ. If you say the director is in his pictures, then okay, Curtiz made an awful lot of crap. On the plus side, along with Casablanca, we've got White Christmas and Yankee Doodle Dandy. 20,000 Years in Sing Sing, the original Wax Museum. Robin Hood, The Sea Hawk, Angels with Dirty Faces. Eddie Robinson and Garfield in The Sea Wolf. Mildred Pierce, Young Man with a Horn, We're No Angels, and The Breaking Point ain't too shabby, either.

Curtiz was Hungarian.  He spoke five languages - "all of them badly," his son later remarked. Born a Jew in Budapest, he changed his birth name from Kaminer to Kertesz when he was nineteen, working in an acting troupe that crossed Europe. Kertesz was more ethnically Hungarian, in the anti-Semitic climate of the late Austro-Hungarian Empire. He began directing theater, and directed Hungary's first feature film, in 1912. He was also on the Hungarian national fencing team that year, in the Olympics. When the war came, he served in the army. He was wounded, and invalided out. He went back to the movies, and spent seven years learning the trade. He caught the attention of Warner Brothers in 1926, and by the time he went to Hollywood, he'd already made sixty-odd pictures.  He was 39 years old.

This story, familiar in some ways, is framed by larger political imperatives, Kati Marton puts it in context with her terrific book The Great Escape (2006), subtitled Nine Hungarians Who Fled Hitler and Changed the World. The nine are Curtiz and Alexander Korda, Robert Capa and Andre Kertesz, and Arthur Koestler, for the arts, with Leo Szilard, Edward Teller, Eugene Wigner, and John von Neuman, for the sciences. I highly recommend it.

I'm belaboring the point, which is that where Andrew Sarris sees Curtiz spreading himself too thin, I see industry, ambition, restlessness and insecurity. Sarris regards him as sausage-maker - and in fact Warners maintained two individual film crews for Curtiz, one for the picture he was actively shooting, one for the picture he was prepping next - and I think it reveals an obsessive. There's for example the story that Curtiz grabbed for a notebook to write down a sudden idea, forgetting that he was driving at the time, and ran himself off the road.

I see Curtiz the refugee, the stranger, running in place to catch up, afraid something or someone is catching up with him. The upstart Jewish kid from Budapest, trying to break into pictures, and never quite gaining the confidence it won't all be snatched away. Curtiz in high dudgeon, with David Niven the target: "You think you know fuck everything and I know fuck nothing, but let me tell you, I know fuck all." This is not a guy who thinks he stands on rock, he's afraid he stands on sand. 

Sarris admits Curtiz has vigorous technique, but he doesn't believe Curtiz has a theme. I couldn't agree less. No, Curtiz isn't Walsh, he doesn't have the muscularity, and he for sure isn't Anthony Mann, another exile, who inhabits the true fury of separation, but what Curtiz brings to the game is an intimacy, set inside the bigger canvas, a larger scale. In his better pictures, Curtiz reveals himself to be trapped, isolated, estranged. Bogart, in Casablanca, says, "Nobody ever loved me that much."

Open Your Heart and Bleed

What are your stories about?

I’m not interested in elevator pitches—“My stories are about a plucky private eye who searches for missing labradoodles with the aid of her grandfather’s long-dead schnauzer.”—but rather about the underlying themes in one’s work.

I’m pondering this question, as I have many times before, because Barb Goffman, moderator of “Short and Sweet but Sometimes Dark,” a short story panel at this month’s Bouchercon, asked participants to send her two recently published or about-to-be published stories to aid in her preparation.

As I looked through mine, I was reminded of how often I write about the lingering impact of expired relationships. Whether relationships end by choice or not, former lovers (survivors, in the case of death) carry emotional weight all the rest of their days, and this weight, in one form or another, informs much of my fiction.

I NEVER SAID GOODBYE

Michael Bracken, Heartache-bound

I had known Vickie since sixth grade, and she sat behind me in homeroom when I was a fourteen-year-old ninth grader at Mason Junior High School in Tacoma, Washington. I visited her home, where we played games, watched television, and dined with her family. Our first date—an unchaperoned date, no less—would be the first dance of the school year, held in a multi-purpose room with a stage at one end, theater seating at the other end, and a hardwood gymnasium floor between the two. Because Tacoma had public transportation, I would take the bus from home—a mere block from the junior high school—to hers a mile or so away, return with her, and attend the dance.

Between the time I asked Vickie to the dance and the day of our date, I learned that my parents and I would be moving to Fort Bragg, California, and we were leaving the morning after the dance. I told no one.

As planned, I picked Vickie up at her home and we traveled by city bus to the junior high school. We sat in the theater seats, listening to the music and watching some of our classmates on the dance floor. Vickie repeatedly asked me to dance, but I wouldn’t. I wanted to tell her I was moving, but I couldn’t.

After a while, she grew frustrated and left. Alone.

The next day I climbed in the back seat of my parents’ car, and we moved to California.

I never saw or talked to Vickie again.

I never told her I was leaving, I never said goodbye, and I have carried that weight for nearly fifty years.

MAYBE I DID THIS TIME

I did not have another girlfriend until I was a seventeen-year-old high school senior. Yvonne, a junior, served on the school’s newspaper staff with me, and we dated during the last semester of my senior year, the same semester my mother died during heart surgery. More than a girlfriend, she was one of the few people (along with my best friend Joe and my English teacher Mrs. Richmond) who helped me cope with the loss of my mother.

Even so, I struggled with my mother’s passing, and my stepfather and I did not get along. So, my grandmother traveled to Fort Bragg to take me home with her.

I think I told Yvonne I was leaving—I hope I did—but once again a budding relationship was truncated by events beyond my control, and at least two years passed before I again opened my heart.

AND THEN MY HEARTACHES BLED INTO MY STORIES

Over the years, I have survived many additional heartaches—the deaths of loved ones, the slow disintegration of relationships that began with such promise, relationships truncated for reasons beyond my control—and those heartaches bled into, and continue to bleed into, my fiction.

So, when I selected two stories for Barb, I found myself unable to find two in which the end of a relationship didn’t play at least some small part in the tale. I chose “Who Done It,” coming next month in Seascape: The Best New England Crime Stories 2019 (Level Best Books), and “Woodstock,” forthcoming in Alfred Hitchcock’s Mystery Magazine. (I didn’t select “Love, Or Something Like It,” forthcoming in Crime Travel [Wildside Press], which Barb edited, because the theme is much too obvious.)

I could have selected any of several other stories because dealing with the emotional weight of expired relationships has long been an underlying theme in my work, just as it has in my life.

Still, if you prefer the elevator pitches, catch me when I’m feeling less confessional.

My story “Itsy Bitsy Spider,” published last year in Tough, has been named one of the “Other Distinguished Mystery Stories” in this year’s The Best American Mystery Stories. This is the second time one of my stories has made the list (the first, “Dreams Unborn,” made the 2005 list); last year my story “Smoked” actually made it into the anthology.

Join us at the launch party for The Eyes of Texas: Private Eyes from the Panhandle to the Piney Woods (Down and Out Books) at Murder By The Book in Houston on October 21. Seven of the contributors—Chuck Brownman, James A. Hearn, Scott Montgomery, Graham Powell, William Dylan Powell, Mark Troy, and Bev Vincent—will join me to discuss the anthology and their stories, and to sign copies. If you can’t get to the signing, contact Murder By The Book. I suspect they’ll let you preorder a copy that we can sign for you and that they can ship after the event.

West of Hollywood

Libby Cudmore

In this world, you have to ask for what you want.

In some cases, you have to pick a lock and break in.

When I heard that Brian Thornton was putting together a pair of crime-themed anthologies based on the music of Steely Dan, I knew I had to be part of it. It didn’t matter that the slate was already full.

Over the past several years I have positioned myself as the Queen of the Dandom, a mighty figure in the realm of Steely Dan Twitter, and as the author of the critically-acclaimed mixtape murder mystery, this was the project I had been waiting for.

I emailed Brian this:

Hi Brian, I just saw your article about your Steely Dan anthology and I think it is the GREATEST IDEA EVER IN THE HISTORY OF ALL IDEAS. I was wondering… room for one more? I am a huge huge HUGE Steely Dan fan (I've seen them six times; am wearing my "The Dan Who Knew Too Much" tour shirt as I write this) and I know I could write you an amazing story… plus I'm quick! Please and thank you!

Brian told me he liked my enthusiasm and my Dan credentials (since then, I have seen them another four times, bringing the grand total to 10 shows, plus The Nightflyers / Dukes of September) and although he initially told me he couldn’t make any promises.

I told him that if not this one, I’d love to collaborate on another. A few days later, he responded with this:

All that aside, I value passion, especially when it comes to music, and doubly so when it comes to GREAT music. I have no doubt that this collection will be the stronger for your participation. So congratulations, kid. You’re in! I’ll make it work.

I was ECSTATIC. If the first lesson is shoot your shot, the second is to always be gracious and forward-thinking. Being a jerk gets you nowhere.

Settling on a song was the difficult part. So many of the good ones were taken – including “The Second Arrangement” – but I wanted to go with something a little off-beat. I’ve found a lot of fans underrate Two Against Nature and Everything Must Go, so my initial thought was to write a stalker story around “Lunch With Gina.”

But the story wasn’t coming together, and with the deadline clock ticking down, I switched over to “West of Hollywood” from Two Against Nature. There’s a cold undercurrent of broken passion there that fascinated me, something wild that had since crumbled to dust. I based it around a pair of con artists and former lovers who reunite for one job in the Hollywood Hills.

As soon as I settled on the concept, the story came together in almost one draft. I like to think it was guided by the spirit of the late Walter Becker.

But never one to keep all the good stuff for myself, I was also able to recommend that Brian bring in my friend/fellow Steely Dan fanatic Matthew Quinn Martin in, and he wrote a devastatingly good story based on “Pretzel Logic.” Both stories will appear in the second volume, titled A Beast Without A Name, available from Down & Out Books on Oct. 28.

It never hurts to ask for what you want. Be prepared for a no, which makes celebrating that YES even better. I am forever grateful to Brian for making space for me in this anthology, and I’m really looking forward to sharing “West of Hollywood” with all of you when it comes out.