27 September 2022

The Gift of Writing—and Reading—Fiction


Families come in all shapes and sizes. Ideally, what keeps them glued together is love. With love comes understanding and acceptance and an inclination to give your family members the benefit of the doubt.

At least, that's how it should work. But life isn't ideal, at least not always. Sometimes people are selfish. Or immature. They could be rigid and stubborn and damaged. When such people clash, conflicteven crimecan be inevitable. 

In real life, it's sad. But in fiction, examining such people can give readers not only an opportunity to feelmaybe satisfaction or anger, sadness or joybut it can prompt them to examine their own inclinations, to think about what they'd be willing to do for others, especially when what's wrong seems right. Maybe they'll even find a better way to live. The prompting of such self-examination might be a lofty goal, but I think it's what many authors want. To entertain, yes. But also to make a difference with our words. To affect people. To make them feel and think.

It's what I hope to do with my newest story, "The Gift." It appears in Land of 10,000 Thrills, this year's Bouchercon anthology, which was published earlier this month by Down & Out Books. In "The Gift," Debbie has always believed in setting a good example for her grandson and the kids at her high school, where she toils as principal. But sometimes the line between right and wrong blursespecially when family is involved.

I can't say more about the story without saying too much. So instead I'll tell you a little more about the book. It's edited by the wonderful Greg Herren, and the call for stories required they be set in Minnesota (where this year's Bouchercon was held) or an adjacent state or Canadian province. My story is set in Iowa.

Knowing the quality of the writing of many of the other authors in the book, I expect I'm in for a treat with all of them. You too. These other authors are: Eric Beckstrom, Eric Beetner, Mark Bergin, Susanna Calkins and Erica Ruth Neubauer (co-writers), L.A. Chandlar, Meredith Doench, Mary Dutta, John M. Floyd (a fellow SleuthSayer; yay, John!), Jim Fusilli, R. Franklin James, Jessica Laine, BV Lawson, Edith Maxwell, Mindy Mejia, Richie Narvaez, Bryon Quertermous, Marcie R. Rendon, Raquel V. Reyes, Bev Vincent, Tessa Wegert, Michael Wiley, and Sandra SG Wong.

Here's an abridged version of the anthology's back-cover copy:

For years, the Midwest has been used as a stand-in for "average America." The sweeping Great Plains, the heavy snows of winter, ice fishing and mighty rivers and frozen lakes. Midwesterners have a reputation for being the salt of the earth, friendly and kind and helpful and nice. But is "Midwestern nice" merely a cover for what really goes on in this part of the country? John Wayne Gacy, the bloody Benders, and Jeffrey Dahmer were all Midwesternersbut that doesn't mean every Midwesterner has bodies buried in their basement ... or does it? 

Editor Greg Herren is proud to present a series of tales that will shock and surprise youand maybe make you think twice about that ice-fishing trip or before taking a snowmobile out after the sun goes down. Featuring authors from all over the Midwest who know just how dark and lonesome it can get out there in the country at night, these crime stories will entertain you with their trip down the dark side of the "real America"where the twilight's last gleaming has an entirely different meaning and feel.

You can buy the anthology in trade paperback and ebook from all the usual sources. To get it right from the publisher, click here. For Amazon, click here. For Barnes and Noble, click here. To get it from an indie bookstore near you, click here.

Happy reading!

26 September 2022

Crime Scene Comix Case 2022-09-018, Sunken Treasure


Once again we highlight our criminally favorite cartoon lab, Future Thought channel of YouTube. We love the sausage-shaped Shifty, a Minion gone bad.

Yikes! In this episode, Shifty almost becomes legitimately rich… if we overlook that part about a stolen boat.

 
   
  © www.FutureThought.tv

 

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

25 September 2022

BSP: Paperbacks 7 - 8 & 9


I spent this summer bundling some of my short stories into collections. The result is that three more paperbacks are now in print. Most of these stories were previously published in Alfred Hitchcock's Mystery Magazine or various other magazines or anthologies.

Paperback #7

9 Tales from the Golden Triangle consists of nine stories set in the mountain jungles and opium fields of Southeast Asia in the years after Mao's Red Army had pushed the White Nationalist Army under Chang Kai-Shek out of China during their civil war. Part of the White Army went to Taiwan while other divisions found refuge in the mountain jungles of Burma, Laos and Thailand. And, since an army must eat, as the common wisdom went, those latter army divisions soon became involved in the opium trade.

In these stories, two half-brothers contend to inherit their warlord father's opium empire. The elder half-brother was born of a hill tribe mother and raised in the jungle camps. The younger is full-blood Chinese and was raised in the British education system of Hong Kong. Existence means living with treachery and deceit while trying to live up to their father's expectations. Only one brother can win.

Paperback #8

9 Historical Mysteries Vol 2  is a continuation of the Volume 1 collection. The first five stories are set in the 1660s Paris Underworld during the reign of the Sun King, Louis the Fourteenth, on the throne of France. A young, orphan pickpocket, incompetent at his trade, grows up in a criminal enclave outside the gates of Paris. His fellow criminals tend to take advantage of his youthful ignorance and inexperience in order to draw him into their schemes.

The next four stories are in The Armenian series set in 1850s Chechnya ranging from the Cossack cordon along the Terek River and south into the hill tribes of the Wild Country in the shadows of the Caucasus Mountains. In this land, trust is an unmarked grave in the rolling steppes where The Armenian must survive dangerous encounters by his wits.

Paperback #9

9 Tales of a Criminal Mind are stories ranging from power to greed, from excitement to vengeance, where the criminal rationalizes his actions in order to justify the crime. Inside are nine tales of a criminal mind. Some humorous. Some desperate. Some done out of family loyalty. Yet all are against the law.

The last story collection includes the 2022 Macavity Nominated and Edgar Award winner in the Best Short Story category, "The Road to Hana."

All nine books, now on Amazon, are part of my endeavor to keep my stories out there in the market place for readers.

Thank you for your time.

24 September 2022

SIX Reasons Mystery Manuscripts Fail


 I was talking to a former student the other day about his classic mystery manuscript.  It's really good in so many ways - so good in fact, that it was shortlisted for the Crime Writers of Canada Unpublished Manuscript award.  However, this manuscript has yet to to be picked up by a publisher or agent.



So that got me thinking, why not?  What could be the reasons novice novel writers might just miss the boat?

So here goes.  Based on my reading of over 1000 manuscripts (from being a judge of various contests, and being a teacher of advanced novel writing for over thirty years) here's what comes to mind first. 

Why Mystery Novels Fail:

1.  Too Many Characters

I was reading a manuscript the other day that had me so confused, I went back to review my own work.  In my latest novel (The Merry Widow Murders, out early 2023 from Cormorant) I have 12 named characters.  The protagonist, her sidekick, her lover, six suspects and or victims, plus three secondary characters (total 12.)  I then went to my client's manuscript and stopped counting at 20.  

Too many character can be hard to keep straight and will take a reader out of the story.  In this case, I advised combining a few characters and not naming people who only appear as support (the taxi driver, the Porter, the woman behind the cash.)

2.   No Clear Protagonist

So many times I've heard students say to me, "Oh, my novel has three protagonists."  And I calmly tell them the accepted definition of a novel:  A protagonist with a problem or goal, and obstacles to that goal.

The problem with having more than one protagonist, I explain, is the reader doesn't know whom to root for.  Have you ever dropped a book after about ten pages?  Chances are, you didn't care about the protagonist.  

The first job a novelist has is to make readers care about the protagonist, so they will want to find out what happens to him/her/they.  Of course you can and should have strong secondary characters.  I always recommend a close sidekick, for the reason below.

3.  No Close Sidekick 

It's a trick experienced novelists have, you might say.  Give you protagonist a sidekick to talk to, so that there aren't pages and pages of internal monologue.  Dialogue is active; monologue is telling.  Give your protagonist a Dr Watson or Captain Hastings, and they can discuss the case together, making it a much more dynamic read.

4.  Not Enough Suspects

This should be obvious.  A mystery novel should be a mystery until the very end, when you find out whodunit.  I've queried several publishers, and they tell me you need at least three good suspects for a mystery novel.  Even better if you can develop five.  If you have only one good suspect and he/she/they is obvious from the start, then it's not a mystery!   It may still be a crime novel (including caper, suspense or thriller) but if the perp is obvious, well you're simply not writing classic mystery.

5.  Violating the rule of Chekhov's Gun

Yes, that Chekhov - the one we tried to get out of reading in high school.  To paraphrase his famous rule:  If you point out there is a gun hanging on the wall in the first chapter, it absolutely must be fired by the end of the book.

I was reminded of this rule while reading a manuscript recently that had the action chapters interspersed with the insertion of diary excerpts.  Trouble was, the diary excerpts were several pages long, and the reader (me) had no idea why she was supposed to be reading them.  It took one out of the story. In the end, much of the information in the excerpts had no bearing on the crime.  

It's that last bit that makes me think of Chekhov's gun.  Sure, someone will say we need red herrings in a mystery novel.  But info-dumping a whole bunch of information at once that may have no bearing on the crime can be a reason a book is not picked up by a publisher.

6.  The Protagonist Does Not Solve the Mystery

Okay, we all know that mysteries need to be solved by the end.  That's the whole point of them.  No one reads to get to the middle, as Mickey Spillane said.  They want to get to the end, and there better be an ending.  All my students know this.  But what they sometimes forget is that the protagonist needs to be in at the 'kill'.  Most readers (and therefore publishers) will not accept a mystery novel where the protagonist is 'told' who the killer is.  They want the protagonist to come to that conclusion by examining a series of clues and making brilliant, while logical deduction

That's the first six that come to mind.  Have you any to add?

Melodie Campbell writes capers and mysteries, along with pretty much anything else publishers will pay her for.  www.melodiecampbell.com








23 September 2022

Black is the Night


 BLACK IS THE NIGHT

Stories Inspired by Cornell Woolrich


Just received my copy of BLACK IS THE NIGHT. Haven’t read it yet, so this is not a review. I’ve read and admired the writing of Cornell Woolrich since before I started writing nearly forty years ago. Too many favorites to mention but I have read his excellent NIGHT HAS A THOUSAND EYES four times. Worked hard to get a story included in this anthology and happy as hell to have succeeded.


Editor/Writer/Critic Maxim Jakubowski and long time owner of Murder One Bookstore in London, the UK's first specialist crime and mystery bookstore has brought together some cool writers in BLACK IS THE NIGHT. Fans of Cornell Woolrich, hell all mystery readers and writers should check this out.



Here is some of the promotional information on the anthology:


A gritty and thrilling anthology of 30 new short stories in tribute to pulp noir master, Cornell Woolrich, author of 'Rear Window' that inspired Alfred Hitchcock's classic film. 


Featuring Neil Gaiman, Kim Newman, James Sallis, A.K. Benedict, USA Today-bestseller Samantha Lee Howe, Joe R. Lansdale and many more.


An anthology of exclusive new short stories in tribute to the master of pulp era crime writing, Cornell Woolrich. Woolrich, also published as William Irish and George Hopley, stands with Raymond Chandler, Erle Stanley Gardner and Dashiell Hammett as a legend in the genre.


He is a hugely influential figure for crime writers, and is also remembered through the 50+ films made from his novels and stories, including Alfred Hitchcock’s Rear WindowThe Bride Wore BlackI Married a Dead ManPhantom Lady, Truffaut's La Sirène du Mississippi, and Black Alibi.


Collected and edited by one of the most experienced editors in the field, Maxim Jakubowski, features original work from: 

  • Neil Gaiman
  • Joel Lane
  • Joe R. Lansdale
  • Vaseem Khan
  • Brandon Barrows
  • Tara Moss
  • Kim Newman
  • Nick Mamatas
  • Mason Cross
  • Martin Edwards
  • Donna Moore
  • James Grady
  • Lavie Tidhar
  • James Sallis
  • A.K. Benedict
  • Warren Moore
  • Max Décharné
  • Paul Di Filippo
  • M.W. Craven
  • Charles Ardai
  • Susi Holliday
  • Bill Pronzini
  • Kristine Kathryn Rusch
  • Maxim Jakubowski
  • Joseph S. Walker
  • Samantha Lee Howe
  • O'Neil De Noux
  • David Quantick
  • Ana Teresa Pereira
  • William Boyle



Can’t wait to read it.



22 September 2022

The Novel-Writing Machine


Many years ago, the Industrial Revolution marked the first great change from natural time to clock time. Before that, if there was a clock in the village or town, it was on the church tower, and marked only the hours, because there was no need to mark the minutes. Nobody paid attention to that. In a 90% agricultural world, the rhythms of life were based on the land, which meant constant work in the spring and fall, lighter work (except for the haying) in summer, and a winter spent mostly just trying to stay warm. People got up when it was light, went to bed when it was dark, and that was that.  And, besides Sundays off, there were more holidays throughout the year than today, thanks to the rhythms (and rule) of the Church.

Then came the Industrial Revolution, began in Europe, the usual factory hours were 12 hours a day, 6 days a week, 52 weeks a year. (It was considered a luxury when the factory workers were given half-days for Saturdays, and the 40 hour workweek was only put into law in 1940.) Humans became servants of the clock and of the machines. And now it's considered normal to get up, eat, work, and sleep by the clock, by the job, by the cell phone, not by nature. 

And now by AI and algorithms?

I read an adaptation of the The Great Fiction of AI by Josh Dzieza in last week's "The Week" (The Last Word:  The novel-writing machine) and found it pretty damned disturbing from start to finish.  Read the entire article here:  (LINK) To begin with:

"On a Tuesday in mid-March, Jennifer Lepp was precisely 80.41 percent finished writing Bring Your Beach Owl, the latest installment in her series about a detective witch in central Florida, and she was behind schedule. The color-coded, 11-column spreadsheet she keeps open on a second monitor as she writes told her just how far behind: she had three days to write 9,278 words if she was to get the book edited, formatted, promoted, uploaded to Amazon’s Kindle platform, and in the hands of eager readers who expected a new novel every nine weeks."

Every nine weeks?  What world are people living in?  

"However, being an Amazon-based author is stressful in ways that will look familiar to anyone who makes a living on a digital platform. In order to survive in a marketplace where infinite other options are a click away, authors need to find their fans and keep them loyal. So they follow readers to the microgenres into which Amazon’s algorithms classify their tastes, niches like “mermaid young adult fantasy” or “time-travel romance,” and keep them engaged by writing in series, each installment teasing the next, which already has a title and set release date, all while producing a steady stream of newsletters, tweets, and videos. As Mark McGurl writes in Everything and Less, his recent book on how Amazon is shaping fiction, the Kindle platform transformed the author-reader relationship into one of service provider and customer, and the customer is always right. Above all else, authors must write fast."

Sudowrite is an artificial intelligence tool designed to break through writer's block - for fiction writers.

"Designed by developers turned sci-fi authors Amit Gupta and James Yu, it’s one of many AI writing programs built on OpenAI’s language model GPT-3 that have launched since it was opened to developers last year. But where most of these tools are meant to write company emails and marketing copy, Sudowrite is designed for fiction writers. Authors paste what they’ve written into a soothing sunset-colored interface, select some words, and have the AI rewrite them in an ominous tone, or with more inner conflict, or propose a plot twist, or generate descriptions in every sense plus metaphor."

"AI may just be another tool, but authors haven’t previously felt the need to remind themselves that they — and not their thesaurus — are responsible for their writing or have fraught debates over whether to disclose their use of spellcheck. Something about the experience of using AI feels different. It’s apparent in the way writers talk about it, which is often in the language of collaboration and partnership. Maybe it’s the fact that GPT-3 takes instruction and responds in language that makes it hard not to imagine it as an entity communicating thoughts. Or maybe it’s because, unlike a dictionary, its responses are unpredictable. Whatever the reason, AI writing has entered an uncanny valley between ordinary tool and autonomous storytelling machine. This ambiguity is part of what makes the current moment both exciting and unsettling."

Jasper.ai is another tool, more for non-fiction, but we'll see:

"They’re using it to generate Google-optimized blog posts about products they’re selling or books that will serve as billboards on Amazon or Twitter threads and LinkedIn posts to establish themselves as authorities in their field. That is, they’re using it not because they have something to say but because they need to say something in order to “maintain relevance” — a phrase that I heard from AI-using novelists as well — on platforms already so flooded with writing that algorithms are required to sort it. It raises the prospect of a dizzying spiral of content generated by AI to win the favor of AI, all of it derived from existing content rather than rooted in fact or experience, which wouldn’t be so different from the internet we have now."  (my emphasis)

"[Meanwhile, Lepp says] she’s a little embarrassed to say she’s become reliant on it [Sudowrite]. Not that she couldn’t write without it, but she thinks her writing wouldn’t be as rich, and she would certainly be more burnt out. 'There’s something different about working with the AI and editing those words, and then coming up with my own and then editing it, that’s much easier. It’s less emotionally taxing. It’s less tiresome; it’s less fatiguing. I need to pay attention much less closely. I don’t get as deeply into the writing as I did before, and yet, I found a balance where I still feel very connected to the story, and I still feel it’s wholly mine.'"

"With the help of the program, she recently ramped up production yet again. She is now writing two series simultaneously, toggling between the witch detective and a new mystery-solving heroine, a 50-year-old divorced owner of an animal rescue who comes into possession of a magical platter that allows her to communicate with cats. It was an expansion she felt she had to make just to stay in place. With an increasing share of her profits going back to Amazon in the form of advertising, she needed to stand out amid increasing competition. Instead of six books a year, her revised spreadsheet forecasts 10."  (my emphasis)

"She thinks more fully automating fiction right now would produce novels that are too generic, channeled into the grooves of the most popular plots. But, based on the improvement she’s seen over the year she’s been using Sudowrite, she doesn’t doubt that it will get there eventually. It wouldn’t even have to go far. Readers, especially readers of genre fiction, like the familiar, she said, the same basic form with a slightly different twist or setting. It’s precisely the sort of thing AI should be able to handle. “I think that’s the real danger, that you can do that and then nothing’s original anymore. Everything’s just a copy of something else,” she said. “The problem is, that’s what readers like.”

photo © Wikipedia

Is this really our future? And what if I don't want it?

21 September 2022

Outer Space and Eastern Illinois


 


A week before the mystery community headed to Minneapolis for Bouchercon, I, contrarian that I am, went to Chicago for Chicon 8.  That was the 80th World Science Fiction Conference.  As I have written before, science fiction fandom is our field's bigger and older sibling. Chicon went for five days, had about 3,400 attendees, and had 1,404 events listed.  Impressive as all heck. 

First thing to say is, they took covid VERY seriously.  Everyone had to have proof of vaccination and had to stay masked.  The photo above shows me wearing my volunteer vest, walking around looking for trouble (literally), which included reminding people to wear their masks.  (I encountered three people who needed the hint, and all complied without argument.)  In spite of this, the Con management informed us that 60 attendees reported to them testing positive within five days of the convention. That's about 1.8%.  Does anyone know the number for Bouchercon?  


Let me tell you about some highlights of a few panels I attended.

Best Science Fiction / Fantasy Murder Mysteries. I added a few titles to my Must Read list. (See the covers of some of these titles on this page.)  


Roberta Rogow made an interesting argument: It is easier to write genre-crossover novels these days because, unlike brick-and-mortar bookstores, online stores are happy to place a volume in as many places as it belongs.


Someone on the panel quoted Walter Mosley as saying mystery is simile and science fiction is metaphor.  That requires some contemplation, I think.


At the end of the panel Mark Painter said he had been trying to remember the earliest example of an SF mystery he had seen in a visual media.  He decided it was "The Conscience of the King" from the first season of Star Trek.

Someone replied: "What about the one where Scotty was accused of murder?"


"'Wolf in the Fold," said Painter.  "And the one with Elijah Cook, Jr."


"'Court-Martial,'" I called from the audience.  And added: "How do we remember this crap?"


Fortunately everyone laughed.  And speaking of Star Trek...


Remembering Nichelle Nichols. 
The actress who played Lieutenant Uhura in the original series died last month and fans met up to say how much she meant to so many people.  (Whoopi Goldberg at age five: "Mommy, there's a Black woman on TV and she's not a maid!")

David Gerrold, who started his career at age nineteen by sending an unagented script to Star Trek ("The Trouble With Tribbles") was friends with Nichols for half a century and said she "moved in a bubble of charisma."


I highly recommend the documentary, Woman In Motion, which tells how NASA recruited Nichols to encourage women and people of color to apply for the space program.  Amazing story.


The Origin and Evolution of Conspiracy Theories.
  Kenneth Hite says the oldest example of conspiracy theory in the West was the Roman hunt for followers of Bacchus, 2d century BC.  This same pattern was later used for persecuting the Christians, who copied it for attacking the Jews.  He also says forget about QAnon; the highwater mark of conspiracy theories in the United States was the Anti-Masonic Party, which ran candidates for president.

Time Travel.  The legendary Joe Haldeman, born in 1943, explained "I am from the past."


Connie Willis, one of my favorite SF writers, said that on a panel she once explained how she uses time travel in her books and a physicist complained "'That's wrong.  Time Travel doesn't work that way.'  I said: Has there been a breakthrough since this panel started?"


What happened After My Story Got Optioned.  John Scalzi reports that a producer once tried to option one of his books to prevent other companies from making it and competing with the producer's film based on another book. Another of his books has been optioned continually for fourteen years.  "It paid for my daughter's college education."


Meg Elison had her book optioned by a screenwriter who only heard of it because one word in the title matched the title of a TV the writer had been streaming, so Amazon suggested it.


The Middle Ages Weren't Bad.
  Several historians argued that the so-called dark ages get a bum rap.  Ada Palmer, who studies the Renaissance said:  "My period  was mean to your period and I'm sorry."  She said there is a lot more Renaissance art than Medieval art because we destroyed so much of the latter.  During World War II the allied pilots were forbidden to bomb Florence, to protect all that pretty stuff, but cities with older art were fair game.

When did the Early Modern period begin?  Palmer says there is a disagreement of 400 years depending on which field you ask, because they all want to claim their favorite work as modern, not part of that tacky ol' medieval stuff.


David M. Perry said medieval people loved democracy.  They formed groups, created complicated by-laws, and voted on stuff.  They just weren't allowed to run their governments that way.


Palmer recommends historical fiction about Europe written by Asian authors, who look at things quite differently than us.  


Morally Ambiguous Characters. James Patrick Kelly invoked our field for this one, saying his favorite morally ambiguous hero is Sam Spade.

David Gerrold said the morally ambiguous character does the right thing for the situation, although in another situation he would be horrified by it.    


And just for giggles, here are the names of some panels I did not attend:

* More than Sexbots and Slaves

* If It's Not Love, Then It's The Bomb That Will Bring Us Together


* I'm Trapped Here For An Hour!  Ask Wes Anything!

* Why is the U.S. Banning and Challenging So Many Books?

* Werewolf Torts and Undead Tax Liabilities

* Abolition and Our Future: Imagining a World Without Police

* Let's Talk About Consent, Baby


Next time I will offer some of my favorite quotes from the Con.  Until then: Keep watching the skies!

20 September 2022

Eighteen Hundred Miles of Forced Comparisons


     As I described in my last post, my traveling companion and I drove to Minneapolis for Bouchercon. Rolling mile after mile across America’s abdomen, a mind can drift. 

   We stopped for the night in Kansas City. While there, we visited the Harry S. Truman Presidential Library. A blockbuster museum, the place tells the trajectory of a humble man of ordinary beginnings who rose in the desperate circumstances of World War I to become a leader. The museum describes his grit, his core integrity, even in the company of shady characters, and his triumphs when his opponents underestimated him. It’s not hard to leave there thinking that if Harry Truman hadn’t become president, he’d have the makings of a great mystery detective.

We can take a stab at guessing who might have written Truman-based mysteries.

    Just down the road from the Truman Library stands barbecue history. There are a variety of culinary camps surrounding barbeque. One traces a line through central Texas. Another school has its heart in Kansas City. Although the foodie reviews identified several hot new places, we visited the classic, Arthur Bryant’s.  The restaurant is the foundation of Kansas City barbeque. Over a thickly sliced brisket sandwich, we think of the place as The Murder in the Rue Morgue of Midwest barbeque.

    Driving northward, we called on Winterset, Iowa. Winterset is in the heart of Madison County, home of the covered bridges that served as the setting for the 1992 novel and the 1995 film starring Meryl Streep and Clint Eastwood. Winterset is also home to the John Wayne Birthplace Museum. Romance, drama, gunfights, and action—the town served to get us in the proper frame of mind for elements of mystery novels.

    Just south of Minneapolis, we passed through Northfield. Serendipitously, September 7th, the day we arrived, was the 146th anniversary of the failed bank robbery by the James-Younger gang. In 1876 the raiders hit town intending to rob the First National Bank. Courageous townsfolk armed themselves and repelled the bandits. The town recognizes the street fight with “The Defeat of Jesse James Days.” As we hit town, the residents were busy blocking off streets in preparation for a celebration of regular people fighting back against the criminal element. The drive through Northfield foreshadowed the conference. 

From Thursday through Sunday, the real thing, Bouchercon 2022. We immersed ourselves in mystery and suspense. We made some new friends and got re-acquainted with old ones. After our COVID-enforced absence, we reconnected with folks we hadn’t seen in years. We listened to some stars of our craft, Craig Johnson, S. A. Cosby, and Kent Krueger, among others. Likely, we heard from others who soon will be. I appeared Friday on a panel on short story writing. Thanks to Barb Goffman, Amber Royer, Ted Fitzgerald, Mary Dutta, and Raquel Reyes for making it memorable.

    No conference is complete without making some small discoveries. I've got a couple of books. I didn't know anything about them, but the first few pages demanded I bring them home. I have notes reminding me of a couple more written by authors who blew me away as panelists. 

    Museums can do that too. I’m a big fan of pocket museums. Leaving Minneapolis, we ventured south to Austin, Minnesota, and visited the Spam Museum. Because, why not. The museum celebrates the creation, production, distribution, and quirky passion for Spam. The name probably is a portmanteau for “spiced ham,” although no one exactly knows for sure. The entire museum is a giant advertising vehicle for a canned meat product. But, it worked. We carried home a collection of TBR books and a can of jalapeno Spam in our trunk.

  The city of Omaha offers Boys Town, founded by Father Flanagan and immortalized in a movie starring Spencer Tracy and Mickey Rooney. The visitor’s center features, among other things, the world’s largest ball of canceled stamps. It sits in the center of a room and draws you to it.

    An Irish priest, a collection of delinquent juveniles, and a rare object on display in the middle of an unguarded room. Who couldn't work with a set-up like that?

    Until next time.   



19 September 2022

Hiding in Plain Sight, or, Oh, My God, Everyone’s Jewish! by guest blogger Kenneth Wishnia


My guest this month is Ken Wishnia, co-editor with Chantelle Aimée Osman of Jewish Noir II, just out from PM Press. The anthology has a foreword by Lawrence Block and a remarkable variety of Jewish voices and settings packed into twenty-three powerful stories, including my own contribution. Ken also edited the Anthony Award-nominated Jewish Noir.

Kenneth Wishnia’s novels have been nominated for the Edgar, Anthony, and Macavity Awards. His short stories have appeared in EQMM, AHMM, Queens Noir, Long Island Noir, and elsewhere. He teaches writing, literature and other deviant forms of thought at Suffolk Community College on Long Island.

Secretary of State Madeleine Albright apparently didn’t learn that she was Jewish until 1996, more than 55 years after her parents sent her away from Czechoslovakia to the UK for safekeeping on the eve of WW II.

Cardinal John O’Connor, leader of the Catholic Church in New York City for 16 years, apparently died without ever learning that “his mother was born a Jew, the daughter of a rabbi” (see Cowan, Alison Leigh. “The Rabbi Cardinal O’Connor Never Knew: His Grandfather.” New York Times, 10 June, 2014).

Even Eddie Muller, the “Czar of Noir” who was in the first Jewish Noir collection, told me that he had learned of some Jewish ancestry in his lineage. It turns out he was referring to his paternal grandfather--not exactly a distant relative--who changed his name from something very Jewish and foreign-sounding to make it easier to find a job when he emigrated to California a few generations back.

This raises some serious issues regarding the suppression of Jewish ethnicity during less enlightened times. I mean, how many Americans “discover” that they have Christian ancestors? People don’t discover they’re Christian, or part-Christian, because in the US that identity never needed to be suppressed or hidden.

But we’re writing about noir, aren’t we? Glad you asked!

Hedy Lamarr in
The Strange Woman (1946)
As co-editor of Jewish Noir II, naturally I’m a fan of film noir, and any such fan can tell you that one of the primary stylistic precursors to American film noir is German Expressionist film of the 1920s and early 1930s. Until recently, I had no idea how many of those influential practitioners of the art were German and Austrian Jews who would flee for Hollywood when Hitler came to power. This list includes: Fritz Lang, Billy Wilder, Otto Preminger, Edgar G. Ulmer and Fred Zinnemann (Austria); Robert Siodmak, Curtis Bernhardt, Max Ophuls and John Brahm (Germany); as well as Anatole Litvak (Ukraine).

Jewish directors who emigrated before 1933 include: Michael Curtiz (Hungary), Lewis Milestone, Charles Vidor and William Wyler (Germany); Hugo Haas (Czechoslovakia), and László Benedek (Hungary). (Note: I am indebted to Vincent Brook’s film study, Driven to Darkness, for this information.)

Lauren Bacall & Humphrey Bogart in
Dark Passage (1947)
I started to dig deeper, and learned that a large number of actors in film noir were also Jewish, almost always working under anglicized or completely invented names, a common practice in Hollywood till this day (I’m looking at you, Winona Ryder). The list includes: Lauren Bacall (b. Betty Joan Perske), Turhan Bey (b. Turhan Gilbert Selahattin Sahultavy), Lee J. Cobb (b. Leo Jacoby), Tony Curtis (b. Bernard Schwartz), Howard da Silva (b. Howard Silverblatt), Lee Grant (b. Lyova Haskell Rosenthal), Peter Lorre (b. Laszlo Lowenstein), Zero Mostel, Simone Signoret (b. Simone Kaminker), Sylvia Sydney (b. Sylvia Kosnow), Cornell Wilde (b. Kornél Lajos Weisz) and Shelley Winters (b. Shirley Schrift).

Cornell Wilde & Gene Tierney in
Leave Her to Heaven (1945)
I compiled an appropriately obsessive list of Jewish directors, writers and actors who contributed significantly to the film noir canon; the list goes on for 14 pages in 10-point type.

Family note: My parents were both born in 1931, so of course they lived through the classic era in Hollywood. My dad was incredulous about Lee J. Cobb, asking, “Are you sure he was Jewish?” My mom’s response: “Cornell Wilde was Jewish?”

Crime writer S.J. Rozan’s response: “Fritz Lang was Jewish?” I know, his mother converted to Catholicism, mainly to avoid anti-Semitism in Germany, and Lang himself denied being Jewish for most of his life, but his mother was indeed Jewish, and converted when Lang was 10, meaning he was born Jewish. Under basic civil law and traditional Jewish law, Fritz Lang was Jewish.

Simone Signoret in Diabolique (1955)
 

Other Jewish (or part-Jewish) actors from the film noir era whose names might surprise you include: Douglas Fairbanks, Jr. (Doug Sr. b. Douglas Ullman), Leslie Howard (b. Leslie Howard Steiner), Paulette Goddard (b. Marion Goddard Levy), Paul Henreid (family name originally Hirsch), Hedy Lamarr (b. Hedvig Kiesler), and a real outlier: Ricardo Cortez (b. Jacob Krantz). Not sure why the ethnic masquerade of Latino identity, since in so many cases Jews masqueraded as Anglophone Christians.

Of course, many performers did this, regardless of their ethnicity (just ask Lucille LeSueur --I mean Joan Crawford). But why am I still finding out that so many key figures in world culture were Jewish? Just in the past couple of weeks, I’ve learned (from their obituaries!) that several prominent artists I had no idea were Jewish were in fact Jewish, including the British-born theatrical innovator Peter Brook (family name originally Bryk) and the composer of the James Bond theme, Monty Norman (b. Monty Noserovitch). I also just learned that Frank Oz, best known as the puppeteer for Miss Piggy, Bert, Grover and Yoda, was born Frank Oznowicz. And this happens all the time. Once again, people don’t hide their Christian identities. But Jews? That seems to be a case of, “Gee, mister, the name Issur Danielovitch Demsky doesn’t exactly spell box office gold on the marquee. How about we call you Kirk Douglas?”

Shelley Winters & Richard Conte
in Cry of the City (1948)
This phenomenon, which still feels like a job requirement in certain professions, can also be turned against the Jews as an example of our allegedly uniquely perfidious nature: the poet T.S. Eliot appears to mock Jews who try to erase their ethnic identities when their crude manners (and propensity for evil) give them away every time, in his 1919 poem, “Sweeney among the Nightingales,” where the sixth stanza ends: “Rachel née Rabinovitch / Tears at the grapes with murderous paws.”

During Hollywood’s Red Scare, Representative John Rankin of Mississippi made a show of “outing” a number of prominent entertainers by revealing their birth names, implying that they were hiding their true identities in order to subvert American values from within, as if Danny Kaye (b. Dovid Daniel Kaminsky) and Eddie Cantor (b. Edward Isskowitz), two of Rankin’s examples, were planning to oppress American Christians by sneaking in communism between comedy routines, or something like that.

That’s one reason it was so much fun working on the Jewish Noir II anthology, in an era when we’re free to use our foreign-sounding, often polysyllabic names: Kirschman, Markowitz, Schneider, Sidransky, Zelvin and Vishnya (the Slavic pronunciation of Wishnia).

And speaking of my family name, it may be a liability on the bookstore shelves—I’m usually down on the floor with the rest of the W-Z authors--but it’s an asset in the world of Google searches: if you google “Kenneth Wishnia” you don’t get 100,000 other guys with the same name. You get me.

And by the way, I’m Jewish.

18 September 2022

Woo-Woo!


Extraordinary Attorney Woo

I've fallen in love. She's Korean, smart, attractive, lovable. My previous Asian dalliance didn’t fare so well, but I’ll discuss that shortly.

Extraordinary Attorney Woo

The first ‘she’ is a television show available on Netflix, Extraordinary Attorney Woo. Wow to Woo. Characterization is fantastic. The settings give a limited peek into South Korean city life and village peace, but most interesting was a temple. The plots were consistently clever and well executed. And… this is the only time I include a food review with a telly review, but I wanted to try what he had… and she and that guy over there.

I’ve given to understand the Korean title of Extraordinary Attorney Woo leans closer to Strange Lawyer Woo. The present translation is better than the original. The Woo in question is a fresh-out-of-law-school attorney and she is extraordinary.

She’s also autistic, which makes tasks small and large difficult for her. The story line counters her autism with a dose of savant, statistically not typical but it works. She remembers everything she reads.

Although she graduated top of her class, she couldn’t find a job until her single father called in a favor, winning her an internship in the second largest law firm in Seoul. Her dad is a bit of a mystery, a man who also trained in law but chooses to run a luncheonette.

Employees at Woo’s firm are wary of her, but after initial doubts, her supervising attorney takes her under his wing, mitigating some of the office politics. And wow, their law office makes that Northern despot crackpot seem like an amateur. Colleagues refer to one of Woo's fellow interns as a ‘tactician’, which I gather imputes a sly and devious plotter, one determined to oust Woo from the firm.

Two other colleagues are of interest, one of them her romantic interest, the boy all the girls love chooses to hang with Woo.

The most fascinating amongst her associates is her former classmate, Choi Su-yeon. All through university, Su-yeon helped Woo navigate campus life just as she helps her integrate into the corporate workplace. And, just like Su-yeon constantly came off academic runner-up in the shadow of Woo’s first place, Su-yeon finds herself exasperated she’s repeating the same pattern in the professional world. And yet, Su-yeon can’t help herself. She’s kind, selfless, and fond of Woo at her most helpless and hapless. She’s a beautiful character portrait.

In case after case when all seems hopeless, Woo makes a mental connection and resolves the current court battle. She astonishes the legal world and comes to the attention of the city’s largest firm. Indeed, the two largest firms in Seoul are both run by the smoothest of women. They reminded me of a real-life supervisor at a large Central Florida theme park. Fellow cast members in her way never felt the sharpest of blades in their backs but wondered where the pool of blood came from.

Heartless Seoul

I’d previously watched the wildly popular Squid Game. Once the series ended, I stood under a long, hot shower, brushing my teeth and tongue to get the bad taste out of my mouth. Visually, it’s fascinating and I enjoyed the M.C. Escher quadriplex. But psychologically, it’s a sick Æ’. Give me Silence of the Lambs any day.

Frankly, I don’t think of Squid Game as a horror show although hints of horror break the surface from time to time. Perhaps its most interesting scene is a short ripoff of Eyes Wide Shut, that did it better and didn’t leave the audience wanting to scrub off their skin to get clean. And after the show should have ended, we had to endure an anticlimax as the tale petered out. It's a parable, see, like the Book of Job, which requires lots of slowwww explanation.

Without doubt, my distaste of perfidy factors into my opinion. Squid Game brings us 455 (actually more) examples of betrayal… and death. Rumors that Leader Kim Jong-un hung over his toilet bowl might be slightly exaggerated. But as I said, it is extremely popular and Leonardo DiCaprio will join the production for its second season. Let me guess– he might crack open the secret organization.

One opinion, of course. Your mileage will vary.

Heart in Seoul

I’ve talked about everyone except Wìš°ìš° Young-Wìš°ìš°. Her name is a palindrome as she remarks at every introduction. She eats the same lunch every day, gimbap (seaweed sushi). She counts to three before skipping over a threshold. She converses almost exclusively about Cetaceans (whales, dolphins). She tends to wobble instead of walk. She’s terrified of revolving doors… and I have sympathy for her.

But we, like her colleague Su-yeon, see her beauty. She’s moral and ethical, which sometimes conflicts with the law. She’s vulnerable. She tries to fit in, and she wants her father to let her make her own mistakes. She worries she won’t be able to fall in love and please a husband. She’s bloody smart. And every so often dimples pop out of nowhere.

Producers waited a year to land the actress for the rôle and they chose well.

Watchers in Korea criticized the last two episodes of Season 1. (Yes, there will be a Season 2.) Her supervisor has cancer. When Woo visits him in the hospital, someone comments that the odds of survival are good. Woo corrects them, rattling off dismaying probabilities and percentages. Viewers were offended, saying, “How insensitive. My Uncle Ted got cancer and…”

That was part of the point, of course, that autistics often misread the room. Instead of watching Woo with social horror, they should have noticed her supervisor, smiling from his hospital bed. He understood she meant no harm and showed her concern by visiting.

Extraordinary Attorney Woo cast
At first blush, it might appear an overhanging vine, but look again. It’s Woo’s obsession.

I can’t emphasize enough how clever, kind, smart, smart and charming the program is. I’m noted for detesting SOS (soap opera shite) that so often appears in series as dying shows drag on. Woo profides a surfeit of personal drama, but it never crosses the line in jump-the-shark melodrama.

Extraordinary Attorney Woo. I give it 114 stars and six thumbs up.

17 September 2022

Real or Nonreal?



I was asked an interesting question a few weeks ago, about writing.

First, a quick story. Years ago a writer friend of mine had just published his first book, a memoir of his own life. He said to me, "I'm proud to tell you, every single word of it is true." I congratulated him on his accomplishment, and he mentioned that he'd heard I had a new book out as well--mine was a collection of short mystery stories. "I sure do," I said. "And I'm proud to tell you, not a single word of it is true." The fact is, I was proud of that. I'd much rather write fiction than nonfiction. 

Okay, back to the question I was asked the other day. I had said to a friend, this one a reader instead of a writer, that I'm currently re-reading an old novel by Ken Follett called Night Over Water. It's a pre-WWII story about a transatlantic flight on a Pan American Clipper, one of several giant seaplanes that Boeing manufactured for Pan Am in the 1930s. The story's a good one, though not Follett's best (I have all his novels), and when I went on to describe the book to this friend of mine she said, "That makes it creative nonfiction, right?" I replied that no, the Clippers were real but this story had imaginary characters and an imaginary plot. She said, "But that's what makes it creative nonfiction. Right?"

Wrong. Creative nonfiction is still nonfiction--it contains no made-up events and no made-up characters. Examples of creative nonfiction that I have here on my shelves are The Right Stuff, The Perfect Storm, In Cold Blood, etc. Wonderful, engaging stories, but they're all true. They're about real people and things that really happened. They're just told using some fictional techniques in a way that can create more interest and suspense. 

Which brings up another question: How far can we fiction writers go in our descriptions of real events and real characters? I've written and sold a lot of short stories based on real events and have occasionally included the names of real people in them. In a couple of stories I've even included real historical figures in supporting roles. Many famous novelists, among them E. L. Doctorow, Stephen King, and Larry McMurtry, have done the same. In my case, those real-life characters I put into the stories never said or did anything that would paint them in a bad light, but they're still there, nonfictional parts of otherwise fictional tales. Again, how much of that is too much? How much is allowed and acceptable? (In the too-much department, I'm thinking of novels like Abraham Lincoln: Vampire Hunter.)

One story of mine that uses a few real names, and one real person as a minor character, is "The Donovan Gang," the lead story in the current (Sept/Oct 2022) issue of AHMM. The plot is totally fictional, a story about six passengers--a journalist, an actress, a preacher, a dentist, a saloon girl, and a lawman--on a stagecoach in southeast Arizona in 1907. The confined quarters (all six people are jammed together, three to a seat) and the mystery (one of the passengers is an unknown accomplice to a crime) made the story a lot of fun to put together. There's something of a surprise at the very end that has nothing to do with the mystery, and that made it even more enjoyable for me to write. NOTE: I once heard that you should always write for yourself, not for anyone else, and if someone else does happen to like what you've written, well, that's icing on the cake. I think that's still good advice.


Questions: Have you ever used any real people in your fiction? If so, why? Was it hard to do? Did you think it made your story (or novel) better? If you haven't used real people, why not? Was it unnecessary? A concern over possible legal issues? With regard to creative nonfiction, how far do you think it can go before it becomes fiction? Can any of the dialogue be imaginary, or must conversations be exact and historically accurate? Let me know your opinion.

As for my AHMM story, be aware that--real characters or not--it's purely fiction. Or, as Lawrence Block once said, nothing but a pack of lies.

I'll take that over nonfiction any day.





16 September 2022

Canon Shots


 Some people make it a mission to read everything a writer puts out. Some multiple writers. I have several, plus a list from Harold Bloom.

Harold Bloom's List

Harold Bloom could be both fascinating and infuriating. But he did put forth an interesting list of novels to read going all the way back to Don Quixote and ending with recent novels Blood Meridian, Invisible Man, and Song of Solomon. For the most part, I've liked about every book on the list, though I found Crime and Punishment difficult. (A native Russian and one who knew the language said it loses something in translation.) I skipped two, one for sheer length and one for... Well...

I'm not exactly sure about the merit of a book where the author begins with his own literary criticism. I won't say who it was.

Still, it's a good exposure to classic literature, though there are some titles I wish he'd included.


William Shakespeare

The Bard is the English language writer. Hamlet, Julius Caesar, and A Midsummer Night's Dream are all cultural touchstones. The Tempest even gets remade periodically as science fiction. (Forbidden Planet anyone?) Getting a proper chronological list of plays is tough. Sometimes, they contain plays we have no copies of, like Loves Labours Won and Thomas More.

I started with all three Henry VI plays. For such a weak English monarch, it always puzzled me why he got three plays. Parts I and II were actually written later, but in the interest of continuity, I read them as a whole.

My favorites so far are A Comedy of Errors and Richard III. Romeo and Juliet is next up next. I read it in junior high, but that was a have-to. This is a want to. Loves Labours Lost was fun in places. I thought it read like an Elizabethan rap battle. Some, like Edward III, are slogs. In Shakespeare's defense, you can tell he was brought in to save Edward as it was disjointed and doesn't even read like one of his histories

I started going through the Bard's canon about six years ago. It'll probably take me another six to finish. 


Source: stephenking.com
Stephen King

Of course, he's the most popular American author in history. Somehow, a horror writer has supplanted writers of a literary bent. But King's horror is not the cheap horror of the sixties and seventies. It's not the all-out horror of Lovecraft (of whom Kind is a fan.) No, in King's novel, the devil moves next door, seems perfectly normal, and even asks to borrow your mower. Only he's worried about the guy that moved in across the street. He's the monster.

Like Shakespeare, he has his hits (Salem's Lot, The Stand, It) and misses (Cell, anyone?) King's real genius is world-building. The fictional Maine is as real as the one in our world. Castle Rock, for all its northern New England quirks (and monsters) is the small town everyone knows. It's how Stand By Me and The Shawshank Redemption resonate without being horror, but we're also sucked into various versions of It and The Stand when they come to television. He's even ventured into crime with the first two entries of the Bill Hodges Trilogy and Billy Summers, though End of Watch took a supernatural turn. So vivid is his worldbuilding that Richard Chizmar, his coauthor on two of the Gwendy books, wrote the second installment of the series solo while hitting all the notes that make Castle Rock Castle Rock. I've been reading his books in order, not counting the Bachman books, since about 2010. Now reading one a month, I plan to finish up, including the Bachman novels, next year. And the guy who wrote Fairy Tale is not the same one who wrote Carrie. Any writer worth his salt should find out how by reading his nonfiction masterpiece, On Writing.

 

Mark Twain

I dove back into Twain when his full autobiography came out. Twain didn't so much write his life story as he wrote the extended travelogue his publishers did not have the capacity to release. Tales of his early career and life sound either like backstory for Tom and Huck, the extended version of The Innocents Abroad, or one of his sarcastic essays where Mr. Clemens is as much the target of his satire as anyone else around him. When we get to the middle of his life, his narrative is both heartwarming and heartbreaking as he talks about his wife and daughters, two of whom he would outlive. His final years saw a dark cynicism, and possibly a bit of cruelty that he dutifully presents as an unreliable narrator. There's a reason he stipulated the work not be released in its entirety or in chronological order until 100 years after his death. I went back and reread Huckleberry Finn while waiting for the final volume. Then I went back to the beginning and read his travelogues, essays, and novels in order. I must say I actually prefer Twain's nonfiction to his fiction, but then if there were no Tom Sawyer or Huckleberry Finn, there would have been no Hemingway, no Chandler, or even Stephen King.

And as one who appreciates a good smartass, I appreciate Twain as much as I appreciate his spiritual ancestors, Washington Irving and Benjamin Franklin.