Not In My Backyard?

 Recently, I saw a post on Facebook suggesting (I hope humorously) one bury murder victims upright because satellites can look for people-sized six-foot holes. Of course, I had to check it out. Turns out, the tongue-in-cheek post had a kernel of truth. Using animals and donated cadavers, scientists in various countries took ground readings. A fresh body will cause the ground to bulge out. A decayed body will cause a depression as the organic material dissolves.

Of course, disposing of a dead body poses all sorts of issues. Living near the Ohio River, I hear at least two stories a year about either bodies disappearing in America's third longest river or turning up in or near it. A few years ago, a police officer fell off the Clay-Wade Bailey Bridge downtown and disappeared. It took several weeks to find his body. However, in the process, police departments in Ohio and Kentucky solved quite a few cold cases. They found bodies, just not the officer's body until about two months later. On the other hand, two children, both killed by their mothers' boyfriends, remain missing after the killers each admitted dumping them in the Ohio River. Different incidents within a month of each other, same result. Both killers are behind bars now.

But it makes me wonder what people have buried in their backyards. I often wondered if I could successfully bury gold in my own backyard. Not gold purchased through some weird website advertised by a dork who makes Vanilla Ice* look gangsta. I mean getting a hold of gold coins, gold jewelry, etc. and stowing it beneath my lawn. Sink a concrete vault and slip out at night to put my ill-gotten booty back there. There are a number of problems with this, not the least of which is my neighbors can all see me digging a big hole back there. Shades of Tom Waits's "What's He Building in There?" And besides, gold's not all it's cracked to be as an investment. One ill-timed boom, and good luck pawning Grandma's wedding ring. (I got more for my silver wedding ring from a previous marriage than my wife got for a gold ring her father gave her.)

But the 1950s were boom years for bomb shelters. Many remain intact, assuming developers haven't planted McMansions over them. Most are used for storage anymore. Some have become man caves and she sheds. (Is that still a thing?) A few prepper types keep their supplies in them. Most were left abandoned. An old bomb shelter, particularly connected to a house by a tunnel, can hide all sorts of ill-gotten booty (or bodies.) Going back to my idea of sinking a vault in the backyard, there are some things to consider. For instance, my house sits on a man-made rise to lift it above potential flash floods. Additionally, my neighbors have an in-ground pool. Every spring and fall, my backyard is... Moist. The stagnant water potential is enormous.

But where do you hide something you don't want others to find? If you own property that stands vacant, you're further ahead of the game than most. My aunt and uncle divided their old dairy farm into lots for their sons. Two built houses. The other, who prefers urban life, built a private campground. If they so chose, something valuable or someone inconvenient could spend years there never to be found. (Given one of the family is related to the sheriff in that county, this is probably not a wise idea. But I'm a writer. I make things up using what I know or find out.)

Closer to home, I used to know a former IRS agent who sank his earnings into property. Now, if I were to buy houses or buildings, I'd likely rent them out as quickly as possible. My friend did not. My friend was the most organized hoarder you'll ever meet. He would go through Big Lots and buy whatever struck him and just stash it. When he ran out of room at his house, he started using one of his vacant properties. Then another. He had at least two houses full of stuff he bought at Big Lots or flea markets or yard sales. Why did he buy all that stuff? Even he can't explain it. But I'll bet his hoarding stash was neater than your house or mine. (And my wife is a clean freak.)

Then there's the wilderness. Only in the eastern parts of these United States, where I live, there's not a lot of wilderness left. The closest to me is the Wayne National Forest, which covers a large swath of Southeast Ohio. But the region is crawling with hikers year-round. Your buried treasure or that business partner who "left town" before he could ruin you is just a stumbling tourist away from being found. Out west is better, where you can drive nearly a hundred miles between gas stations. I drove through Nevada a few years back and realized I could drive right off the road into the desert and leave something (or someone) out there never to be found. If it's something I want back, this is probably a bad idea, since I'd have to remember where I left it. The Rockies and, back east, Appalachians might be a better bet. Mountains have certain features that change little and are seldom visited. Probably better for that haul from your bank heist than your rich relative who put you in the will. 

*Vanilla Ice flips houses these days. Which means he's better with money than he is rapping. Also smarter than the dork in the gold commercial.

Canada's Finest: An Interview with Vancouver Crime Writer Extraordinaire Sam Wiebe

Long-time friend and much-lauded crime writer Sam Wiebe has a new book out, so I thought I'd take some time to ask him a few questions and put what we came up with out there. I HIGHLY recommend his work.

First, a bit about Sam:

Sam Wiebe is the award-winning author of the Wakeland novels, one of the most authentic and acclaimed detective series in Canada, including Invisible Dead (“the definitive Vancouver crime novel”), Cut You Down (“successfully brings Raymond Chandler into the 21st century”), Hell and Gone ("the best crime writer in Canada") and Sunset and Jericho ("Terminal City’s grittiest, most intelligent, most sensitively observed contemporary detective series").

Now on to the interview!

*     *     *     *     *

Let's start with what makes a Sam Wiebe work of fiction a Sam Wiebe work of fiction. And that goes to influences. Who/what are yours, and what made you want to be a professional writer?

John D MacDonald and Ross Macdonald, Sue Grafton and Walter Mosley, Larry McMurtry, Henry Chang, Ian Rankin, Hillary Mantel, William McIlvanney, Josephine Tey...there are too many.

What are you reading right now?

Barbara Tuchman's Guns of August, and about to start The Killing Hills by Chris Offutt. 

Guns of August is a classic, won the Pulitzer Prize, and rightly so. If you get a chance, her other Pulitzer winner, Stillwell and the American Experience in China, is well worth your time, as is A Distant Mirror: the Calamitous 14th Century, for which she won the National Book Award.

(Sorry! Historian geeking out about one of his heroes.)

--I'll definitely be reading more of her work. My favorite historians are Robert Caro and Doris Kearns Goodwin. I also like Rick Perlstein.

Not familiar with Chris Offutt. What about his work recommends him to you?

Andrew Hood from the Book Shelf in Guelph, Ontario recommended Offutt's Mick Hardin series. The first book, The Killing Hills, really impressed me. Hard-hitting, concise, with a compelling character. 

One of the things many of your readers (myself included) point to when talking about your work is the distinctiveness of your characters. Do you have a process for fleshing them out and making them "authentic"?

I try to give the characters interesting problems and allow them a full range of responses. Wakeland especially.

Because conflict reveals character?

True in fiction and life, I think. 

Speaking of Wakeland, Sunset and Jericho is the fourth installment in the series which bears his name. You have stand alone novels to your credit in addition to this award-winning series. Could you speak to the benefits/challenges of writing a series as opposed to those of writing a standalone novel?

It's weird. There's a certain amount of interest in a first book of a series because it's new...and then there's a drop, where you're not  new and not yet established. But with book four, Wakeland has been around for a while, and has developed a following. The books are getting better, I think. People who started with Sunset and Jericho can go back and read the earlier Wakeland books. Harbour just reissued Invisible Dead and Cut You Down with new covers). More of an investment, but a richer experience, in a way.

The great film director John Ford was particularly effective at making the settings of his films act as a sort of "additional character." Authors too numerous to mention have also used their settings in such a manner. The city of Vancouver is pretty central to your Wakeland series. Is that by design?

By design and by necessity. Vancouver is the city I know best. I admire what Ian Rankin does with Edinburgh, showing not just the dark side beneath the tourist-friendly surface, but the ways they feed each other. So much of a detective story is the joy of navigating different social strata. 

In your opinion and experience, how is Vancouver like other big cities, and in what ways is it its own thing?

Most cities are multicultural and have complex histories. Vancouver's is especially interesting. It has one of the oldest Chinatowns in North America. It's also the home of the first supervised injection site. Finally, a lot of Hollywood films are shot here because it doubles well for other cities--its uniqueness makes it similar to other places, and its similarity makes it unique.

Wow? Well said! And that is a great note to wrap up on. Thanks Sam, for taking the time to sit down and discuss your work. 

And for the rest of you, a belated Happy 4th, and see you in two weeks!

Old Memorials, New Choices

 

They come in two kinds.

The official ones look like typical road signs but instead of telling you when you can park they say something like IN MEMORY OF SO-AND-SO.  PLEASE DON'T DRINK AND DRIVE.

We used to make a trip every winter on a rural road where there were four or five of those official memorials.  Seems like there was an alcohol problem there.

The private ones are more impressive.  There's usually a poster with a photo of the loved one.  There may be balloons, teddy bears, pinwheels, religious paraphernalia.  The message is the same.

Downtown here a private display sat for years, leaning against the fence of a business's parking lot.  It was continuously refreshed.  I used to wonder how the owner of the store felt about this memento mori.

One day it occurred to me: That could be a source of conflict and conflict is the main ingredient in fiction. So could I write a story about it?

Let's raise the stakes: Say that the business is a liquor store.  What would the owner think about this warning against his product?

It seemed like a pretty solid premise but I couldn't make any progress.  My main character refused to solidify.  All I knew was that he was a grumpy small businessman.  He just wouldn't develop. 

So I tried a trick.  I have written here before about the improv comedy game called New Choice.  The idea is that two actors make up a scene and at any point the third player call yell "New Choice!" and whoever spoke last has to come up with something different to say. 

In that earlier column I had suggested this as a solution for dealing with cliches in your plot.  My problem this time wasn't a cliche but I figured it was worth a shot.  So what could I change?

How about if I made the store owner a woman?

And boom, what a difference that made.

It felt like my true protagonist had been waiting in the wings, arms folded and foot tapping impatiently, waiting for me to kick the imposter off the stage and let her make her grand entrance.  I found that I knew her name, her backstory, even her speech patterns.

The result was a story called "Memorial" which appeared in Issue #95 of Black Cat Magazine.  

By the way, the photos  were taken in Greece.  In the USA we would assume these were "little libraries" but over there they are something else.  Our guide said they are created by families and mark the spot where a loved one died - or miraculously didn't.  They range in size from a domestic mailbox to almost as large as a bus shelter.  I haven't written any stories about them.

Yet.

Writing Dialog

Happy Independence Day!

Summer is a great time for reruns, so today I present “Writing Dialog,” which has been published in several places and is both a short story and a lesson in writing dialog. Enjoy. — Michael

Writing Dialog

“Dialog is difficult to write,” I said.

“Why?” An attractive young writer, eager to learn the secrets of my success, sat across from me. This wasn’t the first time we’d met to discuss writing.

“Because it must be realistic without being real.”

“I don’t understand.”

“Well, um, I’m not sure I can explain it, but—let’s see—real people, like, they stop and start and, um, they st-stutter and talk in run-on sentences. Or incomplete sentences. And they don’t always think before they, um, open their mouths and stuff. You know?”

“That was bad.”

“Wasn’t it, though?” I said. “I hear people talking like that every day.”

She leaned forward. “So how do you make dialog realistic without being real?”

I considered for a moment before continuing. “Take out the fluff. Don’t start sentences with ‘well.’ Eliminate the ‘um’s and ‘er’s. Eliminate throwaway bits such as ‘by the way.’”

“That sounds easy enough, but that can’t be it. There must be more.”

I reached across the table and patted her hand. She didn’t pull away. “There’s much more, but perhaps we should order a drink before continuing. You game?”

After she said she was, I called the waiter over, ordered a pair of frozen margaritas, and watched him walk away. Then I continued. “That was a good example.”

She appeared bewildered. “Of what?”

“Of knowing when to write dialog and when not to.”

“I still don’t understand.”

“I could have written, ‘I called the waiter over. He introduced himself, “Hi, I’m Bob. I’ll be serving you today.” “Hi, Bob,” I said. “What will you have?” he asked. “Two frozen margaritas,” I told him. “Is that all?” “Yes, Bob, that’s all,” I said. Then I watched him walk away before I continued.’”

“That wouldn’t have advanced the plot at all, would it?”

I smiled. She was beginning to understand. I said, “Not at all.”

“Anything else?”

“Avoid long blocks of ‘dialog’ where a single character does all the talking. Once a character has said more than three consecutive sentences, you’re in danger of writing a monolog or a soliloquy. Even worse is when each of your characters speaks in long, uninterrupted blocks. That creates alternating monologues.”

“That was four sentences.”

“You could have interrupted me and broken it up a bit.”

“No,” she said. She licked salt off the rim of her glass. “I like listening to you.”

I liked what her tongue was doing but I couldn’t allow myself to be distracted. I had much more to teach her.

“The info dump should also be avoided,” I told her, ”especially in dialog.”

“What’s an info dump?”

“An info dump is when the author needs or wants to convey information to the reader and chooses to do it in a block of text rather than parceling it out in bits and pieces as the story progresses.” I took a sip from my margarita and realized she’d already finished half of hers. “It’s especially bad when one character tells the other character something they both already know.”

“Give me an example.”

“As you know, we’re sitting in the bar of Bonita’s, a place you once described as your favorite Mexican restaurant. Bonita’s was opened in 1910 and is still owned and operated by the same family. It started as a hole-in the-wall and has grown significantly since then. What makes Bonita’s unique is that the founding family—the Fitzpatricks—are Irish. It’s the best place in town to celebrate St. Patrick’s Day and Cinco de Mayo.”

I saw a twinkle in the young writer’s eye. Maybe it was my charm. Maybe it was just the alcohol. “I did know all that. So why did you tell it to me?”

“Info dump.”

“Will it be important later in the story?”

“I doubt it.”

She caught the waiter’s attention and ordered two more frozen margaritas. I had barely finished my first one when he arrived with the fresh margaritas.

“What else?” she asked.

“Avoid blathering.”

“What’s blathering?”

“When one character asks a question that can be answered simply, but the second character uses it as a jumping off point to ramble on and on.”

“For example?”

“What’s your name?” I asked.

“Jo,” she said. “I was named after my uncle Joe, but my parents dropped the ‘e’ to make my name feminine. My uncle Joe was a cool guy. He taught me to hunt and fish. Well, my uncle Joe and my Dad did. They took to me to Clauson’s farm every summer. The Clausons were my mother’s cousins. My mother never went out there with us. She liked to stay home. She said she enjoyed having a little time to herself. She—” The young writer stopped and looked at me. She had beautiful blue eyes. “I’m blathering, aren’t I?”

I smiled and repeated something she’d said earlier. “I like listening to you.”

This time she reached across the table for my hand and our fingers entwined. Then she wet her lips with the tip of her tongue and looked deep into my eyes.

I cleared my throat. “Of course, most of these rules can be broken if the story warrants it. Sometimes you need a character who stutters or one who blathers. But just one.”

She stroked my palm with the tip of one finger. “What else?”

“Always have a good line to exit the scene.”

Jo lowered her voice. “And what do you have?”

I already knew her answer, but I asked because it was the best way to end the scene. “Would you like to go to my place and see my manuscripts?”

There’s no solving the mystery of great mysteries.

Our benevolent overlords here at SleuthSayers, Robert Lopresti and Leigh Lundin, give us wide latitude over the topics we want to focus on. For which I’m very grateful.  But since this is a mystery writing blog, I thought, why not write about mysteries?

I’ve argued long and loudly that mysteries and thrillers are really no different from any other form of literary expression.  And vice versa.  I once asked a reviewer if a general fiction book I was working on could be considered a thriller.  She asked, “Does it have a gun?”  I said yes. “Does it kill somebody?” Yes, a mafia thug.  “Then it’s a thriller.”

And she reviewed it. 

Though to be fair, there are a few guidelines to follow if you want to write within the genre.  First off, you need a mystery.  A puzzle to be solved.  And a protagonist who is launched into solving it - unwillingly, eagerly or professionally.  The book ends with the solution revealed, though it doesn’t have to be clear cut or definitive.  That’s about it.  Everything else is up for grabs. 

Mysteries are also quest stories.  Beginning with the Odyssey, quests are probably the most frequently employed plot convention.  If you’re going to solve a mystery, you have to venture into the world to find clues, analyze evidence, and doggedly canvas the likely participants.  I think it was Ross MacDonald who said mysteries are about detectives driving around in cars and interviewing people.  Essentially, there’s something that needs to be learned, and someone on a mission to discover what it is. 

There are elements of danger for the protagonists – wicked characters who don’t want the mystery solved, or malign bureaucracies who’d rather just let things be.  You don’t have to be Mickey Spillane to clothe your story in a mood of menace and imminent peril.  Usually the challenges are made of misdirection, dishonesty and obfuscation.  So it’s not just a matter of being quicker on the draw, the hero has to have a good analytical mind to navigate through the murky waters and overcome obstacles constantly thrown up by the opposition.

So by definition, mysteries are solved by smart, determined and resourceful people, who have the ability to perceive the psychology of criminal minds, without having to be criminals themselves (though sometimes they are). 

Often the protagonist is the reader herself.  The puzzle is laid out in the unfolding story, and the thrill is trying to figure out what the hell is going on. 

I think Gone Girl is among the most brilliant mysteries of all time, though there’s no intrepid detective central to the story.  You may argue that it’s more a thriller, and thrillers can have no mystery involved at all, the suspense derived from other plot details (the bomb beneath Grand Central is going to blow on New Years Eve!), but those are pure thrillers.  Mystery thrillers need at least the skeleton of a mystery at its core (I’ll refer you to Lee Child). 

What sets mysteries apart is there’s an intellectual component.  A figuring out.  A puzzle, a literary crossword, acrostic, jigsaw, Rubik’s Cube. 

I don’t see these things as restrictions.  In fact, I believe they make for better books, because the writer is forced to have a well-formed plot.  Usually characters are the most engaging features of a good mystery, so the plot doesn’t have to be an intricate brainteaser, but it has to be there, and believable and satisfying once resolved.     

As a genre that encompasses the psychological, historical, hard boiled, sci-fi, romantic, fantastical, Western, closed-room Victorian, and on and on, there’s plenty there to suit everyone’s tastes. 

One of the most appealing features of good mysteries are what I call mini mysteries.  Those ancillary stories embedded in the plot where the protagonist has to solve something that is necessary to move along his/her quest.  (Whose DNA was also there at the murder scene?  The name Joey was on a slip of paper in the victim’s pocket.  Who the hell is Joey?) The reader gets almost the same charge out of solving these incremental steps as the story overall, and they help keep the pace ripping along.  Sometimes these mini mysteries are red herrings, misleading trails.  Sometimes a red herring consumes most of the plot, which is fine.  Near the end of a book, you’re thinking, oh no, if it wasn’t that evil steel-foundry plutocrat who killed the Swedish biology professor, who was it?!

I still maintain that great mysteries are great literature.  And some recognized literary fictions are in fact gripping crime novels (I refer you to The Great Gatsby and The Name of the Rose).  

It really doesn’t matter at the end of the day.  A wonderful book is a wonderful book no matter how it fits into literary taxonomy. 

           

Time Warped: How Not to Write a Historical

No excuses, this comes far too late to be an acceptable movie review, but this article has another purpose— how not to write historicals. Although I wrote this long ago, I pushed it aside as other articles took priority. It dates back to one of John Floyd’s articles, where we found ourselves among the tens of people who kinda, sorta liked the movie, Django Unchained, which I watched with my friend, Sharon. She agreed with the rest of the world that the film was, to put it gently, flawed.

1858

Both Sharon and I were distracted by a staggering number of errors and anachronisms in the movie, especially items from the wrong century. To our disbelief, the DVD came with a Tarantino interview in which he bragged about the historical research. That was, pardon the pun, djarring.

Anachronisms leaped off the screen. They included wrong period clothing, wrong period guns (multiple), wrong period props and accessories, and very wrong period verbal expressions (mother-ƒer? Seriously?). When non-experts notice 20+ errors in a film, that celluloid is in trouble.

Except for two pieces of incidental music, I won’t address the soundtrack beyond saying the modern cuts djangled the nerves. It felt like an amateur YouTube video where contributors slip in unrelated cuts of music and images, without regard to the story. David Frost called out-of-context media the Lord Privy Seal effect.

Likewise, accidental appearances of modern devices aren’t included here. For example, some sharp-eyed viewer noticed a security camera high on the veranda of the antebellum mansion.

Time Warped

1. The movie contained the famous bust of Nefertiti, incorrectly referred to as Cleopatra. It wasn’t discovered until 1907. (I learned of Nefertiti as a child. My mother gave my father a bust for his birthday. I mean she gave him a statuette.)
2. Teddy Bears, associated with President Teddy Roosevelt, wouldn't appear until the 1900s.
3. Thousand-dollar bills weren’t issued until 1861.
4. The Confederacy had not been formed and the Civil War had not begun, so Confederate uniforms wouldn't have existed in 1858.
5. Likewise, the Ku Klux Klan didn’t group until the end of the Civil War.
6. The town of Lubbock didn't exist until 1890, well after the American Civil War.
7. The word malarkey came out of the 1920-1930s.
8. Für Elise famously wasn’t discovered until 1867, four decades after Beethoven’s death and nine years after the movie’s period.
9. The song ‘In the Sweet By and By’ was published in 1868, a decade after the movie.
10. Flip-top beer bottles may or may not have been a German innovation, but at least in the US, they weren’t patented until 1875.
11. Beer pumps were first noted in the UK in 1691 and patented a century later in 1785, but this methodology of draught beer only became popular in the mid 1900s.
12. Drinking straws made of paper were invented in 1888.
13. While cigarette holders were introduced in the 1700s, they didn’t become popular until the flapper era through the 1970s.
14. Dynamite was invented by Alfred Nobel in 1864 and patented in 1867.
15. Hearing aids weren’t invented until the 1900’s and miniature aids didn’t appear until the latter half of the 20^th century.
16. Attendant to the previous, the first primitive plastics weren’t introduced until 1907 and materials suitable for hearing aids and chin straps took another half century to come about.
17. Even some guns were out of place and time.
1. The Remington New Model Army revolver, used by Django and Billy Crash, weren’t manufactured until 1860.
2. The Remington double-barreled Derringer, used by Django and Dr. Shultz, weren’t manufactured until 1866.

Bonus Points

Sharon caught most of the following:

18. Cool looking sunglasses and contacts weren’t available in 1858.
19. Hats with cord locks and eyelets were a 20th century invention.
20. Likewise, trousers with belt loops weren’t an 1850s convenience.

I can’t think of another movie that flooded the screen with historical inaccuracies. What about you? Do you have such a film in mind?

Another Box of Chocolates (15 Years Later)

  

Back in 2008, when I and three fellow SleuthSayers (Leigh, Rob, and Janice Law) were posting every week at a mystery bog called Criminal Brief, I wrote a column--a quiz, actually--about quotes from movies, called "Dialogue Is Like a Box of Chocolates." The idea was that fictional dialogue--you really don't know what you're gonna get--can sometimes outlast the stories themselves. It was a long list, and since there wasn't enough space to include some quotes that I really liked, I later came back and posted another one--and caused more trouble, yes, that's trouble, right here in River City.

For anyone--at least any movielover--who didn't see those two posts, here's a reprint of the second one. It includes fifty more quotes from the big screen, about half of them from mystery/crime/suspense movies. So if last night you dreamed you went to Manderley again, or if you woke up screaming STELLA or ADRIAN, or if you just picked the wrong week to stop sniffing glue, try your luck at this quiz. Go the distance, make my day, show me the money, use the Force, and do that voodoo that you do so well. If you answer them all, you're king of the world and I'm your number one fan. If you don't, well, no worries, mate, don't flee the interview--tomorrow is another day. And we'll aways have Paris. Any questions, anyone? Anyone?

Okay, here we go. Just remember: As long as you hit that wire with the connecting hook at precisely 88 mph the instant the lightning strikes the tower . . . everything'll be fine.

Answers are provided below--but no peeking. (That means you, Leigh . . .)

1. Tell them Inspector Callahan thinks there's a two-eleven in progress at the bank.

2. That plane's dusting crops where there ain't no crops.

3. If I don't come back, tell Mother I love her. / Your mother's dead, Llewelyn. / Well then, I'll tell her myself.

4. Anybody hear that? It's an impact tremor, that's what it is. I'm fairly alarmed here.

5. And that was the end of Grogan--the man who killed my father, raped and murdered my sister, burned my ranch, shot my dog . . . and stole my Bible.

6. You are in need of a soothsayer. / How did you know? / I'd be a fine soothsayer if I didn't. 

7. This lighter has sixty-two different functions. Sixty-three if you wish to light a cigar.

8. Funny thing is, on the outside I was an honest man. I had to come to prison to be a crook.

9. I'd like to make her look a little more attractive. How far can you pull back? / How to you feel about Cleveland?

10. That's a Smith and Wesson--and you've had your six.

11. Don't open my pantry, Father. I found one of them in there and I locked him in.

12. What if there is no tomorrow? There wasn't one today.

13. The greatest trick the devil ever pulled was convincing the world he didn't exist.

14. You just shot an unarmed man! / He should've armed himself.

15. When you said you chased tornadoes, I thought that was just a metaphor.

16. Travis! Bring your gun!

17. That was the end of my religion period. I ain't sung a hymn for 104 years.

18. I'll get you, my pretty, and your little dog too.

19. I want Ness . . . dead. I want his family . . . dead. I want his house . . . burned to the ground.

20. Why would a man leave his apartment three times on a rainy night with a suitcase and come back three times?

21. Give me ten men like Clouseau and I could destroy the world.

22. Have you ever killed anyone? / Yeah, but they were all bad.

23. Raise your hands--and all of your flippers.

24. He's in a gunfight right now. He'll have to call you back.

25. I read where you were shot five times in the tabloids. / It's not true. He didn't come anywhere near my tabloids.

26. This was no boat accident.

27. On the day of my judgment, when I stand before God, and He asks me why did I kill one of his true miracles, what am I gonna say? That it was my job? My job?

28. You know, the one thing I can't figure out, are these girls real smart or real real lucky?

29. There's only one rule. Once you go in . . . you don't come out.

30. You can shoot all the blue jays you want, if you can hit 'em . . .

31. By the authority vested in me by Kaiser William the Second, I pronounce you man and wife. Proceed with the execution.

32. I don't want to get any messages saying that we're holding our position. We're not holding anything. Let the Hun do that.

33. Igor, help me with the bags. / Certainly. You take the blonde, I'll take the one in the turban. / I was talking about the luggage.

34. The next time I say something like let's go to Bolivia, let's go to Bolivia.

35. Every man on that transport died. Harry wasn't there to save them because you weren't there to save Harry.

36. We rob banks.

37. I just noticed that a fancy pilot like Slick over there doesn't have his picture on your wall. What do you have to do to get your picture up there anyway? / You have to die, sweetie.

38. Down your weapons put.

39. Ain't had no water since yesterday, Lord. Gettin' a little thirsty. Just thought I'd mention it. Amen.

40. That ditch is Boss Kean's ditch. And I told him that dirt in it's your dirt. What's your dirt doin' in his ditch?

41. The last miracle I did was the 1969 Mets. Before that, I think you have to go back to the Red Sea.

42. I'm always frank and earnest with women. In New York I'm Frank, in Chicago I'm Ernest.

43. I asked for a car, I got a computer. How's that for being born under a bad sign?

44. I'd like to report a truck driver who's been endangering my life.

45. Kane will be a dead man in half an hour and nobody's gonna do anything about it. And when he dies, this town dies too.

46. You know anything about a guy who goes around playing a harmonica?

47. It doesn't feel pity, or remorse, or fear. And it absolutely will not stop, ever, until you are dead.

48. I once asked this literary agent, what kind of writing paid the best. He said, "Ransom notes."

49. What is your nationality? / I'm a drunkard.

50. Is this coincidence, or are you back on the case? If so, goody goody.

ANSWERS:

1. Dirty Harry -- Clint Eastwood, speaking into a phone in the cafe across the street

2. North by Northwest -- Man standing in the road, to Cary Grant

3. No Country for Old Men -- Josh Brolin / his wife / Brolin

4. Jurassic Park -- Jeff Goldblum

5. Romancing the Stone -- Kathleen Turner, narrating 

6. A Funny Thing Happened on the Way to the Forum -- Zero Mostel / Buster Keaton / Mostel

7. Our Man Flint -- James Coburn, to his boss Lee J. Cobb

8. The Shawshank Redemption -- Tim Robbins

9. Tootsie -- director / cameraman

10. Dr. No -- Sean Connery to inept assassin Anthony Dawson

11. Signs -- veterinarian M. Night Shyamalan to former priest Mel Gibson, in front of the farmhouse

12. Groundhog Day -- Bill Murray to Andie MacDowell

13. The Usual Suspects -- Kevin Spacey

14. Unforgiven -- bystander / Clint Eastwood

15. Twister -- Jami Gertz to Bill Paxton

16. Old Yeller -- Dorothy Maguire to son Tommy Kirk

17. Little Big Man -- Dustin Hoffman

18. The Wizard of Oz -- Margaret Hamilton to Judy Garland

19. The Untouchables -- Robert DeNiro to his assembled goons

20. Rear Window -- James Stewart to Grace Kelly

21. A Shot in the Dark -- Herbert Lom to his assistant

22. True Lies -- Jamie Lee Curtis / former governor Schwartzenegger

23. Men in Black -- agent Tommy Lee Jones to alien

24. Under Siege -- Erika Eleniak, on the satellite phone to the top brass

25. The Thin Man -- Myrna Loy / William Powell

26. Jaws -- Richard Dreyfuss, while examining shark victim's body

27. The Green Mile -- Tom Hanks to prisoner Michael Clarke Duncan

28. Thelma and Louise -- Stephen Tobolowski to fellow cop Harvey Keitel

29. Escape from New York -- narrator, describing Manhattan Federal Prison

30. (But it's a sin) To Kill a Mockingbird -- Gregory Peck to his children at the kitchen table

31. The African Queen -- Peter Bull to captives Bogie and Hepburn

32. Patton -- George C. Scott, during speech to troops

33. Young Frankenstein -- Gene Wilder / Marty Feldman / Wilder

34. Butch Cassidy and the Sundance Kid -- Newman to Redford

35. It's a Wonderful Life -- angel Henry Travers to James Stewart

36. Bonnie and Clyde -- Faye Dunaway

37. The Right Stuff -- customer in bar / Kim Stanley

38. The Empire Strikes Back -- Yoda to the opposition

39. The Ballad of Cable Hogue -- Jason Robards, while wandering in the desert

40. Cool Hand Luke -- prison guard Luke Askew to Paul Newman

41. Oh, God -- George Burns, replying to a lawyer's question in court

42. The Long Kiss Goodnight -- Samuel L. Jackson

43. Ferris Bueller's Day Off -- Matthew Broderick to audience

44. Duel -- a frazzled Dennis Weaver, into the phone

45. High Noon -- Katy Jurado to Lloyd Bridges, in her hotel room

46. Once Upon a Time in the West -- Jason Robards

47. The Terminator -- Michael Biehn to Linda Hamilton, referring to Ahhhhnold

48. Get Shorty -- Gene Hackman

49. Casablanca -- German officer / Humphrey Bogart, at a table in Rick's

50. Hannibal -- Anthony Hopkins to Julianne Moore, on the phone

And that's that. Again, I hope some of those brought back fond memories--if so, goody goody. If not, rest easy--I'm about quizzed out. (In other words, ain't gonna be no rematch. Don't want one.)

Anybody up for a toga party?

Thinking outside the book signing box

Gift shop at Colonial Williamsburg.

Today I’m revisiting a post I wrote years ago for another blog that now appears to be inactive. I wanted to share this with you because I spent many weeks leading up to Fourth of July on the road, hawking one, then two, and finally three nonfiction history titles.

I learned a lot about bookstores, book sales, and marketing during this period of time. So much so that about a year after the first book pubbed, our small publisher contacted my wife and me, asking if we would speak to the heads of their marketing and sales departments. They had noticed that in the last year or so, they had accrued an impressive number of new accounts. All of them were gift shops at museums and historic sites, and all of them were ordering the same book—ours and ours alone.

“What are you doing to sell these books?” they wanted to know. Until that point they had not really considered historic sites as a potential market for their products, but shortly after this they began acquiring and publishing more nonfiction history titles.

I’m offering this as a case study, more or less. And since I know this does not speak directly to the realm of mystery novels, I’ll offer some comments at the end of the post about how a mystery author (or any other) might put some of this into practice. So please bear with me and try to think creatively about how you might apply this to your work.

We sold books in the Philly cemetery where Ben Franklin is buried...

One of the most humiliating rites of passage for any new author is the book signing.* Despite everyone’s best efforts, you can end up sitting for hours at a lonely table at the front of your local bookstore while legions of potential readers blow past you as if you’re invisible. If anyone dares make eye contact with you, it’s to give you a pitying smile. The same people who will wait hours to have a book signed by a “name” author cannot wait to get out of your line of sight. Why? Because they don’t know you, they don’t know your book, and they don’t know why they should.

How can you make sure this embarrassing experience never happens again? Simple: Stop trying to sell books in a bookstore.

This may sound heretical coming from a traditionally published no-name author, but I think it’s solid advice that can be deployed judiciously from time to time. Seventy percent of U.S. adults have not been in a bookstore in the last five years. Those who do venture into bookstores are habitual browsers, or else infrequent buyers looking for a specific title. Maybe they read a lot, or maybe they’re just there to pick up a book their kid needs for a class. Bookstore regulars are jaded by the sight of an unknown author sitting a table signing books. The others just want to grab the book they came for, and get the heck out. You cannot move many books in such a tough crowd, all the while surrounded by hundreds of other competing titles.

...we sold in historic churchyards...

If you want to sell books, you must break out of the pack and become the only must-buy book in the store. Consider signing instead at non-bookstores, such as specialty stores, gift shops, galleries, museums, historic sites, etc. My wife/coauthor and I have sold upwards of 100 books a day in some of these places. We were as surprised by this result as our publishers, but we finally figured out that unless you’re a name, successful book signings often depend on reaching shoppers for whom the experience of a book signing is a rare treat.

At non-bookstores, signings are worthy of press releases, cakes, balloons, and hullaballoo. What’s more, gift store browsers have one raison d’etre: they’re looking to shop. The wallets of everyone walking in the door are psychologically cracked and ready to spill cash. If you sell in a souvenir shop, for example, your book now becomes a souvenir-by-association, a relatively cheap must-have from that tourist’s vacation.

Here’s how to turn these events into over-the-top successes.

...we sold at the gift shop at the National Archives in DC, where the Declaration of Independence is housed and displayed.

Get the sales staff involved. Have a staffer greet each person as they enter the store and say something like, “We have a book author with us today. She’s here autographing her book about X.” This primes shoppers, answering the question most are thinking but will never ask: “What’s that lady doing behind that table with all those books?”

Stack your book around the store. Your book should not only be on your table but on every available surface. Place some on a table behind you, so people can walk right past you and inspect the book on the sly, without you hovering over them. (I swear this happens, and results in sales.) A stack of books should be at the cash registers too, and every salesclerk should say, before they ring up each person’s purchase: “Did you see we have an author in today signing copies of their book?” This gives shoppers one last chance to buy before they check out. If it’s a venue such as a museum or attraction that sells admission tickets in addition to having a gift shop, sales clerks will have two opportunities to pitch your book.

Get attention in a fun way. People hate approaching a table where someone is obviously selling something. Help them get over it, and do it in a way that connects with the theme of the store. To sell our history title set during the American Revolutionary War, we targeted gift shops at historic sites—the visitor center in Philly near where the Liberty Bell is housed, for example—and asked an actor friend to dress in colonial costume and read quotes of the Founding Fathers all day long.

The late Scott Sowers was a Broadway actor, audiobook narrator, and character performer who had appeared on Law & Order numerous times. Miss him terribly.

As each new gaggle of tourists flowed into Ye Olde Historick Shoppe, the actor yelled in a booming voice, “Hear ye, hear ye!” and proceeded to read a rousing line or two from the letters of, say, John Adams or Ben Franklin. At the end, our friend joyously yelped, “Huzzah!” Shoppers soon got the idea that this was all part of the fun experience of shopping in this particular store today. They froze in their tracks and listened, they snapped pictures of the dude in costume, they conquered Their Fear of The Table—and they bought a book. At the Old State House in Boston, by the end of the day the sales clerks were even yelling “Huzzah!” as the actor concluded a quote. A clerk confided to us, “I’m really loving my job today!”

Give away something free. Whether they buy a book or not, everyone you meet should get a bookmark or business card depicting the book cover and some info on the back. If they don’t buy the book now, they’ll buy it online later. Tell them how to connect with you via your website or socials. If parents stopped by with kids, we gave every kid a U.S. flag sticker. That single act usually broke the ice with parents. (Avoid giving candy or treats.)

Make eye contact and connect. Every time I see an author with his nose in a book at his own signing, I feel like swatting the tome out of his mitts. Engage your customers! Look them in the eye. Smile. Say good afternoon. Hit them with the pitch: “This is our book about the 56 men who signed the Declaration of Independence,” we used to say. “The cover unfolds to a copy of the Declaration of Independence.” Then we flipped open a cover to show them how it “worked,” and waited for the inevitable, “Oh, that’s cool!” Then we’d say, “We’re the authors of the book, and we’re autographing copies today any way you’d like.” Sadly, people who don’t buy books often don’t immediately comprehend that authors autograph books, and that such books make a nice keepsake or gift. Be prepared to repeat these lines all day. Getting a book signed by you is, in a way, a limited-time offer. It’s the only reason to buy immediately versus buying the book a month from now online or at another store.

Keep a sign-up sheet handy. Inevitably you will make connections with people who want you to do talks, visit their classrooms, or want to receive your newsletter. Make it easy to collect those names. Collect the contact info and socials of the the gift shop employees as well. You may be hitting them up in the future, and they will mostly likely promote you on their socials.

An impromptu signing on a 2023 visit to the Museum of the American Revolution in Philly.

Now, I know what you’re thinking: I write mysteries, you say. There are no historic site gift shops for mysteries. Well, sure. But with some effort, I think most authors should be able to find suitable non-bookstore venues for their book. We met a photographer selling his gorgeous coffee table book at a busy camera repair shop on a Saturday. Once, while my wife shopped at a Victoria’s Secret in a New Jersey mall, I saw the author of a book on brassieres—I think it was this one—presiding over a hilarious book event, complete with pink champagne and a tempting, boob-shaped chocolate cake. Sheer genius.

Why couldn’t you sell your cat mysteries at a local Petco? Your cozy series about a cupcake-baking sleuth at a local bakery? Your PI mystery set in your small city at the local visitor’s center where tourists come to grab maps and sign up for the trolley tour?

Now, there are some hurdles and challenges with this approach. In most cases, you must a) persuade the managers or owners of these venues to give you a shot, and b) iron out who will order and sell the books. Will the venue buy them from you or the publisher and sell to customers, or will they let you sell direct? And will they ask for a piece of the action? You really have to summon your courage to ask and negotiate—two things authors admittedly hate to do.

Still, using techniques like these we burned through cases of books and have been invited back at nearly all the venues we’ve done. And before someone asks, this all happened years before my wife’s later solo titles hit the New York Times Bestseller List. So, at the time, she and I were just average midlist authors.

Believe me, I’m naturally quite shy. I really prefer sitting at my desk writing. It took all I could muster to convince stores to have us, and to persuade the sales staff to turn their stores into a circus for a day. But it was all in their best interest. The stores profited from every sale, often earning more per copy than we did. At the end of our first Boston signing, the manager told us this was one of the highest-grossing days in the store’s history. He offered us a free shopping spree—I blew part of my credit on a John Hancock Bobblehead—and picked up our dinner tab at a nearby restaurant that night.

That does bring me to the biggest challenge: cost. We did these multi-city trips each Fourth of July Week for three or four years straight. When other people we going to the beach, we were slogging our way up the East Coast of the US, visiting hot, humid, expensive cities such as DC, Philadelphia, and Boston. We visited out-of-the-way National Historic sites run by the National Park Services. Park rangers, not booksellers, presided over many of our signings (and later talks). These were, to be blunt, work trips for which we always took a tax deduction on our federal and state taxes.

Still, we knew that such an effort—complete with meals, lodging, etc.—was not cost-effective in the short term. (Our travel costs far outstripped our per-copy earnings.) Would this investment pay off over time? Well, watch what happened. When we pubbed the second book, the publisher offered us a travel grant—in other words, we did not have to pay it back out of royalties—to do our annual July trip. And one of the venues arranged for free lodging (in Boston!) via the site’s nonprofit foundation. The first book has since sold about 100,000 copies, the second about 30,000, so yes, I do think in the long run, it was worth it to cement the saleability of these books in the minds of the non-bookstores.

* * * 

* Please note: In the parlance of U.S. bookstores, a "signing" is considered different from an "event." The former is just an author autographing at a table placed at the front of the store, the latter is a evening or afternoon presentation where an author is expected to lecture/speak, read from the book, and answer questions from an audience. Most of the ones we did in the early days were signings. As the books became more popular, some of the historic sites invited us to do speaking events. One, a historical society in RI, paid us an honorarium for the talk.

Happy Fourth of July to everyone, and see you in three weeks!

Joe

josephdagnese.com

South Dakota Man

I'm starting to think we here in South Dakota can catch up to Florida.  (And, in the interests of keeping it clean - this time - I've left off all the cases but one of sex crimes.)

Sioux Falls police arrest man who threatened officers with a gun - the officers were standing on the sidewalk, talking to someone who had probably just committed a hit-and-run, when South Dakota Guy came out of his house, told them to get the hell off his property (hey, bright eyes, sidewalks are public property!), and when the police didn't, went inside and came back outside holding a rifle with a weapon-mounted light that made it obvious he was pointing at them, yelled at them some more, and then started running, dropping the gun only when he tried to climb a fence.  Officers subdued him, arrested him, and charged him with three counts of aggravated assault on law enforcement, three counts of attempting to commit a felony with a firearm and possession of a loaded firearm while intoxicated.  (What, you thought he was sober?)  (ARGUS)

Sioux Falls man arrested for backing into police car - the suspect was in a stolen vehicle, two detectives were able to approach the vehicle in their own detective vehicle and activated their overhead lights, at which point the driver put the stolen vehicle into reverse and backed into the detectives’ vehicle - twice - before taking off. (BTW, this is a sure way to get the full attention of the police department.) The suspect was later arrested on two counts of aggravated assault on law enforcement and possession of a stolen vehicle.  Also possession of a firearm which may or may not have been stolen.  (Hard to say - most people up here don't report if their gun was stolen from their car. Too embarrassing?)  (ARGUS)

Sioux City man arrested for throwing knives at Sioux Falls police - 4:21 PM, after threatening people with a knife, the suspect took of on his bicycle. the police quickly intercepted him, and he started pulling knives out of his pocket and throwing them at them. The suspect was arrested for three counts of Aggravated Assault on Law Enforcement, Obstructing Police Officers, Fleeing Police, and was placed on an emergency mental hold. (Dakota News Now)  

Man stabbed, arrested for aggravated assault after attacking man with stick - Two men were smoking meth at a campsite and one accused the other of stealing from him and started hitting the victim with a large stick.  The victim has a pocket knife and stabbed the suspect, then they rolled around on the ground, and the suspect bit the victim in the face, Petersen said. Eventually, the victim told the suspect that he had stabbed him and to get up so he could call the ambulance. (Must have been really tweaked out to not know he'd been stabbed..)  (Argus)

Sioux Falls Man Arrested at Disney World for Slapping Woman's Butt - The woman was a security guard at Disney's Coronado Springs Resort, who did not take it as the compliment that Sioux Falls Man (who was stumbling drunk) apparently thought she should.  He was arrested for two misdemeanors.  The world's happiest place is not going to put up with that s***.  (Hot 104.7)

Sioux Falls man arrested after fatally shooting dog - Police say many people in a house on the 3300 block of South Westbrooke lane were "drinking and messing around with guns." Sioux Falls Man loaded one of the guns and accidentally shot and killed a dog, and was arrested for cruelty to animals. (Otherwise, everything was fine, and the evening went as planned.)  (KELO)

Sioux Falls man arrested for following victim, Lyft driver & pulling gun - A Sioux Falls man has been arrested for following a 29-year-old woman and her Lyft driver and pulling a gun on them Saturday night in southeast Sioux Falls. The suspect stated his reason for following the victim downtown and back and pulling a gun was because he believed the victim was connected to knocking he heard on his door earlier, which alarmed him. KNOCKING????? This easily alarmed snowflake was arrested for 2 counts of Aggravated Assault.  (Dakota News Now)

South Dakota State Representative Calls Mt. Rushmore Demonic Portal - “What the Lord has revealed to me is that Mount Rushmore has a direct ley line to Washington, DC.,” Republican South Dakota (R) Joe Donnell said in the podcast clip that was tweeted. “In order to understand the spiritual realm of what we’re facing, we have to realize that in order for the enemy to do anything, it needs the agreement of human beings. In order to be empowered to do more damage he needs the agreement of human beings and oftentimes that comes in the form of an altar that acts as a portal for other demonic things. What we’re really dealing with in that portal is communism. That witchcraft, altar, those things that are happening in the Black Hills, what we’re dealing with is communism. It’s the ideology and all the demonic entities and spirits behind that.”  We're all still waiting for Governor Kristi Noem to comment on THAT one.  Also, many of us want to know where that witchcraft altar actually IS, because that could turn into a whole 'nother tourist attraction. (KELO)

Random South Dakota man strolls into Kentucky store, buys cigarettes, shoots the ceiling and demands the police be called - "When police arrived, the owner says the man was on the ground by his truck, with a gun pointed to his head. After about an hour, police were eventually able to resolve the situation peacefully without the man hurting himself.  They say South Dakota Man intentionally committed a robbery in order to trigger a law enforcement response and attempt “suicide by cop.” (LINK)

And my favorite:

3 Arrested for Stealing Velociraptor in Sioux Falls - This one I can understand - after all who wouldn't think that a velociraptor statue wouldn't be a handy accessory to any home?  But it must have been made out of fiberglass, don't you think? Anyway, the security cameras taped the whole thing, and the Washington Pavilion got it back, but they're trying to figure out how to prevent this from happening again. I don't know... The hunger for dinosaurs knows no bounds...  (ARGUS)  

And one that isn't South Dakota Man, but really, shouldn't it be?

Cow Manure Ponzi Scheme puts California Man in Prison - (LINK)  At least Dark Ally and my idea of Urban Buffalo would have actually provided the manure...  https://www.sleuthsayers.org/2023/05/little-shrimp-on-prairie-return.html 

Well, it could be worse.  Check out this wedding party from 1268:

I think that Doolin' Dalton, Rob Lopresti and I should work together on a "Medieval Man..." piece.  What do you think, guys?

Dead Man Walking: Prigozhin's Mutiny

For those of you wondering what the hell is going on, trust me, nobody else knows much more than you do. 

A cheat sheet. 

Wagner Group was founded by a Slavic fundamentalist  and neo-Nazi knuckle-dragger named Dmitri Utkin, a former GRU spec ops tactical who later contracted out in Syria as private security.  Back-door finance courtesy of Yevgeny Prigozhin, who maintained deniability while Wagner recruited from Spetsnaz, airborne, and OMON militia assault teams, along with other dedicated special warfare units.  Using regular army logistics and support, Wagner deployed into Crimea and the Donbas, and then to South Sudan, the Central African Republic, and Mali.  Often suspected of war crimes, their general M.O. in Africa was to corner the export market in a given natural resource.  Uranium and gold, for example, in Darfur.  Profit aside, this allowed Wagner to maintain the fiction of a private contractor and independent business entity, although it’s common knowledge they operated out of Putin’s hip pocket. 

Prigozhin maintained his distance from Wagner until the war in Ukraine, when it began to suit his purpose to take credit for successes the mainstream Russian military couldn’t claim.  The problem, obviously, is that Prigozhin began to believe his own press – or his own podcasts.  When his enemies in the defense establishment, Shoigu and Gerasimov, effectively engineered a coup against Wagner, by requiring private contractors be subordinated to the Army chain of command (and Prigozhin’s supposed patron Putin signed off on it), the handwriting was on the wall.  Prigozhin moved against the garrison in Rostov-on-Don, and redeployed mobile units toward Voronezh – and Moscow.  It looked like a show of strength, but it mostly served to show Prigozhin had lost touch with reality.  It’s like the guy who climbs out onto the ledge of a tall building and threatens suicide.  If they call your bluff, the only thing left to do is jump. 

I doubt if Prigozhin is dumb enough to take refuge in Minsk.  Lukashenko would happily send his ears to Putin on a string, brokering the truce be damned.  His other options are limited.  He can’t go to any Western capital; it would only be a matter of time before the Hague asked for his extradition.  The former Soviet republics are out, or anywhere that has diplomatic relations with Russia.  And the Kremlin has a long reach, look at Trotsky, or Alexander Litvinenko.  Maybe the Saudis, or the Emirates. 

That’s the trouble with being an apex predator who loses his nerve, or thinks himself safe.  There’s always somebody lurking, in the deep water. 

Writing an American Novel

Dutch author Anne van Doorn has previously written for SleuthSayers. Today, in the wake of the Dutch publication of the novel he's deemed his "American Project," I'm delighted to welcome him back so he can tell you about this project and possibly provide a blueprint for those who'd like to attempt something similar.

— Barb Goffman

My American Project – The Procedure

by Anne van Doorn

In two previous articles on SleuthSayers, I talked about my intention to write an American mystery novel set in New York City. Since my last post, I’ve done exactly that. Some of you may have heard of The Delft Blue Mystery, the Dutch translation of which was released at the end of May. The first copy was presented to Josh Pachter, to whom I dedicated the book. Since I’m still looking for a literary agent—and subsequently a publisher—the English version has yet to come out.

I dedicated the novel to Josh for various reasons. Basically, The Delft Blue Mystery would never have been written if he hadn’t encouraged me.

Josh contacted me in the summer of 2017 and said he’d heard I had written a short story that could be of interest to Ellery Queen’s Mystery Magazine. This initial contact led to the publication of “The Poet Who Locked Himself In” in the September/October 2019 issue of EQMM. Through our correspondence, I have come to know Josh as a true professional. He knows a lot about getting short fiction published in magazines. He told me that my English is probably good enough to translate my stories myself and get them published. He also gave me sound advice to achieve that goal. With that encouragement, I succeeded. EQMM published “The Doctor Who Fell Into Sin” last year. Once I made that sale, I wanted to try my hand at a novel too—and why not write it in English from scratch?

This article is not intended to BSP my novel or my published short stories, but to highlight the procedure I used, which may be relevant to other non-American speakers considering writing an American (mystery) novel. My method could be a blueprint, or at least inspire others on how to go about it.

First two stages

I’m a plotter, and I write plot-driven novels. On my computer, I have a file titled “What to do” that guides me step-by-step through creating a plot and plot structure (stage 1), writing the story (stage 2), and editing it (stage 3). In this post, I will not go into detail about the creation of the plot, but I would like to show you where the procedure for The Delft Blue Mystery differs from what I normally do when I write in my own language—Dutch.

Concerning stage 1, the normal routine didn’t change much, but I read many books by American authors and wrote down words I needed to express my story. I know many English words, but in specific situations, my knowledge falls short. For example, what jargon does a Medical Examiner use? What does slang look like on the page? In my first post on SleuthSayers, I talked about creating a palette file. I used it during the first stage to determine how each character expresses themselves non-verbally.

Stage 2 was easy: write the book! As a plotter, I work with a detailed outline that shows how many scenes there will be, where each scene takes place, which characters are involved, and how the plot should develop. This detailed outline was vetted by a fellow Dutch author, Paul Dieudonné—my soundboard for this novel. I used his feedback to improve the outline.

Writing according to an outline is a routine matter. What differs from the usual procedure is that I utilized my palette file, which helped me decide which words to use. Does a character walk, stride, tiptoe, or move in another way? How does he put something down—gently or slamming it down? What forms of non-verbal communication might I use? The palette file turned out to be a very useful tool.

Third stage – The editing, part I

Most of the additional steps can be found in the third stage. After writing the first draft, I took several steps to improve the manuscript. Most of them I apply to each book: I analyzed and improved plot structure, characterization, and setting. But now on to the additions to my step-by-step guide.

Since I was taught British English at school, I created a file explaining the differences. I used it to weed out British spelling and words with (slightly) different meanings. As I write about the New York City Police Department (NYPD), I have a file of information on how the NYPD operates, and I’ve used it to enhance the story. I collected English words I didn’t know and wrote down their meanings, an example sentence, and synonyms in a file, and then consulted that file to change words in my manuscript where and when needed.

As a daily visitor to SleuthSayers, I have saved some articles on my computer. Leigh Lundin wrote an excellent piece on deadwords. I used the post to weed out overused words. John M. Floyd drew our attention to a similar topic: redundancies. He also wrote the article “Where's A Grammar Cop When You Need One?” Another valuable weed killer!

I know myself. I know I tend to repeat mistakes. Barb Goffman edited “The Doctor Who Fell Into Sin” and two other short stories I translated from Dutch. I collected the kind of errors I might repeat in a file titled “Edits by Barb Goffman.” I went over all my notes in that document to find similar mistakes I made in The Delft Blue Mystery. By the way, Josh Pachter introduced me to Barb, so he facilitated Barb’s involvement too!

Third stage – The editing, part II

Once I was confident I had done all I could, I would normally have sent the manuscript to my publisher. But not now. I added several steps to the procedure.

Josh Pachter told me one day that he uses Google Translate to translate stories from Chinese, Spanish, and other languages, into English. A splendid idea. I used the tool to translate my English manuscript into Dutch. It only took an hour or so. That translation wasn’t too bad. Eighty percent of the sentences turned out to be fine. But I had to edit the other twenty. And the punctuation was off. I created a file with common Google Translate errors for future use. That will make it easier next time.

I finished the Dutch version and sent it to publisher Hans van den Boom. Based on his feedback, I made some changes to the plot of both versions. Then I ran the Dutch text through Google Translate, from Dutch into English, and I used that new version to improve my own English draft. Most of the changes concerned word choice and the sequence of words. Then I ran that improved English text through the free version of Grammarly. That tool helped me improve punctuation—especially comma use—and change wordy sentences.

Third stage – The editing, part III

I’m not an American, and I have never worked for any of the police departments in the USA. While I’ve carefully researched the NYPD (for example, their radio communication procedures; I have two files about this subject on my computer), I can make mistakes. I take certain liberties to create a readable and suspenseful story, but it shouldn’t deviate too far from reality. Therefore, I needed a beta reader who is—or had been—a policeman.

Tom Mead

As far as I can remember, it was (again) Josh Pachter who introduced me to David Dean, a retired police chief, who served with a police department in New Jersey. He’s also a very accomplished short-story writer. I was much impressed by his “The Duelist,” and consider it one of the three best stories I’ve read in EQMM since I subscribed in 2019. I think he’s a far better author than I am.

When I approached him, David was most kind. He was keen on reading my manuscript (which still hadn’t been professionally edited), which he then did, giving me useful feedback. I made a couple of necessary changes to both versions.

British author Tom Mead, writer of Death and the Conjuror—a mystery novel I thoroughly enjoyed—was my second beta reader. I write whodunits and sometimes dabble in locked-room mysteries, which The Delft Blue Mystery is. I needed a beta reader to assess that aspect of my manuscript: the fine-tuning of the plot, the clues, the red herrings, and the final revelation. Tom gave me some ideas to improve the plot.

Third stage – The editing, part IV

At last, I had the story ready for my editor, the aforementioned Barb Goffman. Does she need an introduction? Not only is Barb a professional developmental, copy, and line editor, but she’s also an award-winning short fiction author. She won so many awards and received so many nominations, I should probably go back to school and learn how to count again. What can I say about what she did with The Delft Blue Mystery? Well, a lot had to be done! So much so, that I’m still amazed that David Dean and Tom Mead were willing to read an early, unedited version. It can’t have been easy for them.

Naturally, I’ve updated my “Edits by Barb Goffman” file for future use.

Josh Pachter

Do you think the manuscript was finished now? Almost. Barb’s edits also impacted the Dutch version. Hans van den Boom and his wife, Erna Teunissen, did a final round of corrections of Het Delfts blauw mysterie, as the novel is titled in Dutch. Some of their corrections necessitated changes to the English version as well.

Thus The Delft Blue Mystery is completed (for now). Much of this was made possible by Josh Pachter. Hence my decision to dedicate the novel to him—to express my gratitude and admiration for what he did. The first copy of the Dutch version was handed to Josh by his wife, Laurie Stahl Pachter, whom I had asked for assistance. The photos she took of the memorable event commemorate this high point in my career. I feel very fortunate to have worked with him and with so many other talented people.

Thank you all!