Untied

In 2015, I had my first story accepted for publication. I'd seen a posting for the Black Orchid Novella Award. For those unfamiliar, the Black Orchid is a collaboration between The Wolfe Pack, the Official Nero Wolfe Literary Society, and Alfred Hitchcock's Mystery Magazine.

      The challenge is to write a 15 to 20,000-word story in the deductive style exemplified by the Nero Wolfe series. I submitted a story, and it was selected. In December 2015, The Wolfe Pack etched my name onto the scroll of winners, a list that included fellow SleuthSayers Steve Liskow and Robert Lopresti. Alfred Hitchcock's Mystery Magazine published "A Meter of Murder" the following summer.

(The next deadline is May 31^st, 2025, for anyone wishing to enter the contest. The details may be found at The Wolfe Pack's website.)

     The winner is feted at a banquet in Manhattan. My traveling companion and I gleefully traveled to New York City for the dinner. The evening was a clubby affair with song competitions and toasts dedicated to the cast of characters inhabiting Rex Stout's fictional universe. An erudite speaker talked about the author's place in the mystery genre surrounded by a roomful of well-dressed aficionados.

     I was an almost-published author sitting as a guest of honor at a banquet in the literary capital of the United States. I exuded bonhomie and urbanity.

      I might easily have said that I felt smart and happy. Banqueted literary sophisticates, however, allow words like bonhomie to drop effortlessly from our lips. They are what set us apart.

      Shortly after my triumphal return to Fort Worth, I received a compliment from a woman who had attended the dinner. She emailed me to say she'd read and enjoyed the story. In particular, she praised the denouement.

      Since our conversation was via email, I had the opportunity to look up denouement before I replied. I was pretty sure I knew what she meant; the context clues revealed that. But as a recently banqueted, budding literary sophisticate, it was not a word I'd ever used, so I wanted to double-check.

      In the legal profession, we tend to say final argument or summation. I knew those terms. I also had a smattering of impressive-sounding legal-Latin phrases at my tongue's command. Literary words, however, I was still picking up one at a time.

      Before replying, I looked up denouement's definition and confirmed I understood the meaning. I also checked the pronunciation guide. After a few quick taps into my search engine, I quickly and accurately wrote her back, thanking her for her kind words. I'm confident my reply dripped literary panache.

      For the scant few who might also have missed English class that day, denouement is an elegant literary term used to describe the final part of a story. The denouement is the place in the tale where the details are wrapped up, where the various threads of the plot are drawn together and resolved. Our English word was first borrowed in the 18th Century from a French term for "untying." The guides to proper pronunciation taught me to say Dey-noo-mahn, although the internet authorities have differing views on how much emphasis to place on that final N. Everyone agrees that the T gets kicked to the curb.

      It's not often that you can accurately say when you learned a word. I can pinpoint this one. My path to knowledge began on the first Saturday in December 2015.

      When I've had a brief run of publications or something else has occurred to make me think I'm all literary, I'll remember that story. Before I pull out the herringbone jacket with the leather elbow patches and begin holding forth, I remind myself of how I learned this stock literary term late in the game. It makes me remember how much more I still need to know about this writing business. The lesson, undoubtedly, has saved me from embarrassment. (Summertime in Fort Worth is way too hot for tweed anyway.) Recalling the story helps me reset my ego. The memory proves less bruising than opening the folder containing all my recent rejection emails.

      The current issue of Alfred Hitchcock's Mystery Magazine contains my story, "The Denouement of a Most Curious Case." And there you have the story's origin. The tale might have easily been "The Resolution of a Most Curious Case" or "The Solution to a Most Curious Case." But for me, it had to be Denouement.

      The word simultaneously reminds me of a success and a failure. It conjures up an image of an education continually in progress. The story began with an idea about writing a denouement, and the tale piled up around it. Starting with "A Meter of Murder," I've always been thrilled when the folks at Alfred Hitchcock include one of my stories. I'm again honored that they chose to publish this one.

      And since Denouement is printed rather than spoken, I don't have to reveal how much emphasis I put on the final N.

       Until next time.

Say what?

            

            Much of writing you have to make up.  

            This is hard work, taxing for the mind and body, which has to input the effort on a keyboard.  But I find dialogue much easier, since it usually just comes to you over the airwaves – on the sidewalk, at the cash register, in friendly conversations with close friends and strangers. 

            I live in both Connecticut and New York, so there are regional nuances, but all fertile territory. 

            One day I was walking my dog past an outdoor restaurant and there was a clutch of late middle-aged New Yorkers more or less in the way.  As my dog and I negotiated the tight space, one of them said, “Cute dog.”

            I thanked her. 

            “How much?” asked one of the guys.  “For the dog.”

            “I don’t know,” I said. “Make me an offer.”

            “How old is he?” the woman asked.

            “About ten.”

            “Oh,” said another guy, “So we get depreciation.”

            Several years ago, a local paper in Connecticut had an article on my novel writing.  It included a photo.  I went into the hardware store I’d been frequenting for about twenty years, staffed by dour Yankees who only knew how to say, “It’s over there,” and “Thank you,” when you bought something.  That day, the granite-faced clerk looked at me and said, “You’re Knopf.”

            I admitted I was.

            “I knew it.”

            Just recently I picked up an O ring I’d special ordered from a tool repair shop in New York.  The tab was about $1.75.  When the woman behind the counter rang me up, I said, “Big sale for you folks.”

            “Yeah, I’m locking up and we’re heading out to the bar.”

            I was at Walmart buying a pile of stuffed animals for a Christmas toy drive.  One of the toys was a little dog in a seated position.  When I put it on the conveyor, I said, “Sit.  Stay.” The cashier looked over and said, “Now there’s good boy.”

            I was having some hardwood milled at a lumber yard.  I was standing there with a friend while the old, bearded mill worker in a flannel shirt with gnarly hands was feeding the material through various machines.  For this one piece, I asked the guy to rip it. 

            My friend said, “Rip it good.”

            Without looking up, the guy responded, “Into shape.  Shape it up. Get straight.  Go forward.  Move ahead.  You gotta rip it.  Rip it good.”

           I was listening on the radio to a couple of scientists talk about the difficulty of designing a Mars rover given the extreme conditions on the planet.  One of them said, “It can get up to well over two hundred degrees during the day.”

The other guy said, ”But it’s a dry heat.”

I was late for a meeting in New York, held up by a huge traffic jam only a few blocks away from the meeting place, a midtown hotel.  When I got there, literally hot and bothered, the guy at the front desk, a native African of some sort, lamented that the cause of the problem was a state visit by an African dignitary who decided to spend the afternoon visiting the department stores along Fifth Avenue.  He apologized on behalf of the hotel and the entire African continent.  At that moment, the doorman, a burly white guy clearly from Brooklyn, dressed in his John Sousa uniform, volunteered, “I think it’s the king of fuckin’ Somalia.”

The desk manager nodded at that, and said, “Can’t feed his own people and what is he doing?  Shopping at Bergdorf’s.”

The two of them smiled at each other in solidarity.

It’s too much to say that I live for these moments, but obviously they’re unforgettable.  It’s not just the humor, but the timing of the delivery, the spontaneity of the response.  It’s a type of improvisational music.  A volley and serve poetry.  And it’s an elevated example of how people naturally speak.  All you have to do is remember the rhythm to fit the content to your story.

It’s the soundtrack of our lives if you take the trouble to listen. 

AI on AI

The Impact of Artificial Intelligence in Real Life

Artificial Intelligence (AI) has become an integral part of our daily lives, transforming various sectors and enhancing the way we live and work. From healthcare to finance, education to entertainment, AI’s applications are vast and continually expanding. Here are some key areas where AI is making a significant impact:

Healthcare

AI is revolutionizing healthcare by improving diagnostics, personalizing treatment plans, and predicting patient outcomes. AI algorithms can analyze medical images with high accuracy, assisting doctors in detecting diseases like cancer at early stages. Additionally, AI-powered tools can monitor patient vitals and predict potential health issues, enabling timely interventions.^[01]

Leigh: I anticipate robotic nursing assistants will rapidly move into disabled and elder care. The initial robots may not look humanoid, but they will have strong and gentle arms capable of lifting patients in and out of baths and toilets. AI and possibly AI robotic figures may find use to alleviating patient loneliness and boredom. Chess anyone?

Finance

In the financial sector, AI is used for fraud detection, risk management, and personalized banking. AI systems can analyze transaction patterns to identify fraudulent activities in real-time. Moreover, AI-driven chatbots provide customers with personalized financial advice and support, enhancing the overall banking experience.^[02]

Education

AI is transforming education by offering personalized learning experiences. Adaptive learning platforms use AI to assess students’ strengths and weaknesses, tailoring educational content to meet individual needs. This personalized approach helps students learn more effectively and at their own pace.^[03]

Transportation

AI is at the forefront of developing autonomous vehicles, which promise to make transportation safer and more efficient. Self-driving cars use AI to navigate roads, avoid obstacles, and make real-time decisions, reducing the risk of accidents caused by human error.^[04]

Leigh: Vehicles like the Tesla with FSD (full self-driving) are actually robots on wheels. I suspect one advance will be the ability to communicate with like-minded vehicles. “Car 54, your view is blocked of a child running into the street, vector 13.56.”

Entertainment

In the entertainment industry, AI is used to create personalized content recommendations. Streaming services like Netflix and Spotify use AI algorithms to analyze user preferences and suggest movies, shows, and music that align with their tastes. This enhances user engagement and satisfaction.^[05]

Leigh: And with that said, just for fun…

AI’s Role in Mystery Fiction Writing

For mystery fiction writers, AI offers a range of tools and capabilities that can enhance the creative process and streamline writing tasks. Here are some ways AI can be particularly useful for mystery fiction writers:

Plot Development

AI can assist writers in developing intricate and compelling plots. By analyzing existing mystery novels, AI can identify common plot structures and suggest new twists and turns. This helps writers craft engaging and unpredictable stories that keep readers on the edge of their seats.^[06]

Character Creation

Creating multi-dimensional characters is crucial in mystery fiction. AI can generate detailed character profiles, including backstories, personality traits, and motivations. For instance, an AI might suggest that a detective character has a mysterious past as a former spy, adding depth and intrigue to the story.^[07]

Writing Assistance

AI-powered writing tools can help authors with grammar, style, and coherence. These tools can provide real-time feedback, suggesting improvements and ensuring the narrative flows smoothly. Additionally, AI can help writers maintain consistency in tone and style throughout the manuscript.^[08]

Idea Generation

When facing writer’s block, AI can be a valuable brainstorming partner. AI can generate prompts, plot ideas, and even entire scenes based on the writer’s input. This can spark creativity and help writers overcome hurdles in the writing process.^[09]

Market Analysis

AI can analyze reader preferences and market trends, providing writers with insights into what themes and genres are currently popular. This information can guide writers in tailoring their stories to meet reader expectations and increase their chances of success.^[10]

In conclusion, AI is a powerful tool that can significantly enhance various aspects of our lives, including the creative process for mystery fiction writers. By leveraging AI’s capabilities, writers can develop richer stories, create compelling characters, and engage readers in new and exciting ways.

^[01] Beebom • ^[02] Tableau • ^[03] Adobe Experience • ^[04] Coursera • ^[05] GeeksforGeeks • ^[06] The Verge • ^[07] AIContentfy • ^[08] Mashable • ^[09] WriteMe • ^[10] Squibler

---

Human Here

Leigh: I recently wrote about AI and a bit of what we might expect, whether sweet or sour. As I'm sure you surmised, I asked ChatGPT (a large-language model AI) to write an essay on the topic. This is the result.

R.I.P., Nelson DeMille

  

Three days ago, I sat down to start a column about writing dialog--rules, myths, hints, tips--that I intended to post here at SleuthSayers today (I'm up every first, third, and fifth Saturday). Instead, I immediately saw a post by friend Don Longmuir on Facebook about the September 17 passing of crime/suspense author Nelson Demille.

All of a sudden I had no interest at all in writing a blog post about dialog. I couldn't seem to think about anything else except the unexpected loss of one of my favorite authors. I mean, much of what I learned and know about dialog--and other elements of fiction as well--I learned from DeMille's work. I devoured his books.

By way of background, Nelson DeMille was a NYT bestseller and Vietnam veteran who lived most of his life on Long Island. His novels were full of dry humor and sarcasm, and often avoided so-called "Hollywood endings"--they often finished in a satisfying but unexpected way, with the characters' futures unresolved. As far as I know, only one of his novels has been adapted for film: The General's Daughter (1990), starring John Travolta, Madeleine Stowe, and James Cromwell--though I suspect almost all of them have been optioned. Now that he's gone, I especially hope that more movies will follow.

I own all his major novels, in hardcover because I bought them as soon as they were released, beginning with By the Rivers of Babylon in 1978. (I was a Book-of-the-Month Club member back then, and I think it was a main selection, sent to me automatically.) I loved it, and was an avid fan from that point on. Looking at one of the shelves behind where I'm sitting right now, I have twenty-three of his novels, two of them co-written with his son Alex. Every one of them is special. DeMille is one of those few writers whose books I will pick up and re-read every few years. 

One of the things that 's always surprised me a bit is that so many of my writer friends, and readers also, are unfamiliar with his fiction. Those who do know of him seem to be most familiar with one particular series he wrote, beginning with Plum Island in 1997, starring retired NYPD detective John Corey. I believe there are eight Corey novels, but I can tell you, I thought all DeMille's books, series or standalone, were good--well-written, entertaining, and sometimes educational. One of the things I most loved about them is the way he inserted humor into otherwise serious fiction, sometimes on almost every page. It makes reading--and re-reading--his novels even more fun. 

For what it's worth, my favorite DeMilles are The Charm School (1988), Plum Island (1997), Up Country, (2002), Wild Fire (2006), and The Cuban Affair (2017). Only two of those are installments in the John Corey series, but again, I liked 'em all.

I never knew Mr. DeMille or met him, except via one Zoom call a couple of years ago. But some of those who did know him well--Otto Penzler, Andrew Gulli, and others--have told me he was as good and as interesting a person as he was a writer. I know for sure that he's one of several authors who had a great influence on me and my storytelling. 

(Something only just occurred to me: The feeling I had when I learned of DeMille's death the other day was like the way I felt the week before, when I heard James Earl Jones had died. I never knew either of them, but somehow it seemed as if I did. Probably because I so admired and respected them, and spent so much time reading and watching them over the years.)

 

In closing, if you've not read the novels of Nelson DeMille I hope you will, and if you've already read some of his work, I'd love to hear what you think, in the comments section below. Personally, I will miss him greatly, and will miss looking forward to his next release.

As for my column on dialog, I'm not letting you off that easy. It'll be my next post.

See you in two weeks!

So Long – for now

Didn't realize until I checked – I've been posting on SleuthSayers for almost eight years, since September, 2016. I don't know how I came up with so much stuff to say, but I'm tapped out. I don't know what else to say about writing, mysteries, whatever.

I'm a fiction writer. Time for me to concentrate on writing my novels and short stories.

This is my last regular posting at SleuthSayers. I've put up a lotta stuff but there was one I think is worth repeating. In the post, I put up examples of my covers back then. I've added new examples:

The subject was Covers, Baby posted 2 December 2016

Harlan Ellison once told me a book cover should have one strong image, the writer's name and maybe one thing about the book. He didn't mention awards listed on a cover because if he wore a military uniform with medals for each of his writing awards, he'd look like a general from a banana republic. We mortals with fewer awards can list one, but I don't recommend cluttering a cover with too many things in the days of thumbnails (the computer kind).

Covers can be good or bad, sometimes really bad. NO, I'm not posting examples of bad covers because I don't like to burn writers whose book has a bad cover. I've seen a number of them recently.

Judge a book by its cover? Of course we do. You see a crappy cover online you move along. Clip art looks like clip art, like a child trying to design a cover. There are many sites where you can purchase excellent photos or drawings for as low as $15 for single use on a cover.

I'm no expert but I know what attracts the eye and in these times of thumbnail searches through amazon.com, etc., I believe a cover should catch the eye.

Our publishing co-op at Big Kiss Productions works hard at covers and here's what we came up with recently:

Having a good model helps

A New Orleans above-ground
cemetery produces great images

Hiring the right artist helps

Again, having a good model

Another original painting

The trick was finding a Thompson
submachine gun and car from the 1930s

1. TIP: If you don't have the ability to design a cover using Adobe InDesign or Photoshop, get your image and go to the nearest community college or university's art department. Seek out a college student majoring in graphic design and hire the student to design your cover. They can add this work to their portfolio and you can cut a bargain with them. I've seen it work.
2. SECOND TIP: Demand a good cover from your publisher. And PLEASE get a proof of your cover beforehand. Watch what they put on the back cover. I've had bad experiences with marketing people writing the rear of the cover.

It's time to say, "So long – for now."

I've been invited to submit a guest piece in the future and when I have something to contribute, I will.

Thanks to all for making me a SleuthSayer.

Ciao,

www.oneildenoux.com

Sleeping Giants: The Canton Native Asylum Story

I finally read Rene Denfeld's "Sleeping Giants" (thanks Janice!) and it's a strong, strong book.  Especially since there are so many non-fictional places like the abandoned site of "Brightwood, a supposedly progressive facility for disturbed children and youth".

Back at the end of August, the annual Honoring Ceremony put on by the local Keepers of The Canton Native Asylum Story was held to remember the Canton Asylum for Insane Indians in Canton, South Dakota. Over its 30 years of operation, it housed 374 Native inmates from across the U.S. 

The Canton Asylum for Insane Indians, since torn down

The original intent was good: provide treatment and housing for Indigenous people suffering from mental illness. (And to provide some federal dollars for a very impoverished area.)  But it turned into a prison, with little or no due process in courts that remanded Native Americans to its care, and almost no mental (or any other) health treatment. And most of the Native Americans sent there (from over 50 different tribes) were not insane, and were incarcerated against their will.

Over 120 of them died, and were buried in unmarked graves. More on that later.

The Indian Appropriations Act of 1900 funded the project. The main building was constructed for around $42,000. It was a terrible place, and during the Dust Bowl and the Depression, it was actually advertised as a tourist attraction:

People from "as far away as Chicago and St. Louis, to come see the crazy Indians, and they would actually do a narrative on the train. We have actually, and that's part of what we'll talk about, a description of what they would say as they drove by on the train. They would explain how this was a state-of-the-art place, and the Native Americans were being given everything wonderful, while that wasn't happening. I mean, the hospital was empty. They had a microscope in it, that's it. There was no surgical equipment, nothing. It was used to house coal.

They were not fed, they were chained to the beds. The toilets, they had state-of-the-art plumbing, wasn't used. They just had chamber pots and chained to the beds, and in South Dakota summer heat, the windows closed and barred. So you can imagine. And then the coal dust everywhere, it was a nightmare.

But the downstairs rooms apparently were kept, although with no furniture, eyewitnesses have told us, fairly clean, just Native Americans sitting. Harry Hummer who was the superintendent had a couple days a week you could come and visit, and you could buy your souvenir spoon or your souvenir teacup and plate or some dolls that were made there. Postcards, there are postcards all over that we're able to find, so you could prove that you had been there and seen the crazy Indians."  (SOURCE)

A1929 federal investigation detailed deplorable conditions and poor record keeping. The asylum was later closed during the period of 1933-34 and the hospital was demolished, and the land given to the city of Canton.  Since it was public land, it couldn't be sold, so it was eventually turned into a golf course. The cemetery lies between the fourth and fifth fairways. "Golfers often play just feet from the graves and sometimes walk over unmarked graves when retrieving balls that land out-of-bounds." But this year a new fence has been built around the cemetery that will, hopefully, cut down on their intrusion.  (SOURCE)

Marker, complete with names of the deceased (LINK)

As in Denfeld's "Sleeping Giants", there's so much evil and violence in the story of the Canton Insane Asylum, and all that's left are two markers, put up by the government.  It's enough to break your heart - but at least some people are doing the best they can to remember the victims, and remind people what happened out there on the prairie...

*****

BTW, speaking of golf courses, one of the times my husband and I went to Canada, we visited the [Anne of] Green Gables farmhouse in Cavendish, Prince Edward Island.  Beautiful place, and historically very well kept.  Except for the Green Gables Golf Club next door.  When established, the club offered to take on the Green Gables farmhouse to make it their clubhouse but, thankfully, there was a backlash, and that did not happen.  As it is, the golf course runs right along parts of the walking trail around Green Gables.  Which was fine.  Didn't think anything about it.  But, walking along with a group of fans, young tween girls and their mothers, we experienced some golfers cussing a blue streak right by "Lovers Lane" (see below and read the novel).  Kind of killed the mood.

Not evil, but careless.  Careless about where they are, and who might be around them.  And that is part of the problem.

And now for some BSP:  Proud to say I'm one of the authors in Michael Bracken's latest anthology Janie's Got a Gun, available for pre-order HERE.

In my story, "Round and Round", a ghost walks the halls of prison with an agenda of her own...  

Old English Words, New Scottish Quotes

Two weeks ago I wrote about my family's visit to Scotland for the World Science Fiction Conference. I promised that this time I would include some of my favorite quotes from that massive event.  And I will, but first I wanted to tell you about a book.

I am not a fan of graphic novels - with one notable exception - but my daughter told me I needed to read one of the volumes nominated for the Hugo Award in that category and when she recited the first few lines I knew she was right.

Bea Wolf by Zach Weinersmith and Boulet is a retelling - no, that's not right.  It is a new story, inspired by and borrowing its form from, the oldest tale we have in what could be called English.  

If you have never encountered Beowulf it is a tale from approximately 1000 years ago about Scandanavian  warriors whose mead hall is constantly attacked by a monster named Grendel.  The creature is vanquished by a hero named, you guessed it, Beowulf.  Here are the opening lines from a translation by  JNO Lessie Hall:

Lo! the Spear-Danes’ glory through splendid achievements 
The folk-kings’ former fame we have heard of,
How princes displayed then their prowess-in-battle.
Oft Scyld the Scefing from scathers in numbers
From many a people their mead-benches tore.

Notice the rhythm and alliteration. This text was never meant to be read.  It was intended to be heard. Declaimed. Chanted even!

Now consider the first lines of Weinersmith's new text:

Hey, wait!
Listen to the lives of the long-ago kids, the world-fighters,
The unbowed bully-crushers,
The bedtime-breakers, the raspberry blowers,
Fighters of fun-killers, fearing nothing, fated for fame.

This is a tale of young children whose treehouse is attacked by their neighbor Mr. Grindle, who loathed fun and the touch of whose finger could turn a child into a teenager or (shudder) an adult, "begeezering that gathering!"

As you can  guess, a young female warrior named Bea Wolf comes to the rescue. If this book doesn't delight you then I can only say you must have already been touched by the man whose "soul was a snowbank, unsledded, a snowcone unsweetened, a snowman, unscarfed."

And now, on to my favorite quotations from the Worldcon.

"In Sunday School I asked the priest why there was a special school for Christian myths but not for Norse myths." - Ada Palmer

"Sometimes it's the wrong books that make all the difference." - Jo Walton

 'Ancient' in India is anytime before you guys came to colonize us." - Gourav Mohanty 

"Miss Piggy is the ultimate drag queen." - Robert Berg

""The story of Cinderella travelled the silk road just like silk or tea or the Bubonic Plague." - Kate Forsyth

"Even when there is only one religion there is more than one religion." - Ian R. MacLeod

"For Japan to win the U.S. high command would have had to lose their entire minds." - Liz Bourke

"I have very strong feelings about some books about King Arthur, which we won't go into. But damn you, Marian Zimmer Bradley, damn you." - Kari Sperring

"It is important to see the present in the future." - Allen Stroud

"I love history because it's always changing." - Alan  Smale

"To be punk today is to be cooperative." - Francesco Verso

"Is quantum mechanics the next deus ex machina?" - Bethany Jacobs

"You have to be able to look your characters' grandchildren in the face." - Liz Bourke

"Horror never scares me. It's real life that scares me."  - Ellen Datlow

"Academics define things so that artists can wreck them." -Nadav Almog 

 "I will defend to the death any adult's right to reread trash as often as they want, as long as they enjoy it." - Jo Walton

How Do You Count?

Some of Michael’s many publications.

How do short-story writers tally their literary output? By the number of acceptances? By the number of publications? Or by some other metric?

It’s easy, in the beginning:

Imma Writer is the author of three stories published or forthcoming in Anthology A and Magazines A and B.

Imma Writer is the author of more than ten stories, including stories published or forthcoming in Anthology A, Anthology B, and Magazines A, B, and C.

But, when the numbers creep into the dozens, the hundreds, and especially when they top a thousand; when acceptances and publications include reprints; and when publishers fail to send contributor copies, how does one determine one’s actual accomplishments?

Lately my bios have included some variation of “Michael Bracken is the author of several books and almost 1,300 short stories.” But what does that actually mean?

Damned if I knew. So, I took a deep dive into my short-story publication records, which immediately made me wish I had a database rather than a 111-page Word document listing all my acceptances and publications.

ACCEPTED AND PUBLISHED

As I write this on September 15, 2024, I have received 1,466 short-story acceptances.

These include 1,263 original stories and 203 reprints.

I have 1,172 confirmed short-story publications—997 original stories and 175 reprints.

FORTHCOMING AND MISSING-IN-ACTION

While I have several dozen stories—original and reprint—forthcoming in Alfred Hitchcock’s Mystery Magazine, Black Cat Mystery Magazine, Black Cat Weekly, Crimes Against Nature, Sherlock Holmes Mystery Magazine, Tough, Wish Upon a Crime, and many other anthologies and periodicals, I am uncertain of the status of a few hundred stories.

Early in my career I wrote for several publications that never provided contributor copies and regularly changed story titles, and I wrote under pseudonyms the editors sometimes changed. Finding copies of these publications and confirming actual publication is damned-near impossible. I wrote ’em, I was paid for ’em, but I have no idea if the stories were ever published and, if so, under what titles and what bylines.

(Side note: I have no idea how many stories I’ve actually written. I lost much of my early unsold work in a flood, and I didn’t try to track complete-but-unsold work until a few years ago.)

WHAT NOW?

My records would be better if every publisher automatically sent contributor copies and if, years ago, I had done a better job tracking down copies when they didn’t. While most of the missing-in-action stories would remain buried in my files even if I had copies of them, a few have reprint potential that I might be able to exploit if I could confirm their original publication.

But I can’t.

What I can do, however, is ensure that I keep good records and contributor copies of every sale going forward.

And you should, too.

* * *

RECENTLY PUBLISHED

“Black Mack” was reprinted in Crimeucopia: Let Me Tell You About….

“Beat the Clock” was reprinted in The Best Mystery Stories of the Year.

UPCOMING PRESENTATIONS

Along with John Connor and fellow SleuthSayer Barb Goffman, I will participate in “Truths, Lies, and Myths Debunked: Editors Tell All,” a panel at this Saturday’s virtual conference WriteNOW! Jay Hartman will moderate.

September 26-29, I’ll be at SleuthFest in St. Petersburg, FL, where I will lead “The Business of Writing Short: Tips, Tricks, and Techniques to Build a Sustainable Career,” a 75-minute presentation covering some of the same information I presented at ShortCon earlier this year. If you missed ShortCon, you won’t want to miss my presentation at SleuthFest.

Words, Words, Words

"Words, words, words." Millennials may not recognize the quotation from Hamlet. ("So many one-liners!" my husband, self-educated until later in life, exclaimed in pleased recognition the first time I took him to see the Olivier movie.) But words are alive and well in the twenty-first century, although they've had to perform some bizarre contortions in order to survive. A couple of topics on the subject have been kicking around in my mind for a long time. I'm putting them together to offer to you today.

First, the unnecessary new locution to replace a perfectly serviceable one.
tasked with for being assigned, ordered, told to do something, or having a job
going forward for from now on
gifted with for given, esp a gift or present
curated for picked, chosen, or selected
role for job or position

Example: In her role of assistant office manager, Eloise was tasked with gifting everyone with a personally curated token of their birthdays and promotions going forward.

Anachronistic example (alas, they exist in today's historical fiction): "Soldiers of the legion!" the centurion said. "Going forward, you will be tasked with representing Rome at all times. I am gifting each of you with a pilum and gladius to kill the enemy, a shield to defend yourself, and a shovel curated by the camp prefect to dig a latrine every time we make camp."

Now let's move on to my second topic, this one not a peeve but an object of fascination: the expansion of the English language around the globe, definitively replacing French at the twenty-first century lingua franca, as it were. How do I know this is so? By watching TV via streaming services in a multitude of languages—with subtitles, on my laptop, in my own home. It's become one of my great pleasures, along with reading, for an evening's relaxation.

I started with French crime shows, such as Candice Renoir, Astrid, and Lupin, since I'm fluent in French and need only a glance at the subtitles now and then to keep up, though I'm glad they're there. I noticed immediately that Candice and her colleagues in Sète in southwestern France, who are very slangy, and Lupin, who's in Paris but very "street," since he's a gentleman crook, use such terms as le blackmail and le kidnapping, even though there are perfectly good French words for both: le chantage for blackmail and l'enlèvement for kidnapping. Astrid, who's neurodivergent and very formal—she won't even tutoyer her best friend, police detective Raphaelle—doesn't take these handy shortcuts. Raphaelle and her Parisian police colleagues speak a classier, more careful French too, though they've been known to say a potential suspect is clean after doing a background check.

Since then, I've watched multiple shows, mostly police procedurals or political thrillers, in Danish, German, Finnish, Norwegian, Italian, Spanish, Korean, Chinese, Dutch, Luxembourgeois (in which the characters occasionally spoke four languages within a single sentence), and others, and in every one, the dialogue was heavily larded with English, even when the characters were not, as they sometimes were, communicating in English in order to speak with native speakers of a language other than their own. As you must know, the English word, an Americanism, that's become most universal is a simple okay. The same for cool. But some others are also popular, and some, as used in certain countries, are just plain fun.

sorry seems to be used universally in German and Finnish
thank you used interchangeably with other languages; everyone understands it
Christmas Korean for Christmas
shopping Korean for shopping
marketing Korean for marketing, as far as I can tell
spindoctor Danish for speechwriter, publicist, or political official's communications director


On Dicte, about a Danish police reporter, I caught safe house and network but was too absorbed in the show to write down others that I heard.

And on Luna and Sophie, my favorite German show, about two delightful police detectives in Potsdam, I managed to get a whole list:
control freak
spooky
blackout
end of story
nice try
shit happens
one stop shop
And there was one proverb I loved. Luna used it to turn down a new colleague who asked her out for a drink after work.
"Schnapps ist schnapps und job ist job."

In fact, so deeply has English sunk in its hooks that the German dictionary lists "job" as a synonym for arbeit (work), saying it's used umgachschpratlich (colloquially). With words like that, the most dedicated English language chauvinist surely doesn't want German and other languages to die away altogether.

At Loss for Words

Mom and Dad spoke in a secret language.

So does my house phone (VoIP for those interested). Mere words into this article, it rudely interrupted to snarl. “Lobotomy. Lobotomy.”

I’ve previously mentioned an older resident of my childhood hamlet, one of those men crushed when the wife left, and emotionally unrecovered. He had a speech impediment when combined with abbreviations made his sentences difficult to decipher. Kids, however, learned to understand him and leveraged their translation skills into a private language.

Pity their poor teachers, a common target of childish insults. These days adults can check suspect words and phrases online. AFAIK, many are acronyms but IDK some slang terms. Nut? Seriously? 304 or 403? Make up your minds.

A Word from our Sponsor

Back to my parents’ private language when secret codes favored grownups. When adults didn’t want children to understand, parents of a certain era could rattle off conversations, helping to maintain a united front against the young and obstreperous. For example:

“Ettybay usway eanmay (o)otay erhay istersay. Iyay oundedgray erhay.”

Recognize that? It translates as:

“Betty was mean to her sister. I grounded her.”

In early grade school I read everything and stumbled upon Pig Latin. At last, I knew what my parents were up to. It’s dead easy to learn and for me at least, I could speak Pig Latin much faster than I could comprehend it.

And so I waited. (heh heh, maniacal laughter ensued) Next time Mom and Dad spoke Pig Latin at the dinner table, I casually interjected with a comment in Pig Latin. My parents stopped using their secret language. Had I been smarter, I should have pretended I couldn’t understand the conversation.

Igpay AtinLay

Here are Pig Latin rules (although algorithm might be a better word).

1. Detach leading consonants from each word.
2. Append them to the end of the word followed by ‘ay’.
• Thus “perfect children” becomes “erfectpay ildrenchay”.
3. For words with leading vowels, say the word followed by ‘yay’ or ‘way’.
• Thus “I am useful,” becomes “Iyay amway oosefulyay.”
4. Go by sound rather than English spelling, especially in rare instances of writing.
• Thus “To be or not to be,” is written “Ootay eebay orway otnay ootay eebay.”

[Grownups, don’t reveal to Generation Alpha! Eizesay eethay advantageway.]

Final Word

About my outrageous phone. It took a while before I realized it was trying to say, “Low battery. Low battery,” instead of “Lobotomy.”

By the way, the full English version of the above statement, “Betty was mean to her sister,” would more likely be spoken with asperity as, “Your daughter Betty was mean to her sister,” thereby disavowing parental knowledge of begatting DNA, placing responsibility on the other parent.

Uh-oh. Lobotomy. Lobotomy.

---

But Dad, It's Smokey

If you've had a few laps around the sun, maybe gone to your share of go-gos, you know the commercial. It's the 1970s one where a voice-of-god announcer stops people on the street to ask how much they love Smokey Robinson and the Miracles. The capper is a guy mugging for the camera and telling how his father would shout to turn down the radio. "But Dad," the guy says through a cheese-drenched grin, "It's Smokey!"

By luck or fate, my boyhood coincided with the golden age of the compilation record commercial. The K-Tel Era, those 90-second spots with the signature scroll of whatever songs were stitched together for moving product fast. The Smokey commercial was from Imperial House Records, that serial flogger of the "as seen on TV" reissue album. And I'll be honest: "But Dad" was surely how Young Me first heard of Smokey Robinson. 

With age and means of payment I came around to Smokey and the Motown Sound, that feel-good rhythm, those fun horns and catchy packaging. When Smokey came to town this summer, I had the ticket money. Neither of us are getting any younger. 

Smokey was performing in the Nashville Symphony Pops Series, and the billing listed a la Imperial House the hits he was to sing. And he sang 'em: "More Love," "I Second That Emotion," "Being With You," "Just to See Her." But how he sang 'em, though. The stories he wrapped around 'em. I was listening to a writer's writer.

Which, of course, Smokey is. One of the Twentieth Century's greats of pop R&B, recipient of the Johnny Mercer Award and a founding cornerstone for Motown's hit engine. His hits for other Motown artists include:

• "Ain't That Peculiar," Marvin Gaye
• "Don't Mess With Bill," The Marvelettes
• "Get Ready," The Temptations
• "My Guy," Mary Wells
• "The Way You Do the Things You Do," The Temptations

And the pan-generational "My Girl," written especially for David Ruffin. Smokey's music has been covered by the Beatles ("You Really Got a Hold on Me"), the Rolling Stones ("Going to a Go-Go"), The Jackson Five ("Who's Loving You"), Elvis Costello ("From Head to Toe"), and many others. "Tracks of My Tears" was a hit for Smokey, Johnny Rivers, Aretha Franklin, and Linda Ronstadt. 

A lot more has changed since the K-Tel Era besides my age. My thoughtfulness, for one. My own attempts at writing, for another. I started thinking about William Robinson the writer and what his style teaches about storytelling. 

A Smokey Robinson song feels so simple and immediate. He throws in some wordplay now and then--I try to keep my sadness hid, just like Pagliacci did--a bit like Mercer or Cole Porter set to soul, but mostly his music sticks to basics. His rhymes tend to be quiet, relying on the performer to sell the meaning. It's no accident. In interviews, Smokey talks about writing for timelessness, music that could be played years from now. You don't see a Smokey name-check or here's-a-new-dance song. He makes no period references and takes up no fad causes. 

Smokey is right, and his channel-hosting deal with SirusXM is proof. Years from now people will hear his music, just as artists are still recording Mercer's and Porter's music. Because Smokey writes about the theme that has driven popular music forever: Love. Finding love, holding love, losing love, chasing love. Add in that groove, and it's a memorable formula. In fiction terms, we'd say he'd honed his voice and knew his broad readership. 

Simple.

Simple ain't easy. Even Smokey didn't get the formula at first. Barry Gordy had to hit him with critique, saying Smokey's songs were disconnected verses. The words needed to tell stories. Smokey took heed and honed his storytelling chops. In interviews now, Smokey talks about getting the words right, tinkering until the lyrics read like a standalone tale. He even jokes about the writer's eternal struggle. "Cruisin'" is a dead simple song about two lovebirds on a car ride, with clear overtones of sex and a running metaphor about relationships as a journey. "Cruisin'" took him five years to write. 

His simplicity extends to his lyrical vocabulary. Every word in a Smokey song is as clear as blue sky. It's the same reason we fiction writers should pitch the thesaurus. Plain words speak louder, hit harder. We're in the emotions business, the words with meaning business. We're definitely not in the fancypants business. 

Motown's goal was to write songs for everyone. Whenever I do a workshop on story writing, I hit on the critical difference between writing for yourself versus writing for an audience. Writing for ourselves is a release. We can write whatever the hell we want, however the hell we want it. Readers shouldn't have to endure that. 

Writing for publication means writing to be understood, which means dropping any conceit that the work is about us. It's from our experience, but in the end, it's about the reader and giving them that emotional connection. You know, like Smokey singing love stuff right for you. About you. 

So when, in the 70s, Imperial House stopped people on the street to rave about a compilation record, they hammed it up for the camera. To get on TV, sure. But also because it was for Smokey. 

BONUS READING:

• https://americansongwriter.com/smokey-robinson-still-churning-out-hits/
• https://www.aarp.org/entertainment/music/info-2021/smokey-robinson-wrote-that.html
• https://www.vulture.com/article/smokey-robinson-interview-life-legacy.html