The Clash, AI, and Marketing 101, by Josh Stallings

Q:  Do you set aside dedicated time to do promotion for your book and your brand? If so, how much time and what do you concentrate on? If not, why not?

“Siri play The Clash Sandinista! loud.” Give me Topper Headon’s locked tight beat. Strummer’s chord stabs. Give me the fuck-capitalism ethos. To get the label to release Sandinista! as a triple-LP at a cost the fans could afford, the band lowered their royalty rate. Also for the first time they listed song writing credits not by individual members but as written by The Clash, thereby sharing the royalties equally. Pure fuck-the-money-man attitude.

Listening now. Fingers starting to feel the beat of typing. “Charlie Don’t Surf,” is the perfect answer to “I love the smell of napalm in the morning.” The Magnificent Seven turns out that snapping boogaloo that has me dancing with words.

“WAIT. Come on Josh, this is how I answer a question about the business of writing?”

Yep. It all connects… The Clash made Sandinista! as a middle finger pointed at the record business. Strummer said they made a triple album because the record company objected to London Calling being released as a double album. That’s rock and roll baby. Brazen guts, a rock steady beat, three cords, and something to yell about is all you need.

This is the mind set I need to do what I do. Starting a project I need the arrogance of a teenager to block out everyone's opinion and listen to my own. It is audacious to walk  into a dark room, stare down the blank page and say “I will find my story here, and it will be worth the work.” It takes a combination of Evil Knievel’s fearlessness and Iggy Pop’s raw power rage to pull that off… 

“Wait, slow your roll Josh, all that youthful angst and bravado has nothing to do with the business of promoting your work.”

Am I avoiding the question? Hell yes. 

Why am I avoiding the question? Fucked if I know. 

Let me put on my logical professor hat. 

Movie marketing 101: In the before times the keystone of movie’s advertising campaign was the trailer. The greatest effort and money was spent on this two to two and a half minute piece. It played only in theaters. It set the tone for the shorter work that followed. A thirty second spot placed on a hit TV show would be seen by millions more than the trailer, so why weren’t they as important? This speaks to the heart of marketing, it should be aimed at people predisposed to see or hear or read your product. A person sitting in a movie theater is already paying to see movies. They are predisposed to want to see another movie. The studios were also careful to launch a trailer attached to the opening of a film in the same genre as the one they were selling. Confident that audiences will get excited over their new film coming soon. Get this right and the viewers will tell their friends about it. They will evangelize. For the core audience the TV spots were simply to keep the enthusiasm going and as a reminder of the opening date.

Books aren’t movies, and streaming killed that old movie marketing model. Why bring it up? It remains relevant even if the venues shifted. Like movies, books sell by word of mouth, we need evangelized readers. So how do we meet those readers, where are their “movie theaters?” Where they read? Should we be hanging out in libraries looking over shoulders to see what folks are into? Seems kinda creepy. Social media (Twitter and Facebook) was where I was first “discovered.” Back then it worked to connect with readers and critics. Honestly, honesty is gone from social media. Political ideology and lying liars have poisoned the well, we don’t trust each other online, never sure if we’re talking to a writer/reader or a PR AI bot, or worse an AI bot with a neo-fascist agenda.

“What do you think about AI writing books?” My brilliant little sister asked. We were talking about AI in art and literature. If we couldn’t discern it was AI created why did it bug us. I came down on the pro human unionist point of view, 

“If we buy AI books, we take jobs from human writers.” It was true but also a bit self serving. 

My sister dropped, “Maybe the problem is, AI itself has no back story. Take Van Gough, love the paintings and we know his life story. We can study his work and know the man through it. Louise Penny? I feel like I know her. Getting a new Three Pines book is like a letter from an old friend.” 

“Can’t AI crack the old friends logarithm?” I asked afraid of the answer.

“Damn brother, that’s dark. Imagine a new Hap and Leonard book that AI personalized and tailored to the reader's unspoken wants and desires. Joe R. Lansdale without all those bad words and problematic social issues? Or with a heaping pile more of them if that’s your deal. Afraid of gay? Leonard is straight as ruler, well not any ruler, not Julius Caesar, obviously, or Alexander the Great.”

After I stopped laughing, I wanted to ask her if books shouldn’t pull us out of our comfort zones past our petty preconceived notions? But instead told her I needed to get back to my Criminal Minds essay.

Clearly I’m stuck. Here’s why, if I were to spend my time on marketing what would that look like? Shouting BUY MY BOOK in a social media echo chamber? Going to book conferences and connecting with readers? Writing essays on book marketing? These aren’t rhetorical questions dear readers, no, I really hope you have some answers. Any answers.

For now, “Siri play No Shit by Iggy Pop.”

Back to my master plan for literary domination, keep typing as true and real as I know how. Take no shit. Never give up. Demand that every book is better than the last. Remember fellow writers are my traveling companions. Only compete with myself. Push myself to write better. 

Failing all that, “Siri play Ziggy Stardust.”

 Ziggy played guitar…

We’ll Always Have Albany from James W. Ziskin

 Give us some of your funniest and most memorable stories from traveling to book festivals

This week’s topic takes me back to my very first writers conference. It was September 2013, and I was attending Bouchercon in Albany, NY. My debut novel, Styx & Stone, was set to be released three weeks later, and I knew nobody, except fellow author Lynne Raimondo. Our editor, Dan Mayer, had introduced us via e-mail, and Lynne provided me with my first blurb. She and I met for dinner in a restaurant not too far from the Empire State Plaza,  and we became great friends. We’ve remained close ever since.

Many people in the mystery and crime writing community recall Albany with disdain. But not me. I loved it. Maybe because I grew up about thirty miles from there. The setting was familiar and a bit nostalgic. I remembered class field trips to the brand-new museum at the Empire State Plaza when I was a kid. If I’m honest, I must admit that the place hadn’t changed since the late sixties when I’d first visited. Nothing had been updated.

The Empire State Plaza was the brainchild of Governor Nelson Rockefeller. He was reportedly moved to action after Princess Beatrix, the future queen of the Netherlands, visited Albany in 1959. The governor was embarrassed by the squalor of the state capital. The project to transform downtown Albany took more than ten years to complete, and included razing about a hundred acres of Albany’s South End to make room for the Empire State Plaza and the Egg. (If anyone is interested, I included a brief tour of the South End neighborhood in A Stone’s Throw, my sixth Ellie Stone mystery. The year is 1962.)

At Bouchercon 2013, most complaints from the attendees had to do with the lack of a centralized location. There was no hotel large enough in the area to accommodate the throngs of writers and readers, so people were scattered. The venue itself left something to be desired. The panels were held in windowless rooms below street level, deep inside the Empire State Plaza. It felt as if we were in a bunker. And since the bulk of the conference took place on the weekend, when the usual state workers were off, there were few options for food at the site.

But by far the loudest grumbling from the attendees was that there was no convenient bar where the faithful could gather to socialize. As anyone who’s ever attended Bouchercon—or other writers conferences, for that matter—knows, the bar is the place to meet, even if you don’t drink. So it’s natural that people came away from Albany feeling somewhat deprived of the social side of the event.

I happened to have been staying with relatives about twenty minutes away, so, for once, I was not parking myself in the bar, since I was driving back and forth to the conference. As I mentioned above, I knew no one anyway. So I wasn’t complaining. I was having an amazing time. It reminded me of my first few days as a freshman in college. I was uninitiated and naive, but loving every minute.

I may not have known anyone when I arrived, but I did by the time I left Albany. Wonderful people. The very first writer I met was Barry Lancet. We hit it off immediately, perhaps because we were newbies. I also met Sara J. Henry and Michael Sears the first day. And my dear, dear friend and fellow 7 Criminal Mind, Cathy Ace.

With Cathy Ace at Monterey

My editor at Seventh Street Books, Dan Mayer, made sure that his authors all got to know each other at Albany. That’s when I first met my fellow 7 Criminal Mind Terry Shames. She’s one of my favorite writers, and we’re fast friends to this day. We all had a great lunch together (if you don’t count Mark Pryor’s presence...) Just kidding. He’s a great guy and a fabulous writer.

L-R Lynne Raimondo, Mark Pryor, me, and Terry Shames in Albany

My editor, Dan Mayer, also introduced me to Louise Penny in Albany. She was with her dear husband, Michael, who has since passed away. Louise was so gracious, and when I saw her again at Bouchercon Toronto in 2017, she said she remembered meeting me in Albany. I was thrilled. Here I am with Louise and the oh-so-talented Art Taylor in Toronto. We were celebrating our Macavity Award wins.

L-R, me, Louise Penny, and Art Taylor, Bouchercon Toronto 2017

I may not have funny stories from my first writers conference, but I can say that it was a life-changing experience for me. I found so much inspiration and so many new friends. Since 2013, I’ve become a regular at the major conferences. I look forward to the day when we can all meet again in person.

Blind Date With a Book

Books make wonderful gifts. What are your recommendations this year?

by Amy Marks and Paul D. Marks

I thought I’d do something a little different this time. Instead of me recommending books I’m turning it over to my wife, Amy, and some books she’s read and enjoyed. And I’ll have some non-fiction recommendations at the end. So take it away, Amy:


Picking books as gifts is kind of like setting up a friend for a blind date. You never know if they’re going to hit if off or have a miserable time. But, as they say, it’s the thought that counts. So, with that disclaimer, here are my recommendations for mystery/suspense books to gift. I like them and there’s gotta be someone else out there who will like them too.

In The Woods by Tana French

A twelve year old girl is found murdered in the woods near a suburb of Dublin, Ireland. The detectives assigned to the case, Rob Ryan and Cassie Maddox, are cop-buddies who have each other’s backs and share a secret from the past. Twenty years earlier, three children went missing in the very same woods. One was found with his shirt torn and his shoes filled with blood, but with no memory of what happened. The two missing children are never found. What Rob and Cassie know is that Rob was that third child, the one who was found. His family had moved away after the incident in order to escape the accusations from the locals. And Adam (Rob) was sent to a boarding school in England where he started using his middle name, Rob. He returned to Dublin as an adult to join the murder squad. Cassie knows Rob’s secret and agrees to keep silent when he convinces her that they are the only detectives who can really investigate this murder. But the demons of the past cling and threaten to tear Rob and Cassie apart. Tana French writes with an intimacy that makes you feel that you know these characters personally. You can imagine throwing back a few pints with them at the pub. And you can feel the darkness surround you as you enter the woods with them.


The Snowman by Jo Nesbo

Oslo police officer Harry Hole investigates the disappearance of a woman. Her young son wakes up to find his mother gone and a mysterious snowman constructed outside their home facing the house, as if looking inside, and wearing the scarf he gave her as a present. Harry discovers a pattern of similar disappearances and murders and the hunt for a serial killer begins. Harry Hole is like the Dirty Harry of Norway. He breaks the rules and stops at nothing to find the killer. The murders are grisly and shocking, so this not for the faint of heart. But what makes this a great thriller are the intriguing plot twists and Harry’s tortured, alcoholic personality.


By Gaslight by Steven Price

William Pinkerton, son of the famous Allan Pinkerton, who created the Pinkerton National Detective Agency, and famous in his own right, travels to Victorian London in search of the con man, Edward Shade, who eluded and haunted his father for decades. At the same time we follow the story of Adam Foole, who Pinkerton suspects knows the whereabouts of Edward Shade. If you know someone who loves Victorian London, the fog, the mysterious atmosphere and the whole steampunk thing, they will enjoy this book.


This Body of Death by Elizabeth George

This is book 16 in the Inspector Thomas Lynley series, but it was the first Elizabeth George book I read and I loved it. You can easily pick up any book in the series and don’t have to start at the beginning (although I am going back now and reading her books from the beginning after reading a few out of order). A woman who has recently relocated from Hampshire to London is found murdered in a London cemetery. The story is interwoven with the description of a shocking child murder that happened several years in the past. Don’t let the description of Thomas Lynley as an aristocratic Scotland Yard detective fool you. This is not one of your cozy British crime mysteries where they solve murders in between playing croquette and sipping tea. They are very gritty and meticulously plotted. And the characters are complex and realistic.


The Death of Mrs. Westaway by Ruth Ware

Harriet “Hal” Westaway receives a letter from a lawyer saying her grandmother has died and the family is gathering for her funeral and the reading of her will at her estate. There’s just one problem, Hal’s grandmother died years ago and this is just a case of mistaken identity. But Hal, whose mother died a year ago, is in trouble with a loan shark and is desperate for money. She decides to take a chance on trying to impersonate Mrs. Westaway’s granddaughter in hopes of maybe getting a little bit of cash to get her out of her situation. What happens after that is pure gothic mystery complete with ill-tempered, mysterious housekeeper. This book is one of those guilty pleasures. If you analyze the plot too much, you’ll say “this couldn’t happen, it’s not realistic,” but you just have to go with the flow on this one and enjoy it.


Still Life by Louise Penny

Is it a cozy or isn’t it? It has the small cozy village of Three Pines, the bistro where the characters are always eating freshly baked croissants, the bookstore where everyone knows everyone, and snow is always falling in beautiful sparkly drifts. But the plots and characters are so much deeper and more interesting than most cozies I’ve read. I’m not putting down cozies, I love a good cozy as much as anyone else, but face it, some of them are the equivalent of Hallmark Christmas movies. Louise Penny’s Inspector Gamache books are both warm and cozy, but also deep, mysterious and haunting. In this one the body of an elderly woman is found in the woods, the apparent victim of a hunting accident, but Gamache suspects foul play. You could probably pick any book in the series, but I like starting with the first one in this case.


Christine Falls by Benjamin Black

This is the first book in the Quirke series. Set in Dublin (yes, I have a thing for novels set in Dublin) in the 1950s, it deals with Quirke, an alcoholic pathologist, who begins to suspect his brother-in-law when he finds him tampering with the death records of the corpse of a young woman brought into the morgue. He begins to investigate the woman’s death and it leads to uncovering a conspiracy that takes him to Boston and back to Dublin again. Benjamin Black is the pseudonym for Man Booker prize winner, John Banville. Banville’s writing is wonderful. His descriptions, insights and voice are almost like reading poetry. I started by reading the Silver Swan, which is the second book in the series, and do think it’s best with this series to read from the beginning as many things that happen in this book influence what happens in the next.

Oh, and two other books I’d recommend are White Heat and Broken Windows by Paul D. Marks. These crime thrillers follow PI Duke Rogers and his un-PC sidekick Jack Riggs through 1990’s Los Angeles and deal with real-life issues that continue to be in the news today: racism and immigration. I know you won’t believe me if I say I’m totally unbiased, so I just won’t say that. But give them a read and see what you think.

So maybe you’ll hate the blind date I picked out for you and you’ll take me off your gift list next year. Or, maybe it will be a match and you’ll be reading happily ever after with your new favorite writer. Happy Holidays and happy reading!

***

Thank you, Amy!

And just for good measure, I’m (Paul) tossing three non-fiction books into the mix:

The Annotated Big Sleep by Raymond Chandler, Owen Hill, Pamela Jackson, Anthony Dean Rizzuto, Foreward by Jonathan Lethem

I think on this the list of authors is longer than my comment. One of the classics of American crime literature and really all literature. And this book gives the context of the times and the place to The Big Sleep. It helps lead to a greater understanding and thus enjoyment of a great novel.


Pulp According to David Goodis by Jay A. Gertzman, Forward by Richard Godwin

As I’ve mentioned many times and in many places, David Goodis is one of my favorite crime writers. Geoffrey O'Brien called him the “poet of the losers”. And though he had some success as both a novelist/short story writer and a screenwriter, he definitely had some personality quirks. But until recently it’s been hard to come by much good biographical writing on him. There was Goodis: A Life in Black and White Paperback by Philippe Garnier, with an introduction by Eddie Muller. For years that book only appeared in French so it was wonderful when the English translation finally came out. And there was Difficult Lives: Jim Thompson, David Goodis, Chester Himes by James Sallis. And good as it is it’s relatively short and covers three writers. So now, with all three of these books, David Goodis fans can finally dive deep into Goodis, his life and his writing.


High Noon: The Hollywood Blacklist and the Making of an American Classic Hardcover by Glenn Frankel

A look at the Hollywood Blacklist via the making of High Noon, which starred Gary Cooper, definitely not a left-winger. But the movie was made by many people on the left. A fascinating look at the blacklist and the Red Scare era through the prism of the making of one classic movie.

Thanks for stopping by. And Happy Holidays! See you next year.

~.~.~

And now for the usual BSP:

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The Big Squeeze

Overheard at Bouchercon in Florida last month: “I don't write series *or* standalone; I write books.” Do you love/hate/mind/notice/use/ignore the publishers' and booksellers' classifications of your work?

by Paul D. Marks

It’s not a question of loving/hating/minding/noticing/using or ignoring the classifications. I do all of those, well maybe except for the first. But it’s something we have to live with. What annoys me is when the Powers That Be want to stuff us or our work into a small bag or can’t figure out what bag to stuff us into.


Pigeonholing:

Early on in my switch from scripts to prose, I wrote a novel based on a screenplay I had written. The screenplay had been optioned many times by many people or entities, but ultimately never produced – story of my life. So I decided to turn it into a novel. It’s a mystery-thriller with a touch of sci-fi. An editor at a well-known publisher wanted it. But whatever committee of faceless people make the final decisions on such things rejected it. Why? Because they didn’t know how to classify it. Was it a mystery? A thriller? Sci-fi? How do we sell it? What section of the bookstore would it go in? Things like that. So the editor, much to her regret, had to reject it.

I also agree with what Susan said on Monday re: agents or publishers trying to squeeze you into a box.

Series vs. Standalone

Why not do both? Initially, I didn’t think I’d want to be writing a series character. I thought it might get stale. But there are ways to keep series fresh and exciting. To this point I’ve written two Duke Rogers P.I. novels, White Heat and the recently released Broken Windows. And a third is slated. I’ve also written several short stories in the Ghosts of Bunker Hill series, featuring another P.I., Howard Hamm, that’s been appearing in Ellery Queen Mystery Magazine.

The Howard Hamm series is fun to write in a lot of ways. For one thing, the narrator is dead. Yup, dead. A ghost. He was killed in the first story. You’d think being dead he’d be like an omniscient narrator who sees and knows everything. But not in this case. He pretty much sees what Howard sees over Howard’s shoulder. And even if does see something that he wants to give Howard a heads up on or wants to warn Howard about he has no way to communicate with him. Frustrating. It’s hard being a ghost. The stories are, in my humble opinion, solid mysteries, but they do have that ghostly aspect to them.

On the other hand, the Duke Rogers series is more on the hardboiled and noir side. No ghosts. Just clear doses of hard-edged reality. And so far each story, including the coming one, is set around real events. The stories take place in the 1990s. White Heat revolves around the Rodney King riots of 1992. Broken Windows around California’s anti-illegal alien Proposition 187 events of 1994. And the third one will also revolve around actual events that took place in L.A. in the later 90s. The fact that they revolve around real events that the characters find themselves in keeps it fresh on one level. But the thing that really keeps it fresh is how one deals with the characters. Hopefully, the characters are live, flesh and blood people with real problems and life stories and situations. This helps keep them alive and fresh and facing new challenges, besides the challenges of the cases they’re working or those real events that envelope the cases and characters.

Vortex is a stand-alone novel, about a returning vet, who finds more trouble at home than he did in the war. So that was a break from the series characters.


Typecasting:

On the other-other hand (I think I might be running out of hands) I don’t really want to be typecast as only the guy who does the Duke Rogers series or the Howard Hamm series. So I try to switch it up sometimes. For the Bouchercon Florida Happens anthology I did a story called There’s an Alligator in My Purse, which is a humorous take on the foibles of Florida and people. I hope readers get a chuckle or two out of it. And, though I’m known – if I’m known at all – as a noir or hardboiled writer, I do like writing humorous things once in a awhile, like that story or Continental Tilt (which you can find in the Murder in La La Land anthology), and hopefully funny stories as well. That said, Windward, my story from Coast to Coast: Private Eyes from Sea to Shining Sea, is another story about a P.I. A different kind of P.I., whose Venice Beach office is over a Cold War bomb shelter that also serves as his home. And, while that might sound a little humorous, the story really doesn’t work on that level. And, no, I don’t only write about P.I.s, but lately my works seem to be the Invasion of the Body Snatcher P.I.s. And why not, who doesn’t want to carry a gat, wear a fedora and trenchcoat and have a moll on each arm. I guess my P.I.s don’t, ’cause none of them do any of those things. Well, maybe they carry a gat when needed.

***

So the bottom line is that there’s reasons for doing series and reasons for breaking from the pattern. As long as I can do both I’m good to go. Just don’t stuff me in a bag that doesn’t fit.

***

And now for the usual BSP:

I’m honored and thrilled – more than I can say – that my story Windward appears in The Best American Mystery Stories of 2018, edited by Louise Penny and Otto Penzler, which just came out this week. I wrote a blog on that on SleuthSayers if you want to check it out: https://www.sleuthsayers.org/2018/10/the-impossible-dream.html .

I’m doubly thrilled to say that Windward won the Macavity Award at Bouchercon a few weeks ago. Wow! And thank you to everyone who voted for it.

And I’m even more thrilled by the great reviews that Broken Windows has been receiving. Here’s a small sampling:

Here’s a small sampling of excerpts from reviews for Broken Windows:

Kristin Centorcelli, Criminal Element: 

"Although it’s set in 1994, it’s eerie how timely this story is. There’s an undeniable feeling of unease that threads through the narrative, which virtually oozes with the grit, glitz, and attitude of L.A. in the ‘90s. I’m an ecstatic new fan of Duke’s."

"Duke and company practically beg for their own TV show."

John Dwaine McKenna, Mysterious Book Report:

"This electrifying novel will jolt your sensibilities, stir your conscience and give every reader plenty of ammunition for the next mixed group where the I [immigration] -word is spoken!"

Betty Webb, Mystery Scene Magazine:

"Broken Windows is extraordinary."

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Deeper and Deeper

Paul here:

This week I’m thrilled to have Dennis Palumbo guest blog here. Dennis is a screenwriter (My Favorite Year, Welcome Back Kotter, and more), psychotherapist and the author of the Daniel Rinaldi series. His mystery fiction has appeared in Ellery Queen’s Mystery Magazine, The Strand and elsewhere, and is collected in From Crime to Crime (Tallfellow Press).

Dr. Daniel Rinaldi is a psychologist and trauma expert, who consults with the Pittsburgh Police Department and specializes in treating the victims of violent crime. And that’s something he knows about personally: Rinaldi’s wife was murdered in a mugging and he was shot. He struggles with survivor’s guilt. Now he’s on a mission to help others deal with their traumas, while at the same time getting involved in cases and helping to solve the crimes.

Head Wounds is the fifth Rinaldi story, preceded by Mirror Image, Fever Dream, Night Terrors, Phantom Limb. For more info, visit www.dennispalumbo.com .

Take it away, Dennis.

***

This week’s question: What difference do you notice between the prose in crime novels that were written twenty years ago and current ones? Do you think the writing has gotten better? Are the subjects different?

by Dennis Palumbo

The question is a tricky one, because no one regards the prose of such authors as Raymond Chandler, Dashiell Hammett, Patricia Highsmith, Ruth Rendell or Ross Macdonald more highly than I do. These brilliant stylists could craft starkly beautiful sentences while still retaining both the suspense and the mystery that their novels promise.

That said, there’s little question in my mind that, in general, today’s crime fiction has broadened in its subject matter and deepened in its exploration of those areas. As good as the above-mentioned authors were, both their own prejudices and the social or moral constraints of their respective eras prevented them from addressing (except in the most covert way) issues of sexual orientation, racism and child abuse.

Twenty years ago, most readers expected little more than action, suspense and a cluster of red herrings in their mystery stories. It was also fairly customary to treat characters who strayed outside conventional norms (in terms of gender, race, moral dictates, substance use, etc.) in somewhat stereotypic fashion. They were still presented, even if occasionally with sympathy, as the “other.”

Moreover, the point of most crime fiction of decades past, even at the hands of such famous masters of the form, was to solve the mystery and reveal the killer. The whodunit still reigned supreme.

But times change, and so has crime fiction. From Richard Price to Gillian Flynn to Megan Abbott, the themes---and even the very goals---of these novels have expanded. Today’s crime fiction addresses and explores a much wider and more inclusive variety of characters and situations, from sexual identity to immigration to child abuse. These issues are now frequently tackled head on, and with a more empathetic and knowledgeable approach. Such “outlier” issues---and characters---are no longer the exception to the norm; they are the norm.

As a therapist, I can’t help but think that some of these narrative shifts in tone, theme and characterization are due to a more mature understanding on the readers’ part of the complexity of the human condition. Moreover, as psychological terms and disorders are more commonly (though often erroneously) talked about, readers expect today’s authors to have a more frank, thoughtful view of life today.

(I could make the argument, for example, that Gone Girl is as much a sly, snarky commentary of the state of contemporary marriage as it is a crime novel. It was as if Phillip Roth or John Cheever had turned their talents to psychological suspense.)

In my own novels, featuring psychologist and trauma expert Daniel Rinaldi, the narrative itself is usually informed by the emotional issues (often birthed by the trauma of violence, abuse, etc.) of the characters. As a consultant to the Pittsburgh Police, and in his role treating victims of violent crime, my protagonist’s clinical acumen can help shed some light on what might be going on. (Except those times when he’s wrong.)

The point is, I believe my readers expect that the psychological underpinnings of character, motive and general plot conform to what most of us understand as how real humans behave in the real world. 

Maybe, twenty or thirty years ago, most readers didn’t expect a crime novel to take such a deep dive into character, nor expect the narrative context to reflect so accurately the current state of affairs, either personally or politically. But nowadays, crafting a mystery (even a cozy) without at least a glancing nod at the realities of contemporary life seems antiquated, almost deliberately opaque.

I’m reminded of a comment made about the work of P.G. Wodehouse: as wonderful as he was, he wrote as though neither Freud nor Marx had ever existed.

I think the same sentiment holds true for today’s authors. We live in a rapidly-changing, media-drenched world whose mores and behavioral expectations are in turmoil; a time of global pandemics, terrorism, economic inequality, gender fluidity, sexual predation, and other social and political concerns. For crime fiction to stay relevant, I believe it has to, at least tangentially, acknowledge these issues.

Which, I’m happy to report, it appears to be doing. The best of today’s mystery fiction authors, from Dennis Lehane to Tana French, Scott Turow to Denise Mina, George Pelicanos to Louise Penny, deliver prose that is both beautifully crafted and cannily relevant to the times.

Of course, there will always be readers who enjoy the simple pleasures of earlier mystery fiction, whether the comfortable world of Agatha Christie or that of tough-guy Mickey Spillane.

But, if today’s best-seller lists are anything to go by, crime fiction is continuing to evolve and change, as is the society it inevitably mirrors.

Besides, as the author John Fowles soberly reminds us, “All pasts are like poems; you can derive a thousand things, but you can’t live in them.”

***

Thanks, Dennis. And be sure to check out Dennis’s books and find out more about him, and them, at his website (above).

~.~.~

And now for the usual BSP:

Broken Windows releases on September 10th and is available for pre-order now at Amazon, Barnes & Noble and Down & Out Books.

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Teacher's Pet

by Paul D. Marks

It's hardest to impress those who know us best. What unexpected acknowledgment have you experienced from folks who knew you way back when? (Bonus points if it ties into a wedding, class reunion, or holiday gathering.)

Before I get to this week’s question, I’d like to share some terrific news:

Derringer Nominations are out. And I’m blown away by all the nominations and recognition for several of the stories in Coast to Coast: Private Eyes from Sea to Shining Sea, edited by Andrew McAleer and me. I want to thank the judges and the Short Mystery Fiction Society! I also want to congratulate all the finalists.

I’m thrilled that my story Windward has been nominated for a Derringer in the Best Novelette category.

I also especially want to congratulate the other nominees from Coast to Coast: Private Eyes: Matt Coyle for The #2 Pencil (Best Long Story category); Robert Randisi for Kill My Wife, Please (Best Novelette), Andrew McAleer for King’s Quarter (Best Novelette).  ---  And also from this anthology: Art Taylor’s A Necessary Ingredient is nominated for an Agatha. John Floyd’s Gun Work and my story Windward have both been chosen by Louise Penny and Otto Penzler for inclusion in The Best American Mysteries of 2018. – And I want to thank all of the authors who contributed stories to Coast to Coast.

I’m truly amazed and honored for such a great showing from a terrific book:

Amazon

So, like I said, mind blowing. And I’m thrilled to be part of it on various levels. And it’s very gratifying to see all the hard work of both the writers and editors paying off. Take my breath away!

Click here to see all Derringers Finalists.

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And now to this week’s question:

A friend once said to me you’re never a prophet in your own land, referencing the biblical quote. I think he was referring to certain members of my family who, no matter what I did or achieved, never seemed happy for me. Even when I had early writing successes, exciting and happy moments for me, they were not impressed and just wanted to focus the attention back on themselves instead of congratulating me. I think boiled down to its basic element my friend was saying familiarity breeds contempt.

One of the people I would have most wanted to impress, an uncle, died too F-ing soon—before I had much visible success. So F him for dying before I could shove it in his face. At least I’m not bitter. Nope, I have many fond memories of this guy.

Outside of certain family members, that uncle and some others (long story), I think most people in my early life thought reasonably well of me and expected me to make something of myself more than becoming a serial killer, though of course I guess I serially kill people in my writing. But there’s less blood that way and you don’t have to spend all that money on Rubbermaid containers, bleach and the always-necessary duct tape.

I did have one interesting experience, though it may not quite fit the parameters of the question, but close. So I’ll tell it as a little story:

She stood, towering over me, the paragon of wisdom, imparter of knowledge, my kindergarten teacher, Mrs. Morrison (name changed to protect the sanctity of student-teacher confidentiality). She knew everything there was to know, especially how to finger-paint and build with blocks. And she knew where the milk and cookies were, where the sleepy-time mats were and when it was nap time. One of the things that happened in that early-on class is I met the guy—we’ll call him Buster—who many years later became my writing partner in Hollywood for a time.

As my first teacher, Mrs. Morrison made a lasting impression. However, after accomplishing the consummate feat of graduating from kindergarten and moving upward (in grade) and outward (into the main building from the kindergarten corner), I didn't see her much anymore.

Many years later, after losing touch with both Buster and Mrs. Morrison, I ran into Buster again and we decided to become writing partners. Since Mrs. Morrison was the first major thing we had in common we even borrowed her last name for our pseudonyms when we needed them. Well, Buster and I eventually broke up for a variety of reasons and, man, it was like a nasty divorce. We had to have a lawyer divide the babies, but that’s another tawdry story. Anyway:

Flash forward: I'm taking a novel writing class at UCLA Extension (many years ago at this point). One of the women in the class asks me if I'd like to join her writers' group. Sounds interesting, I say, and check it out a few nights later. There are several women “of a certain age” in the room and me. One of them stands out. She has a vaguely familiar look about her. When I'm introduced to her as Emily Morrison I'm astonished to find myself sitting across the room from my kindergarten teacher—Mrs. Morrison. I stare and stare at her throughout the group's session. What must she think of my staring? Do I have eyes for her? Am I some kind of swain waiting for the right moment to make my move? When it's over I go up to her and ask if she taught kindergarten at XYZ Elementary School, where all the teachers are strong, the principal’s good-looking, and all the children are above average. Natch! When she says "yes," I know I'd better watch my "Ps" and "Qs," literally.  And I wait for milk and cookie time.

She didn't remember me, but she did remember my writing partner, Buster, whose family lived across the street from the school. So, of course, she asked me a lot about him, as well as myself. And at the next class I brought my kindergarten class pic and showed her me—that sort of jogged her memory and she sort of remembered. And she did admit to me that she wondered why I had been staring at her that first session. She did think I was interested. It was pretty funny really.

As I got to know her, I learned about all kinds of “backstage” machinations at the elementary school back in the day, things I never would have guessed and some of which are pretty sordid.

But the high point of my connecting again with Mrs. Morrison is when she made me a collage with photos of our kindergarten class and a note saying I was her favorite student of all time. So I guess I went from being unremembered to fave student ;-) . Now that’s somethin’!

Here’s a pic of me from my kindergarten class picture. And also of Mrs. “Morrison.” I’m sorry about the quality. My external hard drive crashed and I can’t access most of my photos so I had to cop this from something else and, unfortunately, it’s the best I can do right now.

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A Hard Day's Write

How do you set real life aside and connect with the imaginary worlds you create? And how long do you write each day/week?

by Paul D. Marks

I’ll answer the second question first: Not enough. Especially these days. And I have no idea where the time goes, but it does. I have the luxury of not having a day job and working at home and I still don’t know where the time goes. I’m pretty disciplined, but life happens and keeps me from doing as much writing as I might like to do or have done in the past. I spend a fair amount of time with the dogs, both hanging with them and walking them. Sometimes I find them more interesting than humans and they often have some pretty good ideas for the stories I’m working on, so at least I can count it as productive time 😊.

Now to the first question: Sometimes it is hard not to let real life intrude. But you have to find a way to get into that headspace – the Zone – for writing. There’s so many temptations to keep you from getting there, listening to music, reading, researching, the dogs. Watching movies. Facebooking. Friends. On the other hand, these things – real life – while, distracting me, also often give me ideas for stories so it’s a 50-50 proposition. Sometimes it’s hard to get in the Zone, but listening to music can get me into the mood for a certain type of story. For example, if I’m writing something set in the 1940s I’ll listen to swing. If I just want background music I often listen to baroque. Something dark, the Doors or Leonard Cohen. And sometimes silence is the best. I used to always (try to) write in silence. But sometimes you need something to block out the world. Music does that, and so much the better if it helps with the mood of the story.

And while researching can be a distraction ’cause I enjoy it so much I also get a lot of information for my stories. I recently finished a mystery set on the homefront during World War II. I love history, I love American history and I love World War II history. So I was a pig in you-know-what doing the research for that novel (for which I would very much like to get an agent…). I spent a lot of hours on various aspects of the research. I used the internet, books, maps. But my best go-to source for how Los Angeles was in the forties was my mom and her friends. They could tell me things that weren’t in books. So back to the point, the research kept me away from the writing, away from the Zone. But it also gave me things to put in the story when I did finally get back to the Zone. There are a lot of distractions, but some of them pay dividends.

I usually work in my home office where I have a nice view. But the office itself is a nightmare-mess. My desk is a mess – but you know what Einstein said about a messy desk: “If a cluttered desk is a sign of a cluttered mind, of what, then, is an empty desk a sign?” There’s also lots of stuff all around, posters and lobby cards from everything from In a Lonely Place to Pulp Fiction to album covers of the Beatles and a poster of Siouxsie and the Banshees. My picture of Dennis Hopper flipping the bird. Boxes of things, books, papers, the kitchen sink. So I have be able to put on blinders, get tunnel vision and just see the computer screen. Sometimes that’s easier than other times. And the way for me to do it is just to sit in the chair and stare at the screen and start typing away.

When that doesn’t work, I can just stare at Edward Hopper prints for inspiration. If anyone can be considered a “noir” painter he’s the one. In the pilot movie for the old TV show Night Gallery, if I remember it correctly, someone would look at a picture and be transported into that scene and a story would develop from there. That’s how I feel about Hopper paintings. They just bring so many stories to mind.

I’ve probably said this before, but when I was younger I had these romantic visions of being a writer on the Left Bank sipping absinthe or drinking Tom Collinses at Joe Allen’s, and when I lived in West LA I would go there. But when I would drink I wouldn’t want to write, I wanted to play, to party – I never got in the Zone that way. So that phase didn’t last long.

There’s so many distractions these days, TV, internet, radio, streaming, walking the dogs. The net. Envy the bucolic writer of the 19th century who had peace and quiet, but also no running water or toilets. So you just have to shut it all out as best you can. Clear your head. Sometimes I’m better at it than other times. But always the key is just to sit down and do it, sooner or later you’re in the Zone without even knowing you crossed the line.

Changing the subject ever so slightly: Earlier in the week, RM gave a nod to the Beatles and their song Paperback Writer. And since today is the anniversary of their first appearance on Ed Sullivan (February 9, 1964), I thought I’d give them a nod too, apropos of nothing:

VIDEO REMOVED

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And now we turn you over to our usual BSP section:

Mind Blowing News: My story “Windward” from Coast to Coast: Privates Eyes from Sea to Shining Sea (edited by Andrew McAleer and Me, published by Down & Out Books) has been selected for The Best American Mystery Stories 2018 edited by Louise Penny & Otto Penzler. It will be out in the fall. To say I’m blown away is an understatement. – Also selected for Best American Mysteries from this collection is John Floyd’s “Gun Work,” and Art Taylor’s “A Necessary Ingredient” has been nominated for an Agatha. Not a bad batting average for one book 😁 .

Check out my website: www.PaulDMarks.com

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