Time to Be Inspired, by Josh Stallings

Q: Are there crime fiction books so good you hold on to them and re-read them? Name a few classics and inspirations.

A: I evolve year to year not only as a writer but also as a reader. That’s true for most of us. As a teenager I attached my identity to the bands I listened to, books I read, movies I dug. It was a way to connect with like minds. I wore tight pants, long scarves, platform shoes, a leather jacket. 6’4” and skinny, I must have looked a sight, but I was a walking billboard to attract my people. 

We listened to Bowie, Velvet Underground, Eno, Queen. We read Hunter S. Thompson, Edward Albee, we did scenes from Harold Pinter’s The Dumb Waiter. I read S.E. Hinton’s The Outsiders, but doubt I told anyone. I loved Cotton Comes To Harlem and Superfly. As an adult I find Curtis Mayfield’s classic Superfly soundtrack holds up better than the film. 

At sixteen I moved to LA. I was alone a lot and Raymond Chandler kept me company. I slowly discovered what I personally loved to read. Hard Boiled Crime consumed me for a long time. Here are a few writers that gave me a good grounding in the field:

Raymond Chandler, The Long Goodbye is my favorite, but you can’t go wrong reading anything he wrote.

Charles Willeford, the Hoke Moseley series is gritty brilliance. Miami Blues is worth more than a few reads.

James Crumley, is the poet laureate of brutally self effacing hard boiled crime. Dancing Bear remains my favorite, and has the best last paragraph of any book I’ve ever read. 

Andrew Vachss, the Burke series introduced me to the possibilities of what a crime family of choice could look like, that and Bullmastiffs. He wrote about the pain of childhood abuse and the need for avenging knights in tarnished armor. Flood is the first in the series and the place to start.

James Lee Burke has published twenty-three Dave Robicheaux books. The first, Neon Rain is amazing, as are all that follow. Dave and Clete Purcel are opposites in some ways, but maybe more, they are two sides of a tarnished and pitted coin. They give Burke a chance to examine morality from two perspectives. Dave who does hard violent things to set the world right, but suffers guilt and spiritual pain for having done them. Clete acts to protect those he loves and if he feels any guilt, he drowns it in whisky. 

If you dig your crime fiction Hard Boiled these five writers will give you a grounding in the sub-genre. They did for me.

My evolution as a reader is taking me farther away from crime fiction. Don’t get me wrong I still read a ton of crime books. Just finished the amazing Naomi Hirahara’s Evergreen. A brilliant, tough LA novel that we all need to read.

I recently read Margaret Atwood’s MaddAddam trilogy. WOW! She is a bloody master of style and form. The three books are set in the same time and have many crossover characters, but each book feels stylistically entirely different. She has her characters drive the prose. I find writers working in speculative and sci-fi are freer from tropes and reader’s structural expectations; this is exciting as a reader and maybe impossible as a writer. All writing is a high-wire act, but Atwood walked over the Grand Canyon without a net or a wire. Moments in it took my breath away. 

A well written book will entertain. A brilliantly written one inspires.

Which books inspires you? Your list will be different from every other writer or reader’s.

What book am I waiting for today? 

Lou Berney’s A Dark Ride, out 9/19. Lou is one of my favorite authors, his work is full of thrills and chills and buckets of heart. He creates people you will not forget. Where ever he’s going in this new novel, I’m buckled up and ready to go. 

It Was The Best Of Lines, It Was The Worst Of Lines

Paul's taking a bit of a break this week (his treatment is proving to be a bit exhausting, however he WILL be back) so here's a post - following this week's theme about openings - that he posted in August 2019. Depending on your perspective that's either "not every long ago" or is eons ago, in the "pre-COVID period". Either way, it's a fascinating, and insightful post. 

Readers often read the opening few lines or page to a book before deciding to buy. What makes an opening sentence stand out above the rest? Give examples of openings, including your own, that you believe work brilliantly. Any tips or lessons learned for new authors about what to avoid on that first page? 

by Paul D. Marks

“It was the best of times,
It was the worst of times.”

I don’t think you can beat Dickens and that opening line. And despite the title of this post, I’m not doing the worst lines here.

It’s interesting, when I first started writing this piece I went back to a lot of mystery/crime (and some non-mystery) books that I really like. And I found that a lot of them didn’t have what I would consider particularly catchy or hook-y opening lines. Though I did find some (see below). Yet for one reason or another I was still hooked into those stories. So this leads me to believe that, while a good opening line is a good thing, it’s not the only thing that one needs. Maybe these days it’s a little more important because everything is moving faster and people need to be hooked quicker. But I’m thinking that a good opening paragraph or even a few pages will do the trick.

Also, some of the lines I would have used have been snatched up earlier in the week. Not wanting to repeat those, I’ve come up with some other examples.

Re: my own openings, coming from a screenwriting background, I do usually try to open a story with a hook or teaser. You need something to draw readers in and give them a little taste of what lies in store for them. Like some of my fellow Criminal Minds have noted, it doesn’t have to be a body or a murder, but something intriguing has to happen. There has to be a compelling reason to keep reading. And clearly the style or genre of the story will make a difference in terms of the opening. So let’s get to it.

Here’s the openings from some novels that I like:


The Poet  – Michael Connelly:

Talk about a great opening line—the first sentence really intrigues you. You know this character is involved in crime—maybe a cop, a newspaper reporter? Death is a normal occurrence for him, but then comes the reversal, “But my rule didn’t protect me—.” Now the reader knows something unusual is happening, something different and this is not going to be your run of the mill murder story. This is, however, my favorite Michael Connelly story of all of them.


Nightmare Alley – William Lindsay Gresham:

Stan Carlisle stood well back from the entrance of the canvas enclosure, under the blaze of a naked light bulb, and watched the geek. 

This geek was a thin man who wore a suit of long underwear dyed chocolate brown. The wig was black and looked like a mop, and the brown greasepaint on the emaciated face was streaked and smeared with the heat and rubbed off around the mouth.

This opening sets an atmosphere that’s mysterious and piques your curiosity. You have no idea where the story is going, but the description gives you a visual image that is so strong you feel like you’re there and you want to know who the geek is? What’s he going to do? And where is this story going to take me?


Tell No One – Harlan Coben:

This opening creates so many questions. It lets the reader know that they’re in store for a mystery that will be complex and multi-layered. It sets us up to wonder what happened in the past and what happened that altered everything? Already your imagination starts going into overdrive.


The Grifters – Jim Thompson:

Three paragraphs into the story and we don’t know who Dillon is yet or what his problem is, but we immediately know he has problems. And we know they’re not your ordinary type of problems. And we’re sucked into Dillon’s life and dragged into all his issues. Again, this opening sets a tone and mood. You know you’re in for a rough ride.


Down There: A.K.A. Shoot the Piano Player – David Goodis:

Why were there no street lamps? Why was the man kneeling at the curb, spitting blood? That intrigues me in this, my favorite David Goodis novel. And don’t go by the movie where the action was changed to France.

This is an example where the opening starts at the end of the story and we go back to find out what led up to this. A great opening sets mood, tone and makes us ask questions. It draws you in.


Devil in a Blue Dress – Walter Mosley:

Here you have a great example of voice. We get a taste of the narrator’s (Easy Rawlins’) personality and we want to know more about him. Yes, we are intrigued by the white man who walks into the room, but the real grabber is Easy’s reaction and the little tidbit of his history that we learn about. His character draws us in.


And one I always site from Raymond Chandler’s short story Red Wind:

There was a desert wind blowing that night. It was one of those hot dry Santa Ana's that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that every booze party ends in a fight. Meek little wives feel the edge of the carving knife and study their husbands' necks. Anything can happen. You can even get a full glass of beer at a cocktail lounge.

This is the classic opening that I’ve been inspired by again and again. What do I love about it? It describes a mood and setting that is so real you can feel it, taste it and smell it. And, of course, there’s Chandler’s voice, his acerbic wit and keen observation of human nature. He’s a master at openings.

Here are some openings from some of my novels:


Broken Windows:

The Hollywood Sign beckoned her like a magnet—or like a moth to a flame. The sign glowed golden in the magic hour sun—that time of day around sunrise and sunset when the light falls soft and warm and cinematographers love to shoot. Like so many others, Susan Karubian had come here seeking fame and fortune, hoping to make her mark on the world. Oh hell, she had come to be a star like all the others. And she would do it, just not quite in the heady way she’d anticipated.

I mostly write things set in L.A., so I like using film terms like “magic hour” to set a tone for the story. And I try to set up the mood and tone and describe the scene so readers can feel like they’re there. I want the reader to feel like they are in Susan’s place and empathize. And to wonder what she’s doing at the Hollywood Sign and why.


White Heat:

My father always said I was a fuckup, that the only reason we get along is ’cause he keeps his mouth shut. Maybe he’s right:

I fucked up high school.

Fucked up college.

Fucked up my marriage.

Fucked up my life by leaving the service.

And now I’ve fucked up a case.

Fucked it up real bad.

Teddie Matson was different. She had a golden life, until her path had the misfortune of crossing mine. I sat staring out the window of my office, k.d. lang playing in the background. It was a while till the sun would set, that golden hour when everything takes on a gilded glow.

Golden hour is the time when the light hits just right in the early morning or late afternoon. The time when movie cinematographers most like to shoot. The light is tawny and warm. Gentle. It makes the stars shine brighter.

Golden hour is the time when Teddie Matson was killed.

This opening introduces my character Duke and hopefully draws readers in in response to Duke’s voice. Again, I’m using film terms like “golden hour’ to set a tone and to contrast the illusion of the film world to the harsh reality of real life.


Vortex:

All I wanted was to forget the past. Put it behind me and never think about it again. But you can’t forget the past. Not really. It’s always there inside you, like a leech holding on, sucking blood and life from you every minute of every day. Sucking down part of your soul, holding you back and keeping you from moving forward. Like a shark, if you don’t—or can’t—move forward you die. The past is one harsh mistress. And it won’t let you forget it either.

I came home from the war and felt like I was on the front line again. To hell and back and back to hell again.

I guess this opening sums up my character’s philosophy and maybe makes you want to read more. It makes you wonder what happened that could be as bad as being in a war?


So, there you have it. What are some of your favorite openings? 

~.~.~

And now for the usual BSP:

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Sympathy for the Devil

Do characters need to be sympathetic? Why? Why not? Does it make a difference in different genres?

by Paul D. Marks


...get rid of my flaws and there would be no one left.
                                                           ―Sarah Vowell, Take the Cannoli

No. Definitely not. But if you want readers to go along with you they should probably have at least some redeeming qualities. The anti-heroes in many film noirs aren’t good guys, but they have something that puts us on their side anyway. Nor do I think genre makes a difference.

I haven’t read any of the Save the Cat books about storytelling and writing, but I gather that the point of “saving the cat” is to show the reader or viewer a good quality in the character so they’ll root for that character on some level.

Curley and Moe, a couple of cats we actually did save

So let me talk about the people (characters) I know best, the ones I’ve created. Many of my characters are flawed one way or another. Some of them with major flaws like racism, others with everyday flaws like vanity or envy. I think we’re long past the days where the good guys wear white hats, don’t cuss, don’t smoke and don’t throw people off the tops of buildings. And if you look at the examples below I think you’ll see that I’m not “uncomfortable” with much in terms of flaws. Not because I like these traits, but because I think they’re real. And if I want my characters to ring true they have to have real flaws because no one is perfect.

Philip Marlowe, the quintessential knight errant private eye, was misogynistic, racist and more, just as a matter of course. But he was also a product of his times. We notice it today when we read Chandler, but I’m sure many people reading those stories when they first came out wouldn’t have thought anything of it. Nor do I think Chandler would have given it a second thought or consciously put it in his stories. It was just the zeitgeist of the times (if I’m not being redundant). But today, when most of us write characters with these traits we are doing it on purpose to make a point of one kind or another and to round out the character.

In my just-released book The Blues Don’t Care, most of the characters are flawed or less than sympathetic to one degree or another. The main character, Bobby Saxon, is flawed. His goal in life is to play piano with the Booker Taylor band at the famous Club Alabam on Central Avenue in L.A. during World War II. He’s got one obvious major problem to achieving that goal: if he gets the gig he’d be the only white player in the otherwise all-black band. But he’s on a mission. So when Booker offers him a shot with the band…if Bobby will help find the real murderer that James, a band member, is accused of, does Bobby go for it? For selfish reasons? To help the band? To clear an innocent man? Or just to get the gig he’s pining for? All of the above?

Bobby also has other issues to deal with and is a pretty complex character, but I don’t want to give away spoilers. Is he sympathetic? In some ways, he is. He’s also a little selfish. But mostly he’s a young, wet behind the ears guy trying to figure out how to be a man in the world of the World War II home front.

Sam Wilde is someone Bobby comes across in his quest to find the murderer. Wilde is a tough, rough around the edges man who, especially at first, is antagonistic towards Bobby both verbally and physically. But as they get to know each other they both see each other beyond initial impressions.
Bobby also crosses paths with Sgt. Nicolai, of the Los Angeles County Sheriffs Department. Nicolai is also rough around the edges. And he’s corrupt, on the take. He’s given up on the system. He doesn’t believe James is guilty, but the word’s come down from the brass: James is going down for it. So Nicolai’s faith in the system is gone. He’s tired and cynical. He drinks. But he still has a little of the idealism left that brought him to join the force and when Bobby taps into that Nicolai helps Bobby with the case.

Both Wilde and Nicolai have the prejudices of their era, sexist, racist and homophobic, but in the end Bobby appeals to their better angels. The question is who wins, the better angels or the darker ones?

The two main characters in my novels White Heat and Broken Windows are both seriously flawed. Duke, the P.I. main character, is a screw-up in more ways than one, only that’s not the word he uses to describe himself. His partner, Jack, is majorly flawed. He’s a racist—at least on the surface. He says things that maybe other people only think. But a lot of them do think those things. If you only listened to Jack talk you’d think he was a really bad guy, but if you watch his actions, you see that it’s not that simple. Jack is also a good guy. He may say the wrong thing, but he pretty much does the right thing. In Jack’s case actions definitely speak louder than words.

White Heat takes place in and around the 1992 “Rodney King” riots in Los Angeles. And, though it’s a mystery, it deals with many racial issues and concerns—which are still relevant today. So the book is sort of a prism on today, though set in the not-too-distant past. I was so concerned by the raw nature of some of it that I put an author’s note in the beginning of the book. I put the disclaimer in, but I also left in the raw language and actions of the characters. But I was still nervous about how people would react. Luckily the reaction was pretty positive on all fronts and the book ended up winning a Shamus award.

I also see Jack as the little devil on Duke’s shoulder, like you would see in the old cartoons. Jack is sort of Duke’s alter ego, the bad side of Duke, the nature he must fight. And he does. But why, one might wonder, would Duke even be friends with Jack? Because, besides their personal history, Duke sees beyond Jack’s posturing to the real Jack underneath and maybe that person isn’t quite what the surface person comes off as. We all say things we regret, and sometimes do things we regret. Jack pretty much does the right thing, even if he spouts off the wrong thing. And ultimately we are all flawed and can relate to the flaws in others. It makes the characters more human, more accessible. And more real.

In Vortex, Zach Tanner is on the run—mostly from himself, from his past. In that past he might not have been the most upstanding citizen or the most squared away soldier. He did some bad stuff. But recuperating from wounds received in Afghanistan he has an epiphany about his life and realizes the error of his ways. So when he returns home he wants to go straight. The problem is some of his cohorts in crime don’t want to let him, especially because they think he has something they’re entitled to. So, in a sense it’s a story of Zach’s redemption, but the road to redemption is paved with figurative IEDs and landmines (and real guns) that Zach must circumvent if he wants to come out on the other side.

The main character—a cop—in 51-50, a story first published in Dave Zeltserman’s Hard Luck Stories—Psycho Noir edition (so the edition title alone might tell you something about the character), and now in my LA Late @ Night story collection, shoots a gang banger out of sheer frustration, not because of a life-threatening situation. The cop is unraveling throughout the story, the pressures of life on the street are too much for him to deal with anymore. The story was written and published some years ago, but again is relevant in light of what’s been happening in the country today. The cop is not a bad guy. He wants to do the right thing. But dealing with the stress of the streets and the thugs he has to deal with just wears him down.

Ray Hood in Dead Man’s Curve (Last Exit to Murder anthology) is an aging rocker, his glory days as a road guitarist for Jan and Dean are long behind him. He’s selfish, he does bath salts (not the kind you put in the tub), he doesn’t appreciate what his sister is trying to do for him. Definitely not a model of perfection. And he wants to get back in the game. To that end he will do just about anything.

In Poison Heart (Deadly Ink 2010 anthology), Winger is a crime beat photographer, who can’t adjust to the modern world and has become jaded by all the violence he sees in the real world. So he decides to take things a step further and goes way beyond the bounds of the law to get a good pic, selling his soul (so to speak) in the process. Another desperate character who will do desperate things to stay on top and be a modern-day Weegee. Again, his flaws are the petty flaws we all have, but he takes them to another level. A more personal level of envy and the desire to be on top and what he’s willing to do to be there.

Howling at the Moon (November 2014, Ellery Queen Mystery Magazine): This one’s a little different in that the character is not a bad person. Not selfish or suffering from envy or any of the other seven deadly sins: lust, gluttony, greed, sloth, wrath, envy, pride  But he is disaffected and has separated himself from his American Indian roots, especially after coming home from the war in Iraq. He ultimately does something we might think is immoral, but we empathize with him and understand why he does it. Nonetheless, he becomes a flawed person by the actions that he takes.

Most of my characters are flawed because people are flawed. I don’t necessarily set out to write a character with this or that flaw, but the character comes to life in the writing and develops those flaws, just as people do as they go through life. Ultimately, I think the reason most of us like flawed protagonists is that we can relate to them more.  They are more like us. Not perfect, not saints, more like real people, just trying to get by in a flawed world.

~.~.~

And now for the usual BSP:

The Blues Don't Care is getting some great reviews:

"It’s the first entry in what promises to be an entertaining and thoughtful series --- mysteries that not only have the requisite twists, turns, surprises and reveals, but also offer a penetrating look into our ubiquitous all-too-human flaws: greed, corruption, fear of the “other” and, especially, racism."
—Jack Kramer, BookReporter.com

"This is a beautifully noirish book, set firmly in the dark days of wartime and offering a sharp insight into the life and times of Los Angeles, 1940s style. Yes, it’s a mystery thriller, but The Blues Don’t Care is so much more than that, with historic detail, chutzpah, a cast of hugely entertaining characters, a really unusual protagonist and, best of all, a cracking soundtrack too."
—DeathBecomesHer, CrimeFictionLover.com

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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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It Was the Best of Lines, It Was the Worst of Lines

Paul's taking a bit of a break this week (his treatment is proving to be a bit exhausting, however he WILL be back) so here's a post - following this week's theme about openings - that he posted in August 2019. Depending on your perspective that's either "not every long ago" or is eons ago, in the "pre-COVID period". Either way, it's a fascinating, and insightful post. 

Readers often read the opening few lines or page to a book before deciding to buy. What makes an opening sentence stand out above the rest? Give examples of openings, including your own, that you believe work brilliantly. Any tips or lessons learned for new authors about what to avoid on that first page? 

by Paul D. Marks

“It was the best of times,
It was the worst of times.”

I don’t think you can beat Dickens and that opening line. And despite the title of this post, I’m not doing the worst lines here.

It’s interesting, when I first started writing this piece I went back to a lot of mystery/crime (and some non-mystery) books that I really like. And I found that a lot of them didn’t have what I would consider particularly catchy or hook-y opening lines. Though I did find some (see below). Yet for one reason or another I was still hooked into those stories. So this leads me to believe that, while a good opening line is a good thing, it’s not the only thing that one needs. Maybe these days it’s a little more important because everything is moving faster and people need to be hooked quicker. But I’m thinking that a good opening paragraph or even a few pages will do the trick.

Also, some of the lines I would have used have been snatched up earlier in the week. Not wanting to repeat those, I’ve come up with some other examples.

Re: my own openings, coming from a screenwriting background, I do usually try to open a story with a hook or teaser. You need something to draw readers in and give them a little taste of what lies in store for them. Like some of my fellow Criminal Minds have noted, it doesn’t have to be a body or a murder, but something intriguing has to happen. There has to be a compelling reason to keep reading. And clearly the style or genre of the story will make a difference in terms of the opening. So let’s get to it.

Here’s the openings from some novels that I like:


The Poet  – Michael Connelly:

Talk about a great opening line—the first sentence really intrigues you. You know this character is involved in crime—maybe a cop, a newspaper reporter? Death is a normal occurrence for him, but then comes the reversal, “But my rule didn’t protect me—.” Now the reader knows something unusual is happening, something different and this is not going to be your run of the mill murder story. This is, however, my favorite Michael Connelly story of all of them.


Nightmare Alley – William Lindsay Gresham:

Stan Carlisle stood well back from the entrance of the canvas enclosure, under the blaze of a naked light bulb, and watched the geek. 

This geek was a thin man who wore a suit of long underwear dyed chocolate brown. The wig was black and looked like a mop, and the brown greasepaint on the emaciated face was streaked and smeared with the heat and rubbed off around the mouth.

This opening sets an atmosphere that’s mysterious and piques your curiosity. You have no idea where the story is going, but the description gives you a visual image that is so strong you feel like you’re there and you want to know who the geek is? What’s he going to do? And where is this story going to take me?


Tell No One – Harlan Coben:

This opening creates so many questions. It lets the reader know that they’re in store for a mystery that will be complex and multi-layered. It sets us up to wonder what happened in the past and what happened that altered everything? Already your imagination starts going into overdrive.


The Grifters – Jim Thompson:

Three paragraphs into the story and we don’t know who Dillon is yet or what his problem is, but we immediately know he has problems. And we know they’re not your ordinary type of problems. And we’re sucked into Dillon’s life and dragged into all his issues. Again, this opening sets a tone and mood. You know you’re in for a rough ride.


Down There: A.K.A. Shoot the Piano Player – David Goodis:

Why were there no street lamps? Why was the man kneeling at the curb, spitting blood? That intrigues me in this, my favorite David Goodis novel. And don’t go by the movie where the action was changed to France.

This is an example where the opening starts at the end of the story and we go back to find out what led up to this. A great opening sets mood, tone and makes us ask questions. It draws you in.


Devil in a Blue Dress – Walter Mosley:

Here you have a great example of voice. We get a taste of the narrator’s (Easy Rawlins’) personality and we want to know more about him. Yes, we are intrigued by the white man who walks into the room, but the real grabber is Easy’s reaction and the little tidbit of his history that we learn about. His character draws us in.


And one I always site from Raymond Chandler’s short story Red Wind:

There was a desert wind blowing that night. It was one of those hot dry Santa Ana's that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that every booze party ends in a fight. Meek little wives feel the edge of the carving knife and study their husbands' necks. Anything can happen. You can even get a full glass of beer at a cocktail lounge.

This is the classic opening that I’ve been inspired by again and again. What do I love about it? It describes a mood and setting that is so real you can feel it, taste it and smell it. And, of course, there’s Chandler’s voice, his acerbic wit and keen observation of human nature. He’s a master at openings.

Here are some openings from some of my novels:


Broken Windows:

The Hollywood Sign beckoned her like a magnet—or like a moth to a flame. The sign glowed golden in the magic hour sun—that time of day around sunrise and sunset when the light falls soft and warm and cinematographers love to shoot. Like so many others, Susan Karubian had come here seeking fame and fortune, hoping to make her mark on the world. Oh hell, she had come to be a star like all the others. And she would do it, just not quite in the heady way she’d anticipated.

I mostly write things set in L.A., so I like using film terms like “magic hour” to set a tone for the story. And I try to set up the mood and tone and describe the scene so readers can feel like they’re there. I want the reader to feel like they are in Susan’s place and empathize. And to wonder what she’s doing at the Hollywood Sign and why.


White Heat:

My father always said I was a fuckup, that the only reason we get along is ’cause he keeps his mouth shut. Maybe he’s right:

I fucked up high school.

Fucked up college.

Fucked up my marriage.

Fucked up my life by leaving the service.

And now I’ve fucked up a case.

Fucked it up real bad.

Teddie Matson was different. She had a golden life, until her path had the misfortune of crossing mine. I sat staring out the window of my office, k.d. lang playing in the background. It was a while till the sun would set, that golden hour when everything takes on a gilded glow.

Golden hour is the time when the light hits just right in the early morning or late afternoon. The time when movie cinematographers most like to shoot. The light is tawny and warm. Gentle. It makes the stars shine brighter.

Golden hour is the time when Teddie Matson was killed.

This opening introduces my character Duke and hopefully draws readers in in response to Duke’s voice. Again, I’m using film terms like “golden hour’ to set a tone and to contrast the illusion of the film world to the harsh reality of real life.


Vortex:

All I wanted was to forget the past. Put it behind me and never think about it again. But you can’t forget the past. Not really. It’s always there inside you, like a leech holding on, sucking blood and life from you every minute of every day. Sucking down part of your soul, holding you back and keeping you from moving forward. Like a shark, if you don’t—or can’t—move forward you die. The past is one harsh mistress. And it won’t let you forget it either.

I came home from the war and felt like I was on the front line again. To hell and back and back to hell again.

I guess this opening sums up my character’s philosophy and maybe makes you want to read more. It makes you wonder what happened that could be as bad as being in a war?


So, there you have it. What are some of your favorite openings?

~.~.~

And now for the usual BSP:

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More Books in Heaven and Earth

Do you read the kind of books that you write or do you tend to read books that are the opposite or different – and why?

by Paul D. Marks

These days I’m lucky to find the time to read anything. I don’t know where the time goes, but it goes. A lot of it is spent on writing and related tasks. Writing is a major time suck, but a good one. I also get asked to read a lot of books to blurb or for similar reasons, so that limits the amount of totally discretionary reading I have time for, though I’m trying to take a break from that so I have more time for pleasure reading, not that some of those books aren’t pleasurable. Plus, writing short stories I try to read as many of them as possible, too.

As to what I read, I read everything, though not as much of anything as I used to. Leisure time seems at a premium.

First, since the question asks in part “Do you read the kind of books that you write?” let’s start with what I write. I write various kinds of (mostly) crime fiction, from noir to traditional-hardboiled and even satire, with a crime-y bent. Nothing like having an audience laugh hard and hearty when you’re reading a story that you hope and pray is funny and find out others think it is, too. One of my best memories of this was reading a section of my story Continental Tilt to an audience and having them laugh uproariously. That was a good feeling.

I even write a series, the Ghosts of Bunker Hill stories, that has a paranormal element to it. So I’m all over the place. I’ve also written some mainstream, dare I say literary fiction, such as my story Terminal Island, published in Weber: The Contemporary West, and Endless Vacation, which garnered honorable mentions at both Glimmer Train and the Lorian Hemingway International Short Story Competition.

Before I get to directly responding to the question, let me turn it around and say that I write books and stories that I like and that I would want to read. So now that I’ve talked about what I write, let me talk about what I read.

I do read mostly in my genre these days, though not necessarily only the types of books that I write. But I like to read outside the genre too. I like to read mainstream fiction and non-fiction. I don’t like to mention names of people I know because inevitably someone is left out and feelings get hurt so let me mention some well-known faves in the genre: Raymond Chandler, Ross Macdonald, Michael Connelly, Walter Mosley, James Ellroy, Carol O’Connell, Harlan Coben, Robert Crais, David Goodis and others.

On the other hand, I also read out of the genre. And, as I’ve also mentioned before my favorite book is far from a mystery-thriller type of book. It’s The Razor’s Edge by Somerset Maugham, for a lot of reasons I won’t go into here. Other faves outside the genre include The Tartar Steppe (Dino Buzzati), Monte Walsh (Jack Schaefer), Journey to the End of the Night (Louis-Ferdinand Celine), The Book of Laughter and Forgetting (Milan Kundera), World’s Fair (E.L. Doctorow), Paint it Black (Janet Fitch), Bright Lights, Big City (Jay McInerney) and so many others, like Jonathan Franzen, Anne Tyler and John Irving.

I also like to read non-fiction. I recently read High Noon: The Hollywood Blacklist and the Making of an American Classic by Glenn Frankel. I’m fascinated by the blacklist, red scare and that whole era and this book hit that nail square on. I go through phases where I’ll read a lot about one particular subject. For example, a long time ago I read several books on the French and Russian revolutions and the Spanish Civil War. I’ve always loved history. My tastes run the gamut from reading about Los Angeles history and historical landmarks to Coney Island on the “other” coast. And I love reading rock history, especially the Beatles. Sometimes I’ll read about the history of the movie business—hell, I even made it into a book about the biz: MGM: Hollywood’s Greatest Backlot.

One of my current interests is in World War I, not so much the war itself but the aftermath and lasting effects and cultural changes that sprang from it.

And I would like to give John D. Macdonald a try again. I’ve read a couple of his books a long time ago and I’m afraid to say I wasn’t enthralled. But I’m up for another go.

So I read a wide variety of things. And even if I read a lot of different things from what I write, I think it influences my writing. My characters don't live in a one dimensional world of murder and crime, so I don't want to either. Like Shakespeare said there are more things in heaven and Earth.... Like pizza.

So, what about you—do you read the kind of books that you write or something else?

~.~.~

And now for the usual BSP:

My story Past is Prologue is out in the new July/August issue of Alfred Hitchcock Mystery Magazine. Available now at bookstores and newstands as well as online at: https://www.alfredhitchcockmysterymagazine.com/. Hope you'll check it out.

Also, check out Broken Windows, the sequel to my Shamus Award-winning novel, White Heat.

Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website  www.PaulDMarks.com

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