Are You Sitting Down?

Usually,  "Are you sitting down?" introduces conversations that deal with topics that are shocking--either tragically or wonderfully.  In this case, the question is meant literally and directed toward the writers among us.  Perhaps I should expand the inquiry to, "Are you sitting down when you write?When I first considered this, I thought that people with computers probably always write sitting, but with a laptop or the proper positioning of bed or couch and computer, writing can be accomplished while lying down.  Personally, I know a couple of writers who still write in long-hand before moving their work to a computer.This would make writing while reclining easier.  I also have a friend who writes everything on his Ipad.

Mark Twain, Truman Capote, and Marcel Proust were all inclined to lie down on the job when writing.  They weren't lazy.  Each of them was ambitious and prolific.  Mark Twain scolded writers who complained about the difficulty of writing.  He is quoted as saying, "Writing is the easiest thing in the world...Just try it in bed sometime.  I sit up with a pipe in my mouth and a board on my knees, and I scribble away."  Imagine how much more prolific Twain would have been with a computer on his knees!

Marcel Proust's housekeeper said that she'd never seen him write when he wasn't lying down.  He didn't even use a pillow to prop himself up.Truman Capote had a ritual of writing everything in long-hand, then editing and copying it over in long-hand before ever transferring it to a typewriter.  Revisions after the typed versions were typed on a special yellow paper.  Capote wrote lying down while smoking cigarettes and drinking coffee.  Whew!  No wonder he reclined to write.  Just thinking about this routine makes me tired.

The opposite extreme from the writers who lie down to write are the ones who stand to write.  Ernest Hemingway is said to have written A Moveable Feast at a stand-up desk.

Philip Roth claims he paces constantly when writing and that each page of his books represents about half a mile of walking.  His  Goodbye, Columbus would represent a 100-mile walk, but it did win a National Book Award, so perhaps it was worth the long walk.

Charles Dickens was also a stand-up writer, but when he needed inspiration, he became a walk-around author.  He commented that when walking in Paris, his rambling walks always ended up at the Paris Morgue.


Writers sitting, reclining, standing, or walking? Another interesting consideration is clothing. There are writers who wear their pajamas or nightgowns while creating.  The author of Cyranno de Bergerac, playwright Edmond Rostand, worked while in his bathtub.  D. H. Lawrence sought inspiration by climbing trees when nude.  This is one kink I don't recall reading about in his work.

During a spell of writer's block, Victor Hugo once gave his servant his clothes and had him lock Hugo in a room, forbidding the servant to let him out until he'd completed his day's writing goal. Dan Brown, author of The Da Vinci Code, frequently cured writer's block by hanging himself upside down in gravity boots.

What about you?  What's your favorite position to write?  Do you use any special kind of paper? What do you like to wear when writing?  Any unusual rituals?  Tell us about them.

What's that?  You have a question? 

Absoutely not!  I have no intention of telling you where I'm writing this or what I'm wearing.


Until we meet again...take care of YOU!

Professional Tips– Ray Bradbury

by Leigh Lundin

Ray Bradbury died.

The science fiction guy.

I'll tell you why crime readers should care. I'll tell you why writers should care.

To reiterate a previous article: Like westerns aren't about shootouts but about morality, the best science fiction– true science fiction– isn't about monsters or wookies or light sabres. it's about us– it's about society. It's about imagination.

Beyond that, there's a bond between American science fiction and mysteries, not the least being the authors who cross over from one to the other. If you doubt me, consider Bouchercon, named for Anthony Boucher. If you wonder about Bradbury's importance to writing in general, look no farther than Farenheit 451, the first and final word about the freedom of writing. He's particularly revered for not inventing Scientology.

Ray Bradbury was an amazing short story writer. The Martian Chronicles and The Illustrated Man aren't so much novels as they are collections of short stories.

Social Butterfly Effect

My mother bought Playboy subscriptions for my Dad's birthday. Thanks to that fortuitous event, I used to sneak in and 'read' my father's magazines. Although I was too young to actually read (and therefore couldn't cover my crime by getting the dates in the right order), I discovered I liked women and all their components… a lot. I'm very grateful not to have grown up in the hysteria of today's world.

By the time I could parse words, I found Playboy published some of the finest science fiction including Bradbury. One of those stories in June 1956 was the chilling 'A Sound of Thunder' by Ray Bradbury. The term 'butterfly effect' grew out of the story long before scientists used the word. The movie A Sound of Thunder is 'okay' but uses the original story only as a starting point. Read the story and discover why Bradbury is a genius.

The Sound of Bradbury

What can a master teach us? Here are a few words of Bradbury's wisdom.

1. We are cups, constantly and quietly being filled. The trick is, knowing how to tip ourselves over and let the beautiful stuff out.
2. Your intuition knows what to write, so get out of the way.
3. Do what you love and love what you do.
4. I don't need an alarm clock. My ideas wake me.
5. Do you know why teachers use me? Because I speak in tongues. I write metaphors. Every one of my stories is a metaphor you can remember.
6. If you dream the proper dreams, and share the myths with people, they will want to grow up to be like you.
7. If you enjoy living, it is not difficult to keep the sense of wonder.
8. Learning to let go should be learned before learning to get. Life should be touched, not strangled. You’ve got to relax, let it happen at times, and at others move forward with it.
9. Stuff your eyes with wonder, live as if you'd drop dead in ten seconds. See the world. It's more fantastic than any dream made or paid for in factories.
10. I don't believe in colleges and universities. I believe in libraries because most students don't have any money. When I graduated from high school, it was during the Depression and we had no money. I couldn't go to college, so I educated myself in the public library three days a week for 10 years, and it's better than college. People should educate themselves - you can get a complete education for no money. At the end of 10 years, I had read every book in the library and I'd written a thousand stories.
11. You must live life at the top of your voice! At the top of your lungs shout and listen to the echoes.
12. Go to the edge of the cliff and jump off. Build your wings on the way down. Jump, and you will find out how to unfold your wings as you fall.
13. I sometimes get up at night when I can't sleep and walk down into my library and open one of my books and read a paragraph and say, "My God, did I write that?"
14. I don't believe in being serious about anything. I think life is too serious to be taken seriously.
15. I've often been accused of being too emotional and sentimental, but I believe in honest sentiment, and the need to purge ourselves at certain times, which is ancient. Men would live at least five or six more years and not have ulcers if they could cry better.
16. The women in my life have all been librarians, English teachers, or booksellers. If they couldn't speak pidgin Tolstoy, articulate Henry James, or give me directions to Usher and Ox, it was no go. I have always longed for education, and pillow talk's the best.
17. Love. Fall in love and stay in love. Write only what you love, and love what you write. The word is love. You have to get up in the morning and write something you love, something to live for.
18. Some people turn sad awfully young. No special reason, it seems, but they seem almost to be born that way. They bruise easier, tire faster, cry quicker, remember longer and, as I say, get sadder younger than anyone else in the world. I know, for I'm one of them.
19. I'm not afraid of machines. I don't think the robots are taking over. I think the men who play with toys have taken over. And if we don't take the toys out of their hands, we're fools.
20. I don't try to describe the future. I try to prevent it.
21. We must move into the universe. Mankind must save itself. We must escape the danger of war and politics. We must become astronauts and go out into the universe and discover the God in ourselves.
22. Don't ask for guarantees. And don't look to be saved in any one thing, person, machine, or library. Do your own bit of saving, and if you drown, at least die knowing you were heading for shore.
23. So few want to be rebels anymore. And out of those few, most, like myself, scare easily.
24. I know you've heard it a thousand times before. But it's true - hard work pays off. If you want to be good, you have to practise, practise, practise. If you don't love something, then don't do it.
25. You have to know how to accept rejection and reject acceptance.
26. There is no future for eBooks, because they are not books. E-books smell like burned fuel.
27. Do you know that books smell like nutmeg or some spice from a foreign land? I loved to smell them when I was a boy. Lord, there were a lot of lovely books once, before we let them go.
28. You don't have to burn books to destroy a culture. Just get people to stop reading them.
29. There is more than one way to burn a book. And the world is full of people running about with lit matches.
30. The good writers touch life often. The mediocre ones run a quick hand over her. The bad ones rape her and leave her for the flies.
31. You must stay drunk on writing so reality cannot destroy you.
32. Don't talk about it; write.

And finally…

• If you want to write, if you want to create, you must be the most sublime fool that God ever turned out and sent rambling. You must write every single day of your life. You must read dreadful dumb books and glorious books, and let them wrestle in beautiful fights inside your head, vulgar one moment, brilliant the next. You must lurk in libraries and climb the stacks like ladders to sniff books like perfumes and wear books like hats upon your crazy heads. I wish you a wrestling match with your Creative Muse that will last a lifetime. I wish craziness and foolishness and madness upon you. May you live with hysteria, and out of it make fine stories — science fiction or otherwise. Which finally means, may you be in love every day for the next 20,000 days. And out of that love, remake a world.

A sound of thunder…

It's a Long Story

by John M. Floyd

I have often heard fiction writers say, "Write whatever you like, but make sure it's either long enough to be a novel or short enough to be a short story."  Meaning, of course, that anything in between is hard to sell.  And what's in between is called a novella.

Hiking into No Man's Land

Marketability is of course not quite as big an issue these days, since the publishing and self-publishing of e-books has allowed novellas to be presented as easily as novels and shorts--but the novella does remain something of an oddity.  For those writers (like me) who continued to publish quite a few stories the traditional way, there just aren't many print markets out there that will consider novella-length manuscripts.  Very few high-circulation magazines accept novella submissions, and not many anthologies either.  The only easy way to publish novellas in print form seems to be via collections by established authors like Stephen King, who group four of five of them together in a book.

This past year, I sat down just after the Christmas holidays, when all our kiddos and grandbabies had left and our house was as quiet at Tut's tomb, and wrote a 16,000-word western mystery.  That's not quite in novella range (some editors consider the starting point to be around 20K) but it's close enough to make that story difficult to sell.  So why did I write it?  And why didn't I at least make it shorter or longer, so it would "fit in"?  Well, if you're a writer, you know the answer to that: some stories just have to be a certain length.  To have added more would have seemed like "padding" and to have taken anything out would have hurt the story.  As it turned out, I'm satisfied with it--but I do realize there's a real possibility that the manuscript might never be read by anyone but me, and that I might one day wind up using it for scratch paper, or to prop up a wobbly table leg.

Lights, camera, action

There seems to be only one real advantage to writing novella-length stories: they translate well into screenplays.  When a short story is adapted to film, something has to be added to it.  (Example: 3:10 to Yuma.  Elmore Leonard's short story begins when the two main characters are already in town, sitting in the hotel room; by the time that scene happens in the most recent film version, the movie's more than halfway done.)  Conversely, when a novel is adapted to the screen, something has to be left out.  (Example: almost any novel/movie you can think of.)  So far as I know, there are only three ways to successfully avoid those problems:

1. Adapt a novel into a miniseries (Centennial, Lonesome Dove, Shogun, The Winds of War).

2.  Adapt a short story into a short film or a half-hour TV drama (Alfred Hitchcock Presents, One Step Beyond, Death Valley Days, Twilight Zone).

3.  Adapt a novella.

Again, well-written novellas usually become good movies.  I'm reminded here of two by Stephen King: Rita Hayworth and Shawshank Redemption and The Body.  Those were adapted into the outstanding films The Shawshank Redemption (Frank Darabont) and Stand by Me (Rob Reiner), and I believe one of the many reasons that both were so good was that they were so faithful to the original stories.  There was little need to either trim or inflate them.  The same holds true for Norman Maclean's novella A River Runs Through It, which became the excellent movie by Robert Redford.

Notable novellas

I can't resist listing a dozen of my favorites:

The Postman Always Rings Twice -- James M. Cain

The Time Machine -- H. G. Wells

Of Mice and Men -- John Steinbeck

The Mist -- Stephen King

The Third Man -- Graham Greene

I Am Legend -- Richard Matheson

Heart of Darkness -- Joseph Conrad

Tenkiller -- Elmore Leonard

Do Androids Dream of Electric Sheep? -- P. K. Dick

Legends of the Fall -- Jim Harrison
Shopgirl -- Steve Martin

The Call of the Wild -- Jack London

NOTE: Many of the above did result in darn good movies.  And some didn't.

Just a few questions, ma'am . . .

What are some of your favorite novellas?  In general, do you find them more enjoyable than novels or shorts?  Less enjoyable?  Do you have a preference?  (I don't.  To me, length doesn't matter if the story's good.)

Besides, the term "novella" is subjective.  I've heard people refer to A Christmas Carol as a short story and to The Old Man and the Sea as a novel.  But who really cares?  Good fiction is good fiction.

I also heard someplace that if you'd like to read Herman Melville and you aren't in the mood to read 800 pages about a hunt for a sperm whale, Billy Budd is a reasonable alternative.  (Sounds reasonable to me.)

. . . and a definition

The following silly poem might be a good way to close this silly discussion.  I call it "In Literary Terms."

"A short story's simple, but what's a 'novella'?"

Joe asked writing teacher Ms. West;

"And how do I know 'novelettes' when I see them,

And what's a 'short novel'?" he pressed.

"In fact, why not just call all three the same thing?"

Joe continued while scratching his head.

Ms. West just leaned forward, face solemn, eyes twinkling;

"Well, that's a long story," she said.

Stealing Slicks

For those of you wondering what calf brandings and riding along Custer's Trail (dealt with in my last two blogs) has to do with Sleuth Sayer's theme of mystery, crime and criminals, hang on, this is where it all comes together.
About mid-career, the agency sent me back east to Conspiracy School. Here, the Wise Men taught us how to use evidence from already existing cases along with witness testimony in order to bring grand jury indictments against drug suppliers further up in the hierarchy. It was a way to reach out and touch some of the hard to get guys. To implement this training, I took full advantage of the Federal Sentencing Guidelines which stated that a defendant could get a lesser sentence if he cooperated.

The starting point for this cooperation was for the defendant to sit down with me for several hours in which he provided details of every deal he'd ever done, to include the who, the where, the when, the amounts, how it was transacted and what telephone records, motel records, airline tickets, vehicle rentals, financial records or other evidence might exist for me to build a case, even if the supplier was in another country. It was grueling work, building a time line and going over and over the facts to pry out any useful gem of information.

At the end of our sessions, I had learned to ask three simple questions:

1. Have I asked all the right questions?
2. Is there anything else you haven't told me?
3. Are there any other crimes we need to talk about?

It seems that once, during a call back interview when I confronted a defendant about leaving out some information in a previous session, his excuse was that I hadn't asked the right questions, thus my utilization of Questions 1 & 2.However, it was the answers to Question #3 that sometimes provided unexpected stories. Like the time I debriefed a guy we'll call Charlie Lewis.

Charlie was a hired ranch hand who had fallen in with bad companions, although in his case it didn't take much to get there. Seeing the high rate of financial return and the low work requirements for dealing dope, as opposed to pulling calves and tending livestock for other people, Charlie became an entrepreneur at a low rent motel. Unfortunately, his desire for easy money put together with his ignorance of the downside to this type of business soon had him sporting some shiny, new wrist jewelry.

So, when I got to Question #3 with Charlie, his reply was, "Well, I used to steal slicks."

Now, I had no idea why anybody would want to steal bald tires, and it must have showed in my response.

"Slicks?"

"Yeah," said Charlie as he proceeded to educate me about "slick" being a reference to an unbranded calf, one which still had a slick or unmarked hide, and therefore was easy to sell to an auction barn with loose requirements. His tale went something like this.

In the dark of night, Charlie and one of his hard-up-for-cash, thieving partners would park their pickups and livestock trailers on a lonely country road not too far from a pasture gate. They'd saddle up their horses, open the gate and ride through some rancher's vast grass land until they found part of his herd. Naturally, they picked a ranch which hadn't gotten around to branding yet.

Rounding up as many "slicks" as the two of them could handle, they herded them back to the gate and into the livestock trailers. Afterwards, they drove all night to a stock yard down in Nebraska where a one-eyed stock dealer would purchase the calves with no questions asked. However, there was one midnight roundup which still bothered Charlie.

They'd gathered up some slicks and were headed back to the pickup when it started raining hard, and finally got down right miserable trying to keep their small herd together. Spying a deserted ranch house nearby, the two partners decided to pen the calves up inside the house and shut the door. Then, they'd go home, get dried out and rested up, and come back in the morning to retrieve their ill gotten gains.

The next morning, Charlie's partner failed to show up and get him. Charlie waited until well after daybreak before deciding to drive out to the deserted ranch house and load the calves up himself. But, when he arrived at the abandoned house, it was empty. Later, Charlie heard that his so-called partner had been spending lots of money in the local bars down by the Rez, As Charlie sadly lamented, "There really is no honor amongst thieves." And, that was the end of his tale, but not the end of the story.

Years later, on one of the Custer Trail Rides, that ole cowboy, that I'd helped round up his beef and then trail them off goverment pasture and over to his ranch land, came up to me in camp.

"I hear you know Charlie Lewis," he said.

"That's right," I replied. "How do you know him?"

"I hired him straight out of college to help me at calving time."

That was news to me. I had no idea Charlie had ever gone to college. The old rancher soon clued me in that "college" was a local euphemism for prison, because it was an institution where those in attendence got educated into all types of crime.

I had to admit, he had a point.

"Yeah," he continued, "and when we got done with calving that year and I got to tallying up the count, I happened to mention in front of Charlie that we were a couple of calves shy."

I immediately began to wonder if the rancher suspected Charlie of being up to his old tricks.

"Nope," replied the rancher, "Charlie was so happy I'd given him a job so he could get out of college a few months early that he made me an offer on the shortage."

"Don't worry about the missing ones," Charlie is reported to have said. "I know where I can get you a couple of slicks to replace those two."

The old rancher hurriedly declined Charlie's generous offer, but I've often wondered how Charlie turned out after that. Last I heard, he had a good job working for an interstate company. Could be an interesting situation, depending upon how often they update their inventory.

The Asparagus Bed

I've had out of town guests the last week and a half.   New composition was out of the question.  So, for your reading enjoyment (I hope), a story of mine that was published in "Green Prints", a gardening magazine, in August of 2002.  Also, historically, the first appearance of Officer Grant Tripp...

     By the end of May, Mary Olson’s future asparagus bed was five feet wide by eight feet long and getting deeper every day.  It looked, we all agreed, just like a grave, and the only question was what to bury in it.  Most of us put her husband at the top of the list, but not Mary.

     “Not on your life!” Mary cried.  “I plan to be eating from this patch for twenty years, and that means I’ve got to lay down enough fertilizer to feed it all that time.  Now you tell me, would you want to be eating off of Ed for twenty years?”  You couldn’t argue with that.

     Nobody had ever seen Mary work so hard.  She’d come home from working at the water treatment plant at four, and head straight for the back yard.  Felix, her cat, was right behind her as always, silent and stiff-legged. He was eighteen years old and he followed her like a dog.  She’d pet him a bit, set her beer can on top of the fence post, pick up the shovel, and have at it.

     She dug it all by hand.  The shovel was way too tall for her, but she wouldn’t use the short kind because they threw her back out.  She wore big heavy work boots and tied her head up in a bandanna to keep the mosquitoes out of her ears.  Her hair, linen yellow and tightly permed, poofed up over the bandanna just like a poodle’s.  From the neck up she looked like Rosie the Riveter; from the neck down like Roseanne.

     You never saw anyone dig so carefully.  She kept the sides straight as a ruler, sifted the dirt clean of trash, and clipped the roots away instead of hacking them with the shovel.  The cleaned dirt went into a big pile by the hole, the roots and trash into a paper sack.  She took her time, and since Ed always lingered down at Mellette’s Lounge, she had plenty of it.  Two hours and two beers, with Felix curled up in his favorite spot under the lilacs, watching her sweating hard, creating the ultimate in cat boxes.  Well, don’t you think that’s what he thought about it?

     God knows what Ed thought about it.  Maybe he didn’t.  As long as he had his dinner hot and ready whenever he floated on home, he didn’t care.  Mary said his favorite meal was frozen fish filets, microwaved to perfection, so the menu wasn’t hard to plan.  She bought them by the case, along with boxed macaroni and cheese dinners and canned green beans, and that’s about what they lived on, because Ed wouldn’t eat anything else and neither would Mary.

     Which is why I wondered about the bed.  I mean, if Mary had finally developed a yen for fresh asparagus, all she had to do was go out and hunt it in ditches like the rest of us.  Instead, there she was, every afternoon except rain and Sundays, digging away.  Oh, well.  Actually, it turned into quite a tourist attraction.  Everyone dropped by sooner or later.  Mary would stand back and sip her beer while Felix hid and we all looked and nodded and wondered, by the time it was a foot and a half deep, if it wasn’t deep enough.

     “I’ve got to go down another foot or so,” Mary said.  “That’s what double digging’s all about.  Then I can work in a couple of good thick layers of manure covered with dirt, and then I can lay out my roots.”  We all nodded like we’d just finished doing the same ourselves.  “I want it to last my lifetime at least, so I’ve got to do it right the first time.”  And we all nodded again like it was gospel.

     She dug the bed two feet deep.  She dug the bed three feet deep, and the kids started asking if she was digging to China.  She dug the bed four feet deep and we started worrying a little, especially when Ed went off to the VFW one night and never came back.  No one even remembered seeing him arrive.  After he was missing three days, Mary called the police and Grant Tripp came out and talked with her while she worked the bed.  They talked about the weather, Ed’s gambling, asparagus, Ed’s drinking, Mary’s cousin (Grant’s wife’s brother-in-law), Ed’s gambling, the weather, and Ed’s drinking.  It was only after Grant got back in his car that he realized Mary had been filling the asparagus bed in instead of digging it out.
    Things got a bit strange after that.  Folks started giving Mary funny looks everywhere she went, like they were trying to gauge if she was big enough to lug a dead man around, and she certainly looked like she was.  After a while she quit going out much, except to get groceries and beer, and when she did she jerked and snapped and glared at you when you spoke to her.  She was way too sensitive about everything, I thought.  I mean, it wasn’t our fault we couldn’t quit thinking about that hole in her back yard.  

     That’s why it was a real psychological relief when Judge Dunn okayed the warrant to search Mary’s house and property.  Grant was there the next day, with two officers, two workers from Hegdahl’s Construction, and a back hoe.  The officers went inside while the back hoe went to work outside.  Mary stood by her back steps and watched them with a face like granite.  And her face collapsed like a mud slide when they dug up Felix.

     We’d all been so worried about Ed that no one had noticed that Felix hadn’t been around for a while, either.  He was so old he must have just died in his sleep, and Mary had buried him in the back yard, the way most of us do, in his favorite spot.

     Well, everyone felt awful, looking at poor Felix, lying in the middle of all that mess.  Mary’s back yard looked like someone had taken an egg beater and whipped dirt everywhere.  It was piled two feet deep in the lilacs alone.  Grant and the back hoe boys offered to help clean it up, but Mary said she thought the cure would be worse than the disease, so everyone went home and left her to it.  It wasn’t until after dinner that it finally dawned on people that Felix’s favorite spot was under the lilacs, not in the bed.  The back hoe was back out at Mary’s the next day.

     This time Mary didn’t come out, and I can’t say I blame her.  I mean, she knew what was out there, and she knew they’d find it, even if they had to tear those lilacs apart.  But Mary hadn’t had time to dig under those tough, tall lilacs.  She’d dug beside them, and the backhoe didn’t have far to go before Ed’s body was found. 

     Mary went to jail, and her sister sold the house to the Corsons, a farm couple from Canova.  They’ve lived there for ten years now, and every year, that asparagus bed comes up thick and lush and mouth-watering.  Not that anybody picks any of it.  I mean, we all know Ed wasn’t under there that long, or that near, but as Mrs. Corson says, you can’t be too careful. 

But I’ll tell you what, Mary knew what she was talking about.  You do your asparagus bed right the first time, double-dug and heavy on the fertilizer, and it’ll last a lifetime.  

THE END

NOTE:  The inspiration for this story was that I dug an asparagus bed in my back yard, by hand.  I have no living resemblance to Rosie the Riverter or Rosanne (yet), but other than that, it's fairly accurate, down to the beloved cat watching me dig the world's largest litter box.  Many, many people came by and watched me dig, because around here most people get their asparagus wild, from ditches.  Many people, beginning with my husband, commented how the bed looked remarkably like a grave.  Many people suggested that my husband watch out.  My husband is still on the right side of the soil, but the asparagus bed did not make it - a winter from hell killed almost everything, including my lush, thick asparagus bed...  It almost broke our hearts.  Back to the ditches...

Empty Nest

by Robert Lopresti

So, for the last two months all the precious writing time I have been able to pry loose from my days has been dedicated to one piece of fiction.  I have been eagerly looking forward to kicking it out the door and going back to my regularly scheduled this-and-that writing schedule.

You can see where this is going, I'm sure.  I mailed the thing today and I find myself missing it terribly.  None of my other stories appeal to me at the moment.  I want that one back, for just one more look.

I feel like a parent who has dropped dear little Jimmy off at kindergarten.  Except, instead of wondering whether he has a clean handkerchief and enough pencils I am brooding about adverbs and punctuation.

I know I forgot to put in a sound effect I thought of a few days ago.  Did I proof-read often enough?  Carefully enough?  A quotation mark was definitely missing on a newly-minted line of dialog.  Okay, fine.  Leave them something to correct.

Doesn't matter now.  The little bird is off on its own.  If it comes limping back in a few months, a boomerang child, I will give it another reading and shove it out of the nest again.

Because I have other shells to crack.

Rejection

    A recurring theme here at SleuthSayers has been the rejection letter.  This only makes sense since rejection is often on each of our minds.   My short story output is glacier compared to some of my colleagues but even then rejection looms over me a lot of the year given the fact that each story usually dangles out there for two months before the editorial outcome is ultimately known. 

    Short story writers can be tempted to think of the rejection letter as our own personal demon since we tend to inundate a perpetually shrinking market with numerous short pieces of fiction.  There is even a website, The Rejection Generator, administered by Stoneslide Books, that can generate a changing menu of humorous rejection letters.  Rather than posting some of the examples, I invite you to try the website so that you can personally experience the emailed rejection gems it doles out. 

    But, in truth, particularly given the current state of national employment (or, more correctly, unemployment), the rejection letter is hardly the personal province of writers.  My son Colin, currently a second year law student at George Washington University, was recently rejected by a law firm to which he had not even applied.  And I remember on more than one occasion when searching for legal employment receiving rejection letters that were written to a different (although equally rejected) applicant but then sent to my address.   And this really underscores the most irritating aspect of the rejection letter.  We each offer up something personal, that we have worked on a long time -- this may be a short story, or it may be that curricula vitae that encapsulates in a page who we are -- and it is then rejected impersonally and in short order. 

    One has to be careful what one wishes for, however.  The rejection letter can be a two edged sword.  What is worse than an impersonal cookie cutter rejection?  How about one that really tells you what the rejecting party was thinking.  Often we are simply not prepared for that level of truth-telling.

    Take, for example, this 1938 classic sent out by the loveable old Disney studios.  They certainly leave no doubt as to why this poor applicant didn't get an interview. And isn't it a nice touch that the letter is drafted by a woman, and features that loveable early example of one of the long string of Disney princesses in the margin.

    The letter is from a website 10 Funniest Rejection Letters  which provides the following background information concerning the unfortunate applicant:

This letter belongs to Kevin Burg, whose grandmother received it in 1938. Despite Disney's declaration that women aren't to do any creative work, his grandmother eventually became an animator during WWII when women had to step up “For the War Effort.”

    Sometimes we really do bring rejection on ourselves.  Imagine applying to law school and then receiving this letter in reply. 

    A friend of mine witnessed a variant of this exchange, albeit oral and not actually involving a rejection letter, at a student orientation conducted at a prestigious (but for present purposes unnamed) university some years back.  The dean of the school purportedly was describing to the parents of the entering class the fact that the school receives something like 50 qualified applicants for each applicant accepted.  When he invited questions from the assembled parents a woman in the room raised her hand.  The dean recognized her and the woman, quite agitated, stood up and explained that she was quite upset since her daughter wanted to major in pre-med and they had now learned, for the first time, that the major was not offered.  My friend reported that the dean responded as follows:   "Madam, your daughter is attending the wrong school.  And you are an idiot."

All of this, quite predictably, has led to some proactive responses from would-be rejectees.  This past January the Daily Mail in the United Kingdom reported the following:

Madalen College, Cambridge, England

It is not often that Oxford University finds itself receiving a rejection letter from a would-be student, rather than issuing them with one.

So it will have raised a few scholarly eyebrows when state-educated Elly Nowell, 19, wrote to the elite institution’s Magdalen College without even waiting to hear whether her application to read law had been successful.

In a parody of Oxford’s own rejection letters, she told admissions tutors: ‘I realise you may be disappointed by this decision, but you were in competition with many fantastic universities and following your interview I am afraid you do not quite meet the standard of the universities I will be considering.’

   A similar example, perhaps even more proactive, is the following letter, currently making the rounds on the internet:

412A Clarkson Hall, Whitson University
College Hill, MA  34109

Dear Professor Millington,

Thank you for your letter of March 16.  After careful consideration, I
regret to inform you that I am unable to accept your refusal to offer me
an assistant professor position in your department.

This year I have been particularly fortunate in receiving an unusually
large number of rejection letters.  With such a varied and promising field
of candidates, it is impossible for me to accept all refusals.

Despite Whitson's outstanding qualifications and previous experience in
rejecting applicants, I find that your rejection does not meet my needs at
this time.  Therefore, I will assume the position of assistant professor
in your department this August.  I look forward to seeing you then.

Best of luck in rejecting future applicants.

Sincerely,
Chris L. Jensen

How Do You Write a Crime Novel?

At the recent book signing I did at The Book Spot in Round Rock, TX I asked the usual question first myself, “Where do you get your ideas?” I’ll give you my answer at little later in this article. But I want share some cool information about writing that I just read today. There’s a group blog, much like ours except this one is specifically written by Maine Crime Writers. I asked my friend Kate Flora who is one of the bloggers for that group if I could “steal” some of the info and she gave me permission as long as I credit it and send her a link to my blog. I readily agreed.

The first is by Kaitlyn Dunnet who starts a new group topic and the others in their group respond.


Kaitlyn: “Writers often compare writing a novel to something non-writers can more easily understand. The analogy I used to use when talking to school children was baking a cake. You mix together basic ingredients. In the case of a cake these are flour, sugar, baking powder, salt, shortening, milk, vanilla, and eggs.
With a mystery novel you have plot, setting, a crime, a protagonist (sleuth), a villain, secondary characters (suspects and sidekicks), conflict (which includes suspense), and a subplot. After you put all these things together, you put them in a pan and bake them. When the timer dings, you take a look and see what you’ve got. If the cake fell, you may have to start over. Even if it looks okay, it still has to pass the taste test. And even if it tastes okay, you still need to ice the cake to make it special. That’s the revision process, during which you expand, find perfect details to add, and so on.”

Back to Jan: What a wonderful analogy. I read this and was duly impressed. She goes on to compare writing also with putting together a puzzle. And now more from these talented writers.

Lea Wait: “One of your analogies is also mine, Kaitlyn : the enormous picture puzzle. In my case I say the author has to make up all the pieces: the characters, the time, the place, even the weather, the year, the costumes, the clues … and that sometimes, even though a whole group of puzzle pieces fit together just right … they don’t fit with the other pieces, so the author has to be brutal, and push the whole group off the table and let the dog (or the baby sister) chew on them, and start again. I think that’s especially important with historicals, since so much research goes into the planning stages, but even in contemporary mysteries, backstories, forensics, time of year, current events — all have to fit together to have the puzzle (= novel) work. Since I’m the sort of writer who plans 80% of her mystery ahead of time, that all makes sense. I suspect those writers who don’t plan further than a chapter ahead would have very different analogies in explaining how they write!”

Kate Flora: “I have to confess that I have never tried to explain the process in the ways that you ladies have. When readers ask me how I plot, I tell them how the book often begins with a character in a situation, and having to face the challenge of understanding who they are and why they are in that particular situation. Then I go on to talk about the prewriting phase of the book, what I call the “cooking” phase, where I carry the story around in my head, working it the way you’d knead dough, until I understand the major pieces of my plot: who was killed, where they were killed, how they were killed, why they were killed, who did it, who might have done it or might have wanted to do it, who will be the holders/divulgers of essential information, and how my protagonist is the right person to solve that crime.
When I’m writing about my cops solving a crime, I very often use the analogy of putting together the puzzle–finding all the pieces, building the frame, and finally finding a way to put all of those pieces together. I also use the image of the old paint-by-number set. (I don’t know if they have those anymore.) The detective will fill in dabs of this color and that, and gradually, a picture of what really happens will emerge. This one is good because it ties into something quite essential about detective work–that it requires the detective to use his or her imagination, along with the gathered facts and knowledge of the parties, to come to an understanding of what probably happened.”

Barb Ross: “I use E. L. Doctorow’s quote all the time, ‘Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.’ Because that’s how writing feels to ME.
When I’m trying to describe it to other people, I used to go with the whole pottery metaphor. First you make the clay (first draft) and then you make the pot. But lately, watching my sister-in-law who works in a high-end knitting store, I’ve gone much more with the first draft being like spinning the yarn and the rest being like knitting. I remember as a child watching my mother knitting argyle socks, with all the little spools of color. Somehow, it has to come out with both a pattern AND a shape. And, sometimes you have to rip out rows and rows to get back to the mistake and knit that part over.”

Kate Flora: (once again)…“I often use a different knitting analogy which also brings in my legal background–that writing a mystery, like writing a brief, is like knitting a complex pattern with several colors of yarn, and having to carry one strand in the back while you work on a different part of the pattern, then bringing it forward again. I’m awful at knitting. Was reasonably good at writing briefs, and am grateful that the ripping out and rewrite doesn’t involve actual stitches.”

Paul Doiron: “’Writing a crime novel is like playing a piece of music written for the cello.’ So says Yo-Yo Ma. I know absolutely nothing about classical music and cannot even carry a tune, but I’m reading a book called Imagine: How Creativity Works by Jonah Lehrer, and I was taken by his chapter on Yo-Yo Ma’s creative process. ‘Perfection is not very communicative,’ says Ma. ‘If you are only worried about not making a mistake, then you will communicate nothing. You will have missed the point of making music, which is to make people feel something.’
Ma then describes how the search for emotion shapes his performance. ‘I always look at a piece of music like a detective novel,’ he says. ‘Maybe the novel is about a murder. Well, who committed the murder? Why did he do it? My job is to retrace the story so that the audience feels the suspense. So that when the climax comes, they’re right there with me, listening to my beautiful detective story. It’s all about making people care what happens next.’
“Of course, all of us on the MCW blog actually write detective stories, but it’s intriguing to think of ourselves in the reverse way. Aren’t we all musicians, too? When we write, aren’t we’re on stage, performing, trying to connect? We want our audience to feel something. I love Ma’s line about not worrying making a mistake. I, too, try to cultivate a certain recklessness in my work because I want my readers to feel emotions when they immerse themselves in my novels. I’d rather take big chances and fail than write neat little books that are safely structured, carefully conceived from beginning to end—and instantly forgotten as soon as the reader finishes the last page.”

Okay, Jan again: Wow, did I learn a lot here, sharper minds than mine have created some fantastic visuals to explain what we do. I’ve never really been able to explain it myself. I do know that most of the time, I “hear people in my head talking,” and somehow that translates into something I think is going to be a story or a book. Often it’s one or two or three people arguing about something and I have to find out who or why and how come? I also know that I can’t outline a book before I start. If I do, then I lose the “flavor or juice” and it becomes boring. I do sometimes sort of think about and write notes about upcoming chapters after I get about halfway into the book. But not always.

And back to my opening of where do I get ideas: On Friday night before my signing on Saturday, I was sitting on my sofa watching television. Suddenly I heard a very loud report that sounded to me like a gunshot. I don’t know much about guns but this had that deep-throated ka-pow like a heavy caliber weapon. I checked the time, 10:55. After about a 10 second debate with the cats, I called 911 and reported what I heard. The shot sounded like it came west of my house, maybe a block or less away. County Sheriff’s dispatch said they’d check it out and did I want to officer to report to me. I said, only if necessary.

I didn’t want some bad guy finding out where I lived if the officer came to my house. Nothing happened until shortly after midnight. There were four or five more shots, sounding a lot like a gun battle or something. I turned off the TV, living room lights, got the cats, went back to my bedroom, turned off that lamp and dialed 911 again. Dispatch said, it’s not gun fire, ma’am, it’s fireworks. I said, are you sure? And she said, yes ma’am. My officer is on the scene and she says it’s fireworks.

Okay, it was the Friday before Memorial Day and you’re not supposed to set off fireworks inside city limits. And honestly this did not sound like fireworks, but if you think this won’t wind up in a story or a book, then think again. Picture a little ol’ lady huddled in her bedroom, with two cats counting gunshots and dialing 911. And as my daughter said when I told her the story, yeah, and the killer disguised his gunshots with the noise of the fireworks.

And people wonder where we get ideas. They are all around us, everywhere. When you need one just pull one out of the air.

My gratitude to Maine Crime Writers for the use of their material
　

Florida (mostly) Crime News

by Leigh Lundin

Sometimes articles are contributed or suggested by readers. We owe most of today's articles to ABA, Yoshinori 'Josh' Todo, and the ever-popular anonymous. There's a lot here; let's get started, but first…

The Chowchilla Children

Livermore, Ca.  The word Chowchilla tugs at the memory, a word touching on one of the most bizarre crimes in North American history. On 15 July 1976, twenty-six children from the small town of Chowchilla, California and their schoolbus vanished off the face of the earth.

Fortunately, the good guys won and all the children and the driver survived. The driver organized the escape and was celebrated as an unassuming hero. This past week the driver, Ed Ray, died in his home town.

The event reminded readers of a Hugh Pentecost story published in the 1969 fiction anthology Alfred Hitchcock's Daring Detectives, "The Day the Children Vanished". The crime was dramatized in the 1993 ABC TV movie They've Taken Our Children: The Chowchilla Kidnapping.



Dirty Cop

AVALON, Pa.  From anon, just to prove not all the crazies live in Florida, a citizen thought his utility bills were unusually high. It turns out his neighbor, a Pittsburgh policeman, was breaking into his home to use his washing machine. I'm not sure soft-soaping the court will work in this case.

Hot Cop

Scottburgh, SA  From ABA, we have the tale of the lady cop who had the urgent need to conduct an 'in-depth investigation'… with a prisoner in a holding cell. I'd say 'under cover' investigation except there were no covers, only oral testimony. Stark naked in flagrante delicto, they were caught by fellow officers.

Donut Do-Not

Orlando, FL.  From Yoshinori Todo comes a couple of cons (in Florida, naturally) that seemed clever on the surface but fell short. First is the fellow who successfully convinced an Orlando Dunkin' Donuts that the corporate office had sent him to perform a surprise audit. They pulled the cash drawer so he could take it into a back room… so far, so good… I mean bad. Then he got into a bit of a rush, grabbed the cash and tried to take off, but customers foiled him before he got too far. My guess is he'll be spending time in the hole.

Debit Debut

Sarasota, FL.  If you or I were to steal a credit or debit card, we'd be screwed when the clerks realized the card was blocked. However, a party of five figured out a way around it. The 'customer' with the card pretended to phone the 'credit card center', which 'gave permission' for the clerk to complete the transaction 'off-line'.

Except this clerk remembered hearing of a similar scheme. She contacted police while stalling the customer. The cops picked up three scammers in the store and arrested two more in the parking lot, one who'd pretended to be the credit card 'call center'.

The $1 Crime

Naples, FL.  Normally if you commit a crime, even petty theft, you'd be wise to make haste outta there. But a Collier County man, somewhat inebriated, helped himself to free drink at a McDonald's soda machine. Employees called him on it, but instead of leaving when asked, he stuck around giving police time to arrive and arrest him. Word has it he's been arrested a second time. Still, he's not as crazy as the men who tried to steal an entire coke machine.

The $1,000,000,000 Crime

Fort Myers, FL.  Florida has long been notorious for its scammers, but a Lee County woman took matters to new depths. She claimed to have a billion dollar inheritance arriving any day now… she just needed a little help. Hey, I vote for sending her to Nigeria.

Time on His Hands

Panama City, FL.  Cops arrested two men in possession of a stolen shopping cart and what police believed was stolen camping equipment. While in police custody, one of the men stole a clock off the wall and tried to hide it in his back pack. I'll bet he'll be serving time.

Capital T Right Here in River City

Weston, FL.  Town fathers, sickened by all the rampant crime of soda-stealing and doughnut dipping figured out the solution of crime: They banned skating rinks, dinner-dance clubs, and just plain fun. They go a long way to proving Puritanism is alive and well in America, unlike the Hillsborough County Property Appraiser who sends porn to his Director of HR. But hey, this is the state where a Christian pirate radio station once interrupted air traffic control towers trying to blast music into Havana.

In Your Face

Miami, FL.  Some crimes are almost too awful to contemplate. It was bad enough when a high-school cross-country runner was partially blinded by an egg thrown by teens from a car at 50mph, leaving him with a fractured eye socket, a concussion, and fragments that punctured his pupil. But, our own mad Hannibal Lector wannabe took matters farther. A Miami Herald camera captured an 18-minute video of a naked Rudy Eugene who attacked Ronald Poppo, chewing off the victim's face until police arrived and shot the perpetrator. Before the week was out, HistoryMiami museum's Mystery, Mayhem, and Vice announced they're including this Zombie Attack venue in their crime tour.

Baltimore, Md.  Lest we conclude Florida is unique in cannibal attacks, a Maryland Morgan State University student apparently murdered his roommate and dined on his brain and heart.

Murderous Porn Queen

New Port Richey, FL.  And finally, tattoo parlor owner Dennis "Scooter" Abrahamsen hired porn actress Amanda Kaye Logue for a sex party. Unfortunately Logue, described as "an evil being" who "planned and schemed" texted her boyfriend, Jason Andrews, she wanted to have sex with Andrews "after we kill" their victim in their premeditated scheme. The court sentenced Andrews to life and gave a tearful Miss Logue a reduced sentence of forty years. With luck, she'll serve every day of it.

A Nod to Josh

Yoshinori Todo might shy away from being labelled an 'expert', but he's the closest thing I know to an Agatha Christie authority. With this in mind, ABA sent the following to share with Josh.

Greenway House, Devon Coast, UK  Mathew Prichard, "the only child of the only child of the prolific author known as the queen of crime" talks about his famous grandmother while revealing letters from her ten month world travel with her first husband, Archie Christie. Read on!

I've got to know the ending!

by Elizabeth Zelvin

When I was a kid, my parents frequently invited company for dinner. They had interesting friends. Long past our bedtimes, my sister and I used to sneak halfway down the stairs and hang over the banister so we could hear the conversation. This was back in the days before conversation became a spectator sport, something celebrities did on televised talk shows while everybody else just listened. (To this day, I don’t watch talk shows. When I hear a good conversation, I want to participate. And don’t get me started on reality TV....)

My father was a wonderful raconteur, as were some of their friends. They would tell stories—extended jokes that drew us in till we could hardly wait to hear the punch line. Finally it would come—in Yiddish. All the adults would howl with laughter. It always sounded hilarious, since Yiddish is an innately comical language to the anglophone ear. Mind you, neither of my parents spoke Yiddish. My father’s native language was Russian, my mother’s Hungarian. But everybody always understood the punch line—except us. “What does it mean? What does it mean?” we would clamor. They would invariably reply, “It’s untranslatable!”

This intensely frustrating experience left me with an imperative need to know the ending of any story. In mysteries, the ending is of crucial importance. In fact, it’s what distinguishes them from most literary novels. They start with a setup: a crime is committed, but we’re missing crucial information: we don’t know whodunit. Or in a thriller, something will happen if it isn’t stopped, and it’s a race with the clock—or an obstacle course—to prevent disaster. We keep reading—often long past our bedtimes—to find out how they’ll end.

Sometimes I have a dream that’s constructed like a thriller or an adventure story, except that my plotting is tighter and my dialogue more eloquent when I’m asleep than when I’m awake. I give the most stirring speeches in these dreams—out loud, according to my husband.

In one dream, for example, I was in West Africa (where in real life I spent two years in the Peace Corps), part of a group of Americans fighting “the oppressors”. We had just realized that once the locals had finished ousting the oppressors with our help, they planned to get rid of us as well. We were outraged. Each of us talked in turn about how betrayed we felt. I gave quite a speech, according to my husband.

We knew we had to leave at once, before our enemies arrived. A plane was waiting. As we began to board, a plane or helicopter landed. Armed men rushed out and headed toward us. We tried frantically to get everybody aboard. As they reached us, we slammed the doors shut, hoping desperately to take off before they could attack. Through a kind of transparent bubble, we could see them aiming their weapons at us.

At that moment, my husband woke me up.

“You were having a nightmare,” he said.

I was furious.

“No, I wasn’t. Why did you wake me?”

“You were,” he insisted. “You were saying, ‘Please don’t shoot us.”

“I was not! I was saying, ‘Please don’t hurt us.’ We just wanted them to let us leave.”

It wasn’t a nightmare. I felt a sense of intense urgency, rather than dread or terror. Readers feel that way at 3 am when they’re racing through the final pages of a thriller. The last thing I wanted was to be awakened that moment. I wanted to know if we made it into the air before they started shooting. Dammit, I wanted to know the ending!

Of Caliber and Detail

I admit it . . . 

I’m a sucker for those old hard-boiled mystery/suspense books. You know: the ones from the 30’s, 40’s or 50’s.  The Continental Op, Sam Spade, Phil Marlowe; how can a person resist?   Well, maybe you can. But, I can’t. The pace alone, in these books, usually picks me up and runs away with me.

 I do quite a bit of reading in doctors offices these days — often when driving my dad around and, lately, because my wife needed some surgery. Yesterday I finished Steve Fisher’s No House Limit originally published in the 1950’s.  My copy (the library's copy, really) is the Hard Case Crime release, put out in 2008, an edition with a cover that assures me the novel is “COMPLETE AND UNABRIDGED”.

No House Limit is set during the time period in which it was written, and takes place (in case you can’t guess from the title) in Las Vegas. A cover blurb promises: “Sex, sadism, and action.” And the book delivers pretty well.

At just over 200 pages, I’m impressed by how much the author manages to fit in — without making the book seem cramped, or as if he’s reaching too much. Fisher not only wrote a whopping tale of a syndicate trying to smash a lone-wolf casino owner, he also managed to spin two love story subplots through those pages (three if you count the obvious love and loyalty felt between the casino owner and his security chief) without watering down the action and suspense.

Were there some cheesy spots? Sure. For instance, I always get a kick when two people fall in love and run off to get married after having first seen each other three days before, and having spent only two hours together during that time. On the other hand, the story IS set in Vegas — where I’m sure odder couplings have occurred. And, if it was cheese, well . . . it was very tasty cheese (at least to me): deftly drawn, springing naturally from the main plot-line, and ratcheting up both tension and action. Not the easiest thing for love story subplots to accomplish in an action/suspense novel.

I suppose, however, that I shouldn’t have been surprised. Steve Fisher was evidently nothing, if not a prolific writer. According to an afterward written by his son, Michael, Steve Fisher wrote 90 to 100 published novels, plus 900 short stories, and around 120 movies or television episodes.

 Frankly, I find such numbers daunting. 

 I always feel a little pang of sympathy when re-reading the essay in the back of my copy of the Big Sleep, in which Chandler is described as being “Never a prolific writer …”. I always wonder if he spent too much time thinking things through — the way I tend to. Thankfully, I don’t have to contend with major problems such as alcoholism. I just have to watch the kids 24/7 now that school is out, and I’m still running errands for my dad.  Plus: the cigar store’s new owner likes my work – so he’s scheduling me for more hours.  And (as usual) my Stay-at-Home-Dad chores keep calling loud and messily: The garbage in the kitchen can just keeps accumulating! The sink full of dishes over-floweth! My kids need rides to friends’ houses, and – now that it’s summer – pool maintenance begins in earnest.

Somewhere in here, I keep trying to shoe-horn in a little synopsis writing for my latest manuscript.

 It’s been taking a long time, because . . . . 

Well, quite possibly because I’m a bit of a bonehead.  And, as I mentioned above, I tend to dither around, trying to think things all the way through.

As I wrote earlier on SS: To me, writing the synopsis, blurb, or cover letter for a novel is the hardest part of the job. I’ve got a very thin window though which to “flash” a potential agent the important stuff inside my manuscript. But, that’s not enough. That flash has to be big and bright — eye-catching!

J. Jonah Jameson as I remember him in the comic books.

 And, even that’s not enough.


 I picture an agent (male or female, it doesn’t seem to make a difference in my mind’s eye) as looking like J. Jonah Jameson, Peter Parker’s editor in the Spider Man comics and films. I seldom read comic books, as a kid. But, I did read Spidey. I found myself drawn into the story, because having super powers complicated this boy’s life instead of simplifying it. Spider Man might have been a hero (to those who understood him), but poor Peter Parker still got kicked around and felt like a loser. Talk about your fertile literary ground!




As an aside: I really thought Jonathan "J.K." Simmons did a great job of portraying ol’ Tripple-J in the fairly recent Spider Man movies. Even his voice matched what I’d imagined, when reading the comics as a kid.

J.K. Simmons as J. Jonah Jameson

     Now, don’t get the idea I confuse editors with agents. 

I don’t. I’ve been writing for several years, have a J-School degree with Walter Cronkite’s name on it, have worked on newspapers and been published in magazines as well. I know the difference between agents and editors; believe me. Still, the two have a lot in common.

 They’re both what I was taught to call “Gatekeepers” back in school. Their job begins by separating the wheat from the chaff, and many of them accept this as a near-sacred duty — protecting the ramparts of publishing from scurrilous tomes that don’t meet those guidelines the New York Times might call “… Fit to Print”. And, then the job goes deeper.

Their time is valuable (which is why they employ First Readers, to take some of the slush load off their backs) and they’ve got limited resources. Just like the rest of us, they have a finite reserve of personal and/or corporate energy, plus a budget to watch. And — like writers — their jobs involve a certain amount of gambling.

We writers gamble our time and fortunes against the odds of making a sale that will pay off. Agents and Editors are looking for a payday, too, but their wagers are larger, the stakes are more cut-throat, and the playing area much more complex.

12-inch Naval Gun Battery   (Not me in the picture.)

So, it’s not enough that an agent thinks a manuscript is “good” or that the writing is “pretty decent.” Both editors and agents know that this limitation on time and resources means they can only really pull out the “Big Guns” for those projects that excite them. That's Big Guns!  You know: like 12-inch naval cannon -- the sort battleships used to carry.  Consequently, my synopsis has to generate excitement.

But, how am I supposed to do that?

40 mm Bofors

How can I be sure that, once an agent’s eye is caught by the bright flash my query sends through that thin window of opportunity, s/he then finds enough literary “meat” to sink sharp publishing-savvy “teeth” into.

And, that meat’s gotta be the right texture, coupled with the right flavor — intriguing to the mouth, for the particular agent I want to land.

I figure it's a certain type of detail.

I know they’re not going to fire off the publishing equivalent of a 12-inch naval gun, when my manuscript is for a first novel. And, frankly, I’d do Cheeta Flips if they just fired the equivalent of a 40-mm Bofors. But, I figure I’d better write as if I’m working to get cover fire from a battle ship. Otherwise, I think the response is likely to be a rejection slip, and no cover fire at all.

So, I'm working to be sure my synopsis clearly indicates that I've dotted every "i" and crossed every "T", that my plot-line is tight and hole-less, while throwing in a few quick strokes that show the workings of subplots or underlying theme.  Finally, I think the synopsis has to read well.  It has to set a hook, working by itself, so that -- even if s/he initially ignores the enclosed manuscript pages -- the agent feels compelled to read them after all, to see if the manuscript's writing stands up to the caliber of the synopsis writing.

All of this takes a lot of thinking.

But . . . I don't know.  I freely admit to being ignorant.  I've studied tons of books about agents, hunted through myriad agent lists trying to narrow down to the right names -- the folks who are out there looking for the book I'm trying to sell.  But I'm also up against a time clock; I need to get this thing done and out, start that glacial pace of publishing (if I'm lucky!) in motion.  I keep working, but I keep wondering: Am I over-thinking it?.

 So . . . 

Here I sit, writing a synopsis as if I expect somebody to get so excited s/he will want to pull out 12-inch naval guns, while knowing full-well that I’ll be lucky to receive a few rounds of 40-mm Bofors support fire.  (Or, more probably, a single volley of shotgun pellets.  Hopefully not rock salt!)

 But . . . I’m afraid I just don’t know what else to do.

 Any hot tips out there?

 See ya’ in two weeks!

 --Dix