Go Away, Space Angel! I'm Trying to Write Crime

by Melodie Campbell

A funny thing happened on the way to the crime book: it became a comic sci-fi spy novella.

That’s the frustrating thing about being a fiction writer.  Sometimes you don’t pick your characters – they pick you.

I was sitting at my desk, minding my own business, when…no, that’s not how it happened.

It was far worse.

“Write a spy novel!” said the notable crime reviewer (one of that rare breed who still has a newspaper column.) We were yapping over a few drinks last spring.  “A funny one. Modesty Blaise meets Maxwell Smart, only in modern day, of course.”

“Sure!” I said, slurping Pinot by the $16 glass.  After all, crime is my thing.  I was weaned on Agatha Christie.  I had 40 crime short stories and 5 crime books published to date.  This sounded like the perfect 'next series' to write.

And I intended to.  Truly I did.  I tried all summer. I even met with a former CSIS operative to get the scoop on the spy biz (think CIA, but Canada – yes, he was polite.)    

Wrote for two months solid.  The result was…kinda flat.  (I blame the Pinot.  Never take up a book-writing dare with a 9 oz. glass of Pinot in your hand. Ditto good single malt.  THAT resulted in a piece of erotica that shall forever be known under a different name…  But I digress.)

Back to the crime book.  I started to hate it.  

Then, in the middle of the night (WHY does this always happens in the middle of the night?) a few characters started popping up.  Colourful, fun characters, from another time. They took my mind by siege.  “GO AWAY,” I told them. “I’m trying to write a crime book!”

They didn’t.  It was a criminal sit-in.  They wouldn’t leave until I agreed to write their tale.

So the modern day spy novel became a futuristic spy novel.  Modesty Blaise runs a bar on a space-station, so to speak.  Crime in Space, with the kind of comedy you might expect from a descendent of The Goddaughter.

Two more months spent in feverish writing.  Another two in rewrites.  Then another, to convince my publisher that the project had legs.

CODE NAME: GYPSY MOTH is the result.  Yet another crossing the genres escapade.

Written by me, and a motley crew of night visitors.

Now hopefully they will keep it down in there so I can sleep.

CODE NAME: GYPSY MOTH

“Comedy and Space Opera – a blast to read” (former editor Distant Suns magazine)

“a worthy tribute to Douglas Adams”  (Cathy Astolfo, award-winning author)

It isn't easy being a female barkeep in the final frontier...especially when you’re also a spy!

Nell Romana loves two things: the Blue Angel Bar, and Dalamar, a notorious modern-day knight for hire.  Too bad he doesn't know she is actually an undercover agent.  When Dalamar is called away on a routine job, Nell uncovers a rebel plot to overthrow the Federation. She has to act fast and alone. 

Then the worst happens.  Her cover is blown…

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The Toronto Sun called her Canada’s “Queen of Comedy.”  Library Journal compared her to Janet Evanovich.  Melodie Campbell got her start writing standup.  She has over 200 publications and nine awards for fiction.  Code Name: Gypsy Moth (Imajin Books) is her eighth book.

My Writing Space

Our cats sometimes keep me company as I work.  The chair in 
this photo is the lawn chair I used to sit in while working.

A few posts ago, I mentioned that my wife had bought me a new chair.  I explained that, prior to that moment, I had been sitting in a plastic lawn chair to do my writing.

I write on my apartment's second-floor balcony, which overlooks trees, green lawns and a fountain pool below -- not to mention the barbecue pavilion I frequent several times each week burning steaks, chicken, jalapeno poppers (That's not a typo: J-poppers are hollowed-out peppers stuffed with cream cheese, etc. and wrapped in bacon.  When the bacon and peppers are good and black, they're done.), hot dogs and/or burgers for dinner.

Sometimes they get a bit nosy.
Or demand that I stop work and feed them!

At the time, several folks suggested they'd like a look at some photos of where I do my writing.  (Which, I have to admit, is also where I primarily do my reading.)

Taking people at their word, I decided to post pics of my writing area today -- sparse as it is.

Though I think the view is quite nice, it's starting to warm up here in the Valley of the Sun, so I've put up a shade screen that I let down once the sun gets over the yardarm.

My computer is not in this photo, but perhaps those with eagle
eyes can tell that the magazine open on the shelf of my "desk"
Is the May issue of AHMM with R.T.'s story illustrated on cover.

Thankfully, I can still look out through the patio's openings.

I would caution the reader that I have never been known as a particularly "neat" person, having one friend who used to bring his dog over to my bachelor apartment, when I was in the army, so said dog could "surf"  used pizza boxes across my living room floor while my buddy and I watched his favorite bass fishing shows on TV.

A better shot of my "desk" perhaps.
My desk is a cupboard built by my oldest son when he took a
shop class. I have since mounted it atop a frame with casters,
sold at Home Depot for moving large or heavy furniture.

Marriage, however, perhaps like music, has tended to sooth some of the savagery out of this particular beast.  So, my writing aerie is kept in much better shape than the apartments or dorm rooms of my single years.







Having kids around naturally helps clutter the issue.  The newspapers on the floor, in the far right of this photo, were put there by my 12 year old, Quentin, who has been constructing a costume for the upcoming Phoenix Comicon.

And, yes, those are books stashed under the top shelf of my rolling desk -- along with magazines and other reading or reference material.


Below, you see the spot I actually occupy while writing: Diet Coke, cigars and pipe on my left, laptop computer more-or-less in front of me, keyboard on my thighs with the mouse on the right arm of my chair, fan in the background to keep the computer cool as the desert temperatures rise, and a nice view of the green lawn below through the X-braced trellis-looking detail in the center of the balcony wall.

Yes, my reading material spills over (literally "over") onto the top of my desk,
where you see The Spy Who Came in from the Cold and stacked issues of EQMM and AHMM.

Well, that's it.  This is my writing space.

Now I'm waiting to see some of yours.

See you in two weeks,
--Dixon

The True History of Nero Wolfe

Because I read everything, to the great detriment of doing almost anything else, occasionally I come across such obvious patterns, such amazing coincidences, that I have to share them with someone. Thus, I am happy to relate that I have found the true origins of Nero Wolfe. The only question is, whether it's genetics or reincarnation. I'll let you decide.
For those of you who have never met the one and only Nero Wolfe, he is the misogynistic, gourmet one-seventh of a ton detective who lives in a brownstone in New York City and only leaves it under extreme emergency conditions. He solves mysteries usually without leaving his chair, leaving the footwork to Archie Goodwin, his amanuensis, investigator, and general thorn in Wolfe's side. His brownstone is his haven, his castle, his fortress, in which he follows a rigid routine, cares for his orchids and his stomach, and is cared for by Archie and Fritz, his cook. (Theodore helps with the orchids, but let's face facts: nobody – not even Nero Wolfe – likes him.)



Some theories (and I get these straight from Wikipedia) are that Wolfe (born, according to Rex Stout and Archie Goodwin, in Montenegro) was the offspring of Sherlock Holmes and Irene Adler, who had an affair in Montenegro (why they chose that country to frolic in is undetermined). Others have said that if Wolfe was of Holmesian descent, it was via Mycroft, who was vast and logical, like him. Others have posited the thief Arsene Lupin as Wolfe's father. However, this is all gilding the lily, not to mention assuming that one detective (or thief) leads to another.

I believe that the origins of Nero Wolfe go all the way back to the early 18th century. Specifically to 1709, when Samuel Johnson was born, who grew up to be a man of exceptional mind and memory, a man to whom no place was so suitable to live as a major metropolis, in his case, London, and whose girth and eccentricities were as legendary as were his literary abilities. I speak, of course, of Dr. Johnson, lexicographer, poet, playwright, journalist, and wit.

What led me to correlate Nero Wolfe with Samuel Johnson was re-reading Boswell's "Life of Johnson". Their size, their reluctance to travel from their adopted great city (London for Dr. Johnson, New York for Nero Wolfe), their constant reading, and their love of food is identical. Both have remarkably similar amanuenses (Archie Goodwin, James Boswell) whom they find alternately useful, irritating, ubiquitous, and indispensable. Both Goodwin and Boswell are - to the urban dweller - from the sticks (Ohio and Scotland respectively). Both Goodwin and Boswell have had numerous amatory encounters, though Boswell was more graphic in his (secret) reminiscences than Goodwin. Essentially both write biographies, although neither are as educated, logical, or eccentric as their subjects.

Archie to the left, Boswell above.

Yes, Dr. Johnson did marry (to a woman twice his age), while Nero Wolfe is, at first glance, the ultimate misogynist. (But even Nero Wolfe liked to look at women's legs: see The Silent Speaker, Chapter 20) But "Tetty" was Johnson's only known dalliance, and he was known to be as severe as Nero Wolfe in his judgments upon the fairer sex. (“Never accustom your mind to mingle virtue and vice. The woman’s a whore, and there’s an end on ’t.”) But they both were respectful of virtuous wives and mothers, as well as of professional women who were good at what they did: Dol Bonner and Jackie Jaquette, in Wolfe's world; the writers Charlotte Lennox and Fanny Burney in Johnson's world.

But to me, it was the use of language that cinched it. It is almost identical. See if you can tell who said what:

1. "Some people have a foolish way of not minding, or pretending not to mind, what they eat. For my part, I mind my belly very studiously, and very carefully; for I look upon it, that he who does not mind his belly will hardly mind anything else"
2. "What finally ruled [Voltaire] out was something that hadn't been mentioned at lunch at all: he had no palate and not much appetite. He was indifferent to food; he might even eat only once a day; and he drank next to nothing. All his life he was extremely skinny, and in his later years he was merely a skeleton. To call him a great man was absurd; strictly speaking, he wasn't a man at all since he had no palate and a dried-up stomach."
3. "I know not why any one but a school-boy in his declamation should whine over the Common-wealth of Rome, which grew great only by the misery of the rest of mankind. The Romans, like others, as soon as they grew rich, grew corrupt; and in their corruption sold the lives and freedoms of themselves, and of one another"
4. “We are all vainer of our luck than of our merits.”
5. "The only end of writing is to enable the readers better to enjoy life, or better to endure it."
6. “I will ride my luck on occasion, but I like to pick the occasion.”
7. "Every man naturally persuades himself that he can keep his resolutions, nor is he convinced of his imbecility but by length of time and frequency of experiment."
8. “A man may debar nonsense from his library of reason, but not from the arena of his impulses.”
9. "[A] pessimist gets nothing but pleasant surprises, an optimist nothing but unpleasant.”
10. "He is no wise man that will quit a certainty for an uncertainty."
11. "Where there is no education, as in savage countries, men will have the upper hand of women. Bodily strength, no doubt, contributes to this; but it would be so, exclusive of that; for it is mind that always governs. When it comes to dry understanding, man has the better."
    "The true, strong, and sound mind is the mind that can embrace equally great things and small."
12. “The more you put in your brain, the more it will hold -- if you have one.”
13. "A fellow that makes no figure in company, and has a mind as narrow as the neck of a vinegar-cruet."
14. "I never desire to converse with a man who has written more than he has read."
15. “A person who does not read cannot think. He may have good mental processes, but he has nothing to think about. You can feel for people or natural phenomena and react to them, but they are not ideas. You cannot think about them."
16. "It matters not how a man dies, but how he lives."
17. “A guest is a jewel on the cushion of hospitality”
18. "The right to lie in the service of your own interests is highly valued and frequently exercised.”
19. “More people saying what they believe would be a great improvement. Because I often do I am unfit for common intercourse."
20. "I have found you an argument; I am not obliged to find you an understanding."
21. "A man is very apt to complain of the ingratitude of those who have risen far above him."
22. “To pronounce French properly you must have within you a deep antipathy, not to say scorn, for some of the most sacred of the Anglo-Saxon prejudices.”
23. "A Frenchman must be always talking, whether he knows anything of the matter or not; an Englishman is content to say nothing when he has nothing to say."
24. “To assert dignity is to lose it.”
25. "The law is the last result of human wisdom acting upon human experience for the benefit of the public."
26. “Women don't require motives that are comprehensible to my intellectual processes."

(Answers at the bottom of the page)

For my final piece of evidence, I give you the novel Gambit, in which Nero Wolfe burns a dictionary - bought with a flammable cover on purpose - because it allows the use of "imply" in place of "infer". A passion for precise language was certainly passed down from the man who wrote "A Dictionary of the English Language".

Sadly, Dr. Johnson had no children. But he did have a brother, Timothy, who had children. The genes were put into the pool. Ladies and gentlemen, I give you twin sons, separated by time. So, was Nero Wolfe a descendant of Samuel Johnson's brother Timothy? Or is he a reincarnation?

Put a wig on the one, take the Tourette's away from the other, and we might just have the answer!

Nero Wolfe - 2, 4, 6, 8, 9, 13, 16, 18, 19, 20, 23, 24, 26

Samuel Johnson - 1, 3, 5, 7, 10, 11, 12, 14, 15, 17, 21, 22, 24, 25

The Wolf at the Door

I was a big fan of the first two books in Hilary Mantel's trilogy, WOLF HALL and BRING UP THE BODIES, but I'm an easy mark for that kind of stuff. Historicals have always been high on my list - Mary Renault, Robert Graves, Bernard Cornwell, Patrick O'Brian, Norah Lofts - in part because you get to inhabit a foreign world, the past, and in part because they so often turn on the hinge of Fate, or a transforming moment: think Alexander the Great, the fall of the Mongol Empire, the Black Death.

The television adaption of WOLF HALL began its run on PBS this past weekend, and I'm queer for it already. Not that it's easy, mind. (Neither were the novels.) A broad canvas, a raft of competing characters, a complex political dynamic.

To cut to the chase, the Prime Mover of the narrative is Henry VIII's pursuit of a male heir, and everything follows from that. The rise and fall of favorites, Wolsey, Sir Thomas More, Cromwell, depend on the king's goodwill, and how effectively they manipulate the machinery of power, to get what he wants. When they don't, or can't, they're cast aside, left naked to their enemies, in Wolsey's phrase.  

The interesting thing to me about the Tudors - not Henry VII so much, but Henry VIII and Elizabeth I - is that they're about to step over the threshold of the modern age. Richard III, the last Plantagenet, was the last British king to die on the battlefield, and in a war of succession. This goes some way toward explaining Henry VIII's fierce obsession with generating a son. His pursuit of a divorce leads directly to his break with Rome, and the English Reformation. (Henry's place in folklore comes from sending two of his wives to the block.) The fracturing of the Church, and the authority of the Pope, erodes secular authority, as well. There is no Divine Right, and in two generations, Charles Stuart will meet the headsman. The religious issue becomes worldly. Henry creates this, He's a touchstone for the fall of kings. 

Another point WOLF HALL underlines is the rise of a commoner - Cromwell a blacksmith's son - to the office of Lord Chancellor. This is an enormous shift. promotion on merit, not the accident of birth. Ambition the spur, and Cromwell does make love to this employment, but he's neither a prince of the Church or a noble. He's nobody in the food chain, and beneath notice. A private secretary, Wolsey his patron. How he survives, and thrives, is in itself the story, that a man of mean antecedents can win the

king's confidence, not because he was born to it, but by his wits.  Not that he's entirely a ruthless bastard, either. He simply knows which side his bread is buttered on, and the currency he trades on is his service to the king, in all things. It gains him preferment, it lines his pockets, and it becomes his only purpose. He lives alone for it. This hasn't much changed, today. The difference is that Cromwell can even be chosen, in an earlier age.

WOLF HALL, the adaption, isn't for the faint of heart, any more than the books were. It helps if you know the basic storyline, and what's at stake. The politics, religion and its discontents, the maneuvering for advantage. You could get lost, and Cromwell himself is an unreliable narrator, a shape-shifter. You don't really know whether to trust him or not, and neither does anybody else. He seems all things to all men, but once you understand that what lies beneath is the fury of the king, and whether onstage or off, that it's Henry who whips the horses, then if they die in the traces, he's been well-served, at whatever cost. We hang on princes' favors, Wolsey says. (I'm quoting Shakespeare, here.)
     " ... I have ventured, 
     Like little wanton boys that swim on bladders,
     This many summers in a sea of glory,
     But far beyond my depth."

Is it a cautionary tale? Not exactly. It's about dangerous men in dangerous times, and treading water in the deep end of the pool.   

DavidEdgerleyGates.com

Because Something is Happening Here But You Don’t Know What it is, Do You, Mister Jones?

by Paul D. Marks

One of the things that scares me most as a writer is an illiterate society. Not only illiterate in the sense of people being unable to read and write. But “illiterate” in the sense that, as a society, we have touchstones that everyone or at least most people are familiar with. Or I thought we did at one time. I’m not so sure anymore.

Let’s start with plain literacy on a personal and anecdotal level.

When my wife and I were looking for the house prior to our current house we noticed something odd, at least odd to us. We’d go in various houses in different parts of Los Angeles. But, unlike some of the shows on HGTV, you could still see the real people’s stuff in their houses. Their junk, ugly sofa, hideous drapes and kids’ toys strewn all over, laundry baskets, cluttered closets, etc. One thing we didn’t see much of were books. Sure, a house here or there had them, but the majority didn’t. And if they did they had a coffee table book or two of some artist they thought would make them look chic or intelligent or maybe a book of aerial views of L.A. One place we expected to see lots of books was in kids’ rooms or a potboiler on their parents’ nightstands. But, alas, the “cupboards” were bare.
This was twenty or so years ago, so well before smart phones, Kindles and e-readers. So, it’s not like all their multitudinous libraries were in e-form. No, there just weren’t many books to be seen.
We found this odd, as we have books stuffed to the rafters, as do most of our friends. Here, there and everywhere, in the living room or the dining room, library, the hallway, and even shelves upon shelves in the garage.

Flash forward: Cultural Literacy

When we went hunting for our current house, about ten years ago it was more of the same. By then there might have been some e-books and the like but the real revolution still hadn’t hit full bore yet.

Again this seemed odd. But more than odd, it’s scary. Especially for a writer. Because a writer needs readers. And if people aren’t reading, I’m out of a job, and maybe likely so are you. Even scarier though is the fact that, imho, we are becoming a post-literate society. And we are losing our shared background, some of which is gotten through books. Aside from the greater implications of that in terms of the country, it makes it harder as a writer because when we write we assume some shared cultural background. And we make literary or historical allusions to those ends. We mention composers or songs or symphonies. Books, authors, “famous” or “well-known” quotes that we assume most readers will be familiar with, some foreign phrases, even biblical references. Hemingway and even Bob Dylan songs (and I’m talking those from the 60s before he found religion in the 70s), as well as other writers, are filled with them. But often these days readers are not familiar with these references, so they miss the richness of the writing. So then we begin to question whether or not to include these references and sometimes end up writing to the lower common denominator. And that diminishes our works and our society, even if it sounds pompous to say that.

Maybe people won’t know who Rudy Vallee is, and that's understandable, but many also don’t know who Shakespeare is in any meaningful way.

When I would go to pitch meetings in Hollywood I would often have to dumb down my presentation. I would try to leave out any historical or literary allusions. Hell, I’d even leave out film allusions because while these people may have heard of Hitchcock, few had seen his movies. And they were mostly from Ivy League type schools, but they didn’t have much of a cultural background. So when you have to explain basic things to them, you’ve lost them. They don’t like to feel stupid. And sometimes they’d ask me to explain something to them about another script they were reading by someone else. One development VP asked me to explain to her who fought on which sides in World War II, because she was reading a WWII script someone had submitted. The writer of that script already had points against him or her since the development VP didn’t even know the basics of the subject matter. And I would have thought before that incident that just about everybody knew who fought on which side in WWII. And this is just one example. I have many, many more experiences like this.

After college, the stats show that many people never—or very rarely—read another book. Literacy rates in the US are down. A lot of young people aren’t reading, but they think they’re smart because they look things up on Google. But looking something up on Google isn’t the same as knowing, though it’s better than nothing, assuming people do look things up. See: http://www.salon.com/2014/10/12/google_makes_us_all_dumber_the_neuroscience_of_search_engines/

I’ve seen several authors, some very well known, ask on Facebook if they should include X, Y or Z in a novel because their editor says no one will get the references, even though the references aren’t that obscure. But even if they are, what’s wrong with using them and having people (hopefully) look them up. Isn’t that how we expand our knowledge? But nobody wants to challenge anyone in that way anymore. We’re dealing with generations now that have been told how wonderful they are without having earned it. So when we unintentionally make them feel stupid by using references they’re not familiar with, they turn off. Is it just me or does our society seem to have no intellectual curiosity, no interests or hobbies other than texting or watching the Kardashians? They don’t have the will to look further than the screens of their smart phones?

I know I’m generalizing and that there are pockets of intellectual curiosity (like the readers of this blog!), but I feel like we are becoming a minority.

And when you do a book signing or a library event, do you notice the average median age and hair color of the audience? More times than not they’re older and grayer. And where are the young people? That’s scary.

I wish more people would make New Year’s resolutions to improve their minds as well as their bodies, to exercise their brains as well as their muscles. So maybe we should do yoga for the brain as well as the body.

At this point I’d even settle for grownups reading comic books or graphic novels as long as there’s words in them.

All of this scares me, not just as a writer, who might not have an audience in the future. But for society as a whole. We need to have a shared background, a common knowledge, a literate society of people who are engaged. Not everybody can know everything, of course. But there should be some common background that we can all relate to.

---

Shakespeare picture: Licensed under Public Domain via Wikimedia Commons - https://commons.wikimedia.org/wiki/File:Hw-shakespeare2.jpg#/media/File:Hw-shakespeare2.jpg
Blonde on blonde album cover: "Bob Dylan - Blonde on Blonde" by Source. Licensed under Fair use via Wikipedia - https://en.wikipedia.org/wiki/File:Bob_Dylan_-_Blonde_on_Blonde.jpg#/media/File:Bob_Dylan_-_Blonde_on_Blonde.jpg

Book Trailers: Friend or Foe?

When I first saw a few book trailers, I wasn’t impressed.

My writing friends jumped up and down, crowing over their short movie-ish ads for their books, while everyone else gathered ’round to praise them, I thought, You know who makes good movies? Hollywood. Bollywood. Nollywood (Nigerian film-making.) And I’d be remiss if I didn’t mention Hollywood North (Canada), but there’s a whole international list here.

You know who didn’t make the list? Writers.

And anyway, I’m not a huge TV or movie person. I like to read. I put my head down and continued to hone my writing skills.

But when Vuze approached me this year and suggested a book bundle, they specifically asked for book trailers.

I could’ve gone the easy route. On Fiverr, you can get one for $5. Some of them are not bad.

But I’m picky about how my work gets represented. I want better than not bad. So I started Googling, and this is what jumped out at me: you can make your own book trailer on iMovie for the Mac or Windows MovieMaker.

Artistic control, right at my fingertips. Right on. I already had images from my book covers and from poking around on morguefile.com. I researched free music for commercial use and particularly liked FreeMusicArchive.org. You can even tick off that you want commercial use. I wanted something upbeat, to contrast with the darker medical images, so I chose The Freak Fandango Orchestra’s "Requiem for a Fish."

Et voila!

Code Blues now had a book trailer!

Then I realized that, on iMovie, they have pre-made trailers, complete with pulse-pounding music and template suggestions. Of course, you run the risk of everyone else making the same trailers, but I chose unique images off of FreeStock.ca, DeviantArt.com, and well as my own photos. Just like I have an unusual writing voice, I have a (strange, deviant) eye, so I wasn’t worried that anyone else would copy me.

That way, I got the book trailer I love best of all, Notorious D.O.C Blogger can't handle movies larger than a gig, though, so BOO. You'll have to click on the link.

Finally, I wanted a fast and furious trailer for Terminally Ill (click to view). For the first time, I incorporated video instead of stills, and paid for some stock. Even better, though, a slackwire artist named Pierre Carrillo gave me permission to use footage of him starring as the escape artist in the book.

Making book trailers made me exercise a whole different part of my brain. I’m not going to lie, it took me hours, and may not be worth it to other writers/publishers with precious little time, but I seriously enjoyed it. One of my book club members said, “That was sick! Can’t wait to see the movie.”

But one of the other book clubbers said, “I don’t like movies. I like to imagine the characters in my head as I’m reading. I don’t want the movie to interfere with that.”

And of course, many serious readers think the book is better than the movie. You get more interior viewpoints, more complicated plots, more setting.

Here’s what I think: like most things in life, it’s a Venn diagram.

Since I want the world to discover my stories, ideally before I die, I’m going for as big a piece of the pie as possible. That means that, time permitting, I’ll make more movie trailers. And whatever else it takes. People who don’t like them can ignore them. The ones who like them? Maybe they’ll pick up my books. I got a different audience “liking” my trailers on Facebook.

And my eight-year-old son, Max, suddenly got interested in my books and asked to read them. I told them they were R-rated, but he was still curious, asking questions like, “Who is Hope Sze going to marry?”

Minister and author Kate Braestrup theorized that church is designed to stimulate the temporal lobe, using all the best tactics the 18^th century had to offer—the beauty of architecture and stained glass and organ music—releasing hormones and making people want to come back to church…

I was like, Huh. I want to stimulate the temporal lobe and make them want to buy my stories. I’d better use the best tactics the 21^st century has to offer.

I notice it working on me, too. My absolute favourite song of 2012 was Call Me Maybe, not because I’d heard it a billion times on the radio, but because of Steve Kardynal, the Chatroulette guy (if crossdressing doesn’t offend you). A visual component made all the difference. More recently, I hadn’t paid attention to Taylor Swift’s Blank Space until her video.

So what do you think? Yea or nay on book trailers?

SleuthSayers Easter Eggs

by Leigh Lundin

This season of Passover and Easter Sunday made me think of ‘easter eggs’, lower case, not bird ovum but hidden goodies Apple famously hid in the Macintoshes (although Atari is credited as the first to conceal little secrets in their machines).

I asked my colleagues what ‘easter eggs’ they deployed in their stories and identify those of their favorite authors, hidden gems for readers to find. Some responded with actual cloaked tidbits while others took a different tack and described disguising real persons and places in a circumspect manner. I touched upon the latter in an article two weeks ago where Alistair MacLean and David Morrell obliquely refer to Sir Edmund Hillary and James Dean respectively.

Academics have argued and disputed whether or not nursery rhymes have hidden meanings. They debate whether ‘Jack be Nimble’ and ‘Four-and-twenty’ Blackbirds may or may not refer to politically sensitively controversies worded with a veil of deniability. But certainly, many classical authors deftly hid meanings to some degree. Chaucer, Voltaire, and Dante for example, touched upon people and events that educated readers were expected to recognize.

Something is rotten in the state of Denmark. (Hamlet, Act I, Scene IV)

Shakespeare was noted for his word play. One of his most famous easter eggs is the eponymous Hamlet, an anagram of the Danish prince Amleth.

Jan Grape points out that mystery conferences sometimes auction off the opportunity to appear as characters in novels. The proceeds typically go to a literary or library charity. Some fans have paid big bucks to be in a very well known author’s book. I believe Frederick Forsyth was one of the first authors to offer to drag a fan into one of his novels. A writer can use a person's name as a character, place or thing. Jan says:

    I’ve auctioned a character name a couple of times, didn’t get much money but I’m not a bestseller either. I asked that person if they wanted to be a good guy or a bad guy. Most want to be a bad guy, then I ask, if you want to be a bad guy… a murderer or a rapist? I don't want to make them horrible unless they agree.

In a recent David Edgerley Gates story, A Crown of Thorns, which takes place at the UNM campus in the late 1960s during the Viet Nam war protests, he gave Tony Hillerman a cameo, slightly disguised, but if you knew his local resume, you’d snap to it. Sea thriller author Clive Cussler often inserts himself as an unnamed character. One of his novels includes a cameo of an unnamed but famous British spy.

Rob reminded me that Elmore Leonard’s Up in Honey’s Room features a Nazi soldier named Otto Penzler, also the name of a famous editor and mystery bookstore owner in New York City.

I’ve set a scene in Lutz, Florida, an acknowledgement of one of my favorite writers, John Lutz.

John Floyd said John Grisham in his first novel, A Time to Kill, used a fictional setting of Clanton, Mississippi… but there is a real Canton with similar features!

Rob Lopresti lives in Bellingham, Washington as does Jo Dereske, who sets her Miss Zukas books in the college town of Bellehaven. The southwest corner of Bellingham is Fairhaven. (Our friend ABA asks if Miss Zukas might be a Polish play on words.)

Eve Fisher switches around names of South Dakota towns in some of her writing, making it obvious to locals where the action takes place.

Melodie Campbell does something similar, writing a comic caper about the Cannot Hotel.

    Anyone who lives in industrial Hamilton (The Hammer, to the locals) will know that I really mean The Connaught Hotel. The White Chapel cemetery becomes the Black Chapel cemetery.

David Edgerley Gates advised me that Dennis Lehane is known for using the names of his friends. So are our colleague, Jan Grape and John Floyd. John sometimes uses the name of a mutual friend, Billy Fenwick. Recently, John named a character in his Woman’s World series of stories Teresa Garver, the name of an East Coast fan.

Like the others, I often name characters based on people I know. I modeled and named a character in ‘Swamped’ after a high school classmate, Max. I hadn’t spoken to Max in years but once I knew that issue of Ellery Queen was in print, I phoned Max.

    Although never one to complain, he’d been having a rough time: His health was failing, his finances were in freefall, his wife had left him, and he’d downsized from a sprawling farm to a tiny apartment.
    I told Max about using him as a rascally character and he was delighted, a shiny bauble in a dark moment of time. I promised to get him a copy if he couldn’t get one at his newsstand, but within days, he died. I can imagine things going wrong when using friends’ names in stories, but in this case, those few words brought a bit of happiness.

Rob Lopresti also uses last names of friends for characters. One of his Alfred Hitchcock stories, 'Shanks Commences', uses the names of our Criminal Brief colleagues. (I've done something similar in a story I’m working on and the names are key to the solution.) The stories are clearly set in New Jersey, although he makes a point of not revealing the state.

Speaking of Jersey, Liz Zelvin slips in an actual 1990s case in this clever bit of dialogue in her latest Bruce Kohler novel, Dead Broke:

“It’s kind of mind-boggling,” Cindy said, “a rabbi having an adulterous affair with his sister-in-law, much less murdering her. What about the Ten Commandments?”
“What about them?” Natali said. “Human nature is what it is. By the time you make detective, your mind will have left boggling far behind. He wouldn’t even be the first. There was a rabbi in New Jersey who hired hit men to kill his wife.”
“Oh, New Jersey,” she said.
“It’s no excuse.”

Fran Rizer tells us a lot of what happens in the Callie books is based on real events. (I love these ‘writer uncovered’ stories.)

    At lunch today with an old friend I haven’t seen in years, the subject of a particular concrete block nightclub out in the country and its highly unusual proprietor was mentioned. We continued to chat, and then the lady sitting at a table across the aisle from us asked me point-blank.

“Did you know the place you're talking about is just like a club called June Bug’s in one of the Callie Parrish books?”
“Do you read Callie Parrish books?” I asked.
“I’ve read them all,” she said. “I’ve heard the lady who writes them lives in this area.”

    I had to confess that I’m Fran and that June Bug and his nightclub were based heavily on the place she named.

Rob relates the following.

   Donald Westlake and Joe Gores wrote the same scene into each of their books. Twice. For example, in 32 Cadillacs a DKA detective traces a car that Dortmunder’s pal Stan Murch stole. In Drowned Hopes, Dortmunder and Murch watch in amazement as the stolen car is repossessed. In Dancing Aztecs, a character stops at Coe’s garage, where she meets a mechanic named Tucker. This is Westlake’s way of explaining what his pseudonym Tucker Coe did after Westlake stopped writing about him.

Author Carolyn Jenkins hadn’t named a radio station set to appear in her recent novel Scout Out Denial. Brainstorming came up with the call letters ‘KRLN’, her name sounded out and, shy as she is, it stuck.

If anyone’s written more about easter eggs than I have, it’s Dale Andrews and I wrap this up with him.

    Ellery Queen was noted for hidden references that tied the series together in strange ways that were basically irrelevant as to individual plots. The references to Easter, for example are both rampant and unexplained anywhere. Remi Schulze, a French "Queen scholar" has devoted entire websites to numerological and other hidden references in the Queen mysteries, including Queen's repeated use of characters named either "Andrews" or a derivative of "Andrews." (I never saw that until it was pointed out to me which, given the circumstances, says something about my eye for detail!) In And on the Eighth Day, Queen's most direct mystery dealing with Easter, there is a character whose name is an anagram for a historical character. (The fact that this is an anagram is never revealed in the course of the novel.)

    From my own (limited!) works, in 'The Book Case' there are clues from which the reader can deduce that the murder in fact took place on Easter Sunday, something never mentioned in the story. This, of course, was done as an homage to Queen's bizarre fixation on that holiday. And in my most recent Queen pastiche, 'Literally Dead,' there is a way to determine (roughly) when the story occurred. When I try to breathe life back into EQ I imagine that he was born in 1905 (consistent with the 1905 birth dates of Dannay and Lee, and also consistent with what we are told in The Finishing Stroke). So that means, sadly, that Ellery is no longer with us. In 'Literally Dead', which otherwise is a contemporaneous mystery with an elderly Ellery, one character is identified as running the local Amoco station. As of 1998, all Amoco stations became BP stations. So we know, if we spend the time thinking about it, that the story is set pre-1998 when Ellery has yet to turn 100! He is 102 at the time 'The Book Case' was published, and that is likely as old as I (at least) will ever let him become!

What literary easter eggs can you tell us about?

Dial D for Dialect

by John M. Floyd



As a native of Mississippi, I confess that most writers south of the Mason-Dixon think they're good at writing dialect, or at least think they should write dialect, because the way southerners talk is so different and so recognizable. (If you don't believe that, you ain't seen the last of Ernest T. Bass.)

The truth is, whether we're good at it or not, we'd be well advised to (as one dominatrix said to the other) use a little restraint now and then. The overuse of dialect of any kind is far more risky than not using it at all. More about that later.

Calling the dialectrician

What exactly is dialect, anyway? Merriam-Webster says it's "a form of a language that is spoken in a particular area and that uses some of its own words, grammar, and pronunciations."

I prefer a simpler definition: it's the way specific groups (regional, ethnic, social, etc.) talk. And, make no mistake, all of us speak in dialect. It only sounds funny when it's not ours.

From a writing standpoint (which is, after all, where we at this blog should be standing and pointing from), dialect can at times be useful. All writers want their characters to have individual, believable voices. We should make them speak in dialogue that has unique phrases and interesting rhythms. I once heard that the key to fascinating characters is not the words they use but the way they use them. Reference a quote from To Kill a Mockingbird: "I was sittin' on the porch, and he come along. There's this old chifforobe in the yard, and I said, 'You come in here, boy, and bust up this chifforobe, and I'll give you a nickel.'" To me, that's good use of dialect. I grew up the same part of the country as Harper Lee's Maycomb County, and I can assure you a lot of folks down here talk that way.

At theeditorsblog.net, Fiction Editor Beth Hill says we should "use contractions--I'd, isn't, weren't, would've, and so on. Then, when you don't use a contraction, the words will take on an emphasis they couldn't have if all words were written without contractions." (As in, I suppose, "I did not have sexual relations with that woman." Presidential statements should always be emphatic.)

Ms. Hill goes on to say that authors should "select one or two or half a dozen words that'll identify a character's background and accent or dialect. Or use a sentence construction or phrase pattern with recognizable accents." Another example of the proper use of dialect, this one from Huckleberry Finn: ". . . It was rough living in the house all the time, considering how dismal regular and decent the widow was in all her ways; and so when I couldn't stand it no longer I lit out."

Compare that to this groaner of a line, from Huck's friend Jim: "I got hurt a little, en couldn't swim fas', so I wuz a considable ways behine you towards de las'." Go thou and don't do likewise.

Which brings up the other side of the coin:

Don't touch that dialect

The fact is, an overdose of dialect can kill your story deader than Billy Bob Shakespeare. Despite what we've seen in some of the work of Mark Twain, Charles Dickens, Margaret Mitchell, George Eliot, William Faulkner, and many others from long ago, the overuse of dialect these days can be as dangerous as the all-too-familiar overuse of adverbs, adjectives, italics, exclamation points, cliches, ellipses, etc. Any of those things are distractions when used too often, and can pull the reader out of the dream world you've worked so hard to create.

Too much dialect can also transform your characters from realistic and interesting to cartoonish and cliched. Not to mention the fact that it is sometimes--let's face it--politically incorrect.

Besides, most dialect is just plain annoying. In a DailyWritingTips piece called "Showing Dialect in Dialogue," Maeve Maddox says modern readers have little patience with this kind of writing. Detailed punctuation, she says, interferes with the narrative, and "some readers who speak nonstandard dialects find attempts to represent their home dialects--even if they are successful renditions--disrespectful." She then addresses one of my pet peeves: "Sprinkling dialogue with odd spellings is especially pointless when the misspelling conveys the same pronunciation as the standard spelling. For example, sez for says, and shure for sure. The consensus among today's writing coaches is that dialect is best expressed with vocabulary, grammar, and easily understood regional expressions, rather than with apostrophes and made-up spellings."

Screenplays can be a different matter. In the movie Fargo, they overused dialect quite a bit, for the purpose of humor--and it worked. Ya, darn tootin', youbetcha it did.

More quotes on this subject:

"Dialect is out. Hinting at a character's ethnic background or regional origins by very subtle means is in. The occasional foreign word or y'all will do, and by all means, don't spell funny. Editors hate funny spelling. So do intelligent readers." -- Carolyn Wheat, How to Write Killer Fiction

"Four out of five readers report that reading representations of heavy dialect is extremely bothersome." -- Lori L. Lake, "The Uses and Abuses of Dialect," justaboutwrite.com

"There is no point in spelling phonetically any word as it is ordinarily pronounced; almost all of us say things like 'fur' or for, 'uv' for of, 'wuz' for was, 'an' for and . . . When you misspell these words in dialogue, you indicate that the speaker is ignorant enough to spell them that way when writing." -- Janet Burroway, Writing Fiction: A Guide to Narrative Craft

"Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine . . . but be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect." -- Anne Lamott, Bird by Bird

"Some writers try to use misspellings to convey dialect. Yet . . . those who speak differently don't spell differently; the words are the same. So the spelling should be standard." -- Beth Hill, as credited above

"Dialect is annoying to the reader. It takes extra effort to derive the meaning of words on the page . . . [also,] dialect is offensive to some readers." -- Sol Stein, Stein on Writing

Have a good dighe, mite

Another aggravation is that many U.S. writers seem to have problems with the English dialogue of characters from other countries. The best tip I've heard regarding foreigners' dialects came from Revision & Self-Editing, by James Scott Bell. He said we should use syntax (the order of the words rather than the words themselves) to indicate that someone's native language is not English. Example: "Please, where is bathroom?"

Anytime this topic comes up, I'm reminded of an e-mail I received years ago from an IBM colleague in the Philippines the week before I traveled to Manila to teach a check-processing class. His note to me (I printed it out and kept it) said, "I am having happy feeling about you come to visit."

Sometimes simple is the best option. In the article "Most Common Writing Mistakes: The Do's and Don'ts of Dialect" at helpingwritersbecomeauthors.com, K.M. Weiland says, "Readers are smart. They don't need much encouragement to get the idea that your character talks like Jackie Chan or Helen Mirren. Sometimes just mentioning your character's nationality will be enough to help readers hear the proper accent when reading your dialogue." She continues with: "Let your character's interesting word choices or incorrect sentence constructions carry the burden of conveying the foreignness of his speech." Good advice.

Personal observations

In my own writing, I commit dialect errors often, but I'm trying to cut back to two or three a week. I still leave the occasional "g" out of my writin' and rantin', and I can't seem to resist using "gonna" or "gotta" now and then. But I'm editing out more and more of the sho-nuffs and the scuse-me's and substituting correct spellings.

Finally, here's an example of dialect from one of my favorite movie characters: "Luke, when gone am I . . . the last of the Jedi will you be."

Now, gone am I. Back in two weeks I will be.

Made the Cover

by R.T. Lawton

The May 2015 issue of Alfred Hitchcock Mystery Magazine showed up in my mailbox a couple of weeks ago. And, just like last year's copy of the May publication, their humor issue, both our John Floyd and I had stories in it. John's story, "Dreamland," was a funny piece about a man who might have watched too many movies. Uh, wait a minute here, John. About this watching too many movies thing, the circumstances are starting to sound pretty familiar. By any chance is your main character patterned after someone we all know?

As for my story, "Groundhog Day," it's the seventh out of eight purchased by AHMM in my Holiday Burglars series. In short, my two burglars, Yarnell and Beaumont, had the misfortune to be caught red-handed in the midst of opening a man's safe and are now trying to dig their way out of trouble and into another man's mansion in order to steal a treasured item the first guy says really belongs to him. Seems you just can't trust criminals these days. However, if it wasn't for dumb luck, Yarnell and Beaumont would be pushing up daisies. Naturally, The Thin Guy, their protege, usually manages to sneak into the situation, whatever it is. No worries, the main characters have to survive so they can appear in the eighth story, "May Day," to be published in some future issue of AHMM.

What I really liked about this issue was the cover. "Groundhog Day" made this May cover with artwork depicting two men with shovels in hand. One man is helping the other man out of a hole in the ground. I can't say that the artist's perception of Yarnell and Beaumont is the same as mine, but then like John and I discussed in recent e-mails, he and I tend to follow Elmore Leonard's way of describing story characters when writing. We use minimum description and let the reader form his or her own picture of the characters. So, I'll say nice artwork and I'm really happy to have my story on the cover of Alfred Hitchcock Mystery Magazine.

Also about the middle of March, my short story, "A Private Matter," came out in a paperback anthology entitled And All Our Yesterdays. For this story think Leo Tolstoi and the Cossacks. Here, a wandering Armenian trader of goods gets pulled into becoming a gentleman's second for one of two Russian officers preparing to fight a duel in the Wild Country south of the Terek River in Chechen territory. Treachery abounds and the trader ends up holding the bag, but he has his own solution to rectify matters.

A couple of years ago, our David Dean mentioned he was writing a short story about a duel. Since I too had a duel story in progress, we exchanged e-mails. (I really like that communication factor in this group.) As it turned out, I didn't have to worry about two stories featuring duels being submitted to the same market in the same time period. David's story, "Her Terrible Beauty," went to Ellery Queen's Mystery Magazine, March/April 2015 issue and mine came out in the above mentioned anthology.

Nice story in EQMM, David. It'll probably get another place in the next EQMM's Reader Awards.

Side Note: All three of my above mentioned stories were critiqued by our Rob Lopresti prior to submission for publication. Thanks, Rob.

Hey guys, keep on writing.

More Beginnings

By Brian Thornton

(For my first post in this two-part series about the importance of giving your story a great beginning, please click here.)

Last time out I talked about the importance of a good opening for your novel. In the comments section folks quoted some great openers (Eve Fisher's quote of the opening line from Jane Austen's Pride & Prejudice comes to mind. Thanks Eve!)

In the interest of fostering further conversation, I've included a few of my own favorite novel openers, from across a broad spectrum of literature. If you find the opener intriguing, I can guarantee there is a strong payoff for your investment!

More on this in two weeks.

Read on:

"Nine months Landsman's been flopping at the Hotel Zamenhof without any of his fellow residents managing to get themselves murdered. Now somebody has put a bullet in the brain of the occupant of 208, a yid who was calling himself Emmanuel Lasker."

                                                                             – The Yiddish Policeman's Union by Michael Chabon





"I know a place where there is no smog and no parking problem and no population explosion ... no Cold War and no H-bombs and no television commercials ... no Summit Conferences, no Foreign Aid, no hidden taxes-no income tax. The climate is the sort that Florida and California claim (and neither has), the land is lovely, the people are friendly and hospitable to strangers, the women are beautiful and amazingly anxious to please-"
                                                                                 – Glory Road by Robert A. Heinlein

"I first heard Personville called Poisonville by a red-haired mucker named Hickey Dewey in the Big Ship in Butte. He also called his shirt a shoit. I didn't think anything of what he had done to the city's name.Later I heard men who could manage their r's give it the same pronunciation. I still didn't see anything in it but the meaningless sort of humor that used to make richardsnary the thieves' word for the dictionary. A few years later I went to Personville and learned better."

                                                                                  – Red Harvest by Dashiell Hammett





"Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show. To begin my life with the beginning of my life, I record that I was born (as I have been informed and believe) on a Friday, at twelve o'clock at night. It was remarked that the clock began to strike, and I began to cry, simultaneously."

                                                                                 – David Copperfield by Charles Dickens

"I want the legs.'
   "That was the first thing that came into my head. The legs were the legs of a twenty-year0old Vegas showgirl, a hundred feet long and with just enough curve and give and promise. Sure, there was no hiding the slightly worn hands or the beginning tugs of skin framing the bones in her face. But the legs, they lasted, I tell you. They endured. Two decades her junior, my skinny matchsticks were no comparison."

                                                                                  – Queenpin by Megan Abbott

"The trouble didn't seem to start so much as it simply landed, like a hunk of blazing debris."

                                                                                  – Dirt by Sean Doolittle

"In the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains. In the bed of the river there were pebbles and boulders, dry and white in the sun, and the water was clear and swiftly moving and blue in the channels. Troops went by the house and down the road and the dust they raised powdered the leaves of the trees. The trunks of the trees too were dusty and the leaves fell early that year and we saw the troops marching along the road and the dust rising and leaves, stirred by the breeze, falling and the soldiers marching and afterward the road bare and white except for the leaves."

                                                                                    – A Farewell to Arms by Ernest Hemingway

"At its northernmost limit, the California coastline suffered a winter of brutal winds pitched against iron-clad fog, and roiling seas whose whiplash could scar a man's cheek as quickly as a cat–o'–nine tails. Since the Gold Rush, mariners had run aground, and those who survived the splintering impact were often pulped when the tides tore them across the terrible strata of the volcanic landscape. For protection, the State had erected a score of lighthouses staffed with teams of three or four families who rotated duties that lasted into the day and into the night. The changing of the guard, as it were, was especially treacherous in some locations, such as Crescent City, accessible only by a tombolo that was flooded in high tide, or Point Bonita, whose wooden walkway, even after the mildest storm, tended to faint dead away from the loose soil of its mountaintop and tumble into the sea."

                                                                                        – Sunnyside by Glen David Gold

"In the shadows of the John F. Kennedy Expressway, surrounded by the warehouses, factories and auto-body shops, stands Villa d'Este, a family-run restaurant that serves generous portions of decidedly untrendy Italian-American food at reasonable prices. The restaurant was there more than thirty years before the expressway slashed the neighborhood in two and I imagine into me there long after the Kennedy collapses under the weight of bureaucratic neglect and political corruption. In Chicago, some things never go out of style."

                                                                                          – Big City, Bad Blood by Sean Chercover

"The heavy red-figured drapes over the courtroom windows were incompletely closed against the sun. Yellow daylight leaked in and dimmed the electric bulbs in the high ceiling. It picked out random details in the room: the glass water cooler standing against the paneled wall opposite the jury box, the court reporter's carmine-tipped fingers playing over her stenotype machine, Mrs. Perrine's experienced eyes watching me across the defense table."

                                                                                            – The Chill by Ross MacDonald

And that's it for this week. Make sure to tune in two weeks from now when I add a few more of examples and talk about what they do right to hook the reader. In the meantime feel free to weight in over in the comment section with examples of favorite opening lines and why they work for you!

See you in two weeks!

Brian

The Man Who Ate Babies: A Parable

This has nothing to do with April Fools' Day, by the way.  

No babies were harmed in the making of this blog.  I  added the subtitle in hopes of not scaring off people who, like me, are squeamish about true crime.  This parable was written by George Harvey, the editor of Harper's Weekly, and appeared in a March 1907 issue.  I discovered it in the second volume of Mark Twain's autobiography and was struck by how relevant it seemed in light of certain events of recent years. 

Oddly enough the question that most concerned Harvey seems to have been well settled, but the underlying issue is still very much with us.  After the essay I will come back to explain the circumstances that led to Harvey's essay.  The only editing I have done to the parable is to remove its introduction and split some paragraphs for ease of reading.

-Robert Lopresti

THE MAN WHO ATE BABIES
by George Harvey

Once there was a man who had the incomparable misfortune to be afflicted with a mania for eating babies. He was an extraordinary man, of astonishing vigor, of remarkable talents, of many engaging qualities, and of prodigious industry.
 
He had education and social position; he could earn plenty of money; and the diligent exercise of his intellectual gifts made him valuable to society. There was nothing within reasonable reach of a man of his profession which he could not have, but over what should have been a splendid career hung always the shadow of his remarkable propensity.

The precise dimensions and particulars of it were not definitely known to many persons. A few men who had a mania like his doubtless knew absolutely; a good many other men knew well enough; and there was practically a public property in the knowledge that he had, and gratified, cannibalistic inclinations of much greater intensity and more curious scope than those that commonly obtained among careless men.

There was an honest prejudice against him. Persons of considerable indulgence to eccentricities of deportment disliked to be in the same room with him. Sensitive stomachs instinctively rose against him. Yet he was tolerated, for, after all, nobody had ever seen him eat a baby.

One day another man—quite a worthless person—knocked him on the head, and let his pitiable spirit escape from its body. It made a great stir, for the man who was killed was very widely known, and his assailant was also notorious. There followed profuse discussion of the dead man’s character, qualities, and achievements. His record was assailed, but it was also warmly extenuated.

When it was averred that he was an ogre, the retort was that he was not a materially worse ogre than a lot of other men, and that we must take men as we find them, and make special allowances for men of talent. When it was whispered that he ate babies the answer was that that was absurd; that whatever his failings, he was the helpfulest, best-natured man in the world, and particularly fond of children, and good to them, and that if he ever did eat babies he was always careful where he got them, avoiding the nurseries of his acquaintances, and selecting common babies of ordinary stock, who were born to be eaten, anyway, and would never be missed, and who, besides, were in any cases not so young as they made out.

So the discussion went on, and waxed and waned as the months passed. But one day there was set up a great white screen, big enough for all the world to see, and over against it was placed a lantern that threw a light of wonderful intensity, and then came a person named Nemesis, with something under her arm, and took charge of the lantern. And then there fluttered forth all day on the great screen the moving picture of the poor monomaniac and a baby—how he found her, enticed her, cajoled her, and finally took her to his lair, prepared her for the table, and ate her up. Well; it was said that the picture was shocking, and that the public ought not to have been allowed to see it.  Oh yes, it was shocking; never picture more so.  But it was terribly well adapted to make it unpopular to eat babies.

Lopresti here again.  In June 1906 the famous and celebrated architect Stanford White was shot to death by millionaire Harry K. Thaw.  (These events were recalled in E.L. Doctorow's novel RAGTIME.) Thaw said he was driven to the crime by his obsession with White's earlier relationship  with Evelyn Nesbit, a model Thaw had also had an affair with, and later married. 

In court Nesbit reported that White had given her drugs and seduced her  at age fifteen.  Thaw was eventually found  not guilty by reason of insanity.  A few words from Twain's autobiography:

New York has known for years that the highly educated and elaborately accomplished Stanford Whtie was a shameless and pitiless wild beast disguised as a human being...  He had a very hearty and breezy way with him, and he had the reputation of being limitlessly generous - toward men - and kindly, accommodating, and free-handed with his money -- toward men; but he was never charged with having in his composition a single rag of pity for an unfriended woman… [Congressman] Tom Reed said, "He ranks as a good fellow, but I feel the dank air of the charnel-house when he goes by."]

And here is how George Harvey introduced his parable in Harper's:

The President of the United States [Theodore Roosevelt] thinks that the papers that give "the full, disgusting particulars of the Thaw case" ought not to be admitted to the mails. Perhaps not. Perhaps the country at large does not need all the particulars, but in our judgment New York does need most of them, and it would be not a gain, but an injury, to morals if the newspapers were restrained from printing them.

We will try to explain.