How to Kick @ss: Janet Evanovich

by Melissa Yi

Who debuts at #1 on the New York Times bestseller list, handles up to 3000 fans at her signings, and sustains three million hits on her website per month?
Yep. The one, the only Janet Evanovich.
Here are six tips from her singular career:

1. You can be a late bloomer.

Janet’s first book was published in her early forties. In a BookPage interview, she said, "In that respect, I think I'm a great role model for my children. I have shown them that you are never to old to try something new.”
Isn’t that terrific? Usually, you hear about how you’re over the hill if you haven’t started creating masterpieces by age six, like Mozart.

2. But figure out your weaknesses, and improve on them.

In an interview with Island Packet, Janet said that because she was trained as an artist instead of a writer, her dialogue “was very stiff and boring. But I had a friend who was doing acting classes, so I joined one of the improv classes that she was doing. What we do as writers is very similar to what actors do.”

3. Learn the writing business

In Mystery Scene, Janet recommends
a) Romance Writers of America. Even if you don’t write a romance, she says RWA is “a very nurturing organization for establishing peers, for learning skills, for getting market information.”
b) Sisters in Crime
c) Publishers Weekly “to see what’s going on. You want to look at the bestseller lists and see what people are reading and enjoying, and see if you can stay in front of the curve.”
She says that learning the business helped her figure out that her timing was perfect. “I came in on top of the wave…right behind the crest of the wave—Sue Grafton and Sara Paretsky—and I rode that in. And I think that’s important when you’re starting out to understand where the market is going and see if you can look to the future, see if you’re riding a wave—if a wave exists.”

4. Work hard.

She told BookPage, “I’m just a boring workaholic. I motivate myself to write by spending the money I make before it comes in.”
In Janet’s book, How I write, she describes this schedule:

 Weekdays: 05:15-14:00 Write
14:00: Business (phone calls, mail, publicity, website work with daughter etc.)
1-2 hours of exercise “in the middle of the day”

Weekends:
Write in the morning only
Afternoon/evening: fun

On a book deadline: writing 24/7

Mystery Scene

5. Love your fans.

As she told Mystery Scene, “I didn’t want to be an author in an ivory tower. Maybe it’s the mother in me, but I think of my readers as an extended family.”
Her website has contests and polls every month, and readers can submit photos of their pets.
Because so many people come to her signings, they can get bracelets so they don’t have to wait in line for hours, and she makes the signings an event, “because if somebody is going to be driving for four or five hours to come see me, we should have something interesting for them to see. For a couple of cities, we brought in a live band, and this year in New York, I dragged a friend of mine, Lance Storm the wrestler, onstage with me to take his shirt off and read Joe Morelli, and because you can’t have a WWE wrestler without a slut, my daughter volunteered to be the slut of the night.”

6. Team up to make the best work possible.

Janet involves her whole family in her business. She told the Island Packet,“My son (Peter) is my agent. He's very detail oriented. My daughter (Alex) interfaces with my publisher and handles all the online stuff and social media. My husband, Pete, manages all aspects of the business and tries to keep me on time. It's great.”
Janet talked to Forbes about pairing up with popular authors like Lee Goldberg, Charlotte Hughes, Dorien Kelly, and Leanne Banks, so she can offer more books for her readers. “I like being able to provide consistent and frequent literary choices for my fans. Since I can barely write two books a year the best solution seems to be co-author projects. My goal isn’t to get another writer to clone me …it’s more to produce a book that shares my vision of positive, fun entertainment.”

In Memoriam

by Jan Grape

Two special mentors of mine have transitioned to another plane of existence, Clark Howard and Ed Gorman.

Years ago, before I was published, I saw a little notice in a Houston newspaper for people interested in forming a Southwest Chapter of Mystery Writers of America.  I lived in Houston then and definitely was interested and so I went. It probably was 1982. Not exactly sure about that. I honestly don't remember where this meeting was held, or even who all attended. This was the second meeting for the group and I know I missed the first meeting. I do remember four people who were there besides myself. Joan Lowery Nixon and Mary Blount Christian who both wrote Children's and or young adult mysteries and both women were very involved in MWA. There was a guy named John (don't remember his last name) who actually became our first Vice-President. Back then, that was the title used for MWA chapters. Not President although that's who was really in charge of taking care of business. I do remember one other gentleman who attended and that was Clark Howard. Clark had written a number of True Crime (or fact crime) books and had several short stories published. Mostly in Ellery Queen Mystery Magazine. Somehow before I knew it, I was elected Treasure of the Chapter. I know when I got back home, my husband, Elmer Grape cracked up at the idea, I was never known to have a mathematical mind. In fact, my greatest strength was giving very accurate, very concise and very brief treasurer's reports.

"We had a little money, we spent a little money and we still have a little money." Everyone almost fell off their chairs that first time but, they were quite pleased each month instead of one of those dry reports such as..."we had 10 new members join at $25 each, $15 per person was sent to MWA-NY. I spent $25 on newsletter stamps...blah, blah, blah. Of course, I always gave our VP and the board members a written report with all the dry facts.

Now I must tell you a bit about my friend, Clark Howard (excerpted from EQMM on Facebook). As a boy, Clark grew up without parents and was homeless for a time. He would conceal himself in a bowling alley before they closed at night so he would have someplace to sleep. He told me personally that his mother was a junkie and he found her dead. I'm not sure if his father was ever even in the picture. He joined the Marines when he was 17 and served in Korea. I imagine that coming from such a tough background gave him the grittiness he needed to write such realistic stories. His painful
autobiography, Hard City  was published by Dutton in 1990.

One of the first things I learned about writing from Clark was his opinion about creative writing classes. He was not fond of them for good reason. After he was honorably discharged from the service, he enrolled in classes at Northwestern University in Chicago where he had spent some of those early days. One class he was taking was in Creative Writing. The professor in that class wanted the students to write a story and turn it in. The prof made copies of every one's stories and passed them to the students to critique. Clark said, everyone in the class including the professor tore his story apart saying it was terrible, they didn't like the characters, they didn't like the scenes, etc. Clark said he walked out and never came back. Said he had just sold that story and another on for five hundred dollars. I asked him later if he ever told the professor. He said, "No. I decided it wouldn't do me any good and it wasn't going to get me a good grade in that class. That maybe I knew as much about story writing as he did."  At any rate his advice to me was not to worry about taking creative writing classes. Learn your craft by writing and keep writing and hope you find a good editor who will buy your stories.

I have a feeling Clark Howard was right, he won a Edgar award from MWA for one of his short stories and was nominated for an Edgar five times in that category. He also won EQMM's Reader's Choice Award five times and was the recipient of the Edward D. Hoch Memorial Golden Derringer for Lifetime Achievement from the Short Mystery Fiction Society.

One other major thing I leaned from Clark was something that is useful perhaps more in life than in writing and it was something he learned in his own terrible upbringing and in interviews with many killers on death row in prisons all around the country. No matter how bad your childhood is or how many bad thing happened to you, at some point as you reach adulthood, you have to be responsible for your own behaviour. You can't continue to blame your parents or your teachers or your sad neglect. There is just you yourself to blame when you do wrong. And when you do wrong as an adult, whether it'd 18 or 19 or 20 years old you have to accept the consequences.

Ed Gorman bought many of my short stories and was very much a part of the publishing of my first novel. I had moved to Austin from Houston in the late eighties, 1987 as I recall. I had been elected Vice-President of the Southwest Chapter of Mystery Writers of America. I agreed to continue to serve as VP and would travel to Houston each month for the meetings. It was 150 miles one way but it was an easy drive, less than three hours and I could return back home on the same day. We actually met on Sunday and the traffic was not too bad until you got to Houston.

One day I got a telephone call from a man who identified himself as Ed Gorman. I knew of Ed mostly because I was also a member of the Private Eye Writers of America, a group started by Ed and Robert J. Randisi. Ed asked if I would be willing to write a column for Mystery Scene Magazine. I think I had a subscription and had seen three or four issues. The magazine came out quarterly. He and I talked for a while and I got a sense of what he wanted my column to be about. I was to report the news about writers in the Southwest Area. Texas, Arkansas, New Mexico and Louisiana. He said he'd pay me two cents a word, a carton of cigarettes and a box of condoms. I said I did smoke and could use the cigarettes but since I was married and had taken care of any accidental problems I wouldn't need the condoms.

We decided on the name, "Southwest Scenes" and he wanted a photograph. I enjoyed emailing, faxing or even calling mystery writers in the Southwest area and getting their news. When they had a book or story coming out or when they were appearing at a bookstore for a signing. Or even generally if they were getting married or having a baby or whatever was going on in their life. We had not decided to open a bookstore yet and I was writing a couple of short stories and sending my first novel out to see if I could get a publisher interested. I had sold a non-mystery story to a city magazine and had a couple of stories published in little subscription magazines. My first novel was never published but the two female Private Eye characters, Jenny Gordon and C.J. Gunn had been in both of the short stories that were published.

I discovered Ed didn't like to go to mystery meetings like the Edgars or Bouchercon but he enjoyed talking on the telephone. We talked every week and sometime more. We enjoyed our conversations and my husband Elmer almost always knew when Ed and I were talking because I'd be laughing like crazy as we talked.

We opened the bookstore in 1990 and I was pretty busy but Ed and I still talked often and I was writing some non-fiction articles, one for Writers Digest and reviewing books for the Houston Chronicle. One day, Ed asked if I'd write a story for an anthology he was editing. Invitation To Murder. Of course, I said yes. Along about that same time, Bob Randisi asked me to write a story for a PWA anthology he was editing, called Lethal Ladies. Both books and stories came out about the same time and I actually don't know which came first but I think, INVITATION was first.

The rest as they say is history. A short time later Ed asked if I would co-edit a book called Deadly Women. My co-editor was to be Ellen Nehr. Ellen passed away before we were ready and we asked Dean James to take over in her spot. Dean and Ellen both had deep knowledge of the history of women in mystery. This book is by, about and informs you about women in mystery. We finished it and did a beautiful job, it was nominated for an Edgar, an Agatha and a Mccavity in the non-fiction category. Dean and I won the Mccavity but were so excited to be nominated for the Edgar and the Agatha.

It's been difficult for me to write about both of these mystery friends. Ed Gorman passed away on Oct. 14 and it was only after that I found out about Clark Howard who had passed on October 1st.
I had no idea it was going to be this hard but I can testify that it's not easy to type or even to think when you have tears. I'll have to finish my memories of Ed Gorman for the next time.

I'm one of the few writers who met Ed in person. When Elmer and I started traveling in our RV we made a point to go to Cedar Rapids, IA to meet Ed and had dinner with him. I met his lovely wife Carol a few years before at at mystery con in Nebraska. I loved both men as brothers and as mentors and I miss them both. May they RIP.

Sting Like a Butterfly

James M Cain wrote a controversial novel on a touchy topic made into an even more contentious movie of the same name.

It’s less than fair to suggest the film ended the career of Orson Welles, but some critics noted it capped the actor’s substantial body of work on a low note. Further, the production virtually finished the profession of its actress, turning her name into fodder for barbed late-night television jokes.

The Film

The actress was Pia Zadora and the movie was Butterfly based on Cain’s The Butterfly.

I overlooked the original in theatres, but a third of a century after its release, I decided to take a critical look at it. To my surprise, it’s not an awful film.

1. Stacy Keach, known to private eye fans as Mike Hammer, put in an earnest and solid low-key performance as Jess Tyler. He provided the backbone of the story, but more than that, he played a nuanced there-but-for-the-grace-of-God character who made mistake after mistake even as the audience begged him not to.
2. Orson Welles is claimed to have been drunk on the set. Whether or not that’s true, I hazard he turned in a sly performance, one he fully intended to. Suggesting substantial improvements would be difficult.
3. Any actress bordering on age 30 who can convincingly portray a 16-year-old (19 in the novel) is doing something right. To be sure, Pia Zadora’s baby-fat cheeks helped, but more than that took place. She’d started as a child actress at age eight on Broadway and developed a singing career, but Hollywood hated her for reasons that had nothing to do with the film.

© Pia Zadora

So what went wrong?

The Butterfly Effect

Born to parents in the theatre (father a violinist, mother a Broadway costume supervisor), Pia adapted part of her mother’s maiden name, Zadorowski, as her stage name. She sang and acted in a number of child rôles. At age 19, she met a man 32 years older than she, Meshulam Riklis, an investor and businessman. They married five years later. She became the Dubonnet Girl in commercials for the apéritif in which Riklis had a financial interest.

Riklis encouraged his wife’s career, perhaps a bit too much. When Pia Zadora starred in Butterfly, he bought billboards promoting her.

The movie industry didn’t like that. In fact, they resented it. When the Golden Globes presented her with Best New Star of the Year, Hollywood turned on her and where Hollywood went, the public followed. Awards of a Golden Raspberry for Worst Actress, Worst New Star and Worst New Star of the Decade were only the tip of the freeze-out iceberg. Late-night television comics relentlessly mocked her, celebrity magazines ridiculed her. While the New York Times actually liked the film, they said the petite Miss Zadora looked “stunted, like a Brigitte Bardot who's been recycled through a kitchen compactor,” an unnecessarily hurtful allegation both unfair and untrue. She appeared in a few more B-movies, but her film career was over.

But not all was lost. In a perverse way, her haters had given her name recognition, and she would eventually receive a sort of vindication. Movie-goers who didn’t stay for the credits roll didn’t realize she’d sung the sultry title song in Butterfly, “It’s Wrong For Me To Love You”. Her next-to-last film was Voyage of the Rock Aliens– ‘rock’ in this case meant rock-n-roll. In it, she sang many of the songs from her follow-up album, Let's Dance Tonight.

That’s when people learned Pia Zadora could sing!

And sing well. She rebooted her career singing in Europe and established a number of international hits. This was no aberration. In 1985, she barely missed the Grammy Award for Best Female Rock Vocal Performance with the song ‘Rock It Out’, losing to Tina Turner's ‘Better Be Good to Me’.

Sinatra © Zadora

She became friends with Frank Sinatra when she headlined in Las Vegas. He persuaded her to turn to standards. Her subsequent album Pia & Phil referred to her backup group, none other than the London Philharmonic Orchestra.

Late-night talk hosts invited her back and Johnny Carson apologized for Tonight Show punchlines at her expense. Pia had made her comeback.

The Book

The Butterfly’s title might sound like a cosy, but Cain dismisses mean-streets-of-the-city noir to show us the truly dark, forbidden love and death in the depths of a West Virginia coal mine. While the book is a crime story with a mystery, it’s also a thinly disguised melodrama and a thin volume at that.

Cain said he intended an entirely different effects-of-the-Depression novel. When Steinbeck published Grapes of Wrath, Cain aborted his plans, eventually plucking The Butterfly out of the scraps of his writings and research.

Oedipus Wrecks

Many consider the subject matter creepy– incest. We tend to associate the practice with opposite extremes of society. On the one hand, royalty intermarried, not merely European kings, queens, and offspring, but Asian and Egyptian rulers too. In a dizzying myriad of ways, Norse, Greek and Roman gods bounded in and out of beds in an assortment of peculiar combinations.

The Judeo-Christian Bible is loaded with examples of incest, where theological theorists argue that God suspended the laws of incest. A few examples include Cain and Abraham and their sister/wives, not to mention Lot and his determined daughters. Presumably the descendants of Noah suffered a shallow dating pool as well. Lest you think Americans are above it all, celebrities– our own sordid royalty– have occasionally been said to engage in incest as well.

At the other extreme, we look down on poor folk in the hills 'n' hollers of Appalachia, the Ozarks, and places not yet despoiled by 7-11s, strip malls, and WalMarts. Deliverance has become a code word where mountain dew drinkin’ types marry relatives, just as in Carbon City, West Virginia, the setting of The Butterfly.

And yet…

GSA

Cain toys with us by recognizing a phenomenon called ‘Genetic Sexual Attraction’. GSA is a serious matter studied by psychologists and biologists. Apparently GSA is biologically programmed into us.

Opposing GSA is a debated factor called the Westermarck effect. According to its proponents, this psychological proximation factor blocks, sometimes imperfectly, sexual appeal between close relatives. The effect can and does break down, particularly in cases of at least one absent or absentee parent, and traditional rôles within a family change. When families split apart resulting in divorce and adoption, the Westermarck effect can’t occur.

The percentage of adults who engage in incestuous relationships is unknown, but estimated at fifteen per cent on average and up to 50% among long-separated, reunited relatives. A sizable proportion don’t want to be ‘fixed’. It’s substantial enough to have pro- and con support groups, lawyers and lobbyists, forums, books and blogs, and web sites. After Britain was criticized for punishing sibling couples who remained stubbornly in love, the European Union is trying to figure out how better to handle these situations and possibly decriminalize most adult couplings.

The mainstream public’s introduction came from the columns of Ann Landers and Abigail Van Buren in the 1960s and the first support groups were born. These days, if we hear about the topic at all, it’s usually the result of long-lost relatives, separated at childhood, who find each other… and unexpectedly find each other attractive.

Praising Cain

James M Cain isn’t the only author since Anaïs Nin to dabble with incest, although his 1946 story cleverly works in the recognized psychological stress factors. Novelist Gillian Flynn hinted at ‘twincest’ in her book and film, Gone Girl.

Although Cain played upon reader’s suppositions, he cleverly adopted and adapted this phenomenon for his own purposes, juxtaposing a long-lost Lolita with… Well, you have to read the novel or see the film and choose which ending you prefer.

Passport to Murder! Announcing...the Bouchercon 2017 Anthology Competition

First, a bit about Destination:TORONTO

Toronto the Good
Hogtown
The Big Smoke

Toronto has had a lot of nicknames, but I like this description best:
Toronto is “New York run by the Swiss.”  (Peter Ustinov, 1987)

He meant that in a good way, of course!  Toronto is a big city - the Greater Toronto Area is more than 6 million.  Our restaurant scene is second to none.  We may be the most diverse city in the world.  How great is our diversity?  When I worked in health care, our government agency had 105 dialects spoken by staff! 

It's my great pleasure to be part of the Bouchercon 2017 Committee.  Many of you know my friends Helen Nelson and Janet Costello, who are the conference co-chairs.  With these gals in charge, you know it will be an unforgettable conference.  Come to our town, for a great Crime Time!

You can check all the details here:  www.bouchercon2017.com

 DRUM ROLL......  announcing PASSPORT TO MURDER,

the Bouchercon 2017 Anthology

Even if you aren't registered for Bouchercon 2017, you can still enter the anthology competition!

Our theme is the convention theme—Passport to Murder—so include a travel theme with actual travel or the desire to travel with or without passports. And it must include at least a strong suggestion of murder or a plan to commit murder…. All crime sub-genres welcome.

Publication date: October 12, 2017.
Editor: John McFetridge
Publisher: Down & Out Books

All stories, by all authors, will be donated to the anthology as part of the overall donation to our literacy charity fundraising efforts. All profits on the anthology (including those of the publisher) will be donated to our charity.

Guests of Honour for Bouchercon 2017 will be invited to contribute to the anthology. For open submissions, preliminary selection for publication will be blind, by a panel of three judges, with final, blind selection by the editor.

The details:

• The story must include travel and at least a strong suggestion of murder or a plot to commit murder.
• Story length: a maximum of 5000 words
• Electronic submissions only.
• RTF format, preferably double-spaced
• Times New Roman or similar font (12 point)
• Paragraph indent .5 inch (or 1.25 cm). Please do not use tabs or space bar.
• Include story title and page number in document header.
• Maximum of one entry per author
• Open to both writers who have been previously published, in any format, and those who have never been published.
• The story must be previously unpublished in ANY format, electronic or print.
• Please remove your name or any identifying marks from your story. Any story that can be associated with the author will either be returned for correction (if there is time) or disqualified.
• Please include a brief bio in your submission form (max 150 words) and NOT in the body of your story.
• After Bouchercon 2017 and Down & Out Books expenses have been recovered, all proceeds will be donated to Bouchercon 2017’s literacy charity of choice.
• Copyright will remain with the authors.
• Authors must be prepared to sign a contract with Down & Out Books.
• Submissions must be e-mailed no later than 11:59 P.M (EST) January 31, 2017. Check the website (www.bouchercon2017.com) for full details and entry form.

Reflections on Bouchercon New Orleans

by O'Neil De Noux

I've been listening to audiobooks during my commute to work. On a recent morning, I had so strong an emotional response to a story, I almost had to pull over on the interstate. I felt my throat tighten and my eyes beginning to water because a young woman died in the story. Nothing sinister. A fever. There I was, getting choked up about a woman who never existed. Such is the power of good fiction. For years I've been saying the reason we write fiction is to get that kind of reaction. It certainly isn't for money. I've never made much money as a writer. It isn't for the awards, although being awarded by my peers and by readers has sustained me during the dark times when I doubted myself and my writing. American writers are saddled by 'success'. Only the successful writer is important.

How much money did you make? When are they going to make a movie out of one of your books? Why have I never heard of you? (OK, that last one's funny).

Photo of Katrina destruction © 2005 John Datri (used by permission)

Around the time of Hurricane Katrina, when I was at the nadir of my career (before I became an Indie writer and broke away from traditonal publishers who printed my books, opened their back doors and tossed them into the wind to see if they'd fly off bookshelves, then let the books go out of print) I remember looking at my books and the magazines I had stories in and telling myself - at least I wrote "The Heart Has Reasons," which won the SHAMUS Award for Best Private Eye Short Story. At least I wrote that story. It gave me strength.

On the morning I got choked up, I turned off the audiobook as the traffic became heavy and began to reflect on Boucherson. It was my first Bouchercon and the first writer's convention I'd been to since 1992. I don't like to travel. I thought of the highlights of the convention for me - meeting writers I've long admired, meeting the wives and husbands of writers who are the coolest people, meeting editors who have given me guidance and have published my stories, the honor of speaking about New Orleans at the opening ceremony, presenting the DERRINGER AWARDS and attending my first PWA SHAMUS Award ceremony.

Yet, one moment stood out. A brief conversation with Linda Landrigan, editor of ALFRED HITCHCOCK MYSTERY MAGAZINE. She reflected on a story of mine she's published in 2011. She told me she still thinks about "The Gorilla Murders" because of the emotional response she had to the story. That is the highest compliment given to me by an editor, that quiet remark.

Why? Because we write to elicit a response in the reader - emotional or intellectual (even anger). Robert Frost was correct when he said, "No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader."

So, to my fellow writers, I say there is so much more out there. More stories. More characters. More fevers. We just have to bear down and write the stories. Hopefully, they'll get read. But if they don't - they don't. It's worth every tear.

The audiobook I was listened to is the novel NEW YORK by Edward Rutherford ©2009

www.oneildenoux.net

Plus Ça Change Plus C'est la Même Chose....

by Brian Thornton

Full disclosure: this post discusses politics, and might cause some of our dear readers to either clutch their pearls and bemoan the loss of civility, or seek out a Safe Space in which they can curl into the fetal position. If this describes you, feel free to skip it.

Not THIS kind of horse race

Quick show of hands: how many of you have ever heard an election referred to as a "horse race"?

Me too.

Now, how many of you have heard it coming either from a political correspondent or a political columnist, or worse yet, from the lips of one of those paid political "consultants" who litter the landscape of such politics-driven "news" channels as Fox News/MSNBC/CNN?

Not THIS kind of theater

Okay, stay with me, here.

Now, how many of you have heard the term, "political theater"? And this also spoken or written by someone who makes their living shilling for a "political product"?

Yep, yep, me too.

Now for the pay-off.

How many of you are beyond fed-up with hearing nonsense like the above, or suggestions that we "get out the popcorn" for one of a seemingly never-ending string of political debates, during this, the seemingly never-ending campaign season? Or hearing/reading political correspondents talking about how much "fun" it was to cover this or that political candidate?

And then there are the screaming matches-ermmmm-I mean, "political roundtables" all over the above-mentioned channels. The ones where people paid by both sides of any given political issue talk over each other with all the grace and dignity of a middle school food fight (for more of my thoughts on this variety of political animal, click here.).

Really?

I mean, I am all for loving what you do, but when political correspondents/pundits begin to talk about how entertaining it is to watch as a democratic republic goes through the laborious task of selecting its next round of leaders, I get nauseous.

Because guess what? This is not a "horse race."

It is not "theater."

It is the admittedly flawed process by which we choose the leadership of the most powerful nation on the planet. And in one particular case, it is how we select the person who will wield the most power any human being has ever wielded. Nukes do that.

If nothing else, the current *UGLY* election season has beaten the notion that this is somehow supposed to be "entertainment" right out of the heads of most sensible people. And go figure, all it took was the nomination of an "entertainer," a reality TV star, by one of the country's two major political parties to forcefully drive this point home to the nation's chattering class.

Nice to get that out of the way.

On the other hand, for those of you bemoaning how terrible this election season is, how unprecedented the coarseness of the candidates, the viciousness of the campaigns, etc., I have one word.

Please!

Does Donald Trump, by both deed and word, horrify me? The word ain't strong enough. If he actually had a chance of winning, I'd be truly frightened for our country. I find him despicable, low-brow, class-conscious, image-obsessed, misogynistic, racist, elitist, and even more of an incurious cretin than George W. Bush (Sorry Dubya. Think you're a nice guy and all, but come on...).

But this is America. We don't do anything by half-measures.

And not only has our country nominated candidates equal to Trump's low example in the past, they've been elected and held office!

Don't believe me? Fine. Although examples of campaign dirty tricks and outright fraud (Chicago's Daley machine stealing the 1960 election from Richard Nixon, anyone?) are rife, in American history ("Ma! Ma! Where's my pa? Gone to Washington, Ha! Ha! Ha!" – campaign slogan coined by opponents of Grover Cleveland, referencing his previous acknowledgement of siring a child out of wedlock.). And America has had its share of just plain gross office holders (Another quick example: Cleveland, once in office, married the much younger daughter of his deceased law partner. Said partner named Cleveland himself as her guardian in his will! Yuck.), still, we've managed to transcend them and wind up a better, stronger, more enlightened nation in spite of them.

President Warren G. Harding and the daughter he never knew.

Take Warren G. Harding, who carried on an affair with one of his secretaries, meeting for heated trysts in the White House telephone room, right under the nose of his very jealous, domineering wife. This, when he wasn't busy losing the White House china in back-room poker games!

And when the inevitable happened, and Harding knocked his secretary up, his political handlers bribed her with $100,000 dollars stolen from Harding's campaign fund and sent her on a year-long cruise around the world.

There are other examples, like Thomas Jefferson's relationship with Sally Hemmings, and Andrew Jackson's dueling (to say nothing of the running gun-fight he had through the streets of Saint Louis with future Missouri senator Thomas Hart Benton, the Trail of Tears fiasco, and so much more. Glad they're finally rethinking having King Andrew–as his opponents dubbed him because of his perceived autocratic tendencies–on the twenty dollar bill. And let's not get started on Mt. Rushmore.). Or how about then congressman Dan Sickels' murder of his wife's lover in broad daylight across the street from the White House, use of the "temporary insanity" defense (the first successful one ever) to beat a murder charge in his subsequent jury trial, only to go on to lose a leg in battle at Gettysburg, and steal the money raised to fund a monument to him on the spot where he lost it?

I could go on and on. But there's one guy in particular who comes to mind as an even more despicable, low-life creep than The Donald, and our country survived his coming and going.

After all, this is the country that once nominated for the office of vice-president a slave-owner who took as his common-law wife one of the slaves willed to him in his father's estate. When she died he took another of his slaves as his "slave mistress" (as if the poor woman had a choice) and when that slave tried to run away, he had her sold at auction and took her sister in her place.

I'm speaking, of course, of Richard Johnson.

Not THIS Richard Johnson-he was a British actor who turned down the role of James Bond that later went to Sean Connery.

THIS Richard Johnson. Vice-President of the United States, 1837-1841

Johnson was so louche, such a nut and such a wild-card, that when his boss, President Martin Van Buren ran for reelection in 1840, he dropped Johnson from the ticket and ran without a running mate.

Bet Mike Pence wishes he could pull that off.

In closing, whichever candidate(s) you support, please DO vote. At times like these, we need to make our voices heard.

If History teaches us nothing else, it ought to teach us that.

And if you actually made it to the end of this post without throwing your hands up in despair and would like to learn more about the quality and scope of previous American adventures in political villainy, feel free to click here and check out my collection of these types of stories, The Book of Bastards: 101 Worst Scoundrels and Scandals from the World of Politics and Power.

The Night the Old Nostalgia Burned Down

While working on my recent column on alternate history I was looking at my collection of science fiction and noticed a book that took me back through the decades.  Out of this World, edited by Julius Fast, was published in 1944 which means that, even as old as I am, it was a used book when I got my hands on it, in my father's personal collection.  I was probably around ten and it was already an antique.  The copy I have now is not the one I had then, by the way.  I found it in a used book store a few years ago.  (By the way, Fast edited the book while serving during World War II, using material he found in army base libraries.  He also won the very first Edgar Award for Best First Mystery Novel.)

I have fond memories of this collection of fantasy stories.   There are stories by Saki, Robert Arthur, H.G. Wells, Lord Dunsany, and Jack London to name a few.  But what really knocked me out was my first encounters with the late great John Collier.  Collier was one of the great short story authors, a master of a certain kind of fantasy and mystery. His story "Witch's Money" (not in this collection) is on my list of top fifty crime stories of all time.  There are no witches in it: it's about the disaster that hits an Italian village when a comparatively wealthy American artist moves in.

Running across that book a few days ago inspired me to go looking for another one I found in my Dad's collection when I was at that same impressionable age.  I bought a copy over the web, and the shipping cost more than the book. 

The Pocket Mystery Reader was also published during the war, and in fact, this copy was owned by Sergeant Lawrence E. Hough of the U.S. Army in 1943.  (And I can tell you Sergeant Hough took much better care of his paperbacks than I  do.)

I remember reading my father's copy mostly because I recall Rex Stout's parody of Sherlockian scholarship, his famous speech to the Baker Street Irregulars entitled "Watson Was A Woman."  It's still funny.  So are the essays by P.G. Wodehouse and Stephen Leacock.

This book was my first exposure to Dashiell Hammett and his Continental Op.  ("The Farewell Murder," not one of his masterpieces.)  In fact, while there are tales by Gardner, Sayers, and Woolrich, the only one I remembered from fifty years ago was "The Price of the Head,"by John Russell, which I recalled as being brilliant.  However, I experienced one of the downsides of revisitng a favorite old book: On rereading I discovered it was racist trash.  Apparently my memory wrote a completely different story and attached it to Russell's brilliant ending.

There is a ton of casual racism in this book which reminds me that it was published around the time Rex Stout produced a one-night extravaganza on Broadway just for writers, directors and producers, with the theme "We can't fight racism in Europe and appease it at home."

I was even younger when I ran across the Arrow Book of Ghost Stories.  I thought I read the copy belonging to my sister Diane Chamberlain but she swears she never heard of it.  What I can't forget is "The Wonderful Cat of Cobbie Bean," a lovely tale by Barbee Oliver Carleton.  Cobbie gets a talking cat, which might not be so disastrous except Cobbie lives in Salem at the time of the witch trials…

Another book I dug up because of childhood memories was The Bulls and the Bees, by Roger Eddy.  It's a novel (memoir?) in a series of short stories, narrated by the astonishingly solemn voice of a child growing up in the twenties.  His father is a stockbroker and the boy's hobby is buying a single share of stock from different companies.  He has no idea he is "investing."  He thinks he's just buying interestingly engraved paper.  This leads to a crisis after the Crash in 1929.

This has gone on too long.  Maybe next time I will talk about childhood favorites I bought my daughter when she was a kid.

But what books call to you from your childhood?  And if you reread them was it a joy or a disappointment?

Not Just Words

The now infamous tape of Donald Trump bragging about how, as a celebrity, he can get away with anything in regard to women has resulted in thousands of articles and social media posts about sexual assault and sexual harassment. One article I read recently has stuck with me. It addressed how men often think sexual harassment isn't such a big deal because they don't realize how often it happens, and that's at least partly because, from a young age, girls are taught to de-escalate situations. Downplay things. Laugh them off. Ignore them. Harassment is so common, we don't talk about it until things get really bad. Until we are physically assaulted. Until we are raped.

The article suggested that women should talk about the harassment that happens to them regularly so it won't be hidden in the shadows and good men will see what we put up with. That is what I'm going to do now. This is a list of every incident of sexual harassment (or worse) I can remember in my life, and my memory isn't that good. You may think that everything on this list isn't sexual harassment, that's it's minor stuff, no big deal. At the time of some of these incidents, I would have agreed with you. But now, looking back, I think they are. They all add up to rape culture.

• At age 6, a boy offered me twenty-five cents to look up my skirt. 
• At age 9, my sister's boyfriend exposed himself to me. (Me and a bunch of other people. This happened at camp, and my sister wasn't there). The guy was 18 or so, and the rest of the group members were around his age. I don't know if he was thinking about me when he did it, but I was there, and I did see his penis, and I was nine years old.
• In the fourth grade (age 9 or 10), the boys in my class regularly rated the girls on a 1-10 scale. The day I was listed as a zero, I wanted to crawl through the floor and die, though I pretended I didn't care.
• Also in the fourth grade, I'd just rode my bike home from a friend's house and was on the driveway, walking toward our garage. A man drove up to the edge of our driveway and called out the window to me. He'd found a puppy and was looking for the owner. Did I know anyone who had lost a puppy? I said no, sorry, and walked inside the house. When I told my mom about the lost puppy, she ran outside, but the predator was gone. I didn't believe her back then when she said the man had been hoping I'd come to his car window to see the puppy so he could snatch me. I believe her now.
• In my first year of junior high (age 12), we girls learned to always wear shorts under our skirts because you couldn't walk down a hallway at school without a boy lifting up your skirt.
• When I was 14, I was traveling alone on a plane. A man sat next to me and said, "So, you're my sex buddy for the trip." His wildly inappropriate talk continued throughout the flight. I tried my best to ignore him. I wanted to tell the flight attendant, to make him go away, to change seats myself, to simply make it stop, but I didn't because I feared I wouldn't be believed. He was a grown-up, and I was just a kid.
• When I was 16, I participated in debate club activities. One weekend at an event at another school, my boyfriend showed up for the Saturday night activities. He got angry with me when I wanted to spend time with him because he wanted to flirt with other girls. But then when I cried (literally) on another boy's shoulder, someone saw, and for days (weeks?) thereafter his friends taunted me at school, accusing me of being a slut.  
• When I was 16, I went on a double date. My boyfriend and I split off from the other couple (one of his friends and one of mine), and we ended up in the backseat of the car. Things got a little steamy, but no clothing below the waist was removed. Yet his friend proceeded to lie and tell everyone at school that the car was literally rocking and I was a whore. I protested the lie, but I figure people believed what they wanted to believe. My boyfriend was no help with this matter.
• When I was 16, my boyfriend's friends bet him that they could all get me to have sex with them. Instead of standing up for me with them, he got angry with me, beginning one of several periods where he put distance between us, making me feel as if I'd done something wrong, even though I'd done nothing.
• When I was 17, my boyfriend said I looked like a slut every time I wore a particular sweater (and it wasn't even revealing). I never understood why he hated that top, but he got upset each time I wore it. Eventually I put the sweater away. (And yes, it was the same guy in all these incidents. Why I put up with all that crap is an entirely different column.)
• When I was 18, I worked as a proofreader at a local newspaper. It was summertime and hot, and I was young and naive. I wore shorts to work one day, and I had to walk through the press room to get to my desk. So many men ogled me that I stayed at my desk the rest of the day so I wouldn't have to pass them again. I had learned my dress-code lesson.
• The summer I was 19, a house down the street was being renovated. I had to walk past the construction crew multiple times. The foreman paid me compliments. The first time it felt nice, but each time thereafter it felt creepy. One day after the renovation was over, I spotted the foreman sitting in his van outside my house, staring at the front door. I hid inside, waiting for him to leave. After a while, I called a male friend, told him my situation, and asked if he'd come over, thinking it would make the guy in the van leave. But my friend refused, telling me I was being a drama queen. But in my gut I knew if I went outside, I'd be in danger. The construction guy sat in his van outside my house for hours.
• When I was 22, I walked past four clearly drunk guys. They called rude comments after me. I was afraid and humiliated. I didn't turn around. Didn't say anything. I just walked faster and faster until I got home and locked the door and ran to my room and closed that door and closed the curtains. Then I curled in a fetal position on my bed.
• When I was 27, a man in an outdoor coffee shop exposed himself to me. I gave him a dirty look, and he left. I wish I'd screamed or made a snide remark or something, but there was a little part of me that was afraid he might hit me or something. I also feared that I wouldn't be believed. (There have been several other stranger-exposure incidents over the years, but I'm blanking on the details right now.)
• That same year a guy in my law school class told me I had "the biggest breasts he'd ever seen." I felt so conspicuous and self-conscious and humiliated. I told a good male friend about it. He said I was getting upset over nothing.
• When I was in my early 30s, a cable-repair guy groped me in my apartment. I had an issue with the small TV sitting on top of a dresser. He told me he needed me to hold the TV while he stood behind me, adjusting ... something ... to ensure the TV wouldn't fall. As I was doing that, he felt me up and ground his pelvis into my backside. It happened so fast. I was so surprised and humiliated that I jumped away but let him finish the work. I'm still not sure why. I guess I was in shock and didn't quite believe what had happened. A couple of years later, the cable company called me to see if I'd ever experienced any issues with this particular guy. They must have received many complaints from many different women. Probably a lawsuit. I told the caller that nothing had ever happened. She told me it was okay, that I could tell her if something had happened, but I lied and said it hadn't. I was an attorney. I was a grown woman. I knew I'd done nothing wrong and should have told the truth. But I was humiliated that it had happened and that I hadn't reported it immediately, so I pretended I hadn't been groped.
• When I was 40 or so, while walking outside my local supermarket, a car drove past and a teenage boy leaned out the window and called me a whore. 

These are the major incidents I recall. This list doesn't include any of the demeaning and humiliating things people have said in my earshot and directly to me all my life about my weight, including a mean comment from an adult man--a stranger--straight to my face when I was 11 years old. This list also doesn't include things that have happened in business settings (condescending interruptions and things of that nature). And the list excludes an uncomfortable incident that happened at a mystery convention a few years back--something that wasn't sexual or violent, but it was physical in nature. I don't want to go into the details of that incident except to say I don't think it would have happened to me if I were a man. I would guess my female friends all have had many experiences like mine. I would bet my male friends largely have not.

I know that many people have experienced far worse things than I have. Rape. Beatings. Other forms of violence. I'm grateful I haven't experienced direct harassment at work as so many women have, being asked to expose themselves in job interviews or being told that sleeping with the interviewer or boss was required to get or keep the job.

In a way I'm quite fortunate that my list is short and tame. It makes me uncomfortable to even mention some of these things because they probably sound like no big deal. But that would be de-escalation, which is what I'm trying not to do here. (To read the article that sparked this column, click here.)

This is the world we live in as women. This is why it's disheartening and degrading to hear anyone characterize Donald Trump's remarks on that bus as "just words." Those words are a part of a culture in which some men feel entitled to grope women, to expose themselves, and to do far worse things. It's a culture in which women often feel scared and humiliated and violated.

It's a world that needs to change for all our sakes.

The Big Shift

by Janice Law

I recently finished reading Jo Baker’s excellent Longbourn, a novel that focuses on the downstairs folk of Jane Austen’s Pride and Prejudice. In the Baker novel, the great events of Pride and Prejudice, a crucial ball, the arrival of the oh-so-eligible Mr. Bingley, Mr. Collins’ visit, and Lydia’s elopement are but incidentals to the unseen workers of the Austen novel.

The Hills, Sarah and Polly and the soon-to-be added footman, James, have their own dramas and their own concerns, not to mention an enormous amount of work – pumping and carrying water, doing laundry, emptying chamber pots, building fires, making bread and soap, not to mention preparing and serving the daily meals and generally waiting attendance on their “betters”.

This is a novel long overdue and really enjoyable. Very nice, you say, but what does that have to do with mysteries? On reflection, a fair bit, because published exactly 200 years apart (1813, 2013) the novels neatly illustrate the evolution of story telling from a moral to a psychological focus, as well as a shift in focus from the gentry class to the world’s workers.

The downstairs characters in Longbourn are fully drawn in the modern sense with an emphasis on their psychological states and on their responses to a rigid social system. We get glimpses of their youth and childhood, and instances when sick or injured, their minds reach altered states. There is nothing comparable in Pride and Prejudice, where many of the same human passions are filtered through the author’s rational and satiric mind and served up in the most elegant terms for the dual purpose of comic effect and moral lesson.

Perhaps unsurprisingly, Longbourn which does a fine job with the workers of the household, is much less successful with their employers. Mrs. Bennet is probably the most convincing. Her backstory of painful pregnancies and deliveries fits better with the grueling realities of domestic service before mod cons. Elizabeth Bennet, by contrast, is almost unrecognizable, most of her rebellion and spark having been gifted to the novel’s heroine, the overworked but indomitable Sarah.

Given the difficulties of merging the two worlds, Austen may have been clever to leave the domestics of the Bennet household well off stage. Events that could be treated as comedy– or retrieved with a good deal of money like Lydia’s elopement – would certainly end in tragedy down in the kitchen.
After many semesters of teaching Austen, much of this did not surprise me. What I did find unexpected was, that despite the modern style of Longbourn, the characters of the newer novel were ultimately no more complex than Austen’s. Yes, we get more of their emotions, we get their sexual lives, and a broader canvas altogether, but they are not necessarily more complete and multisided for all that.

This is particularly true of the male characters. James and Tol, Sarah’s two suitors, are both too good to be true, while Wickham, charming but dishonest and corrupt in Pride and Prejudice, is a potential child molester in Longbourn. The greater depth of characterization in this case has led to characters who are less morally complicated.

Characters, it turns out, can be complex and fascinating in ways quite different from our current style, and there is no better example than that the chief of all detectives, Sherlock Holmes, who is much closer to an Austen character than to a modern detective. He has a brother with whom he is not close. He is prone to depression and overly fond of the 7% solution of cocaine. He is rude to everyone but not without sympathies up and down the social scale, and he is obsessive about all manner of abstruse topics.

What he dreams, fears, desires, remembers – these are absent, along with any personal entanglements such as bedevil every proper modern sleuth. And yet, he is by far the most famous of fictional detectives, cited and quoted and imitated and parodied. One of his cases gave a title to the best selling – and theatrically successful, The Incident of the Dog in the Night, and one of his comments heads a chapter in The Emperor of All Maladies, a biography of cancer of all things. He shows no signs of going away, nor do Hercule Poirot and Jane Marple, who share some of his characteristics.

Will any of our many fine detective and mystery protagonists rise to a similar iconic status? Are there simply too many of them? Or is psychological completeness and complicated personal life somehow against them? Perhaps Sherlock was successful because he was like a great theatrical role, waiting to be inhabited by our imaginations, a child not of psychology and melodrama, but like the best of Austen’s young women, of the robust rationality of the Enlightenment.

The Girl on the Train

When weighing novels versus the movies made from them, books almost alway win. This wasn’t the case with Paula Hawkins’ recent The Girl on the Train. In an exceedingly rare decision, I liked the film slightly better than the book. Depending upon which reviews you read, I may be in the minority. IMDB gave the film 6.7 out of 10 whereas Rotten Tomatoes gave it a splattering 44/56 out of 100. Notice I didn’t say the movie was better, only that I liked it slightly more. I may have responded to the broader target audience of the movie– the original chicklit was unapologetically geared toward women.
Coming out of the theatre, I felt unusually conscious that the novel shaped my perception of the film. Knowing I couldn’t ‘unread’ the book, I wondered how newcomers to the story might view the film. A top review on the Internet Movie Database surprised me:

“… it seemed like an interesting mystery compounded by the black-out memories of the main character and I was anxious to solve it. As it progressed it became apparent that she was truly off kilter due to mainly drinking so it was very confusing. Without revealing the end, it should be noted that this is truly a sicko story filled with dysfunctional people all selfishly pursuing their libidinous desires. Each one cares not for the rights or feelings of others so multiple people get irrevocably hurt. I don't comprehend how anyone can come up with a story like this or would want to. … I remained till the end in the hopes of some redeeming quality…”

Yikes! Was this really how others saw it?

Flicklit v Chicklit

My opinion derives from a masculine standpoint. As I remarked in my earlier commentary about the book, it contained enough internal dialogue to fill two Dr. Phil shows and most of an Oprah season. By omitting much of the introspection, the celluloid artists created a tighter, faster paced plot.

But don’t skip Paula Hawkins’s book; Rachel’s aching situation will break your heart, not to mention you’ll miss a virtual treatise on alcoholism. The final pages of the novel contain a shocking moment the film failed to pull off.

I had grumbled about the director resetting the story in New York for American audiences. An article in The Guardian complained a bit too, but not vociferously. Setting aside that quibble, the casting was well done– the women, their men, and even Detective Riley. She’s terrifying in a nun-with-a-ruler way, but someone you’d want on your side.

Taking Advantage

Movie makers enjoy advantages novelists can’t employ and you see some of that art in the film such as the jiggling, slightly out-of-focus camera when poor Rachel is inebriated. Like the book, the movie kept the train theme seen often in the background.

But theatres can have disadvantages too. Two biddies behind me (biddies in my mind– I didn’t turn around to strangle them) maintained a whispering commentary for those who might not know where the plot was heading. “She’s a blackout drunk, see, and that bitch, she’s actually having an affair, and oh my, that one had an affair too…”

This Film is Rated Я

Not only am I baffled by comparisons to Gillian Flynn’s Gone Girl, I'm also flummoxed by the R rating. To be sure, there was a tiny bit of skin at one point, far less than anything seen in a Kardashian photo spread. It's possible the R was handed out for the modicum of blood-letting.

Frankly, it's pretty tame stuff and I hazard the average high school student could handle both the book and the film without fainting.

Improper Prop

A fragment of one scene jolted me and in discussing it, I'll avoid giving away a plot element. The novel mentions a wine bottle opener. In my mind, I pictured a combination knife/corkscrew sometimes called a waiter’s opener, fashioned like a pocketknife with a helical screw and a blade for cutting the seal.

That’s not what the prop department decided upon when they came up with the simpler and much less efficient corkscrew. I found the result jarringly awkward and not as realistic as it could have been.

Have you seen the film? Have you read the book? What is your take?

Anthopology

by John M. Floyd



An-tho-pol-o-gy: The study of various aspects of writing stories for books that include the work of several different authors.

Okay, I made that up. There's no such word. But maybe there should be.

I like to tell my students that there are two primary markets for the short stories they write: magazines and anthologies. Personally, I tend to explore magazine markets first, because some anthologies are receptive to reprints, and I like to get double duty out of my creations--but anthos can be profitable also, in both payment and exposure. And recently I've found myself sending a fair number of my stories, original and reprints, to anthologies. (There are actually four markets out there for short stories: (1) mags, (2) anthos, (3) self-publishing, and (4) collections of your own stories. I've not yet self-pubbed anything, but I have had five collections published, plus a sixth that was released this past week.)

Besides the fact that there are anthos that take reprints and those that don't, there's another distinction that should be made. (1) Some anthologies send out "calls for submission," where writers can submit stories for consideration in much the same way they would to a magazine market, and (2) some anthologies hand-pick and invite certain authors to contribute stories. A few anthos do a little of both: they invite a few specific authors and they also put out a call for unsolicited work.

As a writer, I've recently placed stories in anthologies that I "auditioned" for after being told they were seeking submissions (examples: the Blood on the Bayou Bouchercon antho, We've Been Trumped by Darkhouse Books, etc.) and I have other stories uncoming in books that I was asked to contribute to (examples: a Private Eye anthology by Down & Out Books and a horror antho by a Bram Stoker-winning editor I've worked with before). And sometimes even that can be a combination of processes. I submitted an unsolicited story to editor Tom Franklin for Mississippi Noir (Akashic Books) that didn't fit his guidelines (it was a reprint, which was stupid of me), so he asked me to send him an original story instead, which he accepted and included in the book. Writing and publishing, as I've said before, is a strange business.

NOTE 1: One advantage of anthologies that issue "calls for submission" is that there's always a deadline. The stories have to be sent in by such-and-such a date because the antho needs to be published by such-and-such a date. And that sometimes-narrow window of time automatically cuts out part of the competition, and ups the odds for acceptance/inclusion. Some writers won't even be aware that there is a call for submission until it's too late to send a story in, and even those who do see it and are interested might not have a story available (or enough time to be able to produce one) that fits the guidelines.

NOTE 2: I'm not talking here about annual "best-of" anthologies like Otto Penzler's Best American Mystery Stories. When your already-published story winds up being selected for and reprinted in one of those, that's great, but that's also pretty much out of your control. I'm talking more about anthologies that either request stories from certain writers or choose from the unsolicited submissions of others.

The best situation, obviously, is for the editor to contact you and ask you to submit a story. It's flattering, it involves no marketing effort, and when it happens you can be fairly certain that your "solicited" story will be included. But the funny thing is, even though I'm always honored to be asked to contribute to an anthology (who wouldn't be?), I'm also one of those odd folks who find it harder to conform to someone else's idea for a story than to dream up an idea of my own. So when the theme/mood/genre of an anthology is very (sometimes too) specific, I often find it more difficult to write a story that I'm satisfied with. Don't get me wrong: I do it. And I work on it until I am satisfied. But I still think it's easier to come up with my own ideas, make up stories from those ideas, then search for matching markets than to create stories with the pre-set themes and ideas of others.

What are some of your experiences and opinions on all this? Do you actively seek publication in anthologies? If so, how do you find them? Have you always been able to squeeze through the submission window in terms of time and story-theme? Are you often asked by an editor to contribute to an antho? Have you ever turned down such a request? Do you find it easy to write a story-on-demand? Have your published stories ever been selected for some of the "best-of's"?

On the subject of Best American Mystery Stories, let me again congratulate my SleuthSayers colleagues Rob Lopresti and Art Taylor on making the newly-released 2016 edition of B.A.M.S.--Good work, guys! (And I noticed that R.T. Lawton, David Edgerley Gates, and I managed to make the "close-but-no-cigar" list in the back of the book, this time. It's not the Top 20 of the year, but it's the Top 50; when I saw my story in the list, my head swelled until I had to adjust the strap on my baseball cap.)

Since I seem to be wallowing in self-congratulatory mode, I have another announcement: my latest collection of short mystery fiction was released on October 10, with a launch at Lemuria Books here in Jackson, Mississippi. It's hardcover, thirty stories, 352 pages, 90,000 words, and titled (appropriately) Dreamland.

And yes, a few of the included stories previously appeared in . . . anthologies.

I'm not an anthopologist for nothing.

Reading Here, There, and Everywhere

By Art Taylor

Earlier this week, Cynthia Kuhn wrote a fun post at the Henery Press blog: "Professor X, In the Conservatory, With a Book," which looked at many different ways to read, places and times to read, and even types of books to read, or maybe the better word there would be editions or conditions, since she talked about the differences between brand new books versus used ones. I was struck particularly by Cynthia's observation that "many people are fond of reading in bed, snuggled under a cozy blanket with a book to send you gently off to dreamland. (Or, if you’re like me—routinely jarred awake when the book falls onto your face—not so gently.)"

I read each night before going to bed—and yes, more than once, I've had the book fall on my face, waking me up. (And then, instead of putting the book down like a sensible person might do, I just shuffle myself up a little higher against the pillow and settle in for a few more pages...until it happens again.)

I often find myself wishing I had more time to read—and while that was one of my first reactions to Cynthia's post, my second thought was sharper and maybe more in tune with what she was saying: I am always reading. Not only is it the last thing I do at night, it's also the first thing I do in the morning—scanning the top news stories from Washington Post on my iPhone there in the darkness, and then later reading the paper itself, and sometimes sneaking in a few pages of whatever else I'm reading in between parts of the morning routine. One of my New Year's Resolutions this year has been a chapter a day of War & Peace, as I've mentioned before, and I'll sometimes knock that out first thing, then throughout the day, it's reading at every turn—though not always traditional kinds of reading, I guess: emails,  Facebook status updates, stories linked to those FB updates, blog posts here and there; then the stories and essays and books I'm reading as part of lesson prep for class, and the student essays and exercises that I'm grading, of course; and somewhere in there, some reading for myself, dabbling in any number of stories and essays and books I have in various corners of my life.

I read in in bed, at the breakfast table or standing in the kitchen, in my office, and (yes) in the bathroom. I have read in the spare moments while waiting to meet someone or waiting at other appointments (haircut recently, for example). I've even read while waiting at stoplights—pulling out my iPhone and opening the Kindle app to sneak in a few pages; we're in Northern Virginia, after all, and that's a lot of time that could be, should be, used well! (No reading while the car is actually in motion, of course, at least not while I'm behind the wheel—though you won't catch me in the passenger seat or on public transportation without a book nearby.)

While I could go back through that list and those moments above and qualify that much of it isn't what I want to read, reading solely for pleasure—and isn't that at the core of the wish for "more time to read"?—I realized looking around today that I've actually surrounded myself with reading that's not assigned and not part of daily chores and routines (not part of staying plugged into email and the web), reading that is, in fact, just for me.

Maybe it's the distracted nature of our lives these days, but I'm usually juggling several books at one time—even not counting those I'm pacing out on my syllabi for class. I've got bookmarks in several titles I'm working through, reading a bit at a time depending on what calls to me most at a given moment, and I often read aloud to my wife Tara in the evenings, so we're frequently in the middle of a story from one anthology or another—and all these books stay within easy reach. 

For example, here's what you'll find on my nightstand right now (and a hat tip to Patricia Abbott, whose semi-regular feature on this also inspired me here):

• Ian McEwan's Nutshell
• Sarah L. Kaufman's The Art of Grace
• Tolstoy's War and Peace—both a big hardcover copy of the Pevear/Volokhonsky translation and then the Maude translation on my Kindle
• The Kindle itself—and tops on recently accessed titles, both War & Peace and Anna Katherine Green's The Golden Slipper (I taught one of the Violet Strange stories in class and I'm now reading/rereading others for fun)
• Several single-author short story collections, including Ann Beattie's The New Yorker Stories, Ellen Gilchrist's Acts of Gods, and B.K. Stevens' Her Infinite Variety (hi, Bonnie!) 
• Several anthologies, including The Big Book of Locked-Room Mysteries, In the Company of Sherlock Holmes, In Sunlight or In Shadow, and The Folio Book of Ghost Stories 
• The new Best American Mystery Stories anthology and the November issue of Ellery Queen's Mystery Magazine, since I have stories in each myself and want to read the stories by the other contributors (hi, Rob Lopresti!)
• Another EQMM, from December 2015, that I've already read and should put away somewhere
• Sophie Hannah's Closed Casket that Tara passed my way with some enthusiasm, even though I still haven't read the first of Hannah's mysteries with Christie's Hercule Poirot (I'm behind)
• Lisa Lutz's The Spellman Files, which I pulled out because I was considering teaching it and need to revisit again anyway, even though I didn't add it to the syllabus

And as you can see, the list quickly gets qualified and commented on and... and why don't I have more time to read?

Just to round out the listing of books close at hand, here are the ones physically on my desk from my office on campus—not counting the ones I'm reading for class:

• The first volume of the new seven-volume Collected Millar: The Master at Her Zenith, and those first pages of Beast In View really draw you right in, don't they? 
• 100 Dastardly Little Detective Stories, which a friend dropped off to me and which I've already dived into
• The July 2016 and September/October 2016 issues of EQMM (hello sometimes-SleuthSayer David Dean in each of those!)
• The July/August 2016 issue of AHMM (hello to SleuthSayers Terence Faherty, Eve Fisher, Janice Law, and R.T. Lawton!)
• Karen Huston Karydes' Hard-Boiled Anxiety: The Freudian Desires of Dashiell Hammett, Raymond Chandler, Ross MacDonald and Their Detectives, which I've read and still need to review
• The Describer's Dictionary: A Treasury of Terms & Literary Quotations... which reminds me, I'm supposed to be writing too in the middle of all this reading. (Where's the time for that, huh?)

Whew!

What are you reading? And when, where, how do you read?

Top of my reading list next (I promise!): any comment you leave here. :-)