Hybristophilia, or How Erik Menendez Got A Girl in Prison

A while back, I was sitting in the chow hall at the pen, talking with a young (early 20s) prisoner who was having relationship problems.  You see, he'd gotten involved with a woman through the mail.  A literal pen-pal.  Nice woman.  Little older than him, but still hot.  And she really liked him.  A month after their first face-to-face visit, she moved to the area so she could see him every week.  Two months later, and she wanted to get married.  Like in a couple of weeks.  He was really flattered, but he was also really kind of freaked out, because things were happening so fast, and what did I think?  I told him "DON'T DO IT!"  Then I brought in another of our outside volunteers, a father-figure to the guys, who heard the story and also said, "DON'T DO IT!"
Hybristophilia is defined as a sexual fixation on "a partner known to have committed an outrage, cheating, lying, known infidelities or crime, such as rape, murder, or armed robbery." All right, Wikipedia says its a sexual perversion, but you tell that to the people who are into it.  Plus, there's not a lot of actual sex involved.

(Maximum-security prisons don't allow conjugal visits.  Nor do federal prisons of any level.  And only four states - California, Connecticut, New York, and Washington allow conjugal visits in lesser-security prisons.)

And God knows there's not a lot of money involved, either.  If anything, money is generally going to flow from the outsider to the prisoner.  Money to help pay for the prisoner's phone time, stamps, commissary, odds and ends...  In fact, and forgive me for bursting anyone's bubble out there, but one of the main reasons that a lot of prisoners write to outsiders in a friendly to ever-increasing romantic vein is specifically to get money.  And they're often very successful.

BTW, prisoners also write attorneys, of course, to get help, and they send judges either bogus lawsuits or outright threats.  I remember at the courthouse, whenever something from the pen arrived for the judge, we'd all gather around - judge, court reporter, myself (circuit administrator), state's attorney, bailiff, etc. - and read the latest idiocy.  My favorite was a lawsuit demanding that the sheriff depose each and every officer of the court for high crimes and misdemeanors, listing everyone by name.  Except the judge. Finally, at the very end, there was a little handwritten note saying, "____, sorry I forgot you, asshole!"  You've got to be fairly stupid to send out stuff like that, not to mention "I'm going to take a shotgun to your head" to a judge, when your full name, prisoner number, and cell number is on the envelope...  

So, no sex, no money - why would someone get involved with a prisoner?  Why would someone write love letters to a total stranger?  Want to date them, through a glass/mesh screen?  Want to marry them in the visitors' room?  ???

Well, in some cases, there's the fame factor.  For those who write/wrote to Charles Manson, Ted Bundy, the Menendez brothers, Jeffrey Dahmer, and Dzhokhar Tsarnaev, part of the charm, apparently, is getting in on the modern obsession with celebrity.  No, it doesn't matter how horrendous the person is, or how heinous their acts, by God if they're famous, they're a celebrity, and by becoming their girlfriend/boyfriend, you become a celebrity, too!  You might get in on the media spotlight, get a book deal, a movie deal, or the body!

Charles Manson in 2014

• NOTE:  Not kidding about the body.  Did you know that, in 2015, at 80 years old, Charles Manson cancelled his upcoming penitentiary wedding to 27-year old Afton Elaine Burton, now known as Star, because he found out she was hoping that, after he died, she'd get his corpse, put it on display in a glass case in LA, and charge people to see it?  (Charles Manson has always been a little smarter and saner than he looks.)

• DOUBLE NOTE:  With regard to my last blog-post, Bullying 101, where I talked about Rush Limbaugh (and others) objecting to Michelle Carter being convicted of manslaughter for texting her boyfriend to suicide, saying that it's a violation of the First Amendment to "start penalizing people for things they say or things that they think, but don’t actually do":  Let's all remember that Charles Manson got life in prison without parole, for exactly what he said, and nothing that he did.  He was nowhere near either of the murder scenes.  So far, I haven't heard anyone objecting to his sentencing...

Anyway, back to reasons why people want to write to, date, have sex (or not) with, and/or marry prisoners.  According to Katherine Ramsland, professor of forensic psychology at DeSales University,

• "Some believe they can change a man as cruel and powerful as a serial killer."
• "Others 'see' the little boy that the killer once was and seek to nurture him."
• "Then there's the notion of the 'perfect boyfriend'. She knows where he is at all times and she knows he's thinking about her. While she can claim that someone loves her, she does not have to endure the day-to-day issues involved in most relationships. There’s no laundry to do, no cooking for him, and no accountability to him. She can keep the fantasy charged up for a long time."   (Wikipedia)

BTW, men also write to female prisoners.  I think many of them are also looking for the perfect girlfriend, who requires nothing (but a little money).  I also think that some of them are looking for a future drug mule or sex slave, and a female prison is a good place to recruit:  many female prisoners have already been so abandoned, abused, in every sense of the word, and so many of them have father issues, self-image issues, etc., that they are willing to do just about anything for anyone who seems to care for them.

Of course, there's also the occasional female serial killer, like Aileen Wuornos, who would be perfect for the man who wanted to tell himself that he can nurture the little girl she once was, and/or wants to see if he can change the serial killer the way James Bond changed Pussy Galore on the last page of "Goldfinger". (Even at twelve years old, I knew that was nothing but Ian Fleming's fantasy...)

Meanwhile, I talk to guys up here in South Dakota who are in their 20s and already have anywhere from two to nine children by two or three or four different women, and now have a girlfriend they met while in the pen.  They don't even begin to grasp how much trouble they're in even before they get out.  I understand why they keep having sex whenever they can - it's fun, free, and so far isn't illegal - but why won't they use condoms?  How are they going to support all those children?  How are they going to pay child support, make court-ordered restitution, and pay bills when they'll be lucky to get a minimum-wage job?  Sigh...

Not that our hybristophiliacs necessarily have any idea of the prior commitments their new prison romance has.  After all, it's the rare prisoner who's going to cough up things like ex-wives, current wives, children, and any other financial obligations or debts.  Or their personality flaws.  Or the truth about their crime(s)...   Hybristophilia is somewhere between kinky romance and lion-taming.  Either way, it's dangerous.  Either way, it's unreal.  (You don't really know someone until you've actually lived with them, and even then it helps if you've been together through a bad vacation complete with rain, food poisoning, broken-down car, and a fleabag motel with no heat.)  Yes, there are exceptions, where two people genuinely connect through letters and visits; where the prisoner eventually gets out, and they do marry/live together and it all works out.  Two points:  (1) These are very rare.  (2) None of these have been with serial killers.

But the fantasy lives on.

Not a Butterfly Collection

Let's start with this fact: In 1940 the U.S. Census-takers recorded about 1,500 women working for the railroads as engineers, mechanics, etc.  In the published records they were listed as "Tailors and Tailoresses."  Because they couldn't have really been doing those jobs, right?

For the past two years I have been working on a nonfiction book.  Not related to mystery, alas.  It is more about my day job as a government information librarian. 

WHEN WOMEN DIDN'T COUNT (published by Praeger last week) is a book about how women have appeared and disappeared in federal statistics over the past 200 years.

 The feds collect statistics on a lot of different subjects, so my book covers a lot of topics as well.  But I'll just give you some examples from the four chapters related to our favorite topic, crime.

• The government's first survey on stalking and harassment had to be redone when it was discovered that it had accidentally included data about spam email and calls from bill collectors.
• Congress passed the Mann Act in 1910 to forbid transporting females across state lines for immoral purposes.  It was intended to combat "white slavery," i.e. forcing women into prostitution, but it was often used against adulterers instead.  The Supreme Court quickly ruled that women who traveled willingly could be convicted of "conspiring" to transport themselves.
•  The 1880 Census lists all the crimes for which women were in prison.  There are plenty of predictable offenses, plus a few that might get you writers out there pondering.  For example: 

• The National Institute of Mental Health started collecting data on domestic violence in 1968 and concluded that it was a problem of "epidemic proportion," but they didn't mention this news to anyone until a decade later when Representative Barbara Mikulski started holding hearings on the subject.  Exasperated, the Congresswoman declared: "Well, this isn't a butterfly collection, ladies and gentlemen, that people gather for their own private enjoyment.  This is public dollars to get public information to help the American people."
• The 1970 report Crimes of Violence explained the concept of "victim precipitation," meaning that the victim sometimes "contributes to the commission of the offense."  Examples included when "a wife has masochistic needs that are satisfied by her assaultive husband," or when "a female engages in heavy petting and, at the last moment, begins to resist the man's advances."  The report concluded that 4% of rapes fell into that category.

I examined well over  a thousand sources in putting this book together but now I get to tell you about my favorite.  In 1907 Congress authorized a study of how working outside the home affected women and children.  There was debate over whether the Constitution permitted such a thing, and the Southern states were worried that the result would be a hit job against them, since most child workers were in that part of the country.  Nevertheless, a 19-volume report was eventually issued, and you can read it all online.

But what I want to recommend is Volume 15, Relation Between Occupation and Criminality of Women.  Author Mary Conyngton was assigned to investigate the popular assumption that jobs in newfangled places like department stores and factories were leading women to a life of crime.  Her whole book is still readable, and fascinating.

The passage below, in which she quotes from an unnamed "worker specially qualified to speak on the subject" is worth quoting in full: 

The belief you mention in the general immorality of saleswomen is certainly widespread, but I have found nothing to prove it well grounded.  In the course of some investigations into the methods by which department stores seek to secure and retain the trade of the professionally immoral women, a trade which, as you probably know, is considered exceptionally valuable, I came on something which may throw some light on the existence of the belief.  Mr. _____, who was first a department store manager in several large stores, and then himself established a millinery business, said he had found the best way of gaining and holding this trade was by having a forewomen who was "in" with such women, which of course meant that she herself led an immoral life, thus being able to meet them in the way of friendship, and to gain their trust in a natural manner.

"Didn't you find such a forewoman had a bad effect on your other employees?" I asked.

"Yes," he replied, "she certainly did get some of the others into her habits.  But as soon as I found out they were going that way, I discharged them."

 Ah, the good old days.  May they never return.

Dialogue to Die For

by Barb Goffman

Remember the TV show "Name That Tune"? The idea was to see how few notes of a song a person could hear and correctly name that tune. I don't know how well I'd do on that show, but if there were a "Name That Movie" show, I would clean up--assuming they asked about movies I've seen. Spoken dialogue, I've found, sticks with me. I adore snappy and heartfelt dialogue in books too, but for whatever reason, I don't retain it the way I do dialogue from movies and TV shows. (You'd think, then, that I would have good recall for dialogue from audio books, yet not so much.)

Anyway, I started thinking about ear memory the other day when I turned on the TV. I wasn't looking at the screen. All I heard was, "Always," and I knew it was the late Alan Rickman as Professor Severus Snape in Harry Potter and the Deathly Hallows Part II. (I might have seen that movie a few times.) That one word transported me back right to the exact scene in the movie. Rickman delivered it perfectly, revealing so much about Snape's character. Even now, recalling the scene breaks my heart a little all over again.

Alan Rickman

 

Of course, Rickman had help. His dialogue was written for him. Great dialogue depends on the team of great writers and great actors working together, as well as the folks who add the background music that adds drama or tugs at your heart. When done right, dialogue can be magical. I only need hear certain words or a sentences in the right voice, with the right rhythm, and I know the film. I'm transported in my mind right back to that scene.

Here are a few examples. They may not be the most well-known from each movie, but they certainly stand out:

"I want the truth!" "You can't handle the truth." Tom Cruise and Jack Nicholson in A Few Good Men

"You can't kiss her!" Sally Field in Soapdish

"Why can't I write shit like this?" Whoopi Goldberg in Soapdish

"Shall we play a game?" Joshua (computer) in War Games (even a computer can make dialogue memorable)

More Alan Rickman

"There was more than one lobster present at the birth of Jesus?" Emma Thompson in Love Actually

"Oh jeez. I'm getting pulled over. Everybody just pretend to be normal." Greg Kinnear in Little Miss Sunshine

"I guess it comes down to a simple choice. Get busy living or get busy dying." Tim Robbins in The Shawshank Redemption

"And for what? For a little bit of money. There's more to life than a little money, you know. Don'tcha know that?" Frances McDorman in Fargo

"You don't really know how much you can do until you stand up and decide to try." Kevin Kline in Dave

"Here's looking at you, kid." Humphrey Bogart in Casablanca

"A toast to my big brother, George, the richest man in town." Todd Karns in It's a Wonderful Life (It's interesting that one of the most memorable lines in the film is from a minor character.)

And even more Alan Rickman

"I'll have what she's having." Estelle Reiner in When Harry Met Sally (another minor character who steals the scene)

"By Grabthar's hammer, by the sons of Warvan, you shall be avenged." Alan Rickman in Galaxy Quest

"Hello. My name is Inigo Montoya. You killed my father. Prepare to die." Mandy Patinkin in The Princess Bride


"You're going to the cemetery with your toothbrush. How Egyptian." Robin Williams in The Birdcage

"Snakes. Why did it have to be snakes?" Harrison Ford in Raiders of the Lost Ark

"It was like ... magic." Tom Hanks in Sleepless in Seattle 

"I'm not crazy. I've just been in a very bad mood for forty years." Shirley MacLaine in Steel Magnolias

"But I don't want to be a pirate." Jerry Seinfeld in Seinfeld

"I'm not insane. My mother had me tested." Jim Parsons in The Big Bang Theory

Alas, not Alan Rickman
but still wonderful

"As God is my witness, I thought turkeys could fly." Gordon Jump in WKRP in Cincinnati

Inspired to go watch a great movie or to try to write your own memorable dialogue? Great. But before you go, please share your favorite movie or TV show line(s) of dialogue. The lines that stick with you, that you remember sometimes out of nowhere. The words that transport you and make you smile. And if you know how to make dialogue on the page stand out in memory the way spoken dialogue does, please let me know. I'm open to any and all tips.

And to all of you in the United States, happy Independence Day!

Fade to Black...

I'm currently in the sixth draft of my latest Chris "Woody" Guthrie novel. Even though I know him and his companion Megan Traine pretty well by now (Starting in 2004, I gathered over 100 rejections for their first book) and the plot points are falling into line almost as if I knew what I was doing, one scene is reminding me of something I learned a long time ago.
Sex scenes are really hard to write well.

Every book sets its own standards for how explicit or how subtle, and sometimes you figure it out by doing it wrong. If it's too graphic, it verges on porn, and if it's too discreet, it feels prudish or even silly. Obviously, noir or hard-boiled stories allow more process than a cozy or traditional, but even then, you have a little...er, wiggle room.

Remember the Frank Zappa song "What's the Ugliest Part of Your Body?" The punch line is "I think it's your mind." Well, sex scenes really aren't about the choreography of who does what to whom and how much how often as much as they're about the emotions your characters experience.

If you're just putting tab A into slot B and folding appendage C over corner D, you're writing porn. Janet Evanovich discussed Stephanie Plum's frolics with a fair amount of detail, but also with large doses of humor. If you add humor, which chick lit romance writers--Jennifer Crusie, Jayne Anne Krentz, and Rachel Gibson, to name a few--do, it's much better. I admit, I read chick lit for the terrific dialogue. Yeah, sounds like when we were in college and claimed we read Playboy for the interviews, doesn't it?

Dennis Lehane's novels featuring Patrick Kenzie and Angie Gennaro never describe their activities in much detail, but have any readers ever doubted for a second that they had a very hot sex life? Don Winslow, on the other hand, has a scene in California Fire and Life (one of my favorite crime novels) with Jack Wade and Letty Del Rio that tells you everything you never wanted to know...and it's perfect. These two have blamed themselves for ruining their relationship and splitting up years before, and now they discover how miserable they've been ever since. The scene is in Jack's head, and, graphic as it gets, it's so vulnerable it hurts to read it.

It's all about context, and sometimes you aren't the best judge. My first few books had some fairly explicit scenes, but I've moved away from that...until this one. In the WIP, Chris and Meg have their first really serious fight over a case and are trying to handle a situation they both botched in their previous marriages. Eventually, there's a hot make-up/apology sex scene. That scene didn't appear in my first draft, but my revising showed me it had to be there. In alternate drafts, it has become more and more graphic, and I've tried it from both Meg's and Chris's POV. I've even put it in and taken it out several times. I've tried it as a flashback, too, and it still doesn't satisfy me.

One more revision and it will go to beta readers. I'm already looking forward to their opinions and may even include three separate drafts of that scene: Meg's, Chris's, and none.

Who ever knew that sex could be so hard?

Take This Movie, Please.

by Leigh Lundin

John Floyd and Paul Marks cast giant shadows when it comes to films. John is known for the depth and breadth of his movie experience. I’ve managed to name a flick or two John hasn’t seen, but it’s difficult. Paul is recognized for his encyclopedic knowledge of vintage Hollywood. What he doesn’t know about Tinseltown could be loosely packed in a brown derby with room left over for a head.

Occasionally one or another of the rest of us bravely steps up to chat about films. Recently a little article caught my attention, ‘Ignore The Critics! 10 ‘Rotten’ Movies You Should Totally Watch Anyway’. I’m not sure what the word ‘totally’ quantifies in this context, but I liked the point of the article. They led with this list, about half which I’ve seen and a couple I wouldn’t have minded seeing.

The Great Gatsby

• (2013)   The Secret Life of Walter Mitty
• (2013)   The Great Gatsby
• (2012)   To Rome with Love
• (2009)   Defiance
• (2005)   Mr. & Mrs. Smith
• (2004)   50 First Dates
• (2004)   Troy
• (2003)   Eurotrip
• (2001)   A Knight’s Tale
• (2001)   Wet Hot American Summer

Take, For Example…

Take the Ben Stiller version of The Secret Life of Walter Mitty. It’s less fanciful and more in tune with today’s world of corporate closings and layoffs, in this case the shuttering of Life magazine. It’s flawed, as are most of the movies on this list and yet it’s a satisfying romantic comedy.

Like Ben Stiller, Adam Sandler made early gross-out movies, but also like Stiller, he can be genuinely funny and play sensitive rôles. To me, 50 First Dates is better than this list. It presents an original problem, one Sandler is determined to resolve, the fact his new love’s short-term memory means she forgets him the next day. Out of these ten, it’s my clear favorite.

With half an eye on the small screen whilst doing paperwork, I watched Troy in one of those 2AM television time slots. It’s the one movie I would recommend only if your Netflix expired, your local Red Box dispenser broke, you don’t have enough light to read a tattered Danielle Steel novel, and you couldn’t even find your kids’ Bugs Bunny tape under the sofa. It survived in rental stores for, well, weeks by our teary, cat-loving gentle sex who watched and rewatched 2¾ hours of a naked Brad Pitt, Orlando Bloom, and Australian muscle Nathan Jones. It’s a pretty bad two hours and forty-three minutes you’ll never get back, but I give it points for a clever explanation of the Achilles’ heel legend.

Take Two

While I usually consult critics (Rotten Tomatoes, IMdb), I occasionally defy the experts. I might see a movie because it’s a plot taken from a favorite mystery or speculative fiction writer. When it comes to science fiction, most critics find themselves strangers in a strange land; they don’t grok the genre. (There’s a sci-fi reference.) That’s why SF reviews are often meaningless.

Ever wonder why the movie sound system is called THX? In my student poverty days (as opposed to my writer poverty days), I sometimes visited a pocket-sized dollar movie house off New York City’s Union Square. One afternoon they showed what’s now called a cult film, George Lucas’ THX-1138. It was considered beneath review by major newspapers. It ran on a bit, but I liked it.

My film-fanatic friend Geri should meet John Floyd. When I feel like a movie, I give her a call and she’s always up for a celluloid fix. She’s open-minded, so we’ve seen quite a range from 50 Shades of Grey (lush photography, great music, sad-ass plot) to The Accountant (violently clever). Despite the critics, we recently opted to see The Book of Henry.

Rotten Tomatoes’ critics weighed in at a low, low 23%, but audiences tripled that rating. Critic Susan Wloszczyna came up with the cleverest line in her review: “Every book needs an editor.” Zing. It’s true.

We liked the film, the characterization and the childhood atmosphere, but it’s definitely not a children’s story. No child plans a murder and no mother carries it out… not in the real world and not in fantasy, but that’s the premise of the second half of the plot. Clearly the script writer failed to grasp that precept. British critic Kate Taylor said, “I began to wonder if [the screen writer and director] had ever met any children.”

By now, you’re probably wondering how we managed to like anything about it at all, but the setting, character concepts, and acting helped offset a script that lost its way. I simply wish the writer had thought longer and harder about a smarter way to handle his premise. It’s one of those stories where you’re pretty certain you could have written a better outcome.

Take Three

Sometimes I find myself on the opposite side of critics when they over-rate a film. An example is the 2015 The Witch (title stylized as VVitch). Rotten Tomatoes’ critics tipped the scale at 91%. It might have been atmospheric, but it contained absolutely no plot, none, zip. It consisted of nothing more than a series of scenes that were supposed to lead up to… something… but didn’t. Leave it to Puritans to sour a modern day movie about Puritans.

Rotten Tomatoes gave 2013’s Gravity a 96% rating. Think of it as 2001: A Space Odyssey where HAL ate the script. The space scenes were meticulously, even beautifully filmed, but NASA forgot to launch the plot, not much of one at least, mainly a dream sequence. Movie critics aren’t the only ones who don’t understand science fiction… sometimes movie makers don’t understand it either.

Pia Zadora in Butterfly

I’ve already written about a poorly (and unfairly) received film, 1982’s Butterfly with Stacy Keach, Pia Zadora, and Orson Welles. Sometimes trashing a movie has nothing to do with the film itself.

Let’s spare a moment to talk about Django Unchained, the 2012 Tarantino movie. My acquaintances found it incomprehensible, but I give it marginally passing marks. My gripes weren’t the same as my friends. Tarantino bragged how much historical research had gone into the film, but its anachronisms overwhelmed the story. I quit counting historical inaccuracies when I ran out of 9.5 fingers. (Friends will recognize another in-joke) Yes, I gave it a passing grade– barely– but I’ve thought for some time Quentin Tarantino is way over-rated. His sense of color, style, and violence stands out among less colorful directors, but I suspect future film classes will look back and wonder what the hell we were raving about.

Take Four

What’s your take? What poorly rated films make up your guilty-pleasures list? And what films received high ratings that mystified you?

Mags and Anthos

The other day R.T. Lawton and I were e-chatting about the new issue of AHMM--this isn't the first time he and I have been fortunate enough to be featured together in those pages--and we got onto the subject of submitting stories to mystery magazines and anthologies. And it occurred to me, also not for the first time, that these days I seem to be focusing as much on anthologies as on magazines.

Names and titles

There are probably several reasons for that. One: There aren't a lot of mystery magazine markets to submit stories to, lately. The longtimers are AHMM, EQMM, The Strand, Woman's World (they publish one mystery and one romance in each issue), and electronic zines like Mysterical-E and Over My Dead Body. (Am I leaving anyone out?) More recently, we also have Sherlock Holmes Mystery Magazine, Mystery Weekly, BJ Bourg's Flash Bang Mysteries, the upcoming Black Cat Mystery Magazine, and a few others.

And there seem to be more anthologies out there now than there were in the past. Either that, or I'm now more aware of them. Besides regulars like the annual MWA antho, the Bouchercon antho, etc., there are a lot of anthologies from places like Down & Out Books and Level Best Books. As has been mentioned before at this blog, there are some excellent websites (Ralan.com and Sandra Seamans's My Little Corner are two that come to mind) that allow writers to stay up to date on which anthos are out there and which are issuing calls for submissions. Occasionally I've been lucky enough to be asked to contribute a story to an upcoming anthology--and I have yet to turn one of those invitations down.

NOTE: This discussion does not include the annual "best-of" anthologies like Best American Mystery Stories, Best American Science Fiction and Fantasy, etc.

Assets and liabilities

What are the advantages of magazines over anthologies, and vice versa? Well, for one thing, the leading magazines usually give a writer more exposure and (sometimes) higher pay than an anthology. Also, since some of the magazines have been in place for a long time, most mystery writers are already familiar with the kind of submissions those publications want and don't want.

Another point: When you publish in a well-known magazine, whether it's print or online, your story will probably be in their archives forever, like an episode in a TV series. Magazines, like newspapers, are periodicals; an anthology is more of a one-time event, there and then gone, and its individual stories are possibly not as easily retrievable in the future. The flip side of that argument, of course, is that anthologies give the aspiring writer the chance to have his or her work appear in a "real" book, and sometimes alongside big-name authors.

Another item on the plus side of the ledger for anthologies is the fact that, in some cases at least, the response time for stories submitted to anthos is less than for stories submitted to magazines. Also, you might face less competition that you would at the leading magazines, because of the often-tight submission windows for anthologies. Some writers don't find out about these "calls" until it's too late, and even if they do, there might not be enough time for them to write or re-vamp a suitable story. Besides, most anthologies are themed, and that alone can thin the herd. If you can't write (or find in your inventory) a story that fits the theme, you're out of luck.

There are at least three things that I've heard about anthologies that are sometimes considered to be advantages, but aren't. One: Anthos are more likely to accept reprints. Well, some are, and some are not. There are a number of magazines, especially e-zines, that will consider reprints as well. Two: Anthologies, since they sometimes pay via royalties, are a better financial opportunity for the writer. Untrue. As mentioned earlier, this depends solely on the publication--and on how well the book sells. Three: An anthology's editor is often a fellow author, and might be a friend or acquaintance and therefore more apt to squeeze your story in. That's certainly possible--but I consider myself a friend to several magazine editors, and I assure you that doesn't guarantee publication. The best editors, regardless of the kind of market they oversee, are more interested in acquiring quality stories than granting their buddies a free pass.

Questions and answers

I haven't gone back and studied the statistics, but I suspect that I now submit about the same number of stories to anthologies as to magazines. My question for you short-story writers is, how about you? Do you actively search out antho submission calls? Are you ever invited to submit? Do you usually stick to the tried-and-true magazines instead? Do you ever target non-mystery magazines with your crime stories? Do you use either of the market-listing sites I mentioned, and maybe some others also? What has your success rate been, for both magazines and anthologies?

One market we haven't talked about is collections of your own short stories. Have any of you tried publishing collections of your shorts, either at big or small traditional presses? Any successes there? If so, did those books consist mostly of your reprints or of your original stories? Has anyone self-published a collection, maybe via Amazon? Any experiences you'd be willing to share with the class?

Thanks in advance. And meanwhile, keep writing!

Typos, Grammar and Writer Instusion

by
O'Neil De Noux

Persian rug. Lisan al-Gaib.

Errors in books are like fleas. And some of my books are infested with them. I tried Advantage, Advantage II, Revolution. They don't work.

I first spotted these bastards in my books published by Zebra (Kensington) but no one called me on them because there was no email back then. Hell, they didn't alter the books and after the publisher corrected the spelling of my name on the cover of the first book, I blew it off.

I noticed errors again after one of my short stories was selected and reprinted in a Best Of anthology. The femme fatale's eyes changed color midway through the story. I thought - how the hell did the editor do this - until I went back to my original submission version and I had done it. I checked the magazine that first printed the story and the editor there didn't catch the mistake either. That story has been published 5 times now and no editor or reader has ever caught the error. Then again, maybe the only six people ever read the story. Me and the editors.

On the rear cover of my LONE Hurricane Katrina novel, we spelled the name of the hurricane as Karina. No one noticed. Two years later, I did and quickly made the correction. One of the benefits of print-on-demand books is the ability to instantly correct all subsequently printed volumes. How did we miss that?

When we formed BIG KISS PRODUCTIONS, we gathered a number of people fed up with the way they were treated by traditonal publishers - writers, editors, copy editors, artists, artist models, photographers, publicists, literary attorney, literary agent and proof readers. We are responsible for the entire production of each publication. Everything we do is checked and rechecked at least 8 times by multiple people and there are STILL errors. Frustrating? Yes. Infuriating at times? Absolutely. But mistakes happen.

I find errors all the time in traditionally published books. It happens. No big deal. I know Mark Twain knew how to spell 'season' and Kate Chopin's editors know it is 'lullaby' and not 'lulaby'.

Kate Chopin, a Louisiana writer

A reader once scolded me at a writer's event about two typos she found in my BATTLE KISS (a book of 320,000+ words). She said she expected perfection in a book that cost her $4.99. That's the eBook price. That's right - 5 bucks. I spend more than that for coffee these days.

I have come up with an re-usable answer to this question and I used it with that woman. I said, "We always leave a typo or two in every book. We follow the lead of persian rug makers who explain why they always drop a stitch in each rug because only Allah is perfect."

She asked what I meant by that. I repeated, "Only Allah is perfect." I then added, "Lisan al-Gaib." Her eyes went wide and she sat down. Didn't bother telling her "Lisan al-Gaib" has nothing to do with any real religion but is a phrase from Frank Herbert's great novel DUNE.

If you wanna talk grammar, call Cornac McCarthy.

"But he broke the rules," said in a whiney voice from the monkey gallery. "That's not the Queen's English."

Well, I don't use the Queen's English either. I don't even use English. I use a bastardized form of English called American English. And not Ivy League American. I use New Orleans American. If I don't remember the grammar rule, I make up my own rule. Bottom line - if you can undestand what the writer means to express - then what the hell are you griping about? This ain't grammar school. Writers are artists. Would you go into Picasso's studio and tell him those last few strokes should go another way?

Writer intrusion? Check out Thomas Harris's HANNIBAL or Harlan Ellison's brillant short story "The Deathbird" HUGO Award winner for 'Best Novelette' where he intrudes in a story about the end of the world with, "Yesterday my dog died." The author gives is a touching tale about his dog, which of course connects to the theme of the piece, but he INTRUDES.

"But it interrupts us. It reminds us this is a BOOK." Right. That's what you're holding in your damn hand (unless it's a Kindle).

Kindle Paperwhite

That's all for now folks.

www.oneildenoux.com

Down & Out Books Founder/Executive Editor Eric Campbell Waxes Rhapsodic About The Future Of The Novella

by Brian Thornton

Anthony Nom #1

Founded in 2011, Florida indie publisher Down & Out Books has cut a wide swath through the publishing world over the subsequent six years. 2017 has seen Down & Out garner SIX Anthony nominations, including three for Best Novella.

In keeping with my ongoing exploration of the reemergence of the novella as a commercially as well as artistically viable literary form, I recently conducted the following interview with Down & Out's founder and executive editor Eric Campbell. He is an unabashed fan of the novella, and it shows.

Read on....

First off, congratulations on those Anthony nominations. That’s some great work you guys are publishing, for sure!

Thanks a million, Brian. I'm still in shock that Down & Out Books earned six nominations. It's great to know that readers are connecting with the wonderful Down & Out authors. The stories are compelling, fun, adventuresome and excellent examples of how difficult the human condition is and can be. 

It’s been conventional wisdom for decades that one of the first casualties of the advent of television was the novella format. For decades publishers have avoided it as if it were radioactive. Obviously that’s not exactly the case anymore. What’s changed?

What's changed is that our society expects fast resolutions. They don't have the time for a 100K word novel; there's too much distraction from email, the internet, Facebook, etc. I find the novella to be a

Anthony Nom #2

perfect answer. It provides the reader with a long enough read to feel it's worth their time and hard-earned money and it gives the writer the opportunity to see if they can tell their tale in less than 40K words. Do we sell a million copies? Not yet. But I continue to see sales increasing and more folks are giving them a try…and really enjoying them. One of the good things with a small press like Down & Out is that I don't have move 100K units in order to make a profit and for the author to make some good money.

What was it that attracted you personally to the novella format?

You know that comment I made about distractions? That's me. That's you. That's everybody. While I would enjoy reading the 100K word book, I just don't have time to do so. I can sit down with a novella and knock it out on a plane trip, one or two nights before bed. I am a fan of pulp novels and they really aren't long works. You don't have to overthink the story and they move quickly. If you like series then you can pick up the next book and follow the continued exploits of your favorite guy or gal. A number of writers began submitting some really wonderful novellas and I saw them as a way to reach a different audience. So I dived right in.

What kinds of advantages does the novella have over full-length novels where storytelling is concerned?

Anthony Nom #3

The single biggest advantage is that the novella has to be tight and doesn't allow for a lot of "downtime." It fits what people are watching on TV. A story can be told in a single novella but it can have a longer endgame in mind. Think Sons of Anarchy, Breaking Bad, etc. With the novella, the writer can tell the full story but instead of the reader waiting 12 months between shows, maybe you only wait 5 or 6 months. Or hell, maybe you only wait 30 days depending on the approach taken by the writer and publisher. At the end of the day, I think it boils down to great characters. If you've got a great character, then you've got someone people want to read about. 

What do you see in the future for novellas? Is its current resurgence a fad, or something more substantial?

I'm betting that the novella can and will continue to expand. I've got several projects in the pipeline that I think people will dig. 

*          *          *

Check back in two weeks when I'll catch up with several authors (including two winners of the Wolfe Pack's prestigious Black Orchid award for best novella and Anthony nominee S.W. Lauden) about their creative process when working on this hardest to quantify of literary art forms.

See you in two weeks!

Wet Work

All this talk of spies, and Russian manipulation, plots divers and devious, is enough to make more than a few of us nostalgic for the Cold War. My pal Carolyn sent me a link to a recent Dexter Filkins piece in The New Yorker which speculates 'nostalgic' ain't the half of it, the body count going up as scores are settled.

We're on shaky ground here, in the Twilight Zone between coincidence and conspiracy. The politically suspect have been raw meat for years, inside Russia, journalists a favorite target, but the received wisdom has always been that the security organs don't operate with impunity in the U.S. I'm not so sure. Historically, we've got the murder of Gen. Walter Krivitsky, in 1941. His death was ruled suicide, but informed opinion agrees that NKVD rigged it to look that way. (Krivitsky died six months after they got to Trotsky, in Mexico.) Then there's Laurence Duggan, who fell out of a 16th-story window in New York in 1948. He had a meeting scheduled with his Soviet control that day. You think to yourself, Okay, but that was Stalin, this isn't the old days, when Yezhov and Beria could conjure up triggermen like dragon's teeth. Then again, who exactly is Vladimir Putin if not a wolf in wolf's clothing?

What we're talking about is the possibility, at least, that Russian state security is fielding hit teams on American soil. In the past, these were proxy killings, and they took place in client states or satellites. Western and Eastern Europe, Latin America, Africa, Asia. Very seldom, if ever, would you take out the pros on either team, the agent-runners, KGB, CIA, the Brits, the Israelis. You compromised their assets, you sowed discord and misdirection, you put them at cross-purposes, but you didn't knock 'em off like gangland rivals. And we didn't go after targets in the Soviet Union, they didn't come after targets Stateside. That seemed to be the unspoken agreement, anyway. Professional courtesy. Elsewhere was fair game. Berlin, or Vienna. Helsinki, Athens, Istanbul. And the Third World? You couldn't even trust the water.

It all changed in late 2006, with the assassination of Alexander Litvinenko. We'd had the killing of Georgi Markov, the Bulgarian dissident, in the UK. This was back in 1978, the notorious poisoned pellet in an umbrella tip - Bulgaria's secret service, the DS, borrowed the toxin from KGB, it's thought. Nobody ever made the case, though. Markov was a one-off. (Not exactly. There was another Bulgarian, in Paris, ten days earlier.) Or maybe the DS operation was rogue? (Not that, either. There's good collateral KGB sponsored it.) In the event, the trail went cold. This isn't to say nobody cared about Markov, but it was a story that flared briefly, and petered out. We're talking about Bulgaria, after all. How many people can find it on a map? More to the point, Markov's murder didn't indicate a pattern. It was an anomaly. And then, almost thirty years later, Litvinenko. Another exotic poison, in this instance, polonium. A defector, a known enemy, a slanderer, and a personal insult to Vladimir Putin that the son-of-a-bitch is still walking around.

The issue for the Kremlin seems to be that people like Litvinenko, and the opposition politician Sergei Yushenkov, and the reporter Anna Politkovskaya, just won't shut up. The three of them are now dead, of course. The bone that got stuck in their throat appears to have been Chechnya. Chechen terrorists were blamed for the apartment bombings in Moscow and two other cities in 1999 that gave Putin political cover to jump-start the Second Chechen War. In a fourth city, Ryazan, a team of FSB covert operatives were arrested after planting explosives, and the story went round that all of the apartment bombings were a security service provovcation, a false-flag attack. Then there's the Moscow theater siege in 2002, which people have also suggested was a provocation, and there's the Beslan school hostage massacre in 2004. Three events pinned on Islamic jihadis from the Caucasus, and used to prosecute the war with increasing brutality - scorched earth, in effect - and three events possibly orchestrated or abetted by federal security agencies. The stories aren't going to stop, but they've become whispers and hearsay, their voices have been lost, along with Litvinenko, Yushenkov, and Politkovskaya.

Using state security, or the Mafia, or freelance private contractors, to settle up your debts can be habit-forming. You get a taste for it. And quite possibly, you get bolder, or maybe you just don't care if you leave your handwriting. When you come down to it, what's the point of intimidation, if you don't sign your name?

In his New Yorker piece, Dexter Filkins floats a few possibilities, U.S. targets, ex-pat critics of the Kremlin who wound up in the hospital, or dead. If targeted they were. It's a tough call. Guy gets drunk and chokes on a piece of chicken? Could happen. Guy gets beaten to death in a hotel room? Seems less like a happy accident. What about the guy who had a gun put to his head? Nobody murmured in your ear, "Michael Corleone sends his regards." There's nothing solid to go on. All we can say is, This happened before, and such-and-such didn't. We're left with supposition and suspicion.

Here's a supposition. Putin thinks he can get away with murder because he has, it's that simple. As for the niceties, or the courtesy, well. Chert vozmy. The devil take it. This is somebody who doesn't even have to pretend to courtesy. Still. It presents an uneven risk-benefit ratio. My guess is that it's more about, Who will rid me of this tempestuous priest? In other words, it isn't Putin's express bidding. He doesn't have to put pen to paper, or even raise his voice. Oligarchs and Mafia bosses kiss his ring. The thought is father to the deed.

One other thing. Rules of engagement aside, it seems awfully petty to put so much energy into hunting down a few loudmouths, mostly nuisance value, sticks and stones. You have to take yourself pretty seriously to take them so seriously. Which is I guess the point. We imagine that Power is the great engine, the dynamic that shapes men, and history. What if it's just vanity, or hurt feelings? 

A Day in the Life of a Writer – The Writing Life

Today I’m going to talk about A Day in the Life of a Writer. This Writer in particular, but to one degree or another I think much of what I have to say here will apply to most writers. And specifically I’m going to talk about the difference between what others think I do in a day and what I really do and the odd hours I keep.

(Note: Because of the limitations of Blogger, the screenplay format is not totally correct. Also, as this isn’t really a screenplay I’ve cheated and adapted the content for this post.)

Take 1 – The Life of the Writer – What Others Think I Do

FADE IN:


INT. LUXURIOUS BEDROOM – WRITER’S COUNTRY HOUSE – MOS – DAY

Sun streams in through whiter-than-white plantation shutters. A figure stirs under satin sheets. The WRITER sits up in bed, stretches. Rings a little bell and a breakfast of French toast and fresh-squeezed orange juice is brought to him by his ROBOT in a pristine white room with no clutter, little furniture and definitely no clothes strewn anywhere. It’s 1pm on the bedside clock.

Because his life is so perfect, he doesn’t need to go to the bathroom or brush his teeth. It all just magically happens.

He eats leisurely, under an original Edward Hopper painting. He peruses the papers on his tablet, the stock ticker scrolling by on the 75” TV. He smiles big. All is right with the world.


EXT. POOL/BACKYARD – WRITER’S HOUSE – DAY

Bright sun, reminiscent of the original Hockney hanging in the Writer’s office, beats down. The Writer swims laps in his Olympic-sized pool. Towels off, sipping a cool Harvey Wallbanger that his Robot made to perfection. He looks fit, relaxed. Tan. And has a full head of hair:

The Writer with a full head of hair.

INT. HOME OFFICE – A FEW MINUTES LATER

The Writer, dressed cool-casual, enters, his loyal and extremely well-behaved pooch Chandler trailing. He gives a quick nod to that original Hockney. Stands at his high tech Varidesk. Except for the ambient hum of computers and the Baroque music coming from his Echo, all is silent – the perfect atmosphere for writing.

He checks his e-mail. The phone remains silent. The sun spills in on him and Chandler. All is right with the world as he opens his novel’s file and hits the first key of the day.

The start of a perfect day.
                                                                                                                                         FADE OUT.

***

Take 2 – The Life of the Writer – What I Really Do

FADE IN:


INT. MIDDLE CLASS BEDROOM – WRITER’S HOUSE – DAY

Sun streams in through the formerly whiter-than-white blinds. A figure stirs under an old threadbare comforter. The WRITER sits up in bed. He wipes sleep from his eyes. It’s 1pm on the bedside clock.

WRITER

                                                           Oh shit!

He jumps out of bed, jams on a pair of sweats and a T-shirt. Says good morning to his dog, Pepper, sleeping in the corner of the room. Pepper barely stirs. Walks into the


BATHROOM

where he cleans up quickly. Heads back into the


BEDROOM

Tries to get Pepper up. She’s having no part of it. He grabs her collar off the dresser.

WRITER

C’mon, Pepper. Let’s hit the road.

She finally gets up. He puts her collar on. Opens the bedroom door.

BUSTER,

his other dog, charges in like a herd of wild elephants.

WRITER

Calm down, Buster. G’morning.

Buster, a very large German Shepherd, leans into the Writer, nearly knocking him over with love, while Pepper leans into Buster. The Writer tries to keep his balance. He heads down the


HALL

followed by, uh, following the dogs. They head

OUTSIDE

so the dogs can do their business.


INT. HOME OFFICE – A WHILE LATER

The Writer enters, followed by Buster and Pepper. He nods to the framed Beatle albums and lobby cards of In a Lonely Place, The Big Sleep and others. He tries to sit at his computer desk, but it’s almost impossible as the dogs are laying so close he can hardly pull his chair out. He finally “rearranges” them, sits at the computer, opens his file and hits the first key.

Buster hangin' in the office, taking up as
much space as he damn well pleases ;-) .

THE TELEPHONE RINGS

He looks at the Caller ID – “OUT OF AREA”

WRITER

Telemarketer.

He turns back to the computer. From the look on his face we see a great idea has hit him. He starts to type. THE TELEPHONE RINGS AGAIN – ANOTHER TELEMARKETER. 

From the rage on his face it’s clear he’s forgotten his great idea. He picks up the phone. No one’s there. SLAMS it down.

WRITER

Damn telemarketers.

He starts to type again. The phone rings. It’s his friend, who always expects him to be home and available and assumes he’s avoiding calls…which he is. He ignores the call. He starts to type again. We HEAR A CHIME – a new e-mail has just come in. A DIFFERENT CHIME – someone’s commented on Facebook. And the Writer, doing his best imitation of one of Pavlov’s dogs, must answer the chime. It cannot be ignored.

WRITER

Better check that out.

      (pause)

Oh, a cute cat video.

He hits play on the video.

WRITER

And a gorilla dancing to Maniac from Flashdance.

He’s about to hit play when THE DOORBELL RINGS (O.S.).

Buster and Pepper BARK up a storm. The Writer puts his hands to his ears.


INT. ENTRY HALL

The dogs charge in, ready to smash the door down. The Writer follows. He opens the front door to see the UPS truck drive off and a package at his feet. He brings it in. What could it be? Maybe it’s a gift from an anonymous fan? Opens it. It’s for the neighbor.


INT. HOME OFFICE – LATER

The Writer busily writes – for all of two minutes – as we see via the wall clock. He searches the net – sees a link.

WRITER

That’s interesting.

He starts hopping from link to link – doing RESEACH. For two hours – as we see on the wall clock. He returns to his manuscript, types one sentence. Stands. Stretches. Exits.

The Writer's Office -- complete with former assistant. Unfortunately, he's no longer with us. But he was a great assistant.

INT. KITCHEN

He opens the fridge. Looks around. Slams the door. Goes into he


GARAGE,

grabs some Cokes and returns to the


KITCHEN

Puts them in the fridge. Opens one. Notices mounds of dog fur everywhere. Grabs a broom. Sweeps the fur into a huge pile. Plops it into the waste basket. The dogs are at the back door. He goes

OUTSIDE

with them. They do their business. He cleans it. They frolic. He weeds, then waters the outside plants.

Pepper (left) & Buster

INT. HOME OFFICE

The Writer enters, with dogs. He sits at his computer with his warm Coke. He’s just about to start writing – more telemarketer calls. He doesn’t answer but they interrupt his flow.

The phone quiets. He’s about to write. The computer stops responding. There’s 1001 updates.

WRITER

Damn updates.

He downloads said updates. Waits forty-five minutes for them to download and install – we can tell by the clock on the wall.

Time to check the mail.


EXT. HOUSE

The Writer opens the mailbox.

WRITER

I’m sure there’ll be twenty royalty

 checks and a film contract to sign.

He grabs the mail. Bills. And junk mail.

WRITER

I must’ve been dreaming.

INT. KITCHEN

Writer returns. Plops the bills on the counter. Sees the drooping plants. Waters the inside plants.


INT. OFFICE

The Writer enters. Sits at his desk – it’s an hour after he left the office. Where did the time go? He’s just about to start writing – when HE HEARS HIS WIFE, AMY, ENTER (O.S.). DOGS GO NUTS.


MONTAGE: The Writer, Amy, the dogs. Everyone eats. Watch TV. Amy goes to bed.


INT. OFFICE – LATER THAT NIGHT

The Writer enters. It’s quiet. He sits at his desk. Shakes out his hands. Limbers his fingers. Starts writing the Great American Novel from 11pm till 3am – we can tell from the clock on the wall. The Writer does other things till about 6 or 7am, then finally goes to sleep.

And now you know why the Writer keeps such strange hours.

FADE OUT.

***

Take 3

Take 1 is sort of my idealized day. Take 2 is more like my real day, though fictionalized just a little. My comforter really isn’t threadbare. In reality, I’m pretty lucky in that I don’t have to have a day job and when I did it was writing. But the reality also is that my romanticized writer’s life isn’t exactly what we might see in the movies. I do live in a semi-rural area so it’s relatively quiet here, though we live in a canyon so huge double dump trucks go by as there’s a mine up the road. But there’s also a farm and we go there to buy peaches or whatever happens to be in season. Unfortunately, it’s for sale and I hope they don’t turn it into a housing development – Ahhhhhhhh! We also have our own peach tree. And it makes peaches too, lots of them. But the birds always seem to get them before we do.

I do get up around 1pm. Now that sounds pretty “luxurious” except that I go to bed around 7am, give or take. So I don’t really sleep any more than anyone else I just do it at a different time. I do get up and take the dogs outside. Then I usually come back in and have lunch (or breakfast). Do some Facebooking and try to get some work done. The phone does interrupt, mostly telemarketers. It’s gotten so that I almost never answer the phone anymore, even with Caller ID. And even when we had Privacy Manager that was supposed to block telemarketers, most of them got through. I used to love yelling at them or toying with them, but that’s sort of lost its sparkle, so now I just don’t answer the phone.

And since I work at home people expect that I have all the time in the world to talk to them. I have certain friends and family who think I’m available – or should be – any time of the day and night. And some get insulted because they assume I’m here but not picking up. They’re often right. They also assume that I’m watching TV and drinking beer, just having swell time. They’re wrong. It’s not like that. But just like you might be working a job in an office, I’m working a job here and don’t want to be interrupted.

I don’t give out my cell number. The only people who have it are Amy and my mom, and since my mom died a while back I don’t think she’ll be calling, but if she does I’ll let the answering machine pick up... If it’s important she’ll call back. And Amy knows my sleep schedule. So if she calls it has to be an emergency – like wildfire that she’s calling to tell me about. We’ve had to evacuate three times and came close another two. That’s a call I’ll take, but I’d rather it didn’t happen.

So there you have it. My day is a work day, like anyone who goes to an office. My office is just a shorter distance down the hall. And I’m disciplined if I don’t get too many interruptions… What about you? What’s your Writer’s Reality vs. what others think it is?

                                                                                                                           FADE TO BLACK.

###

And now for the usual BSP:

www.PaulDMarks.com

Click here to: Subscribe to my Newsletter

The Lie Detector

My Time magazine came yesterday. The man on the cover is Special Counsel and former FBI Director, Robert Mueller. Underneath his photo is the sub-title Someone's not telling the truth.

Wow. Can this man with his extensive education and background and work experience be able to sort out fiction from lies? Surely he can, but this is a new challenge for him. He's never had an investigation like this. But he does have plenty of money and a dream-team of legal eagles on his side. Personally, I think he will eventually cut through all the lies, deceits and cover-ups but it will take time.

As writers we are hoping to be as Lawrence Block (a belated happy birthday, Larry) titled his book, Telling Lies For Fun And Profit. We are liars of the first, second, third and last order. And, boy, do we have fun doing it.

Just a couple of things to remember. If we have a character who is a police officer and we interrogate people to find out who committed the crime, do we rely on the old stand-by like body language? Do we express that? How the suspect, slouched and seemed uninterested.

Does our amateur sleuth draw any conclusion from the person who will not look directly into the character's eyes. That is another basic "tell" of a liar.

Do we ask the right questions in order to catch the suspect in a lie? Of course, we do these things. And Class, be sure you set things up so that you either have an idea the suspect is lying. Or have your character acknowledge that he or she knows they need more proof.

Most parents have a built in bull-pucky meter in their head and know almost instinctively when their child is lying. If that's true then your character might even say or think that. It's doesn't guaranteed they know when a suspect is lying.

You know, as a writer you must make your story or book believable so be sure and check on the reality of your character either detecting a lie or missing it altogether. If your character misses it then be sure you set it up that way.

If all else fails, have your suspect take a lie detector test. I remember Very Special Agent Tony what's-his-name in the NCIS  TV series telling a suspect once that every time the man lied, his (meaning Tony's) ears would itch. Tony had proof of part and part he suspected, but scratched his ears at the right time and the suspect confessed. Makes me laugh every time I think about it. And I do know Tony's last name, I just am not sure of the spelling at the moment.

I realize most of you reading this are published writers. Most also have awards and honors for writing excellence. But gentle reminders of details are always welcome in my book. Just continue telling and detecting lies because that's what we do.