Do's and Don'ts, Wills and Won'ts, Part 2

Back again. This is the second part of a two-column discussion about the craft of writing and the so-called "rules" writers should follow. Last Saturday's post featured some of the things I think writers should NOT do, plus a few of my own pet (and petty?) peeves. Today's column will cover, in no particular order, things I think we SHOULD do when we write fiction and submit it for publication. Especially short fiction, since that's the kind of storytelling I do most.

Here we go.



Do's

- Do hyphenate most multiple-word adjectives. Easy-to-read story, locked-room mystery, one-horse town, three-alarm fire, elementary-school teacher, child-abuse center, out-of-town guest. This streamlines your story and, yes, makes it easier to read. Sometimes it even provides clarity. Unhyphenated, high school age students could be taken the wrong way.

- Do put the most important part of a sentence at the end of the sentence. The tornado caused extensive damage, numerous injuries, and several deaths. (Passable: The monster was standing in the weeds at the edge of the woods. Better: Standing there in the weeds, at the edge of the woods, was the monster.)

- Do make your verbs agree with your subjects. That stack of books is in my way. Neither Joe nor Mary is going to the party. Here are your instructions. Ten years is a long time. My macaroni and cheese was delicious.

- Do use parallel structure when items are in a series. Wrong: You can relax in our sauna, the lounge, or by the pool. Right: You can relax in our sauna, in the lounge, or by the pool. Passable: I like hunting, fishing, and movies. Better: I like hunting, fishing, and watching movies.

- Do use m-dashes instead of hyphens or n-dashes in your manuscript.

- Do include an s after the apostrophe with most possessives ending in s. Ross's truck, Mr. Sims's house, Ms. Jones's refrigerator, Colonel Sanders's fried chicken. Don't include the extra s when the word following it begins with an s. Colonel Sanders' secret recipe.

- Do choose a or an based on pronunciation, not spelling. An hour and a half, an umbrella, a European vacation, an MBA, a uniform, an SASE.

- Do use the serial (Oxford) comma. Red, white, and blue. Yes, it's optional--but believe me, its use can prevent misunderstandings and, in some cases, embarrassment.
The only people who came to the meeting were two snooty ladies, my wife, and her sister . . . means there were four attendees.
The only people who came to the meeting were two snooty ladies, my wife and her sister . . . means there were two attendees.

- Do make sure those leading apostrophes for things like 'em, 'tis, 'twas, 'course, '90s, etc., are "curved in the right direction." MS Word tends to aim those the wrong way, and you can fix this problem by typing an extra letter just before the word, typing the apostrophe, and then deleting that letter. That's bassackwards, but it's a good workaround.

- Do use a dash--not ellipses--to indicate interrupted speech. Ellipses suggest a hesitation, or a gradual fade to silence. (I like interrupting my characters because it happens so often in real life, especially in tense situations.) "What exactly do you--" "You know very well what I mean." "Now, wait just a min--" "No, YOU wait a minute."

- Do use an ampersand in certain company names and abbreviations, but not in usual writing. Spell out the word and instead. Correct uses of ampersands: B&O Railroad, AT&T, Tiffany & Co., R&D, Q&A, B&B. 

- Do use commas correctly with names and titles. Grammatically correct: My friend, Tom, is retiring tomorrow. Also correct: My friend Tom is retiring tomorrow. I prefer the second sentence; in the first, the commas surrounding the name are acceptable but needless (and might even imply that you have only one friend). INcorrect examples: My friend, Tom is retiring tomorrow. My friend Tom, is retiring tomorrow. Also incorrect: Author, Lucy Cooper will speak to our book club next month. I actually saw that one recently, in a Facebook post.

- Do feel free to capitalize the first word of a complete sentence following a colon, depending on the desired impact of that second sentence. The verdict is in: No more stimulus payments. If no added emphasis is needed, leave it uncapitalized. My brother worked hard last night: he dreamed up a story in his easy chair.

- Do feel free to use the word till instead of until, as in I'll be there from noon till three. To me, it's far better than the odd-looking 'til.

- Do use T-shirt instead of tee-shirt. An editor told me the way she remembers this: when you hold the shirt up to look at it, it's in the shape of a T.

- Do remember the difference between convince and persuade. Convince means to cause a person to believe something; persuade means to cause a person to do something. (One involves thought; the other involves action.) I convinced my sister of the importance of social distancing. Helen persuaded her husband to wear a mask. 

- Do capitalize the first word in a title and all other words except short prepositions, short conjunctions, and articles. (Short usually means three letters or fewer, although some sources say four letters or fewer). The Day After Tomorrow, Indiana Jones and the Last Crusade, Flowers for Algernon, Of Mice and Men, Gone With the Wind. I opted for the "four or fewer" rule when I submitted my short story "On the Road with Mary Jo" because I thought a lowercase with looked better there.

- Do use italics for the titles of books, novels, novellas, plays, albums, movies, TV shows, newspapers, and magazines.

- Do use quotation marks for the titles of short stories, poems, articles, book chapters, TV episodes, and songs.

- Do put periods and commas inside closing quotation marks--even if you're also using single quotes within double quotes. "I want to re-read Shirley Jackson's 'The Lottery,'" Jane said. The British put their periods and commas outside the closing marks.

- Do put a question mark outside closing quotation marks if whatever's inside the quotes (a song title, say) isn't a question in itself. Jack asked, "Do you like the song 'Good Vibrations'?"   Sue said, "I prefer 'Wouldn't It Be Nice?'" (Note that the question mark ends that second sentence even though the sentence is not a question. There's no additional period.)

- Do use who if it could be replaced in the sentence by he, she, or they. I didn't know who was going to be there. Use whom if it could be replaced by him, her, or them. For whom the bell tolls.

- Do feel free to use contractions in the narrative of a story, not just in dialogue. You're writing fiction, not a legal brief.

- Do use may to imply permission and might to imply a choice. Billy may go to the dance means his mom said it's okay. Billy might go to the dance means he hasn't decided.

- Do use a.m. and p.m. to indicate time. Also acceptable are AM and PM, though I prefer the lowercase letters and the periods.

- Do use combined words like everyday and anymore correctly. The first is an adjective; the second is an adverb. Bob comes home from work every day and puts on his everyday shoes. Since you don't live here anymore, I don't plan to cook you any more meals.

- Do use blond as an adjective and blonde as a noun. The blonde had blond hair. (Blond can also be a noun if you're talking about a male, though I've rarely seen it used that way.) Feel free to disagree--it won't bother me a bit--and if you simply must use blonde as an adjective, use it in reference to a woman.

- Do use sensory input in your story wherever possible. Have your characters hear, feel, touch, taste, and smell things around them. This isn't something that comes naturally to me, so when rewriting I try to make sure I've included it.

- Do use little "beats" of action in scenes. He scratched his beard, she drummed her fingers on the desktop, he shifted in his seat. They let the reader picture what's happening, they allow you to vary the rhythm of the dialogue, they can help reveal a character's appearance or personality, and they can help identify who's speaking without the need for a dialogue attribute. If you insert one of these beats between two lines of the same speaker's dialogue, you can even use it to change the subject in the middle of a paragraph. "I don't want to talk about this anymore." Jenny leaned her head against the passenger-side window. "Turn here, this is my street."

- Do choose as your POV character the person who will most likely learn the most and/or be impacted the most by what happens in the story. The POV character does not have to be the title character or even the main protagonist. Reference The Great Gatsby, Shane, To Kill a Mockingbird, etc.

- Do provide details of physical description (if you absolutely must) via dialogue, or reveal it in bits and pieces. Avoid a missing-persons-report info-dump, and if it's a first-person POV story don't have your character stand in front of a mirror and tell the reader what she sees. That, except for the "it was all a dream" plot, might be the biggest land-mine a fiction writer can stumble onto.

- Do try to start your story with some kind of change. A divorce, a marriage, a death, a relocation, a meeting, a promotion, a firing, a financial windfall, a reunion, a diagnosis, an accident, a summons, a new opportunity, a contest win, a career change, an announcement, a phone call, a letter, a visitor, a stranger's arrival in town.

- Do try to identify the five W's--who, what, where, when, why--as soon as possible, in your story. In Hemingway's novella The Old Man and the Sea, this is the opening line: He was an old man who fished alone in a skiff in the Gulf stream and he had gone eighty-four days now without taking a fish.

- Do consider giving your story a "circular ending," in which the character winds up in the same location as where he or she began. Examples: The Lord of the Rings, The Searchers, The Wizard of Oz, Unforgiven, Escape from New York, Lonesome Dove, many others.

- Do end your story as soon as possible after the point of highest tension. This was one of the late screenwriter William Goldman's strictest rules.

- Do create "gray" and relatable characters by giving your protagonist some bad qualities and your antagonist some good qualities.

- Do make your villain at least as powerful, and as motivated, as your hero or heroine. (Jack the Giant Killer needs a giant.) Always remember that it's the villain, not the protagonist, who drives the plot.

- Do give your characters appropriate names (when possible) that provide a clue to their personalities.  Darth Vader, Stephanie Plum, Thomas Magnum, Draco Malfoy, Holly Golightly, Remington Steele, Frank Bullitt, Barney Fife, Luke Skywalker, Uriah Heep.

- Do consider giving your protagonist a spouse or friend or sidekick with whom to share information. And maybe even to add yet another level of conflict.

- Do convey emotions by "putting them on the body." Her jaw dropped, his heart thudded, her eyes widened, her throat tightened, his knees went weak.

- Do indicate dialect in your dialogue by word choices like Y'all grab them two shovels and carry 'em to the barn, or We don't got to show you no stinking badges or I have happy feeling about you come to visit (an actual email I once received before going to teach an IBM class in Manila). But be careful not to overuse misspellings--editors hate that.

- Do speed up the pace, if needed, by inserting either (1) dialogue, (2) shorter, choppy sentences, or (3) active voice.

- Do slow the pace, if needed, by inserting (1) description, (2) exposition, (3) longer, complex sentences, or (4) passive voice.

- Do include as many levels of conflict as your story will bear. The shorter the story, the less room you have for this kind of thing, but there are plenty of possibilities for conflict: between the hero and another character, between the hero and himself (or herself), between the hero and society, between the hero and the elements (The Perfect Storm, Twister, Everest), between the hero and a nonhuman character (Cujo, Jaws, Alien, Moby Dick), etc.

- Do include full contact info at the top left corner of the first page of your short-story manuscript: name, postal address, phone number, email address.

- Do put the wordcount of your story in the upper right corner of the first page. Either make it the exact wordcount--2785 words--or round to the nearest 100 and type about 2800 words.

- Do center your title and byline between a third of the way and halfway down the first page. I always put one double space between my title and "by John M. Floyd," and then I go down two more double spaces and start the text of the story. I also put the story title in all caps, although Shunn's guide says to use proper case.

- Do number all pages in your manuscript. I never use a footer, but I always put a header at the top right corner of every page except the first, as follows: Floyd / STORY NAME / page#.

- Do use your pseudonym, if you have one, as your byline and in the header of each manuscript page, but use your real name in the contact info on the first page.

- Do use either Courier or Times New Roman font unless the guidelines tell you otherwise. I always use 12-point TNR.

- Do type a centered character of some kind--asterisk, pound-sign, etc.--as an indicator of a scene break, rather than just inserting an extra double-space. I learned this lesson when the published version of one of my stories left out a needed scene break. Now I always use a centered #, except in my book manuscripts, where my publisher prefers ***. My problem with three consecutive asterisks is that if you happen to hit RETURN immediately afterward, Word sometimes automatically inserts a whole line of asterisks and teleports you into Page-Break Hell, a place from which it is hard to escape. (Anyone else ever run into this?)

- Do space down three double-spaces and center the words THE END on the last page of your story. If these words wind up alone at the top of a page, go back to the first page and fiddle around with the vertical placement of the title and byline (move them up or down several spaces in that top third- or half-page) until the problem's fixed.

- Do include a cover letter with all submissions, unless instructed not to. If it's an electronic sub, your cover letter is in the body of your email or the text box provided in the online submission form.

- Do remember, in cover letters, etc., the difference between an anthology and a collection. An anthology is a book of stories by more than one author. A collection is a book of stories by the same author.

- Do include the editor's name in the salutation of your cover letter. Dear Ms. Anderson, Dear Mr. Price, etc. Don't just type Dear Editor or Dear Fiction Editor. If it's not clear whether the editor is male or female, include the entire name: Dear Lee Russell. Also, after the editor has responded to you using only your first name or only his or her first name, feel free to use the editor's first name in all correspondence.


NOTE, for writers of mystery short stories: Do include the apostrophe in the names Alfred Hitchcock's Mystery Magazine and Ellery Queen's Mystery Magazine. Editor Linda Landrigan says the official titles have apostrophes, although they are occasionally left out for design purposes on covers, etc.

Breaking the rules

- Do feel free to use comma splices (two complete sentences separated only by a comma) if/when needed. In dialogue a spliced comma can capture the exact rhythm of normal speech. It's best used when there's no pause at that point in the spoken piece. I don't care what Dad says, I'm going to the party. Hurry up and finish, I want to go eat. Take your time, I'm just looking. The wrong way to use a comma splice: We finally got home, Fred came over to visit.

- Do use sentence fragments when needed, whether it's in dialogue or not. Because I said it was. So I did. Which turned out for the best.

- Do use a split infinitive if it makes the sentence sound better. To boldly go where no man has gone before has a more pleasant rhythm than To go boldly where no man has gone before.

- Do feel free to use "who" instead of "whom" in informal writing, even when it's not grammatically correct. Sometimes whom just sounds too stiff and proper, especially in dialogue. Picture a ghostbusting service with the slogan Whom you gonna call? 

- Do repeat a word once or more in a sentence if it makes more sense to do so. I once heard this called the Slender Yellow Fruit Syndrome. I was offered a banana and an orange, and I chose the slender yellow fruit. Better to just repeat the word banana.

- Do use rambling sentences when needed (especially effective in high-tension scenes). Joe untied his ankles and grabbed his gun and sprinted down the hall and into the den and threw open the window--and saw the thief's taillights topping the hill at the end of the street.

- Do feel free to use multiple points of view in your short story. The often-heard advice to stick to one POV with shorts is not a requirement.

- Do end a sentence with a preposition if it improves clarity or believability. Especially in dialogue. Nobody at the dance would say, in real life, Is that the guy with whom you came?

- Do use one-sentence paragraphs if needed. Their very isolation can increase their impact, and that's sometimes a powerful way to end a scene or a story.

- Do use very short scenes if needed, or short chapters in a novel.

- Do use a prologue if you want to. Sometimes renaming it Chapter One just doesn't work.

- Do open your story with a line of dialogue if you feel that's best, no matter what you've heard otherwise. Dialogue can be a great "hook," and is a good way to show, not tell.

- Do feel free, in dialogue, to use the occasional gonna and wanta. You shouldn't overdo this--as mentioned earlier, misspellings in dialogue/dialect are taboo to most editors--but making speech sound realistic is a good thing to strive for.

- Do end your story with a twist, if you want. The surprise ending, if done well, is not as out-of-fashion as the critics would have you believe.

- Do leave out the question mark if a statement isn't really a question. "You're a jerk," she said. He replied, "Is that so." Editors often complain about this, but I've won most of those arguments. I happily substitute a period for the question mark if the spoken sentence doesn't lilt upward at the end, as it would if it were a question.

- Do use made-up words whenever needed (I love 'em). His head thunked against the pavement. The helicopter whopwhopwhopped through the night sky.

- Do feel free to start a sentence with a conjunction. Beginning a sentence with And or But can often help the flow of the narrative.

Summary: Sometimes we just have to write what sounds right, regardless of the rules of grammar and style. To use another pop-culture example, try to imagine the Stones singing "I Can't Get Any Satisfaction."



An unresolved issue (is it a Do or a Don't?)

I have a question for all of you. What's your take on this sentence?

Everybody does their own thing.

This bothers me. The writer part of my brain says that should be Everybody does his or her own thing, or his/her own thing, etc., in order for the singular possessive to agree with the singular pronoun. But the practical side of me says, sweet jumpin jiminy, why create a stupid-sounding sentence just to satisfy the rules of grammar? Just say Everybody does their own thing and be done with it.

I've read and heard from many sources that this single-pronoun-single-possessive issue is one of those grammatical rules that has been so universally violated that the incorrect solution has now become acceptable (and certainly more convenient). But the old ways die hard. When I encounter it in the course of writing a story, I've found that I usually choose to reword the sentence to avoid having to make a decision. Something like Everybody take their seats often becomes Everybody sit down.

So the question is, should you be correct and thus overly wordy (or, if you just use his, politically insensitive)? Or should you give in and be grammatically incorrect and use the plural possessive? We all know our language evolves over time--one example is the way certain separated words have eventually become hyphenated words and have then become single words, the way on line morphed into on-line and then online. Has the everybody/their situation done the same kind of thing?

What's your opinion?



In closing . . .

I mentioned last week, in Part 1, that you should take these so-called rules with a grain (or maybe a whole shakerful) of salt. Different folks, different strokes. Another way of saying that:

Good teachers don't say "This is the way you do it." Good teachers say "This is the way I do it," and then let you decide for yourself.

I don't know if I'm a good teacher, but the above is the way I do it. As some of my fellow SleuthSayers are fond of pointing out, your mileage may vary.


Let me know what you think, about all this. See you in two weeks.

We Write. We Escape.

We write. We escape. Escape into worlds we create and follow make believe characters through conflicts, love, happiness, sorrow, through the maze of life.

It's harder today in the middle of this pandemic as we try not to catch this damn virus. We worry about loved ones and friends and – everyone. The ravages of this war are hard to witness and this is just the opening phase. I look back at the traumas in my life, the specter of the Vietnam War, the titanic blows nature sent against my city from Hurricane Betsy in 1965 through the worst of Hurricanes Katrina and Rita in 2005. Sudden, maddening destruction. But this virus is a creeping menace, an unrelenting threat, a Lovecraftian nightmare.

I remember the great stress of watching the evening news in the late 60s, as Walter Cronkite gave us the body count of Americans killed in Vietnam. Today we have the media announcing the body counts of virus deaths in our cities, states, country and the world. Then, as well as now, we were let down by out some political leaders while nurses and doctors struggle to save as many as they can. A nightmare revisited.

My cousin Patrick Roche and my father. Vietnam, 1965

And now, we have more rioting in the streets. Cities on fire. We are still paying for America's original sin. Slavery and its long, ugly, horrendous legacy continues. And lest we forget the other original sin – the genocide of the native people of the Americas, which is still going on.

Is this the wages of sin?

I grew up in the neo-confederate south and saw bigotry and oppression first hand but it was never focused against me, so it took a while to see it for what it is. Hard to imaging having that searing spotlight lasered against me day and night. Ben Franklin once said, "Justice will not be served until those who are unaffected are as outraged as those who are."

I've been outraged for a long time, have voted in every election and it does some good on occasion, but not enough. Not even close to enough. There is no easy solution but so many do not admit there is a problem.

President Jimmy Carter was right when he said, "America did not invent human rights. In a very real sense, human rights invented America." It's been so hard to follow that up.

OK. Enough preaching. This is a writer's blog.

It's been hard to write. But a writer writes. I don't know about you guys, but I've been productive with my fiction during the lockdown. It is the only way to fight the stress, although writing is not relaxing. It focuses me and ends with something positive. I hope all of you stay safe.

That's all for now.

www.oneildenoux.com

Roadkill

I had another blog all written out for this week, about the death of George Floyd, the ongoing protests, peaceful and those that morphed into riots, the government's reaction, etc. And it was pretty good. But other people have said it better.

In fact, I summed up pretty much all I had to say about protests and powerlessness in an earlier blog, which you can read here: https://www.sleuthsayers.org/2014/12/absolute-powerlessness.html

So instead, I want to talk about roadkill.

We've all seen it, every day. Some of it's so old it's easy to ignore - just a stain on the road. Deer carcasses last longer. It used to be that either the person who hit the deer would take it home and eat it, or the knacker man would come by and pick up dead carcasses, but now they lie there and rot for a long time. Deer and possums, skunks and raccoons, cats and dogs, squirrels, snakes and turtles.

Of course, some animals are very hard to avoid. Squirrels, as most of us know, are adrenaline junkies if not downright suicidal. They race back and forth across the road, and sometimes, just as you think you've managed to avoid the damn thing, it races back right under your wheels. I've killed a few squirrels in my day.

And we've all seen deer leaping across a road at night, in some frenzied attempt to get somewhere. When we moved up to South Dakota, back in 1990, we naively asked why we needed auto collision insurance, forgetting that young guns get drunk and drive fast everywhere. And old farmers: well, there you are, doing the legal limit of 55, and instead of waiting for you to zoom by, they pull out in front of you doing 20. I've stood on my brakes many a time. Anyway, we were told that up to 50% of all collisions in SD were with deer. Sort of like with moose up in Alaska, Maine, etc.

So far, I've been lucky and haven't hit a deer. But I do have a friend who hit a cow, at night, at a speed that caused the cow to ride up the car hood, through the windshield, and partly on him. He ended up with long lines of stitches on his face that would gain him street-cred in prison if he ever had to go there. Whenever anyone asked him about it, he'd always growl, "Yeah, but you should see the cow."

Meanwhile, I always wonder about the cats and dogs and other smaller mammals. Accidents or on purpose? You'd have to have been there, I guess.

But I know about turtles. That's on purpose. You can always miss a turtle. They do not - I repeat - do not move quickly. I've been behind too many trucks and seen them deliberately swerve in order to hit the turtle.

A 1996 study done in Ontario, Canada, noted that a lot of reptiles were killed where vehicles usually don't drive, i.e., the side of the road, the median strip - in other words, it was done on purpose. So in 2007, they set up a research study using reptile decoys of snakes and turtles. The found that 2.7% of drivers intentionally hit they decoys, "speeding up and positioning their vehicles to hit them". And (sadly) male drivers did this more often than female drivers. "On a more compassionate note, 3.4% of male drivers and 3% of female drivers stopped to rescue the reptile decoys." (Wikipedia)

BTW, I'm one of the drivers who stop to pick up turtles and move them out of the way. They have a tendency to express their gratitude all over my feet, but hey, that's the way it goes. If an alien ever picks me up and carries me across a road, I'll probably be expressing fluid gratitude myself.

In most Native American cultures, turtles represent "healing, wisdom, spirituality, health, safety, longevity, protection, and fertility. Some Native Americans believe that the turtle contributed to creation because the turtle dove into the primeval waters to retrieve mud to create Mother Earth. Additionally, the shell of the turtle represents protection and perseverance... Lakóta mothers make a leather amulet shaped like a kéya (Lakóta for turtle) for their newborn babies. Within, they place their child’s umbilical cord and sew them closed for protection. The amulet keeps the child grounded and connected to its mother and Uncí Maká [Mother Earth]." (Native Hope)

Why would someone deliberately swerve to hit a turtle? Smash its back, leave it splayed out and broken and bloody and drive on? I don't understand it, but I know why they do it: 

Because they wanted to kill it. Because they wanted to kill something.

And I know something else: I don't want a person who would kill a turtle anywhere near me. I don't want them in my family. I don't want them in my place of employment. I would not hire or recommend them for any job. Especially for a job in law enforcement of any kind, whether as a police officer, corrections officer, border patrol officer, etc., etc., etc.

Because they like to kill things.

Maybe we need a new question on job applications:

"When I see a turtle by the side of the road, I ____"

There are a lot of scavengers in the world - coyotes, jackals, vultures, maggots, blowflies - that come out of nowhere and grab and loot whatever they can. And in times of protests and riots, they get all the attention, because - and this is just the brutal truth - in this country (and many others) property gets a whole lot more respect than people, especially the poor or minorities. "When the looting starts, the shooting starts" was said in 1967 by Miami Police Chief Walter Headley, in 1968 by presidential candidate George Corley Wallace at a campaign rally, and a few days ago by President Donald Trump. Meanwhile, not a lot is said about the systematic looting of our money and property by corporations and the wealthy through tax breaks, tax shelters, special rules, deregulation, and the highly under-reported and frequently used eminent domain (for dams, condos, fracking, pipelines, border walls, shopping malls, golf courses, etc.) See: Wikipedia and also see 7 Maddening Examples.

Scavengers - of all kinds - aren't good.

But you know something? Scavengers only show up after the killers have done their work. "Wherever there is a carcass, there the vultures will gather." (Matthew 24:28)

https://www.npr.org/2020/05/29/865261916/a-decade-of-watching-black-people-die

Time Share

I have a story in the June issue of Mystery Weekly Magazine, and for that I must thank Barb Goffman, who was my inspiration.  Sort of.

I came up with the idea and the title for the story decades ago but I couldn't see a market for it so I never bothered to write it.  Then, last year, Barb announced that she was going to edit an anthology called Crime Travel, featuring crime-related tales of time travel.

And I realized my old idea fit. Sort of. It was about a physicist who hoped to invent time travel, only to discover that that is impossible - however, it turned out that he could travel through an apparently infinite number of universes.

I asked Barb if that concept might fit in her book, and she said it might.  So I wrote the story.  And Barb rejected it, as she had every right to do.

But heck, I had my story now.  Might as well look for a market.  Mystery Weekly Magazine had published one of my stories last year, a tale with a science fiction bent.  So I sent it to them and voila.  Decades after it was first dreamed up, "In Praise of my Assassin" is available now for your reading pleasure.

It's about time.

Outside the Three-Mile Limit

As many regular readers here know, I’m fascinated with Los Angeles history. I post about various aspects of it from time to time. I use it as background in much of my fiction. And one of the most fascinating aspects of L.A. history are the gambling boats that used to anchor off the shore, just outside the three mile legal limit.

The Rex

Bobby in the just-released (yesterday) The Blues Don’t Care has more than his share of adventure on one of those gambling ships. In the novel, Bobby and the band he’s in get a gig on the Apollo, one of the gambling ships off the Los Angeles coast. They find more than a little trouble there that really sets the plot in motion.

Cops dumping slot machines off the Rex

The Apollo is based on the real gambling ships that used to lay off the SoCal shore, just outside the three-mile limit. I’ve taken a few liberties with the Apollo. It’s much nicer than the real gambling ships, which, while they had their amenities, weren’t always as glamorous as you might think. But when gambling was illegal I guess they were good places to go and get your fix.

                  The interior of the Lux

The most famous of the real gambling ships was the Rex, run by Tony Cornero, A.K.A. The Admiral. Cornero had a checkered career, to say the least. During Prohibition in the 1920s he was a rum-runner (I wonder if he knew Joseph P. Kennedy Sr.?). He moved much of his illegal booze on ships, so had a background on the bounding seas for when he decided to open up the gambling ships later on.

When Prohibition was repealed, Cornero made the easy slide over to gambling. In 1931 when gambling was legalized in Las Vegas, he and his brothers set up there, opening up The Meadows Casino and Hotel, beating out Bugsy Siegel’s Vegas venture by over a decade. Unfortunately, Lucky Luciano got wind of it and, since Cornero wouldn’t pay extortion money, the Meadows was torched. Hmm, no connection to old Lucky there, right?

Tony Cornero aboard the Lux

So back to L.A. Cornero went. And in 1938 he bought two ships, the SS Rex and the SS Tango and converted them into gambling boats. By running them outside the legal limit he could skirt US law. The ships included gourmet chefs, gunmen to keep the peace, waiters, waitresses and—wait for it—orchestras. And that’s where Bobby and the Booker ‘Boom-Boom’ Taylor Orchestra come in.

Cornero was a constant thorn in the side of authorities, but things went along swimmingly until The Battle of Santa Monica Bay—yeah, that’s a real thing. The authorities tried raiding the ships. The Rex held them off for nine days, but eventually lost and Cornero, to make a long story short, hightailed it back to Vegas, where he built the Stardust Casino and Hotel, which I stayed at many times. At the time, way back when, I knew it was mob-connected, but I didn’t know then about the Cornero connection, which I find intriguing.

The Battle of Santa Monica Bay

And, of course, some pivotal scenes in The Blues Don’t Care are set on the Apollo, just a water taxi ride from the Santa Monica Pier:

“A fine briny mist bit Bobby’s skin as he waited in the throng of people on the Santa Monica Pier for the water taxi that would take him to the gambling ship Apollo. The little cartoon-like ‘Kilroy Was Here’ drawing glared at him from the water taxi shack. Kilroy was everywhere these days. He had to shield his eyes from the fiery late afternoon sun, wished he had a pair of sunglasses. Only movie stars and musicians wore sunglasses. Maybe he’d get a pair of shades.”

Below, Bobby describes seeing the Apollo’s ballroom for the first time:

“Bobby peered over the sea of faces in the ballroom—white faces in expensive suits and chic dresses. The Apollo wasn’t the biggest or fanciest or the most seaworthy ship in the world. But if she went down, half of Hollywood, the Los Angeles political establishment, and business movers and shakers in the Southland would disappear into Davy Jones’ Locker. That didn’t stop the people who ran her—gangsters everyone knew—from decking out the main ballroom as if it were Versailles. The ceiling was tall and sparkled with lights under a false ceiling with a gauzy, azure-painted sky. Below it, the dance floor in the center of the room, surrounded by gambling tables—craps, roulette, blackjack, and the like. And in rows behind the gambling tables, dining tables.”

The La La Land gambling ships also make appearances in one of my favorite books and a movie from one of my favorite series.

Raymond Chandler talks about them in Farewell, My Lovely. In the novel, Philip Marlowe is told that Moose Malloy might be hiding out on one of the gambling ships outside the three mile limit. Marlowe sneaks aboard and persuades Brunette, the gangster who runs the ship, to get a message to Malloy. Farewell, My Lovely was made into the movie Murder, My Sweet (1944). The 1942 B movie The Falcon Takes Over is also based on the plot. And in 1975 Robert Mitchum starred in a remake.

And much of Song of the Thin Man, the last Thin Man movie (co-written by my friend Nat Perrin) is partially set on one of the ships. A benefit is happening on the gambling ship Fortune. The bandleader is murdered. Guess who has to figure it out. Song of the Thin Man should be called Farewell, My Thin Man as it’s the last in the series and unfortunately not the best by far, but it has its moments.

Mr. Lucky

Another movie that takes place on a gambling ship is the Cary Grant-Larraine Day flick Mr. Lucky. Not his best, but I like it. And you can check out my close encounter of the first kind with Cary Grant at my website.

The book was released yesterday. Hope you’ll want to check it out. Here’s what some people are saying about it:

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

“Award-winning author Paul D. Marks hits it out of the park with this finely-written novel bringing WWII-era L.A. alive with memorable characters, scents, descriptions, and most of all, jazz. Highly recommended.”

     —Brendan DuBois, New York Times bestselling author

“Paul D. Marks finds new gold in 40's L.A. noir while exploring prejudices in race, culture, and sexual identity. There's sex, drugs, and jazz and an always surprising hero who navigates the worlds of gambling, music, war profiteers, Jewish mobsters, and a lonely few trying to do the right thing. Marks has an eye for the telling detail, and an ear that captures the music in the dialogue of the times. He is one helluva writer.”

      —Michael Sears, award-winning author of Tower of Babel, and the Jason Stafford series

"While The Blues Don't Care is a complex, sometimes brutal, story, it also has its glimmers of beauty and joy. Those glimpses come from Bobby's passion for music, and his awe when he sees celebrities such as Clark Gable and Billie Holiday. Wander into Bobby Saxon's world in Paul D. Marks' latest book. It's a world you won't easily forget."

      —Lesa's Book Critiques, lesasbookcritiques.blogspot.com

~.~.~

And now for the usual BSP:

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

Click here to: Subscribe to my Newsletter

Where Does It Come From?

Most writers regard "Where do you get your ideas?" as the wrong question to ask a writer or at least not the most interesting question, as they get it far too often—and too often, the honest answer is a less than scintillating, "It depends." But I know the answer can be interesting when applied to a single story. I've seen John Floyd do it more than once right here on SleuthSayers. So I'm going to give it a shot— a double shot, because I keep confusing two standalones, both written in 2018 and published a year or two later in Alfred Hitchcock's Mystery Magazine: "A Work in Progress" and "Reunion."

My series stories are inevitably based on characters first. When a new Bruce Kohler Mystery bubbles up, it starts with Bruce and Barbara and Jimmy wisecracking in my head. If I hear Diego and Rachel or any of their kin or descendants, I know another entry in the Mendoza Family Saga is on the way.

My standalone short stories are another matter. In them, character grows organically from the ineffable yet essential quality we call voice and from ideas for plot elements and situations. The two, plot and situation, are not exactly the same thing, although situation fuels plot.

My series stories are both told largely in the first person from the point of view of a male protagonist. Bruce and Diego have strong voices that are entirely different from each other's and also entirely different from mine—one of the great advantages of writing in a gender not one's own. Bruce might say, "Jimmy thinks I'm leading with my dick again." Diego might say, "I talked seriously to Rachel about the possibility of rape, because if she were taken by soldiers, I did not want her to be taken unawares." Anyone still not understand what "voice" is?

When I wrote "A Work in Progress," I started out by setting my scene in Florida, which was the theme of the anthology I planned to submit the story to. I wrote:

Giant fans rustled all around me: high overhead, the vast leaves of the palm trees, and on either side of the creaking wooden walkway under my pounding feet, saw palmettos in constant motion as armadillos threaded their stealthy way beneath them. The only other sounds were the jingling of crickets and the occasional cry of an unseen bird.

Very pretty. Evocative. The only trouble was that it wasn't my voice. There was an "I" with "pounding feet" hiding in there among the palms and palmettos. But I knew at once that I couldn't write a whole story in that voice. I wrote:

I had to admit the little literette could write. She had certainly captured the ambience of the terrain around the North Florida center for the arts where we had both been awarded coveted associate residencies for three weeks, with the proverbial room of our own and daily workshops with an acclaimed Master Artist. Calendula Faulk was one of that rare breed, a crime novelist whom the literati took seriously. Along with her Edgars and Daggers, she'd been shortlisted for the Pulitzer and the National Book Award. The eight associate artists she'd hand picked came from all over the country. We ranged in age from twenty-two—the precocious Miss Muppet—to sixty-two. That would be me, currently refusing to divorce the man who'd left me for this clever little tart.

And so Hester the rejected wife, in whose tart (sorry!) voice I certainly could write a story, because it resembles my own narrative voice, was born.

What's any Bruce Kohler mystery about? A recovering alcoholic with a smart mouth and a heart of gold in New York. A Mendoza Family Saga book or story? A Jewish brother and sister who were kicked out of Spain in 1492, sail with Columbus, and end up in Istanbul where Rachel gets a job in the Sultan's harem—not that job. In my standalones, no matter how strong the protagonist's voice is—or the narrative voice, if the story is in the third person—that's not what animates the story.

"A Work in Progress" is about a love triangle that erupts during a writers' workshop at an arts center in North Florida. "Reunion" is about how the past strikes a woman who encounters two old friends at a college reunion. See? The characters are important. But the story is about the situation—inevitably, one with potential for conflict—on which a plot will be built as the author writes the story.

I'm going to list a series of statements from elements of the two stories that came from life—or from my head as I write. True or false? Answers will not be provided below.

I've attended several college reunions.
I've attended a writing workshop at an arts center in Florida.
I've attended a writing workshop at an arts center in Georgia.
I've been the master artist at a writing workshop.
I've had a man I loved stolen by another woman.
I've had a friend sleep with a man I was seeing after I asked her not to.
I've been rejected by a man I was in love with.
I've been rejected by every man I was in love with.
I've been widowed.
I got pregnant in college.
I had a close friend who got pregnant in college.
I've had an abortion.
I had a baby and gave it away.
I had a close friend who had a baby and gave it away.
I've had a baby by a married man.
Someone I know refused to give her husband a divorce.
Someone I know refused to give his wife a divorce.
I've had a major car accident.
I've tried to commit suicide.
I was an English major.
I wasn't an English major.
I have a graduate degree in English.
I've never taken the Graduate Record Exams.
I quit school to support a husband who later divorced me.
I've swum with sharks.
I've swum with dolphins.
I've been in a love triangle that included three-way sex.
I've been in a love triangle in which everyone got hurt.
I've been in a love triangle in which I got hurt the most.
I've never been in a love triangle.

That's thirty, and I could go on till the cows come home. Where do my ideas come from? They just keep pouring out of me.

How It All Came Together

At the time, I had eleven short stories in my Holiday Burglars series. That's my humor series, at least as far as I'm concerned. All eleven stories had been sold to Alfred Hitchcock Mystery Magazine and all of them had seen print in their magazine. Now, it was time to write another story in the series.

10 of the first 11 stories are
now available in paperback

So there I sat, with a list of holidays in one hand and a list of potential valuables to steal in the other hand while staring at a blank computer screen. No title, no plot. Just two burglars, Yarnell and Beaumont, impatiently waiting for me to tell them what shenanigans they are up to for in this next episode. I can hear Beaumont saying, "Get a move on, bud. We don't like being unemployed. We need to go steal something."

Okay, they need something to steal. Preferably an exotic item or an object which is out of the ordinary and reader-attention-getting. We'll have to work on that part. Normally, the holiday comes first in the brainstorming process and that leads to the item to be purloined which leads to the weird situation our two burglars subsequently find themselves in.

So far, we've used up eleven different holidays in previous stories. What's left on the list? Cinco de Mayo? Nope, no current ideas for that one. How about Chinese New Year or Vietnamese Ahn Tet? Sorry, nothing there for now. Well, St. Patrick's Day is on the horizon and you do know some people from your old Texas Street neighborhood in Rapid City, friends who really liked to party. Yeah, of course, the Texas Street Hereford Society.

L to R: Scott, Dan, Fast Eddie, R.T. (holding the tail) and Bob
L'il Tex is the bucket calf in front.
(he just got run through the car wash at the dealership
and doesn't have a clue what's going on)

Let's tighten the focus down to Fast Eddie in the middle. (How this five-member society came into being and some of its subsequent antics can be saved for another time.) Fast Eddie was the heir apparent to a car dealership, a Registered Black Angus ranch and a working commercial cattle ranch. He was also well known in all the bars in Rapid City. The rest of us society members always said that if Eddie died first, we would bungee cord his body to a refrigerator dollie, put a drink in his hand and wheel him through all his favorite bars for one last Grand Tour.

That gives us drinking, St. Patrick's Day and a story character like Fast Eddie after he has passed on. Time to brainstorm the story plot.

What if Yarnell has just entered an Irish bar on St. Pat's Day to meet with his partner in crime, Beaumont? Over green beers and loud Irish music from the jukebox, Beaumont informs Yarnell that they now have a contract to steal a body.  Yeah, that should grab the reader's attention.

Moving on. It seems that a fellow burglar (Padraig, or Paddy as he is known to his associates) has died and his widow has arranged to have the wake at a funeral home. Some of the deceased's long-time drinking friends got into the party spirit, stole the corpse from his coffin while the widow wasn't looking, bungee corded the deceased to a refrigerator dollie and took him on a bar tour. The widow then hired Yarnell and Beaumont to find her wandering deceased husband, steal him back and get him to the funeral home in time for scheduled services, else the contract is void and thus no payment. The story is now open for anything to happen.

As a side note, while the widow may have thought Padraig (Paddy) was a potential saint while he was living, by the time he is returned to the funeral home, there may be evidence that his reputation is tarnished beyond repair.

The resulting story, "St. Paddy's Day," 12th in the series, was submitted to AHMM on 06/13/19 and accepted by their editor on 04/16/20. If I had to guess, I'd say it will probably see print in their March/April 2021 issue.

And there you have it. Another brainstorming session turned into a salable story.

Wish they all turned out that well.

BUSINESS NOTE:   Normally, the acceptance e-mail says that a contract will be coming via e-mail in about 30 days, but I usually get the e-contract in about two weeks, print and sign two copies and immediately mail them to DELL Publishing's contract person. Then, I wait for the check. However, due to the pandemic, the e-contract for the above story took about 42 days to arrive and the instructions were different. For this contract, I printed out and signed one copy. This signed copy was then scanned and e-mailed to DELL's contract person. Saves me postage on mailing the signed contract back to them. We'll see how long it takes for this check to arrive. Hey, I'm just glad to still be selling.

Do's and Don'ts, Wills and Won'ts, Part 1

I had planned a different column for today, but some things I've seen over the past two weeks have steered me in another direction. (As if what I do has any direction to begin with.) In this case, it was a discussion that's been running for some time now at the Short Mystery Fiction forum, which some of you might've seen.

One of the hot topics there has been the craft and so-called "rules" of writing fiction--grammar/style, manuscript formatting, submission guidelines, etc. Something most of us are familiar with, but  something that still raises questions for many writers.

Let me make a confession here: I'm not an editor. I've edited one crime anthology, years ago--it was a lot of fun and a lot of work--and I've edited my own writing and the manuscripts of hundreds of my students in my writing classes . . . but I do no editing for a living and have never edited for a fee and don't plan to, so even though I sometimes (on good days) consider myself a professional writer, I am not a professional editor.

BUT . . . I have blundered into enough holes and cowpatties in this field of fiction writing to remember where they are and point them out. Here are some of them--and yes, many are just matters of personal opinion. Feel free to disagree.

NOTE: I'm starting with the Don'ts that I've always tried to pass along to my writer friends and students. I'll tackle the Do's in my column here next week. (One of the Don'ts ought to be Don't write a 5,000-word blog post, so I'm taking my own advice and splitting this one up into two separate columns.)

First, a map of the landmines:


Don'ts

- Don't overuse adverbs (especially the "ly" kind), don't tell something when you can show it instead, don't use cliches, don't use passive voice when you should use active, don't switch viewpoints too abruptly (there's an adverb!), don't repeat words and phrases, don't use a big word when a small one will do. And so forth.

- Don't overuse adjectives. Three or four in front of a noun is probably too many, like all those speed-bump commas that separate them. Change The hot, dry, dusty, rutted, gravel road to The dusty gravel road. Or just The dusty road. Less is better.

- Don't underline to emphasize text. Italicize instead. Until fairly recently, there were still a few magazines whose guidelines said they prefer underlining, but I think almost all of them now prefer and welcome italics. Remember, underlining was popular when typewriters were the only way to write submittable stories.

- Don't use Grammar Check--or at least don't always believe what it tells you. Fiction writers sometimes do need to splice commas, fragment sentences, split infinitives, and start sentences with a conjunction. (More on that in the Do's section and the "Breaking the Rules" section of next week's column, here.)

- Don't capitalize relationships (mother, mom, father, dad, aunt, uncle) except when addressing those people directly. Yes, Mom, her mother said it's okay for me to go.

- Don't capitalize seasons. I like summer but I love spring.

- Don't say you're nauseous--or at least don't admit it. If you're sick, you're nauseated. If you're making me sick, you're nauseous.

- Don't say feeling badly (even if Trump says it at every opportunity). Unless you have problems with sensation in your fingertips, you're feeling bad, not feeling badly.

- Don't put unspoken thoughts in quotation marks. Italicize instead, or--if it's obvious that it's an unspoken thought--don't do anything to it at all.

- Don't overuse ellipses, parentheses, dashes, or any other marks of punctuation, at least not to the point that they're distracting. That's the biggest problem: snapping the reader out of the story.

- Don't use exclamation points unless the character's pants are on fire.

- Don't use an apostrophe for most plurals, including TVs, DVDs, UFOs, RVs, EMTs, VPs, MRIs, 1980s, and Don'ts. (Unless the apostrophe is needed for clarity, as in Do's.) And for God's sake don't use apostrophes with the plurals of names like the Smiths, the Clarks, etc. Also be careful to position the apostrophe correctly after plural possessives. Wrong: We're going to the Bennett's for dinner. Right: We're going to the Bennetts' for dinner.

- Don't overuse semicolons. I happen to like semicolons--they're perfect when two complete sentences are too closely related to be separated by a period--but editors usually don't like 'em, and I'm trying to cut back to two or three a week. I've found myself using dashes instead, or rewording the text entirely, to avoid using semicolons too often. And I never use semicolons during dialogue--I think it makes speech look too stiff and formal.

- Don't use that unnecessarily. She told me that she likes you. This should be She told me she likes you.

- Don't use that when you should use who. They're the folks who always vote Republican.

- Don't use in when you should use into. She went into the cellar. She's in the cellar now.

- Don't confuse less with fewer. Less involves mass nouns; fewer involves countable units. He has less cash in his pocket. He has fewer coins in his pocket.

- Don't overuse "action" words and phrases that are already overused. He shrugged, she rolled her eyes, he sighed, she frowned, etc. I still use them in my stories and will continue to--people do shrug and sigh and roll their eyes and frown--but I try not to go overboard with it.

- Don't overuse "lazy" words like suddenly, just, very, some, and really. I happily violate this advice as well, but it's still a good rule to know. Do as I say and not as I do.

- Don't misuse the word ironic. Rain on Betty's wedding day isn't ironic. It's just unfortunate. Getting run over by a tobacco truck on the way to buy cigarettes is ironic.

- Don't use postal abbreviations in your story narrative. Nobody enjoys spelling out Connecticut or Mississippi, but to use CT or MS in anything except a mailing address is incorrect.

- Don't use too many characters with soundalike names. Especially those beginning with the same letter, but this also includes anything that might call attention to your writing. For example, you don't want too many names that consist of only one syllable--Bob, Jim, Liz, Sue, Joe, Ed, Tom, Jake, Deb--or that rhyme, like Barry, Gary, Harry, and Larry.

- If you're submitting a short story, don't say anything about the plot of your story in your cover letter. No synopsis is needed unless that's specified in the guidelines.

- Don't say anything in your cover letter that's not relevant to your story or to writing. The editor of a mystery magazine might be interested in the fact that you're also a trial lawyer, but she won't care how many kids or cats you have.

- Don't use any colors, special characters, or weird fonts or font sizes in your manuscript. I don't even put anything in boldface type. (More on this next week in the Do's section.)

- Don't (if guidelines tell you to copy/paste your story into an email) do a straight copy/paste from a Word file--or at least send it to yourself first if you do. Usually it's best to convert your story to a .txt file first, then close the file, open it again, and only then do the copy/paste. Remember too that you'll lose special characters like italics when you convert to .txt, so you'll need to go back in and put an underscore (_) just before and after any words or phrases that need to be emphasized.

- Don't let your writing program put an extra space between your double-spaced paragraphs. Your manuscript should be evenly double-spaced throughout.

- Don't use widow/orphan suppression in your manuscript. It can do funny things to the length of your pages.

- Don't use alliteration unintentionally. My sister Susan saw Sally sitting in the sunshine.

- Don't "do" speech. "I'm fine," he smiled. "I'm not," she sighed. You can't smile or sigh words. Some editors are okay with this, but some aren't.

- Don't be redundant. Repeat again, shrugged his shoulders, nodded her head, shook his head no, exact same, basic fundamentals, free gift, best ever, unexpected surprise. Doubly redundant: nodded her head yes.

- Don't use incomplete comparisons. I get along with Mom better than my sister.

- Don't use too many synonyms for said. I probably sound like Elmore Leonard here, but Stephen King and many other respected authors advise this as well. Said and asked are transparent words--the reader's eye goes right over them. Words like stated and exclaimed and ruminated and queried and declared not only provide unneeded information; they sometimes cause the reader to stop and think about the writer and the writing instead of the story. (Exception: British authors seem to love substitutes for said. They love "ly" adverbs also. Check out the Harry Potters.)

- Don't feel you have to describe people, places, and things in infinite detail. Leave some of this to the reader's imagination.

- Don't supply too much information via dialogue. Are you going to your job at Regions Bank tomorrow, Dad?

- Don't overuse ing or as constructions. He picked up the gun and walked away is often better than Picking up the gun, he walked away or As he picked up the gun, he walked away. All are grammatically correct, but too many ing and as phrases, especially at the beginning of sentences, can give the impression of lazy writing. Read the successful authors--they rarely do much of this.

- Don't lose the reader by not using any dialogue "tags" at all. Nothing's more frustrating than having to count lines backward to see who's saying what.

- Don't use dangling modifiers (modifiers with no clear reference). Opening the window, a bee flew into the room. Crouched behind the fence, his eyes went to hers.

- Don't use misplaced modifiers, which is pretty much the same thing as the previous Don't. The instructor told us to work hard at the beginning of class. My company makes combs for people with unbreakable teeth.

- Don't write run-on sentences (no connecting word or punctuation). I thought the day would never end I was so tired I could drop.

- Don't use the word alright. Doing so is not all right.

- Don't use the word utilize. It might be the most worthless and needless word in the English language, and is heard mostly (of course) in political speeches. Use use instead.

- Don't use flashbacks in a short story unless you have to. If you must, write them as units of dramatic action and not as an information dump. If it's just backstory you need, consider providing it through dialogue. How long has it been now, since Lucy's mother died?

- Don't feel you have to describe every single thing that happens. If the phone rings, you don't need to tell the reader about your character picking it up and saying hello. Just start in on the dialogue. Same thing with a knock on the door.

- Don't only write what you know. Write what you like to read, or what you feel comfortable writing. Besides, research allows you to write what you know.

NOTE: I've heard the worst writing mistake you can make is to confuse it's with its. I've heard the worst public-speaking mistake you can make is to say with you and I or for you and I. (And everybody seems to do that--especially news anchors, who should know better.)

Pet peeves

I don't like reading fees, and I don't submit stories to places that charge them.

I don't like contests. (Most of them, anyway.) I've entered some and I've won a few, but I'd rather submit my original stories to paying markets. The chances of getting published in a respectable magazine or anthology are better than the chances of winning first place in a respectable contest.

I always use a singular verb with collective plural nouns like data and media. Also, as an old IBM guy, I prefer dayta, not datta. I like The dayta is correct. I don't like The datta are correct. In fact that always gives me the giggles, like a whoopee cushion.

When spoken, I think the word lived in short-lived should have a long i (as in arrive), not a short i (as in give). It just sounds more logical--if it's short-lived, it has a short LIFE. I think I'm one of maybe two people on the planet who like to pronounce it that way. If I remember correctly, James Lincoln Warren is the other.

I usually don't like it when nouns are used as verbs. Let's fellowship after the meeting. You two should dialogue about that. Exception: I went home and googled it.

I've grown desperately tired of words and expressions like I got your back, stunning video, iconic, ASAP, I'm all about (this or that), pushing the envelope, sense of closure, and giving it 110%. I'm guilty of using too many cliches anyway, in both speech and writing, so I sure don't use these. The same goes for adjectives like awesome and amazing. The view from the south rim of the Grand Canyon is awesome. My cousin's husband, no matter what she says, is not. He's not amazing, either.

I don't like to write in present tense. I'm not wild about reading present-tense stories either, but I've finally given in, and it no longer bothers me that much.

Other aggravations, while I'm thinking of it, are prescription-drug commercials, personal-injury lawyer commercials, robocalls, televangelists, coconuts, licorice, and almost anything on network TV. Then again, I'm getting old and grumpy, and these have nothing to do with writing.

What are some of your own don'ts, and pet peeves?


Wrap-up (thank God, right?)

The last thing I should point out is Don't overuse instructions about overuse. In other words, Don't pay too much attention to people who tell you how to write, because all of us think we know more than we do, and everyone's different.

Anyhow, in Part 2 next Saturday (June 6), I'll cover the Do's, along with an extremely biased discussion about breaking the rules.

See you then.

Zero Dark Thirty

I have a confession to make.

Eleven weeks into our weird safe-at-home reality, and I've barely scratched the surface of my (admittedly) ambitious quarantine To Do list. Way back in mid-March, I had such grand plans with all the extra time on my hands.
   ~ Finish revising my WIP novel.
   ~ Draft a short story for an upcoming anthology
   ~ Read the TBR books that threatens to overtake my nightstand.
You may even remember my debut SleuthSayers post <here> wherein I suggested several productive writerly activities.

Did I listen to myself?  Nope.

As March blended into April, my day job commitments dwindled along with the tanking economy. I found myself with even more unstructured time available for writing.

Did I tick anything off my To Do list?  Double-nope.

Processing the pandemic seemed all-consuming. Instead of revising, I devoured a constant stream of COVID-10 news updates. I watched in horror as New York hospitals overflowed with patients. Instead of writing, I sewed masks to donate to frontline staff who were desperate for PPE. Instead of reading, I helped my kiddos with their online schooling.  Don't even get me started on Zoom-fatigue or strategizing about our family's once-per-week stealth grocery shopping adventures.

Honestly, I didn't think fiction--even the dark kind we crime-hounds write about--could get any weirder than our post-apocalyptic reality.

Then came the murder hornets.

Something weighed heavily on me, beyond the underlying anxiety from our crazy new normal. About a month into our quarantine, I had an ah-ha moment.

I missed writing.

For me, not only has writing always been my link to sanity, but it can be an escape from my day-to-day worries. Without it, I felt a little lost. But since my quarantine time seemed to be occupied from sunrise to way past sunset, how would I carve out a routine dedicated to writing?

The answer hit me in the form of my good ol' writerly friends at #5amWritersClub (a.k.a. my writing tribe).

In case you're not familiar with #5amWritersClub, it's an informal support group of early-riser writers on Twitter. If these pre-dawn writers could be stereotyped, I'd say they tend to be self-deprecating coffee-aholics who cheer each other on through missed alarm clocks, writers block, life's hiccups,and of course, chasing words.

How does one join #5amWritersClub?
Fortunately, it's easier than hitting snooze when your alarm

goes off.  This informal group works on a drop-in-when-you-can basis. Over the years, I've participated when my daily writing time vanished, usually when my kids' schools were on summer or winter breaks.  Here's how:

1. Join Twitter. Have an account?  If yes, then you're all set to roll.  No? Just go ahead and setup your free account and Twitter handle. Don't forget to upload a profile photo.  Need help? Step-by-step instructions can be found <here>. 
2. Tweet. Sometime between 5am and 6am in your time zone, Tweet a check-in note.  You can wish people good morning, mention your project, something motivational, or even complain about accidentally sleeping through your third alarm.  No pressure, just be sure to include the hashtag #5amWritersClub in the Tweet so other group members can find you.  Bonus points - add a humorous or coffee-related gif video clip to your Tweet.
3. Write. Log those words. This is your golden hour.
4. Like. Once or twice during the hour, hop back on Twitter to like other #5amWritersClub Tweets from that morning.  Pro tip -- if you're new to Twitter, this is how you will find lots of other writers to follow.
5. Friday donuts. The group's tradition is to celebrate T.G.I.F. by sharing virtual donuts. Since the pandemic started, some members have even met virtually on Zoom on an occasional Friday.
6. Done.  At the end of your hour, there's no need to report back or check out, but fee free to like a few more #5amWritersClub Tweets to support others in your same trenches.  And don't forget, the next time zone to the West's members will be checking in behind you.

Since rejoining #5amWritersClub, I've gotten my writing mojo back.

With even a few new words on the page each day, endorphins would rush through my psyche in a feel-good wave. In a world that was getting weirder by the day, writing was something I could control. I was creating again.

I've even checked off one of my To Do items, drafting the new short story.

Progress on several fronts!

What have you been doing in our New Normal to bolster your writing?

PS - Let's be social:

• Twitter @KKMHOO
• Facebook - Kristin Kisska
• Instagram - @KristinKisskaAuthor
• Website - KristinKisska.com