You Only Live Twice

Though perhaps not as famous as her husband—at least not until portrayed by Courtney Love in The People vs. Larry Flynt—Althea Flynt served, until her death at 33, as publisher or co-publisher of Hustler and other magazines the Flynts produced under various corporate names. She was, at the time I placed my first mystery in the January 1983 issue of Gentleman’s Companion, that magazine’s co-publisher. Though I never had direct contact with her, Althea was responsible for the creation of my series character Christian Gunn and my brief foray into spy fiction.

Though not as famous as their brother Bob Guccione, publisher of Penthouse and other magazines, twin-sisters Jackie Lewis and Jeri Winston published a string of sex letter magazines and, in December 1984, stepped outside the sex genre with the launch of Espionage Magazine, a digest-sized periodical filled with spy stories. Editor/Publisher Jackie Lewis, through Espionage, was instrumental in the continued life and ultimate death of Christian Gunn.
   
THE GUNN GETS LOADED

I had, in January 1983, effectively jump-started my professional fiction-writing career with the publication of “City Desk” in Gentleman’s Companion (see “Ripples”), and I soon placed a second story in the magazine. Though for quite some time Gentleman’s Companion headed the list of publications to which I targeted new stories, I ultimately only placed three stories within its pages.

In a letter from Gentleman’s Companion Managing Editor Ted Newsom, dated March 11, 1983, in which he rejects “A Matter of Policy” (a story that later appeared in the February 1985 Mike Shayne Mystery Magazine), he notes, “The last word I got on what Althea wants [...] is that she wanted the stories ‘lahk Jaimes Bound ounlie sexier.’” In the letter, Ted also suggests that I submit stories to Hustler, Gentleman’s Companion’s better-paying sister magazine.

I had never written a spy story, but was game to try. Coincidentally, less than two weeks after I received Ted’s letter, “The Spy Who Lay Dead in The Snow,” by Kim Rogal and Ron Moreau, appeared in the March 28, 1983, issue of Newsweek. The article began:

“On a lonely Alpine road north of Nice, the snowplow operator found a parked Peugeot 305, empty, its radio still blaring. Nearby lay a dark bundle that might have been a crumpled overcoat, except for the red stain in the snow. When the gendarmes arrived, they found a body sprawled face down in the fresh powder. Six feet away, they picked up a Smith & Wesson .357 Magnum that had fired three shots. The gas tank in the car read empty. Money and keys remained in the victim’s pocket and there were no signs of a struggle. The police suspected suicide—until they found out who the dead man was: Lt. Col. Bernard Nut, 47, a senior operative in the French Secret Service.”

Once I read that article, I knew I had a hook for my first spy story, and I began writing:

“Lt. Col. Eduard Paroldi, a senior operative with the French secret service, sat in his Peugot 305, nervously tapping his fingers against the steering wheel. He had been parked on the shoulder of the lonely Alpine highway for almost three hours and his stomach was growling. Eduard dug in the pocket of his heavy overcoat for the last bite of a chocolate bar he’d been slowly nibbling at during his wait.”

Paroldi is dead by the end of the first scene, and Christian Gunn, an American operative, is sent to determine who killed him and why. Gunn mixes with British, German, and Russian agents in a wild tale of cross and double-cross.

On August 8, 1983, I completed and submitted “With Extreme Prejudice” to Hustler.

Six weeks later it came back with a form rejection.

Why I didn’t turn around and submit the story to Ted at Gentleman’s Companion I can’t determine from my records. Instead, I removed the graphic sexual content and sent “With Extreme Prejudice” to Ellery Queen’s Mystery Magazine and then to The Saint Magazine, both of which turned it around within a week of submission.

On November 19, 1983, I submitted the story to Mike Shayne, and a postcard from Editor Charles E. Fritch, dated May 6, 1984, notified me of the story’s acceptance.

“With Extreme Prejudice,” the first Christian Gunn story, appeared in the August 1984 Mike Shayne, the second of four stories I placed there. Unfortunately, the magazine was, by then, on its last legs, ending its run in August 1985.
   
THE GUNN GETS RELOADED

By 1984 I was writing for a handful of sex letter digests, including those published by Jackie Lewis and her sister. When the sisters announced they were acquiring stories for their new spy digest, I thought I had an in. I had already published a handful of mystery short stories, including one about a spy, and I had already written for their other publications.

So, I brought Christian Gunn back for “The Only Good Red”:

“Dmitri Sakharov, a low-level member of the KGB, sat on the upper deck of the McDonald’s paddle steamboat and stared out at the swollen Mississippi River. On the table before him was a half-eaten Quarterpounder and an untouched bag of fries. A small Coke was securely captured in one slender fist.”

True to form, by the end of the first scene Sakharov is dead and, once again, Christian Gunn is sent to determine who killed him and why. And, once again, Gunn is caught in a wild tale of cross and double-cross.

I submitted “The Only Good Red” to Espionage on June 21, 1984, and, in a letter from Jackie Lewis dated June 28, 1984, learned of its acceptance.

“The Only Good Red,” the second Christian Gunn story, appeared in the February 1985 Espionage, the first of two stories I placed in the magazine.
   
THE GUNN FIRES BLANKS

I aimed to feature Christian Gunn in additional short stories—I found in my files, while preparing this, notes for two stories (“Mockingbird Don’t Sing” and “Number Four with a Bullet”)—but I did not complete another before the 1987 collapse of Espionage effectively killed Gunn’s career and the 1989 collapse of the Berlin Wall sucked the life out of spy fiction.

Though Christian Gunn only lived twice, I did write two additional spy stories—“Only Heroes Die,” published in the November 1985 Espionage, and “Soft Focus,” accepted by Espionage in a letter dated March 14, 1985, but unpublished when the magazine ceased operation. “Soft Focus” saw publication, at long last, in the July 2002 Detective Mystery Stories.

So, was Christian Gunn “lahk Jaimes Bound ounlie sexier”?

I like to think so.

“With Extreme Prejudice,” “The Only Good Red,” and ten other stories from the early years of my career are collected in Bad Girls (Wildside Press, 2000), available at Amazon in paperback and Kindle editions.
   
Learn more about the short life of Espionage as told by one of its most prolific contributors: “I Spy: A Writer Remembers Espionage Magazine,” by Josh Pachter, appears in the January 2018 The Digest Enthusiast. Order a hardcopy or Kindle edition at Amazon.

Second Thoughts and Second Best

A few months ago, I read a Facebook post from a writer I didn't know, ecstatically proclaiming that his writing was so good he never revised anything. I went to his Amazon page and opened the "look inside" button on his most recent masterpiece. His claim was about half-right. I read a page and decided he really didn't revise. If he'd been in my tenth-grade comp and lit class when I taught, he might still be there, too.

Someone I know once compared a first draft to that stranger at the bar who looks a little better after every beer. If you don't look again in the cold harsh light of day, you'll never appreciate the bullet you just dodged.

One advantage of accumulating over 700 rejections (That's when I stopped counting) is that it gives you plenty of work in progress. When I published my first short story (I think it was my 23rd), I learned enough from it to go back and revise several of the others. Some of them have sold since then, but many didn't pass the sniff test.

I wrote twelve novels before I sold my first one, too. Three or four of those early attempts have undergone major surgery, since then, always for the better. Cherry Bomb, my second Zach Barnes novel in Connecticut, started as the second Woody Guthrie (He had a different name then) book set in Detroit. The last half of the book rocked, but the first half rolled over and almost died. Moving it to Connecticut solved a few problems immediately, but it took me six years to figure that out. Blood on The Tracks, the first Woody Guthrie novel, changed the character's name three times and had four different titles over the course of ten years and 112 rejections. The cold case surrounding the dead rock singer stayed constant, but the original story had a cozier concept that confused agents, and setting it in 1991 forced the action to stretch out over abut three months and dilute the tension.

This is stuff you learn only by doing it wrong and getting called out for it. Then you have to find your own way to fix it. That journey is a personal quest, but most people agree that you start with the major issues (Plot, structure, setting, character arc) and gradually zoom to smaller details: prose style; dialogue; backstory and description; spelling, punctuation, grammar.

I like revision because it's working with something you already have. You can't make a cake without flour and sugar and various other ingredients, and it's the same with a story. Even if it's a half-baked mess, you can add more ingredients or change the proportions and cook it a little more until you get lucky. The more you do it, the luckier you get, too.

One advantage of self-publishing is that you can go back to a WIP if you're not happy with it and not have other people screaming at you to hurry up. You can put it away and look at it again after time gives you more perspective. When you do come back, you're not as invested in it so killing your darlings won't upset you as much.

I never throw anything away (Flash drives are a wonderful invention) and I recycle stuff fairly often. The October 2017 issue of Sherlock Holmes Mystery Magazine features "Death by Water," which received its first rejection in 2009. My spread sheet says I sent out three different versions of that story before I got it right. Another story that first crossed the street in 2010 will appear in the May/June 2018 issue of Alfred Hitchcock Mystery Magazine. In 2005, I interviewed several people and did lots of research for a book that I thought would feature Woody Guthrie. I moved it to Connecticut in 2011, and discovered the plot didn't work. Several supporting characters worked perfectly for The Kids Are All Right in 2014. Postcards of the Hanging was my sixth-year project in grad school in 1980, and about 90% of what appeared in 2013 is what I wrote then, but re-sequenced with flashbacks to introduce the conflict earlier.

This week, Before You Accuse Me, the fourth Woody Guthrie novel, makes its debut. I first conceived of the story (Including the title, which never changed, a first for me) in 2004, but knew it was the fourth or fifth book because I had to develop the intervening backstory first. That took nearly 14 years, but about half of what I thought up back then remains and the rest is stronger for the time away. The biggest change is the move from San Francisco (which would have required LOTS of research) to Connecticut, where I live. That made geography easier to work with and allowed me to feature Hartford cops Trash & Byrne as supporting characters.

It never gets easier, but you get better.

The Beastly

by Leigh Lundin

A major problem with SleuthSayers is that so many good books are mentioned, it’s impossible to read them all. But recommendations count, they’re listened to. At least three months in a row, John Floyd mentioned Fierce Kingdom by Gin Phillips. That’s worth paying attention.

The story’s venue appealed to me. Initially as a volunteer at the Minnesota Zoo and winding up as a consultant for Disney’s Animal Kingdom, I’ve spent time in and around zoos. In between came animal businesses and odd little assignments such as rounding up African geese to be shipped to Sacramento and prairie dogs for Jack Hanna.

Animals also feature in my writing… alligators, venomous snakes, a scorpion… Okay, okay, I don’t do cat cosies. I consider a zoo at night a brilliant setting for a thriller. Fierce Kingdom isn’t a mystery, but it’s definitely a crime story.

One little aspect of Fierce Kingdom especially amused me. The protagonists, Joan and her 4-year-old Lincoln, hole up in the porcupine enclosure, sans porcupine.

Likely they would have been safe with a porcupine in residence. I’ve held the Minnesota Zoo’s porcupine on my lap, petted him… carefully. In size and weight, picture a medium size dog like a sheltie, and you’re in the ballpark… or zoological park. The biggest problem was that Porky fell giddily in love with one of the female volunteers to the point worried zoo officials forbade her seeing him. Ah, young, cross-species love thwarted.

The New York Times wrote an excellent review of Fierce Kingdom, so I won’t attempt a reprise. Their review mentions clichés avoided and a couple of times I had found myself praying, Please don’t let this devolve into yet another husband-as-betraying-bastard-bad-guy. Whew, the author dodged that meme.

The bad guys are intriguing. My one complaint is I would like to know more about the primary baddie who engineered the massacre. Destin remains a shadowy, virtually unknown figure of uncertain motivation.

Worth mentioning are two other well-drawn heroines. Young Kailynn touched me. Although she saved lives of strangers, she had to be aware Joan, while helping her, would sacrifice Kailynn in an instant to save her son.

The other heroine is Mrs Powell, Margaret, a seasoned school teacher. If you’re going up against bad guys, you’d want Mrs Powell on your side.

The book is paced so you can read it in real time, assuming you don’t speed-read, In other words, the action spans about three hours, approximately average reading speed.

Fierce Kingdom strikes me as particularly cinematic. I could picture this as a film, a thriller for adults or a more moderate version for children and porcupines.

You’re bound to enjoy next week’s article.

Scarecrow

The protagonist makes several references to a mid-1980s television spy series, Scarecrow and Mrs King. I’ve spent decades without a television, so the program was unknown to me. Gin Phillips so managed to generate sufficient interest, I streamed the first (out of four) seasons.

For those unfamiliar with the series, next Sunday I offer my own condensed version. It will be fun, I promise.

On Crime Reporting

I was up early Jan. 1, 2017. I wanted to start the New Year off right, that is, writing. Also, I had trouble sleeping. I blamed the champagne.

As such, I was the first person in Upstate New York to see the press release from Doug Brenner, the Oneonta Police Lieutenant who was set to be named Interim Chief that Thursday, stating that Joshua Underwood had been arrested for bludgeoning his boyfriend, Mark Morrison, to death with a 25 pound weight after a fight just after the dawn of the New Year.

It was 8 a.m. “Doug,” I groaned when I called him for details. “You have got to be kidding me.”

“Tell me about it,” he said in a voice I would soon get very familiar with.

Hanging with Dave & Clete

Thomas Pluck

Last week I was in Louisiana, and I did what you do.
I drove to Cajun country to eat and explore the sites in James Lee Burke's novels!

Main Street in New Iberia

I've been visiting New Orleans since the early '90s, and I still love the city, even if portions now resemble Brooklyn and Vegas. The Crescent City's heart  still beats strong, but some things just aren't the same, and make me morose. Some things are the same, and make me morose. For example, the tent city under I-10 by the Superdome has been there since the big storm. It was 20 degrees when we drove in last weekend, and those tents sure looked cold.

We had po'boys at a nice joint in mid-city called Katie's, where the high water line was above my head. I had a fried oyster and cochon du lait po'boy with spinach remoulade, that was real good. But the vibe felt like Williamsburg ten years ago, not the New Orleans I remembered. You need to go further out to find people who aren't transplants, these days. Ride the streetcar. Tourists all take uber. Last year after Bouchercon we had a lovely conversation with a local who'd lived there his whole life and therefore sounded like he was from Brooklyn. That's a peculiarity of the Yat accent (so called because of "where y'at?" which means "how are you doing" not where are you). This time around I spent most of my visit in my hotel with the flu, so I didn't get a chance to explore so much. I did so vicariously.

Sarah went to a new fantasy & science fiction bookstore called Tubby & Coos, which I'll have to visit. My go-to is Octavia Books, and they're still kicking. Good people. Hope to have a signing there someday. A bookshop I did stop into was Books Along the Teche, the outpost of all things James Lee Burke, in New Iberia. The town he lived in and made famous with his Dave Robicheaux series, the latest of which is called Robicheaux. I reviewed it for Criminal Element, and it's one of his more prescient novels. Dave & Clete stop into Victor's Cafeteria, which is a few steps down Main Street from Books Along the Teche, and have a heart breakfast. Victor's is open from six am until ten, and then for lunch from eleven until 2pm. I was too lazy to get up early for breakfast, so I stopped in for lunch and had a plate of fried chicken and rice.

Victor's Cafeteria don't mess around.

I know why Clete loves the place. Next time I'll get up early so I can have biscuits. I had reason for being late, I usually stay with family in Baton Rouge, and that's a good hour away. So is New Orleans. And on the way is the Atchafalaya, which isn't as beautiful from the highway, but if you stop in Henderson for McGee's Boat Tours you can see it from the water and get back in time for the best gator bites around. Make sure you get leg meat, it's more tender like a chicken thigh.

Vermillionville is a "living Acadian village" kind of like Colonial Williamsburg, smack in the middle of Lafayatte, the Cajun capital of Louisiana. That's where the Ragin' Cajuns play and where Dave took Bootsie to Mulate's, though there is now a New Orleans location. The food is good and you can hear the old music if you want to two-step. Vermillionville was abandoned in the ice cold but I walked around to see the historic buildings and cottages to get an idea of turn of the century homes of the area. They even have a Petit Bayou:

I drove around New Iberia and visited Shadows-on-the-Teche, an antebellum plantation home that Dave mentions a lot. It's right on Main street and hard to miss:

In my explorations I drove behind the police department and saw two Explorers with their lights flashing, stopping a little red compact. Helen Soileau and Dave were out kicking butts and taking names. I had a bit of a scare when three more police trucks pulled into the lot I was parked in, but it was just an overflow lot they use. It would have been poetic but unpleasant to get arrested along Bayou Teche. Here is how the river looks in town. The fishing is better closer to the Atachafalaya, and the Teche remains one of the most popular fishing spots in the state. I've yet to have the pleasure. It was too cold to catch anything but the flu.

The Teche in New Iberia

About ten minutes away I stopped in St. Martinsville, home to the Evangeline Tree. Longfellow based his famous poem of the same name on the story of a local woman named Emmeline (who Burke name checks in his latest) and the romantic poem of loss became beloved in how it elegizes the lost Acadian lifestyle. This isn't the first tree to be dubbed the Evangeline Oak, but it is impressive nonetheless.

The Evangeline Oak

It's a beautiful country, though I'm not sure it was worth the flu. I hope to visit again in better weather and cast a few lines into the Teche, fill up on breakfast at Victor's, and enjoy the beauty that I hope the people there never take for granted.

The Anthology: An Announcement

Over my previous three turns in the Sleuthsayers rotation I have discussed my experiences with anthologies. You can find those entries here (the story of how submitting to an anthology which never published kick-started my professional writing career), here (my first experience collecting and editing an anthology: a non-fiction gig that I did for hire), and here (my second, and much better, experience collecting and editing an anthology- crime fiction this time!).

This week's entry will be the final one in this series, and kicks off with an anthology-related announcement. Here it is:

Just last month I signed on with Eric Campbell of Florida's own Down & Out Books to collect and edit an anthology of crime fiction inspired by the music of Steely Dan!

I am over the moon about this project. More on it below.

First, here's a little bit about how it came about, and the role that Sleuthsayers played in it. As with so many good things, this anthology had its roots in tragedy. In other words, this all started with a death.

Back in September, guitarist, bassist, songwriter and arranger Walter Becker, died at his home in Maui, after a long illness. He was 68. Becker was one half of Steely Dan.

Walter Becker (left) on-stage with his Steely Dan partner, keyboardist and vocalist Donald Fagen

I wrote about his death here at Sleuthsayers (you can read this entry here).  I went on at some length about Becker's output with Steely Dan, and how the themes they explored in their music (and in their lyrics) were so frequently outright noirish. And I closed with this observation:

"I've often said that the music of Steely Dan would lend itself to a themed anthology of the type recently collected by Joe Clifford and centered around the music of Johnny Cash. I've even worked up my own short story based on 'Show Biz Kids,' from their Katy Lied album.

"I'm positive I'm not the only one so influenced by these masters of the bleak, jazz-tinged pop hook.

"What say you all? Anyone else written something Steely Dan-inspired?

"And lastly, adios, Walter. And vaya con dios."

I thought that would be the end of it.

And then my wife, who is my first reader and perennial wisest counsel, asked me, "Why don't you do it?" Turns out she soon had company.  Several friends asked the same thing after reading that piece.

So I took a while to think about it, all the while moving on with a couple of other things I've been working on. Included along these on-going projects was the expansion of a short story I sold to Alfred Hitchcock's Mystery Magazine a decade ago into a novella-length piece of crime fiction.

Turns out there is a bit of a Sleuthsayers connection to this one as well. Friend and fellow crime fictioneer S.W. Lauden, no stranger to fiction influenced by edgy music (he's a refugee from SoCal's punk/hardcore scene), who agreed to be interviewed about his Anthony nomination and resurgence of the novella (you can read his interview here) had graciously introduced me to his publisher, Eric Campbell (who also agreed to be interviewed regarding the resurgence of the novella, and whose interview can be read here).

When I mentioned my nearly-completed novella to Eric, he asked to see it, and then offered to publish it (so I guess this is a double announcement! More on the novella in a future blog post, I promise.). It was while we were talking about the novella that my idea for a Steely Dan-influenced crime fiction anthology came up. Eric expressed interest in that as well, so I went looking for contributors.

I confess I was nervous about this part of the process. After all, I have a lot of friends in the writing community, many of them music aficionados. But it's one thing to like a certain type of music and another to write something inspired by it.

I needn't have worried. The idea sold itself.

So let me wrap this entry by announcing our proposed line-up of heavy-hitters. This anthology, entitled The Hangman Isn't Hangin': Stories Inspired by the Music of Steely Dan, to be released in mid-2019, will feature the writing of David Corbett, Simon Wood, Cornelia Read, Bill Fitzhugh, Sean Chercover, Steve Brewer, Reed Farrel Coleman, Aaron Erickson, Stacy Robinson, R Narvaez, Sam Wiebe, Nick Feldman, Pearce Hansen, R.T. Lawton, Michael Jacobs, Peter Spiegelman, Jim Thomsen, and Yours Truly.

I could not be more pleased and proud to be associated with this project, to be working with this fantastic group of writers. It is going to be so much fun!

The Once and Future Spy

Sir Francis Walsingham was principal secretary to Elizabeth I, as well as her spymaster and head of her security detail. Along with William Cecil, the Queen's senior advisor and Walsingham's chief patron, the two men guarded the Protestant crown and Elizabeth's own person with severe diligence. Heads rolled. Not a metaphor.

L-R  Cecil, Elizabeth, Walsingham

Walsingham lived in a treacherous age, but he himself was steadfast. There was a magnetic attraction. What drew him to her, what recommended her to him?

We might remember the fury of religious hatreds in the 16th century. Philip of Spain may very well have felt slighted after Mary Tudor's death, and there wasn't any love lost with the French, either, but Spain and France were Catholic powers, and England was apostate, Elizabeth a heretic.

Her older sister Mary, daughter of Henry VIII's first wife, Catherine of Aragon, wore the crown for five intemperate and bloody years, and did her best to turn back the English Reformation, burning dissenters at the stake. Not few and far between, either, the known number being two hundred and eighty-four. Some better-off Protestants went into exile abroad. Francis Walsingham, then twenty-one, left his law studies at Gray's Inn and beat feet for Basel, in Calvinist Switzerland.

Sir Francis

Mary died in 1558, and Elizabeth succeeded. Walsingham came back to England. He stood for Parliament. He got in good with the Earl of Bedford, with the nimble-footed Nicholas Throckmorton (who survived involvement in the plots of Thomas Seymour and Lady Jane Grey, and the murder of Darnley, among other things), and with Cecil. He took the lead in supporting the French Huguenots - and was later ambassador to France during the St. Bartholomew's Day massacre. He played a big part in exposing the Ridolfi plot, which tarnished Mary Stuart, and led to the execution of Norfolk.

Mind you, we're only into the first ten or a dozen years of Elizabeth's reign. Walsingham's got twenty years to go. The through-line, though, is the thwarting of Catholic power and ambitions. This is a guy who seeks to frustrate at every turn the puissant majesties of Papist dominance. Certainly it's a political balancing act, a chess game, but Walsingham seems motivated not simply by loyalty to his sovereign, but gleefully rubbing their Romish noses in any humiliation he could contrive. He wanted boots on the ground in the Netherlands, for instance, open rebellion against Spain by the Protestant Dutch. Cecil persuaded the Queen to more moderate tactics. Then there were the constant negotiations over prospective candidates for Elizabeth's hand. She used the possibility of marriage as an instrument of foreign policy for most of her life, not in some coquettish pursuit, but as a serious means of structuring or weakening alliances. Here too, Catholic and Protestant proved selling points, for and against.

Walsingham's great espionage triumph is the defeat of the Spanish Armada. Given the time and distances, it's extraordinary how well-informed he kept himself, and how immediate the reports were. He recruited merchant skippers and diplomats, footpads and whores. The intelligence was terrific. He also orchestrated Drake's raid on Cadiz, which pushed Spain's invasion planning back a full year. In the event, the naval battles in the Channel, and later at Calais, decided the issue, Francis Drake again the hero of the hour - the famous story of his finishing the game of bowls - but it was Walsingham's system of beacons, built along the south coast, that gave Elizabeth's captains their timely warning.

Less honorable, perhaps, were the inductions devious by which Mary Stuart was betrayed and condemned, but she was easily led, a foolish queen, far less canny than her cousin. Elizabeth would never have put her trust in such a congeries of rascals and lowlifes and feckless naifs.

Marlowe

The story that's always fascinated me, however, is the murder of Christopher Marlowe, at a tavern in Deptford, if in fact it wasn't a whorehouse, in a drunken quarrel over money. The facts were stated at an inquest, and the three other men present were exonerated, including the one who actually stabbed Marlowe over the eye. There's been a lot of back-and-forth about this, over the years, and whether or not the witnesses are credible. Generally speaking, it's been acknowledged that there's 'something queer' about the whole episode. [Marlowe biographer John Bakeless]

For our purposes, there's the longstanding suspicion that Marlowe was a spy for Cecil, in the Low Countries. And perhaps earlier, when he was at Cambridge, for Walsingham. The three men he was drinking with, that afternoon in Deptford, were all connected to the Walsinghams. Two of them, Poley and Skeres, had been active agents provocateurs for Sir Francis in the Babington plot that undid Mary, Queen of Scots. Marlowe's killer, Ingram Frizer, was in the household employ of Thomas Walsingham, a first cousin. Marlowe had been commanded to appear before the Privy Council to answer charges of libel and sedition - privy to the Crown, in effect the Queen's cabinet, the Council was the seat of authority for both Cecil and Walsingham. Marlowe was killed ten days after the summons, but Sir Francis Walsingham himself was already three years dead at the time of Marlowe's murder.

Did he reach out from the grave? One way of looking at it is to ask what Marlowe might have known and what stories he might have told. By far the most interesting speculation involves the so-called School of Night, a supposed group of atheists patronized by Sir Walter Raleigh, although the evidence is exceeding slim: the theory here being that Kit Marlowe was silenced so he wouldn't incriminate Raleigh, atheism as the time being family to treason, the Queen both monarch and head of the Church of England.

Raleigh

But the cold case mystery of Marlowe's murder seems to illustrate how much space Walsingham has taken up in the Elizabethan imagination, that his shadow could fall so far, and that a dead man's hand struck the fatal blow. 

Rest In Peace, Major Crimes

SPOILER ALERT. If you watch the TV show Major Crimes and haven't seen the episodes that aired on December 19th, stop reading and go watch. Then come back.
For nearly thirteen years, I have been invested in the Major Crimes squad of the Los Angeles Police Department--the fictional one, as depicted in two series on TNT: The Closer, which ran from 2005 - 2012, and its spin-off, Major Crimes, which began in 2012 and which will air its final episode tonight. I have loved these two shows because of the writing and the acting, because the audience was allowed to become invested in the characters as well as the cases, and because the people behind the show--until recently--were able to give the audience a good balance of episodes, some serious, other lighthearted. Put simply, these shows made me happy.

But with the final episode just hours away from being aired, I must confess I'm not happy anymore. I'm not happy that the powers behind the cable network apparently put pressure in the last year on the people behind Major Crimes to make the show darker and edgier and to come up with story lines that wouldn't be resolved in a single episode but instead dragged on and on and on.

While I'm okay with overarching character issues that continue throughout a series--seeing Sharon and Andy, for instance, grow from friends to husband and wife--and while I'm okay with larger plot issues that reoccur from time to time (such as the ongoing case involving serial killer Philip Stroh), I didn't like that Major Crimes changed its format recently from having a murder that was solved each week to a murder case that would take several weeks to be solved. Those multiple-episode cases became too hard to follow, and they were all so so dark and serious.

I'm also unhappy because Major Crimes killed off the star of the show, Sharon Raydor, a few episodes ago. It was shocking and heartbreaking and completely unnecessary. When a canceled show goes off the air, I like to think that the fictional characters are still out there, doing their jobs, living their lives. I might not get to check in with them anymore, but in my mind, they are riding off happily into the sunset. But when the main character of a TV show is killed off, there is no happily ever after. There is no joy any longer.

I read a Variety article a few weeks ago in which the amazing Mary McDonnell, who played Major Crimes's star, Sharon Raydor, talked about the decision by the show's executive producer and creator, James Duff, to kill off Sharon. The death wasn't done for shock value or as an F.U. to the network. It appears the decision was made thoughtfully and with the audience in mind. Duff wanted to allow the audience to grieve, and he thought this would be a good-send off for the character. Maybe there are viewers out there who enjoyed this closure. But for me and for every person I've talked to about this, it was a kick in the gut--a major miscalculation. I didn't want grief forced on me. I wanted to believe Sharon and Andy would live happily ever after. I wanted Sharon to continue leading her squad. If I had to put up with the show being canceled, I at least should have been given the ability to believe that everything would continue to be well with all my favorite fictional police detectives. That would have left me satisfied.

All of this agita leads to an interesting question. When a series is ending, be it a TV show or a mystery novel series or any other type of series, how much does the author/showrunner owe to the readers/audience? After nearly thirteen years as a viewer of these two TV shows, I feel ownership of the characters and want them to have a happy ending, as I expect most loyal viewers do. But if I put on my author hat, I realize that my reaction is quite presumptuous. I might be a loyal viewer, but these are not my characters, not my story lines, not my shows. I don't own the copyright. I didn't dream up these dramas. I didn't bring the characters to life. As an author, I own the stories I write, and while I keep my readers in mind as I write, I choose the twists and the endings, and I would be aggravated if readers started telling me that I should craft my stories differently. My stories are mine. So from this perspective, I can understand Duff's desire to end the show on his terms. I just wish his terms weren't so different from mine.

Major Crimes certainly isn't the only series (TV or books) to end on a note that readers didn't like. (And I should add that while I'm unhappy with Duff's choice to kill off Sharon, the episodes since then have been wonderful, and I expect the final episode tonight too will be good.) The final episodes of other shows and books have not been so well received either. The last episode of Seinfeld, for instance, was terrible. Viewers wanted to imagine Jerry, George, Elaine, and Kramer living out their lives in New York, going about their days where nothing happens in an amusing manner. No one wanted to imagine those characters in prison. And when Arthur Conan Doyle killed off Sherlock Holmes, readers were so unhappy, thousands apparently canceled their subscriptions to The Strand magazine, in which the offending story appeared. I read that Conan Doyle wanted to send Holmes off with a bang. But what about what the readers wanted?

It's a hard line for writers to walk, wanting to keep strong to your artistic vision as you wind up a series, yet give your readers/viewers the payoff they want. It must be especially hard when the decisions are made with care, yet they aren't received as expected, at least by some.

So it will be with a heavy heart that I watch the last episode of Major Crimes tonight. I expect that the serial killer Stroh will finally be caught. I expect that justice will prevail. I expect that no other characters in the squad will die. And I expect that no matter what happens in the episode, I will be in mourning as the final credits roll, because these are characters whom I've grown to love, and I'll miss them. And that is something Duff and McDonnell and everyone involved in Major Crimes and The Closer before it can be proud of. It's no small thing to create a world that brings others joy, even if some readers/viewers don't love every aspect of the way the story comes to an end.

Wandering with a Story

A friend sent me a link to an article in The Atlantic. It's about how writers run. Maybe she was suggesting something. I'm a writer, but I don't run... but then I'm not exactly immobile. I walk; as in long walks for no reason other than the walk itself. So, in a sense, I am a writer who runs, I just do it with, ahem, "considered application." And like the authors mentioned in the Atlantic article (Louisa May Alcott, Joyce Carol Oates, Don DeLillo, et al), the forward propelled movement with no specific goal other than the movement itself is absolutely linked to my writing.

Absolutely is perhaps too strong an adverb. But the relationship is symbiotic. There is simply nothing better after a long day of writing to throwing on a t-shirt and pair of shorts, lacing up a pair of sneakers, and heading out for a brisk stroll. I have a natural circuit around my neighborhood. It's about seven kilometers, features a hill climb, and takes about an hour. Perfect.

First up out the door is the intake of fresh air; great lungfuls of it. And any kind of exercise has to be good after sitting at a desk for several hours. It gets the dopamine flowing. But what it's really about is the plunge back into reality after a day spent ensconced in the imagination. Writing is a form of meditation. It's a concentration that disconnects you from the here and now. You go with your story. You flow with it. You enter its world and your mind "exists" in its space and time.  Walking brings you back.

And brisk walking is a form of meditation itself, although a more rhythmic sort. It's a straightforward repetition of physical action. And it's passive, so you don't need to think at all while you do it. But, of course it is, in that passive state, with the dopamine flowing, the perfect time to think; to ponder, reflect, and consider. And here's where it's symbiotic for me, because I think about the writing I've just been doing.

And I realized sometime ago why the walking + thinking about the day's writing can be so effective: I can't edit. I can't call up the text on a screen in front of me and read it over. I can't move things around: a word dropped here, a sentence rewritten there.

Everything has to be from the memory. And as such, the thinking becomes more analytical in nature. Firstly, questions, e.g., Does the story really work? Are the characters' motivations clear and defined? Is the twist at the end twisty enough? And so on. And then out into the realms of meta-thinking, where, in the meditative state of the walking, the mind wanders in and out of the story, and I'll ponder everything from its word count to the hero's hat size. It's here where the imagination roams free.

And it's here where things can spark.

I wrote a story once about a young boy who enlisted the help of an elderly, retired policeman to look for a missing friend (The Man with One Eye, EQMM, December 2010). While out on a walk during the writing, an idea came out of nowhere to make the old man a retired gangster, instead. The character immediately became more interesting to write and the story was better for it.

Just about every story I've written has had a spark or two like this. Walking invokes a form of lateral thinking, or thinking outside the box (leastways, outside the house), which is completely different to the thinking when sitting at the desk staring at the text on the monitor.

Needless-to-say, I always have a notepad and pencil on standby for when I return home.

Beethoven was keen walker. He favored forests, and he was lucky; in 18th Century Germany there always seemed to be one handy. I don't have the luck of dense foliage to roam about, but it helps that where I live (borderline suburbs/rural) is low density traffic and people, so I encounter little distraction when out. My fellow footpath travelers are dogs, mostly; out taking their humans for walks, and no doubt mulling over their day's work, just like I am. This bone or that bone? Shall I annoy the cat, this evening? Shall I continue work on my memoirs?

Ray Bradbury was another walker. He hated cars and never got a driver license.

"What are you doing out?"
"Walking," said Leonard Mead.
"Walking!"
"Just walking," he said simply, but his face felt cold.
"Walking, just walking, walking?"
"Yes, sir."
"Walking where? For what?"
"Walking for air. Walking to see."

From The Pedestrian
Ray Bradbury, 1951

And, of course, the last thing I would say is that all that walking is kind of healthy. So there it is.

The article at The Atlantic is here: Why Writers Run

www.StephenRoss.net

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Radiology and Murder

Doctor John Doe (DJD) is a radiologist. That is not his real name, but it is his real profession. DJD is the doctor who reads CTs, MRIs and various other images that help diagnose illness. He is dedicated, competent, and once said a line which should be famous: ’When life hands me a lemon, I put it in a bag, find the person responsible and hit them over the head with the lemon.’ I adore him because feisty is always the way to go in life.

I asked him about his thoughts on murder:

DJD: I would be interested in seeing a two victim murder, in which the murderer uses the first victim as a pawn, believing that their death will cause such a deep grief for the the second victim, who is the person the murderer really wants dead, that their staged suicide will appear plausible. To the murderer, it appears like an undetectable crime. The murderer gives the first victim  a blow to the head and then throws them down the stairs or in front of an oncoming car, making it look like a terrible accident.

The second victim is someone who deeply cares about the first. They could be murdered by numerous means made to look like a suicide resulting from grief. Often people are prescribed sleeping pills or anti-anxiety meds to cope with a grievous loss. DJD suggests one easy way to kill them is to get them drunk and grind a deadly dose of the pills they have on hand into one of the drinks. At first blush, this looks like a drinking binge of a depressed person who decided to kill themselves because of grief. The murderer simply has to leave the staged evidence of a booze bottle and an empty, opened pill bottle. 

Could the chain of murders be unraveled, starting with a critical examination of the first, apparently random act? The radiologist could first examine cutting-edge radiological evidence postmortem.

DJD is sometimes called in when the coroner has questions about the cause of death. For example, did the blow on the head occur before the car accident, or was the victim lethally struck on the head and then pushed down the stairs? Using radiological evidence, that distinction can be made.

Although the forensic autopsy still remains the gold standard for post-mortem forensic assessment, the ‘virtopsy’ is catching up, sometimes augmenting or even replacing the autopsy. When there are religious or other reasons for excluding an autopsy, the virtopsy is the only evidence available. Sometimes, even with a pending autopsy, a virtopsy will be used. 

A virtopsy is the pre-autopsy whole-body CT or MRI scan, used to identify cause of death. Some studies have shown that a CT scan may be more effective in detecting some causes of death, and that the imaging may be better than a full autopsy to detect such causes of death as intracranial pathologies (such as strokes) and pneumothorax.

If someone is killed first, say with a blow to the head, and then pushed into the path of an oncoming car or thrown down a flight of stairs, most people assume that the serious and extensive injuries of the fall or impact will hide the original blow to the head. However, careful examination for the radiological evidence can clarify the timing of the injuries. And again, this can be done even if the family rejects, for religious or other reasons, a full autopsy. 

Impact from a car or a fall may show multiple bone fractures of the skull, ribs, vertebrae and extremities, as well as damage to organs. However, these impact lesions will lack the relevant surrounding hemorrhage which would have been expected under these circumstances. In short, if you die before impact, the lesions of impact will bleed less because your heart isn't pumping blood. This bleeding pattern will help identify the actual blow that caused death because of the extensive hemorrhage at that site of injury. 

This new radiological post-mortem examination is a cutting edge means of identifying cause of death and timing of injuries that were sustained. We will, I think, hear more about it as the techniques evolve.

One interesting use of CTs is identifying those who have been poisoned and then hit by a car or who have sustained other injuries. The amount of blood from impact injuries is reduced when the victim is previously killed by any means, including poison. 

A complex chain of events, like DJD’s proposed double murder, can be unraveled by tugging at the simplest loose threads. For radiologists, a virtopsy provides a cutting-edge method to find these loose threads and exploit them.

Three Kings

In my SleuthSayers post last Saturday I mentioned that I'd read some good novels last year. I did, and some good collections and nonfiction too. Some books I've especially enjoyed in the past three months are Don't Let Go (Harlan Coben), The Midnight Line (Lee Child), Uncommon Type (Tom Hanks), Fierce Kingdom, (Gin Phillips), The Last Castle (Denise Kiernan), Goldeline (Jimmy Cajoleas), The Lost City of Z (David Gramm), Artemis (Andy Weir), Hank and Jim (Scott Eyman), The Cuban Affair (Nelson DeMille), Trigger Mortis (Anthony Horowitz), The Rooster Bar (John Grisham), and We'll Always Have Casablanca (Noah Isenberg).

And two more: Sleeping Beauties (Stephen King and Owen King) and Strange Weather (Joe Hill). It's those I want to focus on, today.

Owen King is of course Stephen's son, and so is Joe Hill. Before Sleeping Beauties, I had not read anything written or co-written by Owen before, but I own every novel, novella, short story, and nonfiction book his father has done, and every book by Joe Hill as well: The Fireman, NOS4A2, Horns, 20th-Century Ghosts, and Heart-Shaped Box. (I was especially impressed by The Fireman.)

These two latest books were as well written, I thought, as any of the King products in a long time. Sleeping Beauties is a novel, and a long one--720 pages--and features more than 70 named characters. It's otherworldly, of course, and is set in an Appalachian town (most likely in West Virginia, although it never says for sure) and its nearby women's prison. The premise is fascinating: something is causing all the women in town to go to sleep, and when they go to sleep they don't wake up. The villain isn't really the sleeping-sickness; the villains are the men--at least some of them--and all kinds of timely themes are explored here.

One more reason you can't go wrong with this book: Stephen King writes good prison fiction. His novel The Green Mile and novella Rita Hayworth and Shawshank Redemption (from Different Seasons) are among his best works. And I should also mention that I can't see much difference in the style of writing between King's other books and this collaboration with his son. I truly enjoyed it.

The Joe Hill book is Strange Weather, a collection of four novellas that reminded me a bit of Different Seasons, from 35 years ago. In this case the common theme is the weather: violent electrical storms, wind-fueled wildfires, innocent-looking but sinister cloud formations, and downpours of nails and needles.

A quick overview: In the first of the four novellas, Snapshot, an overweight and outcast teenager is threatened by a tattooed killer with a supernatural Polaroid camera; Loaded is a dark story of gun mania and depression and violence in a small town; Aloft (the best of the four, I thought) features a first-time skydiver who falls into a cloud that turns out not to be a cloud at all; and Rain shows us what can happen when thunderstorms produce deadly falling hardware instead of water. Like Sleeping Beauties, these four tales manage to tackle a number of social concerns: racial prejudice, police brutality, gun control, bullying, LGBT issues, etc., etc.

I won't say more. Part of the fun of both these books, and all five of these adventures, is the constant surprises they offer to the reader. But I will say that I'm pleased to find that both of SK's sons seem to have inherited a rare gift. The literary apple didn't fall far from the tree.

Are any of you familiar with the work of either Joe Hill or Owen King--or of their mother Tabitha? If so, what do you think? And how many of you are fans of their father's fiction? At my own booksignings, the comments I receive about Stephen King are always either hot or cold, never lukewarm. It's either I don't read Stephen King at all or I absolutely love his books. I suspect that many of the naysayers have never bothered to read more than a few of his early works, and don't realize his range or his talent.

I've met the elder King only once, at the Edgars (he won, I lost), and I was so awestruck I did little more than shake his hand and babble. I think he's one of the best storytellers of our age, and as long as he keeps writing, I'll keep buying.

That goes for his sons as well.

Where is more than the name of a place.

I was fortunate to learn early from a panel of editors: "Setting is the fictional element that most quickly distinguishes the professional writer from the beginner." These were acquisition editors at a couple publishing houses and magazines. Stories without settings did not make it out of the slush pile.

Setting is not just the name of a place or a time-period; it is the feeling of the place and time period. It comprises all conditions - region, geography, neighborhood, buildings, interiors, climate, time of day, season of year.

Setting should appear near the beginning of a novel or story and remain throughout by answering the questions WHERE and WHEN. Using sensory details, the writer can flesh out a setting: the visual, smells, sounds, taste, feeling of the atmosphere. All five senses should be used by describing the little things - what your character sees, hears, feels, tastes and smells.

Every story takes place somewhere. Setting is more than a backdrop, it creates mood, tone and can help establish the theme of a work of fiction. Like characters, it plays an important role in a story. Writers should not neglect setting.

When establishing a setting, get the details correct. You can't have azaleas blooming in Louisiana in December. In New Orleans, the weather is an important part of setting. We have only two seasons - steamy hot in spring, summer and fall - wet cold in winter. There are occasional mild days at the start of spring and the beginning of autumn. Tennessee Williams said these were the only good days in New Orleans.

Go to the place you set your story (or a place like it if you create a fictional city or village or whatever). Go there and watch, listen, take notes. It has helped me often in important scenes.

One of the most gratifying compliments I receive come from New Orleanians telling me how real the city seems in my novels and stories. They see people and places they know. Even The Times-Picayune (a newspaper notoriously indifferent to local genre writers) described my writing as, "the real thing," when it comes to the city.

The weather can come as a surprise as in real life. As I wrote my crime novel BOURBON STREET, I learned about the 1947 Fort Lauderdale Hurricane (hurricanes were not named back then) and how after hitting Fort Lauderdale, crossed Florida into the Gulf of Mexico and slammed into New Orleans. It flooded the city similar to the way the city flooded during Hurricane Katrina, only the water didn't stay as long since there were no lakefront levees to help turn New Orleans into a bowl as it is today. The water quickly receded. I had my characters use the hurricane to assist in their escape.

I do agree with Elmore Leonard to leave out the parts people skip over. A writer, especially a mystery writer, may want to make sure the description of the setting does not overwhelm the scene.

Research. Research. Research when you set a piece in a place you've never been. If you work hard enough you can capture enough of the setting to work.

As I began to write my latest mystery, SAINT LOLITA, I originally set it on a real Caribbean island and quickly saw I'd never get the details correct so I made up an island - Saint Lolita, which lies west of Grenada in the Lesser Antilles. I researched islands of the Lesser Antilles to get details of flora and fauna and architecture, populations, cuisine, architecture and weather and I think I pulled it off.

Setting. Don't neglect it, especially in longer stories and novels.

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