Best New TV Show of the 2016-17 TV Season

There are a lot of new TV shows this year, and while I haven't seen them all, I am staking my claim here and now: NBC's Timeless is the best new TV show of this season. And I am not alone in this belief.
What is Timeless? It's hard to believe I need to pose this question, but I know I do. Not everyone has heard of, much less seen, this great show.

Timeless is an hour-long drama involving time travel. (Don't stop reading if you don't like sci fi. This is worth it!) The show begins with a so-called bad guy, Garcia Flynn (played by Goran Visnijic), stealing a newly invented time machine and going into the past to change history so he can keep his late wife and children from being murdered. For reasons that are explained as the season goes on, Flynn's quest requires killing a number of famous people in the past in an attempt to stop a powerful secret organization called Rittenhouse, which aims to change the past to control the future. The government has a second time machine, and it sends a team of three to follow Flynn each time he jumps, trying to stop him from hurting people and changing the past.

Each episode showcases different famous historical times and figures. The main "good guy" is Lucy Preston (played by Abigail Spencer), a whip-smart historian. Her backup, Wyatt Logan (played by Matt Lanter), is a military guy with his own reasons to want to change the past. Rounding out their trio is Rufus Carlin (played by Malcolm Barrett), also super smart, who is a scientist and the only one who knows how to drive the time machine.

I heard someone ask if Timeless is a reinvented Quantum Leap. That's a big no. Nothing against Quantum Leap, but that show from the 1980s was highly episodic; it didn't have the overarching storyline that ties every episode of Timeless together.

So what makes Timeless so great? Let's count the ways. I interviewed a few friends who love the show, and I'll share their and my thoughts below.

Time Travel

First of all, time travel is interesting and cool and fun. You just have to say time travel, and I'm intrigued. But so many time travel shows follow what fans of Star Trek might know as the Temporal Prime Directive: don't change the past; don't tell anyone in the past about the future or else it may be changed. In Timeless, the good guys believe in the concept of the Temporal Prime Directive (though they don't use that name), but they don't succeed in following it, and that has interesting ramifications. Imagine if the Hindenburg didn't catch fire, as happened in the pilot. Or if Eliot Ness didn't get to take down Al Capone. And imagine if changing these events in the past changed the personal lives of our main characters in the present. Lucy returns from the past in the pilot episode to find that the sister she's had all her life has now never existed. She's determined to change the past again to bring her sister back.

"I was kind of meh on the first episode," author Janet Halpin said. "But when they actually changed history with no do-over (the Hindenburg lands, no fire!), I was all in."

Fan Michaela Shannon-Sank agreed. "I love Timeless! It's a classic time travel plot with a twist--when things are changed in the past, they stay changed in the present. I was at first confused about it. Like, really? They're seriously rewriting history? The Hindenburg? But it works, and it works well."

One reason it works well is the show's writers really know how to draw the viewer in. This isn't a show just for people who like time travel. It's a show for people who like history and complex characters and romance and angst. Yep, it has it all.

History

As the good guys follow Flynn into the past, they go from one historical episode to another, giving viewers a glimpse into the past--the people, the dress, the limitations, and the real history (until it gets changed). Thinking about the Al Capone episode, author Sherry Harris said, "I've learned something new in every episode. Al Capone had an estranged brother who was a cop? Wow!"

Friend Meghan Gray agreed. "The dramatization of historical events is what we are enjoying. Particular favorites are the Lone Ranger and the NASA plots." In the latter, the characters travel to Houston, Texas, in 1969 and interact with African-American mathematician Katherine Johnson. "I love that they are putting people who have been erased from these stories back into the narrative," Gray said.

Even the characters get excited by history--learning it and participating in it. Lucy goes all fangirl when she meets Abraham Lincoln and his son. In another episode Rufus is excited to learn that the Lone Ranger was black (as he is). When the trio team up with the Lone Ranger (identified as Bass Reeves), Rufus excitedly says to Wyatt, "We are in a posse with the Lone Ranger!" And when they all team up with Eliot Ness, Rufus says quietly, "We are so the Untouchables right now." The show has pop culture references weaving throughout the episodes that add an extra element of fun.

Complex Characters

But the show is more than fun. It has complex characters, which in turn results in angst and big questions. Wyatt is a soldier. He is trained to follow orders and do the right thing, but he is compelled to try to change the past when the opportunity presents itself. His wife was murdered a few years back, and he'd do anything to fix it, no matter the cost. It's a good way to encourage the audience to consider if the ends really can justify the means.

Rufus's race figures into several of the episodes. In the pilot, he's not too keen to start on these adventures, saying, "I am black. There is literally no place in American history that'll be awesome for me." Harris remembered watching that scene with her daughter, Elizabeth, and said that Rufus's take on time travel was Elizabeth's favorite part. "It really puts things into perspective for both of us," Harris said.

But it's not just the good guys who are conflicted. In another episode, Flynn goes back to the beginning of the Rittenhouse conspiracy, during the Revolutionary War. He could save the future, he believes, by killing a certain child. He'd hate to do it, but he would. In the meanwhile, Lucy has come to believe Flynn is right--but she won't let him take that drastic step. We see Flynn struggle throughout the episodes. In one, he sits in church for hours, seeking absolution. In other episodes, he tries to show Lucy how the people she works for aren't really all that good after all and he's not a bad guy. Rather, he's trying to right history, not ruin it.

"I love that the lines start getting blurred between saving history/doing what's right/self-interest," said fan Abby Fabian. "I also love the character Flynn, because even though he is the 'bad guy,' he's also a 'good guy,' which can make things confusing for Lucy, Rufus, and Wyatt."

"I don't know about anybody else," Shannon-Sank said, "but I completely sympathize with Garcia [[Flynn]] and would be actively helping him. Except for his killing so many people."

Of course.

"As a writer," Harris added, "I admire how much I care about the characters. I root for them, feel sad with them, and get scared for them. I hate the villains and every week I can't wait for the next episode. It's what every writer hopes they can do in their own writing."

Love and Romance

For those who love a little love in their stories, don't worry. Timeless has this too. We see characters risk their lives for others who they love or grow to love--friends and family. We see sparks growing between Lucy and Wyatt. We see romance bloom between Rufus and Jiya, a computer programmer with whom he works. And as a bonus for the viewer, all these actors are "easy on the eyes," as Harris said.

But perhaps the thing that stands out the most to those of us who loved history in school is that the star of this story is Lucy, a woman who is the brains of every episode, who figures out what Flynn is up to each time he jumps, who knows the history in an instant, and who can figure out how to try to save the future by saving the past. Perhaps Halpin said it best: "a freaking HISTORIAN is the one who saves the day."

What's Next?

I'm thinking about Timeless as I write this on Monday night because it should be on at 10 p.m. Eastern time. That's it's normal time. But the show had its season finale last week. Yep, that's pretty early in the TV season. Timeless is on the bubble, I understand. And NBC needs a push to keep it on. That's where we come in. If you love this show, join the Facebook Timeless page. Every follower pumps up the show's credentials. And tweet about it too. Tell NBC to #savetimeless. And if you haven't seen it yet, you can stream the entire season. It's well worth your time. Every viewer helps.

Shannon-Sank summed things up well, saying the show "is so well written and acted and I hope so hard that it gets renewed and lasts for many, many seasons. I mean, they have a lot of things to set straight."

If you love Timeless, please share your favorite parts in the comments. Maybe someone at NBC will read this. #SaveTimeless!

Lockhart Texas Book Club

This past Friday, the 24th I was invited by my Sister-in Crimes friend, of over 20 years Janet Christian, to be the guest of honor at the Irving Book Club in Lockhart, Texas. The Irving Book Club, named after Washington Irving is the second oldest according to the Federation of Women's clubs, formed in 1896.  Lockhart is known as the BBQ capitol of TX but, that is disputed by several other Texas towns. Lockhart is also one of Austin's bedroom communities, thirty miles south and slightly east. Since I live 45 miles west and slightly north, it was a 78 mile drive one-way. (I know that's 3 miles short but I'm going by map mileage here and not actual driven miles.)

The book club meets in the Dr. Eugene Clark Library which has the distinction of being the oldest continuously operating library in the state, founded in 1899. The members of the club brought finger foods including desserts, everything homemade. Many of the members wear hats and you are immediately reminded of the hats on display at the Kentucky derby. I have a Cowgirl hat and a black and a red hat that are sort of fedoras, Private-Eye style but, the weather was too hot for any of those.  I searched my closet shelves and found a lovely hat box with three hats inside that I had forgotten about. The hatbox and the hats I had inherited from my bonus mom and the one I picked was a black mini-pill box hat with a veil. It more or less sits right on the top of your head. You can pull the veil down but that didn't work for me. I pulled the veil to the back and only a small part shows on front and side.

I had fun talking about how I first starting writing and sold my first short story for $100 and how I'm so glad I didn't quit my day job because I didn't sell anything else for 5 years. Also how I was writing a female private-eye novel that never sold but, I sold probably 12-15 short stories with the characters, Jenny Gordon and C.J. Gunn and likely made more with those that I ever would have with the novel.

Also told about how I took Citizen's Police Academy Training that was offered by the Austin Police Department which was set up to help folks who were interested in being part of the Neighborhood Watch Program. I applied for the program and was accepted. It was set up once a week for three hours, meeting for ten weeks and you learned a lot about each department of APD. Homicide, Robbery, Fraud, Firearms, and we got to ride along for a full shift in a patrol car with an officer. That's when I realized that every single call the police answered could turn-out to be dangerous. This was in the early 90s when police officers weren't being slain very often...at least not in Austin.

One fun thing after the ten weeks training we could join the Alumni Association and we could go out to the academy where the cadets were training and got to role-play and be a bad guy. Once I played a lady who had a warrant out for her arrest. The training officer who was watching the role-play had told me when the female cadet arrested me he wanted me to be rude to her, call her names and try do things to make her angry. The idea being that each cadet needed to learn to deal with a belligerent public and he wanted to see how she'd react. So when the cadet put the handcuffs on me, I cursed her up one side and down the other. I called her every name in the book. The only time in my life I got to cuss out a cop and get away with it. Then I told her the handcuffs were too tight. She finally loosened them one notch. Then put me in the squad car. I have small hand and wrists so I was able to slip the cuffs off. When they came to let me out of the police car I handed the cuffs to them. The cadets were not supposed to talk to each other but they did. All the remainder of the day, cadets put the handcuffs on so tight that everyone would have been mad at me if they had known it was my fault.

My next story was how while I was taking the Citizen's Police Academy training this woman named Zoe Barrow started talking to me in my head. Voices in my head happens to me all the time and the astonishing thing is no one calls the men in the little white coats to come after me. Zoe (rhymes with Joe) turned out to be an Austin Police woman and is the main character in my first book, Austin City Blue. In my second novel, Dark Blue Death the first chapter is almost word for word of a role-play scene out at the Academy. I was in a vehicle with a Training Officer and two cadets were out side. One on the driver's side and one on the passenger side...my side. They both stood back a bit from the vehicle. I could see the driver side cadet in the rear view mirror. When the training officer was asked for her name and phone number, she gave her name and then her phone number as 1-800-GOODSEX.  I could see the cadet trying to contain his laughter and almost choking.

The training officer had suggested I get out of the car and see what the cadet on my side would do. I opened the door and started to get out, the cadet says, "Ma'am, please stop. Police get back in the car. Please ma'am." I said, "I have to go to the bathroom." She said, "Ma'am, you must get back into the car." I said, "I'm pregnant. If you don't let me go now, I'll pee all over this car seat." Like I said, the ladies of the Book Club were so attentive and laughed in all the right places. They asked interesting questions and everyone told me afterward how much they enjoyed my talk.

These events are a lot of fun for me and you get inspired because people who love to read are there listening to you. I LOVE READERS  

Paint It Black

Last November, I received an e-mail invitation to write a story for one of those noir anthologies named after a city or an area. You know the ones, Brooklyn Noir, Seattle Noir, etc. Anyway, this one will be titled Rocky Mountain Noir and will be edited by Laureen P. Cantwell who also edited Memphis Noir. Naturally, I was pleased and even flattered to be invited to submit a story to this anthology, knowing that an invite is almost a guarantee of having one's story accepted as opposed to submitting a manuscript in reply to a general call for submissions and ending up in a vast slush pile.

One small problem on my side.

In the past, I had written biker stories, children's stories, historical stories, comedy capers, traditional mysteries, horror, sci-fi..,,and some other stuff. But, I had never written anything in the noir genre. Where to start?

Fortunately for me, at one of our monthly MWA meetings several months ago, an author gave a presentation on noir. And, I had taken notes during that meeting, even though I had no intentions at that time of doing anything in the noir genre.

In short, here's what the notes contained:
 ~ it is an amoral world
 ~ it's about sex and greed and violence
 ~ the protagonist is always flawed, a loser with great humanity
 ~ the plot may be where nothing is as it seems
 ~ the ending may be a twist that no one saw
                                                                                        coming
And, my favorite, the part that stayed in my mind: In epics, the hero falls from the heavens, but in noir, he falls from the curb.

There was also a suggestion that we should read "The Simple Art of Murder" essay by Raymond Chandler. Okay, so I did that.

Further research on Wikipedia showed that noir "is a literary genre closely related to hardboiled genre with a distinction that the protagonist is not a detective, but instead a victim, a suspect, or a perpetrator." The website goes on to say that the protagonist has self-destructive qualities and is opposed by a corrupt system which puts him in a no win position.

Surprisingly, there are now sub categories of noir. For instance,Mediterranean Noir where the cities of the Mediterranean are looked upon as broken and distorted by crime. In this sub category, authors explore the duality of local foods, fine wines, close friendship, warm skies, blue seas and joyous living against a backdrop of greed, violence and the abuse of power.

There is also Urban Noir, where the story is set in the underbelly of various large cities or certain areas vulnerable to crime. Akashic Books has published several of these, and is the proposed publisher for the noir anthology from which I received the invitation. At this point, my story submission is finished. Now, it's up to Akashic Books to accept the proposal and for the editor to accept my submission.

If the proposal or the story acceptance goes bad--hey, noir is French for black--then I can always submit the story to AHMM or EQMM.

Either way, wish me luck.

Never say die.

Oh, wait a minute, in noir everything goes wrong and the protagonist usually does die.

Damn.


POST SCRIPT ~ How little did I know that the last five paragraphs would turn out to be prophetic. Seems I wrote an e-mail to the editor in late January inquiring if she would like to receive my story in advance of the proposed schedule. Her reply e-mail said the project died aborning. Akashic Books did not accept the proposal at this time. Maybe sometime in the future. In which case, I'm off to remove some of the sex and violence from the original manuscript to see if EQMM or AHMM will find the story a home.

PPS ~ As of 02/16/17, the time of this article's final editing, the story will have been at EQMM for twenty days. Their usual rejection turnaround is about two weeks, but then Janet Hutchings, the editor, may be busy elsewhere.

Catch ya later, as I'll be gone when this is posted.

Know the Rules You’re Breaking (THE most controversial post you’ll see from me)

by Melodie Campbell (Bad Girl)

The rules, the rules…

Always, in my Crafting a Novel college class, beginning students are alarmed to find out there are rules to writing.

I’m not keen on rules in general. After all, I became a writer so I could thumb my nose at reality, right? Control the world of my fiction in a way I can’t control my real life.

All that said (and I could make a blog post out of just that line above) there ARE rules to writing. A bunch of middle-aged guys behind a baize door didn’t make them up for no reason (double negative – Ha! Rule-breaker, you.)

The rules are there for a reason. They’re all about logic. Here are two that are perhaps least understood. Let me make this clear:  You don’t have to follow them (more on that later.) But you do need to know them first, so that you know when you are breaking them. Here goes:

Present Tense:

This isn’t a rule. It’s more about savvy marketing. Most novels are written in past tense. Did you ever wonder why?

The trouble with present tense is it defies logic. If what I am reading is happening NOW, then how did it get written down on this page?

Approximately 60% of people (stats from a publisher) have trouble with this. Big trouble. I’m one of them. Our brains can’t accept it. Every time I hit a present tense verb, I’m thrown out of the manuscript. My reading is disrupted every paragraph. Ergo, I will not read present tense books.

Some students tell me they like to write in present tense because to them it ‘feels more immediate.’ (The classic way to do that is by increasing tension, I subtly remind.)

Here’s what I tell students: if you are writing your first genre novel, it might be wiser not to write it in present tense. Publishers know that present tense reduces the potential market because of morons like me who can’t read it. Why put another obstacle in the way of getting published?

(Publisher story: one popular YA dystopian fantasy novel was written and published in present tense. The publisher instructed her to write the second book of the trilogy in past tense.)

First Person Viewpoint Switches:

Many, many people don’t know the rules to first person viewpoint. So here goes:

The rules of writing in first person are simple: The protagonist becomes the narrator. As a writer, you make a promise to the reader. The person telling you the story is telling their story to you directly. No third party writing it. You are in her head.

I love first person. I *become* the protagonist, when reading or writing first person. But first person has huge limitations for the writer: the person telling the story must be in every scene. Otherwise, they won’t know what is going on in that scene (unless you employ a second person to run back and forth, telling the protagonist. Note the use of the word ‘tell.’ Telling is ho-hum. You won’t want to do that often.)

If your story is in first person, you can’t be switching to another character’s viewpoint. Ever. Nope, not even another viewpoint in first person. Why? Because your reader thinks this: “What the poop is happening here? The book started in first person. The protagonist is supposed to be telling the story. Now someone else is telling it. What happened to my beloved protagonist? Are the original protagonist and writer number two sitting next to each other at twin desks writing the story at the same time and passing it back and forth?”

In a phrase, you’ve broken your promise to the reader.

The rule is simple. If you need to write the story in more than one viewpoint in order to show every scene, then write the whole novel in third person. That's the advantage of third person, and why we use it. You can use multiple viewpoints.

One additional first person restriction: if your protagonist is telling the story directly, then he can’t die at the end of the story. This should be obvious: if he died, who wrote the darn thing?

Should you break the rules?

If you want to break the rules, have at it. You can write what you want. That’s the delight of being an author.

But in my class, you will hear this: The rules are there for a reason. Of course you can break the rules, but if you do, you will lose something (usually reader continuity and engagement.) It’s up to you to decide if you gain more by breaking the rules than you lose by doing so. BUT: If you break them in your first novel, publishers (and savvy readers) will think you don’t KNOW the rules.

So at least go in knowing the rules. And then do what you damn well please.

Final words: Don’t publish too soon. Take the time to learn your craft. And then…be fearless.

Cat's lunch

by
O'Neil De Noux

The explosion outside sent my inside cats scrambling out of the room. I knew what it was because the generator kicked on automatically and the lights flickered back on. Transformer. No damage to my computer. Laptop wasn't plugged in. It was midday and the summer air thick with humidity, clinging to my face as I stepped outside and over to the light pole.

inside cats

A whiff of white smoke rose from the gray metal transformer atop the pole and I punched 911 into my cell phone, told the emergency dispatcher the transformer may be on fire and gave the intersection of the light pole and the twelve digit number on the pole and waited.

A fire engine crawled up, red lights flashing but no siren and two firefighters in orange uniforms climbed out, shielding their eyes to the sun as they looked up at the transformer. They declared no immediate danger but would stay around until the electric company repair truck showed up. Twelve minutes later a white truck pulled up and a woman in blue work clothes stepped out, greeted me and the firefighters. She looked up at the transformer, nodded and reached into the back of her truck for a long yellow pole. She lengthened the pole, pulling out extensions until the ten-foot pole was long enough to reach the top of the transformer.

She maneuvered the hook at the end of the pole to the transformer and that's when I saw the woodpecker. One of the pretty ones with a bright red head and throat, while belly and black feathers along its back and tail. The woodpecker was frozen in electric death above the transformer. It had pecked the conductor atop the transformer until the conductor struck back. The hook of the pole lifted the woodpecker off and it tumbled to the grass.



I moved to it, saw the feathers were ruffled, feathers normally neatly alighed as the pretty bird fluttered through my neighborhood. The feathers stuck out like porcupine quills and the bird's skull lay cracked open.

As the electrical worker positioned her truck so she could climb into the bucket of its cherry-picker to rise and replace the conductor, I asked the firefighters if they had a glove and one gave me a rubber surgical glove. I worked the glove onto my left hand and picked up the woodpecker, took it to the side door of my house and laid it on the concrete driveway next to my wife's bright red car. As I walked back to the telephone pole, I spied one of the feral cats we feed to keep the urban rodent population down as it came out from under my raised house to sniff the dead bird. This was a gray cat, one of the big onces. A male. He didn't seem interested in the bird and turned away. A black and white cat, thin, a young female, darted from under the red car, snatched up the dead woodpecker and took it under the house.

 outside cat on fence

Fifty-one minutes after the explosion the electricty was restored to the area, my generator kicking off. The fire engine crept away and I thanked the electric worker who took her truck to the next call. I moved to go back inside and spotted the black and white cat just under the house, her yellow eyes watching me as she gnawed the woodpecker's breast.

I looked up, shielding my eyes from the sun and thought - if one death was due today, I was glad it was the woodpecker, although it was a lovely bird. Somewhere in that sky my wife was in a silver jet, flying to visit her mother. If God, or the devil, or fate or whoever was due a death, let it be the woodpecker because everything dies. I thought of the heart surgery I survived a few years ago as I stepped back into my house and wondered if something else died the day the doctors saved me. Most likely.

Back at my computer, I picked up where I left off in the novel I was writing before the woodpecker interrupted me. Only I could not envision the characters or the scene. I saw the red-headed woodpecker fluttering low to the ground, passing from one tree to another and felt sad. Damn transformer. Damn humans with our endless contraptions.

But the sadness was short lived because I remembered the hungry yellow eyes of the cat as she had her lunch.

This was a true story

www.oneildenoux.net

In The House of Sick

by Brian Thornton

Now ain't that a catchy title?

It narrowly beat out such colorful runners-up as "The Vomit Wheel," and "It's Thursday, So This Must Be Bronchitis."

This is not what I'm talking about when I say it's time to "Sell the Buick."

In other words, Casa Thornton has seemed more like Casa Enferma lately.

And by "lately," I mean, "Since September."

And what happened in September to get this party started?

You guessed it.

My four year-old started preschool!

And for those of you in the audience who are kid-free (whether by choice or nature, no judgements either way!), that sound you just heard was every parent reading this (all three of them!*rimshot*) saying collectively, "Oh yeeeeeaaaaahhhhh..."

And it's not this type of "Technicolor Yawn"!

Our pediatrician referred to preschool as an opportunity for our child to "build immunity," since he's an only child, and although he has cousins and other kids he plays with, it's not the same as having a sibling at home to help double his exposure to germs that bring maladies such as cold, flu, pneumonia, and bronchitis.

And since we share this home with our child, we get exposed, too. I don't have to draw you a picture for you to visualize what that has been like, do I?

Since September we've had all of the above. Some of them several times (our son has had pneumonia and my wife and I have had bronchitis. We've all had multiple colds and several rounds of several different types of the flu.).

And this? NOT what I mean by "Instant Bootcamp."

What's worse than getting sick yourself?

Witnessing your little boy or girl getting sick.

What's worse than that?

Trying to nurse your sick kid back to health while you've been flat-on-your-back-sick too.

Anyway, we finally all got the flu shot, and that seems to have helped with the colds, and the illnesses that follow in their collective wake. Over the last month, we've stopped playing such fun Cold and Flu Season games as Musical Snot, and Cold, Cold, Who's Got The Cold?

Which left us all down with the stomach flu this past weekend.

But!

(And I knock wood as I type this)

We are all feeling much better now!

And that, ladies and gentlemen, is why I don't have a more substantive blog post for you this rotation!

Tune in in two weeks' time for an interview with a very funny man of many hats, comedian, DJ, and crime fiction Bill Fitzhugh!

Walking the Plank

David Edgerley Gates


I'd like to preface this post by saying it's not meant to be partisan. I'm not taking sides. Everybody's got an axe to grind, but let's check our grudges at the door.

The recent resignation of Michael Flynn as National Security Advisor is what started me thinking. More than one train of thought, as it happens. Let's review the bidding, in case you don't know what happened. Flynn was in Trump's kitchen cabinet, and it was no secret he was in line for a red hat. What laid him low, before the paint was even dry, is that he'd had inappropriate contacts with the Russians while Obama's crew, although they were hanging up their cleats, still had the duty watch. They were in fact announcing sanctions against Moscow at the same time that Flynn, through a back channel to the Russian ambassador, was saying they were shooting blanks - once his guy was in office, any sanctions would be rolled back.

Now, first off, this runs counter to good manners, common sense, and longstanding convention, when a new team is relieving an old one. It's also a violation of federal law, the Logan Act. Unauthorized civilians don't make U.S. foreign policy. Period. Another curious thing is that Flynn apparently did it on his own, without telling anybody else. You might find this hard to credit, but you have to look at Flynn's back story. This isn't someone with a modest opinion of himself. On the other hand, there are a fair share of people who didn't think he walked on water, no. The best guess is that he was showboating, or a little too persuaded of his own self-importance.

Here's where I'm coming from. An intelligence professional's job is to give the best possible advice, based on the available evidence. Are your sources credible? What's the collateral? Does the narrative add up? You don't cut and paste the facts to fit a convenient fiction. Bush 43 was ill-served by his Director of Central Intelligence because George Tenet massaged the message. You have to be ready to contradict the received wisdom, or fixed ideas. The problem being, if you keep blowing your nose on the curtains, pretty soon they'll stop inviting you for drinks and dinner.

There's a further corollary. When things go south, which they do more often than not, a good soldier falls on his sword. It's attached to the pay grade. Jack Kennedy famously said to his DCI Allen Dulles, after Bay of Pigs, that if we had a parliamentary system, then he, Kennedy, would have to resign, but the way things were, it was Dulles whose head was going to roll. Presidents don't like being caught with their hand in the cookie jar.

It's important to remember that when you take a job close to the president, you only have the one client. What's called in the intelligence world a consumer. In this case, and I've said this before, you can't be distracted. You have no other constituency. It doesn't matter that State, or Defense, or Homeland Security, or whoever, may have competing interests. You keep your ear to the ground, for sure, but you don't dilute your brand. You are owned. You protect your principal, at whatever cost to yourself.

The other thing I want to say about this episode is that people sign on to government service for any number of reasons, including preferment, connections, expediency, and money, but sometimes they simply choose to serve. Michael Flynn was career military, 33 years. Whatever his politics or his personal ambition, he understood duty. Duty not as an abstract, or background noise, but duty defined as an obligation to something outside ourselves, something larger than our own parochial concerns. I'm probably beating a dead horse here, but this is where my real disappointment kicks in. Michael Flynn had a responsibility, to something larger than his private benefit, and he dropped the ball. Not to mention, I'm kind of taking it personally. The guy wanted to feather his own nest, okay, there's enough of that going around. But why did he have to give the rest of us a bad name? Flynn sold his honor cheap.

A Rose, um, a Script by Any Other Name Would Smell as Sweet

Apparently Shakespeare was wrong here. Or maybe it works for roses, but not for scripts because when the name was changed on a couple of different stories, well…so did the response.
This here’s the story of a writer named Chuck Ross who wrote a couple of very well-known tales (sort of). One a screenplay, the other a novel. Well, maybe “wrote” isn’t quite the right word—typed might be more appropriate for as Mark Twain said, “The difference between the almost right word and the right word is really a large matter—it’s the difference between the lightning bug and the lightning.”

But before I get to Mr. Ross…

Haven’t we all felt that if we had Mr./Ms. Big Name writer’s byline on our manuscript it would receive more serious attention than it does when we submit it under our humble names. And haven’t we also felt that if their sometimes mediocre manuscripts had our names on them they wouldn’t get the attention of Big Agent, Big Editor and Big Publisher (or Producer)? But with their names the mediocrity doesn’t matter, whether it’s a novel, a non-blind short story submission or a spec script. Lawrence Kasdan, writer or co-writer of things like Raiders of the Lost Ark, various Star Wars entries and the writer-director of The Big Chill, once said something like “Until they know you, everything you do is shit. Once they know you, everything you do is great no matter how shitty it is.”

So in that sense it’s all in a name and not necessarily what’s on the page. Which brings us back to Chuck Ross, typist:

Once upon a time, there was an unproduced play called Everybody Comes to Rick’s by two unknown writers. In the 1930s, it was sold to Warner Brothers for 20K, around $345,000 today, give or take a few pennies, and an amazing price considering the time and the fact that it couldn’t find a producer. The property was developed and given the green light. It became a movie called Casablanca. You might have heard of it…if you’re not a millennial who won’t watch anything in black and white. It had a modicum of success and is considered to be one of the greatest American movies, usually coming in just behind (and sometimes ahead of) Citizen Kane in polls of best/favorite American movies.

Enter Chuck Ross. Mr. Ross typed up a copy of the screenplay for Casablanca in script format, slapped the original title, Everybody Comes to Rick’s, on it, and sent it out to 217 agencies under the name of Erik Demos. The results and responses were interesting to say the least. Several of the scripts were lost in the mail. About 90 were returned unread to Ross with the standard reasons: the agencies weren’t taking on new clients or wouldn’t read unsolicited manuscripts, etc.

However, almost three dozen agencies recognized the script which led to some interesting and even fun responses, such as “Unfortunately I’ve seen this picture before: 147 times to be exact.” Another said something to the effect that he’d like to do it but most of the people he’d cast in it were dead.

Several of the agencies found a similarity to Casablanca without realizing it was Casablanca. And thirty-eight said they’d read it but rejected it. Which meant that they didn’t recognize it and didn’t think it was good enough to represent, so much for them knowing their own Hollywood history. Some of their comments included:

“I think the dialogue could have been sharper and I think the plot had a tendency to ramble. It could’ve been tighter and there could have been a cleaner line to it.” Which is especially funny since if Casablanca is known for one thing it’s its sharp dialogue.

Another said, “Story line is thin. Too much dialogue for amount of action. Not enough highs and lows in the script.”

And there were more along these lines.

Now granted, times had changed and what people look for in scripts and movies has changed. For example, Rick, the Bogart character, isn’t introduced in the movie until about twelve minutes in, if I recall correctly. At least not in the form a flesh and blood actor. That said, we know Rick quite well before Bogart comes on-screen.

And Casablanca wasn’t the first time Ross had tried something like this. In 1975, concerned that the publishing industry looked poorly on unknown writers, he typed up twenty-one pages of Jerzy Kosinski’s 1969 National Book Award winner and best seller, Steps. He sent it to four publishers, including the book’s original publisher. You guessed it, his batting average was 1000. Four rejections.

After being criticized for his process, he decided to try again in 1979. This time typing up the entire book in manuscript form and sending it to fourteen publishers, including the original four again. This time he went under the name Erik Demos instead of his own. Guess what happened?

Unanimous rejection.

Here’s part of one response: “Several of us read your untitled novel here with admiration for writing and style. Jerzy Kosinski comes to mind as a point of comparison when reading the stark, chilly episodic incidents you have set down. The drawback to the manuscript, as it stands, is that it doesn’t add up to a satisfactory whole. It has some very impressive moments, but gives the impression of sketchiness and incompleteness.”

“Evidently, Kosinski is not as good as Kosinski when Demos is the name on the envelope,” was Ross’ response to all those rejections.

No quitter, he started stuffing more envelopes and licking more stamps. This time he sent queries to twenty-six literary agents. I think you know the response. Zero. Zed. Nada. To that Ross said, “[N]o one, neither publishers nor agents, recognized Kosinski’s already published book. Even more disappointing was the fact that no one thought it deserved to see print.”

And to be fair, there was some criticism of his choice of Steps as the book he chose for his experiment. But I’ll leave that for another time.

My point pretty much follows on Ross’s. And to paraphrase from Casablanca: “I’m shocked, shocked to find that publishers or producers prefer name writers to unknowns.” So keep the faith, baby. Not all rejections are equal. And remember how fleeting glory is.

###

And now for the usual BSP:

Episode 2 of Writer Types from Eric Beetner and Steve W. Lauden is here, with a bunch of great stuff. Interviews and reviews with Reed Farrell Coleman, Joe Lansdale Jess Lourey, agent Amy Moore-Benson, Kris E Calvin, Danny Gardner, Kate Hackbarth Malmon, Dan Malmon, Erik Arneson, Dana Kaye and……….me. Be there or be y'know. 

https://soundcloud.com/user-910265603/writer-types-episode-2-joe-r-lansdale-jess-lourey-reed-farrel-coleman 

Also, I’m over at the ITW Big Thrill—Thriller Roundtable this week talking about “How long does it take you to write a book? Why do some stories flow so much faster than others?” along with Karen Harper, Jean Harrington, David Alexander, Heidi Renee Mason, Winter Austin, Adrian Magson, Susan Fleet, A.J. Kerns and Ronnie Allen. – Please come and join in the discussion.

http://www.thebigthrill.org/2017/02/february-20-26-how-long-does-it-take-you-to-write-a-book/

Coast to Coast: Private Eyes from Sea to Shining Sea is available at Amazon.com and Down & Out Books.

www.PaulDMarks.com

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Romancing the Crime

Happy belated Valentine's Day to everyone. In keeping with the spirit, let's talk about love.

When I started writing mysteries, I read several other writers who eventually wrote themselves into a problem. Unfortunately, I didn't realize that it was a problem until I made the same mistake, and now I'm finally working my way out of it.

Robert Parker, Michael Connelly, Tess Gerritsen, Linda Barnes and Robert Crais all had their protagonists pursue relationships with lovers they met during various novels, and those couplings eventually caused the same problem: how do you give a lover who no longer influence the plot something worthwhile to do in your story?

Parker had Spenser meet Susan Silverman when she was involved in an early case, and their romance waxed and waned through the rest of the series. Susan left for training on the West Coast at one point and needed Spenser and Hawk to get her out of a jam in the following book, but for several books, her only link to the story is her psychiatric training that allowed her to help Spenser with varying degrees of success. If it weren't for the expert consulting angle, she could have disappeared.

Michael Connelly commented on his website that he doesn't plan very far ahead and that he wishes he had thought more carefully about some character choices. I suspect that Eleanor Wish heads his list of do-overs. She and Harry Bosch met in Connelly's first book and reunited several novels later. But after they married, she became less and less important except as the distaff side of a failing marriage. Now she's out of the picture and Harry is raising a teen-aged daughter alone.

Tess Gerritsen straddles that same line. Jane Rizzoli married Gabriel Dean, an FBI agent she met on a case, and now we see him for about five paragraphs per book, less than the average baby-daddy. At least he shares child-raising chores with Jane, but I wonder how long that will last. And Maura Isles, Jane's co-protagonist medical examiner, finally ended her own rocky romance.

I don't remember if Linda Barnes showed PI Carlotta Carlyle meeting Sam Gianelli, the son of a Mafia family, in an early book or whether they were already a couple when the series started. Either way, Sam has gained age and influence with his peer group and Carlotta, an ex-cop, is too much of an entangling alliance. The star-crossed lovers have gone their separate ways and Carlotta is looking more favorably on Mooney, the cop she's known from the very beginning.

Robert Crais introduced Lucy Chenier in the fifth Elvis Cole novel. Again, Lucy the lawyer was crucial for that story. Crais solved part of his problem by have Lucy, a divorcee with a young son, live in New Orleans while Cole worked in LA, so they talked on the phone but had little personal contact for the following books.

Then Lucy decided to move to LA, partly for a job, but mostly to be with Elvis. Unfortuantely, she could only give him so much legal advice without possible conflict of interest, and Crais finally ended their relationship in one of his best books, The Last Detective, where' Lucy's son is kidnapped while Elvis is taking care of him. There's lots of painful emotional fallout, and Lucy pulls the plug. She still gets cameo roles in later books, but Crais figured out that a romance doesn't fly unless both characters are on the plane.

I've learned that the hard way, too. Beth Shepard, AKA "Taliesyn Holroyd," was a client in Who Wrote the Book of Death? and she and Zach Barnes became lovers before that book ended.

I planned the book as a stand-alone, but reviewers and readers visited my website to ask when Zach and Beth were coming back. Oops. It's hard when the lover is a reporter, cop, or lawyer, but Beth is half of a pseudonymous romance writing team. Her expertise doesn't include chasing bad guys.

So far, that intended one-off has grown to five books, but Beth has increasingly little to do. She does provide a major clue in my WIP when a character is reading a book she's written under her own name, but she never shows up in person in that story. I'm considering having her do research that leads to a crime and plot in a future book, but I don't know the topic...yet.

Dennis Lehane seems to be the only one who did it right, and I'm not sure he knew that at the time. Patrick Kenzie and Angie Gennaro were working together as private investigators in Lehane's first book, and they already had a history, even though Patrick was divorced from Angie's sister and Angie's own marriage was beginning to trail smoke. Angie divorced in the second book and her relationship with Patrick has had more ups and downs than the Dow Jones average. The fourth and fifth books (my favorites) were especially painful. In Moonlight Mile, written over a decade later, Lehane gives the married couple closure.

Unless both halves of the team are actively involved in a case, there's a good chance the outsider is going to become excess baggage.

My "Woody" Guthrie books have learned from Zach and Beth. Megan Traine, Chris/Woody's girlfriend, is a computer wonk for the Detroit PD. She can contribute to the story and still bat her baby browns at the good guy.

How about you? Is a series romance turning into a serious problem?

Florida News — Ebb Tide

by Leigh Lundin

The weather’s gorgeous. The temperature remains balmy while much of North America is recovering from snow and ice. Alligators are in love, kingfishers and heron trawl the waters, and nearby, Russian warships and airships frolic upon the ocean waves.

Pardon me for not discussing the Winter White House, foreign security sessions in public dining rooms, or Ivanka fashion. That’s outside our purview. The only related [fake] news is that my friend Thrush proposed turning our street into a sanctuary city for the lovely Marla Maples. I’m sure I don’t know what he means by that, other than he’s single.

The One-Day Work Week

Tampa, FL   I will touch on one point of political karma before moving on to recent news. Tampa area State Attorney Mark Ober has run unopposed in the past. According to records, he was so lackadaisical that he showed up for work about five days a month.

Maybe that’s okay if you have nothing pressing, but WalMart, a political donor, brought a $29 shoplifting charge against a 57-year-old wheelchair-bound lady. Ober sprang into action, threw on a bathrobe over his pajamas, found his office phone number in his smoking jacket pocket, and phoned in.

It’s not clear whether Ober’s (a)pathetic work ethic or WalMart donations encouraged him to pursue the case, but prosecute he did at considerable cost to Hillsborough County.

The main obstacle was the lady didn’t do it as proved by WalMart’s own video surveillance. Instead, first-day-on-the-job security guard Arismendy Rosario framed the lady apparently to show what a good little guard he was.

The jury took less than one minute to acquit. Jurors criticized the prosecutor for wasting time and money.

As for the election, Ober lost to US Department of Justice fraud prosecutor, Andrew Warren. At least Ober doesn’t have to get out of his jammies.

Target: Maybe Not the Best Name for a Store

Ocala, FL   The brilliant brain of financial genius Mark Barnett exploded with ideas how to manipulate Target Corporation’s price [TGT] by blowing the floor out of the market… and stores themselves.

According to reports, he didn’t bother leveraging options or short-selling like a really smart, evil guy, but merely planned to purchase stock after it plummeted following the detonation of bombs in a number of East Coast stores. Barnett invested $10 000 in hiring a felon to plant ten of the bombs.

Said felon turned Barnett in. The short-fused Barnett is now sitting firm on rock-solid Florida holdings.

© Orlando Sentinel

Dead Certain

Alachua, FL   Florida troopers came across a single-car accident, a car in a ditch. Inside, they found a woman. Apparently in hope of dodging a ticket, she insisted she wasn’t injured, merely dead.

When asked if she was wearing a seat belt, she replied, “Do I look stupid?” As she tried to buckle her belt, cops kindly refrained from answering.

Alcohol, as you might imagine, was involved.

Ball’s in Their Court

Gainesville, FL   Police officer Bobby White set out single-handedly to ruin my column critical of Florida officials. He defied logic, tradition, and the collective wisdom of his betters by applying gentle common sense on the job.

Answering a demand to deal with kids ‘disrupting’ a neighborhood by playing basketball at 17:00 hours or, to ordinary people, 5pm. Officer White raced to the scene of the alleged crime, leaped from his patrol car… and played a game of pick-up with the offenders.

I’m torn. He deserves a promotion where he might influence incoming rookies and entrenched authorities with his humanity, but doing so might take him off the streets, where he’d loved and respected.

Righteous, Brothers

Hermosa Beach, Ca   This addendum has nothing to do with Florida. Using a criticized DNA data mining technique, police identified the killer in an infamous four-decades-old murder case.

If you’re of an (un)certain age, you’re probably well aware of a talented music duo, the Righteous Brothers. Their ‘blue-eyed soul’ transcended genres and cultures, race and radio waves.

The singers couldn’t contrast more. Bill Medley was tall, dark, slender, and sang booming bass and baritone. Partner Bobby Hatfield was the opposite– shorter, pudgier, blond, and delivered a soaring counter-tenor.

You’ve Lost that Loving Feeling, Ebb Tide, Soul and Inspiration, Unchained Melody, White Cliffs of Dover… you know the songs.

Medley married– and divorced– Karen Klaas. Forty-one years ago, an unknown perpetrator raped and murdered her in her own home. Using mass sampling of familial DNA,^† police were able to isolate a suspect, a man killed in a 1982 prison escape and shootout with police.

It couldn’t have happened to a nicer guy.

---

† Look for a future article about familial DNA.

As the Credits Go By

In a column I posted at SleuthSayers several months ago, called "Crime (and Other) Scenes," I listed a hundred or so of my favorite movie moments, and the first category was my pick for the ten "best opening sequences." What I didn't mention, there, was that the music accompanying the opening credits can be as important as the images. Examples: The Magnificent Seven, Star Wars, The Big Country, Top Gun, The Pink Panther, A Fistful of Dollars, Superman, and many others. And while that opening music piece often has the same title as the movie, like "Jaws Theme," "Goldfinger," "The Great Escape March," "Theme From A Summer Place," etc., sometimes the director uses a song with its own name, and occasionally one that wasn't originally written for the film.

Which brings us to today's post, and my challenge to you. Can you name the movies whose opening credits used the following fifty pieces of music? The first half are fairly easy; the rest of them, not so much.
(Warning: No Googling allowed. The Shadow knows.)


Here are the songs. Their movies are included below. Good luck!

1. "The Sound of Silence" -- Simon and Garfunkel
2. "Stayin' Alive" -- The Bee Gees
3. "Up Where We Belong" -- Joe Cocker and Jennifer Warnes
4. "Gonna Fly Now," -- Bill Conti
5. "Suicide Is Painless," -- Johnny Mandel
6. "When You Wish Upon a Star" -- Cliff Edwards
7. "The James Bond Theme" -- John Barry
8. "Born to Be Wild," -- Steppenwolf
9. "Everybody's Talkin'" -- Harry Nilsson
10. "Do Not Forsake Me, O My Darlin'" -- Frankie Laine
11. "The Circle of Life" -- Elton John
12. "The Windmills of Your Mind" -- Michel Legrand
13. "Nobody Does It Better" -- Carly Simon
14. "The Deadwood Stage" -- Ray Heindorf
15. "One Tin Soldier" -- Coven
16. "Holiday Road" -- Lindsey Buckingham
17. "Real Gone" -- Sheryl Crow
18. "Moon River" -- Henry Mancini
19. "Little Green Bag" -- The George Baker Selection
20. "Also Sprach Zarathustra" -- Richard Strauss
21. "The Rainbow Connection" -- Kermit the Frog
22. "All-Time High" -- Rita Coolidge
23. "You've Got a Friend in Me" -- Randy Newman
24. "Seventy-Six Trombones" -- Ray Heindorf
25. "I Heard It Through the Grapevine" -- Marvin Gaye
26. "The End" -- The Doors
27. "As Time Goes By" -- Jimmy Durante
28. "I Can See Clearly Now" -- Johnny Nash
29. "Way Out There" -- Carter Burwell
30. "Misirlou" -- Dick Dale and the Del-Tones
31. "Come Softly to Me" -- The Fleetwoods
32. "Best of My Love" -- The Emotions
33. "The Times They Are A-Changing" -- Bob Dylan
34. "Rock Around the Clock" -- Buddy Holly
35. "Hound Dog" -- Elvis Presley
36. "What'll I Do?" -- William Atherton
37. "Tomorrow Is the Song I Sing" -- Richard Gillis
38. "Wish Me a Rainbow" -- Gunter Kallman Chorus
39. "I'm All Right" -- Kenny Loggins
40. "Sixteen Tons" -- Eric Burdon
41. "The Man Comes Around" -- Johnny Cash
42. "Across 110th Street" -- Bobby Womack
43. "For What It's Worth" -- Buffalo Springfield
44. "The Heat Is On" -- Glenn Frey
45. "The Immigrant Song" -- Led Zeppelin
46. "The Puppy Song" -- Harry Nilsson
47. "Summer in the City" -- Joe Cocker
48. "Dies Irae" -- Renny Harlin
49. "Gimme Shelter" -- The Rolling Stones
50. "It Had to Be You" -- Harry Connick, Jr.


Okay, that's it. Please put your pencils down and step away from your desks.


Answers:

1. The Graduate
2. Saturday Night Fever
3. An Officer and a Gentleman
4. Rocky
5. M*A*S*H
6. Pinocchio
7. Dr. No
8. Easy Rider
9. Midnight Cowboy
10. High Noon
11. The Lion King
12. The Thomas Crown Affair (1968 version)
13. The Spy Who Loved Me
14. Calamity Jane
15. Billy Jack
16. National Lampoon's Vacation
17. Cars
18. Breakfast at Tiffany's
19. Reservoir Dogs
20. 2001
21. The Muppet Movie
22. Octopussy
23. Toy Story
24. The Music Man
25. The Big Chill
26. Apocalypse Now
27. Sleepless in Seattle
28. Grosse Point Blank
29. Raising Arizona
30. Pulp Fiction
31. Crossing Delancey
32. Boogie Nights
33. Watchmen
34. Blackboard Jungle (and, later, American Graffiti)
35. Indiana Jones and the Kingdom of the Crystal Skull
36. The Great Gatsby (1974 version)
37. The Ballad of Cable Hogue
38. This Property Is Condemned
39. Caddyshack
40. Joe Versus the Volcano
41. Dawn of the Dead
42. Jackie Brown
43. Full Metal Jacket (and, later, Lord of War)
44. Beverly Hills Cop
45. The Girl With the Dragon Tattoo
46. You've Got Mail
47. Die Hard With a Vengeance
48. The Shining
49. The Departed
50. When Harry Met Sally


Please grade your papers. And remember what happened to #6 when he didn't tell the truth.

Here's the deal. If you failed to answer any of the questions correctly, you need to get out more. My mother's almost 91, she probably hasn't watched an entire movie since The Sound of Music, and I think even she could've answered one or two. If you got 10 correct, that's pretty good, but you're still not up where you belong. If you got 20 right, I'm impressed. (All I had to do was pose the questions--I'd hate to see how few I could've answered without the cheat-sheet.) A score of 30 correct is excellent in anybody's book, and if you got 40 right, please send me your email address so I can get some movie recommendations. And if you correctly answered all 50, you are a certified, card-carrying cinema fanatic, and I'm seriously worried about you. To paraphrase the Soup Nazi on Seinfeld, no more Netflix for you, one year! Get thee instead to a psychiatric ward.

A final question: Can you think of other opening songs for the list? And how about songs that play over the ending credits--I didn't even get into those. Or the openings for TV shows. ("Those Were the Days," "Where Everybody Knows Your Name," "Movin' On Up," "Runaway," "Harlem Nocturne," etc.) Quizzes for another day, maybe.

This kind of discussion makes me want to pop something like Escape From New York into the DVD player, put on my wireless headphones, crank up the volume, prop up my feet, and escape from more than just New York. Love that movie music.

No sounds of silence for me.

As the Credits Go By

In a column I posted at SleuthSayers several months ago, called "Crime (and Other) Scenes," I listed a hundred or so of my favorite movie moments, and the first category was my pick for the ten "best opening sequences." What I didn't mention, there, was that the music accompanying the opening credits can be as important as the images. Examples: The Magnificent Seven, Star Wars, The Big Country, Top Gun, The Pink Panther, A Fistful of Dollars, Superman, and many others. And while that opening music piece often has the same title as the movie, like "Jaws Theme," "Goldfinger," "The Great Escape March," "Theme From A Summer Place," etc., sometimes the director uses a song with its own name, and occasionally one that wasn't originally written for the film.

Which brings us to today's post, and my challenge to you. Can you name the movies whose opening credits used the following fifty pieces of music? The first half are fairly easy; the rest of them, not so much.
(Warning: No Googling allowed. The Shadow knows.)


Here are the songs. Their movies are included below. Good luck!

1. "The Sound of Silence" -- Simon and Garfunkel
2. "Stayin' Alive" -- The Bee Gees
3. "Up Where We Belong" -- Joe Cocker and Jennifer Warnes
4. "Gonna Fly Now" -- Bill Conti
5. "Suicide Is Painless" -- Johnny Mandel
6. "When You Wish Upon a Star" -- Cliff Edwards
7. "The James Bond Theme" -- John Barry
8. "Born to Be Wild" -- Steppenwolf
9. "Everybody's Talkin'" -- Harry Nilsson
10. "Do Not Forsake Me, O My Darlin'" -- Tex Ritter
11. "The Circle of Life" -- Elton John
12. "The Windmills of Your Mind" -- Michel Legrand
13. "Nobody Does It Better" -- Carly Simon
14. "The Deadwood Stage" -- Ray Heindorf
15. "One Tin Soldier" -- Coven
16. "Holiday Road" -- Lindsey Buckingham
17. "All By Myself" -- Celine Dion
18. "Moon River" -- Henry Mancini
19. "Little Green Bag" -- The George Baker Selection
20. "Also Sprach Zarathustra" -- Richard Strauss
21. "The Rainbow Connection" -- Kermit the Frog
22. "All-Time High" -- Rita Coolidge
23. "You've Got a Friend in Me" -- Randy Newman
24. "Seventy-Six Trombones" -- Ray Heindorf
25. "I Heard It Through the Grapevine" -- Marvin Gaye
26. "The End" -- The Doors
27. "As Time Goes By" -- Jimmy Durante
28. "I Can See Clearly Now" -- Johnny Nash
29. "Way Out There" -- Carter Burwell
30. "Misirlou" -- Dick Dale and the Del-Tones
31. "Come Softly to Me" -- The Fleetwoods
32. "Best of My Love" -- The Emotions
33. "The Times They Are A-Changing" -- Bob Dylan
34. "Rock Around the Clock" -- Buddy Holly
35. "Hound Dog" -- Elvis Presley
36. "What'll I Do?" -- William Atherton
37. "Tomorrow Is the Song I Sing" -- Richard Gillis
38. "Wish Me a Rainbow" -- Gunter Kallman Chorus
39. "I'm All Right" -- Kenny Loggins
40. "Sixteen Tons" -- Eric Burdon
41. "The Man Comes Around" -- Johnny Cash
42. "Across 110th Street" -- Bobby Womack
43. "For What It's Worth" -- Buffalo Springfield
44. "The Heat Is On" -- Glenn Frey
45. "The Immigrant Song" -- Led Zeppelin
46. "The Puppy Song" -- Harry Nilsson
47. "Summer in the City" -- Joe Cocker
48. "Dies Irae" -- Renny Harlin
49. "Gimme Shelter" -- The Rolling Stones
50. "It Had to Be You" -- Harry Connick, Jr.


Okay, that's it. Please put your pencils down and step away from your desks.


Answers:

1. The Graduate
2. Saturday Night Fever
3. An Officer and a Gentleman
4. Rocky
5. M*A*S*H
6. Pinocchio
7. Dr. No
8. Easy Rider
9. Midnight Cowboy
10. High Noon
11. The Lion King
12. The Thomas Crown Affair (1968 version)
13. The Spy Who Loved Me
14. Calamity Jane
15. Billy Jack
16. National Lampoon's Vacation
17. Bridget Jones' Diary
18. Breakfast at Tiffany's
19. Reservoir Dogs
20. 2001
21. The Muppet Movie
22. Octopussy
23. Toy Story
24. The Music Man
25. The Big Chill
26. Apocalypse Now
27. Sleepless in Seattle
28. Grosse Point Blank
29. Raising Arizona
30. Pulp Fiction
31. Crossing Delancey
32. Boogie Nights
33. Watchmen
34. Blackboard Jungle (and, later, American Graffiti)
35. Indiana Jones and the Kingdom of the Crystal Skull
36. The Great Gatsby (1974 version)
37. The Ballad of Cable Hogue
38. This Property Is Condemned
39. Caddyshack
40. Joe Versus the Volcano
41. Dawn of the Dead
42. Jackie Brown
43. Full Metal Jacket (and, later, Lord of War)
44. Beverly Hills Cop
45. The Girl With the Dragon Tattoo
46. You've Got Mail
47. Die Hard With a Vengeance
48. The Shining
49. The Departed
50. When Harry Met Sally


Please grade your papers. And remember what happened to #6 when he didn't tell the truth.

Here's the deal. If you failed to answer any of the questions correctly, you need to get out more. My mother's almost 91, she probably hasn't watched an entire movie since The Sound of Music, and I think even she could've answered one or two. If you got 10 correct, that's pretty good, but you're still not up where you belong. If you got 20 right, I'm impressed. (All I had to do was pose the questions--I'd hate to see how few I could've answered without the cheat-sheet.) A score of 30 correct is excellent in anybody's book, and if you got 40 right, please send me your email address so I can get some movie recommendations. And if you correctly answered all 50, you are a certified, card-carrying cinema fanatic, and I'm seriously worried about you. To paraphrase the Soup Nazi on Seinfeld, no more Netflix for you, one year! Get thee instead to a psychiatric ward.

A final question: Can you think of other opening songs for the list? And how about songs that play over the ending credits--I didn't even get into those. Or the openings for TV shows. ("Those Were the Days," "Where Everybody Knows Your Name," "Movin' On Up," "Runaway," "Harlem Nocturne," etc.) Quizzes for another day, maybe.

This kind of discussion makes me want to pop something like Escape From New York into the DVD player, put on my wireless headphones, crank up the volume, prop up my feet, and escape from more than just New York. Love that movie music.

No sounds of silence for me.

Guest Post: Harley Mazuk, author of White with Fish, Red with Murder

By Art Taylor

It's my great pleasure to welcome to SleuthSayers today Harley Mazuk, a good friend and fine short story writer who's making his debut as a novelist at the end of February with White with Fish, Red with Murder. I've been a big fan of Harley's work since his first appearance in Ellery Queen's Mystery Magazine back in January 2011—his first publication period—with the story "The Tall Blonde with the Hot Boiler," featuring PI Frank Swiver. Swiver became a series character with other EQMM stories and is the protagonist of the new novel as well—a great character springing from Harley's own love for and keen attention to the history of detective fiction.

I asked Harley to give us a glimpse at the genesis for his debut novel and at the origins of the character himself. I'll turn it over to him here—along with a recommendation to check out the book itself, due February 28.

Writing the Book I'd Like to Read

 

By Harley Mazuk

“Write what you like” is common advice to beginning writers. When I realized that I had read all of Raymond Chandler’s novels, and most of his short stories, that I’d finished the Dashiell Hammett canon too, I was at a loss for what to read next. I decided to write the next private eye tale that I’d like to read.

I’m not deluded enough to think I could keep up with Phillip Marlowe or Sam Spade. I didn’t want to write fan fiction either, but rather, something new, hopefully original, in the mode of Chandler, in the style of Hammett, a continuation of the work of these masters. I created a new private eye, Frank Swiver, a wino and a womanizer, and I set out to write stories inspired by pulp fiction, the Black Mask tradition.

I never intended to mimic Chandler’s style, with his wonderful over-the-top similes. To do so would be a sucker’s game, or a bad parody. I wanted to think like Chandler, but write like Harley. (This required copious applications of alcohol.) I wanted to create something of my own yet something that would curl into the reader’s subconscious and feel vaguely familiar.

I read The Notebooks of Raymond Chandler, a dandy little book with “Twelve Notes on the Mystery Story,” not to mention the addenda of 13 more including the pearl of wisdom: “The most effective way to conceal a simple mystery is behind another mystery. Make the reader solve the wrong problem.”

I bought a volume of Chandler’s letters, and learned he was rather an opinionated gent. And I read in “The Simple Art of Murder” of his admiration for Dashiell Hammett.

That took me to Hammett’s Moral Vision by Rhino Thompson. I added Hammett’s “24 Commandments” to Chandler’s “Twelve Notes,” (plus addenda). And I learned from an essay by Steven Marcus in The Continental Op that the P.I.’s job, when called out on a case, is to investigate the “reality” that anyone involved in the case will swear to, to deconstruct that account and construct a “reality” of his own, (a true fiction) of what really happened.

Harley Mazuk

What does the writer learn from Hammett? First, keep the prose simple. Use straightforward declarative sentences, like Hemingway might. Second, write in a voice like a private dick typing up his reports for the boss—give meticulous, objective descriptions of suspects, clothing, settings. Third, there’s value in setting your stories in situations where social institutions have broken down. And I added Hammett-like elements to my stories, such as troubled or unconventional romantic relationships, humor—preferably dry, understated wit—and a working class protagonist.

I learned to incorporate the tropes of pulp fiction I enjoy. What’s a novel without a curvy femme fatale with gorgeous gams and straight seams on her stockings? Throw in tough guys, a double cross, gunplay, murder, colorful slang, a sap to the back of the head, a crushed fedora, nefarious schemes, and . . . another double cross.

Where do I stray from the boundaries laid out by Chandler and Hammett? Well, Frank’s not a white knight like Marlowe. He’s a bit more noir-ish in that he’s lost and lonely, driven by lust as much as anything. But Frank Swiver has a moral code; it’s just not Marlowe’s moral code. Frank is non-violent, an observant (though straying) Roman Catholic, and a conscientious objector during times of military conscription. Can a pacifist make the grade as a P.I? After all, being a private dick can be a rough trade. Well, it has been a bit constraining in the types of cases Frank can take and the situations I can put him in—for instance, I don’t want to depend on a deus ex machina with a gun to burst in and save Frank. But so far (after two novels and seven or eight shorter works) putting Frank in jams and extricating him non-violently has been challenging and fun.

The other influence on Frank Swiver has been Ian Fleming’s James Bond. I chose Bond because of his totally inappropriate over-the-top drinking—a 2013 study of Fleming’s novels revealed that Bond averaged 92 drinks per week—and his ability to go into action thoroughly toasted. I also like Bond’s eye for the women, and his zest for sex, an angle I want in my stories, even if Marlowe was a bit puritanical in such matters.

P.I. Frank Swiver, of the Old Vine Detective Agency on Post Street in mid-20th century San Francisco, has turned into my “series” character. I’ve had a lot of luck with him. Ellery Queen Mystery Magazine bought my first professional effort—“The Tall Blonde with the Hot Boiler”—in 2010 and put it in their “Black Mask” section. See? If they put it in Black Mask, I must be doing something right, attaining that pulp feel I want. And though it was a long slog, through agents and finally non-agented submissions, Driven Press bought my first novel—White with Fish, Red with Murder. After a long incubation process, my book is finally coming out this month. So if you’ve been waiting for the next installment in the glorious tradition of classic P.I. novels, Frank Swiver may be the shamus for you.