All the Best to You

Personal request: If you cite this list (and I would be happy if you do) please refer to it as "Robert Lopresti’s ‘Best of the Year’ list at SleuthSayers,” not as the SleuthSayers' 'Best of the Year' list.  It's just me bloviating here, not the whole gang.  Thanks.

It is time for the thirteenth annual list of the year's best mystery stories as determined by yours truly.  It goes without saying that the verdicts are subjective, personal, and entirely correct. 

Sixteen stories made the list, one fewer than last year.  Ten stories were by men, six by women.  The big winner was Alfred Hitchcock's Mystery Magazine with five stories.  Ellery Queen's Mystery Magazine had four.  Two more came from the Mystery Writers of America anthology.

Four of the stories were by my fellow SleuthSayers, a talented bunch.  With no further ado, here is the hit parade:

Allyn, Doug. "Hit and Run," in Ellery Queen Mystery Magazine, November/December 2021.

This is Allyn's third appearance in my best-of list.

Imagine you are stuck in traffic on your way to an important, even life-and-death meeting. Now imagine you get rear-ended by a woman who is not paying attention. But the frosting on the cake is that the accident makes your trunk fly open, revealing the bag of cocaine you are bringing to the meeting.  Many twists and turns...

Aymar, E.A. "The Search for Eric Garcia,"  in Midnight Hour, a Chilling Anthology of Crime Fiction From 20 Authors of Color, edited by Abby L. Vandiver, Crooked Lane Books, 2021

The protagonist's life is going down the tubes.  His daughter died in an accident that he feels responsible for, although the authorities disagreed.  His wife is living with Eric Garcia, who owns the store where our hero works.  Eric is everything he is not: a confident, successful man.  And our protagonist feels that the world isn't big enough to hold both of them. This is a very clever story, one where the telling is  essential to the plot. 

Benn, James R., "Glass,"  in Alfred Hitchcock's Mystery Magazine, September/October 2021.

A superconducting super-collider goes boom and a piece of 21st-century technology is blasted back through time to 1965 where it is discovered by hapless recently-fired salesman Guy Tupper.  Guy brings it to his cousin Jerry who runs a repair shop.  Together they figure out just enough to get the device working, and then...  One plot twist made me gasp out loud. 

 

 Cummins, Robert.  "The Phone Message," in Ellery Queen Mystery Magazine, March/April 2021.  

This is the author's first story.  The beginning may remind you of Columbo.  In the first scene Carole Donaldson calmly kills her husband.  Later, and just as calmly, she tells the police officer leading the investigation that she had tons of motive.  But she also seems to have an unbreakable alibi...

Fisher, Eve.  "The Sweet Life,"  in Alfred Hitchcock's Mystery Magazine, July/August 2021.

Eve Fisher is, of course, my fellow SleuthSayer.

Carrie is a teenager who has had a rotten life.  She considers her time with Ethan to have been a highlight because, while he made her sell drugs, he didn't force her into prostitution. 

When that arrangement collapses she lucks into a gig with an agency that cleans houses.  She likes the work, even though some of the customers are a little weird.  But then someone from her previous life threatens to ruin everything.

Goffman, Barb, "A Family Matter," Alfred Hitchcock Mystery Magazine, January/February 2021. 

Barb is another fellow SleuthSayer.

It is 1962 and Doris lives in a very nice suburb called The Glen.  Most of her friends are married to men who work for the big pharmaceutical corporation in town.  The neighborhood has standards.  

And the new neighbors do not meet them.   They raise chickens and hang laundry in their yard.  Doris is determined that these offensive violations of community norms will not be permitted.  But when she realizes a very different norm is being broken she has to determine what really matters in the neighborhood.

Harrington, Karen. "Boo Radley College Prep," in Ellery Queen's Mystery Magazine, January/February 2021. 

Tony is fifteen years old, short on luck and, he will tell you, short on brains.  A hurricane has forced him and his mother to move in with the brother of his deceased father, and it isn't a happy or healthy home. 

Right down the block, however, is what his uncle calls "the Boo Radley house," a spooky-looking joint whose owner never appears in public.  Curiosity - and the hopes of earning chore money - causes Tony to visit.  He meets a grouchy old man with a lot of brains and good reasons to hide.  Can these desperate souls help each other?

Haynes, Dana. "The Waiting Game," in Alfred Hitchcock's Mystery Magazine, July/August 2021.

This is my first encounter with Fiero and Finnigan who run  St. Nicholas  Salvage & Wrecking, which is actually a bounty hunter firm that chases international bad guys.  Finnigan has been kidnapped by very nasty Russians who want Fiero to revert to her old occupation of assassin. A cunning plan, but neither of the partners intend to play by the rules. I was reminded of that classic TV show The Avengers.

Helms, Richard, "Capes and Masks," Mystery Weekly Magazine, June 2021.

This is Helms's second appearance in my annual best-of-list.  

"You know the story. Stolen by aliens who crashed my fourth birthday party.  Returned when I was seventeen, but I was somehow... different than when I left.  Well, duh,  I was thirteen years older, had all this weird hair growing where it never had, and my voice sounded like I was shaving a cat with a cheese greater."

If that sounds a bit... hardboiled... for a superhero story it is no accident.  He is Captain Courageous but his cover identity is Eddie Shane, private eye.  He mostly deals with divorce work but when a caped dude named Sunburst is found mysteriously dead, this is no job for a superhero.  We need a gumshoe to save the day.  

Jacobs, Tilia Klebenov , "Perfect Strangers,", in When A Stranger Comes To Town, edited by Michael Koryta, Hanover Square Press, 2021.

Gershom is finishing his second prison term for armed robbery when his cellmate Dougal points out the new gold mine: marijuana dispensaries.  Cash-rich and security-poor, they are a robber's dream.  So when he gets out Gershom begins to plan an elaborate robbery, because he does not intend to go down a third time:  "If this went sideways, they'd lock me up and melt down the warden." 

Lansdale, Joe R. "The Skull Collector," in Collectibles, edited by Lawrence Block, LB Productions, 2021.

He was a tough old guy, Ruby said.  Big, could crack walnuts with harsh language, chase a squirrel up a tree with bad breath. She had to use an axe handle to sort the guy out a little.  It wasn't too bad.  He was able to leave on his own, though not without a certain amount of pain and difficulty...  

That tells you a lot about Ruby, sure, but we also find out a lot about the narrator, especially that "It wasn't too bad." What does she consider a real problem?  How about having to steal a skull from a cemetery?

Light, Larry. "The Trouble with Rebecca,"  in Alfred Hitchcock's Mystery Magazine, November/December 2021.

Max is a "tech geek," working for a company that does hush-hush security stuff.  Because he hates the social side of work he invents Rebecca, a non-existent wife.  This imaginary person is his excuse to avoid after-work events and the like.  

Works great until he falls in love with a co-worker.  How do you rid yourself of a wife who does not actually exist? 

Thielman, Mark. "Catch and Release," in The Fish That Got Away, edited by Linda M. Rodriquez, Wildside Press, 2021.

This is the  third appearance in this column by my fellow SleuthSayer.

I let a murderer go today. That's how the tale begins. You might feel that the prosecutor is being a little hard on himself, because he did try his best to get Thomas Edmonds convicted.  (Didn't he?)

He walks you through the trial, through every maddening moment that caused his case to slip away.  And through it all Edmonds sits there, as cool as a bystander at a church picnic.  No wonder the narrator is so upset.  But then unexpected things happen...

Walker, Joseph S.  "Crown Jewel," in Moonlight and Misadventure, edited by Judy Penz Sheluk, Superior Shores Press, 2021. 

The publisher sent me a copy of this book.

Keenan Beech is a compulsive collector of vinyl, and his golden fleece is The Beatles, better known as the White Album.  The first few million copies have a number stamped on the cover and collectors like Keenan keep buying, buying, buying them, trying to get closer to the elusive lower numbers. 

But his big problem is his identical twin Xavier.  Keenan is a hard working guy; Xavier is an unsuccessful scoundrel.  And when a record store offers Keenan a rare copy of the White Album for a mere five grand Xavier somehow gets his hands on it first by, duh, pretending to be Keenan.

Witt, Amanda, "Relative Stranger,"  in When A Stranger Comes To Town, edited by Michael Koryta, Hanover Square Press, 2021.

Glory Crockett lives on a farm and one day a stranger knocks on the door.  What's disturbing is that he resembles her husband, Owen.  Turns out his name is also Owen Crockett.  He's the bad-news cousin who has spent most of his life in prison, "a one-man crime spree."  Now here he is, with a glib charm that rings completely false.  And somewhere outside  is Glory's husband and four young sons...

Zelvin, Elizabeth.  "Who Stole the Afikomen?" in Ellery Queen Mystery Magazine, March/April 2021.

My fellow SleuthSayer has written a hilarious story.  Andy is a Catholic and he is about to meet his new fiance's extended family at their Passover dinner - his first experience at a seder.

Uncle Manny kept saying, "Focus, people, focus.  We've got a goal here."

"To get the Jews out of Egypt?" I whispered.
"To get past the rabbis to the gefilte fish," Sharon whispered back.
"Is that the Promised Land?"
"The pot roast is the Promised Land."

X Minus 15

Working in the district attorney's offices for both Dallas and Tarrant Counties, a prosecutor always had the benefit of an investigator to help put our criminal cases together. The investigator, usually a retired cop, would serve subpoenas, help locate witnesses, accompany assistant district attorneys to witness meetings in sketchy parts of town, and generally do what was necessary to help make a case prosecutable. 

They also drank coffee, lots of it. 

In Dallas, a cluster of investigators would gather each morning in Big Steve's office. There, they'd tell their old cop stories. Most rarely washed their coffee cups. Instead, they'd shake the stray drops into the trash can and set the cups aside in preparation for the next morning's "intelligence briefing." 

A part of the conversation invariably involved making lunch plans. DA investigators tended to go to lunch early. Real early. 

It made sense when you view the typical business model of those offices. Courts usually had morning dockets. The prosecutors would arrive, gather up their files, and later their laptops, and then disappear to court to negotiate with the defense bar. During dockets, prosecutors placed few demands on the investigators. If they ate early, the investigators could be back in place when the assistant DAs returned from court, well-fed and poised to aid the prosecutors in case preparation. They went to lunch early as a favor to the prosecutors. 

At least that was the story. 

From listening to old cops and assistant district attorneys, the golden era of crime-fighting was always today's date minus 10-15 years. 

When I started, I "shoulda been here a decade ago." 

When I stopped, the new hires, "shoulda been here a decade ago." 

And so the cycle continued. 

Jim, the retired motorcycle cop, had a great story about using his bike's police radio as a polygraph when interviewing witnesses. They'd put their hands on the bike's Dallas Police Department emblem. The radio would squawk when the interviewee was prevaricating. 

Paul, a diminutive man with a slow drawl, had the reputation as a cop who could handle himself in a crisis. If Paul called for backup, officers raced to his location. If he needed help, things were serious. Paul had a bucketful of stories. 

Sometimes they told tales of old prosecutors. Frank had arthritic fingers and a drawl to match Paul's. They'd tell about him in court, standing before the jury and pointing his fishhook of an index finger toward the defendant. Over the top of his glasses, he'd stare down the accused and call him a "malefactor." Back in the day, the jurors might not know what "malefactor" meant. From Frank's poisonous tone, they knew they didn't want to be one. 

Paul, Steve, Vicki, Art, Jim, and many other old-timers enriched my life with stories about their golden eras. I'm grateful for the tales they told. I wished I'd listened more and better. 

My story, "The Family Cycle," in the SINC North Dallas anthology, Malice in Dallas, taps into some of those long-ago memories. The story isn't a retelling of any one person in particular but rather a mosaic pieced together from a number of the folks with whom I had the pleasure to work during my time at the Dallas County District Attorney's office. 

I'd be remiss at this point if I didn't thank Barb Goffman, the editor of the anthology, for helping to make my mishmash of memories and thoughts into a coherent and workable story. 

Turning a distant memory into a short story offers several distinct advantages. I had the seed of an idea. The process allowed me to step back into that golden era for a little while. The hazy nature of my recollections made them easier to combine and craft into a piece of fiction. I couldn't get too hung up on any of the details. The cumbersome bits have been lost to time. 

I imagine we all have a tale about an overheard conversation at a Starbucks, a snippet that turned around in our heads and re-emerged in a story we've written. Big Steve's, I recognized now, was my neighborhood coffee shop serving Folgers and memories. 

If I'd known then that I'd be spending my time these days trying to tell crime stories, I'd have spent more in Steve's office soaking up the tales. Some of them were probably even true. 

I'd also have bought the coffee. 

I'll be traveling on the day this posts. 

Until next time.

Gettin' Back My the Mojo

I used to outline my novels but not my short stories. For them, I'd jot down the basic idea and let it ferment for a few days until the main points worked themselves out. Then I started writing. I usually had a fairly clear idea of the solution if it was a mystery, but I always struggled with how the sleuth would figure it out. That's still one of my biggest problems, and may explain why I write more "crime" stories than true mysteries with a solution.

Recently, an idea tapped on my shoulder, and the more we got acquainted, the more she felt like a novella, which meant I needed a subplot to flesh out her figure. One plot is tough, and subplots, variations on the major theme, are exponentially tougher. In my Zach Barnes series, Barnes's girlfriend Beth Shepard is a writer in her own life, but she also makes book appearances as "Taliesyn Holroyd," who writes over-the-top bodice-ripper romance novels. The real writer is male, but his publisher pays Beth to dress to thrill at signings and pose for pictures on the website because everyone "knows" romance writers are women. The pen name is an in-joke, too: Taliesyn was the legendary bard of King Arther, and even though the name sounds feminine, the guy, if he really existed, was a man.

Consequently, every Barnes story that involves Beth also has a subplot revolving around identity. The most compicated of those, The Night Has 1000 Eyes, involved a character with Dissociative Identity Disorder, what we civilians call "Multiple Personality," and I used Beth's experimenting with different names (Elizabeth, Betty, Betsy, Lizzie, Elspeth, etc.) as she grew up to amplify that same idea.

You see where this is going, right?

Well, I overthought the new idea so much that I painted myself into an intellectual corner. A short story or a novella is short enough so I can go back and tweak detals later to make everything fit instead of micro-planning. The novella is neither fish nor fowl, or maybe both fish and foul play, so it falls between. 

When that idea appeared to me several weeks ago, I knew it required some research, and the sources of the info I needed were close at hand. Unfortunately, I fell down the rabbit hole and got so interested in the research that it got in the way of my half-formed plot. It crowded out the mystery and I couldn't find a way to connect them. It got so bad I even developed a chronological list of scenes (My version of an outline), which I've never done for a short story or novella. The 8000 words in eight or nine scenes kept bouncing off one wall and into another like a racquetball on steroids. I finally put all my ideas and scenes and fragments into a separate file and stuck it in a dark corner so I could go on about my other copious and crucial business. 

Two weeks later, that same idea started nagging again, like the six-year-old in the back seat demanding, "Are we there yet?"

Last week, I decided to attack the story from the opposite direction and introduce the research idea later, which turned it into a subplot without further effort. I spread all those old notes and jottings across my desk and went to work with my favorite fountain pen (A Parker Sonnet, if you care).

Some of the characters would still work, and different details blended with them I found a crime that could logically connect to the research eventually, too. Even better the subplot would become a red herring.

I started writing again with more energy than I've felt in months, no outline, beginning in a completely different place, and using some different people, except for Zach Barnes. I quit every night knowing what the next scene would be. 

Last night, as I lay in bed listening to the wind whipping our foot of new snow, the idea crawled under the covers and spoke to me again. A soft voice whispered, "He didn't do it." That hasn't happened since Megan Traine told me her huge sad secret when I was struggling with Woody Guthrie over a decade ago. The best thing was that I wouldn't have to change any of the new stuff to find the right culprit; adding four or five sentences to a couple of early scenes would fix everything.

When the story starts telling you where you're wrong, you know you're REALLY on the right track. I don't know when I'll finish this first draft. It's not aimed at any deadline, so I don't even care. But it feels like it might actually happen.

Jimi Hendrix once said, "I play a whole concert, some nights I'm just trying to find that one pretty note."

Well, I found that one neat twist.

I've been away a long time. 

How do YOU know when it's really working?

From the Response Time Front

It's a frequently asked question on the Short Mystery Fiction Society posting board as to how long the wait time is for  replies on short stories submitted to Alfred Hitchcock Mystery Magazine.  The publication's website does not currently provide an official response time, so I mostly depend upon other submitting authors to get an idea of how long my submissions will ne relaxing in the magazine's e-slush pile.

In the last year, according to my personal notes, the response times I had received were running at about eleven to twelve months. Based on that information, I expected to get a reading and a response about November 29, 2021 for my November 29, 2020 short story submission. Therefore, my mind settled in to wait until then with no expectations until about that date.

As time drew close, I learned that two of our contributing SleuthSayer authors (John Floyd & Rob Lopresti) had each recently received a response of acceptance about fourteen months after they had submitted their stories. I subsequently readjusted my mind to a new date of January 29, 2022. Come the evening of January 9, 2022, I was pleasantly surprised to receive an e-mail of acceptance from the AHMM editor. That made for a thirteen month and one week turnaround. The editor must've been reading like crazy over the Christmas and New Years holidays, while the rest of us were socializing, in order to knock three weeks off the response time during that short of a period of time.

Naturally, I understand that some authors don't like that long for an acceptance or rejection on their submission. And yes, it does tie up a story for a length of time. In which case, my suggestion is to write more stories, send out more submissions and forget about them for a while. In the meantime, to improve your odds, write and submit more.

As for my track record, the AHMM editor had just accepted my 48th story in her magazine. That gave me a 66.66% acceptance rate. I will admit the acceptance rate had been higher than that at one time, but it seems I hit a speed bump last year when I received a run of four straight rejections. Now, with that 48th acceptance in hand, I will use this information to more carefully decide what story content and writing style to send her in the future, which should improve my odds. It's a learning curve.

One more slant on the long wait time. It has been mentioned before that whereas EQMM has a shorter turnaround time, that editor tends to read the first few pages of a submission and if the author doesn't capture her interest in those pages, then the read is finished. The editor of AHMM tends to read the entire manuscript, which admittedly does take more time.

Of course, there is another fairly well-paying publication out there where the author's submission is not acknowledged as received and the author may never receive a reply of acceptance or rejection, in which case the submission sets in limbo unless the author sends an e-mail or letter of withdrawal.

In the end, it's the author's story, the author's time involved and the author's decision or business model as to how they wish to proceed on where to submit their creations.

Best of luck to you all. I love reading good stories.

And, while you are here, give us your thoughts on the submission process.

MacGuffins

  

A MacGuffin, according to Wikipedia, is "an object, device, or event that is necessary to the plot and the motivation of the characters, but insignificant, unimportant, or irrevelant in itself."

I like that definition, and I like MacGuffins. I like them so much I used them as the basis for my story "Mayhem at the Mini-Mart," which appears in the current (January/February 2022) issue of Alfred Hitchcock's Mystery Magazine. The original name for this story, in fact, was "MacGuffins." And by the way, this is the only story, of the two dozen I've sold to AHMM, that involved a title change. Editor Linda Landrigan sent me an email in October asking if I'd mind changing it from "MacGuffins" to "Mayhem at the Mini-Mart" because they wanted to use it for the cover of the Jan/Feb issue and the other title could be more easily used in the cover art. I of course said that'd be fine with me, and it was--but MacGuffins are still the heart of the tale.

Here's a quick summary of the story. Two brothers in the deep south who run a web-design business and love movies are taking a one-day break from work to go fishing together. On their way to the lake they amuse themselves in the car with a game in which one of the two describes a MacGuffin and the other tries to name the movie that features it. When they stop at a filling-station/convenience-store to gas up and grab some snacks, they interrupt a robbery-in-progress by a man who, according to what they heard earlier on their car radio, has already robbed and murdered an attendant at another mini-mart nor far away. And, as it turns out, the movie guessing-game they've been playing is the way they save themselves, and save the day.

At 2300 words, it's a fairly short story--a lot shorter than most of those I've sold to AHMM--and the first half is almost entirely dialogue between the two brothers. That, and the movie theme, made it great fun to write. As for its sale to AH, I suspect it didn't hurt that the term "MacGuffins," although it originated with a film guy named Angus McPhail, was adopted by Alfred Hitchcock and became a common plot device in storytelling. 

With regard to the definition, Wikipedia also describes a MacGuffin as something that is revealed in the first act, then declines in importance, and might reappear at the end of the story. One of the things I like most about the technique is that a MacGuffin serves as a way to link the entire story together, and is sometimes so important to the characters that it drives the plot. Examples: the One Ring in Tolkien's trilogy, the magical suitcase in Fantastic Beasts, the Ark of the Covenant in Raiders.

Anyhow . . . to steal from the text of my story and to include a few other movies I also remember fondly, here's a list of some MacGuffins and the films that used them.

Letters of transit -- Casablanca

The body of a boy hit by a train -- Stand By Me

A giant emerald -- Romancing the Stone

Microfilm of secret government documents -- North by Northwest

A glowing briefcase -- Pulp Fiction

A tattooed map to Dry Land -- Waterworld

A clause from a secret peace treaty -- Foreign Correspondent

Rosebud -- Citizen Kane

A Persian rug -- The Big Lebowski

A WWII soldier whose brothers have all been killed in action -- Saving Private Ryan

A rabbit's foot -- Mission Impossible III

Secret plans for the Death Star -- Star Wars

A black statuette -- The Maltese Falcon

A harmonica -- Once Upon a Time in the West

A coded message in a piece of music -- The Lady Vanishes

Walley World -- National Lampoon's Vacation

An audiotape of a summit-meeting speech -- Escape from New York

A silver necklace with a blue heart -- Titanic

A necklace with a gold-and-red heart -- Vertigo

Radioactive uranium in wine bottles -- Notorious

A red stapler -- Office Space

A consignment of diamonds from a jewelry shop -- Reservoir Dogs

An empty Coke bottle -- The Gods Must Be Crazy

A boy who'll save the world in the far-distant future -- Terminator 2

A baseball bat carved from the wood of a tree -- The Natural

Plans for an aircraft engine -- The 39 Steps

The Holy Grail -- Indiana Jones and the Last Crusade (among others)

Project Genesis -- Star Trek II: The Wrath of Khan

A pocket watch that plays chimes -- For a Few Dollars More

A child's doll stuffed with heroin -- Wait Until Dark

Do you agree with these? (MacGuffins can sometimes be vague.) Can you think of others? Have you ever used MacGuffins in your own fiction? There's a chance you probably have and didn't realize it--I know I've done that.

One last point: I've heard that the key part of the word MacGuffin is "guff," which means utter nonsense. And maybe that's true.

But it works.

One-Horse Town

 This week, I'm working on a short story, the first in a while that isn't intended for a specific market. Remember that old cliche with the woman tied to a railroad track as the 3:15 to Yuma bears down on her? It's a staple of westerns, but I thought about what that might actually entail if it really happened in 2022. It helps that, on the two days I go into the office, I drive through a quaint little village called Glendale, which is bisected by a major CSX line. Yes, I'm a dork. I watch the trains. So, I fictionalized the village and needed a name.

Do you know how hard names are to come up with? It took me years, literally, to come up with Monticello for Holland Bay. And like a lot of my small town stories, this one takes place in the fictitious constellation of suburbs around Monticello. But it needs a name.

I considered Fernwood and discarded it. Fernwood, for those of you of a certain age, served as the setting for two shows, Mary Hartman, Mary Hartman and Fernwood 2night. Based on a clip from the latter, in which Tom Waits is shanghaied into performing "The Piano Has Been Drinking," I deduced Fernwood existed somewhere along the Ohio Turnpike., which crosses the northern part of the state. Well, Monticello sits to the north, and Fernwood gets a passing mention in both Holland Bay and several short stories that need to come back out of the vault. 

But Fernwood came off as a bit too cutesy. I then considered Willowbrook, a town that not only gets mentioned in passing but features in a short story about a burglar dressed as Santa getting all Grinch on a trailer park on Christmas Eve. In some ways, Willowbrook is based on Lodi, the far-flung exurb of Cleveland where I grew up. (Yes, we all got sick of WMMS playing Creedence's "Lodi" long after Creedence had faded from airplay. Boy, did we get sick of it. It was still playing when the Sex Pistols flamed out and Bruce Springsteen became the king of rock and roll.) And it doesn't really fit the mold for a fictionalized Glendale.

So...

Lift a town from a previous fictional work, one not named Fernwood. Well, Sherwood Anderson wrote about Winesburg, a town based on the very real Clyde, Ohio (which is now, apparently, a suburb of Monticello. Thanks, Sherwood!) Only...

For six months in 1991, I lived ten minutes from a town called Winesburg. In the heart of Ohio's Amish Country. Not quite what I was looking for. It started looking like an homage to another Ohio writer wouldn't work. 

Okay, what about history? Monticello's location in my fictional Ohio sits at the very edge of the historical Connecticut Western Reserve. If you've been to Cleveland or any of the surrounding towns and counties, you see Western Reserve plastered all over the place. It's one of those names like Northcoast that define the region. But I looked more toward Connecticut, which somehow managed to make Northeast Ohio part of the state early on. Virginia and Pennsylvania did that, too, but Pennsylvania borders Ohio, and West Virginia and Kentucky used to be part of Virginia.

A lot of towns in Ohio derive their names from towns in Connecticut. I could have gone with any of the New England states. There's a Boston Township near Cleveland, and settlers from Worcester, MA, came to north central Ohio and decided the English city that gave their hometown its name was spelled stupidly. So they spelled is Wooster. There are only two possible pronunciations. (Mind you, the 1800s was the golden age of simplified spelling.)

But I stuck with good old CT. I avoided Mystic. Too obvious and too close to Dennis Lehane's Mystic River (still my favorite crime novel ever.) But there's a Hartford. There's a Bridgeport. There's a Windsor. All in Ohio. Some are large towns. Others barely a speck on the map - a gas station, a church, and a scattering of houses all in a space shorter than my street in suburban Cincinnati.

One town in CT did not have a town in Ohio: Stoneport. So, in the Celloverse (Can I coin that, or do I need a fan base to do that for me?), settlers from Stoneport, CT came to the Monticello area in the early 1800s to found a town named for their point of origin. So, now I had a town name. Now I could get on with the business of one of Stoneport's uniformed officers finding a woman tied to the track at 3 AM with an Amtrack train bearing down on her.

What? That's not a thing?

Same Old Rodeo

It's a bleak cold January day, up here in South Dakota. The legislature has been called into session, and the usual barrage of anti-transgender, anti-abortion, anti-CRT, anti-academic freedom, and anti-[insert title here] bills are flying around the Capitol like the snowflakes they are. 

The impeachment hearings for AG Ravnsborg are on-going.

Governor Noem took time out of her busy schedule to go to a gun show in Las Vegas.

Somehow I believe that the firearms and ammunition business would continue to thrive out here, even if she hadn't attended. But she got on TV!

The Summit Arena in Rapid City, SD is going to host the Black Hills Stock Show from January 28-February 5th. This event generally hosts 200,000-300,000 attendees, and so the announcement was made: "As COVID-19 cases continue to rise, there are no health requirements or mandates in place for the event. The Monument officials encourage everyone to stay home if they are sick and be respectful of others." (KELO)  Which makes perfect sense when you realize that right now 1 out of every 25 South Dakotans has an active case of Covid-19. Come for the fun, stay for the ventilator…

So, how to chase the blues away in dark January? Watch TV!

My latest recommendation is Mr. & Mrs. Murder, an Aussie comedy-mystery on Netflix. "Nicola and Charlie Buchanan run an industrial cleaning business specialising in crime scenes". They're also funny, quirky, and it's always sunny and bright. Only one season, but 13 episodes, so enjoy!

Available now on Prime: the Death in Paradise Christmas Special.  

On my soon to be watched list are a couple of police procedurals: Bergerac (Britbox), set on the Isle of Jersey, and Candace Renoir set in France.

And I've just heard that the 4th Season of The Good Karma Hospital has dropped in Britain, which means it will be coming soon to Acorn, which I watch via Prime. TGKH stars Amanda Redman, which makes it a must-see in my book anyway.

Not so cheerful, but fantastically well done is the 1987 production of Carr's A Month in the Country (set in post-WW1 Britain) starring unbelievably young future stars Colin Firth and Kenneth Branagh in their first screen roles, & Natasha Richardson in her second. The uncovering of the medieval mural is an experience in itself, along with the eventual discovery of who / what / why...  

Another wonderful walk down nostalgia lane is Cider With Rosie - there's one version, with Timothy Spall (2015), available for free on Amazon, and another (1998), with Laurie Lee (the author) narrating it available on Tubi.  On a dark January day, either is worth it for the wildflowers alone...

And let's not forget Peter Ustinov as Hercule Poirot:  Evil Under the Sun (1982) where he's joined by Maggie Smith, Diana Rigg, James Mason, Jane Birkin, Roddy MacDowell and/or Death on the Nile where he's joined by Bette Davis, David Niven, Simon MacCorkindale, Jane Birkin, Olivia Hussey, Jack Warden, George Kennedy, Angela Lansbury, Maggie Smith, and Mia Farrow all over-acting their little hearts out.

Back to Netflix and comedians:  we laughed our heads off at Russell Howard's Lubricant, Jim Gaffigan's Comedy Monster, Nate Bergatze's The Greatest Average American, Gina Yashere's stand-ups, including her on the new season of The Standups, and many, many more. Plus I just keep Tom Papa's You're Doing Great on file, ready to cheer me up on cold, gray days like today.

Enjoy!

Rogue Male

My sister sent me a book she picked up at the Blue Hill Library book sale, remarking that A) it had my name on it, and B) a woman she knew had written the introduction.  It’s a recent paperback edition of Geoffrey Household’s Rogue Male, a much celebrated and compelling yarn: think The Most Dangerous Game with Nazis thrown in. 

The first and best movie version is Fritz Lang’s Man Hunt, released in 1941 - Household’s novel came out in 1939 - once you get past Walter Pidgeon in the lead.  (I’ve never bought him in anything, which includes How Green Was My Valley.)  This stumbling block aside, Man Hunt has the hugely endearing Joan Bennett – considerably less sympathetically cast in Woman in the Window and Scarlet Street, two later pictures with Lang – and the impeccable George Sanders at very possibly his slimiest, outdoing even the blackmailing bottom-feeder Favell in Rebecca. 

Here’s the hook.  Pidgeon, a renowned big-game hunter, stalks Hitler in Berchtesgaden, and has him in his sights, but he’s caught before he pulls the trigger.  He’s tortured by the Gestapo to get the truth out of him.  Sanders, the most sophisticated and sadistic of the secret police detail, is convinced Pidgeon could only have been acting on instructions from British intelligence.  Pidgeon escapes, through dramatic contrivance, and gets back to England, but Sanders and his goons follow him home.  Enough spoilers.

The most significant difference between the book and the movie is that Household drops you in media res.  There’s no preamble, and no back story.  In fact, the hero, the country, and the target go unnamed – you can certainly infer that it’s Hitler, but he’s never specified.  The book opens with the guy already on the run, and the details get filled in as you go along.  All you know is that he’s being pursued by malevolent adversaries.

This is very much John Buchan territory, The Thirty-Nine Steps.  The paranoia, the noose tightening.  Which is also familiar to Fritz Lang.  Household uses a journey narrative on both the surface level and belowdecks, though.  There’s an atavistic bass note.  In the wild, paranoia is your ally, a sense of the immediate, fight or flight, whether the environment presents as hostile or tame.  Landscape can be psychic, or magicked, just as well as physical. 

This isn’t a new storyline, by any means.  Household is reinventing, or reimagining, a descent.  Beowulf goes into the cave, to face Grendel’s mom.  Orpheus challenges the god of the underworld.  When the guy in Rogue Male goes to earth, literally, like a badger or a bear, hiding in a hole in the ground, he becomes earthen, old, primal. 

Nor is this simply habit, or trope.  This is a theme, for Household.  Victoria Nelson, a Goddard scholar and the author of Gothicka and The Secret Life of Puppets, says in her introduction to this newer edition of the novel, that he’s walking back the clock.  That in order to survive against the primitive, primitive instinct has to resurface.  Old wine in new bottles, we might say.

For all that, it’s one hell of a good story. 

Building the Perfect Editor

A magazine issue, an anthology,
and a couple of collections
make for a pile of editing.

Over the years I’ve had several thousand pieces of writing accepted for publication, ranging from fillers, jokes, and anecdotes to essays and various forms of non-fiction, to short stories in a variety of genres, to a handful of novels. My work has appeared in anthologies, journals, magazines, newsletters, newspapers, webzines, and other types of publications. I have sold original work and reprints. I have written on assignment, on invitation, and on spec. I have been paid bupkis for some projects and have received payments in the low four figures for others. I have been paid promptly but often not, and too often promised payments never materialized. Through all of this, I have worked with many great editors and with a few who should die from a thousand paper cuts and be left on the side of the road for feral hogs to devour.

Because I have recently been doing more editing than ever before and because I don’t wish for my paper-cut-riddled body to be left on the side of the road, I’ve been pondering the attributes of the perfect editor.

For me, that editor responds promptly, pays promptly (and handsomely), publishes everything I submit, edits with a deft touch that puts a brilliant shine on my near-perfect prose, puts my name on the cover, sends numerous contributor copies, ensures that my work is seen by the most influential reviewers (all of whom recognize my brilliance), and ensures that my work is considered for every appropriate award and best-of-year anthology. No matter how much of an ass I am to work with, a great editor never badmouths me, my work, or my highly inflated ego, and always picks up the tab when we go for dinner and drinks.

CREATION

The reality is that no editor can meet my expectations. All are constrained by the budgets and policies of their publishers as well as by their own strengths and weaknesses.

Still, I can dream, and my dream is to play Dr. Frankenstein and build the perfect editor from the best parts of the editors with whom I’ve worked, all the while hoping my assistant doesn’t bring home the brain from “Abby Normal.”

I would start by creating the environment in which the editor works: A well-funded publishing company that believes in treating content providers (writers, artists, photographers, and others) as important collaborators to be respected and not as necessary evils to be tolerated.

The editor would have an unlimited amount of time to accomplish tasks and would have stellar support staff, from editorial assistants to designers to contract managers to bookkeeping and accounting staff.

The editor would have all the necessary tools, from the latest hardware and software to appropriate reference materials to comfortable seating and favorite writing implements.

The editor would have the ability to focus on a single task when appropriate and the ability to juggle multiple tasks when necessary.

The editor would have a superior sense of story and the ability to pinpoint exactly where and why a story jumps the rails.

The editor would have superior copyediting skills or a trusted assistant editor with these skills.

The editor would have infinite patience to work with new writers and guide them through the publishing process as well as to answer the same questions ad nauseam.

The editor would have exemplary people skills and, perhaps more important, a sense of empathy that allows the editor to understand what writers experience when they sit at the keyboard to create or when they anxiously check email every thirty-seven seconds awaiting responses to queries, submissions, and revisions.

RELEASE

Alas, once I release the perfect editor into the world of publishing, the newly created creature, lovingly assembled from the best of every editor who has ever existed, is likely to become a jaded, foul-mouthed, chain-smoking, hard-drinking SOB whose days consist of rejecting the brilliant work of new writers, publishing the work of washed-up hacks, introducing errors during editing, complaining about the production department, lobbying for a raise (if on-staff) or a bigger advance (if freelance), and bemoaning its failed writing career.

Damn, I really need to quit staring in the mirror when I write these things.

DISCLAIMER: Nothing in this post is intended to resemble any actual editors, living or dead, except those devoured by feral hogs.

James A. Hearn and Michael Bracken
at the 2019 Shamus Awards Banquet
in Dallas.

“Blindsided,” co-authored with James A. Hearn and published in the September/October 2021 issue of Alfred Hitchcock’s Mystery Magazine, has been nominated for an Edgar Award.

Congratulations to fellow SleuthSayer R.T. Lawton, whose story “The Road to Hana” (AHMM, May/June 2021), was also nominated for an Edgar.

Seven Steps

Nancy Pickard is a U.S. crime novelist. She has won five Macavity Awards, four Agatha Awards, an Anthony Award, and a Shamus Award. She is the only author to win all four awards. She also served on the board of directors of the Mystery Writers of America.

I don't remember exactly when I met Nancy Picard, sometime in the early 90's is my guess. That was when I began to first be published and Elmer & I opened our mystery bookstore in Austin in 1990. I remember she & both were very early members of Sisters in Crime and Nancy is a past National President of S-in-C. I do know I've always admired her mystery novels. Reading Nancy's books are like peeling an onion back to  add to the story and destroy your early guesses. Naturally, you must keep turning pages and peeling layers until you get to the end & the solution. 

When I read this article about Nancy's book: Seven Steps on a Writer's Path, I knew I wanted to share this information with all of you. Her book is available in both Paperback & Kindle formats. Page numbers refer to the trade paperback edition.                                                                                                                — Jan Grape

As Nancy Pickard looked back over her own career and that of her many writer friends, she saw herself and most of them struggling through stages of unhappiness, of wanting, of commitment, of wavering, of letting go, of immersion, and of fulfillment. It looked very much like a path to her, and it felt true, in the way only actual lived experience does feel.

"And thus was born the Seven Steps on the Writer's Path. At first it was a workshop given   by me, then it was a retreat presented by Lynn, and now it is a book written by both of us." p. xii

SEVEN STEPS

by Nancy Pickard

Starting Out

"Writing is a path as full of darkness as it is of light, and so the way ahead is hard to see. There are so many ominous shadows, unpredictable gusts of wind, unexpected blinding shafts of sunlight. It’s easy to get lost, to trip over our own hidden roots, or plunge unaware into unexplored caverns in our psyche. As writers, we hardly ever know where we’re going. The only thing most of us know how to do is to keep putting one foot after the other in the darkness and trust that eventually we’ll get there." p. 1

When Lynn and I each started our own writing careers, we didn’t even know there was a path, much less that there are steps along it. We hope that knowing these things will give you an advantage that writers who came before you didn’t have.

Step One: Unhappiness

"Call this step in the creative process what you will, according to your own experience of it. Name it the 'creative urge,' if you like. Call it an 'itch' or 'creative tension' or 'restlessness' or 'discontent.' Regardless of what label any of us gives this step, it’s a common state and the first step for all of us.

"Unhappiness, to one degree or another, is where all creativity begins." p. 9

What a way to start a book, with unhappiness! But we had to, because that’s where the writing starts… or the drawing… or the music… or any other form of creativity. We discovered early on that the steps in this book apply to any creative person, not just to writers.

Step Two: Wanting

"It sounds so simple. All you have to do is want. But it must not be that simple in real life, or else why wouldn't more people be writing what, where, when, as much, and as well as they want to? Instead, they're still languishing in a state of unsatisfied desire. They're stuck back in step one, Unhappiness, and they can't seem to get out of it, no matter how bravely they face it or how honestly they acknowledge what they want from writing.

"The trouble may be that most of us tend to assume that wanting is only about feeling. Certainly, depth of desire is part of the answer, but what we're missing when we stop there is the second part of wanting, the action part…" pp. 38-39

This chapter required Lynn and me to be excruciatingly honest with ourselves and our readers about what we really want in our lives and our writing. It was good for us. It'll be good for you, too.

Step Three: Commitment

"Some people might joke that writers need to be committed, rather than to have commitment, and sometimes we feel as if we can only agree with them. It’s probably true that we're all at least a little bit crazy. But then, truly committed people usually look a little-or very–crazy to the outside world. If you don't look just a little bit nuts, you’re probably not committed enough. Writers like L. Frank Baum -- whose The Wonderful Wizard of Oz was rejected dozens of times -- who keep sending their manuscripts to publishers look like crazy fools to people who will be only too glad to tell them so." p. 70

Step Four: Wavering

"Wavering tends to arrive when it’s least expected and least welcome. Certainly, you'd never willingly invite it, but surprise, here it is. Such as when you're forty pages into a book and you thought it was going to be smooth sailing from here on out, but now you’re stuck. Or like when you’ve submitted your poems to magazines and you're feeling really good and hopeful about them–and the rejection letters start coming in. Or like when you've arranged to write for a couple of hours every day, and then other responsibilities crop up, just when you thought you had them beat down." p. 103

This is one of those steps where it's truly wonderful to know that you have lots of company. You're not alone. You're not the only crazy one. I'm there with you many days. So is Lynn. So is every writer we know and all of the ones we don’t know. We all waver. We all hate it. We all get through it, one way or another, and having each other's hands to hold is a big help and comfort.

Step Five: Letting Go

"Letting go is the magic moment when you step off into space, trusting that you won't fall on your face. As the philosopher Soren Kierkegaard said, when we make a leap of faith, it is the actual act of stepping out that creates a bridge to see us safely to the other side." p. 137

This is my favorite step of all. I adore this step. This is where miracles happen. This step sometimes terrifies me. A lot of times in my life I have wanted, oh how I have wanted, to take this step, but I just couldn’t do it. And then sometimes I do take it, and oh, the joy of that!

Step Six: Immersion

"… be loyal to your writing. Be just as loyal as you are to your dearest friend or loved one. If your friend or your child really needed your attention, would you let your attention wander? Or would you ignore the telephone, put everything else on hold, and turn fully toward him or her? Your writing deserves that kind of loyalty and attention, too. If you can't or won't manage to show as much loyalty to your writing as you show to your friends and family, we guarantee that while you may experience moments of writing bliss, you'll never experience the satisfaction of going all the way.

"Be loyal." p. 177

It's hard for a lot of people, some women especially, I think, to be loyal to their writing, or even to think of it in that way. They let everything and everybody pull them away from it, as if they couldn't care less. But they do care, we know they do, and they suffer for it. If only they knew, their writing wants their love and attention, too!

Step Seven: Fulfillment

"So we have to ask you: where’s your cart, and where’s your horse?

"Here are some telltale things that writers say that alert us to improper horse/cart placement. You'll have to pardon us if our answers sound a bit jaded; we've heard these more times than you'd care to know: 'Should I copyright it first?' (You should write it first.) 'What if I send a query to several publishers and they all want it?' (You should only have such problems. Just worry about writing it.) 'What if somebody steals my ideas?' (Just write the damned thing. If you're worried about burglars, get a gun.) 'I've written three chapters of a novel. Should I start sending it out to agents now?' (No, you should write Chapter 4 now.) 'I was thinking of sending my poems out now and waiting to do my rewriting after I hear what the editors have to say.' (We're thinking you should rewrite them now, or you will never hear from any editors.)" p. 208

Dare to dream big, we say in this chapter, but keep dreaming small at the same time. Go ahead and visualize your name on a best-seller list, but also visualize yourself writing that next sentence, paragraph, and page.