Midstory Surprises

  

I've always enjoyed plot twists. I love it when a novel or movie or short story suddenly changes direction--and it doesn't have to be a surprise ending like The Sixth Sense or The Usual Suspects or Planet of the Apes. Effective twists and reveals can happen anywhere in the story, and in my opinion, the bigger the change, the better.

I've written a lot of these story twists myself, and encountered a lot of them when I'm watching a movie, or reading. So, since I was recently thinking about this kind of thing and also wondering about a topic for today's SleuthSayers post . . . 

Here are a few movies that had what I think are memorable and mid-steam plot twists. I liked them all.

Psycho -- The first of the two big surprises in this movie happens before the midpoint, but it's still a good twenty minutes or so into the story. All of you know what it is--Janet Leigh said in an interview that she only took baths afterward, never showers--and it turns what starts out as a theft-and-getaway story into an edge-of-your-seat horror/suspense film.

Marathon Man -- Midway through the movie, we discover that the two characters we've been watching separately, in their own story-worlds, are closely connected--in fact they're brothers. The novel, by the great William Goldman, used the same surprise, and perfectly. This is one of my favorite midstory reversals.

Titanic -- Starts out as a romance and becomes, when the iceberg shows up, a disaster movie. (Not that we didn't expect it.) This reminded me a bit of what happened in the lesser-known Miracle Mile.

The Village -- This one begins as an otherworldly love story/horror story in which residents of a small settlement live in fear of terrible unseen creatures in the surrounding forest--and then becomes a real-world suspense tale. It's probably worth mentioning that none of my writer friends liked this movie. (What do they know? I loved it.) 

 From Dusk till Dawn -- When a group on the run from the law after a bank robbery stops at a bar in the middle of nowhere, the story turns into a vampire/horror flick. Tarantino at his zaniest.

Gone Girl -- Here, the audience discovers in midstream that the girl who's gone is instead alive and well, and--of course--everything changes as a result. Similar, in that respect, to Laura and The Third Man.

Vertigo -- An investigation suddenly becomes a strange romance. This one also reminded me a bit of Laura. 

A History of Violence -- At about its halfway point, a small-town hero is revealed to be ruthless former assassin, and because of this, a local crime story becomes a movie about mafia hitmen. Another little-known movie that 's one of my all-time favorites--probably because I've always liked watching Ed Harris and William Hurt.

Sunshine -- This one changes in the middle from a science-fiction film to a horror/slasher movie.

Predator -- Same kind of thing. Starts out as a jungle rescue operation and turns into a science-fiction/horror tale.

The Sound of Music -- A romance movie becomes (admittedly late in the story) a suspenseful drama about escape from the Nazis. Not a great example, but I wanted to at least mention it.

Bone Tomahawk -- Changes suddenly from a Western to a horror movie. (I read someplace that this one starts out as True Grit and becomes Cannibal Holocaust.)

L.A. Confidential -- This is one of five films I can remember (Psycho, Deep Blue Sea, Executive Decision, and Pulp Fiction are the other four) where one of the most famous and top-billed of its actors is unexpectedly killed off fairly early in the movie. Each of these reversals is an absolute and intentional shock, and leaves the stunned audience wondering What else might happen?

Not that it matters, but here are a few more midstory events that changed everything:

- The chest-buster scene in Alien

- The restaurant murders of McCluskey and Solozzo in The Godfather

- Maggie breaking her neck in the boxing ring in Million Dollar Baby

- The T-Rex escape in Jurassic Park

- The near-miss shark attack on Chief Brody's son in Jaws (turned a land-based investigation into a seagoing survival movie).

NOTE: Also interesting about the above five examples is that four of these films were the original installments of what would become hugely successful multi-movie franchises.

Can you suggest other midstream reversals that I've missed or forgotten? Do you think this kind of plot shift--and jolt to the reader/viewer--adds value to the story? Can you think of any surprises like this that didn't work? How about your own writing--if you use plot twists, do they ever happen in the middle of your story or novel? 

That's my rant for today. Take care, and keep writing!

Plotting Your Story with Aeon Timeline

I’ve spent the last year working on a nonfiction ghostwriting project for a client who got a deal to deliver a memoir about, shall we say, his military career. (Our contract precludes me from spilling many of the details, but I’ll try to work around it.)

Recently, I asked the client a question that puzzled even him.

“Did you return home at any point during your first deployment?”

“No, why?”

“Because your first daughter had to have been conceived during that year. If you were overseas…”

I stopped shy of asking him who the father really was…

A few days later I got a flurry of humorous texts from his wife. They both had a good laugh over my question. Yes, she recalled, he did come home once during that period of time. (She had photos of a romantic dinner and getaway weekend to prove it. Not that I needed it!) By the time Dad returned home again, a beautiful three-month-old baby was waiting to greet her father for the first time.

“That’s so funny,” the wife told me. “It was so long ago, we forgot that little detail. How did you figure it out?”

Normally, I can use these moments to brag that I’m the greatest reporter ever. But in this case, the tipoff sprung not from my brain but from a piece of software that I’ve been using to plot the book.

The software is Aeon Timeline. Product developers use it to plot the trajectory of their real-life projects. Scholars and historians use it to map out their areas of study, both Before Common Era (BCE) and Common Era (CE). Lawyers use it to plot litigation strategies and timelines. Writers of all stripes use it to map out fiction and nonfiction. Screenwriters presumably can do the same.

This is not the world’s most expensive software. You’ve got it forever for $65. If you want annual updates, that will run you a little extra. All completely tax deductible for a professional writer.

What do I like about the program? I can list every single character in the book I’m planning, inserting their birth and death dates. From that moment forward, whenever Character A meets Character B in the timeline, the software automatically calculates each person’s age down to the years, months, and days. For the project I’m working on now, I can insert real-life historic events—the election of presidents, dates of wars, what-have-you—and everything will populate on my screen, showing me how people, places, events all intersect.

As you can imagine, this can be pretty useful for mystery writers working with tricky timelines. On its website, Aeon actually uses Murder on the Orient Express as one of their case studies. (I have reproduced some of the Orient Express screenshots here, but you will find them infinitely more readable on this page of Aeon’s website.) 

That novel is a good example because everything hinges on the events occurring over one night aboard that infamous train. Poirot nimbly tucks away all the details in his little gray cells, but I’m pretty sure Dama Agatha plotted her story using a handwritten version of what Aeon shows us in these screenshots.

If you need to keep track of murder weapons, locations, character traits, etc., you can easily create a new entry and start tracking that plot point or detail. 

I guess you could say the software is remarkably flexible. I like that about Aeon Timeline. I also sorta kinda hate it. This is one of those software programs that rewards a long learning curve. Luckily, there is a knowledge base, forum, and developer support on the software’s website, not to mention countless YouTube videos to help you piece together how to use it.

Early on in this project, I found myself spending a tedious week trying to input all our nonfiction milestones into the software. I pulled the details from a mountain of documents the client shared with me. Four or five days into this, I had to ask myself if this was all worth it. Was I wasting my time? Couldn’t I just hand-write the details on sheets of paper, the way I’d always done?

I could have, but then I would have had to keep a mountain of paper at the ready. Instead, once I input everything into the program, I tucked the reams of paper into a banker box, forgot about them, and focused on the unfolding story instead. Every time I did another interview with the client, I spent a few post-call minutes plugging new dates and times into the program.

Aeon has been a lifesaver, and I’m eager to try it again for an upcoming fiction project. I think you’d get the best mileage out of Aeon using it to plot longer projects such as novels, novellas, or anthology book series. One feature I’m eager to try is Aeon’s narrative timeline, which allows you to drag and drop plot points from one timeline into a secondary timeline that mimics how you will actually structure the book.

Example: A scene actually occurs at the end of the timeline, but you can drag it into the prologue position. That could be a valuable feature if you were planning a project with an abundance of flashbacks.

All that said, Aeon might be helpful if you’re writing a short story of unusual complexity. Since my short stories tend to be, ahem, fairly clueless, I don’t think it would be smart to plot them digitally. Most of the time, a sheet of scrap paper with a five or so plot points is enough to keep track of where I’m going. And besides, I enjoy writing short stories precisely because dense outlines aren’t necessary.

It may not look like it, but I really do try to limit the amount of software I use in my daily work. If something doesn’t blow me away with its usefulness, I chalk the whole thing up to an experiment that didn’t pan out, and delete the program from my computer. Because, in the end, who really has the time?

I’ll discuss another software program for writers when I see you in three weeks!

Joe

josephdagnese.com

Thoughts on Writing & Memory

Memory is the treasury and guardian of all things.

                  – Marcus Tullius Cicero, On the Orator

My brother-in-law has a saying. "With family, it is best to have a short memory."

I was thinking about this quote during a recent conversation I had with my wife. She showed a photo of something and I asked her what it was. She said to me, "I showed you this thing just the other day.

I responded with an intelligent, "You did?"

And she said, "Yes, and you said at the time, 'Looks exactly like I pictured it.'”

I have no memory of this conversation. Or had no memory of it, until my wife reminded me of what I said.  And I think this is an interesting illustration of how tricky human memory can be.

And what’s even trickier is trying to write human memory in all of its forms: straight remembering; having some thing tickle at the back of your skull, but you can’t quite put your finger on it; not remembering at all, etc.

Luckily we're not talking about THIS kind of "Memory."

One of the things that I have always prided myself on throughout my life, is my memory. Now deep in the midst of my late 50s, I find certain names dates, etc., elude me and I have to reach for them. 

I have also noticed, as illustrated in the instance related above, that my mind is pretty efficient about discarding memory that is trivial or completely unimportant to my long-term goals, to my long-term interests, or to anything other than being in the moment. 

And yet other such memories, the feeling of hiking the Virgin River in Zion National Park, for example, that could be a cursory memory that some people wouldn’t remember. And yet I do, and I don’t just remember the hiking. I also remember the sun filtering off the canyon walls, the smell of the river, as I waded through it, the sound of people murmuring to each other as they hiked up the river, and so on and so forth.

Like I said, memory is a tricky thing. 

And it's even more dicey to effectively to write about it. 

Some examples that spring to mind (Warning: there are a few SPOILERS looming ahead)

In his novel Inferno Dan Brown has his protagonist Robert Langdon awaken in an Italian hospital with no memory of the past several days, and he spends the lion's share of of the rest of the book trying to put together some fragmented images and some sentence fragments, especially the repeated phrase “very sorry,” repeated over and over again. Turns out he was thinking of the Italian artist and art historian Giorgio Vasari.

For my money, Brown draws this out quite a bit longer than necessary, and this eventual "revelation" is expected to carry far too much of the load as a plot transition point. This is no criticism of Dan Brown. Far from it. I'll be the first to say that his experiment with the vagaries of a fragmented memory and their collective effect on the narrative, especially when the point-of-view character is the one struggling with their memory, is one worth taking. And it's definitely a larger risk than I have taken in my own fiction writing.

This trope has been around for a while. Memory loss has frequently been used as a crutch tossed into any number of formulaic novels/films/TV shows over the years, with mixed results. Thinking especially of some good examples (The Prisoner, starring the inimitable Patrick McGoohan, comes to mind) and some hokey ones (Pretty much anything produced by 60s/70s Hollywood TV heavyweight Quinn Martin, with the exception of The Fugitive and The Streets of San Francisco).

And there are , of course, many other relatively recent novels/films that have played around with sketchy memory: not least the Guy Pearce vehicle Memento, which turns on the point of view character having brain damage that has affected his ability to process short-term memory into long-term memory, and Dennis Lehane's terrific novel (and the Martin Scorsese-helmed film of the same name adapted from it) Shutter Island–a master class in the use of an unreliable narrator.

Other successful novels (and films adapted from them) in the unreliable narrator vein include such bestsellers as The Girl on the Train and The Woman in the Window, neither of which I have read, and both of which I am given to understand make use of questionable memory on the part of the main character (at least in part alcohol-induced). 

There have been so many films of this variety, that the whole subgenre even has its own excellent parody: the 2022 Netflix miniseries The Woman in the House Across the Street from the Girl in the Window. It's worth your time. Kristen Bell alone as the main character is worth the price of admission.

For me, though, no one has ever done the "shattered memory holding back the main character, who must race against time to put the pieces together" thing quite so well as thriller master Robert Ludlum.

I'm talking, of course, about Ludlum's masterwork, The Bourne Identity. And yes, I am well aware that Ludlum's novel has long since been adapted into a rightly well-regarded series of thriller films starring Matt Damon and Brian Cox. If you haven't seen these films, I urge you to do so. They are incredibly well-done.

And yet, if you haven't read the source material, Ludlum's original novel...even if you have seen the movies based on it, I strongly urge you to give the book a chance. There are so many differences between book and movies, and I don't want to spoil them, so I'll just close with a phrase that Ludlum used (to vastly greater effect) as his own earlier version of Brown's "very sorry":

"Cain is for Carlos, and Delta is for Cain."

How about you? Favorite works of fiction that play around with memory? Challenges you have faced trying to play around with memory in your own work? Let us hear from you in the comments section!

See you in two weeks!

Today in Mystery History: February 1

 

Today is our 12th exciting journey into the past of our amazing field.  Hang onto your blunt instrument.

February 1, 1878.  H.C. Bailey was born in London.  His most prominent creation was  a surgeon and amateur detective, Reggie Fortune.  He also wrote about an attorney, the unfortunately named Joshua Clunk.

February 1, 1920. British novelist Colin Watson was born.  He wrote about Inspector Purbright and Lucilla Teatime (another interesting name).  He also produced a history of crime novels between the wars called Snobbery with Violence.

 February 1, 1924.  "Night Shots" appeared in Black Mask Magazine.  It was Dashiell Hammett's seventh story about the Continental Op.  

February 1, 1925. Top Notch Magazine featured "The Case of the Misplaced Thumb" (and now the titles are getting weird).  It was Erle Stanley Gardner's first novelette about Speed Dash (another name for the books), a human-fly turned crime fighter.  I don't mean that he was a character from the movie The Fly.  He was an acrobat, able to climb walls unaided.

February 1, 1929. Dashiell Hammett's novel Red Harvest was released.  It was his second novel about the Continental Op.

February 1, 1976. Robert Martin died. In the forties he wrote for Black Mask, Dime Detective, and other pulps.  In the fifties he started writing novels, many about Cleveland private eye Jim Bennett.  Bill Pronzini, who corresponded with him in his later years, called Martin "a genuinely nice man." 

February 1, 1989.  P.D. James' novel Devices and Desires was published.  It was the eighth appearance by Adam Dalgleish.

February 1, 1993. Publication date for Marissa Piesman's Heading Uptown.  Piesman and her protagonist were both Jewish New York attorneys.  The books were funny.  She used to write them on the subway on the way to work but, alas, she changed jobs , shortened her commute, and stopped writing them.

February 1, 2000. Peter Levi passed away.  This English author was an interesting fella.  He was a Jesuit priest until his forties.  He became Oxford Professor of Poetry and discovered (in California!) a poem he claimed was written by William Shakespeare.  Most scholars disagreed.  He  wrote several mysteries starting with the wonderfully titled The Head in the Soup in 1979. 

 

 

The Importance of Emotional Motivation in Fiction

I'm on vacation, so I'm rerunning a post from last winter (with minor changes). It's about the use of emotional motivation in crafting characters, using my short story "Beauty and the Beyotch" as a teaching tool. This column is timely because this story was named a finalist for the Agatha Award last week, sharing category honors with authors Cynthia Kuhn (for her story "There Comes a Time"), Lisa Q. Mathews (for her story "Fly Me to the Morgue"), Richie Narvaez (for his story "The Minnesota Twins Meet Bigfoot"), and my fellow SleuthSayer Art Taylor (for his story "The Invisible Band"). I'm looking forward to seeing them all at the Malice Domestic convention in April. But first ... emotional motivation.

 

Writers know their characters should be real, distinct, and engaging, but that's easy to say. How do you go about doing it? Focusing on voice—what and how a character speaks and thinks—is an important part of the process of making your characters come alive off the page. Another is understanding what drives the characters. This latter element played a key role when I wrote my newest story, "Beauty and the Beyotch," which was published last February in issue 29 of Sherlock Holmes Mystery Magazine. Here's the teaser:

"Beauty and the Beyotch" is a story about three high school girls told from two perspectives about one thing: their struggle to make their deepest desires come true. What happens when those dreams collide?

These girls' motivations drive all the action in the story and make them who they are. So, who are they deep down?

 

Elaine is an insecure spoiled girl who yearns for acclaim and fame. She is afraid that Joni (her best friend, Meryl's, new pal) will get the starring role in their school's upcoming musical, Beauty and the Beast—a part Elaine not only craves but believes is her due. Elaine is desperate to avoid such humiliation, which she fears would undermine her long-term goals.

Joni is shy, an introvert. The idea of auditioning for the show scares her. But she also badly wants to please her mother, who starred in her own high school productions and who keeps encouraging Joni to spread her wings and make some friends. So, despite her anxiety, Joni decides to try out for the spring musical.

Meryl is caught in the middle of her friends. More than anything, she wants to be a mensch—a good, kind person. It's what prompts her to befriend Joni, even after she learns Elaine doesn't like her, because she can see Joni needs a friend. Because of incidents from Meryl's past, being good and honest means more to her than anything else. But when Elaine's and Joni's goals collide, Meryl is forced to make heart-wrenching choices that strike at the essence of who she wants to be.

So, we have three distinct characters, each driven by something different. But are their goals substantial enough to justify their actions? To make them believable and to make readers care about what happens in the story?

 

The answer for Elaine is an easy yes. Her dream of becoming an actress is something people can understand, if not relate to. The longing for celebrity is well known in our culture, and Elaine believes getting the starring role in the school musical is a key part in her path to fame. In contrast, Joni's and Elaine's deepest desires are quieter. Joni wants to please her mother. Meryl wants to be a good person. I wonder if readers might be skeptical about these goals. Are they important enough to warrant being described as the girls' deepest desires? Are they strong enough to drive Joni's and Meryl's stories?

Thinking about crime fiction brings these questions and their answer into stark relief. When crimes are committed, we know that there can be a superficial reason driving the perpetrator as well as a more meaningful reason. For example, Bob Smith robs a bank because he needs to pay for his mom's nursing home. His reason is practical, but deep down, it's also very personal. He cannot allow himself to be the son who lets his mom down again, and he will risk anything to be a better person for her, even if it means being a bad person in the eyes of the law. What's driving Bob is personal, all about how he sees himself and wants to be seen in his mother's eyes. Yet I'm sure readers would think these needs are meaningful enough to believably drive his actions and could lead readers to become invested in what happens to Bob, even if they think his actions are wrong. 

 

With that in mind, let's return to Joni and Meryl. Just like Bob is driven by a personal reason, so are Joni and Meryl (and Elaine, for that matter). Each girl's past has turned her into the person she is as the story begins, be it a fame-seeker, a mother-pleaser, or a mensch. They're all desperate to get what they need emotionally, and those needs, those passions, those deepest desires, are believable, even if they aren't what many would think of as big dreams. They've set these three girls on a collision course, and the result is a story that I hope readers will find compelling.

So, when you are crafting your stories, think about what drives your characters deep down. It doesn't matter if their needs involve careers or more personal desires. It only matters that you make the characters feel real. Basing their actions on their emotional motivations will hopefully enable you to bring the characters to life in complex, compelling, and engaging ways.

 

Want to read "Beauty and the Beyotch"? You can read it on my website by clicking here. Or, if you'd prefer to buy the issue, it's available in ebook form and trade paperback from the usual online sources. 

Word salad? Dig in.

 
I fell in love with words at an early age.  I don’t just mean a love of literature, but of the individual words themselves.  One strong influence was all the adventure books from the late Victorian and early 20^th century passed down from my father and grandfather that I devoured like giant bowls of buttered popcorn. 

They were written in the style of the 19^th century, which leaned toward the purple and prolix.  Ornate language peppered with words you’d never see in contemporary literature, much less hear in everyday conversation.  I’d look up their meaning in my brother’s exhausted Merriam-Webster’s, and catalog the definition in my tender memory.

I also used quite a number of these forgotten words and usages in my earliest writing, much to its detriment.  Few high school English teachers had ever heard of Stygian darkness or a flexile snake.  Or would approve of a stern expression being described at a stately countenance, or a homeless guy on a street corner as a mendicant.  But I did.

By the way, Victorian writers often interchanged “he exclaimed” with “he ejaculated.”  Even as a junior writer I knew this was an anachronistic usage best avoided. 

It wasn’t until I started reading Hemingway, that god of succinct and efficient prose, that it dawned on me:  big words – worse, obsolete words – make you sound ridiculous and pretentious.  This was somewhat countered by James Joyce, who used every word in the language, and conjured a few neologisms of his own, but did so with such poetical brilliance that few griped about it.  Not being Joyce, I’d simply choose to pop in a bit of obscure vocabulary every once in a while, and wait for the editors to circle it and write, “Huh?”

I’m not the first logophile, by any means.  William Buckley famously confounded even hyper-educated PBS viewers with the sweep of his lexicographical panache, often insulting his guests on Firing Line without a breath of reproach, since they’d have no idea what he just called them.  Shakespeare is not only the Greatest English Writer of All Time, his vocabulary is still thought to be the largest ever recorded.  And this without Google, or dictionaries for that matter.  But I’d also commend modern writers such as Anthony Burgess, Tom Wolfe, Joyce Carol Oates and Christopher Hitchens as no slouches in this department.

English has been described as a whoreish language, in that it will copulate and reproduce with every other language on earth without shame or regret.  That’s how we ended up with so many words, so many derivations, such richness of expression.  The French, of all people, find this tendency unseemly, and try to block outside influence, which is one reason why English is now the closest thing we have to a common world tongue. The new Lingua Franca. 

With such an enormous and diverse palette to choose from, it takes discipline to select words that get the immediate job done, though I can’t resist the occasion when a big, fat, juicy splotch of verbal obscurity seems like just the right thing.  It may not always serve the purpose of my writing, but it’s fun. 

Even ineluctable. 

 

Simple Mathematics

 

Mathematics is derived from two Greek words:

    'Manthanein' meaning 'learning' and 'techne' meaning 'an art' or 'technique.'

Mathematics simply means to learn or study or gain knowledge. The theories and concepts given in mathematics help us understand and solve various types of problems in academic as well as in real life situations. Mathematics is a subject of logic.

So, now let's see how we can use mathematics to reduce real life undercover situations to simple equations.

Our first equation would look like this:  IM + T = PD

IM stands for Informant Motivation which has several subsets

    Revenge: the informant wants revenge on a criminal because of a real or imagined hurt

    Money:  The informant wants or needs money and therefore is willing to work for law                         enforcement on a limited basis

    Leniency:  the informant has a case against him and is cooperating to get less or no time                        on his sentence 

    Rival:  the informant wants to cripple or get rid of a rival criminal/criminal organization

    Public Minded:  the informant doesn't want this particular criminal/criminal organization                       in his neighborhood

    Profession:  yes, there are informants who travel from city to city and work this as their                         profession

T stands for Trust. If the informant is in good standing with the criminal/criminal organization, then more than likely when the informant introduces the undercover agent to the criminal/criminal organization, they will accept the undercover agent.

    NOTE: T does not mean that the undercover agent or agency should blindly trust the informant. Think about it. The informant is scamming the people he is introducing the undercover agent to, so sooner or later he may start scamming the agent and enticing him into a bad situation or even breaking the law in some fashion. After all, a criminal has no better currency for getting out of a jam than to offer up a corrupt cop.

The Russians have an old proverb, "trust, but verify."

As we Americans have recently applied this saying to China, "distrust and verify."

PD represents our Potential Defendant. Now, put it all together. A motivated informant (IM) who is trusted (T) means that an undercover agent should be able to acquire whatever evidence or contraband goods are needed to end up with the arrest of a potential defendant (PD).

Our second equation would look like this:  O + G =BB

    O represents opportunity

    G is the target's greed

    BB means buy bust

Here's an example of Opportunity. A hashish dealer travels to the Middle East, scores several blocks of blond Lebanese hashish, conceals the hashish in the walls of three smuggler's trunks, ships one trunk to a friend's house in Miami and the other two trunks to his unsuspecting mother in Sioux City, Iowa. Unfortunately for him, Customs has drilled a hole in one wall of each trunk and retrieved core samples of hashish.

The one trunk is delivered to the friend's house in Florida, the recipients open the trunk with glee, but soon spy the the drilled hole and flee out the back door. They are as they say, "in the wind."

The other two trunks are delivered to mom's house in Sioux City. Dear old Mom is soon reading a search warrant and wondering what the heck is going on. Law enforcement remove the trunks and recover two letters from prospective buyers of the hashish. These two letters, containing the prospective buyer's telephone numbers, provide the opportunity.

Now comes the Greed. I use the first telephone number to call the wannabe buyer in Omaha. I explain that the big dealer is currently taking care of business in Florida and therefore he has asked me to make some calls to deliver the hash from the other two trunks. How much would he like to purchase? We arrange for me to call him in the near future to set up a time and place for the transfer of hashish and money. Now remember, this is the first time this guy has met me and that's over the phone. Greed has blinded him from taking precautions. He gets a warning call before I call him back and he subsequently joins the In The Wind Program. Lucky him.

I call the second number, located in Des Moines, not part of our Resident Office territory. This future arrestee arranges to meet me in in a tavern. He describes himself, sets the time and place and says he will be sitting at the bar. All is agreed, but since our agency has temporarily run out of travel funds, I contact an agent in our Des Moines office and provide him with the details. He and his partner only have one block of black hashish available to them from old evidence, so they wrap up some slender telephone books to make it look like they have more. The agent meets the future arrestee in the bar. They talk. Future arrestee mentions that the agent's voice sounds different than on the phone. That should have been his first clue, but greed intervened.

They go out to the parking lot. Agent takes the block of real hashish to the future arrestee's vehicle. Future arrestee's partner goes to the government car where 2nd agent waits with the rest of the hashish blocks (wrapped up phone books). After future arrestee sees the real hashish sample block then the exchange will take place. Future arrestee mentions the hashish is black instead of blond. That should have been his second clue. Agent makes up story. Once again, greed overrules good sense. The idiot produces the money, and since we can't let the hashish walk, the agents bust them, seize their money and vehicle and return the hashish to old evidence. Thus, Opportunity (on our part) plus Greed (on their part) equals a Buy Bust.

These simple equations can also be applied to plots for crime, mystery or spy stories, merely change the circumstances.

Enjoy.

We, The Jury

It's Derringer time, and that's prompted me to think about the whole literary jury process.  I've been on several, and this guest post below, by my good friend and author Jayne Barnard, really speaks to me.  How about you?  Have you ever been on a literary jury?  Please tell us your experience in the comments below.

We, the Jury...

by J.E. Barnard

When a crime writer hears the 'J' word, they can be forgiven for thinking Twelve Angry Men, A Jury of Her Peers, or any book, movie, or news article about a trial.  Maybe our minds veer to Grisham novels about juries or the Richard Jury mysteries by Martha Grimes.  Rarely do we consider the other kind of jury:  the one that decides on a writers' award.  Whether it's the National Book award, the Giller Prize, the Governor General's Award, the CBC or Writers Trust, or--particular favourites of crime writers--the Edgars, Agathas, Daggers. Derringers, Theakston's Old Peculiar, and Canada's own Crime-writing Awards of Excellence (formerly the Arthur Ellis Awards,) there's a jury behind it.

After two decades of serving on writers' juries in the Canada and the USA, for fiction and non-fiction, children and adults, short fiction and long, even for plays and scripts, I've got some thoughts to share about what makes a good juror and why writers would, indeed should, try jury work at least once in their literary career.

Who sits on a writers' award jury?

The fact is, juries are made up mainly of readers and writers like you.  Award-winning authors, multi-series authors, one-book authors, true crime authors, short story authors, journalists, bloggers, reviewers.  Other seats are filled by those working in the publishing industry, or in libraries, or those with subject area experience like lawyers, prosecutors, criminologists, pathologists, cops.  But mainly writers and readers.

What makes a good crime writing juror?

1.  Someone who loves crime writing.  Writing it, reading it, listening to it, watching it.

That juror represents all readers of that crime category.  Ideally, they're aware of what's hot in crime writing and tropes that are past their prime.  The good juror accepts that, as much as they personally may love the Golden Age detective authors like Agatha Christie and Dashell Hammett, the genre has moved on, and the awards moved on with it.  The good juror knows that even though they personally love cozy cat mysteries with recipes or serial killer POV scenes in alternating gory chapters, the genre is far wider than both and they must evaluate all entries in their category not on what they personally prefer but on how well the author has executed a work according to its place on the crime writing spectrum.

2.  Collaboration.  This essential qualification is too often left unstated.  It's rare that a single book or story rises to the top of every jury member's list.  Any category may include several eminently worthy candidates for the top slot.  Jurors need to communicate their shortlist selections clearly to fellow jurors and be able to defend those choices with calm, clear language, while respecting other jurors' alternative perspectives.  Only together can jurors develop a short list that reflects the breadth of excellence in that category of writing.

Other qualifications:  your writing credentials and your relevant life experience.  A working children's librarian or elementary school teacher is better placed to evaluate a Children's and Young Adult category than, say, a retired criminology professor who taught adults and has no regular contact with child and adolescent readers.  It's not that the latter couldn't evaluate the writing and the structure, but that they're unfamiliar with what readers in that category are currently consuming and what those readers value in a book or story.

What other qualities does a good juror bring?

Ideally, they're familiar with:

• the award's writing language (in Canada, so far, that means English or French) including a solid grasp of grammar, punctuation, and spelling.
• structural issues of storytelling:  plotting, pacing, tension.
• elements of a strong opening and a powerful ending.

Good jurors understand enough about characters and their arcs to tell whether they're introduced or developed poorly or well, and can explain those thoughts to their fellow jurors during the consultation process (and to the author if their jury is one that offers comments/feedback.)

Non-fiction jurors ideally have a grasp of language and storytelling as well as some subject-area expertise.  

One reason why juries traditionally have three or more members is to balance overall strengths.  A strong writer with two subject experts, or two writers with a lone subject expert, can turn in the strongest possible shortlist if they respect the knowledge and skills each member brings to the reading and discussion process.

Why serve on a jury?

1.  To give back to the community of writers that breaks trail, nurtures your skills, and has built the publishing industry and awards processes you already are or hope soon to be competing in.

2.  As a master class in what makes some stories, articles or books work better (and win awards) than others.

Trust me on the second one: jury work can revolutionize your writing practice.  There are few more concentrated ways to figure out what makes a good first page than by reading twenty or more of them in quick succession to see which ones hold your attention and figure out what makes them stand out.  Read twenty opening chapters and you'll have a clearer idea what kind of character introductions, settings, or situations work best - or utterly fail - to pull you into stories you might not otherwise read.  Look at twenty endings and some will have a resonance you can feel to your bones while others will be just okay.  Take those new or more in-depth understandings and apply them to your own writing, and your odds of seeing your work on an awards shortlist can increase exponentially.

I hope the next time a crime writing award puts out a public or selective call for award jurors, you'll take a moment to consider whether you have some skills, dedication, and desire to learn and to serve.  And then apply.

 

Alberta author J.E. (Jayne) Barnard has two award-winning series – The Maddie Hatter Adventures and The Falls Mysteries – and numerous short stories involving history, mystery, crime, and punishment. Between writing gigs, she volunteers for Sisters in Crime and Crime Writers of Canada, and regularly serves on fiction juries in Canada and the USA. She lives in a vine-covered cottage between two rivers, keeping cats and secrets. Her most recent winter mystery is Where the Ice Falls (Dundurn Press 2019).  Find her on your favourite platform via Linktree https://linktr.ee/je_barnard

 

 

Good Hair Styles

Still getting the occasional email criticizing me about my December 16, 2022, article in "Hair Styles" article in SleuthSayers, so I thought I'd give equal time to some pretty cool hairstyles of movie stars from the era.

Adele Jergens

Anita Eckberg

Ann Sheridan

Julie Adams

Elaine Stewart

Ella Raines

Gloria DeHaven

Hazel Brooks

Lana Turner

Ava Gardner

Gene Tierney

Loretta Young

Veronica Lake

Pier Angeli

Thanks all for now –

How the Law Really Works

I'm getting pretty tired of memes and op-eds that are shocked, shocked, shocked! about searches and arrests and even convictions, so I thought I'd discuss how things happen in the real world of criminal justice. And I'm going to use plain, simple language, because there too many people running around who have bought a whole lot of legal BS. 

For one thing, there is the idea that "presumption of innocence" means you can't arrest or prosecute someone without absolute proof that they're guilty.  And, if they deny having done it, and proclaim their innocence - well, why would they lie?  WRONG.

Here's the deal:  Law enforcement can decide to arrest anyone based on probable cause - and there are a lot of reasons for probable cause.  Sometimes the case is so serious (or "sensitive") that it's taken to a grand jury to decide if there's probable cause. Either way, law enforcement is going to assume that you are guilty, based on probable cause, arrest you, and take you to jail, where your jailors are going to assume you're guilty, too.  Sorry, Charlie.  

And of course, every trial begins with the prosecution's argument that you are guilty.  That's the way trials work.  Presumption of innocence means that you are to be presumed innocent by everyone in the courtroom EXCEPT the prosecution.  It's the defense's job to prove that you are innocent. Sometimes, of course, the defense manages to get you off even if you are guilty.  It helps if you (1) have money; (2) connections; (3) a sympathetic press; (4) a winning smile and personality; (5) etc.  We can all think of cases where that happened, can't we? 

Another one is the pesky question of what constitutes a crime, especially if you were lousy at committing it. Incompetence is not a defense. Let's sum this up:

(1) If you try to buy illegal drugs, and the cops bust you, you're still guilty even though you didn't get anything. 

(2) If you try to sell illegal drugs, and the cops bust you, you're still guilty even if what you brought to sell was actually lawn clippings in a baggie. 

(3) If you try to hire a 13 year old for sex, even if "she" turns out to be a 46 year old portly male detective, you are still guilty of trying to buy a minor for sex. 

(4) If you try to sell a 13 year old for sex, even if you have no 13 year old in the stable, and were just trying to scam the purchaser, you are still guilty of pimping, as well as scamming. 

(5) If you offer to kill someone for hire, and then pocket the money but don't do it, you're still going to be charged with conspiracy to commit murder. 

(6) If you're conspiring with people to kidnap / murder someone or some group of people (such as the ones who conspired to kidnap and execute Michigan Governor Whitmer, or the group in Kansas (HERE) that was going to blow up a Somali community), and an informer has infiltrated your group, and the FBI (or other law enforcement) arrest you before you actually commit the crime - well, there's a reason conspiracy is a crime, and you're gonna find out the hard way.  

Etc., etc., etc....

Basically, it doesn't matter if you didn't get or didn't give what was offered - what matters is that you intended to get or give what was offered.

And Dorf on Law recently gave the best example I've ever seen of refuting the argument of "But I didn't commit the crime so why should I go to jail?"

Cathy the Catburglar comes to Paul's Pawnshop in New York City with a diamond ring valued at $10,000. "Wow, that's a beautiful ring," Paul says to Cathy. "Where'd you get it?"

"Duh. I stole it. I'm a cat burglar. It's right in my name."

"Right," says Paul. "But where did you steal it from?"

"I'd rather not say," Cathy replies, "but don't worry. I didn't steal it around here. Let's just say that an heiress in California will find that her hand feels a little lighter than it used to."

"Gotcha," Paul replies. "I'll give you six grand for the ring." They haggle and eventually settle on a price of $7500.

Paul has committed a federal crime of receiving goods valued at over $5,000 that he knows to be stolen and that crossed state lines. He has also committed third-degree possession of stolen property under New York law. The fact that Paul didn't steal the ring himself or play a role in Cathy's crime does not shield Paul in any way.  (DORF)

Another one is the "hearsay doesn't count" defense:

(1) Pretty much every single Mafia and other crime boss who's been indicted, tried, and convicted has been put there by the witness of other criminals - usually their [former] employees. Except for those who got caught cheating on their taxes.  Sometimes them, too. 

(2) After the Tate-LaBianca murders, Charlie Manson was convicted of first-degree murder and conspiracy to commit murder, even though he did not participate in the mass slaughter. Words count.

Meanwhile, I have noticed that everyone who comes up with a reason why they or someone they know / like / admire / follow / worship should never, ever be locked up AT THE SAME TIME believe that "certain people" should be locked up forever, no matter what.  

This leads to some interesting proposals.  For example: our newly recycled AG Marty Jackley has just proposed a bill increasing the penalty for the attempted murder of a law enforcement officer from 25 years in prison to 50 years in prison. The bill is in response to "multiple incidents since 2021 when police shot and either injured or killed people while on duty" which, when you think about it, makes no sense as a response to police officers shooting civilians while on duty. (ARGUS)  After all, it never addresses the question of why these people were shot, injured, killed.  (Some were fairly obviously mentally ill.  And in at least one case, the cop couldn't get his taser to work, so he switched to his gun.)  Think things through.  Please. 

And there's the eternal banging of the capital punishment drum. Repeated studies have been done that show that the death penalty has no deterrent effect on violent crime, but people don't believe it. They don't want to believe it. And they especially don't want to believe it about anyone they know or like or follow or worship.  But the truth is: 

"People commit murders largely in the heat of passion, under the influence of alcohol or drugs, or because they are mentally ill, giving little or no thought to the possible consequences of their acts. The few murderers who plan their crimes beforehand -- for example, professional executioners -- intend and expect to avoid punishment altogether by not getting caught. Some self-destructive individuals may even hope they will be caught and executed."  (ACLU) 

Or, as someone said recently on Facebook in one of the greatest memes I've ever seen, which said simply, "We already know what caused the shootings:  Hate/Fear/Rage"   

But executions are always a popular idea. A commenter on Facebook wrote me that the best way to stop crime and lower prison populations is to execute all violent criminals and drug dealers and - well, it was a long list. I instantly thought of Larry Niven's short story, "The Jigsaw Man" (in the original Dangerous Visions anthology that I've referred to a few times).

Synopsis from Wikipedia, "In the future, criminals convicted of capital offenses are forced to donate all of their organs to medicine, so that their body parts can be used to save lives and thus repay society for their crimes. However, high demand for organs has inspired lawmakers to lower the bar for execution further and further over time.

The protagonist of the story, certain that he will be convicted of a capital crime, but feeling that the punishment is unfair, escapes from prison and decides to do something really worth dying for. He vandalizes the organ harvesting facility, destroying a large amount of equipment and harvested organs, but when he is recaptured and brought to trial, this crime does not even appear on the charge sheet, as the prosecution is already confident of securing a conviction on his original offense: repeated traffic violations."

So be careful what you advocate for.  I've seen how you drive.