Hanging out at Bouchercon San Diego. |
Has anyone produced an anthology of crime fiction inspired by the songs of Aerosmith? “Janie's Got a Gun” would be a great title. You a publisher? Hit me up, maybe we can do this.
Hanging out at Bouchercon San Diego. |
Has anyone produced an anthology of crime fiction inspired by the songs of Aerosmith? “Janie's Got a Gun” would be a great title. You a publisher? Hit me up, maybe we can do this.
I revere the English language. My parents taught it to me early on, and I still like the way it sounds. I wish I spoke other languages, but I’m lucky to have English, since almost everyone around the world speaks it well enough to get by. I do have adequate Spanish, Italian or French to trot out briefly, just long enough for the other person to take pity on me and continue in English, happy with my attempt.
I know it’s my native tongue, so I’m not entirely objective, but linguists agree it has a lot going for it. For one thing, English is astonishingly promiscuous. It will copulate with any other language and produce lively, hybrid offspring. It’s Open Source. Anyone who wants to suggest an alteration can have at it. Whole subcultures have made important contributions, rarely acknowledged except through their enduring modifications.
(I
believe African Americans have had a greater influence on our contemporary language
than any other group. Though that’s a
subject for another essay.)
France
has an old and venerated institution called the Académie Française which is charged with anchoring
the French language somewhere in the 19th century. Which is one reason why the Lingua Franca of
the world’s academic, commercial and governmental interactions is now, ah, the
Lingua Anglaise.
A
central principle of linguistics is that languages evolve. If you don’t think that’s the case with
English, you’re backing a losing proposition.
All you need to do is sample 16th, 17th, 18th,
19th and 20th century literature to see how true this
is.
That’s
why efforts by English purists are not only absurd, but completely
doomed to failure. You may as well
decide that a particular bacterium, currently occupying a petri dish, is the
ultimate expression of the species and inviolable in that form forever. Wait a few minutes.
That’s not to say that the inevitable changes should just proliferate at will. A certain discipline applied to the progression is not a bad idea. An organized, orderly, ongoing retreat. Holding to certain standards in the short term, forcing the fresh iterations to prove their worth, or inevitability, makes the process civil and responsible. It keeps English teachers, proofreaders and copy editors employed, and gives elderly pedants something to sniff about in their book clubs.
It
also saves us from the vast majority of unworthy alterations and contributions
that are instead left to whither and die as the flood of variations are
created, with only the sturdiest able to survive.
Contrary
to my haphazard application of proper grammar, syntax and usage, I belong to
this volunteer cadre of English defenders.
I hold firm to “Those people love my wife and me.” As opposed to “Those
people love my wife and I.” In my world,
a business downturn will never impact the economy. Though it will have an impact. Those dogs are never different than
mine. They’re different from mine.
A
new trend I’ve noticed is to forego the plural form of there are, or there’re,
for the singular, however many items follow along. “There’s hundreds of people showing up every
day.” Versus, “There’re hundreds of
people showing up every day.” I’ve caught myself doing this as well, appalled. Though what it teaches me is that common
parlance is a powerful thing, creeping into our minds and words despite efforts
to keep it at bay.
I apply these faltering principles to my speech and writing, but never in correcting others. All they’re doing is participating in the relentless, unstoppable march of language evolution. Nobody’s fault and no ones responsibility to police (except in France).
You know those times where you reflect back on some unfortunate event like a car wreck and start thinking if only I had lingered five more minutes over coffee, then I wouldn't have been in that intersection and been hit by that red-light runner. Or maybe, if I had left home ten minutes earlier, then congested traffic wouldn't have made me late for that important morning meeting and the boss wouldn't be giving me the stink eye. Yep, time and timing can be important to you and yours.
Now, as they say, every story should start at the beginning. So, that's where we're headed.
It was early last July and I had one of those high numbered birthdays coming up, one I wasn't keen to celebrate. Recognizing my mood, my wife decided we were going on a four-night- attitude-check car trip. She packed us up and off we went west from Denver on I-70 to Glenwood Springs, the confluence of the Colorado River and the Roaring Fork River. Due to massive rain storms, both were close to overflowing their banks. On the Colorado, we stopped several times to watch white-water rafters test their skills against the turbulent water.
On the south bank, underneath the four-lane bridge crossing the Colorado River in Glenwood Springs is an area known as the Underground. It is a street consisting of restaurants, breweries and shops. If you like BBQ, then try Smoke's BBQ. Even the Amtrak stops in this part of Glenwood within a half block of a brewery.
Headed back to Glenwood Springs, if one is familiar with the area, there is a place along the Crystal River where hot springs bubble out of a high river bank and people have stacked up rocks to make their own rough hot tubs. It's free to all, just bring your bathing suit, however there are no changing rooms available.
Returning east on I-70 from Glenwood, the interstate becomes an over and under highway construction due to the narrowness of Glenwood Canyon. Two hours past scenic Hanging Lake, we turned south to Keystone, a village consisting mainly of condos for skiers in the winter time. Here, we continued our private brewery and bakery tour in places such as the Dillion Dam Brewery and the Blue Moon Bakery. Tasty stuff.
We checked into the Hyatt Hotel in Keystone for a two-night stay. Behind the hotel is a one-car-deep parking lot, a two-mile long walking path which passes behind several condos and partially borders a marsh and the Snake River out back. The marsh teems with fish, ducks and beaver, while Chickadees and Humming Birds flit through the mountain air above. A few old boardwalks cross the marsh from one side to the other. Pairs of older folks walked their lap dogs on the path, as did young kids with their dogs. A peaceful scene.
Like I said at the beginning of this post, timing can be everything.
So, as you pass through life, keep your eyes open and always be aware of your surroundings. Otherwise, under the wrong circumstances, you could end up exiting this world as........
Every now and then you meet a writer so sympatico, you feel like you've known them all your life.
I met Jonathan Whitelaw this year, through Crime Writers of Canada. Then, we did a panel together at MOTIVE Crime Festival in Toronto, which was about as much fun as you can have, legally. His brand of humour is my brand, and I'm delighted to bring him to these pages.
Is this real life? Is this just fantasy?
by Jonathan Whitelaw
I had a moment of revelation recently. It wasn't some divine tap on the head or bolt out of the blue. But it was just as important.
Cozy mysteries are rooted in the humdrum of real life.
That's it. That's all it is. Strange how ten little words put in a particular order can offer you so much clarity.
For context - I'm a cozy mystery writer. An award-winning one at that - although saying that out loud still sounds strange. My Bingo Hall Detective series began in 2022, with the most recent - The Village Hall Vendetta - just released here in North America in August.
They follow the misadventures of a mother-in-law/son-in-law amateur detective duo running around the English countryside trying to catch murderers and villains. And I, quite honestly, have an absolute blast when I'm writing them.
I was recently being interviewed for The Times newspaper in the UK and was asked about what cozy mysteries are and why they're so popular. There are a million different answers to this, but that little sentence was the first that came to mind. Cozy crime is rooted in the hum drum of real life.
Now, I can hear protests already. Real life isn't hum drum, Jonathan! It's the most exciting, action-packed thing that can ever happen to a person. And that's true, I agree with that. However, let's be honest, not EVERYTHING in most of our lives is as high-octane as a Fast and Furious movie, is it?
When was the last time any of us got excited waiting in line at the post office? Or when we've scanned our bananas at the self checkout only for the computer to go on the fritz? Orgies of action these moments are not.
And that's where the cozy mystery comes in. Our lead protagonists are rarely if at all law enforcement, instead coming from down the block, at your local library or, in the case of my series, your relatives. They are your friends, coworkers, colleagues and confidants. They are you and I, thrust into a world of murky murder, mischief and mayhem. And that is, for me, what makes the cozy mystery genre so appealing.
Throw in a good dose of humour,
some lavish scenery and a juicy whodunnit and you could be on to a
winner. Scientists and boffins much cleverer than me (they don't use
cleverer for starters) have shown an uptake in sales of the cozy genre
during times of crisis. Local, domestic or international, it's no
wonder that readers, and the public, need some reassurance from time to
time.
The cozy mystery has proven over and over again to at least help with that reassurance. Yes, there are no graphic violence or sex scenes. No, you won't find forensic analysis or ballistic reports on gunshot wounds. What you WILL get, however, is a mystery that, by the end of the 90,000 words, is resolved, the good guys winning, the bad guys getting their just desserts, and hopefully, some laughs along the way.
Who wouldn't want that in these topsy-turvy times? Cozy mystery is an escape from real life...by staying firmly IN real life. Go figure!
Jonathan Whitelaw is an award-winning writer, journalist and
broadcaster. After working on the frontline of Scottish politics, he
moved into journalism, covering everything from sports to music to
radioactive waste – and everything in between. He's also a regular
reviewer, panellist and commentator. His novel - The Bingo Hall
Detectives - won the Lakeland Book of the Year Fiction prize 2022.
Bonus Pix! Jonathan and Melodie on stage at MOTIVE (with Sam Shelstad)
Karl (left) with friends, canine and human. |
Hillerman will always be Simon Brimmer to me. |
By now, most of you know that I volunteered at the Sioux Falls prison for 12 years (Alternatives to Violence Project and the Lifer's Group), and then for the last year have been working from home in a kind of advisory capacity for the Lifer's Group. I still hear most of what goes on from those who are still going into the prison, both news and gossip, so I don't feel too isolated from it, and I'm glad of that.
I've gotten to know a lot of inmates very well over the years. I know a lot about their families as well as their crimes. I've gone to hospital when they've had surgery. I'll never forget showing up at one inmate's hospital room (with my bona fides to let me in), and the surprise on the guard's face. Inmates just don't get many visitors. Some inmates have stayed in touch after they've gotten out either on parole, or flatting (slang for doing all their time). And I've written letters in support of some inmates' applications for parole.
But there's a lot of sadness.
The 18 year old kid, coming down off meth, who's still trying to think straight (and not succeeding), and trying to grapple with a 40 year sentence for the manslaughter he committed while tweaking, and he really doesn't remember much of any of it, because he was tweaking so hard and then he crashed so fast, and when he came to he was being arrested, and... he doesn't know what the hell he's going to do.
The 56 year old guy who used to be one of those 18 year old meth-heads who got federal time because he used a gun and had too much meth in his possession, and is at the pen because the feds are moving him - again - from one facility to another because that's what they do, and he's lost track of his family so many years and prisons ago, and there's no sense in making friends in prison because they just keep busting everybody up and moving them, and he's just there at AVP because it's something to do, but his eyes are freaking dead.
The 75 year old guy who's been in for 45 years and ain't never getting out, because this whole "compassionate release" thing doesn't happen, not really, unless you have family who will take you in OR you are so close to dying they can just send you to hospice, and he's not there yet, so he's still working because you lose points and privileges if you refuse work, and he takes care of people in the hospice area of the pen, and so he knows exactly where he's going to end up and how it's going to be. (He was the model for Papa Bell in my story, "Cool Papa Bell" in Josh Pachter's anthology, Paranoia Blues.)
The years pass slowly / quickly in a penitentiary. Twentysomethings change into Fortysomethings into Sixtysomethings, and all that time they've been in a cement and metal world with 40 minutes outside rec once a day except in winter. South Dakota winters are long. And in those years, everything's changed, from technology to cultural norms to dress codes to their health, and after enough decades, they're seriously frightened of getting out.
The Vietnam Vet in his 70s who was fixing to flat (finish his time) and talked to me that last AVP weekend about his PTSD, never treated, and how certain sounds still made him want to curl up in a ball and hide under his bunk, but he never dared do that in prison because someone would kill him sure or worse. And when he finally was released, he asked to be taken to a nondescript motel which rented rooms by the week or the month, and there he is, holed up with his small remittance - enough for the rent and his fast food - and his TV, and plans to never see anyone ever again.
Did I mention health problems. Enough years on prison food and just about everyone has hypertension and diabetes, because it's heavy on carbs, low on protein, and very low on fresh fruit and vegetables. The stud muffin of 18 is now 50 pounds overweight, and worried about a having a heart attack. There's HIV and hepatitis everywhere, from prison tattoos (the tattoo artists brag about using new needles, but there's no guarantee) or blood-to-blood contact (gang fights, gang rape, gay sex). And there's cancer.
Recently I found out that an inmate had died in a local hospital. I wasn't surprised. He'd been part of Lifer's Group since it was restarted in 2017, and he'd had cancer then. Aggressive cancer. He looked like a bone thin Alun Armstrong (Brian in New Tricks) in a wheelchair, with a strong speech impediment and a bad temper. We watched him get thinner and weaker, but still showing up - wheeled in by one of the other guys - and trying desperately to communicate (it was throat cancer). He could be a pain in the ass - when he got on a rant, he stayed on it - but he could also make valuable contributions. God knows he knew what the prison hospital and hospice (ideally) should have been.
Because of all of this, I've thought a lot over the years about how horrible it would be to grow old, get sick, to battle loneliness, guilt, mental illness, addiction, heart disease, cancer in prison. And to die of it, ANY of it, in prison.
Prison Alun was a felon, guilty of a terrible crime - but he paid for it. He paid a lot, and it was more than just time.
Here is one big improvement they came up with (at least, I have never been to a con where they did this). Instead of stuffing the attendees’ swag bag with free books, each member was given three tickets which they could take to a room called the Book Bazaar (NOT the dealer's room) and swap them for any three new books they chose. Once the organizers knew how many books were coming from publishers the freebie count went up to five. As you can imagine this resulted in a lot of boxes of swag being shipped back home. I myself made a little pilgrimage to UPS.
One of the highlights of the weekend (for me) was a panel I moderated. I stole the idea from the World Science Fiction Conference where it is called “45 Panels in 60 Minutes.” We called our version “20 Panels in One.” The idea is that audience members write down topics and toss them into a hat and panelists pick them out and have less than a minute to bestow their wisdom on that subject.
Sample questions: “What is your protagonist most afraid of? What are you?” “Donald Westlake. Discuss.”
It was an interesting experiment. One audience member told me she thought it should be repeated at every con, but I don’t plan to be at the Nashville con, so someone else would have to take that on. I can think of two improvements: instead of using a floppy sun hat, I should have brought the dapper fedora you see in the picture. And instead of going down the row each time I would ask the panelists to speak up if they have anything to contribute on the topic.
And speaking of reactions… I have mentioned that I was once on a panel with a very chatty moderator. Afterwards a stranger came up and said “I attended your panel. I wish I’d gotten to hear you.”
Well, after “20 Panels in One” a stranger said “I wish you had spoken more.”
I replied “The moderator isn’t supposed to.”“But in this case it would have been okay.” Maybe she was right, since none of us had been chosen for our expertise on the topics.
I also got to be a panelist on “What Librarians Wish Readers and Writers Knew,” with Sarah Bresniker, John Graham, Leslie Blatt, and Michal Strutin. This turned out to focus on three main topics: how to get books and book events into libraries, doing research in libraries, and coping with the recent attacks on libraries by conservative groups. The question period turned into mostly passionate defenses of libraries from audience members. One author said it was the most useful panel of the weekend. And being librarians we even created a webpage with useful resources to go with it.
Librarians Panel |
I attended two panels on short stories (three if you count the Anthony nominated anthologies panel, and four if you include Josh Pachter’s Spotlight about editing music-themed anthologies.)
An audience member had asked if any of the panelists used a sensitivity reader for their books. All of them said no. Then each of them got thoughtful and acknowledged: “But when I write about a certain group, I ask my friend to read it…” Donna Anders summed it up: “We don’t call them sensitivity readers. We call them people who know things.” When I told my wife this she said “Volunteers are undervalued.”
Another highlight: there were more people of color than I have ever seen at a mystery event. This may be in part because of the geography, but I’m sure some of it is due to Crime Writers of Color. CWoC sponsored a reception called Underrepresented Voices and bragged that while they started with 30 members in 2018 they are now over 400. That’s great.
As former president of the Short Mystery Fiction Society I had the honor of announcing the Derringer Award winners and giving out the medals and certificates to those present. I was especially delighted to give Martin Edwards the Edward D. Hoch Memorial Golden Derringer Award for lifetime achievement.One great point of any con is making new friends and meeting up with old ones. I won’t try to name all the ones I shared a meal or a chat with, except to mention fellow SleuthSayers Michael Bracken, R.T. Lawton, Travis Richardson, and Barb Goffman. I left Barb for last so I could single her for congratulations: she won a well-deserved Anthony Award for her short story “Beauty and the Beyotch.” Whoo-hoo!
Let me end with one more gathering of friends. Jackie Sherbow, the managing editor of both Ellery Queen and Alfred Hitchcock Mystery Magazines, invited all of the Dell magazine writers present to join her poolside for a drink. I won’t try to name them all but if you read AHMM and EQMM you would recognize the 20 or so names.
I looked around and said: “Boy, if a bomb went off right now the face of mystery short fiction would be changed forever.”
Because, hey, that’s the way we think, isn’t it?
Join me here in two weeks for my favorite quotes from San Diego.
Oh, one more thing: I have a story on TOUGH which you can read for free.
Like some of you reading this, I recently attended this year's Bouchercon, which is touted as the world's largest mystery convention. It's held in a different city each year. This year, approximately 1,700 crime/mystery readers and writers converged in San Diego, where--among other things--we participated in and attended panels devoted to crime fiction.
I like panels. I like learning new things and finding new-to-me authors whose books I'm excited to read. I probably attend more panels on average than many other people do at conventions like this. Some people actually leave the convention hotel to tour the city! Me, wherever we go, I attend the panels. This is partly a byproduct of having been the program chair of Malice Domestic from 2008 - 2014. If you live and breathe panels for as long as I did, you get attached and you like going to ones that sound good. Of course, I became program chair because I loved going to panels and thought I could do a good job at creating and scheduling them, so I guess this is a chicken-or-the-egg situation. But I digress.
Bouchercon started on Wednesday afternoon this year instead of the usual Thursday morning. The extra half day of panels really made a difference. It made the convention seemed less rushed. It enabled more authors to be on panels. It gave attendees more chance to see panels on topics they were especially interested in because there often was more than one panel on a similar topic. For instance, this year they had several panels devoted to short stories, to which I say: two thumbs up.
This is all a lead-up to say that I attended a lot of panels at Bouchercon, and I noted some problems occurring in panel after panel after panel. The biggest one: too many panelists far too often do not speak into the microphone. That makes it difficult for people in the audience to hear you or hear you clearly. So, for future reference, here are my handy dandy tips for being a successful panelist:
Image by rawpixel.com |
Thanks to photographer John Thomas Bychowski. |
I hope to see (and hear) you at Bouchercon next fall in Nashville (and Malice Domestic next spring in North Bethesda, Maryland, as usual).
And before I go, a little BSP: I was delighted to win the Anthony Award for Best Short Story of 2022 at Bouchercon for "Beauty and the Beyotch," originally published in issue 29 of Sherlock Holmes Mystery Magazine. Thanks to the magazine's editor, Carla Coupe, who helped make the story better.
If you thought we were finished with weird English, I'm back with an even more… erm… entertaining take. You can blame the usual suspects, ABA and Sharon, who pass on interesting articles.
Aaron Alon is a musicologist, composer, song writer, script writer, director, filmmaker, professor, and humorist. Shortly before the coronavirus pandemic, he assembled a video about making English consistent, a huge task. This is the result.
© respective copyright holder |
I particularly like the Hamlet reading, don't you? But wait, there's more. Alon wasn't done.
Following comments and critiques, he came up with a supplemental video in which he, well, sings a classic. Here you go.
© respective copyright holder |
What did you think? Aaron said he might consider a video about making constants consistent. I'm still figure out, "I tot I taw a puddy-tat."
Okay, I promise no more weird English slings and arrows of outrageous fortune. For at least a week.
Pachter in the Begijnhof.
The Scene of the Crime
by Josh Pachter
As readers of this blog may remember, I have been selling short fiction to Ellery Queen’s Mystery Magazine and other places since the late Sixties. This September, fifty-five years after my first appearance in EQMM, I finally had a novel come out. It’s called Dutch Threat, and it is set in Amsterdam—where my first wife and I lived from 1976 through 1982.
During those years, I worked as an editor for Excerpta Medica, which published medical textbooks and conference proceedings in English. Their offices were located on the Keizersgracht (“Emperor’s Canal”), one of the Dutch capital’s main ring canals, a short walk from one of my favorite places in the world: the Begijnhof. More often than not, I’d spend my lunch break in this oasis of calm in the middle of the bustling city, and when I sat down to write my first novel I decided to set most of the action there.
In fact, the Begijnhof is an ideal location for one particular subgenre of the traditional crime story: the closed-community mystery. Het
Houten Huys.
Just in case anyone here is unfamiliar with the term, a “closed-community” (or, as it is also sometimes called, “closed-circle”) mystery is one that takes place in a location which, by its own nature or due to external circumstances, can only be accessed by a specific and limited group of people—which means that any crime occurring there can only have been committed by one of the people who had access to the scene.
Agatha Christie’s 1939 novel, for example—originally published as Ten Little N-Words and later retitled And Then There Were None—takes place on a small island off England’s Devon coast. There are ten people on the island, and one by one they begin to fall victim to a murderer. Since no one else is on the island, the murderer must be one of the ever-decreasing number of survivors. In the 1965 film version—titled Ten Little Indians—the island is replaced by a snowbound mansion. Either way, it’s a closed-community mystery.
And the Begijnhof is a classic closed community. Originally established during the Middle Ages—we don’t know exactly when, but it is first mentioned in print in 1389—it is a ring of forty-six gabled brick townhouses (and one of the only two wooden houses remaining in central Amsterdam) built around a central courtyard to house beguines, who were religious women who chose to live in a communal setting without taking vows or fully separating themselves from the world outside. The complex also includes a large off-limits grassy area (known as the “bleaching green” because the beguines laid their laundry there to dry and be whitened by the sun, and now off limits because some of the beguines were buried there), a lovely Dutch church that’s much larger on the inside than seems possible from the outside and—of all things—the English Reformed Church, which holds services in English and sometimes hosts free concerts of religious and secular music.
The bleaching green. |
The last beguine died at the age of eighty-four in 1971, but even today the Begijnhof’s one hundred and five residents are all women, mostly elderly, and the waiting list for a space is years long.
Originally, there was only one entrance to the complex, though a second was added in 1574 and a third in 1725. Although two of the three access points are open during the day and the courtyard is much more heavily touristed today than it was when I worked nearby, all three doors are locked at night—so a nighttime murder would have to have been committed either by one of the residents or by someone in possession of a key.
In my book, American graduate student Jack Farmer is sent to The Netherlands to do historical research in the Begijnhof and is granted special permission to move into Het Houten Huys (“The Wooden House”) for the two weeks of his stay. He finds himself—if you’ll forgive an old-fashioned word—smitten with Jet Schilders, the young nurse who checks in regularly on several of the elderly residents … and when one of them is murdered and Jet turns out to be a suspect, Jack teams up with her to investigate the killing and clear her name.
There are a number of major characters in the book, and one of them is the Begijnhof itself. One of my goals in writing Dutch Threat—in addition to providing a perplexing whodunit with some twists and turns and a satisfying resolution—was to present a compelling portrait of one of my favorite places in the world. If the next time you visit Amsterdam you put the Begijnhof on your must-see list, I’ll feel that I’ve accomplished at least that part of what I set out to accomplish!
Dutch Threat is available directly from the publisher, Genius Book Publishing, at this link, and also from the usual clicks-and-mortar booksellers.
Again, another inspiration from a SleuthSayer's column – Chris Knopf's What could go wrong? (28 August 2023).
Chris said, "A better way to describe my projects is a series of screwups and miscalculations, strung together by intermittent moments of good luck, and relentless revision."
About the same for me. And I am drawn to a writer I've always admired and what she said:
"Nothing you write, if you hope to be any good, will ever come out as you first hoped."
– Lilliam Hellman
Born in New Orleans, Lillian Hellman is a revered playwright, fiction writer, screenwriter and memoirist, best known for The Little Foxes, Watch on the Rhine, Toys in the Attic, The Children's Hour, The Autumn Garden and her long relationship with mystery writer Dashiell Hammett, as well as her political activism. Like Hammett, she was blacklisted during the communist witch hunt of the House Committee on Un-American Activities.
This New Orleans writer, like many of my writer friends, acknowledges Hellman's statement is spot on.
While most of my story stories stick to an outline (often little more than a sketchy idea), my novels have never. Even my early books, which I composed after putting together detailed outlines, did not end up the way they were intended.
These days, I don't use an outline with my novels. I create the characters, figure what time period and setting, come up with a starting point and what I think will be the end scenes and let the characters find their way to the end. I follow along and write what they say and do. There are surprises along the way, and new characters change from bad guys to good guys.
Smooth, my latest novel published on September 5th, is a good example. New Orleans Private Eye Lucien Caye is up front with wife Alizeé, daughter Jeannie and the usual supporting cast of NOPD detectives and neighbors in the lower French Quarter. I laid out the cases he works in the book and watched him work.
Yes, his character evolves as the series moves forward. Songwriter Alizeé also works as a lingerie model and part-time private eye with Lucien. The book gives a view of this private eye's homelife as much as his gumshoe work. It's a kick to write and ends up close to where it was intended, but it did not come out as I first imagined.
That's all for now.