Creating Deception

by John M. Floyd

Let me start by saying this is an interesting time, around our house. As of this writing, our third child (and only daughter) is expecting her first baby, and since he (it's a boy) is due shortly, it means my wife Carolyn and I are expecting as well. Every time the phone rings, Carolyn jumps like she just sat on a cactus plant.

Less important but still stressful is the fact that my fourth book is due to be released next week. (I've already done one signing, in my hometown some seventy miles north of us; the "official" launch of the book here in the Jackson area will be a signing and reading at Lemuria Bookstore this coming Wednesday.) Why should that be stressful, at this point? Well, because my publisher has arranged a boatload of signings and interviews over the coming days and weeks, and with a new grandchild about to make his appearance we could have some last-minute scheduling conflicts.

Taking up the collection

Writingwise, this book--it's called Deception--didn't require a lot of work, because it's a collection of thirty of my short stories, and twenty-eight of those stories were previously published. The actual writing was of course done some time ago, before the individual stories were originally sold to magazines and anthologies. But--believe it or not--the task of arranging stories into a collection can be harder than most folks realize. The very fact that they were written at different times and for different markets can make it difficult for them to exist together in the same volume.

Before I get into that, though, I should probably say a little about the books themselves. All four of my short-story collections were produced by Dogwood Press, a small traditional publishing house owned and managed by Joe Lee, who turned to publishing almost ten years ago after a career in broadcasting. All four contain stories that are primarily mystery/suspense, and that originally appeared in places like The Strand Magazine, Woman's World, Murderous Intent, Alfred Hitchcock Mystery Magazine, etc. And each title, so far at least, has been taken from the title of one of the included stories.

My first book, Rainbow's End (2006), included thirty of my previously published stories; Midnight (2008) had thirty more; Clockwork (2010) had forty. The latest book, Deception (2013), again contains thirty stories, only two of which are new and have not been previously published. Those two original stories were included not because I'm running out of inventory for reprints but because the publisher felt it would be a good idea to (for the first time) throw a couple of new ones into the mix. I've already picked out thirty more stories for a fifth collection in case the publisher eventually decides to go through the mental and financial anguish of producing another one.

The good thing about including only pre-pubbed stories in a collection is that those usually don't require much editing. If they were good enough to sell (depending of course on where they sold), they're probably good enough to be reprinted. The bad thing is that, as I said earlier, there are a few more things to think about than whether the individual stories are properly written.

Writers' guidelines

Here are some of the points (rules?) that my publisher and I had to consider, for each collection of stories. (By the way, he allowed me far more input into the process than an author usually gets, and I'm grateful for that.)

1. Intersperse shorter stories and longer stories. Assuming that the reader will go through the book from front to back and not skip around, you don't want several very long stories grouped together, and the same things goes for very short ones. Like sentences in a paragraph, a variety of lengths seems to work best.

2. Vary the moods and intensity levels of the stories. We tried to arrange the sequence such that there's a mix of lighthearted vs. gritty subject matter.

3. Choose a theme. All the included stories should have something, however small, in common. Setting, characters, genre, etc. In my case, that was easy: all of them involve mystery/suspense.

4. Don't repeat character names (unless the stories are part of a series). Since most of these stories were originally written to "stand alone," we had to make sure we didn't accidentally place a story featuring, let's say, a protagonist named Jerry alongside another story featuring a protagonist named Jerry. In fact we tried to limit the occurrence of any characters having the same first or last names, especially if the names were unusual. When we did find repeated names--unless they were series characters--most of them got changed. I discovered that for some reason I seem to have an odd fondness for first names like Charlie, Jack, Lucy, Eddie, and a few others, and I use them too often.

5. Don't group other genres or subgenres within the book. Even though almost all these stories can be classified as mystery/crime/suspense, they're sometimes cross-pollinated with other categories, like fantasy, humor, Western, romance, horror, or even sci-fi. And we didn't want the reader encountering several space operas (or horse operas) back-to-back.

6. Don't allow pet phrases to sneak in. I came to realize that I often use expressions like "heaved a sigh" and "as pale as chalk" and "stomped into the room" in more than one story. When that kind of thing happens, and you put those stories together in a collection, the repetition of those phrases sounds almost as bad as it might be if you repeated them in the same story. Bottom line is, we went through and tried to catch those "favorite" and overused phrases and change them up a bit. I became extremely familiar with, and grateful for, the search utility in MS Word.

7. Pick appropriate stories to open and close the collection. For each book we've tried to start out with a story that was both engaging and typical, to set the stage for what follows. We also tried to close with a story that was in some way especially memorable. I think it was Mickey Spillane who said the first chapter sells the book and the last chapter sells the next book. The same thing applies to the stories in a collection of shorts.

8. Vary the crimes. Since these are mysteries, we made sure not to create clusters of stories that featured the same crime: murder, robbery, kidnapping, and so forth. With the first book, we almost didn't catch the fact that two jewelry heists were featured back-to-back. If we'd left them that way, readers would certainly have found that distracting.

9. Be consistent in matters of layout and appearance. Case in point: throughout the book, we used the same kind of designator (three asterisks, which is my publisher's preference) to signal a scene break. Some of these had to be changed when the stories were incorporated into book format. For example, those shorts that had previously sold to AHMM  had used a single pound-sign (my preference) to comply with that magazine's scene-break guidelines. Also, all the stories in this latest book begin on a right-hand-side (odd-numbered) page.

10. Finally, we decided not to group stories that had been previously published in the same magazine. In other words, we put some space between stories sold in The Strand, AHMM, or wherever. The only exception to this occurred with some of the "series" mysteries I'd written for Woman's World. Each book so far has featured between six and eight of those mini-mysteries (which use recurring characters), and we've always placed those together, one right after the other, in the exact center of the book. I can't tell you why we did that, except that it just felt right.

One for all or all for one

Some of the points mentioned above also come into play if one is editing an anthology rather than a collection, but the placement of the stories and the avoidance of repetition isn't quite as difficult for anthologies because those stories are--by definition--written by different authors. Pet phrases and duplicate character-names obviously don't happen as often when different authors are involved. In the case of a mystery anthology that I edited several years ago--it included our own Liz Zelvin, Herschel Cozine, and Deborah Elliott-Upton--my main concern was making sure that stories with certain crimes and certain "moods" didn't get grouped too closely together. And I also tried to maintain a good mix of short vs. long, and to choose appropriate stories to begin and close the book.

Have any of you had to wrestle with these kinds of choices? (If you've put together an anthology you probably have, or if you've been allowed some "say" in the process of creating a collection of your own work.) If so, what are your thoughts on the subject? Did you find the selection and placement of the stories difficult? Challenging? Frustrating? How big a task was it to update and retrofit and otherwise edit the stories themselves? Did you run into any issues I haven't mentioned?

Regardless of the difficulties, we probably agree on one thing: it's worth the trouble.

The After Story

In novels and movies, the story usually ceases right after the climax. We, the audience, feel good or bad depending upon how the story ended for the protagonist, antagonist or minor characters whom we've grown attached to, but that's the last we know of them. Unless there's a sequel, we seldom get a look into what happened afterward.
Sure, in the fairy tale, the Prince woke up Snow White with a kiss which earned him a luscious lady and we're told they lived happily ever after. End of story. But, when you think about it, this independent bachelor suddenly acquired spousal duties, plus immediately inherited seven little people, at least one of whom was Grumpy. You can't tell me those two love birds didn't have a squabble or two. That's the after story, that's reality.

Occasionally, a movie such as American Graffiti or Animal House provides some after-story notes to let the audience know what eventually happened to their characters beyond the climax. After all, inquiring minds have an attachment to the characters they became emotionally involved with and they want to know how those characters ended up much later.

So, here's one of my street stories of how the deal went down.

Bennie dealt in kilos and had two Green Cards who brought him the coke in from California. In turn, the two Green Cards obtained their high quality product from family members in an area one of the larger Mexican cartels called home. Our boy Bennie was no virgin to the world of crime, seeing as he had two priors for homicide. He'd also been a member of a radical group. Not the kind of guy you'd invite over to the house for Sunday dinner.

Slim, a guy with one foot in the outlaw world, had managed to put Bennie and me together for a meet in a hotel at the other end of the state. Bennie was bringing coke to the table and I was bringing thousands of dollars in US currency. Everybody expected to leave the hotel room happy,...except I got to the room first.

The local police techs installed a video camera in the air duct high up in the wall overlooking most of the room. Naturally, on the other side of the wall in their own room they had set up monitors to keep track of what was going on in the buy room. They also placed a tape recorder underneath the plastic liner in a waste basket located next to the coffee table in the buy room. Then, in a room across the hall waited a SWAT team on standby to make the arrest. After all, Bennie did fall into the deadly and dangerous category.

All equipment worked, everyone in place, our side was ready.

The phone rang. Slim, our informant, said the four of them were downstairs. When I inquired about guns, he replied that he hadn't seen any, but they did have the stuff. I said to bring them on up.

A knock at the door. I opened it. Slim made introductions as each man filed in. Since the two Green Cards had a little trouble with English, Bennie did most of the talking at first. They brought in and set a large ice chest on the coffee table. To anyone else, it would appear that we were about to have drinks.

Being as this was the first time Bennie had ever seen me, he acted a bit standoffish. To make him more comfortable, I took the stacks of money out from under the couch cushions where I'd been sitting and placed said currency on the coffee table. Nothing like lots of high denomination bills to make people talkative. The two Green Cards dropped to their knees and started counting in Spanish, right next to the concealed tape recorder.

At this point, I'm talking to the two Green Cards, asking how often we can do this and how much quantity can they deliver. My talking keeps interrupting their counting. Finally, Bennie, being a more efficient type guy plus feeling left out of the conversation, tells Paco to give him the money to count. Paco should open the ice chest and give me the coke.

Paco and Green Card #2 open the chest lid, take out the beer and pop, and then start pouring the ice and water into the nearby waste basket beside the coffee table. I can mentally hear a large gasp from the cops monitoring us from the next room. I wait to see if smoke is going to start coming up from a suddenly shorted-out recorder. No smoke appears, the plastic liner must be holding.

Using a screwdriver, Paco dismantles the ice chest and hands me two large plastic bags of white powder that had been concealed in the walls of the chest. One bag has a small hole covered with Scotch Tape. Bennie finally admits they sampled the coke earlier to make sure it was good. But of course.

While Bennie and the Green Cards go back to counting money, I speak the bust signal and Slim opens the door. SWAT floods the room. Bennie is truly hurt that he doesn't get to keep the money. Some of it is still possessively clutched in one hand when SWAT stretches him out on the carpet.

End of story, the deal is done, the bad guys caught, all is as it should be. But, since this is reality, there is an after story, a what happened later.

Slim eventually dropped off the radar. Not a bad idea considering his work for us, even if he did have a girlfriend who carried two concealed automatics under her shirt to protect his back. At some point later, Slim and his pistol-packing girlfriend acquired an exotic dancer to round out their little family. I didn't ask, but they probably figured an exotic dancer was more fun than having seven little guys running around underfoot. Seems everybody has different ideas on what they want in life.

Paco, one of those happy-go-lucky type of guys, flipped, so we brought in a translator to help with the debriefing. I'd ask a question, then he and the translator would chat for several minutes before I got a simple answer. At one point, he tried telling me his source was a guy he barely knew who recently got killed in a train wreck. I pretended to study my debriefing notes and then told him in Spanish that he was lying and any sentencing deal was off. Surprised and not knowing how much Spanish I really knew (not much), he immediately changed his story about the source. Paco did his time and then got deported. I had grown slightly  fond of the rascal and often wondered if he lived after going back to Mexico. Them boys down there didn't care much for people who talked to the law. But knowing Paco the way I did, I figured he probably jumped the fence the very next night so he could return to his favorite California bar in order to play guitar, drink tequila and eat shrimp. In which case, I hope he got out of the coke business.

Bennie took his fall and went to Super Max. Ten years later, I'm standing in the lobby of the federal building when I hear this well-modulated voice. "Robert, good to see you." And there's Bennie waiting to get through the security line. "I always liked you," he said. "I have no hard feelings."

Well, that's damn good, cuz now Bennie is obviously back on the street. Seems he got good time in the joint and is now headed upstairs to report in to his federal Parole Officer. Bennie assures me he has changed his life. I wish him well.

After he goes up in the elevator, I tell the two lobby guards that Bennie won't last six months on the outside. Sure enough, three months later, his parole is revoked for assault. Somebody ended up lucky, that could have been Bennie's third homicide. As long ago as all that has been, he may be out again. Hope Bennie meant what he said in our last conversation, about the no hard feelings.

As for me, I get to continue telling tales of the street on the Sleuthsayers blog. Guess I was the one to draw the happy-ever-after card.

Now, about that exotic dancer..........

The Real Asian Bad Girls

A long time ago I read a pretty good book called "The Asian Mystique:  Dragon Ladies, Geisha Girls & Our Fantasies of the Exotic Orient" by Sheridan Prasso.  (The "our" being the West, of course.)  The sleek, dangerous, powerful, seductive Dragon Lady; the submissive, elegant, sexually available geisha/concubine; the perky, young bar girl who can be saved by the right man - and if it sounds familiar, it should, because most of it is just endless repetitions and variations on the whore with a heart of gold. I can say this because each and every one of these fantasies exists in Asia, too.

But there are real characters behind them.  We're going back in time to the Tang Dynasty in China (618-907 CE), considered by many to be the high point of Chinese culture - the great age of art - painting, ceramics, poetry - and power.  Its capital, Chang'an, was the largest city in the world.  It was also a great age for Chinese dynastic conquest - as you can see from this map: 



And during the early Tang, two women rose to power within 100 years of each other, two women who are household names, who once held great power, seduced emperors, and (depending on who's telling the tale) nearly ruined China in the process. 

The Empress Wu (625-705 CE)

Gaozong Emperor

In 638, Wu Zetian became a concubine of the Taizong Emperor.  She was beautiful, smart, and mind- bogglingly ambitious.  But the Taizong Emperor died in 649 CE, and Wu, like all imperial concubines at that time, was ordered to become a Buddhist nun, complete with shaven head.  She did.  But somehow, in seclusion, drab robes, and with a shaved head, she attracted the attention of the next emperor, her dead husband's son, Gaozong, who brought her back to the palace.  His empress was not amused.  Nor was anyone else - this was completely shocking to both Confucian and Buddhist morality - a man taking his father's concubine who was also a nun?!?!?! 

Anyway, he took her to the palace, and she went to work at gaining power.  She had the empress executed on the grounds that the empress had poisoned Wu's daughter by Gaozong.  (Legend has it that Wu killed her own daughter herself so that she could blame it on the empress.)  She had another concubine, a former favorite, killed.  The Gaozong Emperor himself had a series of strokes in 665 CE that incapacitated him (legend says poison administered by Wu), and Wu began sitting behind a screen behind the throne and giving orders. For the next 18 years, she ruled in his name.

Empress Wu

When the Gaozong Emperor died in 683 CE, Wu became the Dowager Empress Wu, ruling as regent for her two sons who never quite made it to adulthood (legend has it...  you can guess).  Finally, in October, 690 CE, she officially took over.  She declared herself Emperor - not Empress - Emperor Shengshen, head of the new, Zhou Dynasty (named after her own family).  She was the only woman in 2100 years of  Chinese history to sit on the Dragon Throne itself.  She bolstered her claim by citing a Buddhist sutra (that I for one have never been able to find) that said a woman would rule the world 700 years after the death of the Buddha.  She ruled for the next fifteen years and, other than trying to wipe out the remaining Tang heirs, she was pretty good at ruling.  (She had a thing for young men, but then so did Catherine the Great.  So did Frederick the Great, but we won't go into that...)  She was finally deposed at the age of 80, and died nine months later. 

The Empress Wu has gone down in Chinese history as one of the most duplicitous, salacious, lustful, evil women in history, and she's been used ever since her death as the reason why women should never rule China.

Yang Guifei (719-756 CE)

Xuanzong Emperor

After the Empress Wu died, her son became emperor, who was succeeded by her grandson became the Xuanzong Emperor (685-762 CE).  He was a great emperor in many ways, and a major patron of the arts, but he was dominated by his favorite concubine, Yang Guifei.  This led to one of the few great love stories of China, and, like the tale of Empress Wu, was given as a reason to keep women out of politics.

Yang Guifei was the wife of Xuanzong's son when he met her.  He ordered his son to divorce her, which of course the son (as a good Confucian) did, and had her put in a Buddhist nunnery.  A couple of years passed, and probably a lot of people had forgotten about that obscure ex-wife in a monastery - but then she was brought out, brought to court, and made Xuanzong's concubine.  Which was sort of fine (Father is always right), except he was obsessed with her. 

Yang Guifei mounting a horse.

Her family all got promotions, imperial messengers traveled night and day to bring her her favorite foods, and he never let her out of his sight.  Ever.  His work suffered.  Yang Guifei's favorites were taking over administration.  Eventually, one of her favorites, a strapping young man named An Lushan, launched a rebellion in 755 CE that actually captured the capital.  She was blamed for all of it.  The rebellion was crushed, but the army forced her execution.  She was strangled at a Buddhist shrine and the Emperor was forced to abdicate.


Yang Guifei and the Emperor have had innumerable operas, plays, and, later movies and television shows written about their love, and their great disaster.  Some present her as the author of all the trouble, others as a scapegoat.  (She's also a favorite subject in Japan, where there have been Noh plays and a legend that she actually escaped to Japan.)  The most famous is the Chinese poem "The Song of Everlasting Sorrow" by Bai Juyi: 
http://en.wikisource.org/wiki/Song_of_Everlasting_Regret#cite_note-20


So, a Dragon Lady and a Concubine.  The sexy bar girl?  Well, try Jiang Qing, (1914-1991) who began life as the daughter of a failed concubine, became a fairly poor film actress, and met and married the most powerful man in China, Mao Zedong.  She was his fourth and last wife; he was her fourth and last husband.  He modeled himself on the Qin Shihuangdi Emperor; she modeled herself on Empress Wu.  She called herself, after his death, when she was on trial for the crimes of the Cultural Revolution, "Mao's Dog".  She is called to this day the "White Boned Demon".  Who says that only the West has fantasies and cliches? 

NOTE:  On vacation - will be back next week!

Famous Last Words

Years ago, I read Clancy Sigal's novel GOING AWAY, which is a terrific book about the decline of the Old Left, in the 1950's, but I bring it up because of the epigraph, a guy on his deathbed.

"Take it away," he says.
"What, the pillow?" he's asked.
"No, the mute. I want to play on the open strings."

Nowadays, in this age of antibiotics, we forget that people used to take some time dying. I'm not talking about AIDS or cancer, but more generic, commonplace infections, like pneumonia, which today can usually be cleared up, but before penicillin, were pretty much fatal. People would take to their bed, and in their slow decline, their family and friends would gather around, to bring comfort and prayer, and nobody thought it odd to make note of what you said in your final moments. It might be despairing, or funny, or brave, and often very graceful. There's also the sub-genre of those facing the scaffold. Here are a few.

Give Dayrolles a chair. Lord Chesterfield
All my possessions for a moment of time. Elizabeth I
A dying man can do nothing easily. Ben Franklin
Let not poor Nellie starve. Charles II
Give the boys a holiday. Anaxagoras
I shall hear in Heaven. Beethoven
I want nobody distressed on my account. Ulysses Grant
All is lost! Monks, monks, monks! Henry VIII
I always talk better lying down. James Madison
More light. Goethe
Kiss me, Hardy. Lord Nelson
I owe Asclepius a cock. Socrates
My neck is very small. Anne Boleyn

Some of the best lines seem absolutely unrehearsed, naive in their sincerity. And some are poetry. Stonewall Jackson, shot by one of his own sentries: "Let us go across the river, and into the trees." We can easily imagine being surprised by death, but sometimes it comes by inches. My own mom died a protracted death, and it wasn't easy on her, or anybody else. When my sister and I took her to the hospital for what turned out to be the last time, she was so weak she couldn't even talk. But she looked at me, and made a scissors gesture with her fingers, snipping across her hairline. She meant it was time I went to a barber shop. In effect, my mother's last words to me were a grooming tip. It made me smile then, and it makes smile now. It was so human, and so much in character.

Perhaps the question is whether we die with grace. My favorite quote is attributed to the late actor Sir Donald Wolfit. Close to breathing his last, a friend asked him if he found death hard. Wolfit shook his head.

"Dying is easy," he said. "Comedy is hard."

Gratuitous Violence

Gratuitous Violence:  In literature, violence that is “unearned,” “unwarranted,” or “unjustified.” 

Collateral Damage:  Used euphemistically to refer to inadvertent casualties and destruction in civilian areas in the course of military operations.

                                                              — The Free Dictionary

        Last month driving back from the Gulf Shores of Alabama Pat and I (finally!) finished listening to World Without End by Ken Follett.  It took us a little over a year to get through this magnum opus since we only listen to audio books on car trips and since the narrated version of this particular novel weighs in at something over 45 hours.  The book is a sequel to a Follett classic -- Pillars of the Earth, which we also listened to and which deals with the building of a cathedral in the imagined town of Kingsbridge, England.  World Without End picks up the story two hundred years later, and focuses on the same church and the surrounding community and priory.

      Pillars of the Earth came in at number 33 on the BBC’s survey of 100 best loved books and was introduced to U.S. readers by Oprah Winfrey.  Ken Follett is also the author of a new trilogy focusing on world history from the late 1800s through the Cold War, two volumes of which, Fall of Giants and Winter of the World have been published.  I've listened to the first of these, and the second is queued up for our next car trip.  So, as you can see, we are Ken Follett fans.  He is is a great writer, and I read or listen to virtually everything he writes.  It was therefore with high expectation that we downloaded World Without End.  Probably 95% of the book was a very good read (err, listen).

      The rest was not.

        Stated simply, Follett (like a worrisome number of other authors) has what I find to be an unpleasant penchant for serving up detailed and unnecessary violence, inviting the reader to join him as he wallows in the torture, the blood and the death throes of others.  Lord knows we have enough of this in the real world without being subjected to it in the fiction we choose to read.

        Wait a minute, I hear you mutter.  This is SleuthSayers.  Virtually everyone here writes murder mysteries.  Certainly I have to plead guilty on that score – every Ellery Queen pastiche I have written kills off at least one character.  And various Ellery Queen parodies over the years have joked that those who allow themselves to stand too close to my friend Ellery must have a death wish since, invariably, someone in close proximity to the famous detective will die. 

        But there is a difference between the manner in which a Golden Age mystery typically portrays death and how it is handled by others, including Ken Follett, who, for whatever reason, allow themselves to become obsessed with the death itself.  The focus in the mysteries of Holmes, Christie, Wolfe and Queen almost invariably is not the violent act, but rather the detective's ability to use the deductive process to determine who committed the act and, even more importantly, how and why.  The violent act – the death of a character – is a necessary prerequisite to the deduction.  But that is it -- the stories are not about how people die, they are about how mysteries are solved.  As a result, the author generally does not force or expect the reader to sit through the details of the process of dying.   Indeed, more often than not writers of golden age mysteries leave death neatly off stage, or at the least take a deep breath and then try to get past the fact of death as rapidly and respectfully as possible.  Death is not, after all, why we are there. 

       And to me this captures what is wrong with Ken Follett’s handling of violence and death.  Winter of the World, like those mystery stories discussed above, is also not about death -- it is about the cathedral, and the lives of those living in its shadow.  True, death is a part of life, for Follett's characters as much as for the rest of us.  But unlike many of his writing colleagues Follett renders his kills in excruciating  detail and on center stage.  Thankfully a reader can skip pages, and a listener can fast forward, but if one reads, or listens to, every page of World Without End -- which, I emphasize, again, is otherwise a very well done piece of literature -- he or she will learn all there is to know about various ways to impale people, what it is like, minute-by-minute, to be burned at the stake, how to skin a thief while he is still alive so that his hide can eventually be nailed to a church door, how to bate a bear while killing it, the detailed process of how best to torture a cat to death while onlookers bet on how long the creature will continue to breathe.   I cover these incidents in three lines of text, but each (and others) comprise many pages of World Without End.  (I haven’t seen the miniseries version of World Without End but I am told that there the producers decided -- what the Hell? -- to set fire to a central character who otherwise survives the book version  un-charred.) 

      And why, one must ultimately ask, does the story vector into one of these episodes every 100 pages or so?  Unlike the deaths that must occur in order for a classic mystery to progress, or that are otherwise necessary for Follett to tell us the story of his cathedral, each of these incidents, particularly in the degree rendered by the author, is completely unnecessary to the progression of the story.  If anything, much of the violence interrupts Follett’s narrative of the church, the community, and the priory.

        Which leads me back to the quotes at the top of the article.   I do not like the notion of “collateral damage” in the real world – the premise that some innocent death is necessary in order to render a greater good – but I understand it.  I can also understand, and use, the concept in fiction.  It is what mystery writers do to an unfortunate few of the characters that we create.  Our victims may be innocent, but they sometimes still need to die, and at our hands.  We accept that they must do so in order to progress the story, to portray the character of the killer, or to lay a foundation for the deductive process that will ultimately unravel the murder in order that the villain can ultimately be unmasked.   However, while our characters are only born from our imaginations, this is no excuse to subject them to unnecessary violence – if we are good at what we do, we commit a great deal of effort attempting to bring our characters to life.   So why kill them without a reason?

       I can push this analysis uncomfortably further down the spectrum.  For example, I have enjoyed the entire Hannibal Lecter series by Thomas Harris.  The violence that Harris subjects the reader to may at times be every bit as graphic as that portrayed by Follett in World Without End.  But there is a difference – each act is necessary to understand Hannibal, and therefore to progress the story.  The same can be said of the new NBC series Hannibal -- you may not like the underlying story but it cannot be told without also depicting the underlying violence.
 
      By contrast, nothing in Mr. Follett’s story is furthered by devoting pages to describing how to skin the thief alive, how to bate the bear, or how to torture that cat to death.  Those episodes  serve no purpose other than to perhaps titillate a reading public with tastes far different than my own, and I hope, different than most of ours.  When Follett stoops to this in the course of an otherwise interesting plot the violence is (again hearkening back to the top of the article) “gratuitous.”  It is “unearned,” “unwarranted,” and “unjustified.”

        In the end, we each have the freedom to write to our own tastes and within the constraints we impose on ourselves.  In the marketplace it is the reading public that will ultimately determine what and how much it is willing to take in.  But at base I share the view of writer and educator Jack Harrell who has grappled with the ethics of violence in What Violence in Literature Must Teach Us, an essay that comprises one chapter of Ethics, Literature, Theory, edited by Stephen George (Rowan & Littlefield 2005).

When the writer inflicts violence in fictional characters, three conditions must be met in order for the violence to be warranted, in order for it to have moral and aesthetic value.  First, the character must be presented in such a way that the readers are able to care about them.  Second, given the plot and circumstances, the violence must be inevitable.  And third, there must be sufficient tension in the story:  the violence itself must be challenged by an equal, opposing force.

      I think that Harrell comes close to nailing a general rule for the use violence in fiction.  But I also think that any rule, or approach, is difficult to apply with certainty in the writing process since there are, after all, an infinite number of stories out there.  There are churches, and there are also cannibals.

      Broader guidance may be gleaned from a source a bit further removed from the field of fiction -- the late Supreme Court Associate Justice Potter Stewart.  When the Court grappled with the issue of how to craft a useful and generally applicable definition for “obscenity” in the 1964 case Jacobellis v. Ohio, Stewart, in a concurring opinion, offered the following rule for situations amorphous enough to make the articulation of specific guidelines difficult.  Justice Stewart’s proposed approach to identifying obscenity was this:  “I know it when I see it.” 

     So, too, gratuitous violence.

Reading To Learn

Like most writers I love reading. I guess I could be perfectly happy reading all day every day. I loved reading so much that my late husband, Elmer and I opened a bookstore in Austin in 1990. We titled it Mysteries and More. The "more" part was because we also had science-fiction, western, and general fiction. But all of those genre were used books. The new books were all mysteries and we had a huge number of used mysteries. I used to say we had 75% used and 25% new books. That was probably accurate. M & M was only the second mystery bookstore in Texas. Murder by the Book was the first and I think it's the only one currently still in business.

It wasn't too long that I realized that we had more books than I could ever read even if I live to be a hundred. That was a sad realization. When we liquidated the store in 1999 we had had nine years of great fun and great adventures, met a large number of mystery authors and had read a great number of books. However, we had decided to realize our dream of traveling the USA and my husband was ready to retire. We took a lot of books with us to read in the late evenings when we couldn't go sight seeing. Both of us loved to read.

I learned a lot about writing by reading. I read books about how-to-write and books about how to market and how to find an agent. I had reference books galore when I still had my house. But after three summers of RV traveling we decided to live full-time in our fifth-wheel, RV. That meant I had to give up about three thousand books I had kept from the store. It was sad to leave "good" friends and I do mean friends because books have always been my friend.

Books took me to far-away places that I'd never be able to travel to and I learned how to do so many neat things from my friends. Besides how to write, I learned how to collect depression glass, old mason fruit jars, stamps and coins. I learned how to make quilts, make cookies & candies, how to make jelly and jam and how to make a Better Than Sex Cake. I learned how to identify wildflowers, how to look for constellations in the stars and the capitols of every state in the union. As Elmer used to always say, "You can learn how to do almost anything, if you can read."

The intriguing thing to me is how you can learn many things about writing from reading other writer's books. I often stop and marvel at a well-turned sentence that somehow seems to say so much. It might be a character description or the way a place looks that immediately puts you there. I don't copy them down but I know they park themselves in the file cabinet in my mind. Not to plagiarize but to remember that there are way to construct a sentence or to construct the character who always lies or the construction of the faded dress worn by the mother of your suspect.

To remember "good" writing especially when you think yours is lacking. I remember a writer friend who wrote children's mysteries telling me once that you must engage the senses on every page. Sight, sound, smell, touch, and taste because that will capture a child's imagination. It will also capture the imagination of anyone, no matter their age.

When I first saw the Mississippi River, I was in my thirties and my mind went back to reading Huckleberry Finn. That mighty old river had been so strong in my mind, the sound, the sight, the smell that Mark Twain brought to the pages of his book made me catch my breath. That old river was familiar because I had read so much about it.

Another way to learn from reading is to volunteer to read for awards or contests. The Edgars and the Shamus nominees and winners are books read by writers who themselves have been published. By a jury of peers as it were. There are contests given by the Private Eye Writers, by the Agatha writers, by the Thriller writers and probably even by the Romance writers. Those contests often offer a prize of publication. If you belong to one of these organizations, volunteer to read for the awards or contest. You might be surprised at how much you learn.

Another opportunity might offer a chance for a writer to help an aspiring writer. Our local Sisters-in-Crime chapter has a mentoring program for aspiring writers. This program is to honor Barbara Burnett Smith, who was tragically killed in 2005. She often mentored aspiring writers and each year aspiring writers can turn in a couple of chapters and a synopsis. These partial manuscripts are read by published authors from our chapter and critiqued. Then after our May Mystery Month meeting the author and aspiring writer have a chance to talk and sometimes the mentor will continue to help the aspiring writer complete their work. No prizes are given but just having your work critiqued by a published author is priceless.

Through the years I've read for awards, contest and for our mentoring program. You read the opening of a book and realize how a writer has "hooked you." Right from the first paragraph. Suddenly you realize what's wrong with your own work in progress. You haven't hooked anyone in the first paragraph or even the first page. Wow. I've always known this, but somehow forgot it when I started this manuscript, you tell yourself.

More likely you'll read a character description that blows you away. Maybe it's short but, so pointed, so precise that you can actually see that character walking down the street. And you see what you need to do to a character who moves the plot along. Maybe a fight scene comes to life and helps you understand your own scene.

There is so much to learn from reading. In fact, I'm going to sign off and get back to the book I'm currently reading, one that I'm sure will help me with my own. I suggest y'all go and do likewise.

Flash Fiction– Great Minds

Punishment for writer's conceit strikes in insidious ways. When I reply "I'm a writer" to the so-what-do-you-do? question, rarely do I receive that sought-for adoring gaze I crave to bask in. More often, authors hear, "Oh, yeah, I'm gonna write a novel too," as if they might say, "Oh, yeah, me too. I'm also gonna build a backyard shed."

Worse for most authors is the response, "I've got a great idea for a story…" The rest of the sentence can unfold in predictable ways, such as, "Would you read it for me?" Or "Would you finish it for me?" "Will you recommend a publisher?" Or "I'll share my idea for 50% of the box office– I've done all the work already."

Companies like Disney fear lawsuits stemming from unsolicited ideas, so when letters with ideas or manuscripts roll into their offices, they return them unread to avoid lawsuits, which Disney defends vigorously. Coming from the software industry, I practice a simple solution: I advise an unsolicited sharer not to reveal their plots without a nondisclosure agreement.

While this usually deters unwished-for sharing, it unfortunately feeds the public Murder She Wrote perception that authors are a hideously bloodthirsty lot, stealing one another's plots. While I find gimmick ideas interesting as murder devices or potential clues, ultimately a plot must be my own.

Hard Swallow

From time to time, ideas I concocted have shown up in other stories, twice by John Lutz, which is one reason I admire his work so much. It's inevitable, so many creative minds poring over material. But three days ago, well…

Last year, the flash fiction muse sat on my shoulder while I cranked out a few stories, two that I shared with readers (here and here). Cate thought another of these flash fiction stories was so unique and good, she urged me to find a buyer for it.

I consulted those masters of flash fiction, John Floyd and R.T. Lawton, asking them about markets. John advised that FF pieces are often used as filler and the market is sparse. I tucked my piece away for a day when I might stumble across a buyer.

On Thursday, Cate and I found ourselves killing time in a government office. Cate had brought along her Kindle loaded with a multitude of free reading and I packed along my Android loaded with sudoku. She handed me her machine and said, "Last night, I read this short story and didn't want to tell you. From the first sentence, I knew how it would end."

There in 500 words (mine was only 37), lay my concept right down to the punchline.

I didn't know if it made me feel better or worse, but this story, J.A. Konrath's 'The Big Guy', published in Crime Stories and a 2004 anthology, Small Bites, won a Derringer award. I took a deep gulp. It was eerie to see another tale– an award-winning one– so similar to my own. I think Cate felt sicker about it than I did.

After a short reflection, I felt an odd gratitude: Had my story been published, sooner or later someone would have remarked upon the similarity and I could not have come off looking good. No matter how much proof I might muster, there would always be a whiff of suspicion I might have copied another's work.

Mine's a flash fiction I remain proud of and one I'm pleased to share with you. Be sure to read Konrath's 500-word version, now a PDF. And here is mine:

My Pal George by Leigh Lundin I'm excited! For the first time ever, I'm taking my friend George shark fishing. Some might not understand how I could be so forgiving finding out about him and Joan, but he's my best pal, my chum.

You Can Do Anything

by Elizabeth Zelvin

A few years ago, when I started hanging out with a group of friends from junior high school (Class of ’57), we discovered that one of our most powerful memories as a group was writing what our English teacher called a “cyclical novel,” of which each of us wrote a chapter. Not everybody loved the assignment (I did), but when we pooled our collective memories, it was one of the few things that every single one of us remembered. This started me thinking about why that was so and exactly what kind of impact the experience had on us.

A little backstory first: we grew up in Queens (the second least cool of New York’s outer boroughs) in the Fifties and spent two years together at the ages of eleven to thirteen in a class for kids with high IQs and musical aptitude. None of us became musicians, and I’m the only fiction writer, but we have several accomplished poets, teachers, lawyers, academics, and one near-billionaire who walked away from tenure as a philosophy professor to become a financial wiz (very cool). We all rediscovered each other as a group shortly after the fifty-years-later mark. There’s a great fascination in getting to pool memories of yourselves at eleven. The boys have vivid, detailed memories of playing baseball every day at lunch. The girls remember who got interested in boys first and which teachers were supportive of our preadolescent angst. We all remember playing spin the bottle and the hoopla around invitations to the prom. We even remember some of what we learned in class. We were smart kids, after all. But writing that novel was powerful enough to stick in everybody’s mind.

Interestingly, not everybody liked Mrs. P. She had a strong personality and tended to play favorites. Some remember that they loved her, others hated her and tell stories that provide ample reason. I liked her and did well with her—no more, because my mother was such a powerful role model for me that it never occurred to me to look for any others. This is relevant to my topic, because both these strong women gave the same message: You can do anything. Remember, it was the 1950s, when most girls were being groomed to be perfect housewives and mothers, even if they went to college, as we all expected to do. And even for the boys, I believe there was a glass ceiling, an unstated limit on what a middle-class Jewish boy from Queens could be.

In this context, it meant a lot to us to be told, Yes, you’re eleven years old, and you can write a novel. I certainly believed I could. Maybe it’s thanks to Mrs. P that I had enough persistence to keep trying till I finally had my first novel published at the age of sixty-four. She eventually quit teaching and went to law school, probably when she was in her forties, if not her fifties. My mother used to run into her at Queens College, where she herself got a doctorate in political science at the age of sixty-nine, after having gone to law school in 1921. She too taught me that I could do anything.

It wasn’t a matter of doing what these women did themselves. I never wanted to be a lawyer. But it’s probably thanks to them both that I went into the Peace Corps after college, took flying lessons in my thirties, became a therapist in my forties, and learned to use a computer in my fifties, so I could practice online therapy and write and promote my mysteries while sitting at the keyboard in my sixties.

Also in my sixties, I spent four hundred hours in a recording studio singing, playing, and co-producing the songs I’d written over the years. The producing part took all the training of the ear and music theory skills I’d learned in junior high and stored in the back drawers of my brain for decades. I was relieved and delighted that that knowledge was still there, along with memories of Mr. C., our orchestra teacher, whom we all adored. He’s the one who made sure we participated in the all-city orchestra that performed on the stage at Carnegie Hall. The playing was way beyond our abilities, and most of the other musicians were already in high school. But he wanted us to have the experience—one that, like the cyclical novel, we all remembered half a century later.

So how am I going to reinvent myself in my seventies? My eighties? My nineties? Hey, who knows? When I was eleven, I wrote a novel. At twelve, I played the cello at Carnegie Hall. I can do anything.

A True Story of Crooks and Spies

Lisbon in War Time 

The thriller writer John Masterman, who was also an Oxford history don, sportsman, and the chairman of the WWII British intelligence unit known as “Twenty Committee,” described war-time Lisbon as a “sort of international clearing ground, a busy ant heap of spies and agents, where political and military secrets and information -- true and false, but mainly false -- were bought and sold and where men’s brains were pitted against each other.”

Sir John Cecil Masterman

This is the Lisbon to which the British agent codenamed “Zigzag” traveled in March,1943. Zigzag was a double agent, who had first been trained as a saboteur and intel operative (codename: “Fritz”) by the Nazis, then parachuted into England to report on troop movements and blow up the factory where Britain turned out its Mosquito bombers.

As soon as he removed his parachute, in his native Britain, however, he walked to the nearest phone and turned himself in to MI5, volunteering to spy for England instead.

For months afterward, Zigzag had radioed his Abwehr masters whatever MI5 told him to. The master illusionist Jasper Maskelyne was even brought in. Working with his team, Maskelyne created a ruse that would dupe the Germans into believing Zigzag (“Agent Fritz” to the Germans) had destroyed the transformers providing electricity to the De Havilland aircraft factory that produced Mosquito bombers in England, putting the factory out of action for some time.

Everything had gone very well in England; the factory bombing ruse had worked so well, the Nazis even presented “Agent Fritz” with the Iron Cross. Then -- his German assignment complete -- Zigzag sent a message that indicated he was under suspicion and had decided to escape back to Germany. MI5 duly packed him off to meet a prearranged contact with the Abwehr in Lisbon, in order to begin spying for Britain within the occupied continent itself.

Now, however, reports reaching MI5 and MI6 indicated Zigzag had gone rogue. Having contacted his Nazi masters in Lisbon, as planned, he’d then ditched the British plan, instead obtaining high-explosive charges disguised as lumps of coal, which he volunteered to plant in the coal bunkers of the “City of Lancaster,” in order to sink the steamer that had transported him from Liverpool to Lisbon, and which carried supplies important for the British army in North Africa.

MI6 put a man on Zigzag’s tail, planning to kill the double agent if needed, in order to save the ship with its critical supplies, while MI5 scrambled to get one of Zigzag’s controllers on the ground in Lisbon to find out what was going on.

The stuff of fiction. Except that this is NON-fiction!

Breaking the Code

Ben Macintyre

My colleague, David Edgerley Gates, has written about code breaking in fascinating posts on SS in the past. One very specific fruit of this code breaking, during WWII, is detailed in Agent Zigzag, a great book I recently read, which was written by Ben Macintyre (associate editor at the London Times) and published in 2007. Even more amazing: the book is non-fiction.

Before the war, a low-born English villager named Edward Arnold “Eddie” Chapman was a thief, con artist and philanderer who managed to charm nearly everyone he met. During the war, he was recruited to work as a spy for the Abwehr, the Nazi intelligence apparatus. But, due to his nature – and the fruits of code breaking – he was doubled-back against the Germans as the British operative “Agent Zigzag.”

A Little Background 

During WWII, the Nazis encrypted their radio traffic using cipher gear known as the Enigma Machine. Essentially, cipher clerks would type a plain-text message into the Enigma Machine, and an enciphered text printed out the other end in 7-figure blocks, which were then forwarded to radio operators for transmission. 

Enigma machines were sent to all major commands, and even stationed aboard U-boats and other naval vessels. This was because the Nazis felt their Enigma machine rendered all encrypted messages “unbreakable,” and they wanted secure communications throughout the Third Reich.

However, Arthur Owens (Britain’s “Agent Snow”) managed to obtain one of the machines (or parts of it, depending on which account you read), along with a book of codes and signal operating instructions, for British intelligence. This gave the cryptographers and other brilliant professors working at Bletchley Park, England – also called “Station X” – a sort of running jump. And they managed to break the Nazi’s unbreakable cipher system quite early in the war, enabling the Brits to read the Nazi’s most classified radio signals from then on.

They called this secret ULTRA.

But, the Brits weren’t just using ULTRA to gather Wehrmacht troop deployment information. They were also reading all the secret transmissions sent out by the Abwehr – including transmissions that identified Nazi spies. Using this information, the intelligence services were able to capture most Nazi spies as (or soon after) they entered the country. Then, in a remarkable feat of ingenuity, they managed to “turn” a significant number of these spies, using them to transmit bogus intelligence reports back to the Abwehr.

The specific information those turncoat spies delivered was carefully considered and vetted by a committee formed from representatives from all branches of the military, the Home Office and industry, chaired by the eminent Oxford don John Masterman, mentioned at the beginning of this article.

This committee, charged with generating the information that would double-cross Germany’s spy masters, without giving the game away, was named XX, representing “double-cross”, and in that ineffable British humor, the name finally became “Twenty Committee” as a pun on the Roman numeral XX. Twenty Committee worked hand-in-glove with MI5 (using ULTRA intercepts) to identify, then turn, numerous agents throughout the war.

In February of 1942, these spy hunters began to intercept transmissions about a new spy codenamed “Fritz” who would be coming to England soon. But, while most of the spies the Brits caught seemed fairly inept, and none of them were native British sons, this one looked to be different.

ZIG

During the 1930’s, Eddie Chapman, and some of the nefarious friends he hung around posh London clubs with, learned to use Gelignite to blow open safes. ( I told you it sounds like fiction!)

The “Jelly Gang,” as they were quickly dubbed, realized they’d discovered a fantastic new way to nab stacks of quick cash. The gang blew a lot of safes -- and a lot of stolen money, in those posh London clubs. But, by February of ’39 the cops were closing in on the Jelly Gang, so they decided to evade pursuit by taking a vacation with Chapman’s girlfriend on the Channel island of Jersey.

Eddie Chapman, a man of many names

There, in the Hotel de la Plage, as Chapman sat to dinner with his girlfriend -- a Shropshire farm lass of eighteen, named Betty -- he looked up to spot two policemen pointing at him from the maitre d’ desk. Pausing only to kiss Betty and say, “I shall go, but I shall always come back!” Chapman jumped out through a closed window and ran away before the sound of shattering glass could die out.

Though he broke into homes and businesses to obtain cash and clothing, planning to get his hands on a boat and escape from the island back to London, Chapman’s freedom was short-lived. On March 11, 1939, the Royal Court of Jersey sentenced Eddie Chapman to two years hard labor for housebreaking and larceny -- which wound up being an incredibly lucky break for the guy!

ZAG 

The other members of the Jelly Gang had been arrested in their hotel rooms on the island, and were taken back to London, where they stood trial and got forty years for their safe cracking exploits.

But, because Eddie had committed crimes on Jersey, while on the lamb, the island authorities refused to let him be taken back to London before serving out his two year sentence on Jersey. This sentence was increased, somewhat, after Chapman escaped from the prison but was again arrested before managing to escape the small Channel island.

During Chapman’s incarceration, Hitler invaded Poland and Britain went to war. Before his release, the Nazi army invaded the small Channel isle of Jersey, which they occupied for much of the rest of the war. This made little difference to the inmates, except that the food went down hill.

Upon his release, Chapman found it impossible to leave the occupied island, so he and a buddy opened a small shop. Chapman had met this friend, Anthony Charles Faramous, when he had been thrown in the island pokey for a fairly minor infraction, and the two shared a cell.

Faramous knew a little about cutting hair, so he ran a barber shop in the front of the store, while Chapman dealt in the black market out the back. The two men longed to get back to London, but couldn’t find a way. Until Chapman suggested they volunteer to spy on England for the Nazis.

Their initial offer was met with a lackluster response. But, several months later -- after the men had been shipped off to a French concentration camp -- Chapman was interviewed and recruited by the Nazis, who gave him a 3-month mission of intelligence collection and sabotage in England, while they hung onto Faramous as a hostage.

Before it was all over, Eddie Chapman would gather intelligence and bed beauties across Occupied France, Germany, Norway and England. But was he really a German spy who tried to sink a merchant vessel laden with critical British war cargo?

I’m not about to ruin things by telling you. If you want the details, you’ll have to read the book.

Lord Victor Rothschild, inspiration for "Q"

I will give you a hint, however: His actions had something to do with a request from Lord Victor Rothschild, the man Ian Fleming reputedly based the James Bond character “Q” on.

In two weeks, I’ll be back to review another terrific espionage book -- a fiction novel with a story that sprawls from the closing days of WWII, to concentrate and finally conclude in Cold War Berlin. This novel, entitled Black Traffic, was written by our own David Edgerley Gates, whose prose style (imho) sings only the best notes of John le Carré and W.E.B. Griffin, combining to form a written concerto of suspense that kept me up nights until I was done.

See you then!
--Dix

Journaling for Your Work in Progress

Riffing on Rob's terrific post from yesterday on how writing about his novel actually helps him stay creative in the writing of his novel. I think anything you can do during the drafting process that will help you keep your characters/settings/situations/plot fresh and mobile in your mind is going to be of assistance in getting to the finish line with your novel.
This is true of other pieces of work as well, short stories, nonfiction, what have you. And for my money the single most effective way to do all of the above is to journal about your work-in-progress.

Plot diagrams are nice. Character sketches are really important. But for me, I need the internal monologue (and yes, sometimes dialogue) that comes from writing about my writing.

Everyone ought to have a writing journal. If you don't, whatever the format, either Word doc or notebook, you're missing out on something that can help keep your chops sharp and your story in your head. I have notebooks full of entries about the books and short stories I've written. They've been fruitful contributors in a multitude of ways, especially when I hit a dry spell and can't seem to keep my plot moving forward, or once it's stalled, get it rolling again.

That's when I go back to the well. And sometimes re-reading what I've written about my various works-in-progress, even if it bears no fruit at the time, comes back to life when I delve into my oeuvre seeking some sort of fresh idea, some spark to get things rolling again.

Take short stories for example.

I've been known to start one, write myself into a corner, and leave it to work on something else for a while. Then there are the ones I've written that went nowhere when I tried to place them for publication.

Those I set aside too; resolving to re-work them later. One of them ("Suicide Blonde") was written specifically for AHMM, so when Linda Landrigan (rightly) passed on it, I set it aside for a while. And when I journaled about my next work-in-progress, I threw in asides about what ideas I had about re-working "Suicide Blonde" to make it a more successful piece. I also solicited feedback from my critique partners and journaled about their input.

Devoting this sort of headspace to the story (and we're only talking about the amount of time it took to write a few lines per night about it) paid off in the long run. I re-worked the story, submitted it for the MWA themed-anthology contest for that year, don't make that cut, then turned around and re-submitted it to AHMM. This time Linda bought it.

As I've mentioned in previous blog entries I am currently hard at work on an historical mystery novel set in mid-1840s Washington DC. I've done two previous drafts (One full and the other a partial re-write) while trying to work out the plot to my satisfaction. After a couple of false starts I really feel like I'm on the road to completing this novel.

So when a friend recently started up a quarterly e-zine (published electronically and available on Kindle, etc., and a paying venue, to boot) and expressly requested a short story from me, I viewed the notion of writing a short story from scratch, research, etc. (remember, I write historicals. They require a ton  of research!), as a potential distraction, and demurred. He asked again, and he's a good guy and one hell of a writer, so it's an honor to be asked.

Plus, I'd reached a slow-down patch in my novel, so I shifted gears and went back to the notebooks, and dug up an idea I'd initially had for a short story featuring Renaissance Italian adventurers attempting to break the ultimate political prisoner out of the Turkish sultan's toughest prison in 1580s Constantinople.

And I began to journal.

I had a couple of false starts to fall back on (I keep all of my "didn't make the cut" drafts, so I can "cannibalize" anything useful in later work. After all, no need to re-thread the needle if you've already done it before!), plus a fair bit of notes from my research (my story idea was based on actual events).

I finished the final draft of that short story last night, putting the final touches to it after receiving feedback on the rough draft I pounded out based on my previous notes/drafts and the  pages I devoted to the journaling process and writing about my writing.

And while it's true that sometimes setting aside a good story until you can get all of its parts working right in your head (and that usually takes time, in this case, years!), I couldn't have pulled together all the complex threads for this story and developed them in 8,000 words had I not written about what I was writing: my process, my ideas for fleshing out the story. What worked, what didn't, and so on.

So there you have it. Want to finish a writing project? Well then get to journaling!

Brian

Rosencrantz and Guildenstern want something

by Robert Lopresti

I hope you people aren't sick to death of hearing about my work in progress, alias The Novel.   I keep finding things related to it that our relevant to our subject, which I am assured is Wriitng Mystery Fiction.

And honestly, writing about it helps me.  In the process of writing about it I keep learning things I didn't know.

For example, This is my first attempt to write a book from multiple viewpoints - a thought that didn't occur to me until I started to write this piece - and so this week I have been doing character checks.  In other words I have traced Mickey in each chapter he appears, to see if his personality and verbal mannerisms are consistent throughout.  once Mickey is clear, then I move on to Deedee, and so on.

Most of the time everything works fine, but I have made a few nasty discoveries.  One character was  so completely out of, uh, character in a single chapter that I decided it was easier to replace him in that scene with a newly invented guy, rather than rewriting the dialog.

But there was another more interesting surprise.  I should explain that I started my hunt with the minor characters, the ones who only appear in a few places.  Everything there went easily enough,  but when I moved to the mid-level characters, those people who appear in, say, a quarter or more of the chapters, I had a very odd sensation.

It was as if I were seeing the entire story from their points of view.  Yes, that's what multiple viewpoint implies, but this felt as if I was reading a different book, a short novel about, say, Adrianna, or Henry, when I know that isn't what I have written.  (And this being the kind of novel it is, several of those shorter one-character books end suddenly with a bullet.)

I don't know if you have seen Rosencrantz and Guildenstern Are Dead, Tom Stoppard's absurdist, existentialist comedy.  Basically we see Hamlet from the viewpoint of two minor characters.  At the proper places Hamlet and Polonius and the rest of the Denmark gang stroll onto the stage and our unlikely heroes say their appointed lines, but the rest of the time they stand around, bewildered, wondering what they are supposed to be doing.  They do have a long unBarded conversation with, appropriately enough, the troupe of players.

And that got me thinking about Fifth Business by Robertson Davies, one of my favorite near-mystery novels.  (There is a mysterious death, and many issues to investigate, but that isn't the focus.)  The title refers to a concept in Scandanavian opera (an artform which, I assure you, is not mentioned again in the book).  A singer could specialize in performing the part of hero, villain, heroine, or confidante, or he could specialize in all the other roles, which were summarized as Fifth Business.  In other words, the narrator of the novel didn't consider himself to be the main character of his own life.

One more connection, if I may.  I have often said that the reason Elmore Leonard is such a great writer is that he convinces you that each person in his books thinks he or she is the main character.  When working on this piece I finally asked myself what the hell I meant by that glib statement.

And here is my answer.  Leonard's characters aren't just standing around like Rosencrantz and Guildenstern waiting to be spoken to.  Each of them wants something.  They have goals and they firmly believe the story is about their efforts to achieve them.

I think it was David Mamet in his book on screenwriting who said in every scene every character must want something.

Right now, what I want is to go back to my novel and attend to some people's needs.

Smiley's Series

As part of its Pioneers of Television, PBS did a segment on the miniseries, a dramatic form that was extremely popular in the late seventies and all through the eighties. It's a shame that it isn't more popular today. Some of the failed Lost clones, like FlashForward and The Event, might have succeeded as miniseries. Viewers might have been more willing to invest their time if they'd known that the big questions posed by these shows' high-concept premises were going to be resolved in a reasonable amount of time and without endless (and increasingly crazy) plot complications.
During its heyday, the miniseries usually focused on sweeping, multigenerational sagas, but mystery novels were occasionally included. I remember a late seventies adaptation of Dashiell Hammett's The Dane Curse starring James Colburn. And there were the two BBC productions I revisited this past winter, Tinker, Tailor, Soldier, Spy and Smiley's People, which were both based on novels by John le Carré. The inspiration for my video trip down memory lane was the much more recent film version of Tinker, Tailor, which starred Gary Oldman. I enjoyed the movie, but it left me nostalgic for the 1979 miniseries, in which Alec Guinness played George Smiley, "retired" spy.

If that reference to Smiley's profession (or your own knowledge of le Carré's works) has you thinking that these books are espionage stories and not mysteries, you're half right. They're espionage stories and mysteries. In fact, Tinker, Tailor is a whodunit, as were le Carré's two earlier Smiley books, Call for the Dead and A Murder of Quality. I still remember the suspense that slowly built during the original broadcast of Tinker, Tailor (which didn't occur in the U.S. until 1980) over the true identity of Gerald, the Russian mole inside British Intelligence. Reviewing the miniseries courtesy of Netflix, I felt that old suspense again. (Netflix did its best to encourage this by only entrusting me with one of the series' three discs at a time.)

Smiley's People is somewhat less satisfying as a story but just as well adapted. (Both series were scripted by le Carré himself.) There is a murder to be solved, but Smiley is more interested in why it happened than in who did it. Though made three years after Tinker, Tailor, Smiley's People reunites many members of the original cast. In fact, the casts of both miniseries are uniformly excellent. They include future stars Alan Rickman, doing a bit as a desk clerk, and Patrick Stewart, in the nonspeaking (!) role of Russian master spy Karla. Two of the strengths of Smiley's People are some great location shooting and an increased amount of screen time for Alec Guinness, who functions like a loner P.I., warned off the case by the authorities and hunted by the bad guys.

It would be hard to overpraise Alec Guinness's two performances as George Smiley. Guinness was an actor who could play broadly if the role called for it, but his real forte was underplaying. His talent for quiet was put to good use here, as George Smiley is one of the great listeners of popular literature. Both miniseries feature powerful scenes in which some other, more flamboyant character wanders far from the point of the conversation while Smiley sits quietly, waiting to draw him or her back. Depending on the situation, he might cajole or flatter or wheedle or simply will the wanderer to focus. I've written that sort of interaction many times, as has any writer of detective fiction, and it's a pleasure to see it done this well. And Guinness/Smiley's reactions to the constant references to his wife's infidelities--tiny winces or a slight narrowing of his eyes or just blank resignation--are equally wonderful.

I'll mention one last point of interest, at least for the writer of historical fiction. There are only two types of films and television shows: those done as period pieces and those that become period pieces over time. Smiley's miniseries are in the second group. I'd forgotten that the three-year gap between the two series marked a sea change in men's fashions. In Tinker, Tailor, wide, loud ties and wider lapels predominate. By Smiley's People, styles (or should I say widths?) had returned to a more classic look.

The late seventies might have been a bad time for clothes, but it was a really good time for long-form dramatic television. If you haven't seen these two examples recently, check them out.