Anybody Down Range?

In the Hollywood version of our Old West, the movie makers would have us picture the hero stepping out into the dusty street of some cowboy town to face the story's villain. The two opponents stare at each other for a while to increase tension, and then the bad guy draws first. Naturally, our hero draws his weapon faster and shoots first. If he's really good, it only takes one shot to polish off the soon-to-be-deceased. And, the entire scene occurs at a distance of several paces between the combatants.

In reality, from what I've read in non-fiction, many of the Old West gunfights took place in a local store or saloon with roughly about ten feet separating the two arguing parties. In their anger/excitement/adrenaline, a nearby stove or innocent slow bystander was as likely to get plugged by the first shots as was the opposing shooter. How you ask, could this possibly happen at such close range?

Well, I'm glad you asked that question. In reply, here are a few antidotes and anecdotes to help tighten up your own shot group.

As most of you who have fired a handgun know, you line up the notch in the rear sight with the blade of the front sight. The top of the rear sight should be on a level line with the top of the blade of the front sight and there should be equal daylight on both sides of the front blade in order to make a correct sight pattern. The target to be shot then goes on top of the front blade, depending upon the distance to said target. Simple, huh?

Now we get into various factors affecting this simple process.

The Length of the Barrel

In 1971 when BNDD Class 15 graduated, all trainees were issued a S&W, .38 caliber, subnose, six-shot revolver. The short barrel was supposed to make the weapon more concealable when going undercover. Experts -- I have no idea who they were -- had determined that most shootouts in undercover situations took place at about the distance of six feet. Therefore, a short-barreled weapon should be suitable. Naturally, this did not help in situations where your opponent was at a greater distance. You see, assuming the same error deviancy in sight pattern between the rear and front sights, means a short-barreled weapon will increase the width of your shot grouping a lot more as the distance increases than will a long-barreled weapon. And that is if you are doing everything else correctly. For that reason, many agents soon changed over to personally owned weapons such as the Colt Combat Commander, and later to the larger of the Sig Sauers and Glocks. True, the larger calibers of these weapons had more knockdown power, but the longer barrels also provided more accuracy.

The Twitch of a Finger

One summer day, a law enforcement buddy of mine was off-duty at a lakeside park when a pickup truck drove up to where he was standing. The truck driver, a felon, appeared to suddenly recognize my friend. Whereupon the driver said a few unkind words and drew a pistol. Fortunately, this felon was drawing from an awkward sitting position. My friend beat the felon to a shooting readiness and blew three holes through the driver's side door at a distance of about six feet or so. Luckily, one round hit the felon in his shooting arm and the situation was concluded without further violence. How did the other two shots miss his intended target? Well, let's see, there's excitement/adrenaline, anticipating the shot and the position of the trigger finger for three possibilities.

Adrenaline coursing through a person's veins allows some people to lift a car off a loved one, or some soldiers to storm an enemy position without feeling the effects of wounds until the action is over, or lets some humans conduct super human efforts for a short time period. This naturally produced chemical in the body also affects the nervous system and makes for twitchy movements. A trigger finger does not do well with twitchy movements as you will soon see.

Anticipating the shot means you know the recoil and loud noise are coming, which usually means you react in advance by flinching and yanking the trigger. This reaction pulls up the nose of the barrel and your shot goes higher than you want. To see if you have this problem, dry fire your weapon (no ammo in the chamber or magazine, please). If you flinch when the hammer falls, you're anticipating a recoil and need to relax. Keep dry firing until the flinching stops.

Now we come to the position of the index finger on the trigger. Look at your shooting hand. The pad of the index finger, from the fingertip to the crease of the first knuckle, should be evenly centered on the trigger. If the fingertip portion pulls on the trigger, then the barrel gets pulled to the right and the round goes to the right of target center. However, if the crease of the first knuckle pulls the trigger, then the barrel gets pushed left and so goes the shot. The finger pad also needs to be centered up and down on the trigger. Put the finger pad too high and the barrel gets pulled up when fired; too low and the barrel gets pulled down. So, how do you correct these problems?

Practice, Practice, Practice

Go to the firing range and work on your anticipation and trigger finger position. When you have acquired a tight shot group, then start drawing and firing your weapon. Always practice as if you were in a real life situation. Use the same weapon you will be carrying and keep it in the same position on your body that you will be drawing it from. If from a holster, then always use a holster. For undercover purposes, most of us did not use holsters, the weapon went in the back of the waistband. For muscle memory and to help counterbalance the effects of adrenaline, keep as many circumstances the same as is possible, time after time. Then, when the action starts, your movements become automatic and natural.

In the early years, our range officers, to keep their firing ranges neat and tidy, would have us clean up as we went. When we finished firing from behind barricades (which simulated reality) the range officers would tell us to empty the casings from our revolver cylinders into nearby brass cans. Problem they found out later was that agents reacted in the field as they had been trained in the academy. When field agents got into a shootout, they would look around for the brass cans to empty their guns before they reloaded. You don't have time for that in a shootout.

Moral: Practice for reality. Train the way you will use it.

Now, go out and have some fun with paper targets. Hope you never need to shoot at the real thing, but if you do, do it right for your own safety and for those around you.

The Affair of the Poisons

Scandal!  Murder!  Secret poisons!  Death in high places!  Welcome to the 17th century, specifically the reign of King Louis XIV, the Sun King, or, as one of my students once put it, the first king to live as a rock star.

Marquise de Brinvilliers
(after torture, on her way to execution)

The year was 1676, and a middle-aged woman, the Marquise de Brinvilliers, mousy, quiet, of minor nobility and married to same, was arrested for trying to kill her husband.  The investigation concluded that she had poisoned her father, her two brothers, and various strangers in hospitals upon whom she'd experimented with various types of poisons.  She tried to flee the country, but she was arrested in Liege, and tried and tortured.  She was executed (beheaded, and then her body was burnt).  During her trial, supposedly, she talked about how unfair her execution was since everybody did it.

Gabriel-Nicolas de la Reynie

And maybe they did.  The chief of police in Paris at the time was Gabriel-Nicolas La Reynie, rich, smart, urbane.  He cleaned up Paris, protected Protestants, and did a better job than most, or at least more of what we'd recognize as a police chief's job.  He'd been warned by a priest that a lot of people were confessing to poisoning their relatives.  The break came, however, at a party when a Madame Bosse got drunk and started talking about selling poison to the quality trade.  Someone reported it, and an undercover officer went to her later, bought a bottle of poison, and then arrested her.  She started squealing, and soon the authorities were arresting every fortuneteller, alchemist, and self-proclaimed witch or seer they could find.  And there were a lot of them.  Interrogations followed, and this is where it gets dicey, because the standard criminal justice procedures of the day called for questioning prisoners under torture.  Subjected to the water torture (16 pints poured down a funnel in the throat for starters), the boot, the rack, thumbscrews, pincers (sometimes red-hot) and other "standard methods", they named names galore.  And one of them was Madame Voison, self-proclaimed witch and fortuneteller to the stars.  (Think Nancy Reagan's astrologer; or Elizabeth I's Dr. Dee...)

Madame Voison

At this point, La Reynie knew he was playing with very dangerous people, who quite literally could have HIM arrested for investigating them, so he went to Louvois, the Foreign Minister, who in turn went to the King, who agreed to a very private investigation so that they could hush up what needed to be hushed up and arrest those who needed to be arrested.  They created the "chambre ardente" ("burning court" - burning being the punishment for witches and witchcraft) to be the central investigation/court.   And names came tumbling out:  countesses, duchesses, counts and dukes.  Even people in the royal family.  The only one not named was Athenais de Mortemart, Madame de Montespan, either because Athenais didn't do more than have a few spells cast or because Voisin was scared of being charged with treason. 


Why treason?  Simple:  Madame de Montespan, daughter of one of the oldest families in France, was the then official mistress of Louis XIV, by whom she'd had 7 children.  Supposedly, it was La Voison who got M. de Montespan her place in the King's bed, because, despite her undoubted beauty, tremendous lineage, acknowledged wit, and extreme willingness, at first Louis just wasn't that into her.  It might have been that Louis was still besotted with Louise de la Valliere, it might have been that Louis didn't appreciate Athenais' incredibly sharp tongue, it might have been that he liked blondes better (who are we kidding, Louis liked everybody), but in any case, until La Voison (supposedly) arranged a Black Mass for Athenais, complete with blood, blasphemy, and spells - all performed on Athenais' nude body or so the rumor went - Louis didn't look her way.  After that, he was hooked on Athenais for years.

Madame de Montespan

Now the truth is, there was never any proof of all the poisonings, spells, and witchcraft but the word of a group of tortured prisoners who all claimed to be witches.  (Yes, there were deaths - but people died suddenly and quickly all the time, from bad food, infections, blood poisoning, aneurisms, and everything else under the sun.  Remember, this is a world without antibiotics or vaccinations.)  But at the same time, Athenais did admit to buying love spells for Louis (he was not amused).  And even a love spell could be harmful, because no one was checking out the ingredient list - Louis remembered that he'd had terrible headaches during the time in question, although that could have been a retroactive reaction.  And poison of all sorts was widely available (as late as 1892 our own Lizzie Borden could walk into a store and expect to buy prussic acid over the counter), easy to manufacture, and widely used (arsenic and antimony and belladonna were all used for cosmetic as well as homicidal reasons).  And poison was instantly suspected in any sudden death.  When Louis' brother's wife, Madame (who, incidentally was another of the King's lovers - the man got around) died suddenly at the age of 26 in 1670, even she, as she was dying, believed she'd been poisoned and said so.  (Suspects included two of her husband's lovers; the primitive CSI team of the day performed an autopsy and concluded cholera morbus, a/k/a gastroenteritis; the dispute continues to this day.) 

The results of the Affair of Poisons were:  36 people burned to death after torture, 4 sent to the galleys, 36 banished or fined, 81 imprisoned by lettres de cachet.  A lettre de cachet was an unappealable, unexplained order signed by the king, locking someone away for life - it was frequently used by the nobility to imprison difficult relatives.  One of the ones who vanished was Eustache Dauger de Cavoye, who (like Athenais) had played around with Black Masses (on Good Friday, no less!) and other debauchery.  For a long time, he was believed to be the Man in the Iron Mask - but it's been proved that his family had him locked up in the Prison Saint-Lazare in Paris.   One of the most interesting trials was that of the Duchesse de Bouillon, who arrived in court surrounded by relations and fans, hand in hand with her husband and the lover for whom she was accused of trying to murder the Duc.  She was tart, saucy, pert, and laughed her way through the whole trial.  She was acquitted, but the King banished her anyway.   And there was the Marechal de Luxembourg, who was tried (for 14 months) for using spells to get rid of people, including his wife.  He was also acquitted but his secretary was sent to the galleys.  (More on the galleys next blog.)  The King banished Luxembourg for only a week before recalling him to command the King's armies. 

Basically, all the society people were acquitted, despite admitting that they'd been customers of La Voison - but only, they swore, for spells and love potions.  And then, under torture and threat of burning, Madame de Montespan's name was finally said - all the stuff about the Black Mass and love potions came out - and Louis XIV shut the chambre ardente down.  All those who had even whispered Montespan's name were put, by lettre de cachet, in solitary confinement for life, where they were whipped if they even spoke to their jailers, to prevent the mention even of her name.  Faced with a King who was determined to cover up everything (Louis XIV even burned all the records in his possession), La Reynie implied that he believed the worst when he said "the enormity of their crimes proved their safeguard."  We know as much as we do because La Reynie kept his copies of the records safely locked away until they were rediscovered a few centuries later.

Madame de Montespan - well, Louis forgave her.  At least to the point where he kept her at Versailles for 11 more years, until she finally left in 1691 for the Convent of St. Joseph, with a half a million francs annual pension. 

I'm also happy to tell you that the sale of poison was strictly controlled from then on (official date August 31, 1682).  Private laboratories were abolished, and all occult arts forbidden. 

Olympe Mancini

But perhaps the most important result of the Affair of the Poisons is linked to another major society woman under suspicion, Comtesse de Soissons, Olympe Mancini.  A warrant was issued for her arrest in 1680, but the King warned her ahead of time that they were coming for her and she fled the country.  He said, later, that he would have to answer to God for that, but she was an old lover of his, and if she wasn't, her sister definitely was (there is no end to former lovers of King Louis XIV), and he had his own notions of gallantry.  She was suspected of killing her husband, and since she fled, people assumed she was guilty.  

Prince Eugene

Anyway, her son, Prince Eugene of Savoy, never believed that she was guilty, and was so furious at his mother's exile that he renounced his French citizenship and joined the Austrian army under the Holy Roman Emperor Leopold I.  This was a disaster for Louis XIV, because the Hapsburgs and the Bourbons were mortal enemies, and Eugene was a military genius.  He served 3 successive HREs, and beat Louis like a gong in every battle in the War of the Spanish Succession.  Even more importantly in terms of European history as a whole, Eugene was a major player in the war to take back Vienna and Eastern Europe from the Ottoman Turks.  His most spectacular victory was the 1691 Battle of Zenta, where his casualties were 2,000 to the Turks' 25,000, as well as capturing the sultan's harem, treasure chest, and Imperial seal.  The peace treaty after that Battle restored Transylvania, Bosnia, and Hungary to the Austrian Empire and, thus, to Europe, and put an end to Ottoman expansion in Europe. 

So.  Poison.  Murder.  Scandal.  And we end up with a free Eastern Europe.   You figure it out.

NOTE:  For further reading, while there are an infinite number of books on Louis XIV, and a variety on the Affair of the Poisons, I recommend Nancy Mitford's, "The Sun King", which captures perfectly the breathless, "Entertainment Tonight!", celebrity-obsessed world of 17th century France. 

Vacationing with old friends

by Robert Lopresti

My wife and I vacation in Port Townsend, Washington most years, as I have written before (and before).  She spends most of the week taking music lessons and I spend mine communing with the muse, or trying to.

But sometimes the best part of a week off is spending time with old friends.  That is certainly true of this trip. Not only did I see various music buddies, but I also ran into two writing friends: Elizabeth Ann Scarborough and Clyde Curley.

However, those aren't the friends I want to write about today.

I first met Leopold Longshanks almost thirty years ago in a coffeeshop in Montclair, New Jersey.  I didn't really meet him there; I just got an inkling that he existed.  It took many years for him to solidify into enough of a character to write a story about.

I spent two days on vacation writing a story about Shanks and his wife and had a great time visiting with them.  After a dozen tales, they are like old pals and it is great to catch up with them, see what trouble they are getting into.

Then there are Thomas Gray and Delgardo.  They have only appeared in one novella and it is by no means certain that I can turn them into series characters, but I got 2000 words into a new piece, and had a lot of fun with them.  Since they have had only one outing I am still trying to figure out what is essential to their stories and what is, so to speak, accidental.

These are pleasures you only get by writing about a character more than once.  I was thinking about this recently as I read Janice Law's third story about Madame Selina in AHMM.  As I recall Janice said she had never talked about reusing a character until I suggested this dishonest but oh so clever spiritualist needed a return voyage.

So, hwo do you guys feel about revisiting your old friends/enemies?

Show and Tell

       Show. Don’t tell.
 

       Every aspiring writer has encountered this admonition. Campfire stories are “told” (“suddenly it turned out that he was the murderer!”) but good short stories and novels require a stepped up game plan. “Showing” rather than “telling” requires more than relating a plot; it requires building the story, revealing the plot through the interaction of believable characters. This rule can sound simple. In practice it can be anything but.

Frederic Dannay and Manfred B. Lee

        Every writer has his or her own approach to building a story and breathing life into characters. A particularly unique approach was that employed by my favorite mystery writer(s), Ellery Queen. As explored in previous articles, it is well known among the fans of Ellery Queen’s mysteries that the authors behind the curtain, Frederic Dannay and Manfred B. Lee, wrote as a divided team. Dannay supplied detailed plot outlines that “told” the underlying story in a bare-bones narrative, and from these Lee wrote the finished mystery novel, building the story and giving life to the characters who, through their actions, “showed” the mystery to the reader.

        This division of labor was certainly a peculiar one. Dannay, the consummate editor during his tenure as editor-in-chief at Ellery Queen’s Mystery Magazine, was nonetheless seemingly uncomfortable with the narrative process. And Lee’s son Rand has observed that, by contrast, Manfred B. Lee “could not plot to save his life.” But it was Lee who was gifted with the ability Dannay lacked, to build the stories and the characters that would ultimately breathe the needed life into Ellery’s escapades. Bickering aside, it was a particularly symbiotic literary marriage. Little wonder, given this, that after Lee died in 1971 there were no further Ellery Queen mysteries even though Dannay lived on for another eleven years. His plots would not have been enough standing alone.

       All of this is not to belittle Dannay’s contributions. The outlines he prepared were anything but inconsequential. They set forth the intricate and at times downright convoluted plot lines for which Ellery Queen is famous. They were also no small enterprise. We know from an article by Frederic Dannay’s sons Douglas and Richard, which appears as a chapter in The Tragedy of Errors (Crippen and Landru, 2000), that the outline for The Player on the Other Side was 42 pages long, the outline for And on the Eighth Day, 66 pages, and the outline for The Fourth Side of the Triangle ran 71 pages. The Random House first editions of these novels, in full, run 213 pages, 191 pages and 183 pages, respectively. In other words, each novel was only three to four times longer than the Dannay outline on which it was based.

     While Dannay's outlines for those three Queen novels have never been published, the outline for what would have been the final Queen novel, The Tragedy of Errors, is set forth as the first half of the Crippen and Landru volume of the same name. From that outline it is easy to understand how much Lee would have been expected to add to a final work. Dannay’s outline is 52 pages long. The story? Well, it’s intricate and clever, as one would expect of Queen. It is premised on allusions to the works and life of Shakespeare, and it gives us numerous characters who strut and fret their time on the mystery’s stage. But in outline form the characters are cardboard. They needed Lee, who died before the outline could ever be transformed into a full fledged novel. 

       A note to the purists out there -- I recognize that The Player on the Other Side, And on the Eighth Day, and The Fourth Side of the Triangle (discussed above) were largely drafted by other writers during the time that Lee suffered from writer's block. But the point remains that Dannay’s ingenious plotting, standing alone, was never enough. It was the addition of character and descriptive prose, generally Lee’s province, that gave the breath of life to the mysteries. 

       An analysis of the works of Queen is interesting since the Queen library, unlike most other works, was constructed under this formula that clearly divided the two building blocks of narrative writing: plot, on the one hand, and story and character development, on the other. The ability of Dannay and Lee to separately allocate these tasks is not a luxury to which the rest of us can resort. We, by contrast, usually have to do the whole thing ourselves, even if we are better at one half than we are at the other. No matter how great our plot may be, it won’t capture the reader without believable characters through whom the story progresses. And no matter how developed our characters may be, they can’t propel the story without an underlying imaginative plot. 

       Two recent mystery novels illustrate this principle all too clearly. Each focuses on a nonagenarian central character, each involves a story with flashbacks to that character’s youth, and each centers around an underlying mystery that is probed by the other characters in the story. One of these mysteries works. The other (sadly) does not. 

       I don’t like saying anything negative about someone else’s work, particularly when that someone is Hallie Ephron, award winning mystery writer and mystery reviewer for The Boston Globe, but her recent mystery There Was an Old Woman (not to be confused with Ellery Queen’s 1943 novel of the same name) just did not work for me. I thought the central character, a spry ninety-two year old, and the underlying story of strange happenings in a shore community on Long Island, were intriguing; certainly enough so to make me commit to handing over the full price of the novel after reading the free sample offered up on my Barnes and Noble Nook. But ultimately the story fizzled -- Ephron tells the story but she doesn't show it. Had I been asked to review this work prior to publication my advice would have been that even at 273 pages it may be too short. Either that or those pages weren't utilized efficiently. When I reached page 273 I left behind two dimensional cardboard characters, many of whom had behaved bizarrely and with motivations that were “told” to us by the author but not “shown” through the actions and interaction of the characters. When secrets were revealed I wondered why would the character have done this? What justifies behavior that differs from that which we have seen before? When flashbacks to 1945 occurred, centering on the famous Empire State Building airplane crash, I was perplexed: how does this progress the story? Why is it important to the plot? When characters revealed a hidden agenda I was confused -- where was the evidence of this aspect of the character’s personality? Where were the clues to this? The book is unfortunately only an outline of what it could be.  The author tells us a lot, but shows us very little. 

      By contrast, Kate Morton’s new mystery, The Secret Keeper, at 445 pages, is a marvelous gem of a mystery. Here, too, the central character, a matriarch approaching her 90th birthday, is at the heart of a mystery that her children must solve. Here, also, the narrative shifts between the central character’s youth, in World War II England, and present day London. During the course of the novel we watch as characters who behaved one way in their youth change, and behave differently over the course of time. But Ms. Morton puts so much time and care into the development of her characters that we, the readers, know them. We listen to them, learn their strengths and weaknesses, and appreciate, even anticipate, the changes they undergo during the march of time. We understand where they have been, why they react to matters as they do, and why they ultimately change as the world around them changes. By the end of this lovely mystery we leave enchanted by what we have read. The loose ends have been successfully tied, and we are sad to say goodbye to characters with whom we feel we have lived.

       When I read There Was an Old Woman I found each plot twist jarring and inexplicable. I was rolling my eyes. When I read The Secret Keeper the plot twists made perfect sense and I found myself constantly nodding my head and smiling in agreement. As between the two, most readers, me included, prefer the latter. That’s what well developed characters will do for a story.

Voice?

Two weeks ago, I said that today I'd talk about voice in writing.  At that time, I had a general idea what I wanted to say, but I hadn't researched it.Since then, I've checked out several references, and found that it would be easy to spend hours and hours talking about this topic.

First, I want to narrow the subject for today. Dale Andrews gave us an excellent article on the narrative voice referring to first person or third person, and Terence Faherty followed up with more great info on that subject.  

That's not my topic.

We've all probably heard more than a life time's worth of discussion of passive voice and active voice.  

That's not my topic.

Donald Graves
1930-2010

The topic today is a characteristic of writing that many teachers as well as writers have difficulty in defining.  The term was coined by Donald Graves, Professor Emeritus at the University of New Hampshire, and author of numerous books on writing including A Fresh Look at Writing in 1994.Though some people use the term synonymously with style or tone, that's not what Graves meant, though "personal style" is close.


Another authority tells us that voice is the personality of writing while tone is the mood.  Voice may affect word choice, sentence and story structure, even punctuation.

Since Graves introduced the term, writing instructors have prompted their students to, "Find your voice," just as so many of them insist, "Write about what you know."  I differ with both of those. So far as writing about what you know, why not research and find out what you need to know to write about what you choose? 

I believe a writer can have more
than one best voice depending
upon the subject.

My response to "Find your voice" is that it's incomplete. I think it should be "Find your voice for the piece you're writing." 

We recognize the voices of writers we know just as we recognize the sound of voices of people we know. We would all know the difference in two descriptions of the same thing written by two authors such as Faulkner and Hemingway, and we would be able recognize the difference in how Agatha Christie and Mickey Spillane wrote the same scene.

Ernest Hemingway

Voice refers to the aspects that give the writing a personal flavor, and that personal flavor changes within a writer's works.  Not only does the voice change depending upon the intended audience, it varies with the author's purpose to inform, entertain, or motivate readers to take action. 

Writing to inform readers of the time and location of funeral services in an obituary does not require the same voice as the review of a book on etiquette, nor of a eulogy.

Mark Twain wrote frequently to entertain.  His writing voice is well developed, but note the difference in the voice of Huckleberry Finn and The Adventures of Tom Sawyer.       

Mark Twain

Opening paragraph of Adventures of Huckleberry Finn:

You don't know about me, without you have read a book by the name of "The Adventures of Tom Sawyer," but that ain't no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly.  There was things which he stretched, but mainly he told the truth.  That is nothing.   I ain't never seen anybody but lied, one time or another, without it was Aunt Polly--Tom's Aunt Polly, she is--and Mary, and the Widow Douglas, is all told about in that book, which is mostly a true book, with some stretchers, as I said before.

Huck Finn uses atrocious grammar, breaks rules, and interrupts himself.  All of these plus the choice of words enable us to hear and see the boy before the first paragraph is completed.

Opening of The Adventures of Tom Sawyer:

"TOM!"

No answer.

"TOM!"

No answer.

"What's gone with that boy, I wonder? You TOM!"

No answer.

The old lady pulled her spectacles down and looked over them about the room; then she put them up and looked out under them. She seldom or never looked THROUGH them for so small a thing as a boy; they were her state pair, the pride of her heart, and were built for "style," not service -- she could have seen through a pair of stove-lids just as well. She looked perplexed for a moment, and then said, not fiercely, but still loud enough for the furniture to hear:

"Well, I lay if I get hold of you I'll --"

She did not finish, for by this time she was bending down and punching under the bed with the broom, and so she needed breath to punctuate the punches with. She resurrected nothing but the cat.

The immediate difference noted is that Tom's adventures are told in third person, while Huck tells his own story in first person.  The voice of both is Mark Twain, but he changes not just the person, but the vocabulary, correctness of grammar and punctuation, and structure of the pieces. 

 

A writer may change
and further develop voice,
but please don't ever
lose it!

My personal definition of voice has become:  The individual writing style of an author is a combination of idiotypical usage of syntax, diction, punctuation, character development and dialogue within a given body of text.  The totality of that style is voice.  

One of the best explanations I've read of voice is that it's what Simon Cowell is talking about when he tells American Idol contestants to make the song their own and not just a note-for-note karaoke version.

What do you think about voice?  How do you define it?  Is your voice different for varying projects?

Until we meet again, take care of … you!

The Detroit PI

“A. Walker Investigations” is the opening sentence in the short story “Bodyguards Shoot Second” in Loren D. Estleman’s Amos Walker: The Complete Story Collection. Amos is Estleman’s Detroit PI. 

I sometimes choose books from catalogs based on the title or the name of the author. In this case, the name of the sleuth was what attracted me to Estleman’s collection. Rather irrationally, I expected a PI named Amos to be easy going with a deceptive personality plying his trade in a small southern city, or in the open spaces of Texas. Then I opened the book. Surprise, Amos is a hardboiled gumshoe with a wry sense of humor whose turf is the menacing streets of Detroit.

Loren Estleman

Estleman, a prolific writer of detective and western fiction, has been nominated for and won a load of awards. In addition to Amos Walker, he created two other detective series featuring professional detectives Ralph Poteet and Valentino. Amos first appeared in his 1980 novel Motor City Blue. The 33 stories in the collection were written in various magazines between 1982 and 2010. As I read 15 of the stories for this post, I felt Estleman was channeling Raymond Chandler (no pun intended), one of his favorite writers, because the wisecracking Amos reminded me so much of Philip Marlowe.  Reading the stories and finding fault with some but enjoying them made me think about my tendency to over analyze, which interferes with my suspension of disbelief. 

One aspect of detective stories that always puzzles me is the need for the shamus to work free. In “Fast Burn,” an ex-Ford auto plant employee dies of natural causes sitting in the chair in Amos’s office before he can tell Amos his problem. Amos, though he will collect no fee, investigates anyway because the dead man “came looking for help with something. I’d like to know what it was.” Okay, but working for free doesn’t pay his bills.

“I’m In The Book,” shows Amos is as tough as his hardboiled predecessors. Since his “main specialty is tracing missing persons,” a rich man hires him to find his wife. The ending didn’t surprise me since I expected it. What surprised me was Amos slaps the smart-mouthed former maid when she gives him some lip and refuses to answers his questions. Up until this story, I pictured him as a hardboiled gentleman and not likely to hit a woman. Of course, some of those predecessors not only hit women but killed them too. 

Although it was appropriate, I didn’t like the ending of “The Anniversary Waltz.” Geraldine Tolliver, daughter of a woman who escaped prison 8 years ago and is presumed dead, believes her mother, Adelaide, is alive and hires Amos to tell her to give herself up when she appears at Geraldine’s father’s grave on their silver anniversary. The problem is a sheriff who doesn’t believe Adelaide is dead has been watching Geraldine. He takes Adelaide into custody when she shows up. Amos later finds the Sheriff’s car with him in the trunk, dead. Adelaide  has an IQ of 160, and apparently had no problem  outwitting the sheriff. I know Amos, the narrator, couldn’t know how she got loose from the sheriff, so, I was forced to use my imagination and, of course, over analyzed the story. Sorry about the spoiler.

Amos even taught me some new words. In “Deadly Force,” homicide Lieutenant Alderdyce asks Amos did he “Get a hinge at the sapper?” Translation: did he see who hit him over the head? A bad guy in “People Who Kill” plunged “kiyoodling” down an elevator shaft. Does it mean he fell head over heels or was screaming as he fell?

Estleman’s defines short stories as “miniatures, where flaws of any sort are immediately obvious.” His miniatures, flaws and all, are worth the effort of reading. Unfortunately for me, he has written so much that I’ll never be able to read all of his novels and stories, though I wish I could because I feel I’m on a first name basis with Amos. Who wouldn’t be with a name like that? 

I wonder what Amos would think about Detroit today? 

Swimming in the Ocean

by Elizabeth Zelvin

I’m reveling in the all-too-brief season when you don’t have to be a polar bear to immerse yourself in the vast, salty playground that covers more than half of our planet and entices folks like me to cavort in the foaming surf around its edges. Yep, I’m talking about going to the beach, which to me is synonymous with swimming in the ocean.

I’ve been an ocean lover since childhood, when we used to visit an aunt and uncle who had a summer house in Hampton Bays, which back in those days was too working class to be considered one of “the Hamptons.” My grandmother, mother, and aunt were all indefatigable swimmers. To this day, I look incredulously at women on the beach who obviously have no desire to wet their hair, their bathingsuits, or even the polish on their toenails. Aren’t they hot? Do they know what they’re missing? How can they stand it?

Adolescent girls, on the other hand, plunge happily into the breaking waves. When I’m swimming alone, without a spotter, I sometimes elect a bunch of them my buddies. I ask them to keep an eye out for me in case I get in trouble. And I tell them to cherish the moment, because when they get to be my age, they may no longer have either the nerve or the companionship they’re enjoying now.

The Atlantic’s face is always changing. Every day is different. (I remember going to the beach in La Jolla, CA and being amazed at the reliability of the Pacific, at least between the frequent jetties: the waves were exactly the same from day to day.) My favorite set of conditions is when the tide is at the right height for me to stand beyond the breakers and sail across high rollers for that heavenly moment of weightlessness, then land on my feet again. To make it perfect, the water has to be warm enough not to shock me but cool enough to be exhilarating, and there can’t be any undertow to taint my mood with fear or make it difficult, when I’m ready, to get back onto the beach on my feet.

How different people like to take their ocean water seems to vary, to some extent, by gender. Most of the body surfers are guys, who catch the breaking wave and ride it toward shore, arms extended like aquatic versions of Superman in the air. Most women, like me, seem to prefer riding the rollers, calling “Under!” and “Over!” as each wave invites them to dive or soar. Lap swimmers seem to be evenly divided. I used to body surf myself—out of sheer competitiveness and a burning desire not to miss anything—but that was thirty-five years ago. I do swim laps in the ocean occasionally—a day when the water is safe and smooth enough for me to do a half-mile of the crawl, with breathing, is even more rare than a day when the waves are perfect for jumping.

The ultimate: clear day, perfect water temperature, waves just high enough to be exciting but without enough power to make getting back to shore difficult—and the company of someone who enjoys both ocean swimming and schmoozing as much as I do.