This Little Story Went to Market

 

A few days ago I finished writing my latest short story, a 5000-word mystery that I began a week earlier, and although I'll probably do a little more polishing on it before I send it out into the world, I'm satisfied that it's almost ready. And one thing I don't have to worry about is where to submit it. I knew that before I started writing it.

For years now, I usually have a market in mind as soon as I get an idea for a story. That wasn't the way I worked in the mid-'90s, when I first started writing shorts for publication. Back then I would almost always write the story first and only when it was complete did I start thinking about where I might send it. This is a conversation I've had often with Michael Bracken; both he and I started out thinking "story first, market later" and wound up changing at some point to "market first, story later."

I think that's what happens with most fiction writers. At first, just write the best story you can, no matter what the genre or theme is, and then when it's finished see where you think it might fit. Trying to tailor a story to a particular publication isn't something I think beginning writers should worry about. Eventually, after you get some publications under your belt and you get a good feel for what certain editors want (and build relationships with them), it's natural to start writing stories earmarked for those editors and those places.

I mentioned earlier that when I started out I "almost" always wrote the story first and then looked for place to sell it. The exception in my case was Woman's World, a magazine that has always wanted its stories to be a certain length and written a certain way. Even before they migrated in 2004 to their current "interactive" format, WW stories were different from others, so I always wrote those stories specifically for that market. Other exceptions, of course, are stories for anthologies, which are sometimes written to a certain theme or subject.

Another reason for choosing a target market first and then writing the story is payment. At some point you begin wanting to be paid well for your work. So yes, I like to write stories with places like WW, AHMM, EQMM, Strand, BCMM, Mystery Magazine, etc., in mind, and it's not just because I like their editors (which I do). NOTE: I'm still not sure what kind of payment is considered in the industry to be a fair rate, but I've heard some say it should be at least three cents a word. And if it's a flat-rate, one-time payment instead, it should be reasonable. Even if writing is more of a hobby for you than a business, writers should still be paid for what they produce.

BUT . . . I do occasionally send stories--reprints and originals--to publications that don't pay well, or pay at all. There are two reasons for that: either (1) it's for the benefit of a charity, or (2) I know and like the editor, who is often someone who's been kind to me over the years. It's for that second reason that I still submit stories now and then to Mysterical-E, Kings River Life, and other non-paying venues, and I plan to continue. 

Which brings up some questions. Do you, if you write short stories, usually create them with a market already in mind? If not, how do you choose that market? Do you submit work only to those publications that pay? Do you use a top-down approach, and try the most prestigious or well-paying publication first? Do you ever submit stories to non-paying, online-only "e-zines"? Are those stories reprints, or do you send some original work? Is a magazine's or anthology's editor ever a factor in choosing a market? What do you consider fair payment? Have you submitted stories to anthologies that pay only in royalties? Just curious.

Meanwhile, I'm about to start a new story tomorrow--a "howdunit" mystery of about 3000 words (I think). Do I know now where I plan to send it? I sure do.

Whether they'll like it is another story . . .

What the Well-Dressed Writer is Carrying

Back in college one of my closest friends was a hyper-productive young journalism student who organized her life with Post-It notes, which she pasted down in her daily planner. She lived for that moment when she was able to cross a to-do off her list—so much so that she sometimes wrote down a to-do for the sole purpose of crossing it off. She often joked that her Post-It notes had baby Post-It notes.

When I got out of school, this was how I organized my daily life.

It’s called a piece of paper. To get it to fit neatly in my back pocket or my backpack, I folded it into eighths. That gave me 16 little quadrants (front and back) in which to divide my daily or weekly tasks. Each quad could represent a single area of responsibility—work, home, groceries, friends, appointments, and so on. When the paper became cluttered, messy, or mutilated, I transferred the outstanding tasks to a new sheet. Before the advent of mobile devices, this is how we rolled, kids.

My note-taking became more complicated when I went freelance in 1997. I was juggling more writing assignments for more editors. Each new article I was working on had its own reporter’s notebook.

Portage Reporter’s Notebook (left); Field Notes brand notebook.
Sadly, the latter is beautiful but pricey, causing you to think twice before using it.

I was also spending more time in stationery stores, scoping out beautiful writing “instruments” and tools. And I got religion, of a sort.

By 2004 I had read Getting Things Done, a book by David Allen, a productivity consultant who made his bones helping busy executives winnow down the mountain of paperwork that threatened to bury them. I have mentioned Allen’s work before.

The essence of his system was to religiously collect all your to-dos in one place so you could routinely process things in efficient waves. His theory was that the act of “capturing” your thoughts, to-dos, and ideas on paper unburdened your mind. So much of the stress we feel is caused by intrusive rumination about things we need to do. A well-tended notebook or to-do file, went the theory, shall set you free.

Of course, you had to “process” those action items if you ever hoped to be #gettingthingsdone. Allen recommended a weekly review to see how you were doing.

His first edition of his book, pubbed in 2001, focused primarily on getting paper under control. (A new edition pubbed in 2015, and addresses digital tasking such as emails more directly.) His principles were embraced by legions of software developers and stationery designers, who cleverly cranked out all sorts of products you simply had to have if you were going to practice the so-called #GTD lifestyle.

I drank the Kool-Aid. For a while there I was downloading and free-testing a ton of GTD software. It didn’t work (for me). Once I typed a to-do into a digital environment, I promptly forgot about it. The action item that was once so important was consigned to a hard-drive limbo.

German stationer Leuchtturm makes two varieties of Bullet Journal.
See Version 1 and Version 2 here. 

A few years ago my wife and I jumped on the Bullet Journal train. You can watch the compelling videos of this system here. It’s all about returning to paper and analog tools. The to-do lists, habit trackers, and monthly project pages of some “BuJo” practitioners approach the level of fine art. They are stunning to behold. Much as I admire paper-and-pen thinking, I jumped off the BuJo train when I tired of re-entering my to-dos every month and toting around the official, 5.5x8-inch, hardcover notebook everywhere I went.

Inside the Bullet Journal is...paper.

I slummed during 2020 with an old-fashioned reporter’s notebook. Easy to carry around the house, highly disposable. As soon as the vaccine arrived and I was leaving the house more, I switched to 3.5x5.5-inch pocket notebooks.

My pocket notebook, circa 1995 (left).
My current to-gos: Field Notes (stapled) and Write Pad (perfect-bound) notebooks.

The ones from Write Pads or Field Notes are an affordable luxury. Depending on my mood I carry them “raw,” or tucked into indulgent leather covers.

Notebook covers by One Star Leather Goods, Los Angeles, CA.
They fit both Field Notes, and Write Pads (with some trimming).
(I tried very hard to obscure some of the letters, but you get the idea.)

Everything fits in a back pocket or wide shirt pocket, and I’m never without paper to write down to-dos, ideas, tasks, that I can carry with me. I’m a sucker for fine pens, but I learned long ago that disposable pens are best when I’m leaving the house. I’ve lost too many nice pens that people have given me as gifts.

All of which brings to me to the key question. I’ve been obsessed with stationery since I was a kid. As a writer, it seems only natural to be interested in the analog tools of the trade. My living room is decorated with two vintage typewriters. I remember once watching a documentary about Ross Macdonald and being enthralled at the sight of him outlining one of his novels in a marble composition notebook. I love hearing about and telling the story of John Steinbeck sharpening his pencils every morning. Simple tools resonate.

But I think it’s fair to say that I am also chasing a figment. It once dawned on me that workwise, I really only had one to-do, and I didn’t need to write it down. I just needed to shut up, sit down, and write.

However, the point of all this nonsense is to sweep away my worst fear: that I will be struck with a brilliant idea and have no way to capture it. It’s a very real fear that many creative people have. The best expression of this I’ve ever found was in a magazine profile of the musician Tom Waits, written by Elizabeth Gilbert. She reports that Waits was struck with a great idea for a song or bit of music when he was driving. In no position to capture the idea, he railed at God through the windshield.

If I can’t record a thought when it comes to me, it does not matter how many pretty pens and notebooks I have. Being without pen or paper is like leaving home naked.

Every now and then, I come across a scrap of paper on my desk or in a short story file that spells out the plot points of an old story. And I smile. Ecstatically. It’s like unearthing your own personal Rosetta Stone, and being grateful you were able to navigate the fleeting intersection of paper-pen-hand-mind so handily.

Snippet of plot points that helped write my short story
 “Mr Tesla Likes To Watch” (AHMM,  May/June 2021).

* * *

See you in three weeks!

Joe

josephdagnese.com

Crime Scene Comix Case 2022-04-014, Getaway

We haven’t watched Shifty in a couple of years, that comical crook from the Future Thought channel of YouTube, Here comes a new one– new to us.

You remember Shifty, a none-too-bright crook who looks like a Minion in zebra stripes. He almost always loses, but this time he does it right… or wrong, depending how you look at it.

 

 

 

 

© www.FutureThought.tv

 

That’s today’s crime cinema. Hope you enjoyed the show. Be sure to visit Future Thought channel on YouTube.

The Irish & Their Discontents

There’s a lovely line in Thomas Perry’s new book, Eddie’s Boy – and I’m unreasonably envious – “The sky was the color of disappointment.”

Here’s one from Ed Dee, not so recent.  I think it’s in Bronx Angel. An old New York harness bull is retiring after thirty years, and the boys are sending him off.  Two cops are leaving the party.  One cop asks the other one what he thinks of the guy, and the second cop says, “He’s got Irish Alzheimer’s, he’s forgotten everything but his grievances.” Dennis Lehane wouldn’t kill for that? Or me, or George Higgins?

And then, of course, the inimitable John Gregory Dunne, in True Confessions. The set-up is two brothers, one a cop and the other a priest: Tom, the homicide dick, is on the pad; Des, rising fast in the church, is consigliere to the cardinal. Tom and his partner catch a murder, a dead woman dismembered in a vacant lot, and the victim has a votive candle in her vagina.  Tom’s partner remarks, “Looks like a job for your brother the monsignor.”

These would be, of course, Irish-American tropes, going back to Finley Peter Dunne and his Mr. Dooley sketches, and up to Edwin O’Connor and The Last Hurrah, with a little Studs Lonigan thrown in along the way.  It’s a rich vein, if it sometimes veers into caricature.  You could make the case that John Ford did as much to compromise the immigrant experience as he did to celebrate it.  All that blarney, along with an unhappy nostalgia for the Ould Sod that wraps violence in sentiment.  Then again, Jimmy Breslin’s World Without End, Amen turns that delusion inside out, and makes the politics of denial an engine of despair.

Which is by way of saying that we look at the Irish of the Troubles through an American lens, one sort of tribalism translated by another, provincials both.  It’s altogether bracing to discover that contemporary Irish thriller writers aren’t wearing those leaden shoes.  Irish noir may not be getting quite the rouse of the Tartan variety, but it’s coming up strong on the turn.  Stuart Neville, for one, who I first encountered with Ratlines, and Ken Bruen – his first Jack Taylor novel, The Guards, won the Shamus, and was nominated for both the Edgar and the Macavity.  Not by coincidence, Jack Taylor got his own TV series.

This all to introduce a more recent Irish cop show.  My pal Carolyn, who’s a fan of Jack Taylor, turned me on to the series Single-Handed, which ran for four seasons – the Brits call them series, meaning not the full run of the show, but a single year – and is now gone.  The first three are ninety-minute features, made-for-TV movies.  The last season is three two-hour episodes.  It has something of the flavor of Shetland, in that it’s a dour, damp landscape, but with sudden, striking shafts of light breaking through, that show off its extraordinary beauty.

The Quiet Man it ain’t, though.  This isn’t the Ireland of Sodom and Begorrah, it feels very genuine.  The thing Carolyn liked about it, and why she recommended it to me, and why I’m recommending it to you, is that it has a depth.  You sense a life, and a community, off-camera.

It’s not ground-breaking.  The guy leaves Dublin, under a cloud, and comes back to the west of Ireland, the town where he grew up, where his own Da is the Garda constable, a sitch-ee-ay-shun, as Victor McLaglen might say, rife with conflict. Not as light as The Coroner, not quite as dark as Justified. But close. The kid takes over from his dad, and the storm clouds gather.

I’m sorry, but you gotta watch it.  I can’t describe why I find it so compelling.  The cast and the characters are engaging (some you know to trust, some you know are suspect); the landscape is there, but not a character in itself, as with Shetland; the plots are involving, but not contrived, they seem organic, they rise up out of the yeast and ferment of the place.  Wow, some metaphor.

One other thing.  Thinking about it, it might be the most Irish quality of the show.  The rhythm.  The way the beats are placed.  It really isn’t Law & Order, and I mean no disrespect, but you have to get used to a different ebb and flow. You’re listening to some other instrument. 

Have Mask, Will Travel – I'm Ready for Malice Domestic

After a two-year hiatus (thank you, covid), Malice Domestic is resuming its annual in-person convention next week. I don't know where the time has gone. While I'm nervous to be in such close contact with so many people (freaking covid), I'm excited to see (and hug?--still a question mark) these friends I haven't seen in so long. It will be great to get back to normal and see my Malice family.

Normal. That's a concept, isn't it? Will it be "normal" considering a lot of the regulars won't be there? Some because of scheduling conflicts. Some because they're still being careful due to covid. (I so get that. I'll be checking in with a gazillion masks.) And some people won't be there because they're simply not around anymore. We've lost too many people we love since the last Malice, authors and readers.

But as they say, the show must go on. So, I've compiled information on where you can find me and my fellow SleuthSayers attending Malice. If you'll be there, I hope to see you.

Michael Bracken

• Michael will be moderating the panel Murder in Few Words: Short Stories on Friday at 4 p.m.
• He'll be participating in the signing for the new Malice Domestic anthology, Mystery Most Diabolical, on Friday at 9:30 p.m. 
• He'll also be in the signing room on Saturday at 10 a.m.

Barb Goffman (yes, that's me!)

• I'll be on the panel Make It Snappy: Our Agatha Best Short Story Nominees on Friday at 2 p.m.
• I'll be signing in the signing room on Friday at 4 p.m.
  
• I'll be participating in the signing for the new Malice Domestic anthology, Mystery Most Diabolical, on Friday at 9:30 p.m. (And if you're interested in getting a copy, it should be newly on sale at Malice!)

Art Taylor

• Art will be moderating the panel Make It Snappy: Our Agatha Best Short Story Nominees on Friday at 2 p.m.
• He'll be on the panel Last Night, I Dreamt I Went to Malice Again: Romantic Suspense Influences on Saturday at 11 a.m.
• He'll also be in the signing room on Saturday at noon.

Mark Thielman

• Mark will be on the panel Murder in Few Words: Short Stories on Friday at 4 p.m.

If you haven't read the five short stories nominated for the Agatha Award, there's still time to read them for free before you get to Malice to vote. Click here and scroll down to the five story names. They are links. And if Malice Domestic is new to you and you want to learn more about this annual fan convention celebrating the traditional mystery, click here.

So, that's it. Get packing. (Oh, who am I kidding. I bet some of you are already packed.)  See you next week!

Workation

Late last year, my health went on hiatus and I found that everything became a challenge. I couldn't go anywhere or do much of anything. Between the cold weather and the accelerating family arthritis, playing guitar and typing were difficult, and naturally, that interfered with my writing. Now that the effects of the steroids are diminishing and warmer weather is creeping back, my hands are regaining some flexibility.

Thursday night, I played my first open mic since mid-November. I didn't drive people screaming toward the exits, and I loved seeing old friends and hearing good tunes for the first time in oh so long.

More importantly, it means I can write again.

Non-writers have the image of the writer as some kind of agoraphobe, hunched over a desk in a dimly-lit garret, pen in hand, scribbling by the hour, occasionally stopping for a sip of water and a bit of gruel. The modern version is a keyboard and oceans of coffee or diet coke. Most artists, whether they're writers, painters, actors, or musicians, dispute that vision.

You need to get away from the work or you'll get weird. Early in my writing career, I forced myself to produce 2000 words a day because I read somewhere that Stephen King did it. In an interview, Jodi Picoult said that writers need to develop the ability to write on demand. That's the purpose of the 2000-word quota. Once you can do it, the job gets a lot easier. Now I know I can produce 1000 words in an hour or less. It doesn't matter if they're junk, because if there's that much, there's enough to fix.

Distance is important, too. I can start a horrific rough draft (that 1000 words, or maybe only a few paragraphs), and if it's not going well, the norm for a first draft, I can step away and play guitar, make a fool of myself on keyboard, or go to the health club. I still do my best planning and editing on an arc trainer.

When you don't have to think about what you're doing, the ideas sneak into view like shy kittens. Ignore them, and they'll come close enough to pet.

Now that I can perform and get away from the writing, it's much easier. The added perspective helps me see why something isn't working and find ways to fix it.

I know actors, athletes, and musicians who tell me the same thing. I often see one of my actor friends at my health club, usually punching a heavy bag. One of my favorite guitar players has composed dozens of songs (he has two CDs out), but when the music isn't flowing, he turns to piano for a week. When he's broken out of the ruts, he reunites with his Martin and sparks fly.

I used to direct plays, and I got my idea for re-interpreting Shakespeare's Twelfth Night as a western while ironing. Didn't Agatha Christie plot her complex novels while washing dishes?

It still works.

---

The Fog

The light of the sun is barely penetrating the early morning fog. Some trees are visible, some are hidden. It should be a warm spring day but instead it’s cold and there are still patches of dirty snow on the ground.

This is the weather.

This is my mood.

The pandemic is still raging on despite those who try to hide the infected and dead behind the fog of words.

The war in Ukraine is raging on and those who declare it is just another war are trying to obscure what is at stake.

Even if we can see through the fog created by today’s chatter, none of us can see how the pandemic or the Ukraine war will end.

When the pandemic first hit, I was naively convinced that we could manage it well by following advice by scientific and medical experts and that vaccines would come rather quickly.

The vaccines did come quickly but their durability is still problematic. I’m certain we’ll get the better, more durable vaccines. However, the hit to science, to medical expertise, I worry may also be more durable.

The Omicron variant was first detected in Canada in late November, a few months ago. Since then, we have had 53% of deaths in people 19 or younger and 20% of all deaths from COVID-19. Long covid - a disease that impacts the brain, heart and many organs - will be worsened by the increasing infections we are seeing with omicron and its new variants. Yet the narrative that this variant is ‘mild’ reigns, so people are removing their masks, interacting in unsafe ways because they are convinced that the danger of COVID-19 is over.

How can the ‘mild’ narrative be so persuasive when the facts prove it wrong? One of the main reasons is that the anti-science, anti-expert movement has gained great strength during this pandemic by feeding on its favourite food: fear. When people are frightened, science, with its nuanced and new emerging facts, is less enticing than the strong, definitive anti-science narrative where answers are clear and unalterable because they aren’t true. It’s easy to make up a narrative when it’s immutable in the face of facts, and it is the very rigidity of the narrative that appears to make it strong and a haven for the frightened - fear is reassured by strength, even if it is false strength.

Now that some people have been convinced that science and experts are the enemy - we can only hope that the numbers of people convinced are fewer than those who recognize that the truth - even with facts that change as new evidence emerges - is a better alternative than lies.

The future of how this will play out is unclear: the fog is thick.

The war in Ukraine appears to be a very different animal than the pandemic but they rub shoulders in a very important way.

Right wing, authoritarian ideology has been nipping at the heels of many European countries. The pandemic seems to have worsened this, particularly in countries where restrictions limited the number of infections, they were “sceptical about their governments’ intentions behind lockdowns, and are most likely to accuse them of using COVID-19 as an excuse to control the public”

The pandemic has, “eroded young Europeans’ trust in the political system could have long-term consequences for the future of democracy. Research by the Centre for the Future of Democracy at Cambridge University shows that – even before the crisis – today’s young people are the generation most dissatisfied with the performance of democratic governments. Members of this generation are more skeptical of the merits of democracy compared not only with the older generation now but also with young people polled in earlier eras.”

This merging of the distrust in science with a distrust in democratic governments is the birthplace of autocracy.

The war in Ukraine is a war waged by an authoritarian government against a democratic country. The suffering of Ukrainians has moved the world and also divided it. As Ursela Gertrud von der Leyen - the German politician, physician and President of the European Commission summarized during a visit to Ukraine:

“It is indeed a decisive moment … Will autocracy be dominant or will democracy be the long term dominant winner or will the right of might be the rule or will it be the rule of law. This is what is at stake in this war…it is these big questions that will be decided in this war.”

The rule of might is decisive and clear - a haven for those who crave certainty. The rule of law, like science, is nuanced and cumbersome, as evidence is weighed and considered. Justice, like science, is messy business but it is a crucial pillar of democracy. 

None of us can see how the war in Ukraine will end or what Europe will look like when it does. Nor can we see what the end of the pandemic will look like and what we will have become in response to it.

The fog.

It’s the weather.

It’s a whole mood.

Splat (Or, How They Do It in Buñol)

Travel is coming back, y’all. If this August 26th you can get to Spain and love tomatoes -- you’ll need to love love tomatoes -- our wonderful world has crafted the perfect destination: Buñol, a picturesque village near Valencia. Doubly picturesque this particular weekend. One August hour per year, Buñol is awash in tomato pulp. Tens of thousands of festival goers hurl pulped tomatoes. At each other. Ten of thousand of tomatoes.

La Tomatina. It’s Europe’s biggest food fight. 40,000 people jam Buñol’s narrow streets and peg each other with tomato slop. Repeat: 40,000 people bought tickets for the privilege.

Full disclosure: I’ve never participated or been to Spain. I stumbled onto La Tomatina years ago, and I still internet-surf along each August as those hardy souls don goggles and bathing suits and splat tomatoes smack in each other’s kisser. 

La Tomatina has its rules and traditions, of course. I've learned something about them.

It begins as such things must: with a serrano ham tied atop a greased pole. It’s 10a.m., and as soon as someone fetches el palo jabón, the battala campal can begin.

Prime spots fill early. You need access to ammo and a good firing angle. Sensibly, it's only tomatoes that get hurled. Bottles, backpacks, and blunt objects aren’t allowed. Tomato fights are the sort of thing that can get out of hand.

Also, you can’t bring your own tomatoes. That’s a rule now, so I guess someone ruined that for the rest of us. Instead, the organizers buy market rejects cheap -- surely, you get a bulk rate when scoring 150,000 tomatoes unfit otherwise for sale -- and load them onto dump trucks that roam through the fray. Also, you can’t just grab and whip the pulped suckers at someone. No, you have to crush the tomatoes if not crushed already. We’re not trying to hurt anybody.

Another rule says only to target someone if you've drawn a clear bead. Smart, but this is a close quarters stuff. A melee. Crossfire, friendly fire, accidental fire? Hey, it’s La Tomatina.

In an hour, it’s done. 40,000 juice-smeared warriors have chucked 150,000 pulped tomatoes free-for-all. Everyone looks like they just survived an explosion at the Hunt’s cannery, except the smiles are ear-to-ear. Endorphins abound, skin has been super-moisturized, and even the streets will gleam from a citric acid wash. Once the fire department hoses Buñol down.

You would think such a festival has a wild origin story, a revolt against a cruel noble or a patron saint of garden salads. Nope. In 1945, there was a festival parade of musicians in big head outfits, and near a vegetable market one guy’s big head fell off. The guy apparently lost it with the other musicians and the crowd, which led to fisticuffs and inevitably to produce-flinging. One imagines alcohol was involved.

Buñol

tried it again each August for a while, but each festival descended one way or another into tomato-throwing. Outsider were showing up, armed to splat. The city leaders caught on that these people were coming not for music but the tomato fight. One imagines alcohol remains involved. Buñol took a more Chamber of Commerce-like approach, and La Tomatina as a sanctioned festival was born. Not even Franco could stop La Tomatina from taking off. And he tried.

As of this writing, La Tomatina is returning after a two-year pandemic hiatus. It delights me to believe this summer we'll have a proper pasting. That's in four months, folks. Plenty of time to book those tickets, if you love love tomatoes.

Or if citrus is your thing, Italy has a giant food fight but with oranges.

Oranges? That’s just weird.

Memories come back to haunt

They come in dreams and they come in flashes when I'm awake.

Memories of people I once knew, memories of things that happened and sometimes memories of places.

As an army brat, I lived in ten houses in four states and one foreign country before graduating from high school. I remember some of the houses in flashes and a few in photos. Most of my negatives and photos were lost in Hurricane Katrina but some survived and I found a short series of negatives I took in 1979 of the place we lived in 1958-59.

Our building. We lived in the center apartment.

A short street called Navy Parkway in New Orleans was lined with two-story wooden buildings (exterior walls covered in gray slate) separated into three housing sections for military personnel and their dependents just across Bayou St. John from City Park. We lived there when I was in third and fourth grade and it holds the most vivid memories of my early childhood.

Walking to school a few blocks away, walking to the movie theater a few blocks away and seeing great films like The Vikings, King Creole, The Fly, The Buccaneer, Bell Book and Candle, Damn Yankees, Journey to the Center of the Earth, and many more.

I remember long hot summers playing in our neighborhood playground just outside our back door. The ever-efficient military engineers built the buildings around a central grassy playground with monkey bars inside and swings and merry-go-rounds and a canteen at the far end – a precurser of the convenience store – where we kids bought candy and comic books.

The canteen (rear building). Other structures were not there in 1959.

These pictures taken twenty years later show the buildings still there, although no longer military housing. They'd morphed into part of the LSU College of Dentistry. I went back after Hurricane Katrina and it was all gone, the buildings replaced by houses. Even the street was gone. But the memories remain.

Memories like these feed my books with settings long gone. When you're an old man, there are a lot of memories. Memories of faces stir emotions. Some happy, some not so. Old men get choked up easily because so much of our life is behind us.

There's an old saying that goes, "Sometimes memories sneak out of my eyes and roll down my cheeks." Sometimes they just make me laugh.

That's all for now.

www.ONeilDeNoux.com

Due Diligence in South Dakota

The South Dakota State Legislature has finally wound to a close. Lot of drama. Lot of culture war bills, which, as usual, took up the first 2 months of the session, leaving the truly important stuff - like the State Budget - until the last freaking week. 

There was also a lot of feuding between our Governor and the legislators, culminating in 3 gubernatorial vetoes of bills which the legislature wanted: oversight of all the latest in Federal dollars coming to SD, a bill allowing pregnant minors to give consent for prenatal and maternity care *, and a bill that would allow marijuana misdemeanors to be automatically expunged after 5 years from someone's record.  

^* MY NOTE: So much for pro-life, right? Our Governor's reason for vetoing the bill was that "Parents' constitutional rights include the right to care, custody, and control of their children. That includes the right to make healthcare decisions for their child." (HERE) And what if they make terrible ones, Governor? What if they're the worst parents in the world?

But the Legislature declined to even try to override each veto.

Instead, the House Select Committee's response was to vote against recommending the impeachment of South Dakota Attorney General Jason Ravnsborg for killing Joe Boever in an automobile accident. (HERE) Governor Noem has been pushing for Ravnsborg to resign or be impeached from the get-go.)

It was all classic South Dakota passive-aggressive. 

Speaking of passive-aggressive, I've mentioned before that we have and are having an influx of Blue State Refugees (BSRs) - and some Red State Refugees (apparently Missouri is getting expensive) - that has made for some interesting dynamics. For one thing, these BSRs do not practice passive-aggressive. Nor do they do due diligence, as far as I can tell.  

Officer Grant Tripp has told me some of the tales from Laskin, SD. A lot of BSRs have moved there, drawn to it for freedom, rural values, cheap prices, clean air, and the right to do whatever they want:

They see these ads for houses, you know - 2 bedrooms, 2 baths, new furnace, $75,000, and they think hey, it's the deal of the century. Which, compared to where they're coming from, it is. Only they don't bother to ask why it's got a new furnace. Why they all have new furnaces. We all know it's because it's on the flood plain, and we've had two 100 year floods in 20 years, and the third is due any time we get another 5 inches of rain in 5 hours. In other words, probably next year or so.  And so they buy it and move in, and go around moaning about the smell of mold and mildew down in the basement. Well, guess what?  You really should take a sniff of a basement before you buy it, at least in my book. 

And then there's all those cheap slab constructions that Lars Opdahl put up south of the tracks, you remember? Well, he had them as rentals, because no South Dakotan is going to buy slab construction, because you need a basement for tornadoes in the summer and insulation and storage in the winter. But these people snap them right up. No questions asked. And then they bitch and moan about freezing to death all winter. Not to mention their pipes freeze and then burst.

And that leads to the bitching and moaning about the heating bills, which are high. One guy told me, 'I pay more in utility bills here than I did in _____ !'  Well yeah, you're in a small town now, and most small towns get most of their money from electric and sewer and water bills, because there's not a large tax base.

'And they tax everything!'

Yep. South Dakota state sales and use taxes are 4.5%, and every community's tacked on a municipal tax rate, too. Some places are as much as 6.5%.  Look, we don't have an income tax in South Dakota, but you still need to get the money from somewhere to run counties, towns, cities, and the state. So we have high property taxes, sales tax on everything, and use tax on everything but concealed carry permits. It costs more to live up here than you might think. An income tax would probably be a lot cheaper.

The other complaint, of course, is that there's nothing to do in Laskin, as if it's a national tourist center or a big city:

'There's no shopping! 

'The movie theater's so small, and it shows the same damn movie all week, and no matinees!

'And the casinos - they're just dive bars with slot machines! 

'And the restaurants - there's no variety. Just fast food and a few cafes.'

What did you expect in a county of less than 10,000 people?  And it could be worse. You could move out to one of the really small towns in South Dakota, population under 500. There all you'd have is a post office, and a bar, which at least will serve chislic and burgers with the beer. You want more variety? Do what the rest of us do, go to the nearest big city once a week or so and stock up, and have a nice dinner before you drive home.  

Oh, and they're shocked there's so much crime. Yeah. Well, guess what, there's meth in Mayberry these days, along with fentanyl-laced heroin. I-90 is a major drug corridor that runs from the Pacific to the Atlantic and right through South Dakota. 

I heard about some Blue State Refugee guys who were hired as cops in Rapid City, and they were shocked, shocked, shocked! that there wasn't much in the way of cheap housing. Really? They didn't notice Ellsworth Airforce Base? And the Black Hills, Sturgis, and other major tourist centers? And then they found out about gangs. And drugs. And a high murder rate.  Back in 2019, the crime rate in Rapid City, SD was higher than in 92.2% of U.S. cities. It hasn't gotten better. And Sioux Falls' crime rate was higher than in 83.1% U.S. cities."  (HERE)

Another fun thing is their sudden concern for the environment, as in 'Isn't there anything they can do about the feed lots? That smell...'  Nope. Just thank God you don't live by a CAFO (that's Concentrated Animal Feeding Operation) of hogs.  Oh, and that stinky green stuff in the lake is agricultural runoff. Nitrates and phosphates. Fertilizer. You know. Agriculture and tourism, our two biggest industries.

'Why do you live here?'

Well, most of us were born here. All our friends and family are around here. You can, or at least could, always count on your neighbors to help out in a crisis. And living in a small town has a lot of advantages:  It's quiet. (In other words, tone it down, folks.) There's a slower pace of life. (Slow down. Quit driving 50 on 20 mph roads.) And good manners. Or at least that's how it used to be...** And when you really want to get away from it all, there's lots of wide open spaces, especially West River. Nothing but grasslands as far as the eye can see. Just sit and listen to your own heart beating…

Think about it: If you want to change South Dakota to the place you left, then why did you leave? Why are you here?  

Thanks, Grant!  Say hi to Linda!

^** Please stop yelling in stores and at city / county commission / school board meetings. [Example HERE]  That's not how we do things up here. At least, not until now... 

Finding Your Story A Forever Home

 I have a new story out this month and I thought would try something different: taking you along the path that led to its eventually finding a publication.  The path turned out to be quite different than I thought it was when I began writing this piece.

Back in 2017 I got an idea for a story.  Here is the log line:

The Witness Protection Program sends a minor criminal to Indiana and orders him to keep quiet, make no waves, because mobsters want him dead.  But someone is stalking his beautiful neighbor....

Truly, our protagonist has a dilemma on his hands.

When I finish a new mystery story my first target is usually the Dell Magazines: Ellery Queen and Alfred Hitchcock.  I generally try EQMM first even though I have much better luck with AHMM (3 sales versus almost 40) because Hitchcock takes about four times as long to make a decision as Queen.  (Of course, if a character has appeared in AHMM before I send it there first.)

But as it happens, I did not go the Dell route this time.  By 2019 I had the story ready to send (I rewrite a lot). But then a new contest was announced: the Bill Crider Prize for Short Fiction.  Entries were supposed to be set in Bill's home state of Texas so I shifted my action from Indiana to the Lone Star State and  sent it in. 

I didn't win.

Fair enough.  Bouchercon was also producing an anthology so I submitted my story to that.

Strike two.

Logically I should have now sent the story to EQMM, but I had a memory lapse and thought I had already gone the Dell route  before switching it to Texas.  So, I shifted my poor protagonist back to Indiana (he must have been tired of packing and unpacking) and shipped it to a different magazine.

Which rejected it.

Again, if I had checked my records, which I do keep scrupulously, I would have noticed that I  hadn't sent the stories to the Dell twins, but I didn't.  The story went into the file of the Great Unpublished, where it sat until last year.

That's when I saw that Jack Calverley was looking for stories for an anthology.  I have worked with Jack before: in the early days of podcasting he ran an outfit called Crime City Central.  They did an audio version of one of my stories, which you can hear here.  (Hear hear!)

Jack was working on an anthology to be titled Death of a Bad Neighbour: Revenge is Criminal.

Hmm.  There in my files was a story about neighbors (or neighbours... Jack is British.)  I didn't think it was a perfect fit (I assume Jack was mostly getting stories about X being mad at Y who lived next door and so X planned to do wicked deeds against Y) but I have found over the years that sometimes a tale with a tangential connection to an anthology theme will sell at least partially because it is different than the other stories received.

But notice the subtitle.  Revenge is implied in my story but I don't think the word actually appeared in it.  That was an easy fix; I made the revenge theme explicit, and I sent it in.

And lo and behold, "Lambs and Wolves" finally found a happy home.  It is the lead-off story in the book, out this week. 

Unanswerable question: If I had remembered to send the story to EQMM or AHMM might it have been purchased there?  We will never know.  But I am delighted that it landed in a book with stories by some of my favorite writers.  And oh, a really great cover too.  

Whether my fictional story has a happy ending you will need to read to find out, but this nonfiction one worked out great. 

Grand Jury 101

             Current events have pushed the grand jury system into the news. I’d like to use my column space today to talk about grand juries. They rarely get more than a passing reference in television or literature. Let us give them their due.

            Grand juries are a group of citizens empowered by law to investigate potential criminal conduct and to determine whether criminal charges should be brought. In this dual capacity, they serve as both a “sword and a shield” for the criminal justice system. In many states, grand juries often have more members than trial juries. Numerical superiority gives them the name “grand” jury. “Petit” juries hear trials. Grand juries usually sit for a term of court. (Three months here) although the term may be extended by the district judge who impaneled the court. (In Texas, that extension may be up to ninety days.)

            In my jurisdiction, we compose grand juries of twelve citizens. That is the same number as a felony petit jury. Nine must vote to indict a case. If only eleven grand jurors show up on a particular day, it still requires nine votes to indict.

            You’ll notice some hedging. The Fifth Amendment to the U.S. Constitution requires grand jury involvement in federal cases. It is not mandatory for states. About half of the states do not require a grand jury indictment to initiate a prosecution. Because they are creations of state law, the rules governing them vary from state to state.

            In Texas, a grand jury indictment is not required. A defendant may waive his right to a grand jury indictment just as he/she can waive most constitutional rights. That only happens, however, in cases where the defendant intends to plead guilty. No Texas felony case any reader has heard of went forward without a grand jury indictment. Other states employ different procedures. Some use preliminary hearings the way we use the grand jury, an early test of the evidence to guarantee that it is sufficient to put the defendant to the rigors of the criminal justice system.

            The grand jury’s creation dates to the early days of English law. When judges rode the circuit, in each shire, a body of townsfolk was sworn to report to the sheriff crimes which had occurred since the last circuit court. During the era when the prosecution of criminal cases was an individual citizen’s responsibility, the grand jury helped to screen malicious or ill-conceived prosecutions.

            Although this last paragraph sounds like a pure history lesson, it has relevance. Texas law requires grand juries to inquire into offenses of which they “have knowledge or which they shall be informed by the attorney representing the State, or any other credible person.” In a local case, the district attorney declined to accept a charge involving a spousal homicide. The victim’s family hired a private attorney who appeared before the grand jury and presented his case. He acted in the capacity of “any other credible person.” The grand jury indicted the husband for murder.  

            Grand juries vote and act in secret. Neither witnesses nor jurors may talk about what happens in front of the grand jury. It is an autonomous entity that is not fully part of the judicial branch of government. The court empaneling it has some control over its actions. (As mentioned, that court must approve extending its term.) The court does not decide what a grand jury does. Grand juries are, by history and statute, vested with independence and inquisitorial authority. They are also not an arm of the executive. The district attorney may bring most of the cases and use the subpoena powers of the grand jury to call witnesses and to secure evidence, but the prosecutors are removed from the room when the grand jury votes. Although prosecutors usually bring the charges, they do not control the indictment. 

            The chestnut around the courthouse is that the district attorney could get a ham sandwich indicted. During some grand jury terms, that seems true. In other terms, it is not. The prosecutor brings the charges. As such, they generally set the agenda. They have broad discretion about who gets charged with what. They are usually the primary source of information about what the law is regarding a particular issue. Although grand jurors may ask the impaneling court, that rarely happens. The prosecutors have undeniable influence over the indictment process. In my jurisdiction, defense attorneys may only appear before the grand jury with the permission of the prosecutor. (In my experience, the district attorney rarely prevented the defense attorney from showing cards in the grand jury.)

            Grand jurors, however, bring their life experiences into those secret panels. In some terms, the district attorney has found a grand jury unwilling to charge minor drug offenses. They’ve brought biases in favor and against sexual assault victims and family violence offenses.

            Grand juries can subpoena witnesses and obtain evidence. The grand jury, therefore, is a useful government tool for locking down a witness’s testimony, particularly someone who did not avail themselves to the police. Since grand juries cannot gather evidence after a case has been indicted, the prosecutors must frontload their investigation of a case if they want to use the powers of the grand jury.

            Witnesses who chose not to talk or to make themselves unavailable are subject to being brought before the judge empaneling the grand jury. If they still decline to testify, they may be committed to jail until they agree to talk or until the grand jury loses jurisdiction when the term ends. Remember, terms here last three months unless extended.

            If the grand jury votes to formally charge a defendant with a crime, the document that issues is a true bill of indictment. Should they decline to charge, we say that the defendant has been no billed. No bill of indictment was issued in connection with that case. Jeopardy does not attach with a no bill but the practice here and in every other jurisdiction I’ve encountered is not to forum shop. The district attorney will not re-present the case unless new evidence is developed to believe that the original no bill would be decided differently. The advent of DNA testing resulted in a re-evaluation of previously not-indicted sexual assault cases.

            Grand juries get passing mention in literature and the news. The inner workings are a mystery to many. I hope this brief explanation leaves you better prepared as a reader, writer, and news analyst.

Until next time.

Tulip Season in Amsterdam

It's tulip season in Amsterdam. What an evocative thought that is. I'm happy to say it's an experience I've had rather than one I was saving for my bucket list. (What bucket list? Don't have one.) My husband and I spent a week in Amsterdam the last time the peak of tulip season coincided with both Easter and my birthday in mid-April, as it does this year. We stayed with Dutch friends in a wonderful neighborhood that reminded us (and them) of the Upper West Side, except it's cleaner, prettier, and has a canal (not one of the famous ones) and more little independent shops: a butcher, a baker, a pastry shop, a chocolatier. At the supermarket deli, they'll open a package and give you a taste of something exotic, like sliced ham with asparagus.

Their apartment was only a ten or fifteen minute tram ride from the old town with its ring of canals, cobblestone streets, and narrow 17th-century houses and from the superb museums. We went to the Concertgebouw to hear the St Matthew Passion. (The famed concert hall performed nothing else during Easter Week back then; this year, I see, they give concertgoers a couple of days' respite from Bach's overwhelming work.) And Keukenhof, the spectacular gardens that more than lives up to all the fuss about the Dutch tulips, was only a half hour bus ride away. A few hours at Keukenhof left me drunk on flowers.

Are ten pictures worth 250 words? You tell me.

Tattwo Parley

In 2005, a Chicago man opted for a tattoo to honor his home city. It was a great tat with ornate lettering. He went for it, Chi-town. Except when he returned home, he discovered it read Chi-Tonw.

Chi-Tonw

Oops. He sued the tattoo business, but since he’d signed off on the template (made with antique transparency machines!), some sort of settlement was reached. Curiously, it started a fad with other Chicagoans getting their own Chi-Tonw art.

Me, I think bare skin is beautiful, but I may be an exception. I knew a guy who had trouble paying his rent, but he estimated he’d paid out $20,000 for his skin art. He claimed it was an investment.

You might think a tattoo would be something to proofread twice over, but alas, spelling seems to be that last thought, not the first. Chinese lettering is especially troublesome where a single stroke can completely change a meaning. Just because your artist might look Asian, it doesn’t necessarily imply he knows Chinese. Apparently the following means ‘hooker’.

Prostitute

The following guy preempted questions with the wording: “I don’t know. I don’t speak Chinese.”

“I don’t know. I don’t speak Chinese.”

Fully decorated. © NextShark

As Ray Bradbury demonstrated, everyone has a story. Unfortunately, many students weren’t paying attention in Mrs. Henshaw’s English class. In the following, the contraction you’re seems especially troubling.

Your blood, Mrs. Henshaw’s tears.

Know Your Alive

When in doubt, double down.

The Cards Your Delt

Aww…

I'm Awsome!

And sometimes we make the wrong Choises.

Life is a Choise

That's no excuse.

Everyone Elese Does

I'm soooo jalous of the punctuation.

Are You Jalous&

God and Mrs. Henshaw

ONly God Will Juge Me

Except lack of a spell-checker.

Regret Nohing

Stating the Obvious.

Somke Weed

Revolutionary 101, it's Systsemic.

ƒ the Systsem

As the James Bond franchise wore on…

Tomarrow Never Knows

Now that's just sad.

Tradgey • Comedy

Uh, okay, I get it. I'm outta here.

Your Next

But wait, there’s more.

While researching, I came across a charming story about a guy who’d adopted a rescue dog from a pound. The dog had been tattooed, and the new owner felt badly for it. In solidarity with his new pet, he had the same tattoo burned into his skin. Aww, sweet!

Normally the story would end there, but the innocent owner hadn’t checked out the meaning of the tattoo.
It meant ‘neutered’.

^† Unless otherwise noted, pictures © Sverige2