Chatterrific

Colleen Collins

2012-01-14T16:11:00.000-05:00

Colleen Collins is an award-winning author who's written 20 novels and anthologies for Harlequin and Dorchester. Additionally, she's written two nonfiction books on private investigations (How to Write a Dick, co-authored with Shaun Kaufman, and How Do Private Eyes Do That?), and the PI novel The Zen Man. After graduating from the University of California Santa Barbara, Colleen worked as a film production assistant, improv comic, telecommunications manager at the RAND Corporation, technical writer/editor, speech writer, and private investigator. All these experiences play into her writing.

Gerald So: Describe each of your ebooks in your own words.

Colleen Collins: How to Write a Dick: A Guide for Writing Fictional Sleuths from a Couple of Real-Life Sleuths: After fielding numerous writers’ questions about private investigations, we started teaching classes (both our own, and classes for regional and national writers' organizations/conferences) about private investigations. We used this material, as well as narrative on other investigative topics, for this book. Sampling of subjects: investigative specializations (yes, there really are pet detectives); techniques PIs use to find people, conduct trash hits, orchestrate stationary/mobile surveillances; when and why a PI might be retained to investigate a crime scene; how PIs work with private forensic labs, etc.

How Do Private Eyes Do That?: A compendium of articles about private investigations, culled from pieces I've written for Professional Investigator Magazine, Pursuit Magazine (online trade journal for private investigators), various writers’ publications/organizations, as well as my blog Guns, Gams, and Gumshoes. Articles are for a more general audience, although there are articles geared to writers, too.

The Zen Man: A medium-boiled PI-team novel I sometimes refer to as a "21st-century Nick and Nora" story. The book isn't only about witty banter and cocktails though, it offers love, death and lawyers gone bad.

Gerald: The introduction to How Do Private Eyes Do That? touches on how you unexpectedly went from being a fan of private eye TV shows/fiction to becoming a real private investigator. Tell me a little more about how that happened.

Colleen: Back in 2003, I was writing novels full time for Harlequin when several of those lines closed. My then-boyfriend's (now husband's) job was downsized that same week. Because he was a former trial attorney who'd trained numerous PIs, I said, "Let's start an investigations agency." And we did.

Gerald: Your books mention that the majority of today's PIs are specialists, not Jacks-of-All-Trades. What led to your specialties -- witness locates and interviews, surveillance, and infidelity investigations?

Colleen: At our agency, we specialize in legal investigations, which generally refers to investigative tasks that support litigation (such as witness locates and witness interviews). As to surveillance, early on I sub-contracted with an out-of-state insurance investigations agency and conducted hundreds of hours of surveillance on their behalf, during which I learned a tremendous amount about mobile and stationary surveillances (skills often useful in legal investigations). As to infidelity investigations, we took on this type of investigations at a time when work was slow – this work, too, can slide into legal investigations when the facts of infidelity are critical to a court case.

Gerald: Many writers say they can no longer enjoy reading fiction, that they can't help looking at writing critically. Since becoming a P.I. yourself, has it been it more difficult to enjoy reading P.I. fiction?

Colleen: Yes on both counts.

Gerald: What's the most common/annoying mistake fictional PIs make?

Colleen: Probably the most annoying (though not necessarily common) is when a fictional private eye does something that is legally incorrect (for example, stating a victim is still in physical jeopardy in a courtroom until the judge approves the final restraining order…actually, a temporary restraining order is in effect prior to the final hearing) or legally impossible (for example, a private investigator who gets facts from a sealed court file in a pending grand jury investigation -- these proceedings are by their nature, secret).

Gerald: In one section of How to Write a Dick, you answer several reader questions. How did you go about gathering these? Over how long a period of time?

Colleen: We began documenting writers’ questions around 2006 when we started teaching classes (both our own, and classes for regional and national writers’ organizations/conferences).

Gerald: Which of today's writers come closest to depicting your experience as a PI? In other words, who gets it mostly right?

Colleen: Tough question because a lot of writers get it mostly right. As to which writer comes closest to depicting my experience as a PI, I have to answer that compelling private eye fiction often involves events that don’t (or shouldn't) occur in real-life investigations: violence, physical risk-taking, breaking the law. Saying that, I see “slices” of investigations in stories that mirror my own, such as Paretsky's V.I. Warshawski's passing thought about writing reports (a big part of private investigations is writing reports – it'd be boring for a writer to write about it, but it's very real that a private investigator might think about the pile of reports that need to be written); how Barnes's Carlotta Carlyle's juggles her residence being both a home and an office; how Crais's Joe Pike strategizes a multi-investigator, multi-vehicle mobile surveillance; how sometimes the PI-police detective relationship can be one of camaraderie (not conflict) which actually a number of writers portray.

Gerald: Describe your own fiction-writing process.

Colleen: I'm a plotter. I work on the synopsis first, revising many (many) times until the story flow, conflicts, characters (etc.) feel right. I tend to write lengthy synopses, which I'll then share with the editor to see if it reflects the ideas we initially discussed. Even with The Zen Man (which I self-published), I worked on story ideas/synopsis with my former editor because she knows my writer's tricks :) After polishing the synopsis, I start writing. Wish I was one of those writers who blasts through a first draft, then revises beginning to end, but no can do. I write a chapter, go back and polish until it feels right; start chapter two, go back and polish; start next chapter...

Gerald: The Zen Man is set in Colorado, where your private investigations agency is based. What are some advantages and/or challenges the area presents for fiction?

Colleen: Colorado doesn't require licensure for private investigators, which can make it more of the "wild west" for private eyes. It's also a vacation-magnet, which opens the doors to private eyes being hired for cheating-spouse cases from out-of-state clients. There are various geographical regions (from the Rockies to the high plains), and a breadth of economic stations, from the glamorous jet-setters in Aspen to the seedy downtown Denver underbelly.

Gerald: You've been published in print, and have self-published ebooks. What are the main pros and cons of each type of publishing, in your opinion?

Colleen: Self-publishing doesn't have the distribution channels or branding of traditional publishing. On the plus side, I got to design the cover, manage the final product and its marketing. One of my past traditional-publishing-house book covers was nominated by multiple websites as "worst cover of the year" and rightfully so. When I saw that cover, my writing career flashed before my eyes. The protagonist looked like Seth Green on crack, and the scene the art department depicted had nothing to do with the story. I lost the "worst cover of the year" award to a cover whose protagonist had three arms.

Gerald: What's next for Rick and Laura?

Colleen: The synopsis for After the Zen Man is almost finished. The story takes place during the unbridled and unregulated 2011 Colorado "green rush" of medical marijuana growers and dispensaries when the Russian mafia tried to control the market.

Gerald: Looking forward to it. Thanks very much, Colleen.

New Year, New Look, New Guests

2012-01-09T01:44:00.001-05:00

I think I've finally found the comfortable coffeehouse look I want for Chatterrific. Coming soon, interviews with Brian Thornton, editor of West Coast Crime Wave, and Colleen Collins, Colorado private investigator and co-author of How to Write a Dick.

I'm open to talking anything related to fiction, poetry, film, or TV. We can chat by e-mail, AIM, Yahoo! Messenger, or Skype.

Jochem Vandersteen's Top Five Private Eyes

2011-10-26T15:38:00.000-04:00

As a longtime fan of private eye fiction, I'm pleased to welcome Dutch author Jochem Vandersteen, whose blog is devoted to the genre, featuring new book reviews and interviews with some of its most notable practitioners.

I'm Jochem Vandersteen, founder of the Hardboiled Collective, author of the Noah Milano and Mike Dalmas series and blogger at www.sonsofspade.tk, the blog that focuses on the fictional PI.

Gerald So asked me to put together a list of favorite PI's. Not an easy task. There's a lot of them out there, many great. Still, I managed to come up with a top 5.

I limited myself to official private eyes, that meant Jack Reacher and Harry Bosch were out, for instance. While great characters who share a lot of similarities to the classic PI, they are not official private eyes.

Well, without any further ado… here's the list…

5) Mike Hammer (by Mickey Spillane): two-fisted, pulpy, and always enjoyable to read. Showing how a bit more action and grittiness can spice up the Philip Marlowe mold.

4) Charlie Parker (by John Connolly): a great mix of Spenser and Dave Robicheaux, marrying the dark, haunting prose of James Lee Burke with the wisecracks and attitude of Parker's Spenser. I would like to have the supernatural elements downsized a bit, though.

3) Patrick Kenzie (by Dennis Lehane): younger, hipper than most PI's. Very blue collar, a regular guy like us, just tougher. He showed me that a PI can still be relevant today.

2) Spenser (by Robert B. Parker) : the man that updated the classic PI for a newer generation. Great at wisecracks, quick with his fists but more human than his pulp-predecessors. I wouldn't be writing PI fiction without him.

1) Elvis Cole (by Robert Crais): as great as Spenser is and how important to the current day PI, for me Elvis is an improved version of Spenser. I love his ''voice'', his quirks and the LA setting.

Jim Winter talks ROAD RULES

2011-09-13T00:01:00.000-04:00

It's my pleasure to welcome back frequent Chatterrific guest Jim Winter, discussing his newly e-published novel Road Rules:

One of the rejection letters my former agent got back from a publisher called Road Rules "a PI novel," which the editor then termed a "one-way ticket to oblivion." Yeah, it seems to be wrecking Laura Lippman's career. Oh, wait. It's not.

Now, I don't want to sound bitter. One never knows what's going through an agent or editor's head when they pass on a work. Hell, sometimes I don't know what's going through an editor's head when they accept a story. But then think of the poor editor. If the work is not that good, they had to read it anyway. What was going through the WRITER's head?

That's not what I want to talk about. I want to talk about what the one editor called Road Rules. A PI novel? Seriously? I was thinking Donald Westlake's Dortmunder. I was thinking Elmore Leonard. I was thinking Carl Hiassen. PI's conjure up visions of Philip Marlowe shuffling down rain-soaked alleys, of Humphrey Bogart growling at Gutman over the rara avis, of Spenser cracking wise as he and Hawk bust the heads of Boston's thugs. Sure, I've written PI. I wrote Nick Kepler. But Road Rules?

Road Rules is two guys who blunder in the middle of a battle between cops, feds, an insurance company, and the Roman Catholic Church on one side, and a loan shark, a corrupt claims adjuster, and the entire entourage of a coked-up, hypersexed Cuban gangster on the other. This isn't a PI story. This is a caper. It's Tarantino with a laugh track, maybe Jimmy Page jamming "Writes of Winter" at the beginning and the end.

Or is it?

Robert Jordan is a PI. So is Sharon Harrow, a.k.a. Cinnamon. Jordan is world-weary and still very much a cop, even reinstated to go looking for his missing niece. Find the niece, find the missing holy relic. Sharon, on the other hand, starts out just as hapless as Mike and Stan. After all, she lost the Cadillac (and subsequently, her job) because she could not master the PI's most important skill - peeing in a jar. (Yes, female PI's do that. Discreetly. I asked.) But...

She eventually comes off as a younger, angrier Kinsey Millhone, including driving a VW (a Jetta to Kinsey's Beetle) and having a change of clothes (her hooker disguise vs. Kinsey's "all-purpose dress"). Sharon has a racial angle to deal with on top of being "a chick." To Sharon, it seems more of an annoyance than a real setback, and it certainly doesn't stop her.

But Sharon must share the spotlight with two hardluck white guys, one of whom is not the brightest bulb in the box, the other who's been down so goddamned long that it looks like up to him.

So is it a PI story?

Maybe it is.

Is it a one-way ticket to oblivion?

Oh, now, them's fightin' words!

Interview with Jeff Shelby, author of LIQUID SMOKE

2011-08-01T23:54:00.004-04:00

Jeff Shelby's Noah Braddock P.I. series picks up after a five-year hiatus with Tyrus Books' release of Liquid Smoke August 24. I interviewed Jeff after reading an advance copy of Liquid Smoke, sent to me by FSB Associates.

Gerald So: What caused the hiatus between WICKED BREAK and LIQUID SMOKE, and how did the new book come about?

Jeff Shelby: The hiatus between WICKED BREAK and LIQUID SMOKE was the result of several things. My previous publisher decided they were no longer interested in publishing the series. Disappointing, but that's part of the business. I had already written LIQUID SMOKE and really felt it was the best thing I'd ever written. My agent at the time tried to find it a home, but had no luck. We worked on selling several other projects but didn't find any success there, either. After a lot of thought and discussion, I decided to leave my agent. I don't say "fired" because my previous agent did everything she could for me and we worked hard to put some things together, but just didn't have any luck. It was more about needing to start over. We parted very amicably. When I signed with Stacia Decker at Donald Maass Literary Agency, she felt we could still breathe some life into the series and that it still had legs. Fortunately, Tyrus agreed and wanted to publish it.

Gerald: How much "story time" has passed between WICKED BREAK and LIQUID SMOKE? Has your view of Noah changed since you began writing about him?

Jeff: In LS, there's a very quick reference to "a few months" having passed between WB and LS. (I actually had to look it up because I wasn't sure!) In my mind, I had it as about three to four months having gone by between the two books.

I think my view of Noah has definitely changed since I started writing about him. He's been forced to mature and make some tough, adult decisions over the course of the three books. He's made some decisions that I didn't necessarily think he was capable of when I first started writing about him. And at the end of LS, he's about as far from the guy we met at the beginning of KILLER SWELL as he could possibly be. He's become far more complicated than I ever thought he'd be, but as a writer, I love that because he's far more interesting to write about.

Gerald: What's next for you?

Jeff: I've started the fourth Noah book. I know exactly where it's going and because of how LS ends, it'll be far different than any of the other three previous books in the series. I'm also diversifying my career - in January, Kensington will publish STAY AT HOME DEAD, written under the pseudonym Jeffrey Allen. It's the first of three books featuring a stay at home dad in small town Texas. It'll probably be described as a humorous cozy, but really, it's just a goofball mystery that might make few people laugh.

Visit Jeff's website.

Discount Noir's Patricia Abbott

2010-12-21T06:53:00.005-05:00

Patricia Abbott is a fellow contributor and one of the co-editors of Discount Noir, an e-Book flash fiction anthology available now from Untreed Reads. The Derringer Award-winning author of more than 60 short stories, she lives and works in Detroit. Visit pattinase.blogspot.com.

Gerald So: How did the idea for Discount Noir come about? Why did you decide to do a flash fiction challenge about Everyone's Favorite Superstore (TM)?

Patricia Abbott [From the foreword to Discount Noir]: Since most readers of my blog are short story writers, I decided in February 2008, to issue a flash fiction challenge. (I was far from the first to do so.) This was not a contest but rather an inclusive invitation to write a story of about 800 words and post it on an assigned day...It was a success and each of the succeeding four challenges drew more entries. Each challenge had its own topic—my favorite being one in which each participant wrote an opening paragraph that was passed on to someone else.

In October 2009, my co-anthologist Steve Weddle suggested I use a website that I’ll call The People of Megamart as the inspiration for a flash fiction challenge. Megamart: I Love You generated more than thirty stories, all published simultaneously on various blogs on November 30, 2009.

GS: How did the idea for your story, "Loss", develop?

PA: I was working on a novel called Raising the Dead and it was set in Detroit. Twelve young men would die over the course of the novel. Someone suggested that it was very insular as it was and maybe writing small narratives about each of the men would widen the scope. That idea did not work out because it took the story away from the protagonist too many times. But I had these twelve narrative and one of them was about a new guard loss prevention guard at a Megamart type store. So when the idea came up for stories set in a big box store for a flash fiction challenge, it was a natural. I have also been publishing the other narratives at A Twist of Noir and Flash Fiction Offensive.

Which all proves a writer should throw nothing away. It will usually fit in somewhere...

The story needed some tweaking, of course. And it was a bit too long or short (can't remember which) and less of it was set in the store than in the final version. But I didn't have to do that much.

Scott Neumyer

2010-12-20T14:42:00.004-05:00

Scott Neumyer, author of the just-released young adult eBook Jimmy Stone's Ghost Town, is a writer, publicist, and photographer. He has over ten years experience in online marketing and publicity and spent three years as a Media Buyer for a major national film distributor. He appears in the non-fiction book Wanted Undead or Alive: Vampire Hunters and Other Kick-Ass Enemies of Evil (Citadel Press August 2010). Scott has also had stories appear online and in print in prestigious magazines such as McSweeney's Internet Tendency, Pindeldyboz, and Hobart Pulp. Visit www.scottwrites.com.

Gerald So: Tell me a little about the concept for Jimmy Stone's Ghost Town and what inspired it.

Scott Neumyer: Jimmy Stone's Ghost Town is, when you break it down to the barest of bones, about a fifth-grader, his dog, and an unlikely friend finding a way into another world, learning they have a quest, and setting about that quest with more than a little reluctance. That said, it's also about ghosts, fun, relationships, family, bad fathers, almost-sisters, and one really awesome tree.

The idea for Jimmy Stone's Ghost Town really came about by me wanting to write something that I would have loved to read when I was Jimmy's age. I grew up on awesome books for boys like Hatchet, My Side of the Mountain, the Hardy Boys books, Encyclopedia Brown, and How to Eat Fried Worms. Maybe I wasn't looking hard enough, but I had a hard time finding really fun books like that for young boys today, so I figured I would write one that maybe, just maybe, could live on the outskirts of that group.

And all that's not to say girls, teenagers, and adults can't enjoy it! There's a little bit of something for everyone in Jimmy Stone... (I've been describing it to friends as Harry Potter meets The NeverEnding Story meets the movie Lady in White. Mind you, I don't think I can measure up to any of them, but they're good descriptors.) and that seems to be the resounding response I've gotten from readers so far. That and "when is book two coming?!"

GS: The book sets the stage for a series. Do you have the number of books planned out? How frequently will they be released? Will they all be in eBook format?

SN: I do have a plan in mind about how many books will be in the Jimmy Stone series, but I'm not quite ready to say yet. I'm hard at work on book number two and I'd love to hear where people think Jimmy, Trex, and David are going next (there are a few hints in Jimmy Stone's Ghost Town). As for timing, we shall see how well this one does first before we decide how often and what format they'll be in. That said, I'm a huge fan of this digital revolution so you can rest assured there will always be eBook versions, no matter what other versions might be out as well.

Order Jimmy Stone's Ghost Town from Amazon or BN.com.

Discount Noir's Loren Eaton

2010-12-02T10:23:00.002-05:00

Loren Eaton is a fellow contributor to Discount Noir, an e-Book flash fiction anthology available now from Untreed Reads. He has worked as a business manager, entertainment journalist, voter registration drive organizer, and farm hand. When not home-roasting coffee or reading genre fiction, he likes to blog about narrative, genre, and the craft of writing at www.ISawLightningFall.com. He lives with his wife and son in south Florida.

Gerald So: How did the idea for your story, "Thirty-One Hundred", develop?

Loren Eaton: I have a shameful secret to share (which, I suppose, makes it no longer secret and even more shameful): I really like a certain big, blue-box-shaped retailer. For liability-free ease of reference, let's call it Megamart. I like Megamart's huge selection. I like its rock-bottom pricing. I like that some academics say it lowers obesity rates. So when Patti Abbott and Steve Weddle suggested an anthology organized around Megamart, it struck a chord.

Okay, so I was supposed to write an 800-word story about Megamart. Setting was easy. Now what about a main character? Despite my enjoyment of it, Megamart's massiveness has always struck me as slightly absurd, so I tried to encapsulate that silliness in the protagonist's name -- Wofford Ortlund Marshall V. (Actually, I knew a guy who had a very similar moniker; wisely, he went by Ted.) Why's Wofford in Megamart? Perhaps to check out an item it alone sells, maybe an exclusive box set from a once-famous musician, say Kenny Rogers. And what if he found stationed at the store's hunting counter the most beautiful woman he'd ever seen? But how to get him there from the music section ... Heck, let's make it even more absurd: Wofford glances up to see his Megamart-hating boss stagger into the store (which is odd), a gray pallor tainting his face (also odd), and begin gnawing at the greeter's throat (beyond odd).

That's "Thirty-One Hundred," my zombie-Megamart-love-story contribution to Discount Noir.

GS: What appeals you about flash fiction?

LE: Initially, I thought flash fiction was an impossible form, its very brevity making effective storytelling nigh impossible. But having read some wonderful examples, I came to see there's a certain purity in the style, a jewel-like clarity that emerges when every word counts. I don't know how well I do at it, but it's a joy to try.

Last year, an open invitation went out on the blogosphere to share spooky, 100-word stories on Christmas Eve, a tradition stretching back (in one form or another) to M.R. James and Charles Dickens. Participating in it and reading pieces from other contributors was some of the most writerly fun I've had in ages. It reminded that flash fiction (like another sort of storytelling) can run the emotional gamut from serious and elegiac to light-hearted and amusing. To see last year's shorts, click here or go here to see this year's open invite.

Discount Noir's Jay Stringer

2010-11-21T19:43:00.003-05:00

Jay Stringer is a fellow contributor to Discount Noir, an e-Book flash fiction anthology available now from Untreed Reads. He is an Englishman living in exile in Glasgow, armed only with a world-view and a MacBook. You can catch his thoughts on crime fiction every Tuesday at DoSomeDamage.com.

He has two crime novels under submission from Stacia Decker at the Donald Maass Literary Agency.

Gerald So: How did the idea for your story, "The Tin Foil Heist", develop?

Jay Stringer: It was pretty simple, really. I'd used the characters before, in a story called "The Goldfish Heist", and I liked their voices. When I saw Patti and Steve's flash fiction challenge I just let the theme sit at the back of my mind for a couple of weeks, and then Cal called Joe on the phone in my head and I realised I had a story pretty much formed and ready to go. I usually need three or four drafts before I'm happy with something, but this one was one draft and then a quick edit, the characters did the work for me.

GS: What appeals to you about flash fiction?

JS: I like the challenge of it, but that sounds really pretentious doesn't it?!

There's a temptation with flash fiction to write part of a story. It's fun to use flash to try out an idea for a bigger story, or to use it as a way to work out a character or a writing style. And I'm not knocking those approaches, because I often use them as writing exercises when I'm stuck on something, but I like to try and do something else. I like the challenge of trying to write a full story -beginning, middle, end- in such a small space, like a well crafted song. For "The Tin Foil Heist", there was the extra challenge of telling a whole story without my main character ever leaving his sofa, because that's pretty much what I'm doing when i write my novel!

Discount Noir's Albert Tucher

2010-11-21T14:27:00.002-05:00

Albert Tucher is a fellow contributor to Discount Noir, an e-Book flash fiction anthology available now from Untreed Reads. He is the creator of prostitute protagonist Diana Andrews, who appears in more than thirty published short stories and a series of unpublished novels. A Diana story called "Bismarck Rules" appears in the anthology The Best American Mystery Stories 2010.

Gerald So: How did the idea for your story, "The Hideous Lime Green Truth", develop?

Albert Tucher: I heard about this challenge with only days to spare. When I'm under the gun, I always go back to my standby characters, Diana and her sidekick Mary Alice aka Crystal. I know their backstories, and they do a lot of the work for me. In their business they can and do go anywhere, which helps me a lot.

GS: What appeals to you about flash fiction?

AT: I started writing flash fiction for DZ Allen's Muzzle Flash, and I soon got hooked on the challenge of telling a complete story in under 700 words. I learned that you can do a lot if you don't try to do too much. Profound, huh?

Discount Noir's Jack Bates

2010-11-21T03:41:00.002-05:00

Jack Bates is a fellow contributor to Discount Noir, an e-Book flash fiction anthology available now from Untreed Reads. He grew up in the northern suburbs of Detroit, Michigan and began writing at an early age. Currently, he pens the Harry Landers, P.I. series available on Amazon Kindle. He also appears in anthologies such as Discount Noir, The Killer Wore Cranberry, and the acclaimed Shadows of the Emerald City.

Gerald So: How did the idea for your story, "The Bayou Beast: A Requiem" develop?

Jack Bates: When Patti Abbott sent out the call for flash stories, I jumped at the chance. I went to the site and scrolled through the pictures. As soon as I saw the one of the man in layers of plastic vines and leaves, I knew I had my story. I've been a fan of Alan Moore's Swamp Thing for a long a time and seeing that individual covered in camo and foliage jumped out at me. Realizing I could use an established charatcer, I had to take it in a new direction and I created a small local theatre troupe who wanted to put its own spin on a familiar subject like I did.

I have an extensive background in theatre. I decided the only reason a guy would go shopping at a MegaMart, or in my case, a FIND Department store, was because the community theatre he was appearing at didn't have the resources to provide for its productions. Having been in a similar situation, I've had to run to grocery stores, discount stores, and second hand shops on opening nights to get the last minute supplies or props minutes before the curtain went up.

One time, I sent the leads for a play I directed on similar mission on opening night forty-five minutes before curtain. Ten minutes before said curtain rose, they showed up with the necessary items but both actors were completely frazzled. The driver had run a red light, avoided an accident, but got pulled over by the cops. It might have been that they were already in make-up and costume that he avoided the ticket, but I often thought about what would have happened to the production that night had either of my leads not shown up. A few years later I had a similar situation when the orchestra I was using for a musical arrived an hour and half late from an earlier performance it did as a benefit. Audiences get restless and cranky. Sometimes the show does not go on.

It was from these two experiences that "The Bayou Beast: A Requiem" was born.

GS: What appeals to you about flash fiction?

JB: I've known of flash fiction for quite some time. A guy with whom I teach said he hoped to coin the phrase 'micro-fiction' a couple of years ago when we started exploring flash as a viable literary format. Since those early days, we've come to recognize short fiction as flash and realized we were not going to be the pioneers of a movement but rather participants. We both read at poetry slams, we both meet regularly to write and share with others. Like slams, I've proposed a fiction style of slamming called Flash-Bangs. (Yes, I'm capitalizing on the phrase.) Nothing has materialized yet, but we're still working on it. It might even be something to unleash at Bouchercon 2011 in St, Louis.

Discount Noir's Eric Beetner

2010-11-20T21:16:00.002-05:00

Eric Beetner is a fellow contributor to Discount Noir, an e-Book flash fiction anthology available now from Untreed Reads. He is the co-author (with J.B. Kohl) of One Too Many Blows To The Head and the upcoming sequel Borrowed Trouble (Feb 2011) He is an award-winning short story and screenwriter with more than two dozen short stories available for reading at his website ericbeetner.blogspot.com.

Gerald So: How did the idea for your story, "Inside Man", develop?

Eric Beetner: I love a small bit of inspiration for a story, and in this case it came in the form of the website People of Walmart. The site essentially makes fun of what could mildly be called hicks or rednecks, in other words - the reason other countries hate us and Americans are, in many cases, self-loathing. Just stop by to see the humanity on display and there is inspiration on every page.

For my story, Inside Man, I wondered how often big discount stores like that get robbed. It must be all the time, right? They are designed for a lower income customer so right away you're inviting a criminal element in, even if they are criminals by necessity. I think some stores even have banks inside these days. So I immediately went to a robbery.

The logic I used for the criminals in my story was my own. Rob the ten items or less aisle because it means more cash and higher traffic. Seems logical to me. (for the record I only use "ten items or less" under protest and because it is real to the locale. In fact that is one of my biggest grammar pet peeves and I'm disgusted that so many stores use the improper wording)

Beyond that I just dreamed up two hapless brothers and set them loose. In all of my fiction I tend to write about marginal criminals. I'm not ever going to write about the world's best assassin or the greatest cat burglar ever. I like the losers, the small timers, the guys on the fringe.

I also find I write quite a lot about brothers even though I don't have any. Not sure what that says about me.

After the initial kernel of the idea came it all fell into place rather quickly. I love the idea of a bunch of guys working at a gun counter who finally get to break out the goods and use them to thwart a robbery. I just have to think they've been waiting for that moment for years.

The thing about a challenge like this that is so appealing is to see all the different takes on the inspiration. After sitting and thinking about it for a while I could have come up with 42 stories of my own but none of them would have been what the others thought up and I love that.

GS: What appeals to you about flash fiction?

EB: The economy of words is fun to play with. As much as I like being inspired by something, I enjoy being constrained by something too. It forces you to really think about the bare essence of a story. To strip away all that isn't needed and get on with it.

As a reader it is always fun to get a little taste and then move on. I always see flash pieces as holding up a frame to a larger picture to pick out one detail. A good flash piece must always have the impression that it extends out beyond the borders of what you are being shown, but the author has chosen just this section to share for a very good reason. That's why most of my flash pieces start in progress and end rather open-ended.

Any flash piece should feel like you could turn it into a novel if you wanted to.

Discount Noir's Kathleen A. Ryan

2010-11-20T19:28:00.009-05:00

This is the first in what I hope will be an interview series with my fellow contributors to Discount Noir, an e-Book flash fiction anthology available now from Untreed Reads.

Kathleen A. Ryan is a retired 21-year veteran of the Suffolk County Police Department. She lives on Long Island with her husband and two children. About ten days following the release of Discount Noir, her story "Playing with Matches" was published in W.W. Norton's Hint Fiction: An Anthology of Stories in 25 Words or Fewer, edited by Robert Swartwood. Hint Fiction contains stories from Joyce Carol Oates, Peter Straub, Ha Jin, Tess Gerritsen, Gregg Hurwitz, Douglas Clegg, Marcus Sakey, James Frey, F. Paul Wilson ~ and many more. Kathleen is currently revising her true crime memoir and preparing to send it to agents, while continuing to work on short fiction.

Kathleen blogs at kathleenaryan.blogspot.com with fellow Sisters in Crime at www.womenofmystery.net. Follow her on Twitter @katcop13.

Gerald So: How did the idea for your story, "Secret Identity", develop?

Kathleen A. Ryan: Since the 800 word challenge had to include a "discount" type store, and at the time of the writing, we were headed into the holiday season, I recalled a case I handled as a police officer while working in Crime Stoppers, that had occurred on Christmas Eve at such a store, in which a man was caught on video stealing a woman's wallet; she was a customer on line in front of him. Because of the hectic time of year, and she was juggling packages and small children, this creep behind her took advantage of the situation; it was a crime of opportunity. Sadly, he had children with him. The clerk was too busy to notice what had transpired. I was interviewed by the NY Daily News for the story. I told the reporter how the suspect missed out on a great opportunity to show his kids how to do the right thing. We have solved many cases in Crime Stoppers, but this one went unsolved -- no one called to identify the suspect. For this story, of course, I changed that ending,

Since I had received calls on the tips line over the years from children, especially those who were calling in about a parent, I decided to make my protagonist a young boy. My nephew, who lives near a particular discount store, was the inspiration for this character. He is my brother's only child -- who was 5 months old when my brother was killed in a motorcycle accident in 2001.

Also, I handled calls in which parole violators used aliases, committed crimes, and fled. Family members, friends, and scorned women (those who possess the most accurate info, IMHO) would call with information concerning their locations.

I enjoyed the theme of real vs. fake throughout the story: a fake tree and a real one; the Santa greeter; a 'real' or biological dad vs a stepdad; and of course the real vs. fake identity of the bad guy; even the "fake" cheese -- Cheez Whiz. The title refers to the bad guy, the anonymous caller (the child), and of course, Santa Claus.

GS: What appeals to you about flash fiction?

KAR: I enjoy reading flash fiction and writing it. To me, writing flash is a challenge, sort of like a difficult puzzle, but one that I enjoy. Contrary to popular belief, writing "short" isn't necessarily easier than writing "long." As writers of shorts already know, it's more difficult.

Looking Good

2010-06-21T04:51:00.000-04:00

Blogger recently brought a new template designer out of draft, and I've updated this blog in turn. Some of the older photos have gone offline. I'll replace them sometime.

Steve Weddle talks about the forthcoming Needle: A Magazine of Noir

2010-04-03T17:23:00.017-04:00

Former newspaperman and teacher, current crime fiction author, blogger, and podcaster Steve Weddle chatted with me this afternoon about his ink-on-paper brainchild, Needle: A Magazine of Noir.

UPDATE -- The debut issue of Needle, discussed below, was released April 8, 2010. Order your copy here.

Gerald So: What are your goals with Needle?

Steve Weddle: I love the online crime fiction – Plots With Guns, Thuglit, Beat To A Pulp, Crime Factory, A Twist of Noir, and many, many, many others. I’ll read a story online, then check my email, then surf around Gawker.com, hit a couple of blogs. That’s the way I get most of the short crime fiction in my diet. Great quality a click away.

Then I’m reading a story in Crimespree Magazine and thinking, we need more of this. We need crime fiction that you can hold in your hands, ink-on-paper. I want to thumb through a magazine and read Hilary Davison, Jedidiah Ayres, Kent Gowran, Sandra Seamans, Keith Rawson, Patti Abbott, Kieran Shea, and so many others. Online is great and the unlimited space is so fantastic. But I read so many print magazines – The New Yorker, Esquire, Foreign Affairs, and so forth – and so many literary journals – Kenyon Review, Fiction, Southern Review, etc – that I just wanted to see some more crime fiction in ink-on-paper form. The kind of fiction you want to roll up into your jacket and take with you everywhere.

So I started going on about it on Twitter, saying I wanted a crime fiction magazine that was ink on paper. And many, many people jumped in and said that was a great idea. And John Hornor Jacobs, a fellow member of Team Decker, said that he’d love to handle the art part of it. So he started working on the graphic arts and I asked around for the graphic fiction.

The goal was to get the quality of fiction we’re seeing online into print. To create a magazine of some of the best crime fiction out there.

GS: Do you see any patterns in the first batch of stories you've accepted?

SW: Well, this seems to be a pretty violent world. Some folks really take out their aggressions on others.

I was surprised at the level of cannibalism in the stories. I don’t mean that as a cool metaphor. I mean, you know, flesh eating. Crops up in a couple of stories. And dogs eating people, too. And decent looking people who turn out to be nasty to the core. And nasty people who do good things. Ha. I’m kidding. Even the nasty people are nasty.

GS: Are you serious about the cannibalism in multiple Needle stories?

SW: Yes. People are insane.

GS: What is noir to you?

SW: At some level, it’s peeling back the shadows and shining a light on the darkness – like the stories we have from David Zeltserman and Eric Nusbaum. At another level, it’s like having an argument about whether golf is a sport. Some folks say it is, while some say no. Even if we end up with the answer, knowing that won’t help me find my number two Titleist under the leaves in the woods along the fourth fairway. Noir. It’s dark. Does it glorify violence? Not always. Does it focus on the anti-hero? Not always. Whatever rules you set up, you end up finding stuff that won’t fit. All I know is that the more time I spend arguing about what noir is, the less time I have to read it.

GS: What were your inspirations for Needle?

SW: Crimespree Magazine made me want to do ink on paper. The online zines I mentioned before made me want to work more with crime fiction. But, honestly, the inspiration for the magazine is every good piece of crime fiction I’ve read, from Nathan Singer to Paul Brazill. And a large part of the inspiration has been the discussions with John Hornor Jacobs as we were taking my vision of what I wanted and using his ideas and making something that people will want to read.

GS: How did you decide on the name "Needle" for your mag?

SW: Just sorta came to me one night at the methadone clinic. Actually, we needed something that said hard and sharp. A needle is painful, but also life-saving. Depends on the situation, you know. So it seemed to fit.

GS: Has the workload been about what you envisioned it would be? Has the experience been rewarding?

SW: John has worked exceptionally hard on the art. I say he’s worked hard, but I’m just judging that from the results. The magazine looks fantastic. Sleek, sharp, and with that feeling of darkness. Exactly the right look for this magazine.

The writers, of course, have written some fantastic stories. As a writer, I know how time-consuming, no, I mean how energy-consuming that can be. Jedidiah Ayres, for example, has a story in here that’s around 10,000 words. That’s perfect for what I wanted to do. A home for longer fiction, too big for the web. But, man, that takes a heck of a lot of work.

Shorter fiction, such as the kind we’ve got from Cormac Brown, Christopher Grant, Chad Rohrbacher, and the others I’ve mentioned, sometimes takes even more work than longer pieces.

Scott D. Parker and Naomi Johnson have read through many of the stories in the magazine, working as fiction editors. Daniel B. O’Shea gave a good proof-read that I appreciate so much.

But, you know, the thing is, we all do the work, but we get to see the stories before anyone else. There’s just something cool about that, a fantastic reward.

GS: How many issues do you plan to publish per year?

SW: The plan is to go quarterly.

GS: Will they each be about the same number of pages?

SW: This one is about 160 pages of nothing but fiction. No reviews. No poems. No cartoons. I’d guess most issues will be similar in scale and scope.

GS: What's Needle's cover price?

SW: John and I looked around at some options. One of the prime examples of what we wanted to do in terms of production and distribution is The Lineup, which you do on Lulu.

I wanted someone else to worry about the store and the shipping and the printing. So the first issue is coming from there and should be under $10, which includes shipping.

GS: Do you plan to market Needle to indie bookstores or any bookstores, libraries, etc.?

SW: Looking at that now. Since it's POD, we'd have to print up some or figure something else out but yeah, looking into it.

GS: This all sounds good, Steve. Good luck with it.

SW: Thanks, man.

Yahoo! Groups Planned Downtime April 1

2010-03-31T07:12:00.000-04:00

Yahoo! Groups members and owners may experience intermittent downtime beginning at 1pm PT on Thursday, April 1, 2010 while the Groups team performs regular maintenance on some of the systems. During this time Yahoo! Group members and owners may not be able to access the Yahoo! Groups site or receive Yahoo! Groups mails.

We will update you as soon as the maintenance is complete. Thank you for your patience!

Guest Post: Stephen D. Rogers

2010-03-28T00:01:00.016-04:00

Stephen D. Rogers has been a repeat-contributor to both Thrilling Detective and The Lineup: Poems on Crime, so I'm pleased to help promote his newly-published collection of thirty-one short stories, Shot to Death.

Though Stephen asked each of his blog hosts to choose the first line of a story from Shot to Death, I was more swayed by story title.

"That will be a few minutes Sir."
- DEATH BUYS A BURGER

So begins one of the 31 stories contained in SHOT TO DEATH (ISBN 978-0982589908). Within that beginning lurks the ending to the story and everything that happens between the beginning and the end. Or at least it seems that way to me.

When I first heard that sentence, there was no comma before the "Sir." That gave me the sense that the speaker didn't recognize "Sir" or the person being addressed by that title as anything separate and significant. "Sir" didn't represent respect. "Sir" represented an attitude of platitude. That sense of a plastic-tongued "Sir" put the speaker behind the counter of a fast food establishment.

But we're accustomed to boredom disguised as politeness, to bottom-line corporate policy disguised as human interaction. There's no conflict there until one of us snaps.

Unless the customer has been isolated from the development of politically correct customer service. He remembers when the word "Sir" meant something. He remembers when waitresses were people and not interchangeable corporate tokens. He remembers when....

He's been isolated from the changing world.

He's been in prison. He's been in prison for decades because of the person he's now tracking. This "restaurant" sits on the site where a diner once squatted.

He's here because he and that person met here in those diner days to plan the job. He's here because here he can watch for the person who put him behind bars. He's here because revenge never goes out of style.

He's released from prison to enter a dehumanized world that pretends to simulate. He's the real deal, however, dehumanized even before he was sent away.

All that remained was the writing.

For a chance to win a signed copy of SHOT TO DEATH, click on over to http://www.stephendrogers.com/Win.htm and submit your completed entry.

Then visit the schedule at http://www.stephendrogers.com/Howto.htm to see how you can march along.

And then come back here to post your comments. Phew.

Stephen D. Rogers is the author of SHOT TO DEATH (ISBN 978-0982589908) and more than six hundred stories and poems. He's the head writer at Crime Scene (where viewers solve interactive mysteries) and a popular writing instructor. For more information, you can visit his website, www.stephendrogers.com, where he tries to pull it all together.

SHOT TO DEATH contains thirty-one stories of murder and mayhem.

"Terse tales of cops and robbers, private eyes and bad guys, with an authentic New England setting."

- Linda Barnes, Anthony Award winner and author of the Carlotta Carlyle series

"Put yourself in the hands of a master as you travel this world of the dishonest, dysfunctional, and disappeared. Rogers is the real deal--real writer, real story teller, real tour guide to the dark side."

- Kate Flora, author of the Edgar-nominated FINDING AMY and the Thea Kozak mysteries

"SHOT TO DEATH provides a riveting reminder that the short story form is the foundation of the mystery/thriller genre. There's something in this assemblage of New England noir to suit every aficionado. Highly recommended!"

- Richard Helms, editor and publisher, The Back Alley Webzine

So, What's New?

2010-03-27T08:28:00.002-04:00

I'm offer my services as friendly interviewer to anyone in the mystery, fiction, poetry, film, or television fields. If you have a story, magazine, book, movie, or show to promote, I'd love to hear about it. We can chat via AIM or Yahoo! Messenger, or I can e-mail you questions.

If you're interested, please contact me.

Coming Tomorrow: Stephen D. Rogers

2010-03-27T08:14:00.003-04:00

Tomorrow, March 28, I welcome prolific short story writer Stephen D. Rogers back to Chatterrific. This month, Stephen has been promoting Shot to Death, his newly-published collection of 31 stories, with a Blog March. You can see the other stops on his tour here.

Read the transcript of Stephen's previous visit to Chatterrific in 2005.

July/August on DetecToday

2009-07-04T19:52:00.002-04:00

JULY

Featured Novel: Head Games by Craig McDonald

Featured Short Stories: Alfred Hitchcock Mystery Magazine May 2009

AUGUST

Featured Novel: The Girl with the Dragon Tattoo by Stieg Larsson

Participation in the featured discussions is optional. DetecToday is open to anything relating to recent P.I. fiction.

Frequently Asked Questions: CrimeSeen

2009-04-23T14:09:00.011-04:00

What is CrimeSeen?
Boundaries of Discussion
Reading CrimeSeen
Posting and Replying
Spoilers
Special Group Features
Service Advisories

What is CrimeSeen?

A forum for fans of crime TV shows and movies.

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Boundaries of Discussion

Please keep personal disputes offlist. If you are unsure of a message's tone, contact the poster privately, or e-mail me.

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Reading CrimeSeen

You must subscribe to read our messages as as individual e-mails, daily digests, or on our Web site.

Please obtain the posting member's permission to forward messages offlist. Any member found to have forwarded messages without permission will be banned.

Note: I do not make use of the "Special Notices" setting.

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Posting and Replying

Send messages to crimeseen@yahoogroups.com or use the Post feature on our Yahoo! Groups site.

Yahoo! Groups and most e-mail programs automatically quote entire messages when you hit "Reply". In order to keep our messages and digests quickly downloadable for members with varying Internet access speeds, please quote only the specific points to which you are replying. Delete any extraneous text and and keep signature lines short.

If you have articles or interviews to share--instead of reprinting them entirely by e-mail--please quote or comment only on relevant passages, paraphrase, or send URLs where members may read at their convenience.

I will post notices of Yahoo! Groups downtime to the list if possible. If I am unable to use the list to keep members informed, I will post advisories to this blog.

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Spoilers

Spoilers are specific plot details that take the surprise out of reading a book for the first time (e.g. identity of the killer, death of a recurring character). Because our discussion covers a wide range of television, movies, and books, there is no way to keep track of what members have seen or read. Spoiler warnings are left to the poster's discretion.

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Special Group Features

Members are encouraged to add to our list community using the features below. When adding bookmarks, files, photos, etc., please notify me.

The Links section has folders for the following:

* "Cinematic" Writers, writers whose styles have been called movie like

* Making the Rounds, TV series or movies based on book characters

* Member Websites

* Passing the Screen Test, original hard-boiled movies or TV series

* Rumor Mill, leads on shows or movies upcoming or in development

Our Database section contains the following:

* At the Movies, members suggest good and bad crime movies

* "I'm Watching You," good and bad crime TV

* Past Featured Discussions

* "You Oughta Be in Pictures," books or novel series we'd like to see adapted to movies or TV

The Files section contains promotional images and extended commentary by members.

Meet members and authors face-to-face in our Photos section.

Keep track of upcoming movies and television programs of interest with our group calendar.

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Service Advisories

I will post notice of Yahoo! Groups downtime and delays when possible. If I am unable to use the list itself, I will post to the group blog, Chatterrific. For other issues, you can check Yahoo! Groups' Official Blog.

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Frequently Asked Questions: Spenser's Sneakers

2009-04-23T13:41:00.017-04:00

What is Spenser's Sneakers?
Boundaries of Discussion
Reading Spenser's Sneakers
Posting and Replying
Spoilers
Special Group Features
Service Advisories

What is Spenser's Sneakers?

A discussion of the works and influence of Robert B. Parker (1932-2010), creator of Boston private eye Spenser, police chief Jesse Stone, female sleuth Sunny Randall, and Old West marshal Virgil Cole.

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Boundaries of Discussion

Many readers have formed strong opinions about Parker and his work in the course of his long career. As a member of Spenser's Sneakers, you agree to hear everyone's ideas.

Please keep personal disputes offlist. Any complaints about the tone/atmosphere of the list should go to me.

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Reading Spenser's Sneakers

You must subscribe to read our messages as as individual e-mails, daily digests, or on our Web site.

Please obtain the posting member's permission to forward messages offlist. Any member found to have forwarded messages without permission will be banned.

Note: I do not make use of the "Special Notices" setting.

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Posting and Replying

Send messages to spensneak@yahoogroups.com or use the Post feature on our Yahoo! Groups site.

Yahoo! Groups and most e-mail programs automatically quote entire messages when you hit "Reply". In order to keep our messages and digests quickly downloadable for members with varying Internet access speeds, please quote only the specific points to which you are replying. Delete any extraneous text and and keep signature lines short.

If you have articles or interviews to share--instead of reprinting them entirely by e-mail--please quote or comment only on relevant passages, paraphrase, or send URLs where members may read at their convenience.

There are a number of writers onlist. I ask that they avoid impersonal BSP (blatant self-promotion, such as cut-and-pasted book release announcements, long signature files, etc.) and instead get to know the group and get involved themselves so they can honestly discuss their works.

I will post notices of Yahoo! Groups downtime to the list if possible. If I am unable to use the list to keep members informed, I will post advisories to this blog.

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Spoilers are specific plot details that take the surprise out of reading a book for the first time (e.g. identity of the killer, death of a recurring character). Please include spoiler warnings on posts discussing new Parker books not yet in paperback. All other warnings are left to the poster's discretion.

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Special Group Features

Members are encouraged to add to our list community using the features below. When adding bookmarks, files, photos, etc., please notify me.

The Links section stores the following folders:

* Member Websites

* Other Media, treatment of Spenser or related themes in film, TV, music, etc.

* Post-Parker Authors, mid-70s to present writers influenced by Parker's Spenser

* Pre-Parker Authors, Parker's influences or authors using similar themes pre-Spenser

* Some Spenser Sites, perspectives on Spenser

* Spenseresque Story Sampler, online stories and excerpts featuring Spenseresque characters or themes

The Files section contains folders for member writing and Spenser's Sneakers promotional images, along with an explanation of who owns the rights to Spenser: For Hire.

In the Database section, you'll find the following:

* Something Like Spenser, authors/characters who may have inspired Parker's Spenser, or who followed in his tracks

* The Big Picture, members imagine a movie/TV series that will actually do Spenser justice

* Walking the Line, a critical timeline noting changes in Parker's style/the Spenser books

* "Watch Me, Watch Every Move I Make," Television/Movies involving Spenser or Parker directly

* "You're My Inspiration," movies, music, and TV shows with Spenseresque characters or themes

I've also put together a Web photo album of actors who've played Spenser, Susan, and Hawk, and various representations of Spenser over the years.

You may post live events (e.g. signings, book releases, programs) of interest to the group calendar.

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Service Advisories

I will post notice of Yahoo! Groups downtime and delays when possible. If I am unable to use the list itself, I will post to the group blog, Chatterrific. For other issues, you can check Yahoo! Groups' Official Blog.

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Frequently Asked Questions: DetecToday

2009-04-23T11:28:00.018-04:00

What is DetecToday?
Boundaries of Discussion
Reading DetecToday
Posting and Replying
Spoilers
Special Group Features
Service Advisories

What is DetecToday?

A discussion of the works of many authors (1980-present) keeping the fictional private eye (and similar characters) a readers' favorite.

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Boundaries of Discussion

In addition to contemporary fictional private eyes, we discuss similar characters such as investigative reporters (Tess Monaghan, Robin Hudson, Frank Corso), bounty hunters (Stephanie Plum, Streeter), maverick cops (Harry Bosch), and ex-soldiers (Jack Reacher). Protags not identified as private investigators should be working mostly alone, looking after their own interests or those of a client. That is, non-P.I. characters must be engaged in a "private investigation".

Each month, DetecToday members vote on featured discussions of authors or protags debuting from 1980 to the present.

Members may discuss authors' published work freely; however, be aware of the distinction between work and work ethic. The only time anyone should discuss an author's work habits onlist is if you can cite published statements by the author about said work habits.

Authors of P.I. fiction are welcome to take part in the discussion, but they should be open to both positive and negative feedback. It's very important to me that all listmembers feel free to give their full and honest opinions on any works. The best writers I know are open to all kinds of feedback.

Please keep personal disputes offlist. If you are unsure of a message's tone, contact the poster privately, or email me.

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Reading DetecToday

You must subscribe to read our messages as as individual e-mails, daily digests, or on our Web site.

Please obtain the posting member's permission to forward messages offlist. Any member found to have forwarded messages without permission will be banned.

Note: I do not make use of the "Special Notices" setting.

Top

Posting and Replying

Send messages to DetecToday@yahoogroups.com or use the Post feature on our Yahoo! Groups site.

Yahoo! Groups and most e-mail programs automatically quote entire messages when you hit "Reply". In order to keep our messages and digests quickly downloadable for members with varying Internet access speeds, please quote only the specific points to which you are replying. Delete any extraneous text and and keep signature lines short.

Avoid cross-posting one message to several lists. Mystery readers often belong to the same handful of lists and don't need to receive a message more than once. Tailor your messages for the list to which you're posting.

Finally, there are a number of writers onlist. I ask that they avoid impersonal BSP (blatant self-promotion, such as cut-and-pasted book release announcements, long signature files, etc.) and instead get to know the group and get involved themselves so they can honestly discuss their works.

If you wish to post a promotional announcement to the list, e-mail me first. I welcome authors who want to discuss our topics or lurk and see what readers are saying. I discourage authors who only use the list to sell themselves.

If you have articles or interviews to share--instead of reprinting them entirely by e-mail--please quote or comment only on relevant passages, paraphrase, or send URLs where members may read at their convenience.

I will post notices of Yahoo! Groups downtime to the list if possible. If I am unable to use the list to keep members informed, I will post advisories to this blog.

Top

Spoilers

Spoilers are specific plot details that take the surprise out of reading a book for the first time (e.g. identity of the killer, death of recurring character). Because our discussion covers a wide range of P.I. fiction, there is no way to tell who's read what. Spoiler warnings are left to the poster's discretion.

Top

Special Group Features

Members are encouraged to add to our list community using the features below. When adding bookmarks, files, photos, etc., please notify me.

Each month, members nominate and vote on on a novel and short stories for featured discussion. To qualify for nomination, novels must be:

a) published in 1980 or later

b) written by an author debuting or starting a series in 1980 or later

c) readily available in paperback or via rare book search (e.g. www.abebooks.com, www.bibliofind.com), and

d) reasonably affordable to the group.

Each member may nominate one book per month. Unchosen novels remain in the poll up to three months unless removed by the nominating member, with at least three months before an unchosen novel may be renominated.

You may talk about a featured author's work in general. Reading the specific featured novel is not a requirement to join the discussion.

Before nominating, see a log of past featured discussions.

Previously featured authors may be renominated after a period of two years or longer.

For our short story discussion, each member may nominate either

a) two individual online stories

b) a single e-zine issue, or

c) a single print issue, anthology, or collection.

Individual short story authors may be featured twice a year, with at least six months between features by the same story author.

Information on the current featured discussions and upcoming group chats can be found here.

Both featured discussions are completely optional. DetecToday is open to anything related to recent P.I. fiction. New hardcover novels or other stories, for example, may be discussed as separate topics.

The Links section has folders for the following:

* Author/Book Info, links to the books and authors we're discussing

* Chats, links to DT chat transcripts, chatrooms mentioned onlist

* Member Blogs, many of our writer members have blogs, short for web logs

* Member Websites

* Member Fiction, online stories by listmembers

* Mystery Fiction e-Zines, find good fiction on the Web

* Mystery Mailing Lists, more mystery for your Inbox

* Online Stories Featured on DT, from our short story featured discussions

The Files section has folders for promotional images and book reviews by members.

Meet members and authors face-to-face in our Photos section.

In the Database section you'll find the following:

* Reality Scale, measuring the realism of newer authors against older ones

* Get on the Case, a list of hard-to-find books by lesser-known authors

* Featured Novel Discussions

* Featured Short Story Discussions, including where to find the stories online or in print.

* “So You Want to Be a PI Writer...,” a list of how-to and reference books

Keep track of group activities with our calendar.

Top

Service Advisories

I will post notice of Yahoo! Groups downtime and delays when possible. If I am unable to use the list itself, I will post to the group blog, Chatterrific. For other issues, you can check Yahoo! Groups' Official Blog.

Top

Karen E. Olson

2009-01-27T21:16:00.004-05:00

Tuesday, January 27, 2009

Participants

Karen E. Olson
Gerald So

Gerald So: First questions, how did you come up with Annie? How did you discover she was a character you could write novels about?

Karen E. Olson: I tried two mysteries before Sacred Cows that had reporter characters. But they were rather weak in more ways than one. I took a break from writing while we went to China to adopt our daughter, and when I went back to work I started writing in the middle of the night (I was a nighttime copy editor). Annie's voice just came to me. She was what I'd wanted to write all along: a tough, kick ass woman who took no prisoners. I'd been reading a lot of Marcia Muller, Sara Paretsky and others like them and I knew that was the kind of character I wanted to create.

Gerald So: I've read some Muller and Paretsky, too. Great characters. Funny to think of them as pioneering protags, but they are.

Karen E. Olson: Actually, Lillian O'Donnell started what I consider the contemporary woman detective novel in the early 1970s with her police officer Norah Mulcahaney. I read most of her books, too. Marcia Muller was next with Sharon McCone in the later '70s. It's interesting that they were so "new" then and now there are so many wonderful woman protagonists.

Gerald So: Yes, I think someone has to kick the barriers down and that inspires others to write what they want.

Karen E. Olson: I'm reading a super book now by Anna Blundy called The Bad News Bible. I found her name on some blog somewhere and discovered my library had one of her books. Her character, Faith Zanetti, is a war correspondent in Jerusalem. Lots of great stuff.

Gerald So: Did you always intend to add a P.I. (Vinny) as a supporting character?

Gerald So: That's another way of asking what differences you see between PI characters and reporter characters.

Karen E. Olson: Vinny was in the second attempt at a mystery. I had no intention of reviving him after that failed attempt, but when I started with Annie and she was dating Tom, the police detective, I said to myself: that's so cliche. So I brought Vinny back to life. I see them as a good team. They're not like police, where they have to adhere to laws, and they're after different things: Vinny wants to resolve the problem, Annie wants a story.

Gerald So: I see, yes.

Karen E. Olson: There are way too many mysteries where the amateur sleuth is dating the police detective. In my new series, I am completely avoiding that cliche as well.

Gerald So: and I don't think of Annie as an amateur with her job as a crime reporter.

Karen E. Olson: That's true. She would come across crime as part of her work.

Gerald So: an amateur to me is someone who isn't in the arena of crime as a matter of course, right.

Karen E. Olson: It's been hard for me to write an amateur sleuth after Annie. It was so easy to stick Annie into these situations. How do I get a tattooist involved in solving a crime?

Gerald So: My first attempt at a novel had a pizza chef involved in a murder investigation. I couldn't make that fly. :)

Karen E. Olson: Oh, you could have a body found in the brick oven!:)

Karen E. Olson: maybe slathered in cheese. With a tomato stuck down his throat.

Gerald So: The chef was accused of poisoning a high school rival's food. I might reuse it if I can ever make it believable.

Karen E. Olson: That's good. I think you could make it work. And with all the chef shows on TV now and their popularity, it might be the right time for it.

Gerald So: I liked the way Shot Girl was structured, with Annie doing a lot of talking but not revealing very much at any point, even to readers. Has that always been part of her voice to you?

Karen E. Olson: No. I tried something different with Shot Girl. I had just finished reading Scott Turow's Presumed Innocent and was very intrigued by his use of the unreliable narrator. Even though I had written three other Annie books in which she's very straightforward, I decided to see if I could do it with Shot Girl. It's an intensely personal story for Annie, which I felt would lend itself nicely to using that idea.

Gerald So: It does. I totally got why she wouldn't exactly realize her role in events, still being somewhat in denial, etc.

Karen E. Olson: I didn't want it to be sappy, either, when she finally tells Vinny that she loves him. She's struggled with her feelings for him for four books but I think I managed to pull it off so it's believable.

Gerald So: That worked for me, too, though SHOT GIRL is the first of your books I've read.

Karen E. Olson: I've tried to write each one so it can stand alone, with the only thread that progresses being the romance.

Gerald So: That leads me to another question: If someone were reading you for the first time, would you want them to start with your most recent book or your first?

Karen E. Olson: They could start with any of them. Honestly? I think Shot Girl is the best one, only because I feel like I've gotten to be a better writer at this point.

Karen E. Olson: Granted, in Sarah Weinman's review of Shot Girl she says she's eager to read what I've got next. My next book is the tattoo shop mystery, THE MISSING INK, and while I had great fun writing it, it's not as complex as any of the Annie books.

Gerald So: I see. I ask because I can imagine some authors saying, "Don't start with that one. I'm much better in this one." :)

Karen E. Olson: That's right. While I like Sacred Cows, I can see so many things with it now that I'd change if I could :)

Gerald So: THE MISSING INK - great title by the way.

Karen E. Olson: Ah, yes, my pun title. The second one is PRETTY IN INK.

Gerald So: Is this series set in Connecticut, too?

Karen E. Olson: No, it's set in Las Vegas. My editor wanted a place that's hot with palm trees, so I picked Vegas. I figure it changes there all the time so if I got a landmark wrong it wouldn't matter.

Gerald So: Good point.

Gerald So: Do you feel there's anything about Connecticut in particular that lends itself to crime novels?

Karen E. Olson: New Haven is perfect for crime novels. It's a great city, with really diverse neighborhoods and a fascinating history. I have set each book in a different neighborhood, starting with Sacred Cows at Yale; Secondhand Smoke in Wooster Square, which is where the mob has its history; Fair Haven, which is known for its illegal immigrants and oystering; and Shot Girl at West Rock.

Gerald So: Hmm.

Karen E. Olson: I'm just sorry my publisher didn't think it was interesting enough to let me stay there :)

Gerald So: I know what you mean. Tough to make that concession.

Gerald So: Do you plan on going back to Annie if you get the chance?

Karen E. Olson: But once I started writing the new book, it really was a lot of fun. It's completely against the "write what you know" rule since I don't have any tattoos and I have only been to Vegas once. and I'm not sure I would want to write about newsrooms right now. All my friends are getting laid off or taking buyouts, newspapers are in real flux right now. It's not funny anymore, and I'd have to either lay Annie off or give her a buyout and I have no idea what she'd do after that.

Gerald So: I see.

Karen E. Olson: Someone suggested sending Vinny and Annie to Vegas for a tattoo. So who knows? Maybe they'll make a cameo in one of the tattoo books!

Gerald So: I think crime novels can be set anywhere, actually. The main task is to see a crime happening, become a bit paranoid, and you can do that anywhere. :)

Karen E. Olson: This is true. I look at Harlan Coben's books. He sets them in suburban America and it totally works.

Gerald So: Last question: How does your new protag differ from Annie personality-wise, and what about her do you find you like best?

Karen E. Olson: Brett and Annie are completely different. Annie is a bit grumpy and worried about her job, a little too ethical sometimes, will do anything for the story, and she's really a loner. Brett was a joy to write in that she's not grumpy, she owns her own business so she's not afraid of losing her job, she's got some pretty cool friends. Brett, I have to say, is much more together than Annie is. But Annie will always be in my head in some way, and I'm not totally sure her story is over yet. We'll see.

Gerald So: Glad to hear that. Good luck and thanks for chatting. :)

Karen E. Olson: It's been fun, Gerald. I'm glad you liked the book!

Gerald So: One of my best reads in a long time, really. I find I have a harder time connecting with protags the more I read.

Gerald So: Not sure why.

Karen E. Olson: It depends on the book. I just picked up one that's been nominated for an Edgar and just couldn't get into the voice. But then I picked up this Anna Blundy book and it clicked. I find it depends on my mood at the moment. I also get on kicks where I read nothing but Henry VIII biographies (which is where I got Annie's name...)

Gerald So: Aha! :)

Karen E. Olson: Thanks, Gerald! We'll meet again in cyberspace I'm sure!

Jason Pinter

2008-08-26T21:14:00.009-04:00

Tuesday, August 26, 2008

Participants

Jason Pinter
Gerald So
Dave White

Jason Pinter: so how is everyone?

Dave White: Pretty good.

Gerald So: doing well. sorry I missed the Aug. 6 launch. How did that go?

Jason Pinter: No problem. It was pretty good, fun had by all (I hope).

Dave White: Definitely a good night.

Dave White: Lemme ask you something Jason, since this is a private eye list: Henry Parker, while a news reporter, does seem to have a lot in common with the PI genre roots. Is this intentional?

Jason Pinter: I think so. He doesn't play by the exact same rules that govern traditional journalists, he's a little more on the fringe (Like PI's, who don't follow the same laws as cops)

Dave White: Yeah, it strikes me as we've gone forward, Parker becomes more PI-ish with each novel.

Dave White: The Mark is a very straight ahead thriller, then The Guilty has a lot of investigation, and then The Stolen has the most, plus the family stuff is rooted in Ross MacDonald. Why'd you decide to do that?

Jason Pinter: Well Henry is a reporter, so I needed to make sure as we went along that the books weren't all about him and his brushes with crime/death. He needed to be a reporter who, as a yproduct of his ambition and intuition, finds himself in the middle of things.

Gerald So: You say he doesn't follow the same rules as traditional journalists. How so? Is that a part of him being a specific type of reporter?

Jason Pinter: I think there's actually more investigation in each of the books. The next book, THE FURY, has more than THE STOLEN. But I also like each book to have something personal at stake for Henry, something that fleshes out his character as well as driving the plot.

Gerald So: You've worked that personal stake in well, yes.

Dave White: Have you read a lot of PI fiction? Do you have favorite PI authors?

Jason Pinter: Though a lot of the books are based on real research and real reporting (and are based on the techniques of the profession), I didn't want to write what I'd call a "police procedural' type of book.

Gerald So: I get what you mean. There are a lot of reporter procedurals out there.

Jason Pinter: What happens to Henry doesn't generally happen to most reporters, and he certainly skirts certain issues. I compare it to Harry Bosch, in that is Bosch actually killed as many people as he did in Connelly's novels, he would have either been booted off the force or gone insane a long time ago.

Dave White: Yeah, Lehane says that's the reason Kenzie and Gennaro aren't written about anymore. They'd be psychopaths.

Jason Pinter: I totally get that. And it's something that I'll probably have to deal with at some point.

Dave White: So, favorite PI writers?

Jason Pinter: Lehane. He's my favorite contemporary writer, and I LOVED the Kenzie/Gennaro books.

Dave White: Yeah, I'd agree with that.

Jason Pinter: I like Crais too, the Tess Monaghan series. Some guy named Dave White is pretty nifty.

Dave White: Please, that White guy's an ass.

Gerald So: just remember who said it first.

Jason Pinter: lol

Jason Pinter: Do people still say 'lol'?

Dave White: Believe me, it's been said a lot more than just from me.

Jason Pinter: Or does that show how out of touch I am...

Dave White: Actually people say qud now

Dave White: "qud" translates to "laugh out loud."

Gerald So: from the Latin?

Dave White: yeah. So Jason when you say the novels have to be personal, not every case has to connect to Parker's past, right?

Dave White: So, then can you explain the personal thing more?

Jason Pinter: I also think Henry differs from PIs in that a PI novel is generally kicked into gear when someone solicits the business of the PI...Henry's job more often than not is to find the story himself.

Jason Pinter: Not every case has to directly relate to Henry's past, but I like that each one has some element that impacts him. In THE STOLEN, it's that both Henry and Amanda came from broken homes so when they investigate the missing children it's not only a story.

Gerald So: Jason, have you felt rushed with the number of Parker books published in the last year and a half?

Jason Pinter: Though in the next two books we learn a lot more about where Henry came from, his family, and how he became who he is.

Dave White: nice

Jason Pinter: Hmm...yes and no. The deadlines are definitely tough, but at the same time I feel like it does keep me focused. I'm a pretty fast writer--

Jason Pinter: THE MARK was written in about 9 months, and that includes a lot of time figuring out pacing. At some point I'd like to slow things down, maybe try something outside the series, but if this helps build an audience faster and I'm able to keep up, I'll make it work.

Dave White: What's your writing process, if I may ask?

Jason Pinter: I get up around 7:30 (our dog wakes me), then I'll have breakfast, read newspapers, websites and blogs until about 10, then I start working.

Jason Pinter: I work until about 1, then have lunch and slack off until about 3, then I work until 6 or 7 when my wife gets home. Then I usually put in another hour or two late at night, around 10 or 11.

Dave White: Do you write to figure things out, outline, revise at the same time?

Jason Pinter: I never revise until I finish the first draft. I need to know how the story is going to play out, that way when I go back and edit I can edit with the knowledge of weaving all the strands together, dropping in hints along the way.

Dave White: I'm the same way.

Gerald So: How real is your New York? Are the Gazette and Dispatch based on real papers?

Jason Pinter: I know other people do it different ways, revising every page over and over again, I just can't work that way. I need to know what happens as I go through it a second time.

Jason Pinter: The NYC in my books is based on the real NYC (though Hobbs county in THE STOLEN is made up).

Jason Pinter: The Gazette is kind of an amalgam of the New York Times and the Daily News, and the Dispatch is kind of an amalgam of the Daily News and the Post.

Gerald So: I got the sense that the Dispatch was somewhat trashier.

Gerald So: than the Gazette.

Jason Pinter: Yeah, it's definitely got a lot of the Post's DNA in it. Much more tabloidy, much more lowbrow.

Gerald So: which I would say is generally true of the Times vs. the Post.

Dave White: If you were a PI, what would you keep in the top drawer of your desk?

Jason Pinter: Yeah, the Daily News is kind of in the middle.

Gerald So: right.

Jason Pinter: A resume, since I don't think I'd be a very good PI.

Dave White: HA!

Gerald So: Jason, what's your take on the reception the Parker books have gotten?

Jason Pinter: I'm really happy with it so far, but it's still weird to think people actually read my books. Obviously there are a few people who haven't liked them, but overall it's been really positive both from critics and readers.

Jason Pinter: It's pretty humbling and flattering, but also raises the bar since I don't want there to be any stinkers.

Dave White: Do you have any favorite reviews of the ones you've gotten?

Jason Pinter: Best review I've gotten is probably a tie between the Chicago Tribune and the Sun-Sentinel for THE GUILTY. Not just because the reviews were good, but because the critics who reviewed them (Oline Cogdill and Paul Goat Allen) have read everything ever published in crime fiction, so it really felt like I was being validated by the best.

Dave White: Congrats!

Dave White: What advice would you give for up and coming writers?

Jason Pinter: Keep writing, and keep revising. Never submit your work until you can read it and honestly say you wouldn't change a single word. And if that book doesn't sell, write another.

Dave White: Are you willing to tell us more about what The Fury is about?

Jason Pinter: Sure thing Dave!!!

Dave White: Hey, I'm trying here, gimme a break.

Jason Pinter: The story kicks off when Henry is accosted outside of his office one night by a man who's totally strung out, muttering something unintelligible. Since a colleague had recently been attacked, Henry goes straight home.

Jason Pinter: A few hours later, he gets a call from a detective who tells him that the same man was just found murdered in his apartment. And that the man was Henry's brother.

Dave White: whoa. cool.

Gerald So: This is what you meant by Henry's origins coming out.

Jason Pinter: So as readers knows, Henry doesn't have a brother. At least that he's aware of. So he has to go home for the first time in a decade to get to the bottom of this. And just when he thinks he has the answers, the bottom falls out from under him, and a much darker story comes to light. He has to both find out who he really is, while also investigating why this man was murdered, and why he presumably came to Henry for help.

Gerald So: Kind of an Oedipus Rex thing.

Jason Pinter: Certainly in his relationship with his father, which has been touched on but not really developed until THE FURY.

Gerald So: Speaking of that, do you share anything in common with Henry? I always wonder if authors put much of themselves into their protags.

Jason Pinter: Some things for sure. I wrote THE MARK partly because I was sick and tired of my generation seemingly being represented by people like Jayson Blair et al, simply because they got the most press. Everyone thought he was indicative of the moral decay of this generation.

Jason Pinter: So I wanted to create a character that could be something of a role model, or at least appeal to people my age (while also traditional crime fiction fans). Henry and I both share a mutual disgust for the people who seem to hold the megaphones for our generation, and the media that gives it to them.

Dave White: The books have already been released overseas right? If so, how's the reaction been there?

Gerald So: I think that's great motivation. I remember Lehane created Kenzie and Gennaro after being bitterly disappointed in the work of one of his favorite writers.

Jason Pinter: That was part of my motivation too, I read a few books (which shan't be named) that just pissed me off, and I felt like I could do better, frankly.

Jason Pinter: They've been published in, I think 11 countries so far. The reaction has been really good overseas, especially in the UK.

Dave White: Cool.

Dave White: Hey, how'd you come up with Henry's name?

Jason Pinter: I wanted him to have a name that wasn't really common for a younger guy, and I've never met anyone under the age of 40 named Henry. Since he's kind of a bridge between two generations (the old school journalism and Gen X/Y) I thought it'd be apt.

Gerald So: It works.

Jason Pinter: Thanks!

Dave White: Okay, I have one more question and then I'm spent.

Dave White: Who's the best New Jersey author you've ever spent a plane ride with?

Gerald So: :) Has Jason flown with Wallace Stroby?

Dave White: Crap, i hope not.

Jason Pinter: Harlan Coben. I read HOLD TIGHT on a plane and it made it so much more enjoyable!

Jason Pinter: ;-)

Dave White: HA! Good one.

Gerald So: How do you decide on your book titles, since they are so brief? And would you ever break that pattern?

Jason Pinter: THE MARK was originally titled HERO OF THE DAY (after the Metallica song). THE MARK just seemed punchier and more to the, well, point.

Jason Pinter: THE GUILTY was originally titled THE REGULATOR, but we changed it because you'd have to read the whole book to understand why.

Jason Pinter: THE STOLEN was the original title, as was THE FURY. I kind of like the short, punchy thing, but at some point I'll run out of words 6 letters and under.

Gerald So: oh, right. I remember the original title from the preview in The Mark.

Gerald So: I hope to see what kind of reporter/man Henry is when he's Jack O'Donnell's age.

Jason Pinter: Yeah, that'll be interesting. Hopefully he can stay away from the bottle and have better luck in love.

Gerald So: Thanks again for the chat, Jason. And Dave actually asked good questions. :)

Dave White: once in a while I come through.

Jason Pinter: Thanks Gerald, this was fun.

Gerald So: My pleasure.

Dave White: Hasta La Pasta, Pinter.

Jason Pinter: Hey, can I post this on my blog?

Dave White: Only if you give me a really cool alias... like Buzzsaw

Jason Pinter: I really appreciate your picking THE GUILTY, and the support as well. It's very, very cool.

Gerald So: Sure, I'm going to post the transcript on my chat blog, too.

Jason Pinter: Cool beans.

Gerald So: so you can link to that if you want.

Jason Pinter: Will do.

Dave White: all right guys, see ya later.

Gerald So: 'Night, guys.

Jason Pinter: Night fellas, thanks again.

Anthony Neil Smith & Writers from Plots with Guns #1

2008-05-20T23:10:00.008-04:00

Tuesday, May 20, 2008

Participants:

Greg Bardsley
Stephen Blackmoore
Victor Gischler
Harry Hunsicker
Justin Porter
Kieran Shea
Anthony Neil Smith
Gerald So

Gerald So: Hi, Neil.

Anthony Neil Smith: hello. so...a little light on people so far...

Kieran Shea: I've been following the psychobilly tour online. i assume you've recovered, neil?

Anthony Neil Smith: only enough to go on another road trip to Omaha this weekend. A real one. it was a long tour. 9000 words. *yawn*

Kieran Shea: barnes & n have been dragging on securing "yellow med" out here in annapolis. keep asking, they keep putting me off.

Anthony Neil Smith: if they say it's due in June, tell them that's wrong. Do you have a Borders? They're great about getting them in.

Anthony Neil Smith: All the B&Ns I dropped in at didn't have them. Sloooooow. But thanks for trying!

Kieran Shea: Yeah. The borders, it flooded the other day, lots of swollen books. closed.

Anthony Neil Smith: SHIT! Aw, and I was just starting to like Borders.

Harry Hunsicker: Greetings.

Anthony Neil Smith: Harry. See you in July, eh?

Harry Hunsicker: You bet. I'll be bleary eyed from coming back from Thrillerfest but I'll be there.

Anthony Neil Smith: We'll be bleary-eyed from...oh....beer.

Kieran Shea: Hi, Harry. I said hello to you at Crime Fiction U. in NYC--I was wearing the Thuglit tee.

Harry Hunsicker: Neil, did you ever hook up with Scott Montgomery in Austin?

Anthony Neil Smith: No, but we got a big event planned anyway. The OUT OF THE GUTTER guys helped set it up.

Harry Hunsicker: Hi, K. Nice to see you again.

Anthony Neil Smith: Schlitz is giving us free beer. In Austin, at Bookpeople, I mean.

Harry Hunsicker: Whoa. Free beer!

Anthony Neil Smith: Free SCHLITZ. Have to say the proper name. I'm a corporate shill now.

Harry Hunsicker: That's the best kind to be.

Justin Porter: Just figured this thing out. Christ I'm a retard. Sorry guys. Justin Porter here.

Anthony Neil Smith: When VG, SD and I tried to do a chat room for the Crimedog thing on CrimeSpree, it went down in hellish flames. We resported to email. It tooks days. Wow. I can't frakucking type today.

Justin Porter: No worries. This is my first time using IM, so I won't even notice I bet.

Anthony Neil Smith: Blackmoore. You play guitar good on those Rainbow albums.

Kieran Shea: HA! i love that!

Stephen Blackmoore: lol

Anthony Neil Smith: "Like a something in the daaaaark." Forgot the words.

Gerald So: Okay, anyone with a question can type ? and I'll call on you.

Anthony Neil Smith: No, that's Dio. I think.

Justin Porter: Okay. Sounds good.

Kieran Shea: Neil, on your blog you mentioned that PWG's 2 is coming out, can you let us in on what we can expect, besides mayhem?

Anthony Neil Smith: A bald guy with a gun. Patti Abbott, Bryon Q, Jimmy the Worm...all good stuff.

Stephen Blackmoore: Don't all bald guys have guns?

Anthony Neil Smith: Most.

Gerald So: John Stickney sends in the following: "I wondered what Neil has learned as an editor - what the role has done to improve his writing & what he immediately looks for when evaluating submissions."

Justin Porter: Good question.

Anthony Neil Smith: Learned what makes me want to keep going when I read a story, which helps for writing. And I want my attention grabbed and demanded. Not begged.

Anthony Neil Smith: Kieran, I still can't find that tequila you told me about. Damn! I'll have to look for it in Texas this summer.

Kieran Shea: Oh, I'll bring it with me to Baltimore, Neil. Plenty to go around.

Gerald So: Neil, are you consciously doing anything differently with PWG 2.0 that you didn't do with the first version?

Anthony Neil Smith: Well...I'm more picky and grouchy about submissions...I try to keep it smaller (staff and # of issues) so it won't overwhelm me...Last time, it threatened to become a business. I can't afford that! It's just an out of pocket labor of love.

Harry Hunsicker: ?

Anthony Neil Smith: Also, trying to bring in more artist/photogs instead of stock stuff or doing it myself.

Gerald So: Go, Harry.

Harry Hunsicker: Have you considered going the other way and doing a print version, like MURDALAND?

Anthony Neil Smith: Nope. Not unless someone want to underwrite me. Too expensive. I think we reach more readers online.

Stephen Blackmoore: ?

Gerald So: Go, Stephen.

Anthony Neil Smith: But the OOTG guys make you think. Nice looking thing they do.

Stephen Blackmoore: Speaking of reaching more readers online, what's your traffic been like since you reopened the doors?

Anthony Neil Smith: I don't know. I haven't checked my stats in a while. But it's more than before, for sure...more ways to get the word out, too, than we had 5 yrs ago.

Anthony Neil Smith: What do the PWG authors think of the mag? Before you submitted? Now?

Gerald So: go ahead, anyone.

Kieran Shea: I have to admit, I only read the anthology. I was excited to have a new window online for aspiring crime guys like me. for a little flavor, I am being strafed right now by the Blue Angels. commissioning week here in annapolis

Anthony Neil Smith: Blue Angels are cool. They were in a Van Halen video once. But the song sucked.

Justin Porter: When I first started submitting stuff online, (stephen you wise-ass. Now I see him) Plots with Guns was not open. So I was stoked to hear when it went back up and even more stoked when Neil decided to print that piece of trash I sent him.,

Anthony Neil Smith: Good trash.

Justin Porter: Thanks. The format is awesome. Nice and simple and of course, I love the design and the artwork.

Gerald So: Anyone else want to answer Neil's q?

Stephen Blackmoore: I'd always liked it. Was sorry to see it go before I had anything to submit. Afterward, I feel teh same way, but just proud to have a piece in it.

Kieran Shea: Me too.

Greg Bardsley: So, I had no idea that Plots with Guns had such a deep reputation amongst writers. I have been blown away at the props I have gotten from other writers for getting into Plots with Guns. Just got a nice note from an author last night. Never got notes like that before with other stories. I had always wondered weather these stories were gong into a black hole or not.

Anthony Neil Smith: ?

Gerald So: Go ahead, Neil.

Justin Porter: That's a good point. It feels a bit like the old guard of online crime fiction. In so far as anything this young has an old guard.

Anthony Neil Smith: How about all the online crime fiction mags? Do they each have their own flavor (bad grammar!)? Like, ThugLit's gone nuts...in a good way.

Kieran Shea: what got me about PWG #1 is the diversity--the tones, the subjects.

Greg Bardsley: I have found that Plots with Guns kinda has its own community, which is pretty cool

Anthony Neil Smith: Another new thing I'm looking for: Transgressive crime fiction. Don't play it safe. But don't shock just for the hell of it. Really get to me. Like, does Irvine Welsh's FILTH fit into Crime Fic? Sort of. Does Bardsley's "Upper Deck"? Kind of. But if you like one, you'll like the other, I'm betting.

Justin Porter: Thuglit is off the chain. They've just scored an anthology of their own.

Harry Hunsicker: Trans-what?

Anthony Neil Smith: Who else do we like to read who is "on the border" of crime and lit or subversive fiction.

Stephen Blackmoore: Pre-op or post?

Justin Porter: Will Christopher Baer is a personal favorite.

Greg Bardsley: Love ThugLit's energy and creativity...I've read some seriously good pieces on Thuglit lately

Anthony Neil Smith: "Transgressive". Nice word for "dirty sex and drugs and violence".

Gerald So: The online mags have different flavors to me, but quite naturally. I don't consciously try for one with Thrilling, but we have one.

Kieran Shea: banks, palahniuk, huston, guthrie---

Anthony Neil Smith: No she-males, Blackmoore. Not unless you pay.

Stephen Blackmoore: How about in installments?

Stephen Blackmoore: I think all the magazines have their own sensibilities. They're labors of love and it shows.

Greg Bardsley: Definitely.

Justin Porter: Well, its the dichotomy between Mystery fiction and crime fiction. One as an almost proper feel to it, while crime fiction has got so much flavor. It captures more of the human element I believe. And for anybody who follows crime in the news there is shit out there you literally can't make up.

Justin Porter: Why no she-males?

Stephen Blackmoore: One of the things that always struck me about PWG is that it's not just raw in the stories it has but in its visual style as well. It's always felt very rough. In a good way.

Anthony Neil Smith: Well...okay. She-males, too.

Justin Porter: Haha.

Justin Porter: Haven't stuck one of those in a story yet.

Greg Bardsley: But it's a good question: Why not?

Anthony Neil Smith: It needs to LOOK good, I think. I get annoyed with online sites that look bland. Why should I stick around? I can go look up shit on YouTube instead.

Justin Porter: That's a good point. I almost get a little worried when I send a story to a site that doesn't have a slightly warped appearance. I think to myself, "Shit, they're not gonna print this."

Gerald So: I'm with you there.

Kieran Shea: Hear, hear, Justin, on crime news, I mine the district attorney press releases in Maryland daily. it's amazing

Stephen Blackmoore: ?

Gerald So: Go ahead, Stephen.

Stephen Blackmoore: Geek question. Do you hand code all teh HTML or are you using any content management?

Kieran Shea: ?

Anthony Neil Smith: Huh wha duh? I use Dreamweaver and Photoshop. WYSIWYG

Justin Porter: WWJD?

Anthony Neil Smith: He'd kick our heathen asses is what he'd do. And then forgive us. Softie.

Gerald So: Go, Kieran.

Kieran Shea: Harry, what's the Mystery Writers of America think about online publishing in the crime scene?

Harry Hunsicker: I don't beleive MWA has an official position on that.

Kieran Shea: hmm

Justin Porter: haha. My reply to that question is usually "who cares."

Anthony Neil Smith: The MWA wants us to all get off its lawn! Crazy whippersnappers!

Harry Hunsicker: Darn straight. You are a member, aren't you, Neil?

Amthony Neil Smith: Not anymore. Expensive, and, well....I used to be. Let's say that. I got tired of Margery leaning on me for dues. Like an enforcer, that one.

Greg Bardsley: I think the online stories have a chance to reach folks who never would've read them, which is cool

Justin Porter: ?

Gerald So: Go, Justin.

Justin Porter: This is a general question for everybody.

Justin Porter: Even as prevalent as reading things on a computer screen has become, what with news-sources and multi-media, there are still so many people who I speak to who don't read anything longer than 1000 or so words on a screen. I'm not sure where this question is going, just looking for thoughts.

Anthony Neil Smith: Oh, man, I tend to not want to read online that much myself. I read faster online, though. I can blaze through stories.

Kieran Shea: but I think this goes back to neil's desire for stories that blast off the page

Anthony Neil Smith: Maybe it's a good thing for that. It makes me read right then and there.

Greg Bardsley: Definitely. ... I do find myself printing out the pieces I wanna read.

Greg Bardsley: they blast off the page, grab me and if it's long, I'll print it out.

Stephen Blackmoore: I think the tech limitations sort of force that to happen. People are reading on smaller and smaller screens. More things are showing up on ipods as much as on full size monitors.

Justin Porter: That's all true. It's that need for an immediate grab in your work. It forces us all to make them pop from the very start.

Anthony Neil Smith: Isn't there a trend in Japan for novels being written on cell phones and sent to other cell phones? I heard about this.

Kieran Shea: oh God.

Justin Porter: Yeah. A few people have even scored publishing deals like that.

Gerald So: yes, me, too.

Anthony Neil Smith: All the kids these days type ALL THE TIME, but they have no clue about paragraphs, grammar, etc.

Kieran Shea: and you can speak to this, you're the prof.

Justin Porter: I believe at the moment, they've mostly been romances. One was featured on the front of the New York Times. She wrote the fucking thing on her commute to work.

Stephen Blackmoore: Yeah. It's happened here, too. There's also a service, through the Gutenberg project I think, to send single chapters or a few pages of novels to people at a time thorugh text messaging.

Justin Porter: Christ.

Anthony Neil Smith: I should let students text me their papers.

Gerald So: Oh, please no.

Justin Porter: You really want to read that shit in l33t speak?

Stephen Blackmoore: Roxxors!

Anthony Neil Smith: What did you call me, bitch?

Gerald So: I'm going blind.

Stephen Blackmoore: Sorry. there's a Z at the end of that

Stephen Blackmoore: ?

Gerald So: Go, Stephen.

Stephen Blackmoore: On the topic of shorter fiction online, has anyone run into having trouble writing longer pieces? I keep wanting to write novels the way I write short stories, which means getting things going fast. Sometimes that doesn't work with a longer piece.

Anthony Neil Smith: It works for Duane Swiercynzski.

Anthony Neil Smith: I have a harder time writing short now after several novels.

Justin Porter: That's what I've heard too, about Duane.

Anthony Neil Smith: I hate "flash fiction" though. Ugh. I'd rather have 2000 words that *feels* like 1000.

Justin Porter: The problem I run into is time. Work and life, when I sit down to write I most often think in terms of short fiction. I can't even bring myself to dredge out the 1st draft.

Victor Gischler: Am I virtual yet?

Anthony Neil Smith: You're virtually something.

Gerald So: You're here, Victor.

Victor Gischler: nice

Justin Porter: ?

Gerald So: Go ahead, Justin.

Justin Porter: Neil just answered my question. I don't mind flash fiction at all, but I enjoy it more as an exercise.

Anthony Neil Smith: I read your mind!

Justin Porter: Scary thought. I hope you brought hip-waders and mace when you where digging around in there.

Anthony Neil Smith: Others? Flashers?

Victor Gischler: ?

Gerald So: Go ahead, Victor.

Stephen Blackmoore: Flash fiction's okay, but it feels like it's just a scene rather than a story

Anthony Neil Smith: Like a joke with a punchline.

Stephen Blackmoore: Yeah

Victor Gischler: When's the next issue going live, you lazy bastard...I need my fix.

Kieran Shea: flash fiction feels, cheap, like a gyp.

Anthony Neil Smith: Within the next two weeks. Do you not read my non-blog?

Victor Gischler: I thought maybe you were just managing expectations.

Stephen Blackmoore: I thought you burned the date into your forehead with a soldering iron.

Anthony Neil Smith: Why the hell would I do that?

Gerald So: :)

Victor Gischler: Because chicks dig it?

Justin Porter: Hope he pays the electric bill. Otherwise it's back to the hammer and wood-chisel.

Anthony Neil Smith: Aw, yeah. Then there it'll be...then crossed out, then again...

Gerald So: Oh, here's a question. What is noir to (all of) you?

Victor Gischler: Neil loves this question

Stephen Blackmoore: French for black?

Greg Bardsley: Have no F'n idea...but I guess it feels like a slightly stylized form or slightly/lurid dark crime fiction

Anthony Neil Smith: Noir is fucked-up shit that can't get unfucked-up. And I know it when I see it. And it tastes best with porn.

Justin Porter: For me it's the difference between noir and hardboiled: The same storylines, except in Hardboiled the main character has all the tools needed to solve the problem, and in noir, they don't.

Justin Porter: Everything tastes better with porn.

Kieran Shea: Running around the bottom of society's well, Looking to claw out to the light, or at least drown on your own terms. that's what I look for.

Harry Hunsicker: Noir is going after the woman you can't take home to meet mom. Again and again.

Justin Porter: "Drown on your own terms." I like that. I always go for that woman.

Anthony Neil Smith: I just like to see people pushed to their max. Noir does that. Hard-boiled, however, doesn't. It's kind of less interesting because of that.

Justin Porter: The thing that pisses me off is how ready people are to toss a novel or a story under the "noir" banner. There's a lot of stuff that I've seen people put there that doesn't really deserve it.

Greg Bardsley: Huston has a pretty involved perspective/personal-definition of noir on his website

Kieran Shea: So does hardboiled actually exist anymore? legit-like? or is it all nostalgia?

Anthony Neil Smith: The more noir, the better. But there's too much "noir light" out there. Allan G prefers Grand Guiginol.

Justin Porter: I think current hardboiled is today what it was then, easy pulp entertainment.

Anthony Neil Smith: Hard-boiled exists. It sells well. It's all over P.I. books. Like a nice little jacket it can wear. Crumley is still hard-boiled and not noir, I think, but I love the man's work. Amazing stuff.

Justin Porter: He's amazing.

Greg Bardsley: I tell you one thing, there are certainly not a whole lot if boo editors out there looiking for hardboiled manuscripts,

Anthony Neil Smith: I guess I just like stuff where people have guns and curse.

Justin Porter: Finally read "The Last Good Kiss" this year.

Gerald So: I think you can be hardboiled today. To me, it's not about showing off. It's genuine toughness.

Kieran Shea: How about stansberry--he's a moody one.

Justin Porter: Haven't had the pleasure.

Greg Bardsley: "Dope" -- excellent noir

Justin Porter: Yes it was.

Anthony Neil Smith: Genuine toughness. As long as I can buy it. I want to believe it's real. Not just a put-on. So I want to see my P.I.s scared of stuff.

Greg Bardsley: ?

Gerald So: I agree, Neil. Go, Greg.

Justin Porter: The human element goes missing a lot. And to me, my favorite stories are always the ones in which the main character has to become so much like what he's fighting in order to survive. That change makes good story.

Anthony Neil Smith: Yeah, like Batman. Become what you're fighting. Cool. Or Vic Mackey from THE SHIELD.

Justin Porter: LOVE the shield.

Anthony Neil Smith: Inspiring stuff.

Greg Bardsley: How do you guys balance time for short stories and the bigger novel projects? I always feel like I'm at odds with conflicting interests. Only so much time, ya know?

Anthony Neil Smith: Most of the time goes to the novel project for the year. But if I get an idea for a short, I type it out (usually opening lines and notes), then save it for later. If it grows and grows, then I sit down and bang it out.

Justin Porter: When somebody figures this out let me know. I find myself constantly sprinting from one end of the seesaw to the other.

Anthony Neil Smith: But I write fewer shorts nowadays. Maybe three a year as opposed to six or seven in the old days.

Stephen Blackmoore: I use short stories to take a break from something larger I'm working on.

Greg Bardsley: I try to find logical breaks between projects, like when I'm waiting to hear back from a reader or my agent

Justin Porter: I stopped bothering. Whenever I try and reach for balance everything becomes so much more chaotic. I've stopped trying.

Anthony Neil Smith: There's no balance. The Force is a lie. You're all going to die.

Kieran Shea: brutally

Justin Porter: Use the fork, Luke?

Gerald So: I've tried to plan for novels, and it's worked to some extent, but I always try to write what's most immediate (which is often a short). If I get away from that, I get blocked.

Stephen Blackmoore: If I try to structure things too much it all falls apart. Embrace the uncertainty.

Anthony Neil Smith: Not brutally, either. Messily, though.

Justin Porter: God I hope so. Who wants to go gentle?

Stephen Blackmoore: First timers?

Anthony Neil Smith: Me! Me! I want to be asleep or out of my gourd so I don't realize it.

Greg Bardsley: "Who wants to go gentle?" .. "first timers"? what kind of chat is this?

Justin Porter: The good kind. Here, drink this.

Gerald So: It's a PWG chat for sure. Any last questions?

Kieran Shea: PWG #2? when?

Justin Porter: ? for Neil.

Anthony Neil Smith: Oh yeah. PWG #2 will come out when I damn well feel like it...or in the next two weeks.

Gerald So: go, Justin.

Anthony Neil Smith: I should just abandon a real schedule and do it whenever I want. Anthony Neil Smith: Some years, 2 issues. Some years, 9.

Stephen Blackmoore: Keeps 'em guessing.

Justin Porter: Are you going to enforce any kind of policy about writers submitting who have been previously published by you?

Justin Porter: Go for chaos. Fuck deadlines and order.

Gerald So: I agree.

Anthony Neil Smith: I generally don't run back to back issues with the same authors, but I like trying to build an awesome little Black Mask 2.0 club, too...I like to see repeat authors. I like watching a big archive build of their stuff...Like Tribe, or Wolven.

Justin Porter: That's good to know. Obviously though, with a submission you'd hold something an issue couldn't take for another, future one right?

Victor Gischler: are you ever going to solicit ... or just see what comes over the transom?

Justin Porter: That's an interesting ?

Anthony Neil Smith: If I like one, I'll hold it, sure.

Justin Porter: Cool.

Greg Bardsley: ooh, good question. I get the sense the Murdaland gang solicits.

Kieran Shea: any themes like Out of the Gutter?

Anthony Neil Smith: I've solicited before. But right now, it's the transom. If we get desperate, maybe we'll ask Harry to start sending stuff under a pen name.

Anthony Neil Smith: No themes for now. I like just watching the issue come together organically.

Anthony Neil Smith: That's what happened with #1...

Gerald So: I like that approach.

Justin Porter: What does everybody think about themes?

Harry Hunsicker: I've got a nice story about a Vicar who investigates a burglary at the tea shop.

Stephen Blackmoore: Are there cats?

Victor Gischler: More of a rhetorical question: When will big shot New York publishing catch on for an anthology?

Anthony Neil Smith: Oh, I don't know. When I kiss their SEX IN THE CITY loving asses? Will never happen....

Greg Bardsley: Can't stand them

Harry Hunsicker: Fluffy cats.

Kieran Shea: but I loved that xmas issue of thuglit with s. doolittle's

Anthony Neil Smith: ...after Greg's story, I knew how I wanted the rest to "feel". With #2, it was Jimmy Callaway's.

Victor Gischler: theme issue: Plots With Knives ... just once.

Kieran Shea: yes! or power tools

Greg Bardsley: ha ha

Justin Porter: OH YES! Plots with Knives!

Greg Bardsley: Plots with Mace

Anthony Neil Smith: PLOTS WITH NUKES

Harry Hunsicker: Actually, that would be kinda cool. Knives. Cutting. Blood.

Justin Porter: Haven't you been watching the news, Neil?

Justin Porter: There's your plots with nukes, right there.

Anthony Neil Smith: I meant street level nukes. The news is stupid.

Justin Porter: Hahah.

Anthony Neil Smith: News. Ha. I'm an American, damn it! I *am* the news!

Anthony Neil Smith: Just kidding.

Gerald So: It's 5 mins past 4:00 here. Should we wrap up?

Justin Porter: Alright ya'all. I gotta head to work. Been fun talking with everybody.

Anthony Neil Smith: I am thankful for all the awesome writers who give me their stuff for free. I hope they think they're making a good deal.

Gerald So: Thanks, Justin.

Justin Porter: I know I made an awesome deal. Thanks for what you've decided to do, Neil.

Anthony Neil Smith: You guys are the best...and the next generation of big shot crime writers.

Kieran Shea: Just learning the craft.

Harry Hunsicker: Bye all. Neil and Gisch, see you in Dallas.

Stephen Blackmoore: Thanks for putting it out there.

Victor Gischler: See you soon, Justin.

Justin Porter: Absolutely.

Victor Gischler: Yes, Harry. For sure!

Gerald So: Thank you all for attending.

Jen Jordan

2008-04-20T18:51:00.008-04:00

Sunday, April 20, 2008

Participants

Sean Chercover
Jen Jordan
Gerald So

Gerald So: So I just read Neil Smith's "Find Me" today.

Jen Jordan: What did you think?

Gerald So: I liked it. I have to admit the only story I didn't quite get was Rickards'.

Gerald So: Probably more my fault than his.

Jen Jordan: He wrote about something "fucked" up and he wrote it poignantly. It was very different for him stylistically and subect-wise.

Gerald So: I thought so. I got the overall message, but I'm not sure I followed the story all the way through.

Jen Jordan: I thought I'd get the odd dandy narrative or something more ethereal and darkly funny.

Jen Jordan: He really surprised me.

Gerald So: Un huh.

Jen Jordan: I had a whole movie in my head when I read it.

Gerald So: Do you have any anthos upcoming?

Jen Jordan: SLOPPY SECONDS, the sequel to EXPLETIVE DELETED, is coming out in November.

Gerald So: Neat. :)

Jen Jordan: I am very jazzed to be able to gather more of these stories together. And, again, people are surprising me.

Gerald So: Neil's and Otis's were particularly f___ed up.

Jen Jordan: Neil's was exactly what I was hoping for and Otis - well, there is no one like Otis.

Gerald So: I thought his was very real. It was disturbing, but I had to read it. Very well done.

Jen Jordan: Fluff, from the first line, pushed the envelope. You know that Otis is the one that wrote and sang, "Dead Puppies" on the Doctor Demento show? An old favorite....

Gerald So: Interesting.

Gerald So: Shred of Evidence published one of my stories about a character with a fetish for the handicapped.

Jen Jordan: Along the line of those who have a prediliction for amputees?

Gerald So: yes.

Jen Jordan: Wonderful!

Gerald So: it was exactly 100 words, too.

Jen Jordan: I could see that subject doing all it needs to do in a flash format. Powerful and you don't want to play it out too long.

Gerald So: right.

Gerald So: How are the fiction submissions at Crimespree right now?

Jen Jordan: I was just going through the stash on Friday. There are a lot and quite a few of them are gems. I'm trying to keep it fresh and different. I don't want to dip too much into one sub-genre or style.

Gerald So: right.

Jen Jordan: And there are submissions from all over the world. No shortage of women, which I had at the beginning.

Gerald So: that's neat. you don't get that kind of range with a lot of zines.

Jen Jordan: Because Crimespree is so across the board in sub-genres, as short fiction editor, I feel I can accept anything as long as it is a great story. The only drawback can be if something runs too long.

Gerald So: Right.

Jen Jordan: We've even printed horror, with Sandra Ruttan's "The Butcher."

Gerald So: I see.

Gerald So: I'm multitasking, watching the Pope's Mass at Yankee Stadium.

Jen Jordan: I would love to see something historical come in. That would be difficult to translate into a short.

Jen Jordan: Oh! Isn't this his first time here?

Gerald So: As pope, yes.

Gerald So: I hear he had visited often as Cardinal Ratzinger.

Jen Jordan: I imagine Cardinals travel quite a lot as representives of the Church.

Gerald So: He apparently likes America, which I saw when he met Bush.

Jen Jordan: So we're not just a bunch of hedonists?

Gerald So: Apparently not. :)

Jen Jordan: Hope he does't read TMZ.

Gerald So: :)

Gerald So: I like that he's a scholar and effective writer. If only more world leaders were.

Jen Jordan: It should take more than charisma and money. I could get very bitter and wound up. But I shall refrain.

Gerald So: Do you have any likes/dislikes that came through as themes in Expletive Deleted? Besides the obvious theme.

Jen Jordan: Social and politcal issues were address from the perspective of the people experiencing them. There was very dark humor, which always makes me happy. The writers involved all pushed the envelope which is exactly what I had hoped for.

Gerald So: Good point about stories from the people experiencing them.

Jen Jordan: I think that can, ultimately, have greater impact.

Gerald So: Yes, it's difficult to really go to extremes and yet keep the form of the story.

Jen Jordan: Very much so.

Jen Jordan: I've loved Mark Billingham's work because of how he uses the voice of the victim.

Gerald So: Yes. I've seen a lot from the POV of the hero coming in to fix everything. You can become desensitized to the reality of crime/violence.

Jen Jordan: And a protagonist that has the superhero qualities can get stagnant.

Jen Jordan: And I had hoped to mix known writers with unknown. Traditional with total speculative fiction. To keep the reader wondering what they would read next.

Gerald So: I think you did that well. On the list, I wondered exactly what I'd be getting when I picked up the antho. Sexy noir or profanity-laced stories? :)

Jen Jordan: It's an odd line-up. It was not erotica, that's for sure.

Gerald So: No, and yet a lot of the stories had undertones of sex.

Jen Jordan: Odd, dark sex and hopeless sex.

Jen Jordan: There can be so much fear of publishing something that someone will find offensive.

Gerald So: Yes, I'm glad you found a publisher in Bleak House.

Jen Jordan: They are the perfect house. I talked with Richard Nash at Soft Skull and I could see them doing something like that. They are also quite fearless. They did African Psycho last year.

Jen Jordan: Charlie Huston certainly had a different perspective.

Gerald So: I liked his story a lot, too.

Gerald So: I didn't find any of the stories any more offensive than other crime fiction.

Jen Jordan: Huh. I find some things in crime fiction offensive that many wouldn't.

Gerald So: I would say they're more extreme, not overly offensive where someone would go, "Oh, my god, I can't read any more."

Jen Jordan: It can be good to be pushed to that level. But a skilled author can pull you back in. A very fine line.

Gerald So: Indeed.

Jen Jordan: You've read Yellow Medicine?

Gerald So: Not yet.

Jen Jordan: Neil is the King of Misanthopic leads that, as a reader, you fall in love with.

Gerald So: I'm realizing that.

Jen Jordan: I think Ray Banks does that well, too.

Jen Jordan: If you go just that touch too far, you alientate the reader. But if you get them wincing, thinking and turning pages, you done something amazing.

Gerald So: I think when you know you're reading crime fiction, you brace yourself for violence, sex, etc. but you're right it's a fine line. I certainly wouldn't make a career of pushing the envelope like Banks and Neil have.

Jen Jordan: It suits them as people to push the envelope. And when you read their stories/novels, they are about the everyday man pushed to his limit.

Jen Jordan: And Neil writes with a knowledge of traditional and just takes it all over the place.

Gerald So: Very necessary writers, especially with the tendency I mentioned to become desensitized to the gravity of what goes on in crime fiction.

Jen Jordan: In Mark's intro, when he talks about the people who write to complain about swearing and drinking and sex but have no problem with murder and maiming, I think we see what people are immune to, emotionally.

Gerald So: Would you care to talk about some of what offends you in crime fiction?

Jen Jordan: When people are outraged when something happens to a dog in a book, a piece of fiction, but accept the murder of people as a matter of course, that offends me.

Gerald So: I agree. The pet peeve police.

Jen Jordan: When violence is used as a writing device or plot tool, that offends me.

Jen Jordan: Somehow, I don't think cops or criminals have ettiquette lessons. How could you when you are steeped in the worst the people do to each other?

Gerald So: Right.

Jen Jordan: The news offends me more than fiction ever could. Look at what happens in a book that someone might write to dear Mark about and then see them turn a blind eye to what goes on in the world.

Gerald So: yes, the way events are covered.

Jen Jordan: It makes no sense to me.

Jen Jordan: Not to get on a soap box, by any means.

Gerald So: The floor is yours. I'm cheering a lot of your points.

Jen Jordan: Shouldn't fiction, and all forms of art, reflect what is going on? If so, maybe books aren't dark enough.

Jen Jordan: I'm all for reading as entertainment. But I do like to be moved and made to think.

Gerald So: That's the main reason I like crime fiction, it has an element of reality to it that other genres ignore.

Jen Jordan: Exactly! And it explores both the best and worst of people at the same time.

Gerald So: Sean Chercover wants to join in, but he doesn't have Yahoo! Messenger. He's asking you why technology is conspiring against us.

Jen Jordan: Because like humans, technologies just don't always get along.

Jen Jordan: The poor man. Silenced by the lack of a download.

Gerald So: Sean also wants you to define "noir" because he knows how you love to do that.

Jen Jordan: Noir is the French word for black. Done.

Jen Jordan: Film noir and modern noir fiction are two different creatures, as far as I'm concerned. And definitions can only box in a writer and a reader.

Gerald So: I agree. Definitions don't help once you've spent some time creating any kind of art.

Jen Jordan: I've been trying to figure out what a "thriller" is now that is applied to so many books that never had that monoker before.

Gerald So: it helps to know what the form basically is, but beyond that, you have to be flexible or you're just mimicking.

Sean Chercover: Please tell Jen that I absolutely loved Expletive Deleted, and ask what was her biggest surprise during the making of the book.

Jen Jordan: There shouldn't be a checklist a writer uses when he/she writes. "Oh, looks like I've got a traditional hard-boiled mystery on my hands! My agent will be pissed!"

Jen Jordan: The biggest surprise besides it being published? How many people wanted to be in it.

Jen Jordan: How diverse the submissions were (and are for the second as well).

Gerald So: How many people was that?

Jen Jordan: Oy, I don't even know now.

Jen Jordan: I got emails and messages from the time I put info about the book out there to this day.

Jen Jordan: Having many who contributed write so differently in tone and content.

Sean Chercover: Jen, what is the most annoying sound in the world, and how do you transcribe it into text for a chat session?

Jen Jordan: Easy. A child screaming in the seat behind you on a long international flight.

Jen Jordan: I could have gotten all philosophical.

Jen Jordan: The best sound me be children laughing, conversely.

Jen Jordan: I hate the sound of the alarm clock, too.

Jen Jordan: Oh, let's change the subject!

Jen Jordan: How about them Yankees?

Gerald So: They are doing ok this year. Just ok.

Sean Chercover: I know that sound. I'm hearing it from the other room as I type this... and I wish you would get all philosophical...

Sean Chercover: You need a kinder alarm clock...

Jen Jordan: The evil one gets my ass out of bed.

Jen Jordan: And it is ancient.

Jen Jordan: Not my ass, but the clock.

Sean Chercover: http://www.now-zen.com/ Check it out...

Jen Jordan: I saw that!

Jen Jordan: So very gentle.....

Sean Chercover: Yes, it is. Just like you.

Jen Jordan: And expensive...

Sean Chercover: Yes, it is. Just like you...

Jen Jordan: I am gentle and expensive?

Gerald So: Here's a question: If you could write or edit a book on any subject matter next, what would it be?

Jen Jordan: I am looking to edit an anthology in which crime writers re-write fairy tales.

Jen Jordan: I am writing a book in which the criminal is the good guy.

Gerald So: The fairy tale book sounds great.

Sean Chercover: Gotta go tend to screaming baby...Congrats on the great anthology, and I hope it sells huge! You deserve it.

Jen Jordan: That from the man that has a book taking over the whole world.

Gerald So: Can't beat Sean for authenticity.

Jen Jordan: He should really write faster. As should Sean Doolittle.

Jen Jordan: Grimm Tales. When you think how very dark the first actual fairy tales were, I think bringing the two together would be fantastic.

Gerald So: I agree. You could also have writers do their own fairy tales.

Jen Jordan: Write their own, re-write older ones and from modern of historical perspective. Let their imaginations be their guides.

Gerald So: I'm a fan of Doolittle's books, too.

Jen Jordan: DIRT is one of my all time favorites.

Jen Jordan: And Manuel Ramos MOONEY'S ROAD TO HELL.

Jen Jordan: Well, this could gt me going on a tangent.

Gerald So: That's okay, it's a chat after all.

Jen Jordan: One in which my spelling will quickly disipate.

Gerald So: :)

Jen Jordan: When you read and review so many books, you want the ones you love to be in EVERYONE'S hands.

Gerald So: Yup.

Jen Jordan: I adore Martin Limon and, if given my druthers, would just walk around at conventions but copies of his books in peoples hands.

Jen Jordan: I did that with Sean's.

Gerald So: and then I feel let down when others don't like the book as much as I do.

Jen Jordan: It can be awful! But a few converts make it worth the trouble.

Gerald So: I always feel I should read more.

Jen Jordan: You'll never read enough.

Gerald So: I guess I'll feel that way the rest of my life. Darn my career path.

Jen Jordan: Think of how much we miss by sleeping and working and eating and driving....

Gerald So: Excellent point.

Jen Jordan: That might be why badly written books make me so very cranky and why I adore the great ones.

Gerald So: on the same token, I'm amazed by everything I write. I forget where it comes from after a while, and go "How did I do this?"

Jen Jordan: It's like channeling a spirit! Sometimes you can't type fast enough.

Jen Jordan: You did the story with the nasty massuesse, did you not?

Gerald So: I'm curious what patterns and themes people will find in my work when I'm gone.

Gerald So: Yes, I did.

Jen Jordan: You seem, to me, to show that anything can happen at any time to anyone.

Gerald So: Hmm. I don't want to think about my themes too much while I'm still writing.

Jen Jordan: Then let's pretend that didn't happen.

Gerald So: well, also, your description of my work was pretty broad. :)

Jen Jordan: The BQ blog project was the first time I read quite a few peoples work.

Gerald So: Yes, they are great. I do one whenever I have the chance.

Gerald So: I'd like to think I can do any number of things. That's why I write poetry, too.

Jen Jordan: It keeps you fresh.

Jen Jordan: And can make you aware of pacing.

Gerald So: Plus, I never write what I aim to write exactly.

Jen Jordan: It morphs as you go?

Gerald So: It's frustrating and yet I wouldn't want to trash anything already written. :)

Gerald So: "Well, look, as long as I have it..."

Jen Jordan: No. But all writers have that huge file of things they don't use but don't get rid of.

Gerald So: That's me. Except I use everything, all over the place.

Gerald So: "Look, I can sell it as a romance."

Jen Jordan: Is this Joe Konrath?

Jen Jordan: It's hard to fall in in love with a phrase or section and have to edit it when you re-write.

Gerald So: I know what you mean. I don't think I overuse phrases, but I probably do.

Gerald So: I'll leave that to scholars of my work when I'm long gone.

Jen Jordan: I assume mine will be in a bonfire. That I start myself.

Gerald So: That's the thing about a lot of writing. Gratification is so delayed.

Gerald So: you have to really like the solitary process.

Jen Jordan: By the time you're out there selling the work, your brain is full of totally different material.

Gerald So: yes, which is why author interviews tend to become generic.

Jen Jordan: Those that tour a book that they handed in the year before or more?

Jen Jordan: Oy!

Gerald So: "Uh, how did I write that part? I don't remember."

Jen Jordan: "The muse was fierce that day!"

Gerald So: Any questions you wish I had asked? :)

Jen Jordan: Nope! That was a lot of fun!

Gerald So: For me, too. I'm glad.

Gerald So: Good luck with everything, Jen, and keep posting those mullets.

Jen Jordan: There are so many!

Jen Jordan: Thanks so much, Gerald!

Gerald So: Very welcome. Have a good day.

Jen Jordan: You, too.

Sean Chercover

2008-03-25T06:20:00.006-04:00

Monday, March 24, 2008

Participants

Tasha Alexander
Sean Chercover
Gerald So
Dave White

Sean Chercover: Go Cubs.

Gerald So: They look pretty good this season.

Gerald So: If Boston can beat their curse, so can the Cubs.

Sean Chercover: Yeah, but Boston has WAY better front office management.

Sean Chercover: They do. They need a center fielder. And if they could make the trade to upgrade at 2nd, that would be very good, but I'm not sure the Orioles will go for it.

Gerald So: They are looking to shop Brian Roberts.

Sean Chercover: Yup. But there was some resistance because Roberts was named in the Mitchell report.

Gerald So: oh, yeah, that's right.

Gerald So: I would still do the deal.

Sean Chercover: Me too. Time to turn the page on steroids (with better testing in place, that is)

Gerald So: I agree.

Gerald So: When is TRIGGER CITY due out again?

Sean Chercover: TRIGGER CITY is coming out in August

Sean Chercover: And Roberts screwed up a couple of times, but he wasn't an habitual user

Gerald So: the yanks are lucky to have Robinson Cano.

Sean Chercover: Very. And I think Girardi is a fantastic choice.

Gerald So: I guess Soriano can't play 2nd anymore?

Sean Chercover: No, Soriano is strictly LF now.

Gerald So: I'm optimistic. I was tired of Torre's ways.

Sean Chercover: I dunno. I mean, I think Girardi is a great choice, but Torre did a hell of a lot for that team. I have nothing against him. Maybe his time there was just past.

Gerald So: Oh, I think Torre was the right guy for ten years, but yeah, he had just become too predictable.

Sean Chercover: Yeah, I think you nailed it. Predictable. People stopped listening to him. Not his fault, really. like you said, a great 10 years.

Gerald So: Are all the Dudgeon titles going to have "city" in them?

Sean Chercover: Dudgeon City.

Sean Chercover: God, I hope not.

Gerald So: I picked up on that pattern not long ago, although I know you wanted to title Big City, Bad Blood A Quiet Place.

Sean Chercover: It wasn't even intentional to do it twice. I was using TRIGGER CITY as a "working title" just 'cause I liked the way it sounded. Then all the people at HarperCollins went ape over it, so that's the title.

Sean Chercover: I love the title TRIGGER CITY, but I was never completely sold on Big City Bad Blood. I just couldn't think of anything better, and everybody else liked it.

Gerald So: I see. Yes, sometimes things just catch fire. Think of Star Wars.

Sean Chercover: What about Star Wars? Was it supposed to be called something else?

Gerald So: No, but Star Wars itself sounds tame.

Sean Chercover: I guess it does. But it's become so iconic, I can't imagine it being called something else.

Gerald So: right, same thing with James Bond.

Sean Chercover: Ornithologist.

Gerald So: Fleming picked the name because he thought it sounded plain.

Sean Chercover: Yes, he picked it off his bookshelf. There was a book on Birds of the Caribbean, by an ornithologist named James Bond.

Gerald So: Speaking of that, how did you settle on the name Ray Dudgeon?

Sean Chercover: Ray had a few names along the way. First he was . . . should I even say?

Gerald So: Not if you don't want to.

Sean Chercover: Ah, what the hell...

Sean Chercover: First he was Miles Dunbar. Then he was Miles Denny. Then he was Jack Dunbar. Then Ray Dunbar...

Gerald So: That's a lot of iterations.

Sean Chercover: I loved the name Ray, but Dunbar wasn't working for me. I liked that it started with D (no idea why) and I liked the two syllables to go with the single of Ray...

Gerald So: was he ever Jack Denny? :)

Sean Chercover: No. Maybe he should'a been.

Gerald So: Too much like Jack Benny.

Sean Chercover: Finally, I went through the dictionary, looking at the two-syllable D words...

Gerald So: ah.

Sean Chercover: I wanted a name that also works as a word. You know, Spade, Archer, Hammer...

Gerald So: I see now. Interesting.

Gerald So: Joe Pike...

Sean Chercover: And Dudgeon jumped out at me. It describes Ray in a number of ways.

Sean Chercover: Love Joe Pike.

Gerald So: although apparently Pike is named for the fish.

Sean Chercover: Yeah, but it's a mean fish.

Sean Chercover: What did you think of The Watchman?

Gerald So: I liked it a lot.

Sean Chercover: I did too. I thought it was great.

Gerald So: I think he'd been a little too into Elvis's head and life the last couple of books, so going somewhat into Pike's head forced him to get back to basics.

Sean Chercover: Elvis had definitely been through the wringer lately, both physically and mentally. So we were pretty deep in his head. I agree, going into Pike's head was a great palette cleanser.

Gerald So: Are you writing the third Dudgeon book right now?

Sean Chercover: I'm making notes for the third, but I'm not writing it yet. Still tying up ends to get the second ready and planning for all the marketing stuff...

Gerald So: I see.

Sean Chercover: Hey, congrats on your new project - THE LINEUP. Great idea.

Gerald So: Oh, thanks. We'll see how it's received.

Sean Chercover: Will you have it in time for B'con?

Gerald So: I hope so. I plan to start printing sometime next month.

Sean Chercover: Cool. I will be one of your first customers.

Gerald So: we have one more ad coming from Busted Flush Press, and we should be set to go.

Gerald So: Thanks.

Sean Chercover: Nice. Was it hard to put together?

Gerald So: Not especially, but I had three guys working with me.

Sean Chercover: You gonna be at T'fest of B'con?

Gerald So: I will be at B'con. Don't know about T'fest yet.

Sean Chercover: Oh, of course! We're gonna do a DT breakfast, or something like that.

Gerald So: Right.

Gerald So: I live in New York so T'Fest shouldn't be a problem if I get to go. It's going to be at the Grand Hyatt again?

Sean Chercover: Yup. You can always come hang in the bar. What part of NY do you live in?

Gerald So: Suburbs, about 40 mins to Manhattan by train.

Sean Chercover: But Marcus and I are gonna share a room in a cheapie hotel a few blocks away.

Sean Chercover: The commuter train is great for reading.

Gerald So: Do you feel you know Ray better the more you write about him, and how do you think he's changed from book to book, story to story?

Sean Chercover: I do feel I'm getting to know him better. I purposely made him pretty screwed up, and he's learning more about himself. There's room for him to grow...

Gerald So: always a good thing, I say.

Sean Chercover: After the first book, I wrote a couple of short stories (thanks for the nice review of the KY story, btw) and I found that, given what happened to him in the first book, he had changed.

Gerald So: though some readers don't want a protag to change much, I think it shows a series has life.

Gerald So: Oh, I see, and you're welcome.

Sean Chercover: He lost a bit of his swagger, which was a good thing. But in the second book, he's getting to know himself better.

Sean Chercover: He's still suffering from some of the effects - both physical and mental - of the tourture in boook 1

Gerald So: My favorite line in the story: "This was tough-guy talk."

Sean Chercover: Thanks!

Sean Chercover: yeah, there are some protags who I love that never change Reacher, McGee, etc.

Sean Chercover: But for me to write it, I felt that I needed one who changes. You know, like in life.

Gerald So: I always like when stories are grounded in real events. Again, it shows time passing.

Sean Chercover: One Serving... was actually based on a real case I had when I was a PI. Of course, the last third of the story is total fiction.

Gerald So: I see. The case seemed nicely meaty.

Sean Chercover: Time passing. That's another tricky one. How fast do you let your protag age?

Sean Chercover: The case was depressing as hell. But we got the woman her money. Of course there was no suicide and no standoff with guns.

Gerald So: Right.

Gerald So: I don't think a protag has to age per se, but I think s/he should be affected every so often.

Sean Chercover: I've been very specific about Ray's age in the first two books. In the first book, he has his thirty-eighth birthday, and in the second, he is just a few months shy of 39.

Sean Chercover: So book 1 ends in mid-January and book 2 starts in september of the same year.

Gerald So: I would think the "bigger" the events of one book, the more time has to necessarily pass before the next.

Sean Chercover: That's a very good point.

Sean Chercover: Obviously, he's aging slowly, if the books are that close together in his life, but a year and a half apart in our world

Gerald So: right.

Sean Chercover: I think book 3 will have to take place more than a year after book 2. There's just no way that this many exciting things happen to the guy every year.

Gerald So: I don't always like "big" events. If you have too many of them bunched up in a series, like you say, each individual event loses some weight.

Sean Chercover: Right. And sometimes the most emotionally significant events are not "big" events.

Gerald So: One of the perils of writing series is everyone expects it to continue or top itself.

Sean Chercover: Yeah. For sure.

Gerald So: But I guess a series couldn't be written any other way.

Gerald So: one of the warning signs for me is when the protag starts to develop a rep from past heroics.

Sean Chercover: I don't know. I thought Block was brilliant by following Eight Million Ways... with Sacred Ginmill. A much more intimate book, and a flashback to 10 years earlier. A real character book.

Gerald So: I agree, but I don't know that a writer today would be given the room to do what Block did.

Sean Chercover: That's interesting. It's a double-edged sword. To be realistic, if (to use my own stuff as an example) Ray was instrumental in busting a bunch of corrupt pols...and was in the newspapers and on TV, then in the next book, he'd come into contact with people who have heard of him.

Gerald So: I thought Jerry Healy's series was well paced, too.

Sean Chercover: Yes, that's a great series. I like Cuddy. And I think your point about Block is a good one. The expectation of publishing houses has changed.

Gerald So: People seem to want to call everything a thriller right now. It sounds exciting, I'll say that.

Sean Chercover: Yup. When I solicited agents, I called BCBB a hardboiled detective story. Then my agent called it noir. Then my editor called it "literary suspense". Then the sales department decided it was a thriller. Whatever. It's a story.

Gerald So: Yeah, the categorization is never up to the writer, nor should it be. A story should be allowed to be different things to different readers.

Gerald So: I guess that's why authors have trouble with titles, too.

Sean Chercover: I guess, in truth, it is a PI thriller, since there isn't much mystery to it. You're not figuring a puzzle about a past event, but rather navigating twists.

Sean Chercover: You read to find out what will happen, not to find out what happened in the past.

Sean Chercover: I agree that the writer shouldn't be the one to categorize the book.

Sean Chercover: I'm am decidedly bad at titles (although I lucked out with Trigger City).

Gerald So: At the same time, though, it goes back to series pacing. Not every book will be a thriller. Some will engage the P.I.'s deductive skills more.

Sean Chercover: Absolutely. TRIGGER CITY is still a thriller in structure and perhaps pacing, but there is a past event that Ray must figure out, so it's more of a hybrid.

Gerald So: I see.

Gerald So: I'm writing a series of shorts with a 1930s pilot-for-hire, and I try to do something different every time, if only to keep myself engaged.

Sean Chercover: I think that's the way to go, although I get your point that a lot of readers want to read something familiar each time.

Gerald So: Another guy who's great with different tones of story is Bill Pronzini.

Sean Chercover: I dig the pilot-for-hire. Is it a flying boat? I love those.

Sean Chercover: Pronzini is a master.

Gerald So: He flies different planes in different stories, but his favorite is a Grumman Goose.

Sean Chercover: I LOVE the Gumman Goose!

Sean Chercover: You ever hear the song Treetop Flyer by Jimmy Buffett?

Gerald So: No, but I've read Where is Joe Merchant? by Buffett.

Sean Chercover: Me too. Great fun.

Gerald So: and I am a bit of a Parrothead.

Sean Chercover: I'm more than a bit of a parrothead.

Sean Chercover: Treetop Flyer is a hidden track at the end of Banana Wind. You should give it a listen. A pilot for hire story. Melancholy. Great stuff.

Dave White entered the room.

Tasha Alexander entered the room.

Gerald So: Oh, here's a question for Sean or everyone: What's your favorite and least favorite thing about Dudgeon?

Sean Chercover: Ooh, I'll answer last. I want to hear this!

Dave White: I loved the voice of the character, his vulnerability.... I didn't particularly like Gravedigger--because I wanted to see more of him.

Gerald So: more of Dudgeon, you mean?

Sean Chercover: Gravedigger returns in Trigger City. And there's a Gravedigger story in Hardcore Hardboiled (Big Daddy Thug, ed.)

Dave White: No, I wanted to see more of Gravedigger, know more about him. There wasn't anything I didn't particularly like about Dudgeon except he didn't hang out with Gravedigger more.

Sean Chercover: Ray's not in the Gravedigger story.

Gerald So: Aha.

Gerald So: I don't have favorite and least favorite Dudgeon traits. I just ask the questions. Tasha?

Sean Chercover: Come on, somebody say what you hate. Tasha?

Tasha Alexander: Sigh. I didn't hate anything. Sorry.

Sean Chercover: Wimps.

Tasha Alexander: All I know is the guy kept me up all night. Couldn't stop reading.

Sean Chercover: You're sweet.

Tasha Alexander: I'm honest. Maybe I'll learn to hate him in the second book ;)

Sean Chercover: Yikes. No pressure.

Gerald So: I can't recall if Ray smokes at the moment.

Sean Chercover: Yeah, he smokes. Damnit. He quit, but he starts again in the second book. One of these days he'll kick it for good.

Sean Chercover: Hold on while I light my smoke...

Gerald So: :)

Tasha Alexander: For as hard boiled as he is he's incredibly sympathetic and engaging

Dave White: I tried to have Donne smoke, but since I don't smoke I never remembered to have him light one.

Tasha Alexander: Emily smokes cigars

Gerald So: really?

Sean Chercover: Good idea not to have him smoke if you don't. I hate reading characters who smoke or drink in a way that is unconvincing.

Sean Chercover: Emily is one sexy woman.

Tasha Alexander: She has her moments

Dave White: and she knows eunuchs!

Sean Chercover: Does she ever.

Tasha Alexander: That she does!

Gerald So: My character drinks, but I don't describe the after-effects, so I think I get away with it.

Sean Chercover: She gives me the vapors (am I using that correctly?)

Tasha Alexander: Oh yes! Indeed you are....

Dave White: hahahahaha.

Sean Chercover: The after-effects usually include acting like a dick and phoning an ex-girlfriend at 3am

Gerald So: He's got Part A down

Gerald So: Any idea how well the BC, BB paperback is selling, Sean?

Sean Chercover: No idea. they don't tell me nuthin'

Sean Chercover: But I've seen it in a train station newsstand. That's a good sign.

Tasha Alexander: I love the new cover

Sean Chercover: Thanks, I love the new cover too. Big improvement.

Tasha Alexander: That's a VERY good sign

Gerald So: Anyone with final questions before the afterparty starts?

Tasha Alexander: OK....What do you consider the driving narrative arc in the series as a whole?

Sean Chercover: Ha!

Sean Chercover: I don't know. It's a character journey. Ray is a pretty messed-up guy, but he's trying to become a better man. He wants to understand himself...but he's afraid of introspection.

Gerald So: Tough question. Wouldn't want to answer it for my own work.

Dave White: Ah good point... do you have an end point in mind?

Sean Chercover: It is a tough question. the thing is, after book 3 (assuming there will be a book 3), I'm not sure if Ray is going to get better or worse.

Sean Chercover: I have a few end-points that I've been playing with. One is pretty bleak. One is more redemptive. And then there's another that is very ambiguous.

Sean Chercover: Problem is deciding which fits Ray the best.

Gerald So: I would think that depends on how the middle books go.

Sean Chercover: Good point. If the middle books go very bleak, he can't go on like that forever.

Sean Chercover: Part of the reason that I don't have it planned out way down the line is, I'm still getting to know Ray.

Tasha Alexander: One thing I find challenging about a series is plotting out that narrative arc---you need to keep it in mind to a point, but can only get so far ahead of yourself

Sean Chercover: Yes, I think if you get too far ahead of yourself, you start bending the character to fit your plan.

Tasha Alexander: YES---exactly

Sean Chercover: And I don't want to do that with Ray.

Sean Chercover: Some of the changes in his character from #1 to #2 actually surprised me. I think that sense of surprise, discovery, is part of the joy,

Tasha Alexander: Definitely

Dave White: Yeah, it's fun.

Sean Chercover: On the other hand, people like agents and editors want to know what's next...

Sean Chercover: I've been very lucky that way, however.

Gerald So: 'Night, all. Thanks for attending.

Lori G. Armstrong

2008-02-22T05:58:00.007-05:00

Thursday, February 21, 2008

Participants

Lori G. Armstrong
Judy Bobalik
Gerald So

Gerald So: What went into creating your P.I., Julie Collins?

Lori G. Armstrong: um...tequila? kidding. I'm thinking

Gerald So: :)

Lori G. Armstrong: The truth is, she came to me in bits and pieces.

Gerald So: You mentioned writing romances. Did that factor into creating Julie?

Lori G. Armstrong: God no.

Gerald So: :)

Lori G. Armstrong: Julie is the least romantic heroine possible.

Lori G. Armstrong: Not necessarily because she's cynical, but because love has kicked her in the teeth so many times that it doesn't seem worth it.

Gerald So: and yet she does attract romantic men (Martinez especially).

Lori G. Armstrong: Well, until she hooked up with Martinez

Lori G. Armstrong: As far as her character, there is some assumption with readers that Julie and I are one in the same.

Gerald So: Yes, that's my follow-up question.

Lori G. Armstrong: I know that happens to quite a few authors, where people -- readers and others assume experiences have to be based on fact. What I tell people is beyond us both being blue-eyed blondes living in South Dakota, the thing we have in common is our taste in music. She's one helluva lot tougher than I am. I don't court trouble, I usually avoid it.

Lori G. Armstrong: I don't smoke, my father didn't abuse me, my mother isn't dead and my brother isn't Indian...although, I do admit I have a foul mouth, in private anyway.

Gerald So: I see. Why do you think Julie is the courting-trouble type?

Lori G. Armstrong: Julie faces other people's troubles head on because she has a need to prove she's right. She's pretty good at avoiding her own issues.

Gerald So: I really sensed her fear of her father.

Lori G. Armstrong: Which is the issue. As an adult she doesn't want to be afraid of him, because she spent her young adulthood dealing with his violence.

Gerald So: My introduction to Julie was Hallowed Ground but I have Blood Ties on the TBR shelf.

Lori G. Armstrong: I try to make each book stand alone, but it is hard when you're writing a series character because you have to dole out pieces of them in each book. It's also true you don't know everything about the character when you first create her.

Judy Bobalik: I found you!!

Lori G. Armstrong: hi Judy :)

Gerald So: I thought the book stood alone, but I was interested to read Blood Ties, which is what you want. :)

Lori G. Armstrong: natually, then I want you to read Shallow Grave and preorder Snow Blind from Amazon. What I find interesting from readers who've started with Blood Ties and followed the books in order is they tell me they like Julie better with each book I'm aware she has some harsh edges and I don't think I've necessarily softened her.

Gerald So: Maybe readers are getting used to her.

Lori G. Armstrong: exactly.

Gerald So: I had that reaction to her rough edges that you mention.

Gerald So: but then you don't have to like everything about a character. It's intriguing, in fact, if you don't.

Lori G. Armstrong: Especially when the character makes choices we never would. I think it's a fine line, to keep her tough, yet...not.

Gerald So: go ahead and ask anything, Judy. If you want type a "?" first.

Gerald So: Yes, I know what you mean. It's believable because a lot of her toughness is more wanting to be tough. I get the sense that she psychs herself up to be tough; a lot of people do.

Lori G. Armstrong: We all make dumb mistakes but I think it's wrong not to allow those mistakes in a character, I mean, I'd rewrite things in my life if I could, so it's tempting to do it in fiction. I was on a panel at a conference once talking about kick ass females. All female authors

Lori G. Armstrong: and we were supposed to give our personal definitions of what "tough and kick-ass" were...and in Julie's case, it is tough in the most literal sense

Gerald So: I don't have a good definition for "kickass" :) Tough, yes. :)

Lori G. Armstrong: That's what was so interesting about the varied definitions.

Gerald So: who else was on the panel?

Lori G. Armstrong: All cozy writers...and me :)

Gerald So: incredible, and possibly awkward.

Lori G. Armstrong: A little, especially when my answer to what constitutes a kickass female character was, a woman who can literally kick your ass and isn't afraid to do it

Gerald So: :)

Gerald So: Who are some of your current favorite authors/characters to read?

Lori G. Armstrong: I just finished The Watchman by Robert Crais - excellent book.

Gerald So: I thought so, too. I like how he's explored Pike when so many other authors just leave their sidekicks alone (Hawk, etc.)

Lori G. Armstrong: I think that's what makes a believable sidekick - when they could carry their own story.

Lori G. Armstrong: Next is T is for Trespass by Sue Grafton and then Strangers In Death by JD Robb.

Judy Bobalik: This is very odd. I have no idea what I'm doing. Watchman was very good and T is for Trespass was fabulous.

Lori G. Armstrong: I tend to read mystery when I"m not writing it

Gerald So: Can you read other books while writing your own, or do you go into pure writing mode?

Lori G. Armstrong: It's never been a problem for me until this year, when I had back-to-back deadlines and NO time for reading at all. I didn't read anything from Oct. 1st until about 3 weeks ago. So I'm woefully behind, didn't seem to stop me from buying the books I wanted, my TBR pile is huge.

Lori G. Armstrong: Judy, what book are you most looking forward to buying at LCC?

Judy Bobalik: I was hoping that Craig Johnson's would be out but I don't think it will be published until June.

Gerald So: Lori, I've heard you mention Snow Blind is the *last* Julie Collins. Are you ending the series? I know you've got that new series to think about.

Lori G. Armstrong: It will be the last Julie book...for now. I'd envisioned the series 7 books total, because I do think series should have an end point.

Lori G. Armstrong: The first book in the new series is done and will be out in hardcover in April of 2009.

Gerald So: I see.

Gerald So: I like that there seems to be real progress in your books, not a bunch of cookie-cutter adventures that could go on forever.

Gerald So: Ahem-Spenser-ahem.

Lori G. Armstrong: I figured I need to tell what happened to Julie's brother, which I did in Shallow Grave.

Judy Bobalik: Lori, is shooting a bow like Julie does in the books, a personal hobby?

Lori G. Armstrong: No, I do like to shoot guns :) I'm not a crack shot, however. I did shoot a bow for research purposes and talked to quite a few bow hunters. I think it's harder, physically and mentally, partially why I chose it for Julie.

Gerald So: I've heard it takes a lot of upper body strength to shoot a bow.

Lori G. Armstrong: having her proficient with a bow, but not a game hunter, was a conscious choice. It really works muscles in the arms.

Gerald So: What's your writing process like? outline, no outline, etc.?

Lori G. Armstrong: Outline, definitely. I usually know the 8 to 10 high or low points, subject to change if I get into the story and it doesn't work, but I can't imagine winging it

Gerald So: I see.

Judy Bobalik: With the many books you write, I would think winging it could be confusing.

Lori G. Armstrong: You're right, Judy. I find the more I write, the more I need to outline. And usually I have to write at least the first chapter before I can outline anything.

Lori G. Armstrong: I had a romance book due the same time as Snow Blind, and I was half afraid cowboys were gonna show up in Julie's story :)

Gerald So: not too much of a stretch. :)

Lori G. Armstrong: I managed to keep them in their respective genres

Gerald So: We're a little over time. How much longer can you chat, Lori?

Lori G. Armstrong: I'll stick around if you've got other burning questions, Gerald and Judy.

Gerald So: Thanks. Any questions, Judy?

Judy Bobalik: Nope, none that I can think of.

Lori G. Armstrong: None?

Judy Bobalik: I alread asked my one.

Gerald So: I have one: Do you know at this point how the last Julie book will end? In other words, where you want Julie to end up. You don't have to give it away. I'm just curious in general.

Lori G. Armstrong: I thought I did, but faced with the possibility of not writing any more Julie books...I had to write Snow Blind a little differently than I'd planned.

Gerald So: I see.

Lori G. Armstrong: And it isn't giving anything away to say I don't kill her :)

Gerald So: Phew. :)

Judy Bobalik: Good. I don't like it when authors kill off there main characters.

Lori G. Armstrong: Don't you feel sometimes, that some characters should be killed off?

Gerald So: Yes, I can take it or leave it.

Lori G. Armstrong: Maybe not main characters, but secondary ones?

Gerald So: If their deaths are earned, I approve.

Lori G. Armstrong: but not gratuitous to shake things up

Gerald So: If you know the John Francis Cuddy series, I thought Nancy's death was well earned.

Judy Bobalik: No not gratuitous just to shake things up.

Lori G. Armstrong: I've heard readers say, if "so and so kills off this character, I'll never buy her again" which is sort of frightening, as an author.

Gerald So: Yes, that seems a little extreme. I always like to see where the author takes things after a character's death.

Lori G. Armstrong: The potential for change is immense in a life-altering event, and not being able to use it seems like cheating, especially in crime fiction where main characters are on the fringe and death should be expected.

Gerald So: I agree. I'm too much of a fan to say I would boycott any author if a character died.

Gerald So: On the flipside, if a character never gets hurt, things become ho-hum. I want every book to be meaningful, but the longer a series goes, the more attached readers become to characters.

Lori G. Armstrong: Or if they're getting hurt all the time. I had a reader say to me that Julie couldn't take that many punches in the stomach in real life.

Gerald So: True.

Judy Bobalik entered the room.

Gerald So: welcome back, Judy.

Gerald So: Lehane's Kenzie and Gennaro seemed to take an awful lot of punishment.

Gerald So: I wanted them to take self-defense classes.

Lori G. Armstrong: They were getting beat up right and left. But at no point for me did it stretch into the realm of disbelief

Gerald So: Me neither. I just wondered why they didn't take steps between books not to get beaten up. :)

Lori G. Armstrong: They had that hope maybe this next case *wouldn't* be like the last one.

Gerald So: I suppose you're right. And I think maybe Patrick didn't want to train for fear of lashing out physically against someone the way his father did at him...

Lori G. Armstrong: In some ways, I think that's why Julie is eager to fight and she doesn't back down, she wants to prove she's no longer a victim and can take care of herself just fine.

Gerald So: Good point.

Gerald So: Thanks again for chatting, Lori. See you on the list.

Lori G. Armstrong: Thanks for having me :)

Gerald So: Most welcome. Have a good night.

Zoë Sharp

2008-01-29T19:45:00.005-05:00

Tuesday, January 29, 2008

Participants:

Zoë Sharp
Gerald So

Zoë Sharp: Hi Gerald

Gerald So: Hi. I've been meaning to read your story "Served Cold". Haven't had a chance yet.

Zoë Sharp: That was a fun one to write. It's a great anthology.

Gerald So: Yes, Busted Flush is doing great so far.

Gerald So: I have read "Postcards from Another Country", which I liked a lot.

Zoë Sharp: Thank you. I'm planning on another short for the end of SECOND SHOT in paperback.

Gerald So: Oh, good. I'm definitely a Charlie fan.

Zoë Sharp: I was lucky enough to be asked to do something for Damn Near Dead by Busted Flush as well.

Gerald So: I think I read that one, too.

Zoë Sharp: This is like one of those old transatlantic calls with a long delay!

Gerald So: Yes, it is. :)

Zoë Sharp: The new story will fill in events between SECOND SHOT and the new book, THIRD STRIKE.

Gerald So: Do you find you've set more books in the US of late?

Zoë Sharp: It was something my US publisher asked for, so 3S is set in NYC, Boston, and TX, with only a short visit home for Charlie to Cheshire

Gerald So: I see.

Zoë Sharp: I think the tour we did for 2S last Sept was our 35th visit to the US, so we're over there quite a bit.

Gerald So: As I wrote in my review of FIRST DROP, it was interesting to really get a Brit's-eye view of US characters.

Zoë Sharp: NYC is probably my favourite city.

Gerald So: Yes, New York is so eclectic. Everyone can feel at home there.

Zoë Sharp: I've tried to keep Charlie very British, but she's a bit of an outsider.

Gerald So: I think all PIs/observer types have to be a bit detached, not in step with the system.

Gerald So: It helps all sorts of readers relate to them as well.

Zoë Sharp: Charlie's background and experiences keep her slightly out of step with conventional society.

Gerald So: That's one of my questions. How much of you is in Charlie?

Zoë Sharp: I used to deny everything, but now I just tell people it's entirely autobiographical ;-)

Gerald So: :)

Gerald So: either way keeps the mystery.

Zoë Sharp: Inevitably, when the character comes out of your head, and is delivered in first person, they have your speech patterns, something of your sense of humour, but there are limits.

Gerald So: right.

Zoë Sharp: She acts on her anger. Most people don't have that freedom.

Gerald So: Yes, also I think more happens in fiction than in reality as a matter of course. Something has to happen to make a story.

Zoë Sharp: Of course.

Zoë Sharp: And, of course, in reality most of us would go straight to the police when something bad happens. We have to bend the rules so our characters don't take the easy option.

Gerald So: yes, make it not an option.

Zoë Sharp: It's one of the reasons I like having Charlie working in close protection. Her first loyalty is to her client, not necessarily to the law.

Gerald So: Good point. In your In For Questioning interview you mentioned creating Charlie because you hadn't read a character like her before. What did you like to read before you decided to write?

Zoë Sharp: I loved thrillers but the women in those books were all a bit on the weak side - I couldn't find a strong female character so I decided I'd just have to write my own.

Zoë Sharp: Women who have the ability to kill are still generally portrayed as psychos or assassins, and there's very little in between.

Gerald So: Good point.

Gerald So: Would you allow a Charlie Fox movie/TV series to be made?

Zoë Sharp: I'd love it - just don't ask me who I see playing the part of Charlie!

Gerald So: very hard question for any author, yes.

Zoë Sharp: I think it's worse because it's first person. I see the world of the books looking out through Charlie's eyes, but I don't get to 'see' her from the outside.

Gerald So: I see.

Zoë Sharp: I'm writing something in third person at the moment, and I have a much clearer picture of the main female character - what she looks like.

Gerald So: yes, 3rd is more of a watching-a-movie type P.O.V.

Gerald So: I'm reading a book now that's a bit awkward because the first-person character is describing herself as if looking at herself in a home movie.

Zoë Sharp: Awkard! Some people have a very definite preference when it comes to 1st or 3rd person. Do you?

Gerald So: I used to prefer 1st, but I like 1st and 3rd about equally now.

Zoë Sharp: I'm not keen on the writer doing 1st for the majority of the book, but swapping into 3rd for certain scenes. Some people carry it off very successfully, but it always feels like cheating to me.

Gerald So: I know what you mean. It's jarring. To me, it's as if the writer is trying to give a book movie-like scope, and that's better achieved on film.

Gerald So: the first books I really enjoyed were first-person. It was just that much more identification with character.

Zoë Sharp: I loved the Dick Francis thrillers, which were always first person, and I had no problem with the fact the protag was always a man.

Zoë Sharp: I can see a problem if you're a guy writing 1st person female, or vice versa.

Zoë Sharp: Still, I think all the rules can be broken if the writing is good enough to carry you into the story.

Gerald So: true.

Gerald So: I recently tried writing a first-person female protag. I haven't tried to market the story anywhere, but I wonder how well I've pulled it off.

Gerald So: Eventually, I'll shop it around.

Zoë Sharp: What's the story about?

Zoë Sharp: Er, if you want to say, of course!

Gerald So: It's about a girl who's sold to a horse rancher as a teen. I've written about the character before through other characters' eyes.

Gerald So: though she was a adult in the previous stories.

Zoë Sharp: I remember a female writer telling the story of how she'd tried to write something from the viewpoint of two male cops, going to a murder scene.

Zoë Sharp: Her editor read it and said, "I don't think the guys would be remarking on the drapes ..."

Gerald So: Hmm.

Zoë Sharp: I like the idea of the main character being seen through other people's eyes only. Everybody would have a different take on her.

Zoë Sharp: But this story is from her POV?

Gerald So: Good point. Yes, just an experiment.

Zoë Sharp: Good luck with that! What's the story called?

Gerald So: "Katie" after the character.

Gerald So: it only comes to two pages so far, but it might sell as flash fiction.

Zoë Sharp: Did the title come first, while you were writing, or afterwards? I'm always interested by titles. I can't start without the title.

Gerald So: After, but it's a working title.

Zoë Sharp: I've never tried any flash fiction. The shortest short story I've done was about 1800 words.

Gerald So: I prefer to write myself into a title, though I have started with a title in mind at times.

Gerald So: I don't like the typical surprise endings of flash fiction.

Zoë Sharp: I'm not a natural short story writer - I tend to wait until someone gives me a deadline rather than just play around with the medium.

Gerald So: I see. I would like to write a novel at some point, but there's something appealing about telling a full story in a short space.

Zoë Sharp: The first short story I ever wrote was a Charlie Fox tale called A Bridge Too Far for a CWA anthology. It was reprinted in Ellery Queen last year.

Zoë Sharp: You could always write a short novel :-)

Zoë Sharp: Some of Ken Bruen's stuff - which I love - is only around 40,000 words

Gerald So: I could, we'll see. Katie is definitely a character I don't think I want to subject to the flash treatment.

Zoë Sharp: Of course, they have to be 40,000 of the right words ...

Gerald So: Yes, Ken is amazing.

Zoë Sharp: How long have you been writing, Gerald?

Gerald So: Hmm. About twenty years now. writing seriously for about the last six.

Zoë Sharp: I'm in awe of your commitment.

Zoë Sharp: How do you define 'seriously'?

Gerald So: well, I knew at age thirteen I wanted to write.

Gerald So: Seriously as in submitting my work regularly for publication.

Gerald So: before that, it was just for friends and family, and I didn't really know if it was good.

Zoë Sharp: Sometimes these things just grab you at an early age and once they've got you, they don't let go. I've always described writing as a compulsion.

Gerald So: I agree.

Zoë Sharp: No writer ever really *knows* their stuff is good. I always hate a book when it's finished.

Gerald So: because it's time to show an editor? :)

Zoë Sharp: I call it the law of diminishing possibilities. When you open that first blank page, it has limitless potential.

Gerald So: Oh, I see. Right.

Zoë Sharp: The closer to the end you get, the more that potential narrows down until, by THE END, it is what it is.

Gerald So: well put.

Zoë Sharp: And it's also time to show it to an editor ...

Gerald So: I've always thought it would be exciting finding out where the story is going, but I guess just as often it can be anticlimactic.

Zoë Sharp: I usually know the ending well before I get there. Sometimes I've already written it.

Gerald So: I consider myself lucky in that I've had seven years experience now editing other people's fiction.

Zoë Sharp: That must give you brilliant insight into what works and what doesn't.

Gerald So: I know to some extent what editors are looking for.

Zoë Sharp: What do you consider the most common problem?

Gerald So: For me, it's authors who overindulge in their character's voice or backstory.

Gerald So: One reason I like Charlie is she doesn't brood about her past.

Zoë Sharp: Interesting point. I'm a lazy reader - I get bored quickly - so I try not to put in swathes of text that I know I'd skip over.

Gerald So: As I've mentioned on DetecToday, lengthy, detailed flashbacks really annoy me.

Gerald So: Memory is not like that.

Zoë Sharp: Ah, you might not like the start of SECOND SHOT, then ... :-)

Zoë Sharp: Not that it's really a flashback.

Gerald So: we'll see.

Gerald So: as you said, it's all in the execution.

Zoë Sharp: It's more of a flash forward

Gerald So: hmm.

Gerald So: so charlie is imagining what her future will be?

Gerald So: or does it just skip ahead in story time?

Zoë Sharp: It just skips ahead in story time, but not right to the end.

Gerald So: Oh, that's okay by me. I like how Lee Child, for instance, jumps to different points in Reacher's life in separate books, to prolong the series.

Zoë Sharp: In fact, you could pick that first chapter up and put it down neatly between ch12 and 13, I think it is, and it would fit perfectly.

Zoë Sharp: I love Lee's stuff.

Zoë Sharp: I thought he handled the backstory in Persuader particularly well - one of my favourites.

Gerald So: Mine, too.

Zoë Sharp: So, was there anything you wanted to know about FIRST DROP?

Gerald So: speaking of cross-gender writing, one of my favorites at it is SJ Rozan in the Bill Smith POV books.

Zoë Sharp: SJ's stuff is wonderful. Absent Friends made me cry.

Gerald So: Hmm. Let me think a minute. I'd like to see more of Sean and Charlie's bond. It was a great part of the book. Makes you want to learn all about them.

Zoë Sharp: There's more of that coming up, both in THIRD STRIKE, which will be out this summer, and in the book I have planned as the follow-up.

Gerald So: oh, good.

Gerald So: I also really liked Oakley man. I am rarely so glad to see a villain die. :)

Zoë Sharp: He was a nasty piece of work, wasn't he?

Gerald So: sure was.

Zoë Sharp: I generally like villains who have some grey to them, though, not just black and white.

Gerald So: How would you rate Oakley man in terms of grayness?

Gerald So: I think it was best when you didn't know his loyalties, which was most of the book, I guess.

Zoë Sharp: He was definitely towards the dark end of the spectrum.

Gerald So: I agree, though, complex characters are the best.

Zoë Sharp: Often the apparent villains have more honour than the supposed good guys.

Gerald So: I just had one of my recurring good guys forced to shoot someone.

Gerald So: good point.

Gerald So: I like how your work seems to play with the reader's perspective.

Zoë Sharp: Thank you.

Zoë Sharp: I've tried to maintain that aspect.

Gerald So: again I go back to the Brit looking at American characters. I was very interested in what she thought of them.

Zoë Sharp: Mainly that Trey was a pain in the butt

Gerald So: :)

Zoë Sharp: When I wrote the book we were renting an apartment in a school, and the kids were mostly a pain.

Gerald So: :)

Zoë Sharp: Originally, all of them were going to escape unscathed, but then our car got damaged and I decided one of them was going to get shot. And it was going to hurt!

Gerald So: :)

Gerald So: that was a really nice touch.

Gerald So: Recovered teacher here.

Zoë Sharp: Respect. What did you teach?

Zoë Sharp: And don't say children - I mean't what subject?

Gerald So: I taught first-year college English composition.

Zoë Sharp: I've just been asked to deliver a plenary lecture on using location in creative writing to one of the big universities in England.

Gerald So: neat.

Zoë Sharp: I was very glad to discover that 'plenary' means unqualified.

Gerald So: :)

Zoë Sharp: I'm a failure of the educational system - dipped out when I was twelve, so I admire anyone who stayed the distance.

Gerald So: Thanks. I never considered myself an academic. I earned a Master's degree because I wanted to learn to write better.

Gerald So: That said, I would gladly attempt to teach creative writing.

Zoë Sharp: I'm fascinated by that - do you really think it's something you can teach people to do?

Zoë Sharp: Be creative, I mean.

Gerald So: well, it's more encouragement than teaching, I'd say.

Zoë Sharp: Well put.

Gerald So: Encourage people's curiosity and other talents.

Zoë Sharp: We all need a little encouragement!

Gerald So: I think you can teach someone strategies to unlock creativity.

Gerald So: like "write a story from the P.O.V. of an ant."

Zoë Sharp: Male or female?

Zoë Sharp: :-)

Gerald So: I haven't thought that far. :)

Gerald So: or describe a hamburger without using adjectives.

Zoë Sharp: Good exercise.

Gerald So: The hour is about up. This has been great. I'm sorry no one turned up.

Zoë Sharp: No problem. Been nice chatting to you.

Zoë Sharp: Best of luck with the writing. I hope you find a home for Katie.

Gerald So: Thanks. I will eventually.

Gerald So: Have a good night.

Zoë Sharp: You, too. :-)

Dave White

2007-11-18T18:02:00.001-05:00

Sunday, November 18, 2007

Participants

AldoMystery Aldo Calcagno
BlackmooreS Stephen Blackmoore
gentlesavage32 Christopher
gpscribe Paul Guyot
kvnbsmith@mac.com Kevin Burton Smith
lunchboxhero007 Bryon Quertermous
MWhite8482 Dave White
Odo6140 Gerald So
PERRYPARK JT Ellison
TheRealJWinter Jim Winter

MWhite8482: Uh, I believe we're supposed to ask questions for me to answer.

TheRealJWinter: OK, Ginger or Mary Ann?

MWhite8482: Mary Ann, easy.

BlackmooreS: ?

Odo6140: Go ahead, Stephen.

gpscribe entered the room.

gpscribe: Hey!

MWhite8482: Hey.

kvnbsmith@mac.com: Hmmm... how do I know who's speaking? The little running man seems to be very popular.

BlackmooreS: Was wondering what things you made conscious decisions about to change from Donne in your book from Donne in your short stories. And were there any surprises for you in him when you wrote the book?

MWhite8482: There were a lot of surprises, actually. And most of them came around in revisions.

AldoMystery: YO, hello

BlackmooreS: Hey Aldo

MWhite8482: The first few drafts of the book were pretty much a standard PI book, but once Martin came into play, I found out a lot about Donne I didn't know.

PERRYPARK entered the room.

MWhite8482: Hey Aldo.

PERRYPARK: Hi Dave White.

MWhite8482: Hi... Perry Park

gpscribe: I have a question

Odo6140: JT Ellison is Perry Park.

MWhite8482: Hey JT!

MWhite8482: go for it gp

PERRYPARK: Ah, you blew my cover...

Odo6140: go ahead, paul.

gpscribe: Dave, you've had so much praise, etc., on the book - how do you handle when you hear from someone who didn't respond to it?

MWhite8482: Ummm... privately or publically? Obviously privately I get annoyed... publically I try to handle it with class.

Odo6140: oops, didn't know you were undercover, JT.

PERRYPARK: I'm not, I was kidding. I'm on my Dad's computer. That's a great question, though.

kvnbsmith@mac.com: You're all just little running guys to me. Except Gerald who's Superman.

kvnbsmith@mac.com: Oh, wait... if I add you all to my buddies list...

MWhite8482: Kevin, that's interesting... lemme see if I can get some sort of Dave White Icon... there you go.

PERRYPARK: Dave, have you had someone actually face to face dislike the book?

gpscribe: I mean - personally. Does it really get to you? Is it hard to forget the negatives and focus on the postives?

MWhite8482: My old college roommate "Liked it but didn't love it"... I told him to shut up and drive us to the Rutgers game. Ummm...

lunchboxhero007: Thank god, something to take my mind off the stupid fucking Lions

MWhite8482: Yeah, the Library Journal review really got to me because what the reviewer found as flaws was what I was worried about in terms of being a flaw.

TheRealJWinter: Well, there was a Rutgers game involved, so obviously his priorities were off.

PERRYPARK: But don't you think if you believe the bad reviews you must believe the good ones too?

lunchboxhero007: So is there any news yet as to how the book is doing?

MWhite8482: Yes. Which is weird because then publisher's weekly focused on what the LJ said was a flaw and said it was a strength.

kvnbsmith@mac.com: Well, truth to tell, I was surprised by the extremely positive reaction to the book. So when I finally got to read it, I thought I was missing something. I mean, it's good, but the future of the genre? Yikes!!!

MWhite8482: As for how the book is doing, I'm sure it's doing fine.

gpscribe: heh

PERRYPARK: I personally LOVE the full length world of Jackson Donne.

PERRYPARK: brb

MWhite8482: I like it too. As for the future of the genre...it'd be nice just to have a place in the future... not BE the future.

gpscribe: Where's Sunshine? Is he fielding offers from DJ Qualls to star in the movie?

lunchboxhero007: I'm babysitting so if I suddenly leave its because a baby hit something wrong

MWhite8482: I think he's fellating Duane Swierczynski

kvnbsmith@mac.com: Yeah, you won't know until you get your first royalty cheques, which of course are written in Sanskrit.

BlackmooreS: Well, don't give it a hammer

gpscribe: ha!

Odo6140: Um, is there an active question?

MWhite8482: nope, not really.

gpscribe: I'd like to know....

Odo6140: go ahead, paul.

gpscribe: how far in the future have you thought - for Donne? how many books are in your head?

kvnbsmith@mac.com: How did you get so many impressive blurbs?

MWhite8482: Five books.

MWhite8482: Five Donne books.

gpscribe: wow

MWhite8482: Maybe one Martin

MWhite8482: And as for the blurbs... ask and ye shall receive I guess.

BlackmooreS: ?

MWhite8482: The Crumley one was the biggest surprise.

gpscribe: and the best

Odo6140: go ahead, stephen.

BlackmooreS: With 5 books planned ahead, are you expecting to follow a particular arc with Donne, or are the stories less planned out?

kvnbsmith@mac.com: Gee, nobody asked me.

MWhite8482: The stories are... semi-planned out.

MWhite8482: I know what each one is about... Book 1, Donne and Martin, Book 2, Donne and his family Book 3 Donne at school. ut beyond that short description, I don't know much.

lunchboxhero007: When do we get Donne and the Monkey?

MWhite8482: Book 8

MWhite8482: Kevin, I know they sent you a review copy.

gpscribe: but it's really thee monkey's book, isn't it?

Odo6140: Me Tarzan, You Donne?

BlackmooreS: There's just not enough monkey PI fiction out there, if ya ask me

gpscribe: that's what Pronzini said

MWhite8482: Try Warren Ellis' Crooked Little Vein, I hear there are monkeys.

Odo6140: Next q, anyone?

lunchboxhero007: ?

Odo6140: go, bryon.

MWhite8482: oh boy

AldoMystery: I'm gonna be on the road for the next fifteen minutes. Let see if this Neighboorhood WiFi really works

gpscribe: Dave, how was your actual finger-to-keyboard process different writing the book as opposed to when you would tackle a short?

lunchboxhero007: Will there be a Rutgers football book with Donne?

MWhite8482: Okay, we'll go Bryon first... Rutgers basketball in book 3, but not football, I'd like to attempt to write off my season tickets.

kvnbsmith@mac.com: Oh, gee, just what we need... someone chatting while driving.

AldoMystery: How bout I chat, while Kasey drives....you know that student driver thing.

MWhite8482: Paul, writing the book took a loonnnggggg time... And I let it sit a lot longer... sometimes I feel like I can get short stories done in one or two drafts...

gentlesavage32: of beer?

MWhite8482: each book so far has taken between 4 and 8 drafts. The problem with a novel is coming up with ways to keep momentum going for a long period of time.

MWhite8482: I wish beer were involved.

BlackmooreS: ?

gpscribe: did you find yourself struggling - like midway through the story? keeping it fresh or interesting?

MWhite8482: In the first book definitely. IN the second book, which has many more Points of view, not as much... I just jumped around to whomever I felt was more interesting.

Odo6140: You're next, Stephen.

BlackmooreS: So beyond Donne books, what else have you got planned? Anything?

MWhite8482: I have an idea for a serial killer novel and a spy novel.

PERRYPARK: ?

gpscribe: ?

Odo6140: Go ahead, JT.

kvnbsmith@mac.com: How about a spy who is a serial killer?

MWhite8482: that's all you Kevin.

Odo6140: Paul after JT.

PERRYPARK: Would you approach it the same again with new characters, ie: writing a series of shorts then a full length novel?

MWhite8482: Um. I think it helps make Donne fully realized, but at the same time, it'd be nice to start a novel with a clean slate... by the time WHEN ONE MAN DIES starts, there's a hell of a lot of backstory.

PERRYPARK: And if you knew your actor would win Sexiest Man Alive, would you write a book just for him?

PERRYPARK: JK

MWhite8482: If the actor was me, then yes.

kvnbsmith@mac.com: Dave has an actor?

BlackmooreS: Dave can act?

Odo6140: Paul Giamatti.

gpscribe: Are the non-Donne book ideas things you've had in your head a long time, or were they born during the writing of the Donne books?

PERRYPARK: Didn't you know, he's the body double for Josh Hartnett.

MWhite8482: The serial killer idea has been in my head for years...since college. The spy novel popped into my head about a year ago.

kvnbsmith@mac.com: Josh Hairnett? And here I was trying to like Donne.

lunchboxhero007: ?

gpscribe: are they character-driven like the Donne stuff?

Odo6140: go, bryon.

MWhite8482: I hope so. The spy novel definitely is... the idea I have for it... it's kind of a guy lit novel.

PERRYPARK: Dick lit?

lunchboxhero007: Are you preping any short stories for the newly resurrected Plots with Guns?

Odo6140: LOL, JT.

MWhite8482: um what? newly... did I miss something? I've kind of been out of it the past month or so.

PERRYPARK: : )

kvnbsmith@mac.com: PLOTS WITH GUNS is back?

gpscribe: holy crap!

Odo6140: yes, kevin.

BlackmooreS: When did this happen?

MWhite8482: way to overshadow me, Bryon.

MWhite8482: Jeez.

gpscribe: yeah, forget White!

lunchboxhero007: I try

Odo6140: today, announced on Neil's blog.

PERRYPARK: ? for Dave, really

Odo6140: Go ahead, JT,

lunchboxhero007: (evil grin)

gpscribe: Dave, what can you tell us about the new PWG?

gpscribe: j/k

gpscribe: :)

kvnbsmith@mac.com: Oh, boy!

PERRYPARK: Do you think your age has helped or hurt you in the process. Outside of the sheer jealousy of your compatriots, I mean...

MWhite8482: I think it's helped because by the time I'm 35, I think I'll be a much better writer... or at least I hope I will... so maybe that will give me more of a window of time to be in my prime as a writer?

PERRYPARK: good answer

MWhite8482: Ah, Plots With Guns... my white whale.

gentlesavage32: ?

Odo6140: Go ahead, Christopher.

kvnbsmith@mac.com: Well, some kinda fish... oh, mammal.

gentlesavage32: Are there plans to release a book of the collected short stories pertaining to Donne?

MWhite8482: Not that I'm aware, you can always print them out on your printer and staple them together, if you want.

gpscribe: ?

Odo6140: Go ahead, Paul.

gpscribe: How was it working with an editor for the first time, and will you keep the same editor as far as you know?

MWhite8482: Book 1 and 2... had... two different editors... worked with Jason Pinter until last February and then Julian Pavia took over, but most of the WOMD heavy lifting was done. Julian and I just finished up the major edits on Evil.

MWhite8482: As for what it was like? I love the back and forth of revision... so I don't mind...

gpscribe: ?

Odo6140: Go ahead, Paul.

gpscribe: can you speak to the differences between the editors - not personally, but how they worked or what they focused on?

MWhite8482: One focused on the big picture the other focused on the minutiae of each line.
Odo6140: Interesting.

MWhite8482: But both were equally helpful and both made each respective book better.

BlackmooreS: ?

Odo6140: Go, Stephen.

BlackmooreS: Though both of them were helpful, did you find it easier to work with one style over another? Are you drawn more to the big picture or the small details?

MWhite8482: Actually I think each version worked for each book. One book needed a lot more help than the other and probably required it to be worked on line by line.

PERRYPARK: ?

Odo6140: Go ahead, JT.

MWhite8482: I have a preference for whatever makes the book the best it can be.

PERRYPARK: Do you find that being a teacher helps your presentation when you're out promoting?

PERRYPARK: And...

PERRYPARK: Do you like the promotion part?

MWhite8482: Yeah. It's given me a lot of public speaking confidence. As for the promotion part... I enjoy it... I like being the center of attention, but I can see how too much of it can be overly annoying. I mean I only did 4 days of actual out in bookshops promotion. 3 of which were speaking events and one a drop-in

PERRYPARK: Bastard

kvnbsmith@mac.com: You don't like to travel, right?

Odo6140: uh-oh.

MWhite8482: I don't mind travelling, but I don't like to fly.

PERRYPARK: yu need to go hawk your wares for at least a week on the road

PERRYPARK: ?

MWhite8482: this summer for book 2 will be more intensive I'm sure.

Odo6140: Go ahead, JT.

PERRYPARK: Is it true that you w2ere kicked out of a Borders for trying to sogn your bok?

kvnbsmith@mac.com: No sogning allowed!

BlackmooreS: Quite drinking, JT

PERRYPARK: sorry, i just had Thanksgiving dinner and a little champagne...

MWhite8482: I was kicked out of a Barnes and Noble for trying to take pictures of my book on the shelf.

Odo6140: "Soil your book?"

BlackmooreS: Eeew

PERRYPARK: that's insane. I hope you sent a smackdown back to them

MWhite8482: Nah, I just came back and signed the book so they couldn't return it.

Odo6140: Telephoto lens, Dave.

Odo6140: Aerial shot.

kvnbsmith@mac.com: Ah, corporate America. God forbid someone disrupt the slugs sleeping on the floor...

gpscribe: ?

Odo6140: Go, Paul.

gpscribe: any plans or desire to try other forms - screenwriting, etc?

MWhite8482: There is a curiousity there, yes... but i find it hard to think in screenwriting format. I think it'd take a lot of practice for me to be able to write something that would be good for the screen.

Odo6140: Next q?

gpscribe: ?

Odo6140: Go, Paul.

PERRYPARK: ?

Odo6140: then JT.

gpscribe: at what point - or how many short stories in - did you have the moment of "I'm going to try a novel?"

MWhite8482: Right after I finished "God's Dice." I think I ran out of short ideas for Donne (at the time) and I decided to say what the hell... let's see what he can do in a novel.

Odo6140: I think Dave actually wrote a novel first.

MWhite8482: So about 5 stories before I wrote a novel I expected to get published.

Odo6140: what about the novel you wrote in college?

MWhite8482: Though yes, I wrote a Jackson Donne novel "Borrowed Trouble" for my senior thesis at Rutgers. We try to forget about that one, though.

gpscribe: how long was it?

MWhite8482: 260 pages... not sure on word count... didn't know what that was then.

Odo6140: Go ahead, JT.

PERRYPARK: How did you develop Jackson Donne?

MWhite8482: I wrote about him.

PERRYPARK: ha

kvnbsmith@mac.com: Good answer!

PERRYPARK: Then...

MWhite8482: I don't know, I just kept asking what drives this guy... and why is he still hooked on his dead fiancee?

lunchboxhero007 left the room.

PERRYPARK: Can you identify with him? He seems to have a few "issues" that you don't...

MWhite8482: (something I started writing about when I was hooked on an ex-g/f)

MWhite8482: I can identify with him to a point. I mean obviously I don't drink nearly as much as he does, I don't have a drug problem and I don't kill people

MWhite8482: but his voice deep down... part of that is or was me.

gpscribe: unless you count chicken wings as drugs

kvnbsmith@mac.com: Well, there is THAT.

MWhite8482: I like chicken.

gpscribe: ?

Odo6140: Go ahead, Paul.

gpscribe: let's go to the old standard - who are your influences?

gpscribe: besides me

MWhite8482: Robert B. Parker, Lehane were the two who got me to start writing PI stuff.

MWhite8482: But from here on out, everything is an influece... The Sopranos probably taught me best how to write New Jersey.

PERRYPARK: ?

Odo6140: Go ahead, JT.

PERRYPARK: When do you write -- with full time work and a full time writing schedule?

MWhite8482: oh and an adverse reaction to James Patterson helped influence me as well (take that PBP)

MWhite8482: I write when I can... When I'm on a roll it's usually when I get home from school until about dinner time.

gpscribe: ?

MWhite8482: so say 4-6

Odo6140: Go ahead, Paul.

gpscribe: on the influence thing...

MWhite8482: yeeeeeeeeessssssssssss

gpscribe: take the Sopranos, how do you keep from just being derivative ?

MWhite8482: What do you mean?

MWhite8482: In terms of just doing New Jersey the same way they do?

gpscribe: you said the the show taught you how to write NJ... how did it do that without you just writing like Chase?

MWhite8482: I mean, I live in New Jersey, I am part of NJ so my own experience is going to play a part in the book too

gpscribe: because your writing has a unique voice/pov

MWhite8482: And so taking that experience and sewing it into the lining of what I'm writing about...

MWhite8482: keeps it from being derivative, I think.

MWhite8482: Basically what I learned is The Sopranos knows that New Jersey is more like a big city than a state.

MWhite8482: So you can go from town to town in 3 minutes...

gpscribe: Like, what did you not know before the show that you leanred and thought "I can put that into my writing"?

MWhite8482: Basically it was the offhanded way they mentioned things about NJ. As a writer I always felt that something like "Rutt's Hutt" would need to be explained.

PERRYPARK: Sorry to chat and run, I've got to go back to the family... Pumpkin pie awaits the worthy among us...

Odo6140: Thanks for attending, JT.

MWhite8482: But the Sopranos showed me that you can just say "I went to Rutt's Hut today" and no one is going to lose their hair worrying about what Rutt's hutt is

PERRYPARK: Have fun, boys! Dave White RULZ!!!!!!!!!!!!!!!!!!!!!!!

MWhite8482: bye JT.

PERRYPARK: xo

gpscribe: bye JT

PERRYPARK left the room.

gpscribe: I see what you're saying, Dave.

Odo6140: Next q?

kvnbsmith@mac.com: No, that's the way to do it. If you have to explain your settings or even your word choices too much, you're not doing your job. Like David Simon says, "Fuck the average reader."

MWhite8482: Right, Kevin, but that was one of the things as a writer I had to learn.

BlackmooreS: Gotta go, folks. Glad I popped in. Loving the book, Dave.

gpscribe: I gotta run - thanks, guys. Dave, congrats.

MWhite8482: Bye guys! Thanks!

kvnbsmith@mac.com: Gee, was it something I said?

Odo6140: Kevin, here's your chance to grill Dave.

MWhite8482: uh oh.

kvnbsmith@mac.com: Why "Uh oh"?

MWhite8482: no reason... just the word grill... negative connotations.

kvnbsmith@mac.com: Oh, well, okay... lemme see...

kvnbsmith@mac.com: Chicken wings, huh?

MWhite8482: heh, not really

MWhite8482: I like 'em, but not obsessively.

kvnbsmith@mac.com: What's the title of the next one? (Sorry if I should already know it... but I just can't keep up with everything)

MWhite8482: The Evil That Men Do.

gentlesavage32: Dave, how is your stalker doing?

Odo6140: Good question. :)

kvnbsmith@mac.com: Oh, okay, right, I saw mention of that somewhere... DetecToday.

kvnbsmith@mac.com: You have a stalker too?

Odo6140: He's being stalked by Snoopy.

kvnbsmith@mac.com: Oh, gee... he shops for books at WalMart? I'm surprised he can read.

MWhite8482: hahaha

gentlesavage32: I prefer to buy my books at Costco.

Odo6140: Dave, is the pov-switching easier in Book 2 than Book 1?

kvnbsmith@mac.com: At least I'm a bookseller who can read.

MWhite8482: Easier to read or easier to write?

Odo6140: for you as writer, I mean.

MWhite8482: Yeah it was easier.

kvnbsmith@mac.com: Costco? Yes, their selection can't be beat.

MWhite8482: It was a great way to ward off writer's block.

Odo6140: I would think switching from 1st to 3rd was tough.

MWhite8482: it would have been, but I wrote the first person first and then the 3rd person.

kvnbsmith@mac.com: Do you ever worry you'll switch POV one too many times and lose the reader? i must admit, the switch from 1st to 3rd stumped me a few times -- it's an awkward rhythm.

Odo6140: oh, I see. and then edited them together.

MWhite8482: Yeah, it was a major concern in the 2nd book actually. Which is why the entire book ended up as 3rd person. As for the WOMD, it was a hard judgment to make and not a concern of mine until it was done, then I started to worry if it was too awkward.

kvnbsmith@mac.com: Why wasn't it a concern?

Odo6140: You didn't think much about it while writing?

MWhite8482: I don't know... I wasn't really thinking about the reader I guess... it was more I was trying to figure out how to tell the story. And I figured if it was too awkward one of my reader's or editor would have told me.

MWhite8482: Not in WOMD... I didn't think about future readers, no.

Odo6140: I see.

kvnbsmith@mac.com: Not quite what Simon meant, but i see your point. The story has to be written first.

MWhite8482: The second book has more of a "this would be fun to put in it" aspect. I did a lot of things that I thought would be fun for me and therefore fun for my friends to read.

kvnbsmith@mac.com: What would you do different in WOMD if you could? (Since it's just us three girls here...)

MWhite8482: hmmmm. Had Donne be a little more hooked on what Martin tells him late in the novel.

Odo6140: Intriguing.

kvnbsmith@mac.com: Yep. I'm nodding slowly, trying to look intelligent. Very interesting.

Odo6140: That was the shock of the novel for me.

MWhite8482: Yeah I don't think Donne reacted enough to it as he went along.

Odo6140: Oh, one more question, does Bill Martin borrow any traits from former Yankee manager Billy Martin?

MWhite8482: Just the name, I think.

Odo6140: I saw some of the same "I'm No 1" mentality, control freak, etc.

kvnbsmith@mac.com: He did seem to bounce around a lot in the novel, shuffled back and forth by outside forces. Does he become more of a catalyst and less passive, a victim of circumstance, in the next book?

MWhite8482: Donne? Yeah I think he pushes the plot forward a lot more.

MWhite8482: But I think that's Donne. He doesn't want to do this stuff anymore, so he gets bounced around.

kvnbsmith@mac.com: I actually like how he bounced around in the book, BTW. but it would get tiresome if it kept on book after book...

Odo6140: Good point. It's a change from the usual plot-driving PIs.

Odo6140: That's what I think happened to Kenzie and Gennaro. They became Lehane's crash-test dummies.

kvnbsmith@mac.com: Well, generally, they DO have to drive the plot at some point. The ineffectual P.I., of course, has a long noble tradition in noir, but noir is hard to sustain well in a series.

MWhite8482: I think Donne more and more will have to push the plot forward... The second half of the 2nd book he really does.

MWhite8482: though he's not a PI anymore so...

Odo6140: Yeah, some characters have to be pushed.

kvnbsmith@mac.com: I'm looking forward to it. And as a big Lehane fan, what did you think of GONE BABY GONE?

Odo6140: I liked it.

MWhite8482: I loved it, actually. It made me want to go and write.

Odo6140: I thought it was a bit long.

Odo6140: I would have ended it on Angie's line, "There's nothing to say."

MWhite8482: What are you guys reading now?

kvnbsmith@mac.com: Me too. It was far better than the book. It cut out a lot of the unnecessary crap in the book, but then, I've never thought Lehane was as good as some people do.

Odo6140: I'm reading CRUEL POETRY by Vicki Hendricks.

MWhite8482: ah cool

gentlesavage32: I'm reading NO DOMINION by Charlie Huston

Odo6140: It doesn't have enough plot momentum for me, but I like her writing in general.

kvnbsmith@mac.com: Me? A romance (shudder) mystery by Elizabeth Lowell for a mystery reading groups at the local B&N. Not very cool, I'm afraid. Then it's back to something more hard-boiled, I hope.

MWhite8482: Okay... I'm reading an ARC of THE GUILTY by Pinter.

Odo6140: How do you like Houston, Christopher?

kvnbsmith@mac.com: More something new I need to catch up on, or maybe an old pulp book by as research for a book I'm doing.

gentlesavage32: I love his writing. I hope to read THE SHOTGUN RULE next.

Odo6140: Dave chats with him often, I hear.

MWhite8482: I've been emailing back and forth with him. I just finished A Dangerous Man this morning.

kvnbsmith@mac.com: Network, baby, network.

Odo6140: The hour is up. Thanks, everyone.

MWhite8482: Do what I can. Okay guys, thanks for coming!

kvnbsmith@mac.com: Thanks for showing up.

gentlesavage32: Thanks Gerald. Thanks Dave. Great chat.

Richard Aleas (Charles Ardai)

2007-09-20T20:20:00.006-04:00

Thursday, September 20, 2007

Participants

Charles Ardai (writing as Richard Aleas)
Gerald So

Gerald So: When did you have the idea of bringing John Blake back?

Charles Ardai: You know, his story just didn't seem finished to me. I mean, there was a resolution at the end of the first book, LITTLE GIRL LOST, but it was very open-ended. I kept asking myself, What would it really do to someone -- especially someone sensitive, as John is -- to go through the events of that book? And the answer was pretty clear (to me, anyway): It would be crushing. It would be terrible.

Charles Ardai: So I had the seed of my story: John would run as far as he could from the life he'd led before. But he'd discover he hadn't run far enough.

Gerald So: I remember you mentioning during our chat about LITTLE GIRL that Susan might be back as a PI. Did you see yourself bringing John back at that point, too?

Charles Ardai: I think my original notion was that Susan might be the star of the second book and that John would just show up as a cameo. But in the end that struck me as a less interesting idea. Also, I find I can write in the voice of a depressive young man more easily and convincingly than that of a competent young woman.

Gerald So: I see.

Charles Ardai: But yeah, the original sketch I made of SONGS OF INNOCENCE had the plot about Susan tracking down Dorrie's various clients one by one as the 'A' plot. Sort of like a Cornell Woolrich novel -- very episodic, like THE BRIDE WORE BLACK. But the more I wrote, the more I realized that that was a very conventional story and just not nearly as interesting as the disintegration of a soul.

Gerald So: right.

Charles Ardai: One question I had was whether readers would be comfortable following me down the very dark path I wanted to take them.

Gerald So: I found the disintegration very well paced. It seemed in the end that suicide was the best/most noble thing John could do, which is weird, but it works.

Charles Ardai: Thanks. I'm a big believer in suicide - That's an odd line out of context. Without spoiling all my life's work, I can mention that the story of mine that won the Edgar and the one that was nominated for the Shamus both end in suicide. If you're reading a book I wrote, there's a very good chance a character in it will kill himself before the day's out. Of course now I'll have to change that up, just to avoid being predictable.

Gerald So: I've read "The Home Front", yes.

Charles Ardai: The other one was "A Bar Called Charley's".

Gerald So: A pattern is less obvious if everything else is plausible. Where does "A Bar Called Charley's" appear?

Charles Ardai: You know, I am not an advocate for suicide in real life - though I'm not against it, either; but in drama it has an important place.

Gerald So: Sure, you just have to earn the moment.

Charles Ardai: A BAR CALLED CHARLEY'S originally ran in AHMM back in - I think - 1990, and then appeared in THE YEAR'S BEST HORROR STORIES and BEST MYSTERY STORIES OF THE YEAR.

Gerald So: Thanks.

Charles Ardai: It's hard to find those old issues and old collections, but maybe someone will turn it up somehow. One of these days, I'd like to collect up all my short stories in a single-author collection -- but those are awfully hard to sell...

Gerald So: Do you still plan to bring Susan back in the future?

Charles Ardai: I don't think I'll bring Susan back. Never say never, as Sean Connery taught us, but I don't think it's likely. I've been thinking about how to write a sequel to SONGS OF INNOCENCE, since Booklist said they wanted to see such a book, but I wonder whether Susan would be interesting on her own. In the first two books we only saw her through John's eyes; I'm not even sure people would recognize her as the same character if suddenly they were inside her head. Of course, I could set SONGS OF EXPERIENCE entirely during the few seconds between the end of SONGS OF INNOCENCE and when the train arrives...make it a long flashback...but it would be a bit gimmicky.

Gerald So: Yes. I'm not a fan of long flashbacks.

Charles Ardai: I'm not, either -- but I did one in this book, and it worked. The whole first half of the book is a flashback that eventually deposits you back in the opening scene. That turned out to be pain in the ass to write.

Gerald So: Oh, right. It was good as prologue. Almost not noticeable.

Charles Ardai: Since you spend 100 pages working your way back to an event you've already described, you don't have the freedom to take the character off in a strange new direction. But it was structurally interesting, so I went with it.

Gerald So: I think it helped to build sympathy for Dorrie.

Charles Ardai: That's one of the things I was hoping it would do. Since she's alread dead when the book opens, a flashback was the only way we could see her alive. The other thing I was hoping was that people would enjoy seeing various bits of the opening scene explained as we went on. For instance, we're told that John recently broke a rib. But how did he break it? We eventually see it happen, in the flashback. And when it comes, I want it to feel like a puzzle piece clicking neatly into place. Whether it does or not, I can't say. But it was fun to play with that sort of thing.

Gerald So: I think that thoroughness pays off.

Charles Ardai: Thanks. It was in some ways an exhausting book to write, but I also enjoyed it a great deal.

>Gerald So: not everyone will be on the same wavelength, but for those who are, it's added fun.

Charles Ardai: Right. And so far the response I've had from readers has been gratifyingly positive. A few people have pointed out, grouchily, that the plot of the two books is very similar, which is true: I tried to put a batch of things in the book that come from various parts of my life. I went to school at Columbia, so all the Columbia scenes contain references to real people and places - though I changed the geography of the tunnels under the campus to suit the plot.

Gerald So: I wondered about that. How much was real and how much was imagined for the story.

Charles Ardai: The Hungarian named Ardo Fekete is named after the town at the foot of the Carpathian mountains after which my father's family was named - "Ardai" means "a person from Ardo". And at one point Susan suggests to John that they use a juno.com e-mail address. But there's plenty that was made up out of whole cloth as well.

Gerald So: was Khachdurian also Hungarian? I remember the Juno reference.

Charles Ardai: No, 'Khachadurian' is - I believe - an Armenian name. My wife had a high school friend named Khachadurian. And I have a friend named Murco. Put the two together, and presto -- you've named your villain.

Gerald So: Yes, I knew it was one of the two.

Charles Ardai: I love coming up with interesting names. A friend of mine in elementary school had a list of names his mother had compiled. Real people with weird names. One of them was "Rudolf von Eggcream." You can't make this up.

Gerald So: Was that a real name?

Charles Ardai: Apparently. I can't vouch for it myself.

Gerald So: Any idea what sort of book you'll write next?

Charles Ardai: The next book I've committed to write is the fiftieth book in the Hard Case Crime series, which will be published at the end of 2008. Unlike the last two, this one will be a romp -- not an out-and-out comedy, but pure fun. It'll be set in 1958 and will tell the story of the founding of Hard Case Crime - that way, 2008 will be our 50th anniversary, you see.

Gerald So: Aha.

Charles Ardai: I plan to have cameos from various writers who were alive back then. The main plot will involve a gorgeous young woman who comes to New York City to be a dancer and finds herself embroiled in much mischief. Glen Orbik - who also did the cover for SONGS - will be painting the cover. And if we can afford it, we plan to include an insert section that will feature miniature images of all 50 of our covers.

Gerald So: Oh, neat. How many of the covers has Orbik done so far?

Charles Ardai: I think he's done 6 or 7 -- I'm not sure. He's currently working on the cover for THE MAX, the third book in Ken Bruen and Jason Starr's series that began with BUST and is about to continue with SLIDE.

Gerald So: I'll be picking all of those up.

Charles Ardai: I hope you like them! BUST was very popular, and I think SLIDE is even stronger. Tighter, leaner, meaner, funnier.

Gerald So: wow.

Charles Ardai: And BUST was no slouch -- so you can imagine how strong SLIDE is.

Gerald So: as I say, wow.

Charles Ardai: Supposedly it'll be reviewed in tomorrow's ENTERTAINMENT WEEKLY. We'll see. As for THE MAX, I haven't read any of it yet, but Jason tells me he thinks it's the best of the three. I do know it takes our favorite miscreants to a new environment: jail.

Gerald So: Ah. What's your writing process like? Does it differ between stories and novels?

Charles Ardai: Novels take longer. Other than that, not really. Actually, that's not true. I sometimes don't know when I start a short story how it will end. I just go with the flow, see where it takes me. With both of the novels, I knew exactly what the ending would be before I started writing. That helped a lot. I can't imagine how frustrating it would be to write 200+ pages only to discover you've written yourself into a hole and didn't have a good ending.

But I often know the ending before I start a story, too. For instance, I'm about to write a story called THE CASE OF THE DEAD MAN'S BLUES, and I know the last line. I don't know everything that happens on the way to that last line, but I know the line.

Gerald So: It strikes me as easier to know the ending and write one's way up to it like a flashback. Just a gut feeling, though

Charles Ardai: It's easier and harder. Easier because you have a destination in mind and can aim for it. Harder because you actually have to hit what you're aiming at. If you paint a target, there's a bullseye for you to miss.

Gerald So: right, but in general I think it's better to have a target that not to have one.

Charles Ardai: I agree.

Gerald So: Many a book has ended flatly.

Charles Ardai: I always wonder why that happens -- does the author start out with a flat ending he thinks, incorrectly, is great, or does he not know how to end the book and eventually just give up on writing something great? Or does he choose a flat ending deliberately, to make some sort of point?

Speaking from my own experience, when my stories have ended flatly, it's because I didn't have an ending in mind when I started and couldn't come up with a good one and finally just said, "The hell with it. I've given this story as much of my time as I can. I have to tie it up somehow and move on."

Gerald So: Yes, it's possible to overthink an ending, too, which is where I think the "making-a-point" endings come from.

Charles Ardai: Probably. On the other hand, some people really want to make a point, and set out to do so. It's didactic, but I can't say it's not a legitimate choice. Look at all those episodes of the original STAR TREK series that made a point about racism or politics or what-have-you. Or the old TWILIGHT ZONEs. That sort of thing can be fun, too. If it's not too preachy.

So what have you been reading lately that really knocked you for a loop?

Gerald o: Hmm. I just read NIGHT WORK by Steve Hamilton. Good to see him try a new protag.

Charles Ardai: Absolutely. I'm curious to read it. The last book I read was actually only obliquely related to our genre -- it's a nominal biography of Raymond Chandler called THE LONG EMBRACE, focusing on Chandler's 30-year marriage to his wife, Cissy, who was almost as old as his mother and whom he married just two weeks after his mother died. An interesting topic, to be sure -- but unfortunately there's just not that much information, and the author fills the pages with much speculation pulled out of (to be polite about it) her hat.

Gerald So: Ah, one of those filled-in histories.

Charles Ardai: She tries her best; I think she's sincere. But there's not much to work with. The Chandlers lived in more than 30 residences over 30 years, which is peculiar in itself; so she goes to visit all 30...but of course after half a century, they're mostly gone or locked up or otherwise inaccessible. So what do we learn? What some old buildings looked like.

Gerald So: Is it marketed as fiction?

Charles Ardai: No, it's marketed as non-fiction, though the author is a novelist. I found it disappointing, but maybe that's because I love Chandler so much and she's so much worse a writer. Every time she quotes a passage from Chandler, I want to say, "That's it! More of that! Less of your drab writing, please; more from that Chandler guy."

But what can you do? We're none of us as good as Chandler.

Gerald So: As a fan of Chandler, what did you think of Robert Parker "finishing" POODLE SPRINGS?

Charles Ardai: I liked the idea of it; I can't say I loved the book. I liked it -- but it wasn't as good as Chandler. Same with Parker's sequel to THE BIG SLEEP (which I think was called PERCHANCE TO DREAM) Some very nice writing (at his best, Parker's great), but nice ain't the league Chandler was working in.

Gerald So: Yes, somewhere along the line, I couldn't suspend disbelief with anyone finishing another author's work. I feel the same way about the new James Bond authors.

Charles Ardai: That said, Max Allan Collins finished Mickey Spillane's final crime novel, DEAD STREET, for us, and I defy any reader to detect the seam between them.

Gerald So: Interesting.

Charles Ardai: Of course, Mickey and Max talked a lot about the book before Mickey died, and Mickey left extensive notes behind; but Max had a big writing challenge, channeling the voice of an Old Master, and he came through beautifully.

Gerald So: No one knows Mickey better than Max, I would think.

Charles Ardai: Right now, Max is finishing Mickey's unfinished Mike Hammer novels - though not for us. They'll be published by Harcourt.

Gerald So: I see.

Charles Ardai: I'm very curious to read them myself. Mickey also left behind one finished novel called THE LAST STAND, but it's more a men's adventure novel than a crime novel, so it remains to be seen who publishes that one.

Gerald So: I'm ambivalent. On one hand, I want the finishing author to pull it off, and on the other I don't want him to be as good.

Charles Ardai: Right! It's a conundrum. As it happens, the finishing author is almost never as good. I've heard good things about Mark Winegardner's work on the GODFATHER sequels, but that's an exception.

Gerald So: But also you can't expect anyone to completely mimic someone else.

Charles Ardai: True. The best you can hope for is what you get in good fanfiction -- a person who really loves the characters and the universe and is able to reproduce their voices credibly. You don't get the original author's particular genius for invention. But you get something, and for a fan of the author's work, that sort of tribute can be enjoyable.

Gerald So: You may get to hear the characters again, right.

Charles Ardai: I remember an episode of STAR TREK: THE NEXT GENERATION where they find Scotty, the chief engineer from the original series, trapped in a transporter signal and they bring him back, and he feels out of place in the new period. So he goes to the holodeck and asks to see a recreation of the original Enterprise deck. And when he steps onto that recreated deck - it's a magical moment for anyone who loved the original STAR TREK, who grew up watching it. It's just a moment, maybe a minute or two at most -- but it's a step back into something you thought you'd never see again.

That's what you can get with a continuation of an author's work after his death. In the best case.

Gerald So: They did something similar on DS9.

Charles Ardai: Right, the tribbles episode. You can tell I'm a trekkie.

Gerald So: I'm curious and a bit afraid of the JJ Abrams movie.

Charles Ardai: Me, too. But more curious than afraid. Tenty years ago, I'd have been more afraid. I'd have been writing petitions opposing it. But now...I'm curious to see new actors try the roles on for size. Why not? I liked Daniel Craig as Bond. I may like Matt Damon, or whoever, as Kirk.

Gerald So: It's strange how the franchise seemed to run out of ideas with Enterprise.

Charles Ardai: I would guess there will be another STAR TREK tv series at some point. They just need to get some really great writers. That's the main thing I found was missing from the later series.

Gerald So: The better the writing, the easier a role is to play.

Charles Ardai: Of course, what else would you expect a couple of writers to say...

Gerald So: Very true.

Charles Ardai: Now, JJ Abrams is a good writer, or at least knows how to hire good writers. I've enjoyed LOST very much, even though it's gotten very convoluted. The writing is consistently strong and sometimes outstanding. And the acting is excellent. So I have high hopes.

The other one I have high hopes for is the new Indiana Jones movie. No one who loves pulp fiction can fail to feel a slight flutter of the old ticker at the prospect of seeing Harrison Ford in the hat again.

Gerald So: I was glad to see Terry O'Quinn get an Emmy.

Charles Ardai: Yeah, I was glad about that too. He's tremendous actor.

Gerald So: The new Indy movie has Marion in it. I'm sold.

Charles Ardai: Yep. As long as she drinks some buffalo-sized Tibetan gentleman under the table again, I'll have gotten my $11 worth.

Gerald So: None of the other love interests was as alive as Marion, it seemed.

Charles Ardai: I couldn't even tell you who the love interest in the third one was. In the second, I liked Willie as long as she was singing "Anything Goes" in Mandarin, but after that it was all downhill. Unfortunately, "Anything Goes" ends about 2 minutes into the movie.

Gerald So: Your opinion is surprisingly harsher than mine. :)

Charles Ardai: I wrote a piece of fanfiction last year that I'm very proud of that imagines what Indy's life might be like after WWII ends. Very grim, a bit depressing. Just what you'd expect from the author of SONGS OF INNOCENCE. But no suicide at the end. That far I wouldn't go. That's the epitome of a character who can take everything life throws at him and keep coming back for more.

Gerald So: I'm curious. How did your story end?

Charles Ardai: Ah...the only way to answer that would give away too much about the story. If you're curious to read it, it's at http://www.yuletidetreasure.org/archive/22/indianajones.html

Gerald So: Oh, okay. I will read it sometime.

Charles Ardai: I'm certainly delighted to have the chance to chat with you about all this good stuff -- everything from my book to other people's books to STAR TREK and INDIANA JONES. Not a bad way at all to spend an hour.

Gerald So: As am I. Thanks, Charles.

Charles Ardai: Glad to do it! Have a good night.

Richard Hawke

2007-08-26T16:22:00.001-04:00

Sunday, August 26, 2007

Participants

briannthorntonn: Brian Thornton
g_so: Gerald So
timcockey: Tim Cockey (writing as Richard Hawke)

g_so: To start, Tim, how did the pseudonym Richard Hawke and the character Fritz Malone come to be?

timcockey: Well...that's a lot. I'll start with the pen name.

timcockey: Essentially...there were a number of reasons. The primary one for me was a desire to do a 'fresh start' with the new series and the new locale...New York City. I'd done five Hearse/Hitch books set in Baltimore and pitched toward humor...and I determined that i wanted the 'Richard Hawke' name to be the 'author' who writes a variety of mystery styles and locales. I hadn't actually intended to start right into a series again...but it was clear to me right off the bat that Fritz was a series character.

briannthorntonn: I wondered about the pseudonym thing as well, because there's a colonial and Revolutionary War historian who wrote mostly from the late 50s to the early 80s named "David Freeman Hawke." Wrote a terrific biography of Thomas Paine, among others.

timcockey: It was great fun coming up with the name. I had friends and family suggest dozens of names combinations to me...which I added to a bunch that I came up with...then took a vote and came up with the top 3 contenders.

g_so: what were they, if we may ask?

timcockey: Once i decided that I liked the way the name Richard Hawke could look on a book cover *(let's face it, that's the crucial bit) I told my mother the new name and she HATED it. "It sounds like a cheap dime store novel."

timcockey: Perfect!

g_so: Indeed.

timcockey: I remember the frontrunner. Nicholas Gray. but the problem with that one? Think of the names startring with "g" in the mystery section. Quick! Name three.

briannthorntonn: Grafton

g_so: Grafton...

briannthorntonn: Gaheris

timcockey: Gaheris?????

g_so: This may not qualify as quick. :)

briannthorntonn: Leslie Gaheris. Wrote cat mysteries during the 1920s. My grandmother read them.

briannthorntonn: Gardner

timcockey: Well Brian...that one I could compete with. but Grafton, Grimes and Grisham? Poor old Nicholas Gray would have been dwarfed on the shelf.

briannthorntonn: Both Erle Stanley and John.

briannthorntonn: Gash (wrote Lovejoy)

timcockey: Yes! Garnder. I hadn't even thought of him. Clearly, the G section was verboten.

briannthorntonn: William Campbell Gault

g_so: I see your point, in terms of letters alone, Tim.

briannthorntonn: Elizabeth George.

g_so: point made, Brian. :)

timcockey: I contacted Michael Connelly and Harlan Coben and told them that I was 'leaving the neighborhood' - my books have always been tucked in between theirs - and that I wanted a goodbye gift from them...a nice blurb for my first R. Hawke book.

briannthorntonn: And how could I forget Joe Gores?

timcockey: I could forget Joe Gores. Next question????

g_so: Any significance to the Hawke name as Brian asked?

briannthorntonn: I would think you'd want to be sandwiched between sellers like that. They've got the new Connelly and the new Coben and they're newer ones haven't come out yet.. shoot! Hey, who is this Cockey guy?

timcockey: None. although, by nice coincidence (or fate?) it was only after I;d settled on the name did I realized that the initials matched those of my new publisher...Random House.

g_so: I see.

timcockey: Trust me...being sandwiched there stinks. They have so many books out by comparison that mine vanish...and the stores tend to understock mine to make room for more of theirs. Besides which, Harlan's paperbacks have a tendecy to begin opening up on the shelf...and they literally start to fall off the shelf. It's all too much.

briannthorntonn: I guess I'm lucky I would really only have to worry about the Thompsons and Scott Turow.

timcockey: And I guess Hawke dukes it out with Hiassen.

briannthorntonn: Hiassen. There's one fight sales-wise that I'd run from screaming.

g_so: The market for new writers often intimidates me.

timcockey: As for Fritz...since you asked a moment ago...Initially, I was writing the first scene of SOTD as an everyday guy at the Thanksgiving Parade with his niece and nephew...but every time I had the gunman open fire, I couldn't justify Mr. Everyman abandoning the kids to go chase the gunman. So I decided to try for someone who would have more of a tendency to chase bad guys...and the next thing I knew, I'd pitched it into a first person voice and I saw that i had a PI on my hands.

g_so: That opening scene was memorable.

timcockey: It was pure luck. I wrote a line like "Mother Goose took the bullet" about a month earlier and tossed it away. I had great fun with that opening scene...and wjen it was concluded, had NO idea what in the world the shooting was all about.

g_so: Did you draw on any past PIs in particular when creating Fritz?

timcockey: Sure.. I'm a huge fan of both Spenser and Matthew Scudder. I consider Fritz to be a combo of those guys...as well as bringing some of his own flavor to the mix.

timcockey: And okay...let's be as honest as possible. I;m greatly influenced by the work of Tim Cockey and that undertaker guy of his.

g_so: That was my next question. What did you carry over from your previous books if anything?

briannthorntonn: Scudder, huh? Fritz has demons like his?

timcockey: Well...not the same sort...or else he'd be the same character. Fritz is not as tormented as Scudder...but I feel that he carries a similar feel toward the people he encounters...has a steady hand with women and as well an ingrained desire to see justice done (clearly this is a common trait among scads of protagonists)

timcockey: The name, by thw way. FRITZ = the name of a local homeless guy in my neighborhood. MALONE = Man Alone...as well as being tha last name of a favorite author - and friend - of mine. Michael Malone.

g_so: Brian just heard of your work recently. He's a Spenser fan.

g_so: I like that Fritz doesn't get along with the Scott family and yet does consider them family in some way.

timcockey: I always enjoy dipping into a Spenser...but I have to admit that a certain sameness gets to me if i dip in too often. Or is this abject envy?

g_so: Everyone has seen the sameness, I think. His newest Sunny Randall book is being panned even by his best fans.

timcockey: No need to slide into author bashing. My mistake in leaning that way.

briannthorntonn: You mean the comment about being able to forget Gores' work?

timcockey: No. I meant going into what readers think of Sunny Randall (who I haven't read myself). We all do what we feel is our best work.

g_so: I'm a Parker fan myself. I don't see as bashing authors per se, but I will say when I'm disappointed in a book.

timcockey: And sure...disappointment in a book is part of the game. I agree.

briannthorntonn: So in your writing, personal demons define character?

timcockey: Defines? Not completely. but certainly a demon or two contributes to the sound of a character...and to his/her feelings and actions. Otherwise, where is the color? Even my comic character, Hitch, had his so-called demons...which in my view colored his attitude immensely...partly in his constant leap to humor.

briannthorntonn: OK, just clarifying what you said above about how if they had the same demons, they'd be the same character.

timcockey: Well...in this case, if Fritz were a recovered alcoholic like Scudder, he'd have the AA meetings andf the torments over alcohol. Block has roped off that territory. (beautifully!)

briannthorntonn: Well, Judy Jance also has a recovering alcoholic detective in Beaumont, and her sales are pretty robust.

timcockey: Of course. I don't mean that traits can't be duplicated. but in my case...a first-person New York PI who has an alcohol problem? Besides which....this is not an arena where I have particular experience nor interest.

g_so: It's increasingly tough to really give a new spin on old themes.

timcockey: Exactly. Very tough. However...if you write from an authentic place...it'll be a new spin. Simple truth.

g_so: I really got the sense of New York in Speak of the Devil. How long have you lived in New York, or is that part made up for the Hawke bio?

timcockey: Not made up (if somewhat cloaked). I've lived here now since 1986. Yikes.

g_so: I see. I'm from Long Island myself. I have never quite gotten the hang of the city, but that's part of the fun.

timcockey: I grew up never imagining I'd live here...and now I can't imagine living anywhere else. Long island, eh? You'll have to check out Cold Day in Hell. There's a touch of LI in that one.

g_so: Oh, interesting. I'm definitely interested to read more about Fritz and the Scott family.

timcockey: And yes...having the city as a place to set the story was great fun. i wrote the scene set at The Cloisters.

timcockey: I'm interested in the Scott family stuff as well. Since I don't know myself what happened to the old man.

g_so: Do you know if he's alive or dead at least?

timcockey: Nope.

g_so: I read it as if he might be out there somewhere.

timcockey: And of course...even if I did know, I'd not be telling you. And yes...I make even more of a case in Cold Day in Hell that he might still be out there. At first, I doubted he was...but now I am quite open to it and puzzled myself.

g_so: We have an absentee question from Dave White: How important is pacing in your work? What do you do to keep the pace up throughout a novel?

timcockey: Good question. Here goes...

timcockey: Pacing. Terrifically important. In SOTD I had a ticking bomb of sorts...a deadline from the 'madman.' This meant that the threat had to remain imminent in all of the scenes. Not easy to do...at least for me it wasn't. I had to remain very mindful of this need at all times. At rhe same time, I wanted a fair amount of action intersperesed throughout. these were challenges i had to keep reminding myself of as i worked on the book. They had to be real priorities.

timcockey: My previous books leaned so much in humor, that this whole pacing thing was quite a tricky one for me. At the same time, as a new challenge...it was extremely fun.

timcockey: The Case of the Absentee David White!!!!!!

g_so: Humor is a kind of pacing in itself, and I can see how it's tough when you can't rely on humor because of the genre you're working in.

timcockey: My big challenge was to keep humor in the book - in Fritz - but to keep him from sounding too much like Hitchcock Sewell. I tried to steer away from first person for this reason...but clearly I failed.

g_so: I see.

g_so: Last question, do you have some idea how long you'll be writing Fritz before moving to standalones as Hawke?

timcockey: No real idea. The market drives this a little bit. There's logic in my getting Fritz nicely established and getting enough Hawke readers on board before veering off. But then again, breaking the rules is often a great way of making a new rule. I think that's a worthy final statement. Go out there and break some rules. Readers will be glad that you did.

briannthorntonn: Good luck with the new series and new name, Tim.

g_so: Thanks again for chatting, Tim. Good having you.

briannthorntonn left the room.

timcockey: Thanks. Gerald. It was fun.

Tim Maleeny

2007-06-26T23:30:00.003-04:00

Tuesday, June 26, 2007

Participants

Emily Bronstein: Em from LA
Gerald So: Gerald So
Tim Maleeny: Tim Maleeny

Gerald So: Welcome, Tim.

Tim Maleeny: hello from San Francisco...thanks for having me

Gerald So: Our pleasure.

Emily Bronstein: Hi Tim, turning off the sound.

Tim Maleeny: howdy.

Gerald So: Em, any questions to start us off?

Emily Bronstein: No, let's start me out slow. Tim, I was the person David Hewson snagged at Seattle about your dustjacket.

Tim Maleeny: oh, yes...Seattle was fun...met some great people at Left Coast. Was that your first Left Coast Crime, or are you a veteran?

Emily Bronstein: I've a few under the belt starting since Pasadena.

Gerald So: Speaking of Seattle, Brian Thornton says hi.

Emily Bronstein: I also like going to Bouchercon so I'll be seeing you in Anchorage. Brian, my biggest fan.

Tim Maleeny: Brian's great...tell him I said hi...and Alaska should be fun if the weather holds.

Gerald So: Brian is on Yahoo Messenger. He hasn't finished Tim's book but heard rave reviews of it from RT Lawton.

Emily Bronstein: If it's 60, I'll be happy. Tim, are you doing the Authors to the Bush program?

Tim Maleeny: RT and I met at Bouchercon in Madison...We've both been contributors to Alfred Hitchcock and were on a short story panel. Not sure about the authors in the bush yet...Cornelia Reed and I talked about it.

Gerald So: Brian says he enjoyed your AHMM story.

Tim Maleeny: it was fun to write...it takes an unexpected twist at the end...I used the characters in a book I just finished, a stand-alone.

Emily Bronstein: So you've gone from Cape 2 to a stand alone?

>Tim Maleeny: I'm also finishing Cape 3...a book called Greasing The Pinata...yes, I know my titles sound vaguely, well, suggestive...the stand-alone was something I've been working on for a while, just finished the first draft.

Gerald So: Who came up with the title gimmick? Blanking the Blank?

Tim Maleeny: I did...Stealing The Dragon had such a nice rhythm to it, and the second book, Beating The Babushka, makes people smile when they hear it, so I wanted to continue the pattern...all the titles sound like something illicit.

Gerald So: I see.

Emily Bronstein: Are we also taking a world tour with each book focusing on a different culture?

Tim Maleeny: in some respects, yes...the first deals with the Chinese Triads and their roots in Hong Kong...the second book deals with the Russian mob and the third takes place in Mexico and deals with the drug cartels there.

Gerald So: Brian says: "Short stories as PR. GREAT idea."

Tim Maleeny: tell Brian I wish I had more time to write short stories...tough these days.

Emily Bronstein: Tough when you're doing all these cons - you've got Thrillerfest on your plate this year too.

Tim Maleeny: yes, as the series launched I said "yes" to almost anyone who wanted me to appear on a panel, moderate or teach...so I have five conferences this year.

Emily Bronstein: Corte Madera, right?

Tim Maleeny: yes, the Book Passage Mystery Writers Conference, which is amazing for aspiring writers...that's where I met David Hewson, among others.

Emily Bronstein: The first two in SF and then on the road?

Tim Maleeny: all the books have a foot in SF, since that's where Cape and his deadly companion Sally live, but their adventures move them around...New York, Mexico, Hong Kong.

Gerald So: Speaking of that, do you see your books as thrillers, mystery, crime, all of the above?

Tim Maleeny: as for sub-genres, that's tough in my case because I think of them almost as modern pulps, combining a traditional gumshoe mystery with a contemporary thriller's pacing and tone...I usually just say mystery.

Gerald So: I see. I also have a few offline questions from John Stickney. I'll work them in gradually.

Tim Maleeny: cool.

Emily Bronstein: Have you heard any comparisons with Stealing the Dragon? Since BIG TROUBLE IN LITTLE CHINA is one of my favorite movies, it came to mind.

Tim Maleeny: a fan who came to one of my readings mentioned Big Trouble in Little China, which I hadn't thought of but liked as a reference...I think my favorite review compared it to the best of Dashiell Hammett, Sax Rhomer, Jerry Bruckheimer and Jackie Chan.

Gerald So: Oddly, that sounds right on the money. John asks: Where did the character's names come from - Ask Tim about both Cape and One-Eye.

Tim Maleeny: yeah, an unexpected but fortunate collision of old-school mystery and the pacing of a film, I suppose...at least that's how I hoped it turned out. Cape came about because I knew I wanted to write a PI novel, but I wanted to twist the genre a bit, have some unexpected characters...the name came to me out of the blue, just loved the sound of it.

Gerald So: The later explanation of the name was a nice touch.

Tim Maleeny: as for One-eyed Dong, I was always a fan of Ian Fleming, who wrote such great suspense with the James Bond novels but always had a sense of humor, especially when it came to characters' names.

Emily Bronstein: Definitely suggestive.

Tim Maleeny: and finding plausible explanations for the names kept things interesting, made them seem more real somehow.

Gerald So: What's your writing process like? Does it differ between novels and short stories?

Tim Maleeny: short stories tend to come to me as a single concept, with a beginning, middle and end...novels are more free-form, with the characters first, then a premise, and then an opening. Like a lot of thriller writers (about half) I don't outline in the traditional sense.

Gerald So: ah.

Emily Bronstein: Your background is in marketing, yes?

Tim Maleeny: I once heard Donald Westlake describe it as telling himself the story...I think that's how I write.

Tim Maleeny: yes, spent years and years in advertising, a sordid business far more unsavory than killing people on the page.

Emily Bronstein: Did you make conscious decisions with the characters? I.e. having a PI who wouldn't be afraid to ask for directions? Does that appeal more to women?

Tim Maleeny: it was mostly unconscious, but as a voracious reader of mysteries I had a strong desire to do something different instead of writing my version of a book that had already been written. As for appealing to men or women, I have a bias towards strong women, in my life and my reading, so I wanted female characters who could stand up for themselves and male characters who were more realistic.

Gerald So: Was the flashback structure just for STD - which sure is suggestive, now that I type it - or do you do something similar in the subsequent books.

Tim Maleeny: yeah, the acronym for the title of the first book is even worse than saying the other titles aloud in mixed company.

Emily Bronstein: BRB - have to feed the cats.

Tim Maleeny: the flashback structure is an integral part of the first book but not a technique...there is only one flashback in book two, which works as a straight shot, real time from start to finish.

Gerald So: I see.

Tim Maleeny: so how many groups do you moderate, edit, and so on...you seem like a busy man.

Gerald So: I moderate three: DetecToday, one mostly about Robert Parker's Spenser, and one on crime TV and movies.

Tim Maleeny: I'll have to check out the one on movies...and the early Spenser novels are addictive.

Gerald So: He was one of my first favorites reading the genre.

Tim Maleeny: me, too...as for movies, the second book in my series, Beating The Babushka, deals with some of the shady financing of the movie business.

Gerald So: You've definitely got me interested in the rest of the series.

Tim Maleeny: outstanding...glad you're enjoying the ride so far.

Gerald So: who are some of your other favorite writers? any favorite books on writing?

Emily Bronstein: I definitely enjoyed Cape's voice - I like a bit of a wiseacre.

Tim Maleeny: thanks...I wanted someone who wasn't a superman but was gutsy enough to stand up to anyone, regardless of the consequences, and someone who would say the things you might think but would never say in real life.

Gerald So: reporter backgrounds for PIs are a plus in my book.

Tim Maleeny: other writers...Ross Thomas, Loren Estleman, Elmore Leonard, Robert Crace...

Emily Bronstein: It does make sense that a person like that would have the contacts, friends with special talents and knowledge.

Gerald So: I like integrity that develops from a profession rather than a personal code of honor.

Tim Maleeny: reporters let you be nosy or inquisitive without having to know cop procedures.

Gerald So: good point.

Tim Maleeny: and the personal integrity, I agree...someone who does the right thing because it's the right thing to do. I wanted someone who could work outside the law when necessary.

Gerald So: interesting twist that sally is female as opposed to Hawk, Mouse, Joe Pike.

Tim Maleeny: again, I didn't want an invincible guy, because that's been done before...I thought it would be fun to have the toughest person in the book be a five-foot tall woman. Sally is all about human potential, both in terms of physical training but mental and moral discipline...she encompasses revenge, redemption, justice...all in one person...she stands apart and lends perspective.

Emily Bronstein: And making her a lesbian removes that tension between the two characters that can get annoying after a length of time.

Gerald So: The Moonlighting syndrome, yes.

Tim Maleeny: I've been getting fan mail - which is nice - lobbying for me to change her to being striaght so she and Cape can hook up.

Emily Bronstein: That one right man will do yah?

Tim Maleeny: but the reason she's a lesbian, beyond her background and inclinations, was to preclude the genre cliches of the obvious romance, and Moonlighting is a great example...brilliant at first, but once the romance was consummated, it got a bit stale.

Emily Bronstein: Do you find that you pick up some readers you may not have gotten by adding that angle? Did you lose some?

Tim Maleeny: haven't lost any over it, that I know of, and the readers seem pretty eclectic in terms of age, gender and politics...I think the twists have made the passionate readers more intrigued about what comes next for these characters...at least I hope so

Gerald So: True in my case.

Emily Bronstein: And I hope the cops return?

Tim Maleeny: the cops, Beau and Vinnie, are like an old married couple in some respects...getting on each other's nerves but perfect together...and I like their passive-aggressive relationship with Cape.

Gerald So: Cape seemed to develop a rapport with the lead FBI agent, too.

Tim Maleeny: yes, that character really came into his own in an unexpected way, a contrast perhaps to the normal FBI guy...he'd been around enough to gain perspective...might see him again down the line.

Emily Bronstein: I know you have a presence on CrimeSpace - is MySpace coming?. Are these helpful in getting you known? Do intimate functions like library panels do a better job?

Tim Maleeny: Crimespace has been a great community to join, and I met some great people through the site...but my schedule doesn't let me actively participate much...and book clubs or library visits or bookstores are great, yes.

Emily Bronstein: Will the same artist do the next two dustjackets? Loved the vividness of STD.

Gerald So: indeed. great covers.

Emily Bronstein: It was colorful without being glaring.

Tim Maleeny: that's the plan right now...I was delighted with the design of the first two books, and they seem to want to continue the theme.

Emily Bronstein: And still in softback?

Tim Maleeny: a guy named Gavin Duffy at Midnight Ink is the designer. yes, the Midnight Ink line is trade paperback, because that's where they believe the market is going...for new writers it helps with the price point, and it let me get the series established with two books in one year.

Gerald So: when did Beating the Babushka come out?

Tim Maleeny: it will be released this coming October.

Gerald So: I see.

Emily Bronstein: Awwww, can't you convince someone to let a few copies go up to Anchorage?

Tim Maleeny: believe me, I'm working on it...might have to steal some from the warehouse.

Emily Bronstein: Next short story will be about this author who broke into a warehouse...It'll be in the SF Chronicle

Tim Maleeny: exactly...always easier to write about a real event.

Gerald So: John Stickney asks: Where does Tim see the series going?

Tim Maleeny: I think of the books as stand-alone thrillers with recurring characters, so each book is designed to be read in any order...that said, there will be some changes in relationships, some history revealed. And the chronology jumps around, like Lee Child's books in that regard...Babushka actually precedes the event in Dragon, though that will only be apparent to someone who recalls the dream sequence at the opening of Dragon.

Emily Bronstein: Thanks for your time Tim! I enjoyed STD, will definitely pick up BTB and now must go make dinner. See you in September.

Tim Maleeny: thanks...great meeting you virtually...so glad you enjoyed the book.

Gerald So: The hour is about up. Thanks, Tim.

Tim Maleeny: thanks Gerald...hope this is what you had in mind...thanks again for being flexible about my schedule.

Gerald So: Definitely. And not a problem. Have a good night.

Steve Hamilton

2007-05-22T22:25:00.004-04:00

Tuesday, May 22, 2007

Participants

Gerald So
Jan Long
Steve Hamilton
Maggie Griffin

Gerald So: First question, anyone?

Maggie Griffin: anybody want to share snacks?

Gerald So: How did you begin to come up with McKnight, Steve?

Steve Hamilton: Oy, that's a big one. I was trying to write what I guess you'd call a typical PI novel. And I really, totally failed to do that.

Maggie Griffin: in a big way.

Steve Hamilton: Yeah, thanks, Maggie. You know, the wise-cracking PI sitting at his desk, that kind of thing.

Gerald So: I know the feeling.

Maggie Griffin: Instead, steve got the wise-cracking webmaven.

Steve Hamilton: After the failure, Alex was sort of just there. He was all alone and feeling like a failure, kind of like me. And I just started asking myself questions, why was he all alone, what had happened to him, etc.

Gerald So: So the original character wasn't Alex?

Steve Hamilton: Well, there wasn't an original character, really. I never got that far.

Gerald So: I see.

Steve Hamilton: I literally wrote two words in two weeks: Chapter One. I couldn't even get started.

Maggie Griffin: It wasn't right for you

Steve Hamilton: Definitely not. You can't just will yourself to write a certain type of book, if it's not in you. I mean, you could. But it would probably suck.

Maggie Griffin: you know, somebody just told me they thought "voice" was the same thing as character. You needed to find your "voice" or Alex.

Steve Hamilton: I did have to find the voice, yes.

Gerald So: good point.

Steve Hamilton: It was kinda different, in that the first note of that voice was loneliness. Not the kind of start I would have expected.

Gerald So: That note is still part of him, yes.

Steve Hamilton: Definitely still part of him.

Gerald So: Are Alex's friends based on anyone you know? They seem like a tight-knit group.

Steve Hamilton: Not really based on anyone real, no. Although I have to say, I met someone who is a perfect Vinnie, but it was after the first few books had been written. It's funny how these secondary characters come about. Like Leon, he was just supposed to have a quick walk-on in the first book. He was the local goofball whose job Alex "stole." And he showed up at the Glasgow in the first chapter, wanting to fight him. That was all I had in mind for him. But then later, there was a great spot to bring him back, to have him actually help Alex out.

Maggie Griffin: And yet, Alex didn't know what he was doing. Vinnie did.

Steve Hamilton: And prove that maybe he wasn't just a goofball.

Gerald So: I like how Leon is goofy but also knows his stuff.

Steve Hamilton: It's funny how these characters just sorta take over and make you keep them.

Gerald So: Yes.

Maggie Griffin: like me, he means. Sorry... I'm unconscionable today.

Gerald So: I miss you.

Maggie Griffin: As in "Please go away so we can miss you?"

Gerald So: No, no...

Maggie Griffin: Maybe we should ask Jan Long if he or she has any questions?

Gerald So: Jan, questions?

Steve Hamilton: No score in the Phillies game, by the way.

Gerald So: Jan is slightly delayed.

Maggie Griffin: Gerald, I'll be sending you an ARC of Night Work soon.

Gerald So: Oh, thank you.

Jan Long: Well, Maggie just answered my question.

Steve Hamilton: The title of the next book?

Maggie Griffin: That's me, alrighty! Maybe Steve should tell you a little about it?

Jan Long: Yep. I've seen the same cover on the internet under two different titles.

Steve Hamilton: Really? What was the other title?

Jan Long: Last Watch

Steve Hamilton: Ah yes. Title number seventy out of the hundred we went through... That was a whole ordeal right there. But anyway...

Maggie Griffin: Due out Sept 18th, which means St. Martin's will have it in stores in August.

Steve Hamilton: Night Work is the first non-Alex book I've done. It's a standalone about a probation officer in upstate New York. It sounds kinda funny to say, but after the last book, I think Alex kinda needs a little break...

Jan Long: Alex isn't the only one.

Steve Hamilton: Did you read it? A Stolen Season, I mean?

Jan Long: Yes.

Gerald So: Someone on DetecToday said A STOLEN SEASON felt a little like the last book in a series. He worried it might well be.

Steve Hamilton: I could see how it would, but really, I don't think it will be. I know it won't be.

Gerald So: That's good news.

Steve Hamilton: I can't imagine not wanting to know what comes next.

Gerald So: What was it like writing your first standalone?

Steve Hamilton: It was really a little scary at first. Everything is new.

Maggie Griffin: scary and new is good.

Steve Hamilton: You can't help wondering if you can pull it off.

Gerald So: were you under contract to write it?

Steve Hamilton: I was, yes. At least, that's what they were expecting. It's weird the way it worked out. I actually wrote half of that book first, then did A Stolen Season, then went back to Night Work. First time I ever did something like that.

Gerald So: wow. I guess the plot stayed with you.

Steve Hamilton: Well, it was more a case of timing. It took so long to finally get on the right track with that book, by the time I was, it felt like it was time to see what was up with Alex... And to have that book come out next... And THEN to go back and finish up with Joe - that's the new character.

Maggie Griffin: Whatever caused the wait, it was worth it, imho.

Steve Hamilton: It wasn't always fun along the way, but funny how it all works out the right way. I hope.

Maggie Griffin: It's a splendid story.

Steve Hamilton: Sounds like the check cleared this month.

Jan Long: Sorry I'm only part way here. I'm trying to help Em get past her internet security to get in here. It's like the blind leading the blind.

Gerald So: How do you feel Alex's baseball background contributes to his character?

Maggie Griffin: What do you think are the differences between Joe and Alex? Emotionally, not geographically.

Gerald So: That's a better question.

Steve Hamilton: Well, Alex was a catcher, that's the main thing with him. Once a catcher, always a catcher. There's a certain personality that goes with that position... Solid, reliable, etc.

Gerald So: wow, I hadn't thought of that.

Steve Hamilton: He certainly wasn't a pitcher.

Gerald So: catcher in the rye.

Steve Hamilton: It just felt like the right thing for him. Between Alex and Joe... Well, Joe is younger, first of all. Where Alex is solitary, Joe is very much connected to the world around him. He's a probation officer, after all. He works with people in trouble every day. He has to get into their business all the time.

Maggie Griffin: Connected, but not fully. Not yet.

Steve Hamilton: Right, after a tragedy, he's still sorta making his way back.

Maggie Griffin: I promise, I won't give anything away.

Steve Hamilton: Trying to do his job and keep his head together.

Gerald So: It's good to have characters with room to grow.

Steve Hamilton: His job is really the only thing he has left.

Jan Long: Is the new book truly a standalone? Or will it turn into a series?

Steve Hamilton: Great question. I was thinking standalone, but because of what Joe does, I would be a stone cold fool not to write more. I learned so much about what probation officers really do. Having spent so much time with them in real life. It's really amazing. They're in the middle of everything. And there really aren't that many books about them. There are a million cop books, lawyer books, PI books, etc. People don't think about probation officers.

Jan Long: Er, I hope that 'spending so much time with them' thing was in an authorly, not personal, capacity.

Steve Hamilton: Authorly, I promise. In this state - NY - especially, they're part cop, part social worker, part just about everything.

Maggie Griffin: Jan... He did walk around with an ankle tag. Take that as you will.

Steve Hamilton: I did get to wear a GPS ankle bracelet for a day. She's way ahead of me here.

Maggie Griffin: Did it make you feel guilty...like having to go to confession might?

Steve Hamilton: It made me feel strange, having them know exactly where I was at every second.

Gerald So: I can imagine.

Steve Hamilton: And the modern trackers actually interact with you. There's a read-out where they can send you messages. If you're in a red zone, they send you a message to get out of the area immediately.

Maggie Griffin: Wouldn't it be great if they could locate nearby restaurants? Oh, sorry.

Steve Hamilton: Some GPS systems do that now. It's amazing how accurate they are.

Maggie Griffin: I know, I meant the ankle bracelet.

Steve Hamilton: Oh, well. I suppose it's possible.

Maggie Griffin: I love GPS in cars.

Gerald So: Very handy, yes, Maggie. Which was the first book where Natalie appeared?

Steve Hamilton: She appeared in Blood Is the Sky. She was one of the OPP officers up in Canada, where Alex was helping Vinnie to look for his brother. At the end of that book, Alex goes back up to find her. Just a gut instinct that he needs to do that. He's the one person in the world who can relate to her, he feels.

Gerald So: I may have read every one but that one so far, uncannily.

Jan Long: Oooh, Gerald, read it! That one's my favorite.

Steve Hamilton: That book really turned out differently from all the others, in a way. It's almost an outdoor adventure thriller. It's really Vinnie's book, too, in a way.

Gerald So: What or who influenced you to start writing fiction?

Steve Hamilton: I guess it's just something I always wanted to do, going back to when I was a kid... I always assumed it would be what I did when I grew up. Maybe I actually will someday. Grow up, I mean.

Gerald So: I think it takes imagination, and that's something kids seem to have naturally.

Steve Hamilton: You're right!

Gerald So: How about what led you to try a PI novel?

Steve Hamilton: I always loved reading mysteries, and when I saw the listing for the PWA/SMP Best First Private Eye Novel Contest, I thought I'd try it. PI novels seemed so easy to write, after all. They all start the same way: PI at his desk, in his office, client comes in. Etc. You see the whole scene right there.

Gerald So: they're devious that way. :)

Steve Hamilton: Real easy, I thought. Oy. That's brings us back to the two words in two weeks. Phillies and Marlins still scoreless.

Jan Long: Boo.

Gerald So: You mentioned Alex's age vs. Joe's. I tend to forget how old Alex is.

Steve Hamilton: He's pushing fifty.

Jan Long: Early fifties.

Steve Hamilton: Back when I started with him, it seemed like he'd be older than I was.

Gerald So: and Joe is how old?

Steve Hamilton: Joe is mid thirties.

Gerald So: I see.

Jan Long: Hey, wait a minute! Pushing fifty? He's getting younger!

Steve Hamilton: He sort of lives in a suspended time state. I'm catching up to him.

Gerald So: Have you ever thought of writing a story with young Alex as a ballplayer?

Steve Hamilton: That would be interesting. Of course, it would be his minor league days. He never made it to the majors. I did flash back to that time a lot in The Hunting Wind. When his old pitcher finds him, twenty years later.

Gerald So: I recall that.

Jan Long: I think if we're going to get the young Alex, I'd rather have more with his dad.

Gerald So: I liked that book a lot, pitchers and catchers, instant close relationship.

Jan Long: And that's despite the fact I only started reading the series because he played baseball.

Steve Hamilton: Hey, whatever it takes!

Gerald So: speaking of baseball, are you a tigers fan?

Steve Hamilton: We have an interesting task now, thinking about who could play him in the movie... Big yes on the Tigers question.

Jan Long: NO! NO MOVIE!!

Steve Hamilton: Yes, yes movie. But done the right way.

Gerald So: why not?

Steve Hamilton: An independent film. Not a big Hollywood thing. I'm helping with the screenplay, will be involved all the way through.

Gerald So: Tom Berenger as Alex.

Jan Long: That's why not, G.

Gerald So: He's already done a baseball movie, I'm cheating.

Steve Hamilton: It won't be any of the usual suspects. None of the A-list guys.

Gerald So: I see, that would be interesting.

Maggie Griffin: Berenger is A-list? Only to his mom.

Steve Hamilton: Because as soon as you attach George Clooney or whoever, it becomes something else. You're right. Tom's not A-list.

Gerald So: True.

Steve Hamilton: More likely, there will be a big name or two in the supporting roles. And Alex will be a break-out for someone you don't know that well.

Jan Long: I shudder to think who they will think looks like Alex.

Maggie Griffin: Omar Shariff, Sean Connery.

Steve Hamilton: Well, "they" is us. That's the good part. Nick the director and I get to make it happen.

Gerald So: It could be someone younger, playing fifty-ish as well.

Steve Hamilton: Yeah, that would be good, especially if you want to make more than one movie.

Gerald So: Question from Em - when will he write the next McKnight book?

Steve Hamilton: Hollywood wouldn't do any of the film on location in the U.P., either...

Gerald So: good point.

Steve Hamilton: For Em, I honestly don't know. I do know that I'll go back to him, for sure. I can promise that. And I can promise that I'll never just mail it in.

Jan Long: Will you be touring with the new book?

Steve Hamilton: I'm sure I'll be out there somewhere, not sure where yet. St. Martin's has a lot to do with that stuff.

Jan Long: How far out do they normally make those decisions? I don't want to pre-order it if you'll be doing signings here.

Gerald So: I almost caught your STOLEN SEASON signing at the now-closed Coliseum Books.

Steve Hamilton: It's closed?

Maggie Griffin: months ago - chapt 11.

Steve Hamilton: By mid summer or so, I would think.

Maggie Griffin: We should know your tour details by Aug 1.

Steve Hamilton: What Maggie said.

Jan Long: Thanks, Maggie. I'll check the website around then.

Steve Hamilton: Is here Philly?

Jan Long: No. I wish!

Steve Hamilton: So where do you live now?

Jan Long: Just outside of Los Angeles.

Steve Hamilton: Got it. I've certainly been out there in the past. Mystery Bookstore (or whatever the name is), right in Los Angeles.

Jan Long: Yep.

Steve Hamilton: I love driving out there, too.

Maggie Griffin: and the Vroman's in Pasadena. And the Borders in Brentwood. And Mysteries to Die For in Thousand Oaks.

Steve Hamilton: Great place.

Jan Long: The other local mystery bookstores are Book 'em in South Pasadena and Book Carnival in Orange.

Steve Hamilton: Right, been to both. More great stores.

Maggie Griffin: What's the one across the street from Vroman's?

Jan Long: Maggie, in case it matters, both Vroman's and Dutton's in Brentwood are reporting bookstores.

Maggie Griffin: Yup, they sure are.

Steve Hamilton: Ding ding.

Jan Long: The only bookstore across the street is a used bookstore.

Maggie Griffin: I know. Weird owner.

Jan Long: Cliff's, I think it is.

Maggie Griffin: Or he was when I was there. Disgruntled. Or maybe it was my face he didn't like. Ha-ha-ha.

Steve Hamilton: Impossible.

Jan Long: I'm sure Steve remembers Linda from Crime Time Books.

Steve Hamilton: Absolutely. Haven't seen her in a while. Has she come out of her shell since then, I hope? You had to drag the words out of her...

Jan Long: Yes, didn't you though? She closed the store a few years ago.

Steve Hamilton: Right.

Gerald So: The hour is about up. Any last questions?

Jan Long: Oh, please-please-please go back to Alex eventually.

Steve Hamilton: I absolutely will.

Gerald So: Thanks again for chatting, Steve. Looking forward to NIGHT WORK.

Steve Hamilton: Thank you very much!

Maggie Griffin: Thanks for this, Gerald! Nice chatting with you and Jan!

Jan Long: Looking forward to the new one!

Maggie Griffin: Night!

Gerald So: My pleasure, Maggie.

Steve Hamilton: Thanks again to all! Good night!

Repeated Post Glitch/List Advisories

2007-03-30T06:14:00.000-04:00

Yahoo! Groups has just recovered from a March 28-29 glitch that caused posts to be delivered several times over.

While CrimeSeen showed the effects of the glitch, DetecToday and Spenser's Sneakers were not affected; no one posted to either list during this period.

In case a similar situation crops up and I am unable to use the lists to keep members informed, I will post list advisories to this blog.

Sean Chercover

2007-02-25T17:31:00.001-05:00

Sunday, February 25, 2007

Participants

AldoMystery: Aldo Calcagno
gpscribe: Paul Guyot
Odo6140: Gerald So
seanchercover@mac.com: Sean Chercover

gpscribe: Cherc - how's book two coming along?

seanchercover@mac.com: It's coming...

gpscribe: so's my son's 16th birthday.

seanchercover@mac.com: All the weird sophomore anxieties came to visit me along the way, but I'm rolling along now.

gpscribe: So, Mr. Bigshot Harper author....

seanchercover@mac.com: Yes, my little pretty?

gpscribe: I understand the 2nd book anxiety stuff, but I felt like you had peppered BCBB with so many characters and histories, that you had plenty of places to go with book two. Did you have an idea already in mind? Or did you come up with one later?

seanchercover@mac.com: I actually had ideas for the first three books. But the idea for book 2 has changed significantly since then. For the better, I hope...

gpscribe: how?

seanchercover@mac.com: Ray goes through a fair amount of hell in BCBB, and I needed that to reflect in his personality. I always wanted a protagonist who would change and grow over time, but it wasn't until I sat down to write #2 that I realized how much the experiences of BCBB have changed him. And since I approach plot as "character in motion", the change in him demanded a change in plot.

Odo6140: Carolina Garcia-Aguilera became a P.I. because she wanted to write about PIs. What led you into the profession? Did you always see yourself writing about it?

seanchercover@mac.com: Yes. I was about to graduate from college, and I needed a job. I also knew that I wanted to write crime fiction, but felt that I needed some hard miles under my belt, and I knew a couple of Chicago P.I.s . They offered me work if I got the state-mandated training...so I did.

gpscribe: so if you had no desire to write, you would have never become a PI?

seanchercover@mac.com: This is true, Paul. I took the job seriously and I was good at it, but I never intended to do it forever. I really just wanted to do it for a few years to get the feel of it, until I was ready to start trying to make a writing career.

gpscribe: that's research dedication

seanchercover@mac.com: You could look at it that way. Or you could call me a dilettante.

gpscribe: ok

Odo6140: Can you recall when exactly you felt you were ready to write?

seanchercover@mac.com: You mean write a book?

Odo6140: yes.

>gpscribe: this book

seanchercover@mac.com: It took way too long. After working as a P.I. I worked in a bunch of jobs. I was writing all the time, but I never really followed anything to the end...

gpscribe: I'm in touch with that.

seanchercover@mac.com: Then I started writing television docs and children's shows.

gpscribe: Hammy!!!

seanchercover@mac.com: Exactly. HAMMY HAMSTER!

seanchercover@mac.com: And I wrote corporate crap and magazine articles, etc.

gpscribe: Tell Gerald the name of this opus.

seanchercover@mac.com: Once Upon A Hamster was the name of that fantastic series. You can find it on the Family Channel.

gpscribe: I love that title.

Odo6140: Neat.

gpscribe: Here's some porn for Sean: http://www.vintagepens.com/images/perm/OS_Signature_set.jpg

Odo6140: uh-oh.

seanchercover@mac.com: Ooh, nice

gpscribe: 1942

gpscribe: How much had you "created" Ray in your head before you began the book?

seanchercover@mac.com: Anyway, so in my late 20s and early 30's, I took a couple stabs at a P.I. novel. Got 80 pages into one, and 150 pages into the second, before abandoning them.

seanchercover@mac.com: All the while I was tweaking my protagonist, who had a bunch of names before becoming Ray Dudgeon.

gpscribe: but it was always the same guy - more or less?

seanchercover@mac.com: Yeah, he was the same guy, more or less. But he was a LOT darker in the earlier attempts. I just found him oppressive to have in my head.

seanchercover@mac.com: Finally one day I said to myself, "Shit, you're 35 and you haven't written the damn crime novel yet. Either write it, or stop pretending that you're gonna."

seanchercover@mac.com: And that time I followed through to the end. And BCBB is the result.

gpscribe: Talk about the title change

seanchercover@mac.com: The title of the manuscript was A QUIET PLACE. It comes from a Mark Twain quote. "I thoroughly disapprove of duels. If any man should challenge me, I would take him kindly and forgivingly by the hand and lead him to a quiet place and kill him."

seanchercover@mac.com: That's the Twain quote. And that's where I got the title. But my agent thought it sounded like the title of a cozy, and asked me to change it.

Odo6140: Ah.

gpscribe: how did you get BCBB?

seanchercover@mac.com: Wait. First, you must see this: http://www.cbc.ca/arts/walkoffame/hammyhamster.html

gpscribe: wow. wow.

seanchercover@mac.com: And you thought I was kidding

gpscribe: Canada's number one media rodent.

Odo6140: I didn't. :)

gpscribe: what's number six?

seanchercover@mac.com: Probably Billy Bob ferrett

seanchercover@mac.com: Anyway.

gpscribe: Ok, I will not rest until I have this show on dvd

seanchercover@mac.com: I'll burn you one.

gpscribe: PLEASE!

gpscribe: I'll send you a pen

gpscribe: But I want the whole series

seanchercover@mac.com: So I submitted about 10 or 15 possible titles to my agent...

gpscribe: oh, yeah, BCBB

seanchercover@mac.com: ...and Big City Bad Blood was the one they liked best

gpscribe: I love the cover

Odo6140: the title fits the plot well.

seanchercover@mac.com: It comes from two songs by Chicago blues guys. Big City by Luther Alison and Bad Blood by Son Seals

gpscribe: Once you had finished - what was your agent/publissher/published journey like?

seanchercover@mac.com: I was very fortunate. Queried a bunch of NYC agents, got 23 rejections and a handful of requests for partials. Then Denise Marcil was the first to ask for the entire ms, and I gave her an exclusive window, and she wanted to represent me. Then she gave me her notes, which were, thankfully, not major. No plot structure issues or major character issues. She basically said, "I understand that Ray is emotionally damaged and has a hard time opening up, but you have to let the reader into his head a little more."

gpscribe: good note

seanchercover@mac.com: Which I did, adding about 5000 words to the ms. Then she took it to market.

seanchercover@mac.com: Yes, it was an excellent note. And within a very short time, we had a two-book hard/soft offer from William Morrow.

gpscribe: what was the final word count?

seanchercover@mac.com: The original word count was 85000, then it was 90000 when we went to market. Then I got notes from my editor. And the final word count is about 95000

gpscribe: you said you read a lot early on - who are some of your influences as a writer?

seanchercover@mac.com: All the classic guys - Chandler and both MacDonalds and Spillane and so on (and Patricia Highsmith) and of the more recent...Block and Mosley and Burke and early Parker and...God, the list would go on and on. Nelson Algren was also a huge influence. Huge. Oh, and Derek Raymond. British guy. Dead now. Wrote some kick-ass books in the late 80s and early 90s

gpscribe: never read him

seanchercover@mac.com: They've been out of print, and are just being re-released in trade pb.

Odo6140: You mentioned to Jim Winter that you thought Dudgeon had a definite shelf life. Can you expand on that, and what other types of books would you like to write?

seanchercover@mac.com: I think I said that the Ray Dudgeon series MAY be self-limiting. I'm not sure. But it comes down to what I was saying earlier about the character being changed by his experiences...

Odo6140: Right. As opposed to dragging on forever like a certain Boston P.I.

seanchercover@mac.com: You won't get me to say anything negative about him. We all owe him a lot. But I hear you.

seanchercover@mac.com: There may come a time where Ray just can't do it anymore. Maybe he'll learn from his experiences and decide to do something else for a living.

gpscribe: do you have other characters (leads) you want to write about? or other genres?

seanchercover@mac.com: For now, I'd love to keep writing about Ray. I feel I've got a lot to explore with him. But I do have a stand-alone that I was working on as a screenplay and would like to try as a novel. It's very strange. There's a lot of religious satire in it, and some borderline paranormal stuff (as in, miracles). It would probably get me lynched, but I'm keen to try it.

Odo6140: I like the fact that you give weight to everything that happens to Ray.

seanchercover@mac.com: Thanks. I didn't want him to shrug off the things that none of us could shrug off in real life.

Odo6140: There's bound to be a market for that paranormal idea someday soon.

seanchercover@mac.com: I'm really not into paranormal crap. Athough I thought Greywalker was excellent. But for some reason, I've got this religious satire in my head with miracles happening all over the damn place...

gpscribe: I love books like BCBB - that take the tried and true traditional PI world and managed to make it fresh and entertaining. Were you conscious of writing within a "box" that so many others had done before?

seanchercover@mac.com: Yeah. When I was writing it, I kept saying to myself, "YOU IDIOT! Don't write a MOB story! Mob stories are SO overdone." And I was also aware of the clichÃ©'s of the P.I. But I just tried to write honestly and write about real people (who are a mix of good and bad) rather than "good guys" and "bad guys"

gpscribe: that why it's good

Odo6140: that comes through in Johnny Greico.

seanchercover@mac.com: Thank you. You guys flatter me.

gpscribe: any book with Pelikans and Shelbys, I'm in.

seanchercover@mac.com: That's the same reason I want the characters to change.

seanchercover@mac.com: Glad you responded to my pen-geek stuff. That was totally superfluous to the plot, but I had to put it in.

Odo6140: Ray shares a lot of your experience. How much did you do to distinguish him from yourself?

seanchercover@mac.com: Oh, I am definitely NOT Ray. And wouldn't want to be...

Odo6140: so he started out very distinct from you in your mind.

seanchercover@mac.com: He's got a lot of problems. His backstory informs his character (as it does with all of us) and he had a miserable upbringing.

seanchercover@mac.com: I came from a relatively healthy, nuclear family. So, Ray loves Jazz, and so do I. And we both love Lou Reed and Bob Dylan. But I also listen to The Roots and Gangstar, which Ray would despise. And Ray doesn't go for the arty stuff either. Parts of him coincide with me, and some parts of his personality are what I imagine I would've been like if I'd stayed a P.I.

Odo6140: I see. I'm glad to see you avoid the sense of identification some authors begin to feel with their characters.

seanchercover@mac.com: Just like I didn't want Ray to be a static character, I also didn't want him to be a case of wish-fulfillment.

gpscribe: Are you enjoying writing book two, or is it a pain with all the pressure?

seanchercover@mac.com: The pressure sucks. And for a while, I was not enjoying it. But then I reminded myself the same thing that I used as a mantra while writing the first one. "Just write the book that you would want to read."

gpscribe: Another thing I really enjoyed was how Ray has the witty, wisecracks, but they aren't in dialogue. We hear what he'd like to say , but he doesn't. I thought that was very cool.

seanchercover@mac.com: Frankly, he's a bit of a jerk (and I hope that I am not, although perhaps I used to be)

gpscribe: you are.

seanchercover@mac.com: Yes, I am.

seanchercover@mac.com: I've been busted by some readers for the wisecracks, and I'm glad that you got the fact that he doesn't make wisecracks out loud. Some folks seem to have missed that.

Odo6140: Being a jerk gets him in trouble, though, and characters have to get in trouble.

gpscribe: he's real

seanchercover@mac.com: Yeah, being a jerk does get him in a lot of trouble. It bugs me when characters can mouth off to cops and not get their asses kicked. For example.

gpscribe: moreso than a Cole or Spenser type. There was an underlying authenticity to it that is lacking in some other PI work.

seanchercover@mac.com: Maybe Cole and Spenser are just a lot tougher than Ray, but if Ray talked to cops and hoods like they do, he'd be in the hospital.

Odo6140: Paul, do I recall you weren't 100 percent thrilled with Crais?

gpscribe: My issue with the Crais series is that they are a blatant ripoff of Parker. Not even trying to hide it. the characters, the tone, dialgoue.

seanchercover@mac.com: I love Crais, although I haven't read everything he's written.

AldoMystery entered the room.

seanchercover@mac.com: Cole is not as well adjusted as Spenser. No Susan on the scene, for example.

gpscribe: Other than LA REQUIEM, I feel like every Cole book is a wannabe Parker

Odo6140: the tone, I think, is slicker, more wistful than Spenser.

Odo6140: Hi, Aldo.

gpscribe: Aldo!

seanchercover@mac.com: Hi Aldo!

AldoMystery: hello all. I think the kids eliminated my aim so I wouldn't check on them, lol

AldoMystery: Hey Paul

gpscribe: cill a cella

gpscribe: hi there

Odo6140: Go ahead with any questions, Aldo.

seanchercover@mac.com: You guys all look like the little AOL running guy to me. Do I look like a Cubs logo to you?

gpscribe: um, it's actually a Cardinals logo

seanchercover@mac.com: AAAAHHHHHH!!

Odo6140: bite your tongue. you wicked, wicked man.

AldoMystery: Sean, will you be out in LA on this tour?

seanchercover@mac.com: Unfortunately, no. Wish I were going to be, especially since part of the book takes place out there. But I'm pretty much out of cash. I'll definitely get out there for book #2

gpscribe: speaking of LA, I loved the scene with the car in the swimming pool.

seanchercover@mac.com: Thanks, Paul. I love the car in the swimming pool, too.

AldoMystery: Did Paul ask you what kind of watch you wear?

seanchercover@mac.com: No, strangely, he did not.

gpscribe: I've already seen his watch. so there.

seanchercover@mac.com: I wear a Rolex Submariner.

seanchercover@mac.com: Sometimes I wear a 1960 Datejust with a jubilee bracelet that was once my father's.

AldoMystery: How is the tour with Sakey going?

seanchercover@mac.com: The tour with Sakey has been a riot. We've had a great time. But the downside is, we may both need a liver transplant by the end of it.

Odo6140: ah.

AldoMystery: Damn. Next time try organic beverages.

gpscribe: :-X

Odo6140: I believe Paul just made the about-to-vomit emoticon.

gpscribe: that was my "mouth zipped shut" emoticon.

seanchercover@mac.com: God, I hate emoticons. Yes. We came to a point where we just had to cut it out, and we started eating salads and drinking iced tea. But don't tell anyone, that would be bad for the image

AldoMystery: :-D

Odo6140: any last questions, anyone?

gpscribe: So, Sean...

seanchercover@mac.com: Yes.

gpscribe: what's next for you and Ray?

seanchercover@mac.com: In book #2, Ray investigates an artist with a mysterious past, who ends up being connected with some nefarious goings on in the anti-war movement and strange connections to Big Brother. Or something like that...

gpscribe: big brother the tv show?

gpscribe: :D

seanchercover@mac.com: yeah. The tv show.

gpscribe: God, I'm funny

seanchercover@mac.com: You are a laugh-riot.

gpscribe: What's left on your tour stops?

seanchercover@mac.com: Hey Aldo? Question?

AldoMystery: Well, book 1 rocks...nope, I'm done, I guess.

seanchercover@mac.com: To find out about my tour, go to http://www.chercover.com/

Odo6140: Great web site, by the way, Sean.

seanchercover@mac.com: Thanks. I made it myself.

seanchercover@mac.com: Thanks very much for the kind words about the first book. I hope you'll enjoy the next one!

gpscribe: I have one last question.

Odo6140: go ahead, Paul.

gpscribe: Re: your jacket photo (and photo on the site)... how often do you sit and stare off like that?

seanchercover@mac.com: As often as I can. It makes me look deep and thoughtful, don't you think?

gpscribe: I'm a little aroused by it - is that wrong?

seanchercover@mac.com: Not very...

Odo6140: I think it's time to wrap up. :) Thanks very much, Sean. Great chatting with you.

gpscribe: thanks, Gerald as always. Thanks Sean!

seanchercover@mac.com: Thanks guys! This was a lot of fun. Keep in touch.

Victor Gischler

2007-02-18T17:38:00.001-05:00

Sunday, February 18, 2007

Participants

bquertermous: Bryon Quertermous
g_so: Gerald So
harryhunsicker: Harry Hunsicker
macavityabc: Bill Crider
maclean7777777: Mike MacLean
mysdawg2003: Aldo Calcagno
victor_gischler: Victor Gischer
whiteskwirl: John Dishon

whiteskwirl: I just read Gun Monkeys the other day. It's my first book of yours and I enjoyed a lot (read it in one sitting), but there's one thing that bothered me. The story is driven by Charlie's need to find Stan, but then once he does, he kind of abandons him. How come?

macavityabc entered the room.

victor_gischler: When Charlie finds Stan, he discovers that not all is as it seems. Charlie questions his own blind loyalty (or maybe loyalty for its own sake) and he must re-evaluate what is important to him .... that's the short answer.

victor_gischler: i can give you a longer answer for three dollars or a six-pack of Hamm's beer. ...

macavityabc: From the land of sky blue waters

whiteskwirl: I've never even heard of that brand

maclean7777777: Ah, the beer refreshing. That was one alcoholic bear.

victor_gischler: whiteswirl, it's the one with the famous Hamm's bear.

whiteskwirl: Maybe it's not famous in Kentucky. I've seriously never heard of it

victor_gischler: well ... you're probably not missing much, to be honest.

mysdawg2003 entered the room.

mysdawg2003: Hey Dr. Vic, how in the hell did I earn an F in writing? lol.

maclean7777777: ?

g_so: Go ahead, Mike.

whiteskwirl: while someone else it asking a question, I just wanted to say Lou Morgan is one of the best characters ever.

maclean7777777: We were speaking about commercialism just a second ago. Your books aren't your typical thrillers. Were they a hard sell to publishers?

whiteskwirl: The argument between him and Charlie about what kind of car to rent was my favorite part.

victor_gischler: Thanks, whiteswirl. I really try to get the most out of my characters. I appreciate it.

victor_gischler: Gun Monkeys was turned down by a half-dozen agents. Funny enough, my current agent is one of the people who initially rejected it. I don't know if my stuff is a hard sell or not but I agree it's not typical stuff. I often wonder if the term "thriller" is very accurate for my work.

whiteskwirl: I thought Charlie was deeper than your average genre fiction character. Especially the relationship with his dad, which is subtle, but a nice touch.

macavityabc: ?

g_so: Go ahead, Bill.

macavityabc: So what would be an accurate term for your work?

victor_gischler: who do i answer first ... ?

macavityabc: Whoever you feel is more important.

victor_gischler: My wife calls my work "vulgar nonsense". That's pretty accurate I guess.

macavityabc: Pretty hard for a publisher or agent to push, though, right?

victor_gischler: Or maybe "crime novel" is more accurate than thriller ... but it's hard with labels. Different folks have different expectations.

macavityabc: That's the problem with labels. I think they were created by booksellers.

g_so: crime novel seems a good compromise.

g_so: ?

victor_gischler: Actually the novel I just finished seems like it'll be the hardest sell of all ... but my agent might be onto something and I think it's going to turn out okay.

mysdawg2003: ?

g_so: Here's a question from Cleveland fan, John Stickney: Any sequels in the works?

victor_gischler: Actually, I'd like to bring back Charlie Swift for a "special project" but that's down the road a bit.

g_so: You're next, Aldo. Go ahead.

victor_gischler: he went to get a beer

macavityabc: A Hamm's.

victor_gischler: mmmmmmmm.

whiteskwirl: Being a teacher, have you experienced any ill feelings from other teachers about the kind of stuff you write? A lot of my teachers put down commercial/genre fiction.

mysdawg2003: Wife called. OK, LA Festival of Books. Will we see you this year?

g_so: we're on John's q. You're next, Aldo.

victor_gischler: I have a love/hate realationship with academics. I think my job is to help the students write what THEY want to write. A good writing program isn't just a social club for professors.

mysdawg2003: who wants a beer?

g_so: Hamm's?

victor_gischler: I'll be at LATFOB, ALdo. Looking forward to it.

maclean7777777: It is the beer refreshing.

g_so: A question from Jim Winter: When is your next book coming out?

victor_gischler: so are you all impressed by my feeble typing skills? Man ... I suck

g_so: you're doing fine.

macavityabc: We're watching your spelling and punctuation with red pens in hand, though.

victor_gischler: That's a good question, Mr. Winter. It depends on what my agent does in the next week or so. I can't really say much except that "stuff" is "happening".

whiteskwirl: Is there a title yet?

victor_gischler: Go Go Girls of the Apocalypse

victor_gischler: no ... really

g_so: Great title.

victor_gischler: it's not a crime novel, but it's still very much in my style ... if I have any ...

macavityabc: ?

g_so: Go ahead, Bill.

macavityabc: What about upcoming short stories? I liked the one in Out of the Gutter.

victor_gischler: You got your copy of out of the gutter already!? Where the heck is MY copy?

macavityabc: I PAID for mine.

victor_gischler: I've been asked for a couple of stories, so I'm working hard, but nothing new in the next week or anything.

mysdawg2003: Got mine this week, very cool little book/magazine.

victor_gischler: I'm looking forward to getting my hands on a copy. (I didn't pay for mine ... but I wrote the story for free.)

maclean7777777: ?

g_so: Go ahead, Mike.

maclean7777777: It seemed like you were about to tell us about your next book. And I agree, it sounds out there but very cool. Could you tell us a little about it? Maybe explain what inspired you to start on it.

victor_gischler: Go Go is a satirical post-apocalypse novel. It's very much a satire on our notions of civilization. Also bloodshed and nudity.

macavityabc: You can't go wrong with nudity.

g_so: :)

victor_gischler: I'm not sure what inspired me. I just sat down with only a vague notion what was going to happen and the story spurted out of me.

victor_gischler: spurted? ewwwwww,

macavityabc: Too much information.

victor_gischler: well, we're all pals here, right?

macavityabc: Well, we were.

victor_gischler: ha. Good one.

g_so: another question from J. Stickney: What is your favorite book on writing?

victor_gischler: I have never read a book on writing. Janet Burroway's fiction writing book is a good tool for the classroom, but I've never purchased a writing guide for my own reading pleasure.

whiteskwirl: the one with Robert Olen Butler?

macavityabc: ?

g_so: Go ahead, Bill.

macavityabc: What literary writers inspired you, if any, when you were in school?

mysdawg2003: ?

victor_gischler: "Inspired" is a tricky word ... but writers I admired ranged from Kurt Vonnegut to William Faulkner. I suppose Vonnegut a little more. I like that his stuff *seems* simple but is really quit complex. Not complex to understand ... I just mean there's more going on than a reader might suspect at first glance.

macavityabc: Okay. Genre writers?

victor_gischler: Man ... a lot James Crumley, John D. Macdonald, Mike Resnick, Chandler ... I could go on for a while ...

g_so: Go ahead, Aldo.

mysdawg2003: Has a change in location influenced your writing in any particular way?

victor_gischler: Hmmmmm. Not sure Aldo. My Out of the Gutter story was set in Baton Rouge, but really it could have been set anywhere. I haven't even been here a full year yet, so I think it'll take time for the place to get into my bones.

macavityabc: Aldo's questions don't show up on my screen. Aldo's invisible.

maclean7777777: he's mysdawg

macavityabc: Right, but he's not here.

victor_gischler: That's a good trick, Aldo. Do you sneak into the girl's restroom when you're invisible?

g_so: it's a chatroom bug.

macavityabc: ?

victor_gischler: we need chatroom Raid

g_so: Go ahead, Bill.

macavityabc: You've answered about writers. What movies do you like? Favorites?

victor_gischler: Movies: Blade Runner, The Royal Tanenbaums, Sideways, Jaws, The Sand Pebbles, Winchester '73, the first three Star Wars -- not that CGI crap, Man ... so many ... I recently enjoyed Little Miss Sunshine.

victor_gischler: Did we fix Aldo's problem?

g_so: I don't think so. I'm working around it.

macavityabc: Glad to see Sand Pebbles on there. Ever read the book?

victor_gischler: No. I have a bad habit of not reading the book. I'm a huge David Lean fan, especially Dr. Zhivago, but I didn't read that book either. And I didn't read jaws. I'm a bad man.

maclean7777777: ?

g_so: Go ahead, Mike.

maclean7777777: Have you ever censored yourself in your writing? Have you ever said, "wait I can't do this?" If so, why? If not, would you ever?

whiteskwirl: jaws was a book? i had no idea.

maclean7777777: That makes me feel old skwirl and I'm only 34

whiteskwirl: i've seen the movie, but i didn't know it was a book.

victor_gischler: I generally go through my books for one last edit and remove a lot of "fucks" and "cunts" and bad words. Not all of them. Just when I feel I've overused them. I took out the "N-word" once just because it didn't feel right for that particular scene.

macavityabc: ?

g_so: Go ahead, Bill.

macavityabc: I don't work for People magazine, but I gotta ask one more of those questions. Music?

victor_gischler: Warren Zevon, Frank Sinatra, Johnny Cash, Bare Naked Ladies, Jackson Browne, The Kinks, abba. Yeah, that's right. I said Abba.

macavityabc: I LOVE Abba. Zevon, too.

g_so: Skynyrd, anyone?

victor_gischler: Actually, I can dig a little skynyrd ... Steve Miller band too

victor_gischler: and ELO.

macavityabc: But not Boy George?

g_so: one more from J. Stickney: What is your method of writing novels? (outline, etc.)

victor_gischler: My method of writing novels: First, I put on some boy george ...

macavityabc: I'm not sure how to interpret that sentence.

g_so: great blog post on writing, Victor.

victor_gischler: seriously, I get 5-6 "key scenes" fairly clear in my head ... then I fly by the seat of my pants to connect those scenes.

macavityabc: Is the ending one of the scenes?

victor_gischler: It's an involved process ...

whiteskwirl: are those scenes close to each other, or can they be scattered?

victor_gischler: usually the ending is one of the scenes. I try to have an idea where all the characters will end up.

victor_gischler: Very scattered .. a couple up front ... a couple in the middle ... the end.

whiteskwirl: what do publishers think of your method?

victor_gischler: My method is none of their business. I turn in the books on time. End of story.

g_so: well said.

victor_gischler: Yeah ... now I'm talking tough!

maclean7777777: ?

g_so: Go ahead, Mike.

maclean7777777: Shotgun Opera made me think of a John Woo flick. Any talk of making one of your books into a movie? If I remember you were working on a screenplay with Smith, anything happen with that?

victor_gischler: oops ... hold on a sec ...

g_so: Jeopardy theme.

maclean7777777: So.....how are you guys doing?

victor_gischler: There's always talk. Hollywood loves talk. But we might have somebody working on a Gun Monkeys screenplay soon which is exciting. When I was with my old agent I took some iffy advice to turn down some offers. Now I'm sort of sorry about that. I got a nice check for a PISTOL POETS option but that's long run out. In summary, lots of talk ... no films yet.

victor_gischler: Neil and I are working on a MUCH better screenplay that the last one ...

victor_gischler: really.

bquertermous entered the room.

g_so: welcome, bryon.

macavityabc: Hey, Bryon.

victor_gischler: You're late, mister!

maclean7777777: I was wondering when you were going to show

bquertermous: stupid web based chat worked fine till I needed it

g_so: go ahead with a question if you have one.

bquertermous: have all of the embarrassing questions been asked?

g_so: surely not.

macavityabc: Only the one about Boy George.

victor_gischler: yes. (shhhhhhh, everyone. play along)

bquertermous: haha.

bquertermous: is your new blog an eventual setup for your new novel?

victor_gischler: Sort of. It also serves as a general Gischler web-home since porn monkeys took over my domain name.

victor_gischler: does anyone know if Phil Mickleson is still leading the golf tournament?

g_so: I'll check.

macavityabc: There's a golf tournament?

bquertermous: I didn't know Phil Mickelson played video golf

victor_gischler: He probaly does. And he's probably better than I am.

maclean7777777: yeah what was that about--the porn thing?

bquertermous: and the site is now more entertaining than before

macavityabc: If that's possible.

victor_gischler: I didn't bother to renew my domain name. I had no idea it was in danger of being taken over. I mean, who the hell wants Victorgischler.com? What the hell?

bquertermous: --pointing guilty finger at MacLean--

g_so: the spambots scoop anything up.

maclean7777777: I guess they think gischler fans would also enjoy porn.

macavityabc: Nahhhhh.

bquertermous: ?

victor_gischler: Well ... if they'd just send me some of the profits ...

g_so: go ahead, Bryon.

bquertermous: So are you still enjoying your recess from the looney bin of academia or are you looking to get back in at some point?

g_so: Mickleson is still leading.

victor_gischler: Actually, I moved to Baton Rouge because my wife got a professor gig at LSU. I sort of fell into a teaching job at the local community college ... but MAN is it a lot of work. Too much grading. What I'd really like is to be part of one of those brief-residency MFA programs ... mentor student writers via e-mail and then meet for 2 weeks twice a year. That would be cool.

macavityabc: Robert B. Parker has a great story about that. He was down to teaching one class a week and then decided to pack it in. When his wife asked him why, he said, "Because it's every week."

victor_gischler: Ha. Well for me it's EVERY DAY. Even on the weekends I'm grading papers.

g_so: grading creative writing?

victor_gischler: Oh, man, it's not creative writing, Gerald. We're talking straight comp. Must ... drink ... to numb ... pain.

g_so: I...know...feeling.

macavityabc: Hey, I taught in a community college for 19 years. I know that drill.

mysdawg2003: well no sympathy.. we're all teachers here.....

whiteskwirl: come up to Spalding University in Louisville, Ky then and you can be my teacher. i'm not a teacher, i'm still a student.

victor_gischler: Tell those guys at Spalding to hire me and I'm there, baby! 19 years at community college? You are MIGHTY!

bquertermous: so has anyone asked what the deal is with the new book? Does it have a publisher or still floating about?

g_so: that was asked, Bryon.

bquertermous: boooo

whiteskwirl: i don't think they would listen to me because i'm not even a student there yet

victor_gischler: That's okay ... they don't listen to me either.

victor_gischler: ha ha

bquertermous: you don't know pain until you've taught developmental writing.

mysdawg2003: No, you don't know the pain until you are the adminstrator listening to the teachers complain about the grading....lol

bquertermous: this is why Im happier in tech support.

macavityabc: I loved developmental writing. Taught it for 19 years or so.

victor_gischler: Where I teach, developmental ... honors ... it's all a challenge.

macavityabc: Hard to believe that teaching writing would be a challenge in Louisiana.

whiteskwirl: if it makes you feel any better, we students don't like writing those assignments either,

victor_gischler: It does not make me feel better. The students write one paper ... I grade 100. But hang in there. Damn, we need to move to a more cheerful topic.

macavityabc: Like death.

g_so: Favorite soft drink. I will say Tang.

bquertermous: so everyone here is participating in the Blog Short Story Project right???

victor_gischler: hahahah. I like you guys.

g_so: My story is done.

victor_gischler: My favorite soft drink? Well ... coors light is pretty soft.

macavityabc: I'm in the blog project. If I can come up with a story.

bquertermous: Rainy Willy 2: The Revenge

macavityabc: Good title, Bryon. Maybe I'll use it.

maclean7777777: Yeah, I think a couple of us at Murderati might give it a shot.

g_so: Neat. Do you have a blog, John?

whiteskwirl: not right now. i do them every now and then but i never keep up with it.

victor_gischler: Can the transcript of this chat be my entry into the blog project? It's mostly fiction.

g_so: the entries have to be under 1,000 words.

whiteskwirl: what is this project?

bquertermous: a way for many bloggers to blow off real work at the same time.

whiteskwirl: i'm all for not working

g_so: I blogged it: http://geraldso.blogspot.com. scroll down below the chinese new year post.

maclean7777777: ?

g_so: the hour is about up. any last questions? Go ahead, Mike.

maclean7777777: Do you have a favorite scene from one of your books? Or a scene that sticks out, makes you say, "Yeah, I nailed that one"?

victor_gischler: My own favorite scene from my published novels in the party scene in PISTOL POETS and then the following morning when the professor throws the copy of Finnigan's Wake into the bicycle spokes of another professor's bike. I cracked myself up.

maclean7777777: I forgotten about that one. Anytime you can get joyce into the mix, you've got comedy gold.

victor_gischler: Thanks ... strangely it's not really a "crime" scene but rather something that highlights my satire.

mysdawg2003: hey guys, gotta jet. It's 85 out and sunny and we are heading for the pool. Vic see you in April at LATFOB. I'll spot you a beer. Maybe, even one for that Doolittle guy too

g_so: lucky you. have a good one, Aldo.

maclean7777777: see ya aldo

victor_gischler: see you, aldo

macavityabc: I still haven't seen Aldo.

g_so: he will be in the transcript. sorry about the bug.

macavityabc: No sweat.

victor_gischler: i blame Yahoo

macavityabc: I blame global warming.

whiteskwirl: do you have a particular writing routine?

victor_gischler: No real routine. I sort of make it up as I go. Different every time really. When you have a three year old son at home you're routine goes out the window.

g_so: hold on, we may have some late arrivals if Victor can stay a while longer.

victor_gischler: I can stall a bit more.

harryhunsicker entered the room.

g_so: Hi, Harry.

harryhunsicker: Hi, everybody.

maclean7777777: hey harry

macavityabc: Harry should be penalized 10 points for being late to class.

harryhunsicker: Late?

victor_gischler: Harry!!! What's up, man?

harryhunsicker: This and that.

g_so: go ahead with any questions, Harry.

harryhunsicker: Victor, what was the name of the band in GUN MONKEYS. Can't find my copy and it's been driving me nuts for some reason.

harryhunsicker: Spankees?

victor_gischler: Spanklicious.

harryhunsicker: Ahh, yes. Loved that scene.

harryhunsicker: And the whole book too

whiteskwirl: the guy in the trash can was great

victor_gischler: There was another band called Smoke Up, Johnny which was an actual swing band in Hattiesburg, Mississippi where I went to grad school.

victor_gischler: Thanks for the kind words.

macavityabc: Gotta go guys. I'm scheduled to throw a copy of Finnegan's Wake into some guy's bike spokes.

victor_gischler: Later. Aim high.

g_so: Thanks for coming, Bill.

harryhunsicker: Bye, Bill.

macavityabc left the room.

g_so: any other questions?

victor_gischler: Hay preguntas?

whiteskwirl: do you have any say in your cover art?

victor_gischler: Not really. They ask me if I like it and I sort of weigh in. I made it clear I thought the hardcover of SUICIDE SQUEEZE wasn't the best, so they made it a bit better for the paperback.

victor_gischler: I guess I have *some* say ... but I'm not the final boss.

whiteskwirl: the art for gun monkeys was half the reason i bought it, initially

whiteskwirl: the paperback art, that is

victor_gischler: Did you buy the Uglytown or Bantam/Dell version?

whiteskwirl: Dell version

harryhunsicker: I thought UglyTown did a bang-up job on the whole package for GMONKEYS

g_so: agreed, Harry,

maclean7777777: yeah

victor_gischler: Not bad. I agree with Harry. UglyTown used to do some nice work. I wish they were still publishing books.

victor_gischler: Kill Whitey was a great book with a nice cover.

g_so: I enjoyed Kill Whitey, went to a Harvill signing on Long Island.

victor_gischler: Final questions before I go check on my buffalo chili?

g_so: anyone?

g_so: Mmm. chili.

whiteskwirl: that's all i have. thanks for the opportunity

g_so: Thanks very much, Victor.

harryhunsicker: That Homer Simpson. He thinks he's the Pope of Chilitown.

whiteskwirl: it was perfect timing because i just the day before read gun monkeys

victor_gischler: Guys, it's been fun. I really appreciate your showing up.

harryhunsicker: Thanks V.

maclean7777777: thanks victor

victor_gischler: Take care, everyone.

Site Update

2007-01-27T22:33:00.000-05:00

I've upgraded Chatterrific to the New Blogger. Click on the Archive for links to the transcripts by guest's name, or click the Labels to view transcripts by year or repeat guest. Comment or e-mail me with any feedback.

S.J. Rozan

2006-12-10T16:17:00.001-05:00

Sunday, December 10, 2006

Participants

gpscribe: Paul Guyot
Odo6140: Gerald So
Old Beeg: B.G. Ritts
SJRozan: S.J. Rozan

SJRozan: So this is it? I'm here?

Old Beeg entered the room.

Odo6140: Yes.

SJRozan: I feel very William Gibson.

SJRozan: Hi, Beeg!

Old Beeg: Hi SJ and Gerald

Odo6140: Any questions for SJ, Beeg?

SJRozan: Hey, I'll talk to you two any time!

Old Beeg: I'll think of some soon...

Odo6140: Q: How did Bill Smith and Lydia Chin come about? What were some of your influences as a reader and a writer?

SJRozan: Oh boy.

Odo6140: Relax. It's just us. :)

SJRozan: Okay, the first: Bill Smith was that ironic, world-weary voice-over of the American PI. It's a voice I like because it can tell stories of power and its corrupting influence. Lydia came about as a foil to Bill. She needed to be everything he wasn't. And you want to know how come she's Chinese, huh? Because I've always been interested in Chinese culture, and especially Chinese American culture. So I thought, since I wanted her to be from a different ethnic group from BIll, that that might be one I could handle.

Old Beeg: Has your writing haiku helped you with your writing?

SJRozan: Now: Influences. Hmm. I read everything I got my hands on as a kid. Hard to say about the haiku. I'm not sure it's helped my writing but it's helped focus my thinking, and that's no doubt helped my writing.

Odo6140: What's your process like? Do you outline your books?

SJRozan: I never outline. I have no idea what my characters are capable of or likely to do until they start doing things. So I can't outline or my characters would all be cardboard. What I start with is a "theme" -- unconditional love, absolution, some large emotion and an idea about setting: the fashion trade, Hong Kong. Then I just go.

Odo6140: Ah, I see. They seem really well structured. I would have guessed outline.

SJRozan: Thanks! I'm not so sure they're as much structured as, well, complicated. But I do go back and change earlier things as I'm going along and later things come to me which demand those changes. It's a nerve-wracking way to work, but I can't do it any other way.

Old Beeg: Do you collect themes and settings or just create a set when a new book is to start?

SJRozan: As I'm about half-way through whatever I'm working on, I expect the new book to begin to take shape in my head. Only to the extent that I'll find myself thinking, "A Bill Smith book about the difference between religion and faith." That one came to me the other day now that I'm 1/2 way through THE SHANGHAI MOON which is the Lydia book to follow IN THIS RAIN, out in 2 weeks. This doesn't mean I'll necessarily write that Bill Smith book, nor do I have a setting yet, but I expect one will come before I'm done with this one.

Odo6140: Describe the premise of IN THIS RAIN.

SJRozan: IN THIS RAIN is a standalone. It's my love letter to NYC, but it's the kind of letter you write when you're way past "my beloved is perfect" and also past "if you snore anymore I'll shoot you." It's the letter you write when you know all your beloved's faults and you're in love beyond reason anyway. That's my relationship to NYC.

gpscribe entered the room.

gpscribe: Paul Guyot here.

Odo6140: Welcome, Paul. :)

SJRozan: Hi, Paul!!

Old Beeg: Hi, Paul

gpscribe: What'd I miss?

SJRozan: I'm running on at the mouth -- or, the fingers -- about IN THIS RAIN.

gpscribe: I have a question.

SJRozan: Please!

gpscribe: if it hasn't been asked...

Odo6140: go ahead, Paul.

gpscribe: Do, you, SJ, find yourself thinking about Bill and Lydia when you're writing something else?

SJRozan: Good question. No, and that was sort of a problem after I'd finished IN THIS RAIN and was ready to start the next Lydia book. I usually have the next book in my mind starting about 1/2way through the one before but that didn't happen. I had to get back into Lydia&Bill head. Somehow it's different. I think maybe it's the 1st person/3rd person thing, but I'm not sure.

gpscribe: are you now writing the new B&L book?

gpscribe: or is it done?

SJRozan: I'm in the middle of it. It's a Lydia book called THE SHANGHAI MOON. Having done 2 multi-voiced standalones, I thought, "Oh, goody, back to a straight-ahead 1st person linear narrative! Only it didn't work out like that. This one goes back to a situation in Shanghai during WWII. And all of a sudden I find myself writing old letters, diaries, naval intelligence reports...

Odo6140: wow.

SJRozan: it's REALLY HARD.

gpscribe: that's very cool.

gpscribe: You're in deep!

SJRozan: I just wonder whose bright idea it was.

gpscribe: do you outline?

SJRozan: You betcha I'm in deep.

SJRozan: Just did the outline Q before you came. No, but in this case I've had to work out the, I guess you'd call it outline of the WWII story so I have a clue what the hell is going on in the present. But it's changing as I write it.

Odo6140: Ah.

SJRozan: It always changes, no matter how little I do in advance.

gpscribe: when you actually started writing the book, did you have a "welcome home" feeling - being back with Lydia?

SJRozan: Oh boy, did I!! I fell right into the voice again.

gpscribe: let me guess - you already have a Bill book idea in mind.

SJRozan: I didn't have to spend any time getting to know her or Bill, or her mom.

SJRozan: I do have a Bill book in mind, but it would be about religion. Since this one is heavy on the Jews, I'm not so sure a Bill book about evangelical Xtianity is maybe the best thing to follow it.

gpscribe: that makes me wonder - do you get a theme going in your head, then try and find a story to fit, or does the story come first, and the theme sort of appears?

SJRozan: On the other hand, you have to write the book that presents itself or another one doesn't come. The theme always comes first, and I try to see what kind of a story would grow naturally out of that theme.

Odo6140: How long have you been part of a writing group?

SJRozan: Lemme see. I joined this group when I was working on CONCOURSE...15 years. But the group's makeup has changed once or twice.

SJRozan: We meet every two weeks -- was that your next Q? And we read stuff out loud.

gpscribe: a good writing group is such a great thing... but a bad group can be absolutely horrible. I wish I had a writing group.

SJRozan: A bad one is WAY worse than no group at all. Paul, there are so many writers out where you live. You can't find 5 who want to make a group?

gpscribe: it's tough to find 5 who "get it" and want to commit the time, you know?

SJRozan: That time thing is a big problem, yes. It's a real commitment, but...

gpscribe: maybe I'll move to NY.

SJRozan: it's been worth it to me, and to my group as it's now constituted.

gpscribe: :)

SJRozan: Oh, move to NY!

SJRozan: We have good food, too.

gpscribe: ha!

Odo6140: aside from the current taco bell situation.

gpscribe: Taco Hell

SJRozan: Gerald, I'm talking about FOOD.

Odo6140: Yes, my mistake. :)

SJRozan: Although I thought twice about the scallion pancakes in Chinatown yesterday.

Odo6140: They're a favorite of mine, too. Uh-oh.

gpscribe: SJ, will you paneling it at Left Coast Crime?

SJRozan: Yes, I'll be on something, but I haven't heard what.

Odo6140: Play GM. How can the Knicks begin to rebound from the Isiah years?

SJRozan: Oh, brother. The Knicks are beyond me. I actually was sucker enough to think Isiah might be the answer. All I can think is, bring back John Starks...

gpscribe: bring back Willis Reed

Old Beeg: ...bring back the old basketball?

SJRozan: Even better!!

gpscribe: yes!

Odo6140: the old ball is coming back, I hear.

SJRozan: Yay!

SJRozan: This ball thing, to me is such a blatant attempt to corner the market.

gpscribe: yep

SJRozan: This is where I do my rant on money and sports. But...

Old Beeg: But can we blame Spalding for trying?

SJRozan: Can we blame Willie Sutton for holding up banks? No, but...

gpscribe: ha!!

Odo6140: :)

Old Beeg: :-)

SJRozan: we can blame David Stern for, well, just about everything.

gpscribe: SJ, what's the word on Jay-Z and this stadium in Brooklyn?

Odo6140: Stern seems to be listening to reason on this score.

SJRozan: I don't know about Jay-Z. Is he involved?

gpscribe: He is one of the big investors. He owns part of the Nets. Wants to move them, doesn't he?

SJRozan: The stadium's a nice piece of work and welcome. but the rest of the development's a land-grab and a hideous disaster. Moving the Nets seemed to be what it was all about, but now that seems to be just an excuse to put up these horrific massive skyscrapers.

Odo6140: Yes, I hear the Nets are a step closer to Brooklyn. I saw something on Yahoo! Sports about it.

Odo6140: Which of your books is your favorite, if any?

SJRozan: Always, the one I've just finished. It's closest to me except for the one I'm working on, which I always HATE until it's finished and becomes my new favorite.

gpscribe: have you ever thought of doing a sports book? I loved the football stuff in Winter, and wondered if you'd ever tackle a pro sports story with B&L.

gpscribe: get your money rants on paper!

Odo6140: Brilliant.

SJRozan: I have thought about it. I'd love to spend a year doing some sort of inside-basketball research thing (research, she calls it) and I have a lot to say about sports, money, fitness, the Ubermensch...I just don't know what the story would be. But I'd love to do it.

gpscribe: the story will come - keep working on the theme! I'd love to read that!

Old Beeg: Perhaps for your next standalone?

SJRozan: It's one of the themes on the back burner. The back burner is very crowded.

gpscribe: I can't even see my back burner anymore

Odo6140: that's always good.

SJRozan: Paul -- in that case how do you know if something boils over?

gpscribe: I hear a big crash

SJRozan: LOL!

Odo6140: How much of Bill's past did you have worked out before Winter and Night? Did a bunch of it come to you while writing the book?

SJRozan: Good Q! Actually I knew most of it. Not that I'd consciously worked it out while building the character, but over the years I'd had to explain to myself why he had no family, why he'd lived with his uncle (how did I know that, you ask? I don't remember) and such, so I knew it. I just didn't know I'd ever tell it in a book, and I didn't know it would be THIS book until when the cop called to say there was a kid who'd given them Bill's name, it hit me that this was his nephew.

gpscribe: wow

Odo6140: Ah!

gpscribe: great

gpscribe: God, I love that opening scene where Bill lights the cigarette

gpscribe: So perfectly written

SJRozan: Thanks!! I love to hear stuff like that, because I work SO hard sentence by sentence!

Odo6140: Any other questions, anyone?

gpscribe: Will SJ teach me to write?

gpscribe: I have one last question...

SJRozan: Who are you and what have you done with Paul Guyot? He knows how to write.

Odo6140: go ahead, paul (?)

gpscribe: Do your deadlines guide how long it takes you to write a book - meaning, would you spend more time on each book if you had the time, or do you finish quickly, or what?

SJRozan: I'd like more time. I've never turned in a book I didn't like because of a deadline, but I do think if I had more time I might conceive a book differently. I'd like to spend 2 years on each book. Or at least, I'd like to have 2 years available to me to spend on each book, and maybe sometimes use it and sometimes not.

Odo6140: How much time are you usually allotted?

SJRozan: A year to 18 months. And that includes the editing process.

SJRozan: And speaking of time -- what a segue!

Odo6140: I see. Thanks, SJ. This has been great.

Old Beeg: Thanks, SJ!

gpscribe: THANK YOU

SJRozan: You guys were great! Thank you!

Odo6140: See you at Partners next month.

gpscribe: See ya in Seattle

Odo6140: Most welcome.

SJRozan: And drop around my blog any time! Gerald, see you in Ny. Paul, in Seattle. B.G., around.

SJRozan: Bye guys!

O'Neil De Noux

2006-10-16T07:04:00.001-04:00

Sunday, October 15, 2006

Participants:

briannthorntonn: Brian Thornton
denoux3124: O'Neil De Noux
dpwhite237: Dave White
g_so: Gerald So

g_so: If you have a question for O'Neil, type ? and I'll call on you. Here's a first question. What went into creating your PI, Lucien Caye?

dpwhite237: ?

briannthorntonn: Hi O'Neil, thanks again for your kind words about "Counting Coup." It's a pleasure to meet you. I have your story in the Nawlins issue of EQMM on my night stand. Once I finish the book for which I'm currently on deadline, I'm going to read it.

denoux3124: Before creating Lucien, I had two recurring characters (contemporary NOPD Det. LaStanza and 1890s NOPD Det. Dugas). I ALWAYS loved reading about the 30s and 40s and decided I'd create a 40s detective. Since I was a PI after leaving law enforcement, I decided I'd make Lucien Caye a PI and I'm glad I did. It's a completely different genre.

g_so: yes, a different tone to it than the cop genre.

g_so: go ahead, dave.

dpwhite237: O'Neil, can you tell us a little about your writing process?

denoux3124: Writing process. It never ends. Ever. If I'm not writing, I'm thinking about it, daydreaming out my stories. Ususally it starts with the idea or with a title. I wrote "Erotophobia" from New Orleans Confidential (NOC) after seeing the word on the internet. Get the idea. Daydream about it. Write notes until I come up with a plot. Then I outline the story in SCENES as I'll write it. Then write it and then re-write it. I let it sit for a while, go back to it and re-write it. Then I pass it to my first reader. I'm a very lucky man to have a wife who's an editor and writer. She's ruthless and helps me iron out the rough spots. I then reprint the story. Let it sit and give it one more read before sending it out.

g_so: excellent.

briannthorntonn: Yes, it's amazing how many writers are grinders. It's like making a diamond.

denoux3124: Titles are so important. They can inspire a story. One night, I watched two movies back to back on cable TV. John Wayn's wonderful "Wake of the Red Witch" and a strange British movie called "Lair of the White Worm." I love those titles and thought I'd mix them up and write a story. "Lair of the Red Witch" in NOC started that way. I had to come up with a red witch and her lair and just kept on daydreaming.

dpwhite237: I do love titles... i get them from songs a lot. That's a good point.

g_so: Anyone else come up with titles before the stories? Dave, I guess you do.

dpwhite237: Yeah I do... "My Father's Gun" was a title before it was a story.

briannthorntonn: So was "Counting Coup."

briannthorntonn: And I use song titles as well. I got "The Suicide Blonde" from the title of an INXS song. And the historical that I'm going to work on once I've finished the non-fiction contract I'm currently bogged down on has a working title of "Madman Across the Water," which comes from an Elton John song.

dpwhite237: Damn, I've had that title sitting in my head for months and just haven't found a story for it :-) !

denoux3124: Songs. Yeah, you right. My story in the New Orleans Issue of EQMM is "When the Levees Break" which comes from the Led Zeppelin song "When the Levee Breaks", which one of my characters keeps playing over and over again.

denoux3124: Brian, I really liked "Counting Coup" a lot. I've been fortunate to have had a western/mystery published in EQMM with the title "The Naked Lady of Whispering Gulch", another story that started with a title.

briannthorntonn: Thanks O'Neil. I'll have to track down "The Naked Lady of Whispering Gulch." How'd you manage to crack EQMM? Janet's a tough nut.

dpwhite237: ?

dpwhite237: When did you decide to try and put together an anthology? and do you have plans for a novel?

denoux3124: I got tired of Xeroxing copies of my stories and put together four anthologies of previously published stories of each of my recurring characters. The three I listed earlier and my newest character, John Raven Beau. I sold LaSTANZA: NEW ORLEANS POLICE STORIES to a New Orleans publisher and was so fortunate to get PontBLANK Press interested in the Lucien Caye stories. I wrote a couple new stories for it and they did all the work. I just finished my newest novel, which is a Lucien Caye novel. My agent has it.

dpwhite237: oh very cool.

briannthorntonn: Congrats.:)

denoux3124: EQMM is a tough nut to crack. So is AHMM. One reason why I subscribe and read every issue. Janet and Linda are top editors and when they accept one of my stories, it's extra special. FYI: My acceptance rate hovers around 20% with them. They are selective and the mags reflect it. Outstanding stories in a wide variety.

briannthorntonn: I got lucky with AHMM. "Counting Coup" was only the fourth story I'd submitted to Linda.

denoux3124: I truly send them my best work, stories I've taken my time with.

briannthorntonn: Linda's already rejected one story since.

dpwhite237: I've submitted 3 so far, 2 rejections and one still out there.

denoux3124: Don't get me wrong. I've read stories in both mags I didn't like (a matter of taste) but even those are well done.

g_so: How did you decide on the 1890s for Det. Dugas?

briannthorntonn: I'd like to piggy back on that question and ask how much research you did before you started writing your historicals and how deep you go on background for your stories.

dpwhite237: I'd like to piggy back and say the 80s were weird.

denoux3124: I have a history degree and New Orleans in the 1890s was a fascinating place. The French Quarter was a Sicilian slum (I'm half French and half Sicilian). The Sicilians were struggling with the Irish, who ran NOPD, so I threw in a French-American detective into the mix. Jacques Dugas uses his brain more than his brawn and always seems to solve the mystery. Research is extremely important but I truly believe that historical fiction is FICTION first and history second. While I don't want to make mistakes and I research as best I can, I don't worry if I get a little thing wrong. The whole point of fiction is to elicit emotion in the reader, to reach out and touch a reader. If there's a mistake in grammar, punctuation or a fact that's NOT critical to a story, the hell with it.

briannthorntonn: *applause*

dpwhite237: I need to take a nap after reading that :-)... that's an excellent answer.

briannthorntonn: No foolin'!

dpwhite237: ?

g_so: Go ahead, Dave.

dpwhite237: Apparently you've done a lot of historical New Orleans fiction... but right now New Orleans is an extremely interesting place... do you think you'll be writing about modern New Orleans at some point?

denoux3124: My five LaStanza novels are set in NO in the 70s and 80s. My John Raven Beau stories are set in NO today. I've had over a dozen of them published and my agent is shopping a Beau novel around at the moment. NO before Katina (BK) is one place. NO AK (after Katrina) is a whole other place. I'm writing stuff right now about NO AK (using Beau and LaStanza). I like having recurring characters.

dpwhite237: Very nice. Sorry, I haven't gotten a chance to read your stuff O'Neil, but I'm always interested in other writer's takes on writing and character.

g_so: Dave is a fan of smooth writing, and I'd describe O'Neil's writing as smooth.

g_so: Can you tell us more about John Raven Beau?

denoux3124: Hey, you can't read everything. John Raven Beau is half-Cajun and half-Sioux. I was inspired to create him after reading the CHEYENNE Series of novels by my best friend John Edward Ames (who wrote the series under psedonym Judd Cole). My paternal grandmother was Cajun. I'm having a lot of fun with Beau who balances the carefree Cajun disposition against the dead serious Sioux nature. He even carries an obsidian knife, like a good plains warrior.

denoux3124: Beau is the main character in "When The Levees Break"

dpwhite237: oh okay

g_so: Great title.

dpwhite237: What do you see in New Orleans since Katrina? How do you capture that in your writing?

denoux3124: New Orleans AK is so different, not only physically (we have more hookers since we have less cops, more gangs, more violence and more coyotes and other wildlife) but emotionally. We're still recovering from a knockout and there's a little brain damage. NO is like a punch-drunk fighter who will never give up because New Orleans isn't The Big Easy ... NO is America's eternal city. Born European and occupied by so many nationalities, she's an island all to herself. Capturing her is never easy but trying is a lot of fun.

dpwhite237: that is cool, trying to capture the city in writing.

denoux3124: Setting, as in capturing NO in a story, is not just the names of restaurants (like so many TOURIST writers do). It's not even just the descriptions of buildings, streets, parks. It's the sensory details, the sounds, smells, feel, the dialogue, taste of the cuisine. Setting is very important and I usually go to the places in NO I want to use in the stories/novels. I sit there and observe and take notes. A pocket tape recorder is helpful. I've even used a video camera.

dpwhite237: Setting is interesting... I haven't figured out how to characterize NJ yet, but I'm getting there.

g_so: Do you have a favorite story of your own, O'Neil?

denoux3124: I have a number of favorites. One is "Unicorns on Octavion" because with it I broke into the Children's Fiction market (Cricket Magazine) and I wrote it for my daughter, who's the main character. Is it my best written story, probably not. One of my first LaStanza stories, "The Desire Streetcar" is one of my favorites, along with "St. Expedite" and "Expect Consquences" from NOC. A couple of my Beau stories I like a lot are, "Love and Murder" and "Murder Most Sweet" (Both were in EQMM). Dugas is in several of my favorites, "The Murders Along The Rue Frenchmen" and "Maria's Hand" which is an Amazon Short on amazon.com (along with another Lucien Caye story "Guilty of Dust and Sin".).

briannthorntonn: I originally wrote Counting Coup for submission to an anthology called "City Crimes Country Crimes" that emphasized setting as being as important as character. There needed to be a strong sense of place. I think your setting is not only as important as character. I think if you do it right, your sense of place is so strong that it *is* another chracter in the story.

g_so: About to wrap up. Final questions, anyone?

dpwhite237: Actually I have to get out of here... have a great night guys... Thanks O'Neil.

briannthorntonn: O'Neil, what's on the burner for you project wise?

g_so: bye, dave.

briannthorntonn: Good bye Dave.

denoux3124: I'm writing a John Raven Beau three-book miniseries (comics) because I met an illustrator. I'm also writing another novel set in 1947 with none of my recurring characters.

briannthorntonn: Cool, you're keeping busy.:)

g_so: wow, the latter should be a challenge.

denoux3124: Before we go away, I want to thank y'all for having me. It's been fun.

g_so: Great having you, O'Neil. hanks for making the time.

briannthorntonn: And thanks for hosting it, Gerald.

g_so: Most welcome, Brian.