Somewhere today . . .

Dear ‘Rati, 

I wrote this poem last year. It still expresses what Memorial Day means to me better than anything I’ve written before or since.
So please pardon the repetition. And if you know a soldier, or someone who awaits a loved one’s return, or someone who knows that will never happen again . . . please give that person a little extra love today.

by Pari

 

Somewhere today a young woman sits in a muddy blind, her uniform wet through.
She knows she needs to pay attention to what’s happening, that she has to distinguish between a clap of thunder and the burst of a gun.
But all she can do is think of her baby graduating from kindergarten back home . . . without her. 

Somewhere today a boy reaches for an automatic with only one hand.
The wind blows dust into his teeth and eyes.
He manages to prop his weapon against a sand-filled sack, using the stump of his other arm—the one where the rebels sliced it off at the elbow—to keep the rifle steady.

Somewhere today a mother waits on the tarmac, watching the military plane land.
It bounces two times on the runway.
Her son would’ve laughed at that.
Through the blur of tired and salty tears, she sees them lift the unadorned casket. 

Somewhere today a father stares at the last letter his daughter sent him.
He has memorized every word, read between every line so often it has merged with the next in a confused gray.
Three weeks and nothing.
Not a note, not an email, no text.
He looks to the blue sky and wonders where she is, if she’s all right.

Somewhere today a young woman is shot in a border town
– wrong place, wrong time –
the “collateral damage” of a drug war she’s never played a part in.

Somewhere today a group of young men claim a village for their tribe
kicking children’s toys aside in the abandoned huts of former friends.

Somewhere today war will blast dreams away
cut lives short
and make sorrows long.

Somewhere,
someday,
I pray
we’ll have no need for this holiday.



 

Subjectivity

By Toni McGee Causey

One of the most frustrating things about teaching new writers the ins and outs of publishing is trying to communicate just how subjective the business is. Grasping just how subjective the business can be is perhaps one of the first real steps into grasping the business itself — moving from starry-eyed newcomer to experienced writer. Those steps? Can be torture. Because when you do finally grasp just how random and coincidental and subjective the business can be, you finally have to acknowledge that you cannot control it. You move from being the God of the world you created to the person subject to an enormous amount of whims and choices beyond your control. If you’re a control freak (and I think most writers are, to a degree, especially about their own work), it’s positively painful to realize that your control can’t extend much further than who you query or whose offer you accept, should an offer be proffered.

I was teaching a few weeks ago at one of the library events I do throughout the year, and it was a crash course on publishing. The event was very well attended and several of the attendees came chock full of questions (which is wonderful — the time flew). But we kept circling around to the notion that they might not have control over some of the things they thought they’d get to choose about their books. Like cover. (coughcoughinyourdreamscough) If you’re really lucky, the publisher/editor will ask for your input and/or feedback once they have some designs, and if you really loathed something, hopefully they’d take that into account and not inflict you with a terrible cover, but often, they have reasons that go far beyond what you saw for the book … reasons that have more to do with market research and what’s selling well and what just hit the bestseller lists and on and on — none of which may be right for your book, but that’s impossible to predict.

When I was discussing this with the group, talking about subjectivity in general, I tried to use the dress metaphor. (I lost the men almost immediately.) We were talking about why not every editor will love every book, even when a book might go on elsewhere, and become a bestseller. Today, however, I had the perfect example right in front of me.

I’m in New Orleans. CJ Lyons is down teaching and I scampered over today to hang out during her down time today. CJ knew that one of my goals today was to take the time to look around at some of the galleries here for art. I’ve been doing some remodeling in my house and I have almost no art up anymore. Some things I just outgrew, some things I’m simply tired of, and mostly, my tastes had grown and changed over the last few years, so that what I wanted now was different. We meandered in and out of several galleries, and I suddenly imagined what an editor feels like when they’re perusing stacks and stacks of manuscripts: overwhelmed with the choices.

There are so many great artists out there, so many of them right here on this one street (Royal) that I could spend hours and hours angsting over the choices to be had. I didn’t have hours and hours, and I had a budget in mind, should something happen to grab my attention. And when you have that many choices in front of you–so many of them great–you have to create your own criteria to help whittle down the choices so that you can actually buy something.

For example, I eliminated certain styles of art immediately. I appreciate looking at them, I appreciate what the artist is doing (or tying to do), and I can see the value in them, see the impressive skills … but the bottom line was, I didn’t want to live with it. I didn’t want to wake up day in and day out and see it. It wasn’t going to bring me joy on that level, and it wasn’t something that spoke to me or resonated with me in a way that gave me new pleasure, every time I looked at it. An editor (and an agent) goes through this–they know that whatever they sign, they are going to be seeing it for a long long time. Maybe not day in and day out, but they’re going to be reading and re-reading and thinking about it and talking about it and figuring out how to do more with it and market it and then get it as much promotion as humanly possible. If it doesn’t really speak to them? That a lot of time to spend on something that is just technically good. If you had the choice of spending a lot of time on something technically good vs. something that blew you away, which would you do? Assuming they cost roughly the same, or both could at least be purchased by you — you’d be crazy not to pick the latter.

 Once I had automatically eliminated the obvious things that weren’t in my tastes/zone, I had to start whittling down the remaining choices. Many of them were beautiful works. Some were paintings, some were photographs. This is where budget and space contraints came into play. I could have spent more on something, if I’d found the exact right thing that grabbed my heart and held on and made me want to sit in front of it for hours, just mesmerized. I was willing to go there, for something like that. For the smaller things I was looking at, I loved what the photographer had done, (and it speaks to something I’m doing in my new work), so it resonated with me deeply and I knew that I would enjoy these smaller pieces. I saw a slightly bigger item at that same gallery which impressed me, but not enough for me to go so far over my comfort zone, budget wise. I bought the smaller pieces, and am not only happy with the purchases, I know I’m going to enjoy looking at them again and again.

A few shops later, I saw two pieces that I flat out loved. They were amazing works of art and I wanted them. Wanted. But there were two issues that prevented me from having an automatic “yes.” (1) I wasn’t sure if I had the right spot for them. You don’t buy something that large  and that dynamic without knowing where you’d hang it, and I wasn’t sure if I even had the right place. (2) I wasn’t sure it was ultimately what I wanted. If I was going to blow my budget by that much, I had to feel like it was something I couldn’t live without. Something I’d feel bereft at losing. Something I’d lament not having, day after day.

An editor is faced with the same sort of issues. There are small projects she/he will love and/or enjoy and while they may not be masterpieces, they are something the agent/editor connects to and will not mind living with for a long while through the course of the book. But for an editor to spend a lot of money on a big project, they have to have two things going in: they have to absolutely love it in order to convince those with the actual money to part with said money and they have to believe, in the world of their business, that this gamble is going to pay off. In my art choices, I only have to gamble my daily satisfaction–I’m stuck with something that expensive, and if it turns out to be a bad choice, I don’t want to have to be reminded about it day after day. But imagine if you are not only reminded of it … imagine if your job hinged on its success. If you’ve got the passion for a project and tout it up the ladder and convince everyone to spend a lot of money (both on the project and on marketing) and then it doesn’t sell? Your career as an editor could be over or in serious jeopardy. So you’ve got to really really love the work to go that distance. Even for an established writer, with a built-in audience.

It’s a subjective world. We can’t control the business, and we can’t say “I’ll be happy when …” and then put things like “sell” or “sell X number of books” or “hit X list” at the end of that sentence, because those things are outside of our control. The only thing we can do is control the quality of the work. Do the very best we can do and put it out there, in as many ways as possible, to interest the one right buyer (gallery [art] or agent [books]) who can then get it to the right audience. We need to look at the work for satisfaction, not the career trajectory, because to do anything else is to court insanity. The day everything goes really well and we think we can take the credit for that? Is the day we’ve bought back into the delusion and no good can come of that.

So love the work. Enjoy the process and the people you meet along the way. Don’t worry about all of the other things beyond your control. Do the best you can do to educate yourself about the process, of course, and the best you can do to put your work into the rights hands, and then let go and move on to the next work. (Unless you’ve self-published, which brings with it a host of problems, because you have to do everything yourself.) If you want the NY publishing career, know that, at best, you will control only a little of it, and that is mostly what you put on the page.

The good news is, there are lots of people with lots of different tastes. With a little education and tenacity, you can get your work in front of many of those people and increase you chances for good luck.

Please Welcome The Fabulous Reece Hirsch

By Cornelia Read, kind of

I’d like to thank everyone in the Murderati Tribe for your kindness over the last couple of weeks since my father’s death. I’m still feeling a little wobbly, but the memorial gathering my stepmother Bonna organized in Calabasas, California, was beautiful, with about 150 friends and family members attending–including three wonderful pals of mine who drove down from the Bay Area, setting out at 6:30 a.m.: Sophie Littlefield, Julie Goodson-Lawes, and Muffy Srinivasan. My daughter Grace and I are now back in New Hampshire and feeling way better about it all.

And on a much happier note, please allow me to introduce Reece Hirsch, an extraordinary writer whose debut thriller The Insider deserves wide attention…


My debut legal thriller The Insider is the story of Will Connelly, a young corporate attorney in a big San Francisco law firm who is on the verge of making partner.  He thinks that becoming a partner will solve all of his problems but, in fact, his troubles are only beginning.  In the week after being elevated to partner and taking over a major technology company merger, Will becomes the prime suspect in a colleague’s murder and an unwilling participant in a complex criminal scheme that involves the Russian mob, insider trading and a secret government domestic surveillance program.

 

Who’s wilder on tour, rock bands or authors?

Rock bands may have the edge when it comes to sex and drugs, but you just can’t beat writers when it comes to committed drinking.  Writers drink like they mean it.  Anyone who’s been to the hotel bar at a Bouchercon can testify to that. 

 

Offer a favorite sentence or passage from another writer.

Here’s a favorite passage from Kingsley Amis’s Lucky Jim that might describe the night after the Bouchercon hotel bar:

Dixon was alive again. Consciousness was upon him before he could get out of the way; not for him the slow, gracious wandering from the halls of sleep, but a summary, forcible ejection. He lay sprawled, too wicked to move, spewed up like a broken spider-crab on the tarry shingle of the morning. The light did him harm, but not so much as looking at things did; he resolved, having done it once, never to move his eyeballs again. A dusty thudding in his head made the scene before him beat like a pulse. His mouth had been used as a latrine by some small creature of the night, and then as its mausoleum. During the night, too, he’d somehow been on a cross-country run and then been expertly beaten up by secret police. He felt bad.

 

How do you relax?

See the two responses above.

 

What is your favorite indulgence, either wicked or benign?

 My subscription to DirecTV’s NFL Sunday Ticket, so that I can watch all of the Minnesota Vikings games.  They rip out my heart every season, but in a good way.  I’m not quite sure if this indulgence is benign or wicked.

 

Readers love to find little factual errors in novels.  How’s THE INSIDER holding up to that scrutiny?

My book has a chase scene and shoot-out set in the middle of San Francisco’s Gay Pride Parade.  The scene features the aptly named Dykes on Bykes, a fixture of the parade.  I was informed that I incorrectly placed the bikers in the middle of the parade when they are, in fact, always at the forefront, marking the launch.  I stand corrected.

But what really concerns me is my upcoming appearance at the annual fundraiser for the Electronic Privacy Information Center in D.C.  That consumer privacy group is referenced in THE INSIDER and the book touches upon encryption and domestic surveillance issues.  At that fundraiser, I’ll be facing a room full of about 200 privacy and security wonks and wonkettes.  If anyone is going to call me out on my book’s handling of data security issues, it’s that bunch.

 

If someone were to write your biography, what would be the title and the subtitle?

I Fought The Law (And The Law Won).  (I’m a partner in the San Francisco office of Morgan, Lewis & Bockius.)

 

Why do you write?

Given the demands of my legal practice, there are a million reasons why I shouldn’t write.  I suppose I just can’t help myself.

 

Recommend five or more books on a single subject of personal interest or expertise.

I am a film fanatic with a predilection for the films of the Seventies.  Here’s my list of great books about Hollywood:

The Player by Michael Tolkin

Get Shorty by Elmore Leonard

The Devil’s Candy by Julie Salamon

The Last Tycoon by F. Scott Fitzgerald (the Pat Hobby stories are also great)

Easy Riders, Raging Bulls by Peter Biskind

The Kid Stays in the Picture by Robert Evans (Audio Book).  This is a rare instance where the audio book improves immeasurably upon the text.  There’s nothing like hearing Evans himself ask the reader a question, then answer it with, “You bet your ass it was.”

 

Okay ‘Ratis, how about your indulgences, wicked or benign?

Status Updates

by JT Ellison

Hello, New York.

I’m up here for BEA, a crazed two-day junket with nary a moment to spare. Lunches, dinners, signings, meetings galore, with the Big Apple as the backdrop—this is one of my favorite events of the year. There’s something so… so… writerly about flying to New York and meeting with your people. I’ve said it many times in the past, find a way to met the folks who are publishing and representing you. It’s a relatively small investment in your future that pays huge dividends in the end—not mention gets you fed. And fed well. I often wonder if my people assume I come to New York just to get them to take me to the fancy restaurants…

I digress. I’m on deadline, trying very hard to finish a book that’s proved quite difficult for me, simply because I always assumed it would be the last book in the series, and now it’s not, so I have to rethink the whole sub-story. This quick New York trip aside, I’m working every waking daytime minute on the end of the book (already written, just trying to bridge the mid-point to the climax properly.) I made a decision two weeks ago to take a real vacation from the distractions of the Internet while I’m finishing—especially no Facebook and no Twitter.

Ah. The bliss of silence. The time saved aside, the quietness in my head is so worth it. I’m thinking in massive creative bytes, totally absorbed in the work in front of me. It’s lovely. So lovely that I’m wishing there was a way to do this full-time. It’s something I think we are all struggling with—the necessity of self-promotion versus the horrid impact it was on our creative life.

Over the past week and a half, I’ve been participating in a psychological study on the genesis of creativity for a major university. They sent me nightly surveys, and I took them faithfully, answering the questions honestly. What I found didn’t surprise me too much: I often have major A-Ha! moments around 2:00 in the afternoon. I spend between 5-6 hours a day actively pursuing my creative endeavors. I am a basically happy person who gets very excited about perceived breakthroughs. I am utterly and completely OCD and most likely have a slight case of Asbergers. Cool stuff to know about yourself.

I enjoyed the endeavor so much that I bought a Levenger Five-Year Journal so I can start making a few notes on my creative day. My daily personal status updates.

But without the outlet a sheer randomness that Facebook and Twitter provide, I’ve had a few of those thoughts build up in my head. I started writing them down as they occurred to me, just as a test, just to see what my mind was really doing with its newfound freedom.

Here’s a partial listing. I’ve realized that out of context, I must sound mad, but there it is…

  • I dreamt of bears… again. I’m starting to get worried that I’m about to meet a tall, dark, handsome grizzly.
  • Listening to Depeche Mode’s Personal Jesus makes you ten times more likely to let people cut in traffic.
  • It’s Purgatory, people. Stop overthinking it.
  • When God created pigs, he did it for the sole purpose of making pancetta.
  • It’s kind of sad when you get confused because the ear plugs have so many choices.
  • You’re in a public bathroom. It’s the end of the roll. Do you change it?  Discuss.
  • Face it. You can’t fix stupid.
  • Kitchen porn. Two words.  Oh.  Yes. (Kidding… Williams Sonoma)
  • Boys and their balls.

Randy found this experiment amusing enough to jump in with a few of his own. If you can imagine us, late-night dining in New York on the most perfect carbonara ever, rolling on the floor laughing, you’ve got a good idea of how this went.

  • Who knew Larry King’s random column was so prescient—I like pie!
  • Why can’t Hank Azaria get a series?

But the best one, my absolute favorite of the week?

  • I’m holding the fifth novel I’ve written in my hands, and I’m feeling a wee bit verklempt.

Yes, the ARCs came for THE IMMORTALS the day I left for New York. I am so, so overwhelmed. They’re super pretty—it’s a Halloween book, so the colors are awesome. I’ll debut the cover here in a few more weeks, I need to stay focused on the prize, which is finishing the next one.

It’s been a great few days. Crazy, disjointed, insane, but great. So bear with me (heh-heh) for not having anything truly profound this week. (and double for give me, because half the list was lost because my hotel internet went AWOL, along with the boys from Fleet Week. I’m actually praying this goes up on time. Srysly.)

(And major thanks to everyone who’s asked about How Nashville Is this week – we’re recovering. Slowly, but surely. Your love, hugs, thoughts and prayers have been amazingly helpful!)

In the meantime, I’ll bid you adieu.

So tell me… in 140 characters or less (or 140 words…) what are you up to???

Stay classy, Murderati. : )

Wine of the Week: Santa Cristina Sangiovese

 

Cross Enough To Spit

Zoë Sharp

This is not the blog I was intending to write this week. In fact, it’s not the blog I’d already written.

But I’m so angry I could spit.

It’s not the kind of anger where steam comes out of your ears and the blood vessels in your eyes burst and the cords in your neck stand out, and you can stride about and break china while raging at the world.

It’s a small, pointless, useless kind of anger. The kind that burns you up inside so cold and fierce it makes your hands ache.

You see, I’m angry over something stupid. Something that is done and out there and I can do nothing about.

A simple mistake on somebody else’s part, that probably seems little more than a minor slip-up to them. The kind of everyday error that will be forgotten in the time it takes to drink half a cup of coffee, take a phone call, have a smoke break.

But I’m a crime writer. I deal in the what if. And, in this case, I deal in the what did as well.

Yesterday, I arrived home to find waiting for me a copy of one of the magazines I photograph for – and you’ll excuse me if I don’t tell you which one. At first, I was delighted. I’ve clocked up another front cover. All kudos. Lovely.

Then I had a leaf through and found an advert for a company involved in one of the photoshoots. The advertising department had previously phoned to ask if they could use one of the photos I’d taken in the advert. As always, I said yes, but asked if it would be possible to have a photo credit. ‘Photo by…’ or maybe ‘Photo courtesy of…’ and my name.

Nothing else. I don’t have a website for the photography. When I first started doing it, such things did not exist, and since then I’ve never needed one. Editors in the field know my work. If new ones want examples, they can take a walk through a newsagents and they’ll find plenty.

This advert had my name on it, in small print below the picture. So far, so good.

In much larger print across the bottom, it also had my work email address. Still no problem, although I didn’t ask for it. I only tend to do magazine shoots, or favours for friends, so I don’t really need for people who don’t know me to get in touch.

It also had my mobile number, which started me getting a bit twitchy, but the final straw was my home telephone number. And, just in case anyone didn’t fully appreciate that fact, it had a helpful (h) after it.

Now, there will be many of you who are sitting there at this moment, going, “So what?” And, to be honest, that’s what the person in the advertising department was clearly thinking when I called to point out their mistake. Particularly as the biggest cock-up – as far as they were concerned – was the fact that they’d managed to include all my details, but no contact information at all for the company whose services they were actually supposed to be advertising, who will rightly feel slightly miffed about the whole thing.

I’ve probably bored you all before with the story of the incident that kick-started my interest in self-defence as well as my career in crime writing. But for those of you who don’t know, many years ago, when I was working freelance for a motoring magazine, I went out to do an interview with a guy who was supposed to own an interesting collection of cars. When I arrived at his house, he seemed very surprised that my Other Half, Andy was with me.

And the collection of cars did not actually exist.

That was not long after a real estate agent called Suzy Lamplugh had gone to show a mystery client around an unoccupied house. She was never seen again.

And I began to wonder what would have happened if I’d turned up alone to do that interview, alone. What was this guy planning to do then?

Shortly afterwards, the death-threat letters began. Whenever my photograph appeared alongside my regular monthly column in the magazine, the letters arrived. Cut out of newspaper like a ransom note, calling me female filth, scum, telling me my days were numbered.

Telling me they knew where I lived.

The police never pinned down who was sending them, and eventually they petered out without my poisoned-pen pal ever making good on his – or her – threats.

But it made me careful, wary. I had a mobile phone long before it was the norm, so I couldn’t be tracked via my land-line number to the village where I was living at the time. I opened up a PO Box address in the nearest large town, so I could receive mail without it coming to my home address, and printed only that and the mobile on my business cards.

And, of course, I learned a LOT of self-defence.

I was reminded of this when I was at the CrimeFest convention in Bristol last weekend, because I did a short self-defence demonstration for one of the In The Spotlight slots on Saturday morning. Aussie author Helen Fitzgerald ably volunteered to be my crash-test dummy, and together we showed the standing-room only audience how to avoid being stabbed or strangled.

But the best form of self-defence, I told the crowd, was not to be there in the first place. Not to put yourself in a position where you needed it.

Not to have your home telephone number published in a magazine.

But how do you explain all this to someone for whom it’s no more than a little slip-up that will be forgotten by lunchtime, and not carried home with them at the end of the day?

So, am I overreacting? Have you ever had a minor incident that shook you up even though, technically, nothing happened? Or do you see people taking risks with their personal safety, oblivious?

What makes you angry in a small way?

This week’s Word of the Week is chapfallen (or chopfallen), which means ‘dropped jaw’ from chap or chop (jaw or jowls), hence depressed, crestfallen, dispirited. It dates back to the 16th century; today we associate jaw-dropping with surprise rather than sadness.

3D (Maybe I Need a Lighthouse)

by Robert Gregory Browne

Chapter 1 – Discomfort

I’ve never been comfortable with self-promotion.

 

Oh, I’ve got the obligatory Facebook page, the obligatory Twitter account, the oligatory blog and, of course, the obligatory billboards on the bumpers of cabs and the sides of buses, not to mention the ones flashing over Times Square.

 

But for the most part, I tend to shy away from tooting my own horn, much to my wife’s chagrin.

 

Some might argue that I’ve put the lie to that particular claim with all the talk about the TV pilot these last few months, but I consider that a bit of an anomaly, so I hope you’ll forgive me for it.

 

But yesterday my fourth novel came out. So now it’s my duty as a responsible author to tell you all about it. It’s called DOWN AMONG THE DEAD MEN and it’s quite possibly the most brilliant thriller you’ll ever read.

 

Really. It’s pure genius.

 

Too much? Okay, how about if I simply quote the back cover and let you decide:

The newspapers called it Casa de la Muerte, a grisly house of horrors in the Mexican desert where five Catholic nuns were brutally murdered.

Freelance journalist Nick Vargas knows it’s a terrific subject for a true crime book—and a chance to revitalize his ruined career. But when he arrives at the scene, he learns there may have been a sixth victim: an American woman whose body has disappeared. Now Nick is dead set on finding her…

L.A. prosecutor Beth Crawford thought it would be fun to join her sister on a cruise to Baja Norte. But when she meets a pair of seductive strangers onboard—and her sister mysteriously disappears—Beth follows her suspicions into a sinister world of crime, corruption, and dark superstition.

Now, with the help of reporter Nick Vargas, Beth must enter the heart of evil itself, where all shall be revealed…on the Day of the Dead.

Okay, that’s it. I’m done with the BSP. Now on to other things.

 

Chapter 2 – Disappointment

 

I have a confession to make. Every year I sit down with my wife to watch American Idol. I’ve fallen off lately, thanks to my crazy schedule, but I still catch up online to find out who’s going home. And with all due respect to Lee Dewhat’shisname, if Crystal doesn’t win, this puppy is rigged.

 

Whoever winds up getting the axe tonight, you can bet you’ll see disappointment in his or her eyes. I almost made it, that look will say. I had the crown and somehow it slipped out of my hands.

 

A guy named Jim Fiebig once said that “Age does not diminish the extreme disappointment of having a scoop of ice cream fall from the cone.”

 

Well, it turns out that the TV pilot (there he goes again!) was my scoop of ice cream and it appears it has fallen from the cone. Or rather, CBS knocked it out of the thing and decided to go with another flavor called Tom Selleck.

 

Of course, THE LINE/ATF was not the only flavor up against Selleck, but that doesn’t keep the disappointment from stinging just a little bit.

 

But after many years getting battered in Hollywood, I take the position — like many of your favorite stars (and American Idol hopefuls) — that it is an honor to have been nominated.

 

So don’t cry for me, Argentina.

 

Chapter 3 – Dumbfounded

I don’t care what political party you belong to or what particular world philosophy you hold dear… Is it me, or has this world gone batshit crazy?

I simply cannot stomach the news anymore. I turn it on and within minutes I’m on the phone to my therapist, asking for an emergency session.

 

Yes, I know that the news is mostly bullshit. That it’s slanted one way or another and geared to scare the crap out of all of us so we’ll stayed glued to our sets and buy SUVs and sugary cereals and cleaning products that make our floors sparkle —

 

But come on. Do we really need to be pummeled with negativity day in and day out? And can’t you raving fringe maniacs — on both sides — just take a breather for a while?

 

I mean, really. You’re exhausting the hell out of me and sending my blood pressure through the roof.

 

The way things seem to be going out there, I’m wondering if the book I’m writing is a waste of time. Will there be anyone around to read it?

 

I remember reading once about a woman who moved from the city to become the keeper of a remote lighthouse. Out in the middle of nowhere, she was cut off from the world. Didn’t read the paper. Didn’t watch the news.

 

And she was happier, she said, than she’d ever been in her life.

 

Go figure.

 

Maybe I need a lighthouse.

 

What about you?

 

Women in Peril

 

By Louise Ure

   

 

Maybe it’s just because I’ve been on a Stieg Larsson kick the last couple of weeks. I haven’t ordered the third in the series yet, but both The Girl With the Dragon Tattoo and The Girl Who Played With Fire are steeped in the world of violence against women. Whether it’s the kidnapping, torturing and killing of women explored in the first book or the horrors of the sex trade in the second book, Larsson focused on the perils women face today and created a kick-ass heroine in Lisbeth Salander (who one blogger called “a deviant Lara Croft”) to confront the problem.

And when I turned on the local news this morning, all four lead stories were about crimes against women. The continuing hunt for the killer of a 24-year old Asian woman. The carjacking and rape of a woman driving late at night in a Mercedes SUV. An elderly woman assaulted on a nature trail as she was walking a dog. No progress in the case of a dismembered young girl’s body found in a suitcase.

While I’m glad that the media and our best selling novelists decry crimes against women, the stats just don’t support the emphasis.

  • Yes, 95% of all rapes and sexual assaults are against women.
  • But only 44% of all armed robberies in the U.S. are.
  • Only 33% of all assault victims are women
  • And only 25% of murder victims (1/3 of whom were killed by a partner or spouse).

 

But in books, TV shows and news stories, the number of female victims are much higher. I fear that in all three cases (news, film entertainment and literature), women-in-danger stories equal ratings and sales.

In an article in the U.K.’s The Guardian last fall, author and critic Jessica Mann discussed an increasing trend in crime fiction to write plots with male antagonists and female victims that come close to “sadistic misogyny.”

“Each psychopath is more sadistic than the last and his victims’ sufferings are described in detail that becomes ever more explicit, as young women are imprisoned, bound, gagged, suffocated, stabbed, boiled or buried alive,” she said.

A publisher quoted in that same Guardian article added, “Dead, brutalized women sell books, dead men don’t.”

Publishers have a shorthand name for this: Fem Jep, if the details aren’t too gory. Torture Porn, if they are.

I’m equally culpable in my own work. The victims in my novels are primarily women and the protagonists (all women) definitely fall into the Female-in-Jeopardy mold by the end of the book. I can only blame that on the fact that I write about what I know and what I am most afraid of.

Val McDermid, when asked about women writing more violent plot lines, said: “When women write about violence against women, it will almost inevitably be more terrifying because women grow up knowing that to be female is to be at risk of attack. We write about violence from the inside. Men, on the other hand, write about it from the outside.” I’m not sure I agree with her inside/outside definition, but I do know that women can write equally dark and violent books as men do.

If the success of these Women in Peril novels are any indication, we don’t want to read about cats or kids in jeopardy but there better be lots of man-on-woman danger involved. It’s as old as The Perils of Pauline and as new as The Girl Who Kicked the Hornet’s Nest, but these days the women are likely to rescue themselves instead of waiting to be untied from those railroad tracks.

How about you, my ‘Rati pals? Do you enjoy reading Fem Jep novels? Do you enjoy writing them? And when does Jeopardy turn into Misogyny? 

 

 

 

 

 

Are You There, Dog? It’s Me, Margaret.

by Alafair Burke

It’s eighty degrees and I’m writing this from the newly remodeled Washington Square Park, where the fountain – now symmetrically aligned, thanks to Mayor Bloomberg — enthusiastically welcomes in summer by spraying bare-chested SPF’d children and apparently un-SPF’d ripple-abbed men (not that I noticed).

Perhaps because I’m typing this as a crazy-ass homeless dude in a multi-colored wig and butterfly-patterned skirt harangues me about the carry-out lunch that awaits my attention on the bench next to me,* I’ve decided that dog watching is a safer park habit than people watching.** But it’s nearly as interesting.

No day in Washington Square would be complete without the dogs. The big ones. Little ones. Happy ones. Neurotic ones.

And my afternoon of dog watching got me thinking about my relationships with pets. As some of you know, I have a special relationship with my French Bulldog, The Duffer. My tremendous respect for him is reflected even in his name. I wanted to call him Stacy Keach. My reasons should be self-evident.

Stacy Keach and the Duffer (which is which?)

 

 

My  husband, however, was perplexed by the choice. “People will think a dog called Stacy is a girl.”

Um… so?  And, more importantly, we would not call him Stacy.  We would call him Stacy Keach. Every single time. Because that would be his name.  My husband put his foot down, but that didn’t mean I was going to cave for some stupid dog name. No Fidos or Fluffies here. But Duffer? Yeah, that might work. But only he had to be THE Duffer. All regal and stuff.

The Duffer’s my first dog, and I have to admit I’m still surprised by the love, affection, and empathy I have for my little friend — and which, yes, I believe he has for me. I truly believe he has moods and feelings and expressions that leap from that one-of-a-kind mug of his. I talk to him constantly and imagine what he would say back to me if only he could.

Does this make me insane? Maybe. Or more optimistically, maybe my internal (and sometimes external) running dialogue with the Duff is just a sign of my overactive imagination. Or it could be a recognition that animals, although lacking our ability for language, opposable thumbs, and fire making, have attributes that we chalk up to feelings and emotions in humans, but to our own imaginations in our pets.

I mean, is it not obvious that the dog in this photograph

was in a different mood, and yet the very same silly beast at his core, as in this video? (Warning: NSFW)

Dogs are not alone in their unique personalities. My agent and his wife recently welcomed two new kittens into their home. One is named Ellie Hatcher, and her brother is called Mickey Haller. In light of her namesake (my series protagonist NYPD Detective Ellie Hatcher), I was rooting for Ellie to be one playful yet take-charge, bad-ass mo-fo of a cat. But guess what? It’s her twin brother Mickey (named for Michael Connelly’s Mickey Haller) who’s the rapscallion. If he were a human being, he’d wear overalls, carrying a peanut butter sandwich in one pocket, a slingshot in the other. Mickey’s the feline equivalent of Dennis the Menace.

Ellie? She’s earnest. Tentative. Watchful. The kind of girl who’d tell on herself if she ever broke the rules. Sigh.

I’m not the only writer with pets on her mind these days. The wonderful Laura Lippman recently blogged about once helping out Reba, “a hang-dog dog, shy and mopy.”  (She’s following it up with a contest. Just post a memory about your favorite pet or pet name, and be entered for an advanced copy of her eagerly anticipated novel, I’d Know You Anywhere.)

Perhaps because we recognize that our pets have personalities, it’s no surprise that writers have looked to pets for fictional characters.  It’s fashionable these days to diss cozy mysteries where cats solve crimes, but some pretty damn good books occasionally make room for the non-human animals.  (Have you read Garth Stein’s The Art of Racing in the Rain?  The entire novel is narrated by a dog, and it’s actually good.  I kid you not.)

Sometimes the addition of a pet tells the reader something about its person.  Leave it to Stephanie Plum to find a best friend in Rex the hamster.  Readers also become attached to literary pets in their own right.  I’ve lost track of the number of times I’ve been asked whether James Lee Burke‘s daughter actually owned a three-legged racoon named Tripod.  (The answer, for the record, is no.)

I like to think I’ve created a true character in Vinnie, French bulldog pal to Samantha Kincaid.  I conjured Vinnie well before I was a dog owner myself. He’s a little lazy, likes his people, and makes loud, fast snorting noises like an old fat man when he eats. He’d sound like Buddy Hackett if he could talk.  And he finds endearing but frustrating ways of expressing his displeasure when Portland cop Chuck Forbes moves in.  (I’m not alone in my frenchie obsession.  The Kellerman family has a beautiful dog named Hugo, and Jonathon Kellerman‘s Alex Deleware has a frenchie as well.)

So, here’s my question for the day: Who are your favorite literary non-human animals?  What do they add to their books, either vis-a-vis the human characters or in their own right?  Which pets do you wish could talk, and what would they sound like and say?

*A further aside about the aforementioned homeless guy.  He wanted to know what I was going to use to eat my lunch.  “A fork,” I said.  His response?  “Well go fork yourself!”  Jesus, I love this city.

** In addition to dog-watching, I also got in some simultaneous people-walking. Random things that have happened at the park while I’ve been typing: A three-year-old banged his drumsticks on the bench next to me; two hand-to-hand drug deals (that I noticed, at least, though I haven’t been going out of my way to look for them); an orange-haired Asian kid nearly knocked a mohawk dude over with his hoola-hoop; and the little girl on the Razor scooter proudly declared, “I’m super really stinky.”  I swear, I’m not making this stuff up.  Today’s officially a great day.

Watching: Modern Family

Listening To: Sade

Reading: Lee Child’s 61 Hours

Surfing: LOST re-enacted by cats (you’re welcome)

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A Time to Write

By Allison Brennan

I made someone cry last week.

I didn’t mean to. I went to speak to the Yosemite Romance Writers last Saturday and I gave a variation on my workshop “Breaking Rules to Break In or Break Out” which is about shucking the so-called “rules” that we allow others to impose on our creativity. (Many of these “rules” apply to romance only, but some are cross-genre—such as never write a prologue or don’t use flashbacks. For those Murderati readers who are going to the RWA conference in Orlando, Toni, JT and I will be joined by Random House editor Shauna Summers to present this workshop on Saturday afternoon.)

Inevitably, when I open the floor to questions, one question is always asked: how do I find the time to write while being a wife and mother to five kids.

Writing has always been extremely important in my life. When I hit thirty, I realized I wasn’t completely happy, but didn’t know why. Then it hit me: I’d stopped writing when I got married. I went from writing almost every day to writing a couple days a month. Or less.

So I started writing again. Every day. It wasn’t easy. I had to make sacrifices, and so did my husband. I gave up television to make the time to write. Three hours every night, after the kids were in bed, I sat at the computer and wrote. Every night. (Except one night a week as a compromise to my husband who didn’t like the new schedule.) I couldn’t write during the day because I had a full-time job. I couldn’t write in the evenings because I had children to care for who hadn’t seen me all day. So nine to midnight was my writing time.

Now, I write full time. Anyone who works from home knows that working from home is still WORKING. But many who don’t work from home think that it’s easy for us to “just” do one thing—make calls for a church rummage sale, volunteer at the school, coach the kids soccer team, pick up the dry cleaning, run elderly mom to the doctor—the list goes on.

I think I’m more sensitive to this because I’ve been on both sides. I worked full-time outside of the house—thirteen years as a consultant in the California State Legislature. Yet I was the one who took the kids to the doctor; if someone was sick I stayed home; I had to leave exactly at five to get the kids before the school or day care closed at six; I made dinner, gave baths, did the laundry, made lunches, and got the kids ready for school in the morning.

Just because now I work from home (the emphasis on WORK) doesn’t mean that I suddenly have all this free time and can add more to my full plate.

It wasn’t easy to get to this point. I told the group that each one of them had to learn to say “NO.” Whether they work full-time or are a SAHM, whether they are married or not, have kids or not, have elderly parents or not, they need to understand that if they want to write—if writing fulfills them, completes them, is something they love to do and makes them happy—they have to make sacrifices to find the time to write.

But what do you do when your spouse or family ridicules your dream? What do you do when they are passive-aggressive, letting you “do your little thing” without understanding that the way the talk about it demoralizes you?

It’s worse for stay-at-home-moms. I’ve talked to women who love being a wife and mother and keeping a house, but they also have a hobby or dream of their own. Yet they have no support from their families for their “little hobby.” Whoever said that when we become a wife and mother that suddenly our personal pleasures are not important? We already put everyone else’s needs before our own, can’t we do whatever we want with that sliver of time left over for us? We make sacrifices for our families, and there’s no reason our families can’t make sacrifices for us. Because in the end, a happier mother means a happier family.

And this is when one of the writers—a SAHM of two–got teary-eyed. She tried not to, and I tried to be positive, but what got to her (and me) was that she had no support for her dream.

A good friend of mine, a SAHM-turned-successful published author, emailed me a couple weeks ago because she’d gotten to a crisis point in her career. She was juggling multiple contracts, was late on her current book, and had a husband and three kids who expected her to do everything she did before she sold, as well as now being the major breadwinner in the household. Her husband had always been supportive of her writing—before and after she sold—but at the same time expected a certain level of accessibility. Ditto her kids. And she was trying to do it all because of mommy guilt. Her boys play baseball and I asked her how many games she missed. One. And she felt awful about it. She admitted that, while they understand she has to write and meet deadlines and can’t do everything she used to, her family still expects it and she feels bad when she can’t do everything. It’s the unspoken sighs and passive-aggressive guilt families heap on their loved ones.

I helped my friend come up with a strategy for managing her schedule, all stuff she knew she had to do but when it comes from the outside, it seems more doable (it helps that I’ve gone through everything she was going through.) And I offered advice: don’t sweat the small stuff. Do what you can, but both your stories and your family will suffer if you don’t cut back on commitments.

I, too, go to almost every sporting event, drama performance, art show, and other events for my kids, but sometimes I can’t make it. I tell the kids I’ll take them on one field trip during the year, but not the three or four they go on. (Hence this last week I went to the zoo, and then to six flags—though I was just a driver on the latter and spent eight hours at Starbucks writing.) I do what I can, not because I have to but because I want to. I enjoy my children, and my kids know that. Just because I have to say no to something doesn’t mean that I love writing more than them—it means that mom has a job and there are some things I can’t do.

It may sound like I’m dissing men, but I’m not. I know there are a lot of dads out there who are active in their kids lives. I know there are a lot of husbands who are supportive of their wives dreams. And sometimes it isn’t the spouse, but parents or siblings or children who are undermining the writer. It’s sometimes hard for people to unconditionally support someone else’s dream—especially when we don’t share it or understand it.

But it isn’t lost on me that in all the speakers I’ve listened to over the last few years, I have never heard a male author asked, “How do you find the time to write, while also being a husband and father?”

On a completely different note, I posted my original short story “Ghostly Vengeance” to my Seven Deadly Sins website. It’s a ghost story that takes place between ORIGINAL SIN and CARNAL SIN. I’ll be posting additional bonus content to this site over the next month in anticipation of the release of CARNAL SIN on June 22.

I’ll leave with one of my favorite quotes by Edward Everett Hale, which pretty much sums up my life motto and seems appropriate:

 

I am only one,

But still I am one.

I cannot do everything,

But still I can do something.

And because I cannot do everything,

I will not refuse to do the something that I can do.

 

Do you have a favorite inspirational quote or advice that someone has given you that helps you get through the tough times when everyone seems to be dead-set against your dream?

Faire Time

by Alexandra Sokoloff

Well, convention season has kicked into high gear.    If one were looking to avoid writing, just for example, one could jet off to – Romantic Times,  Book Expo America, Mayhem in the Midlands, American Library Association,  Thrillerfest,  RWA National…  to mingle, network, party with hundreds of favorite and soon-to be-favorite authors, librarians, booksellers, DLers, 4MAers, MWAers, ITWers, Sisters, and readers.

Authors are strongly advised to go to conventions and festivals to build their careers.  There is no question that the networking is gold.   And except for having to continuously “sparkle”, as Margaret Maron puts it,  it’s so easy to network at these things.  All you have to do is relax and walk around and just run into the people you need to run into. Really, it works. Reviewers, booksellers, your publicist, the author whose incredible book you were reading just the night before, extraordinary friends you haven’t seen in ten years – they’re all there in a very contained space and you will drift into them if you just go with the flow.

Some people call that work.   But what it really is, is magic.   What it is – is Faire Time.

I learned the concept of Faire Time, or Festival Time, over the years of my interestingly misspent youth, hanging out at the Southern California Renaissance Pleasure Faire –a month-long semi-historical recreation of life in an Elizabethan village, except with sex and drugs and overpriced irresistible craftish – stuff.

(Wait, what am I saying?  Of course they had all of that going on in those real Elizabethan villages, too…)

I’ll be lazy.  Let’s see what Wikipedia has to say about festivals:

Among many religions, a feast or festival is a set of celebrations in honour of God or gods.

Hmm, sounds familiar, doesn’t it?   A set of celebrations in honor of gods – and goddesses.   Take a look at the guest of honor lists for any of the above- mentioned conventions.   Gods and goddesses of the mystery/literary world?   You betcha.

What else?

Festivals, of many types, serve to meet specific social needs and duties, as well as to provide entertainment. These times of celebration offer a sense of belonging for religious, social, or geographical groups. Modern festivals that focus on cultural or ethnic topics seek to inform members of their traditions. In past times, festivals were times when the elderly shared stories and transferred certain knowledge to the next generation. Historic feasts often provided a means for unity among families and for people to find mates.

Now, does that sound like a convention or what?

Maybe it’s that first, religious purpose of festivals but I do notice this unifying principle of “Faire Time” or “Festival Time” in full force at conventions.  There is an element of the sacred about a festival – it is out of the ordinary, out of simple chronological time, out of chronos – into kairos (again, from Wikipedia): “a time in between”, a moment of undetermined period of time in which “something” special happens.

And here’s an interesting bit:

In rhetoric kairos is a passing instant when an opening appears which must be driven through with force if success is to be achieved.

Synchronicity and opportunity happen with such regularity at these convention things that they’re really more the rule than the exception.

It is my absolute conviction that much more important career business gets done at conventions and festivals than anywhere else because it is being done in Faire Time – a suspended moment of opportunity. 

And that is not even mentioning the creative and personal inspiration of being in that state of suspended time with so many passionate worshippers of the book.   By the end of a convention I will always know the next right step to take, professionally and creatively, just as clearly as if it has been spoken to me.   All it takes it to ask the question.

And one of my favorite things about conventions these days is running into aspiring authors who I met and connected with at previous conventions – only to find that they’re now published or about to be.   It reaffirms my whole faith in the process.

As many of you have witnessed, I love the total debauchery of these gatherings, but I’m never unaware of something also sacred under all that revelry.

I’m sure that all of us have stories of improbable connections and synchronicities at festivals, and I’d love to hear them today.

– Alex