Summer

by Toni McGee Causey

(oops, sorry about that HUGE jpeg that ate the internet–I think I have fixed that.)

Do you remember that first taste of freedom when you’d been in school forever and ever, amen, and finally… finally… it was summer? I had it all planned: going barefoot, toes in the grass, blue sky overhead, climbing trees, riding bikes. Magic in the night. There was homemade ice cream, lazy mornings, no homework, and adventures to be had running with the feral pack of kids that made up our neighborhood. 

Mostly, though, summer meant reading binge. Going to the library, checking out as many books as they’d let me, then huddling under the sheets into the wee hours of the night, reading. Snapping off the flashlight whenever dad’s alarm went off, and waiting (not very patiently), until he finally drove off to work. Mom getting dressed to go to her job, and you knew you had to wait ‘til she cracked open your door to make sure you were sleeping? You learned to face the wall so she couldn’t really see your face, and you waited for the almost silent schnick of the bedroom door as it closed. (And, if you were me, you knew that after she’d caught you reading a few dozen times at six a.m…. having had no sleep… she’d wait a few seconds and peek again, to try to catch you reaching for your book—because she wanted you to be at least part-human the next day instead of a sleep deprived growling grouch. You waited for the double-fake-out before moving.)

Even as childhood morphed into adulthood, summer held this shimmering lure, an oasis of potential. Even with all of the kids’ activities, there was less pressure and more focus on fun. Stretching out on a canvass chair, watching the kids play while I read a book. We didn’t have much of a chance to travel when they were younger—money, scheduling nightmares between this one’s baseball and that one’s karate, our own work commitments all meant we were more or less homebound. 

I didn’t mind. I got to read. I was a pirate, a chef, an international spy. I beheaded monsters, traveled through time, and flew a spaceship. (I was quite a good pilot, let me tell you.) I solved mysteries, had romances, danced in ballrooms, and handled a sword with an expertise that made me crave lessons. There were times that I was a superhero (never appreciated) and other times I solved mysteries and thwarted villains. 

I love the summer. I especially loved, at that time of the year, finding stories that were larger than life, transporting, fascinating adventures into a world I hadn’t yet seen. Maybe it was even the world right here, but with details that were just beyond my vision. I loved being more than just me, more than just this girl right here in the deep south, with my small collection of life experiences. There weren’t enough years to cram in everything I wanted to do… but I could live it, through books. 

So this is my love letter to summer, and to books. To librarians and booksellers and all of the writers who gave me such joy. This is my love letter to my parents, who carted me to the library or the bookstore and read constantly themselves and never once seemed to think it odd that their kid was constantly walking around in a haze, halfway living in some other world somewhere. (Not that they didn’t think it odd, mind you, that they had to say my name sixteen billion times if my nose was in a book before I’d even hear them.) 

And now, how about you? Do you love the summer? Does it mean more time to do the things you enjoy? Are you going to go on vacation? Read? Play? What’s up with you? 

-toni

 p/s… Charmed and Dangerous is out on Tuesday! Here’s the new cover:

 

And yes, this is BOOK ONE of the Bobbie Faye trilogy—all out this summer, back-to-back. Yep, that is a new title and design. I’ve gotten quite a few emails which have ranged from, “love the new look” to “OHMYGOD, ARE YOU ON CRACK, WHY THE HELL DID YOU CHANGE THE COVERS AND THE TITLE, BOO” and a large number of “what’s going on?” questions. The short answer is that when St. Martin’s Press wanted to re-release the series in mass market, the realization that shrinking down that original cover plus title plus my name was going to make the cover of the book look like a bunch of text. Bobbie Faye’s Very (very very very) Bad Day + Toni McGee Causey…. Hard to read on the front of a smaller format. It also didn’t help that, once reduced, the crawfish started looking like a spider. Also not good. 

I’m thrilled with the new covers—I think they have a certain danger (the gun) and playfulness (the smiles, the taglines) that indicate that this is an adventure—a romp—within the suspense/thriller genre. 

WINNERS FROM MY CONTEST two weeks ago for Allison Brennan’s last book, SUDDEN DEATH were announced in the comments section of Allison’s blog last Sunday. If you haven’t claimed your prize yet, contact me and I’ll get your prize out to you right away.

Bruno Bettelheim: Satan in Drag

By Cornelia Read

 

I apologize for posting so late–it’s been a circus of a week. This is an essay I wrote about ten years ago. I’ve been thinking a lot about the subject matter lately, for reasons I plan to go into in my next post here in two weeks, so I’d like to start out with this piece as background.

 

This is a review of a book I have not read.

The book in question, titled The Empty Fortress, was written by Bruno Bettelheim. I bought a copy of it in hard cover two years ago, and it sits on the bookshelf in the living room, in a stretch of books on the same subject. All the rest of these are well-thumbed, some I know nearly by heart. The Empty Fortress, however, has remained untouched by me.

I plan to read it, but I cannot utter the more familiar phrase that “I would like to.” I detest this book and its author so intensely, in fact, that I could only bring myself to buy the book used. I had to be certain that no money of mine would benefit even Bettelheim’s estate, now that he is, thank God, deceased.

I like to think of myself as a kind person, one capable of forgiveness and mercy and compassion. For this man, however, I have nothing but unadulterated contempt and hatred. I am, in fact, sorry that he survived the Nazi concentration camps. This is a shocking thing to admit, even to myself, but in his subtle, remorseless way, Bettelheim took all that was most foul and reprehensible about Nazi cruelty and twisted it for his own use against children, families, and, most especially, women in America for decades.

Before I had children of my own, I knew of Bettelheim in a vague way–his name was familiar to me as someone who merited inclusion in the liberal arts canon. He is today perhaps best known as the author of The Uses of Enchantment, in which he attempts something of a Freudian deconstruction of well-known children’s stories such as Little Red Riding Hood.

As a parent, however, I feel that this man is no less deserving of my disgust than is the author of Protocols of the Elders of Zion. This is because Bettelheim made it his life’s work to publicly accuse me and thousands of women like me of destroying our children with emotional cruelty so intense that we make Medea look like Donna Reed. In his works, Bettelheim has proclaimed that I have all the maternal qualities of a Nazi concentration camp guard, an infanticidal Shakespearean king, and a child-cannibal witch.

I beg to differ.

Five years ago, I gave birth to healthy twin girls, Grace and Lila. I remember being constantly amazed in that first year, as they grew and tested out the world, at how many thousands upon thousands of little things must go right in order for human beings to become fully realized. Fingernails grow to perfect curves, the heart is formed to beat just so, limbs unfurl and become stronger by the day, and little by little, the brain comes online, discovering itself and all around it.

It was so fascinating to see how different each of the girls was from the other. Grace had thick black hair from birth, while Lila’s blonde fuzz soon fell out. Grace’s quiet, placid demeanor was most always upstaged by Lila’s demanding hunger for attention and everything new. They raced one another to master each baby milestone, so carefully checked off each month against the list from the appropriate chapter in What to Expect the First Year.

We were proud of their compliance with all the books and charts and pediatricians’ comments. “Such big, healthy babies,” carried almost exactly to term, a birth with no complications. Each girl was in a high percentile for height, for weight, for head circumference, at every checkup. Each was visible proof of our great love for them both, of our tremendous luck and the smiling favor of the universe. When I spoke with friends who were single, or having trouble with fertility, I was embarrassed by my good fortune. Two babies, after all, bursting with health… how was it that I deserved this glorious bounty? Strangers on the streets of New York would gaze adoringly into their carriage and say “God bless you” to me in hushed and reverent voices.

Looking back at their baby books, so painstakingly filled out when they were little enough that I had time for it, I see again that Lila mastered most of the developmental hurdles before Grace did: smiled, reached, rolled over, sat up, crept, crawled, stood…

The pediatrician was worried about Grace, made a few comments that she needed my attention as much as Lila, though she was quieter–Lila more agile and demanding. She said so most pointedly when she entered the examining room during one appointment to find that I had Lila standing up on the examining table, grasping my hands, while Grace lay beside her. I had been so proud that Lila had conquered gravity at such an early age, months before the books predicted, that I had wanted to show off for the doctor.

The doctor berated me for ignoring Grace, warned of dire consequences. I blushed and was on the verge of tears, thoroughly ashamed of myself.

So when Grace, at around her first birthday, started to take off, we were relieved. Twins, we supposed, took turns at being the leader, and as we relaxed, we realized we had been more worried about little Gracie than we had admitted to ourselves. She began to use words, to attract our attention to things she was doing and trying. Soon she was walking, with Lila right behind her, and the two of them played together and made one another laugh.

I remember this part, because I have video of it. There’s one scene that was so funny: the pair of them sitting in a cardboard box, the container for a case of Pampers. The two kids, aged about 15 months, are wedged in this thing knee to knee–laughing at one another and rocking the box around, then each looking up and laughing at us, inviting our attention.

I don’t like to watch this anymore, though I’ve shown it to some people since. It’s too much for me, really, because it never happened again—that the kids were equals, pals, enjoying each other. If you watch the rest of the tape, the little bits and vignettes captured from that year, you see things change, slowly, inexorably, like the way each wave breaks a touch further down the beach as the tide goes out or the sky darkens by imperceptible degrees in the evening. Perhaps it’s most like watching those old science class films of a flower blooming in fast motion, only it’s running backwards: it is Lila who is slipping out of the picture, out of her self, out of the world. She was snatched away from us as surely as the changeling babies of folklore, who are kidnapped by fairies while their parents sleep, replaced with idiot fairy babies identical in appearance.

And it happened so gradually that we didn’t notice, or maybe refused to, until a friend we hadn’t seen in months called following our visit with her and her family.

I don’t know how to tell you this, she said to my husband, but we were watching PBS last night, and there was a show on and it was about kids who were just like Lila, and it was about autism.

We were in the midst of moving East, after a stint in Colorado, and he and I talked about it long distance, as I looked for a place to live with the kids in Boston, and he wrapped up the last details of his old job. She’s crazy, we said. She’s always been a hypochondriac, remember when she said that other thing? Of course she was overreacting, she was Lila’s godmother and that’s just how she was. The only trouble, of course, was that she was right.

And thank God this woman, my dear friend, had the courage to make a nuisance of herself, because no pediatrician or nurse practitioner or anybody else ever noticed, through all the regular well baby visits and vaccinations and time spent measuring and prodding and checking during that year that my kid was being sucked out of her body. I can now spot the signs of autism in a kid after spending about a minute and half with him or her. But the first professional I spoke to about it said, as Lila lay huddled on the examining table, rubbing a piece of lint and staring off into space, “If your kid&
rsquo;s not sitting in a corner spinning plates, you have nothing to worry about.” I know she’d never be so cavalier with a parent who suspected leukemia. I remain shocked that she felt we deserved less.

I am so very grateful, though, that the majority of professionals no longer think this is a psychological disorder caused by cold, overly intellectual parents. Well, let’s not pretty it up… by mothers. The official phrase was “Refrigerator Mother,” first suggested by Leo Kanner in the early Forties, and staunchly propagated as the cause of autism for decades by none other than Bruno Bettelheim.

Bettelheim, a Viennese lumber salesman who’d studied art history at university, passed himself off as a psychologist with multiple graduate degrees when he arrived in Chicago after the Second World War.

He made his name by claiming that he knew exactly what caused autism, since he was, he claimed, an expert on the subject– this because he had seen his fellow prisoners in Nazi concentration camps “become autistic”: out of touch with the world, withdrawn, careless for their own nourishment and safety.

He knew that the only thing which could cause this appalling transformation in a child was a mother who created conditions so fearsome, so hideous, that they replicated the conditions of Auschwitz or Bergen Belsen or Theresienstadt. He called his well-received book on the subject The Empty Fortress, to drive home the “fact” that an afflicted child had to so devote every resource to defending itself against the mother, that there was nothing left within the castle walls.

“I would stress,” wrote Bettelheim, “that the figure of the destructive mother (the devouring witch) is the creation of the child’s imagination, though an imagining that has its source in reality, namely the destructive intents of the mothering person…. Throughout this book I state my belief that the precipitating factor in infantile autism is the parent’s wish that his child should not exist.”

Having anointed himself Torquemada in this latter-day Inquisition, Bettelheim was feted by the cream of his colleagues and given the directorship of The Orthogenic School for disturbed children under the auspices of the prestigious University of Chicago. And because he wrote plainly and convincingly, he popularized his misogynist ravings to such an extent that he was invited to write a child care column for The Ladies Home Journal, which he did from 1968-1973.

The impact of Bettelheim’s life and work on the families of autistic children, especially their mothers, was prolonged and cruel. As Catherine Maurice, mother of two children with autism, writes in her seminal work, Let Me Hear Your Voice:

“Months after reading the work I spoke to a vibrant woman whose daughter, now in her twenties and living in a group home, had been diagnosed in the heyday of Bettelheim’s influence and prestige. Everyone, she told me, believed him. The parents believed what the professionals told them, and the professionals believed Bettelheim. No one questioned his authority. The psychiatrist had ordered her to bring her child in for ‘analysis’ five days a week. The mother was not allowed to sit in the waiting room, so incensed with her was the doctor’s staff. The nurses and receptionists informed her that she could drop the child at the door and wait for her outside. They never looked at the mother and refused to say hello or good-bye. She had caused this terrible condition in her child, and she merited no human courtesy. She told me that many a day she had stood there–whether in sunshine, in rain, or in sleet–weeping.

“’How did you survive?’ I asked her.

“’I survived,’ she said softly. ‘Some others I know didn’t.’”

Another couple, the Pollacks, who had a son attending Bettelheim’s school, were devastated by the accidental death of their son when he was home visiting them. The boy fell through a trapdoor in a barn hayloft, where he had been playing with his brother and other children, and plummeted to his death on a concrete floor some thirty feet below.

In a meeting with Bettelheim shortly after this tragedy, they were assured by him that the death was in fact their fault. Bettelheim had warned them, he recounted, that the boy must not leave the premises of the school, despite their insistence that they share some vacation time with him as a family. Their son had so despised them, the “good doctor” explained to the grieving parents, that at the age of eight, he had committed suicide rather than further suffer their company.

Recently, the Pollacks’ second child, Dick, wrote an outstanding biography of Bettelheim–more balanced and objective than I could ever manage.

Bettelheim himself has been discredited in the years following his death, both for his physical and sexual abuse of the children placed under his care, and because his supposed academic credentials have been exposed as wholly fraudulent. But the impact of his ideas lives on like a nasty virus.

Most damaging, from my perspective, are the time and resources wasted as a result of his influence: the grant monies (from such sources as the Rockefeller and Ford Foundations) and energies of earnest graduate students hoovered up over the years by Bettelheim and his fellow charlatans. And by convincing the world that autism was a psychological disorder, a patent falsehood, Bettelheim ensured that serious research into its true causes, still unknown, would be cut off at the knees for decades.

It was not until the early seventies, in fact, that Bettelheim’s stranglehold on the field of autism research was broken, by a man named Bernard Rimland. Rimland’s fourth child, a boy, developed autism. Rimland also happened to be a respected psychiatrist. How was it, he wondered, that he and his wife had managed to raise three perfectly healthy “typically developing” children, if they were such monsters as to afflict their youngest boy with autism? When contacted by Rimland with these and other questions, Bettelheim did not deign to answer.

Rimland has since done yeoman work in the trenches of the war on autism, founding both the Autism Society of America and the Autism Research Institute. His youngest son, Mark, now in his thirties, is still ravaged by the disease. It was Mark Rimland, in fact, with whom Dustin Hoffman spent time in preparation for his portrayal of an autistic savant in the film Rainman.

Other celebrities have become very involved in fundraising and publicity for autism research. Of course, as is usually the case, their commitment is motivated by personal experience: Beverly Sills has an autistic child, as do Sylvester Stallone and Doug Flutie. Neil Young has two. As a family, we find ourselves in brilliant, if involuntary, company.

We will continue, as these parents do, to devour every bit of information we can on the topic of autism, hoping against hope that each new lead, no matter how fragile, will turn out to hold an answer for our daughter that will return her to us. We will all scour the internet and professional publications, and crowd the auditoriums when researchers and clinicians speak at conventions around the country.

I know, too, that I will read every book on autism I can get my hands on. But not The Empty Fortress. Not yet.

And I know that I am a lesser person for it, but I hope that Bruno Bettelheim is rotting in hell.

 

How about you ‘Ratis? Is there any book you refuse to read? Or a book you have read that really set your hair on fire and made you gnash your teeth?

When Ego Attacks

by JT Ellison

Randy and I went to a concert a couple of Saturdays ago, one I’d been looking forward to for weeks. Months! Billy Joel, with Elton John.

Now, for the record, I adore Billy Joel. Adore the music, the stories, the way he engages the audience. I’ve seen him in concert before, and it was one of the best shows I’ve ever seen. It was at the Cap Center (now US Airways Arena) in Landover, Maryland. I was in high school, which meant a limited allowance, so I could only afford to purchase the cheap seats. Obstructed view. Behind the stage. I was a little bummed, but figured I’d be able to hear, even if I couldn’t see.

Boy, was I surprised. Billy Joel set up his stage with pianos on all four corners, and made a point of playing to every section of the crowd. Even though my seats were “obstructed,” I had a great view, and for a quarter of the concert, Billy sang directly to me. He was funny, self-effacing and charming. The music was outstanding. I went home feeling like I’d been a part of something special, something unique. He’d touched me, without ever having set eyes on me, or knowing I was there. Now that’s power.

Fast forward to current day. We can afford better seats now, though through a timing error we ended up in the nosebleeds. My vertigo and I enjoyed that. Thankfully, the lights went down quickly, and out came Billy and Elton. They played two songs in duet, then Billy exited the stage and Elton took over.

And I mean it when I say Elton took over. The lights. The flash. The pure, unadulterated rock. The individual songs that went on (and on, and on) for fifteen to twenty minutes. And after each song (finally) finished, Elton ran around the stage, banging himself on the chest and inciting the crowd for applause. If I had a microphone near his mind, it would have very clearly screamed LOOK AT ME!!!!!!!!!!!!!!!!!!

Yawn.

We slipped out, took a break, got a drink, walked around, and still he played. Now, don’t get me wrong, there’s a lot of Elton John that I like. But this was a full-on Wembley Stadium show sandwiched into the Sommet Center. And there was this crazy thing that was also supposed to be going on….. Oh, right. Billy Joel.

Elton played for an hour and a half, and after every single song, he paraded around, basking in the adulation. It just felt so forced, so unnecessary. And in contrast, when Billy Joel finally was allowed to take the stage, he started a conversation with the crowd. He apologized to the people with the crappy seats. He told jokes. He talked about his love for, and connection to, Nashville. He took a moment after each song to introduce a band mate. He made it about us, and them, and not about him.

He had the crowd eating out of his hand in two seconds, simply because he seemed to grasp something Elton John didn’t. Billy was there for us. He was playing for us. Elton, sadly, played at us. Elton was a performer, but Billy was an entertainer.

We’ve all met those kinds of people, the ones who ask you how you are, then immediately launch into a recitation of how they are. The people who self-aggrandize, who bang their chests and do everything to get people to notice them. The people who are desperate for any kind of attention, and will do whatever it takes to make sure they’re at the center of it all.

There’s a lesson to be taken away from this. We authors, for better or for worse, are public figures. There are expectations, and challenges, along the way. It’s a heady, heady experience to have people read your work and appreciate it, to gain fans, to entertain strangers. And it’s very easy to fall into the “me” mentality: to think your life, your work, your stories are more important, more entertaining, and more appreciated than anyone else’s at the table. To let your ego take over and run away with your reputation.

I just hope that no one ever comes away from a conference, or a panel, or a signing that I’ve participated in and think that I’ve pulled an Elton John. Give me Billy Joel any day.

And speaking of Mr. Joel, I am most definitely in a New York state of mind. Literally, and figuratively. As you read this, I’m traipsing the streets of Manhattan, one of my favorites cities in the whole world. Lots of events on the plate: meetings galore, signings, and hopefully, a night to ourselves to have a quiet meal and some good wine. I’d like to squeeze in an afternoon at MOMA, a trip up the Empire State Building, and if my ankle holds up, a walk through Central Park. So please don’t hold it against me if I don’t comment in a timely fashion.

Your questions for today –

What’s the best concert you’ve ever seen? Why?

And what’s your favorite city in the whole wide world???

Wine of the Week: Chateau Ross 2005 Big Bitch Red

A Tale of Two Countries …

by Zoë Sharp

On the face of it, it seemed like the world’s worst bit of planning. Two conventions, one weekend after the next. One in Bristol UK, and the other in Omaha Nebraska. One set of rewrites entering their final throes. The day-job. Not enough hours in the day.

 

And I know, I know – Einstein managed with just the standard twenty-four, but the relative pace of life, as it were, has speeded up a little since his time.

 

First up was CrimeFest in Bristol, only in its second year but great fun once again. Organisers Adrian Muller and Myles Allfrey also ran the Left Coast Crime event in Bristol in 2006, which gave them the taste for the job. One of the nicest things is the audio books given away in the book bags. An unusual feature, but a cool one. I wouldn’t go out and buy audio books over their paper cousins, but I’m acquiring a taste for them.

 

As always, a great deal of time was spent in the bar at Bristol. For someone who doesn’t drink, I do seem to hang out there rather a lot for some reason. It’s great who you can end up spending time talking to, and who you can quietly observe Up To No Good at the same time …

 

The event kicked off with the Pub Quiz on the Thursday evening, which was held across the road from the convention Marriott at the Greenhouse pub. Quizmasters Peter Guttridge and Mike Stotter promised it would be less esoteric than last year, but we failed to appreciate that they make stuff up for a living. Either that, or I fell out of a stupid tree and hit more or less every branch on the way down. If it hadn’t been for the formidable knowledge of Simon Brett and Ayo Onatade on our team – which went by the name MPs On Expenses – we would have been royally stuffed.

 

On Friday, I had the privilege of interviewing the Toastmistress of the event, Meg Gardiner. Meg was not a difficult interviewee, it has to be said, having such gems in her background as being taken along to an armed robbery during a High School ridealong with the police, and once having been a mime, as well, of course, as being a best-selling author.

Friday afternoon was my panel, which was supposed to be all about the main protagonists of the panellists being ex-Special Forces, and included Matt Hilton, Adrian Magson, EV Seymour and Ruth Dudley Edwards, as well as myself. I’m not quite sure how it happened, but we seemed to become fixated on torture, even though out of seven books so far for me, torture only plays a small, relatively non-graphic role in one chapter of one book. Eventually, a lady on the front row piped up with the comment that she didn’t read the kind of books we wrote and she wanted to know a) how could we do it, and b) did anybody actually enjoy them?

 

I’m sure you can fill in your own response here, as appropriate. Has anybody ever got hold of totally the wrong end of the stick about your books and refused to let go?

 

Friday evening was the launch for the CRIMINAL TENDENCIES anthology, in which I have a Charlie Fox short story. Part of the proceeds from this anthology goes to benefit breast cancer charities, so I was delighted to see the party so well attended. We spent some time talking to one of the featured guests, Swedish author Håkan Nesser. Very tall and possessing of a very dry wit, I discovered that he was also one of those irritating people of whom it is impossible to take a bad photograph. The camera just loves him.

 

Saturday evening was the Gala Dinner, which we had not planned to attend, but were asked to take some photographs, so we snuck in at the last minute. Nice to see people in their finery, particularly Linda Regan and her husband, Brian Murphy, looking very dapper. And David Headley from Goldsboro Books, one of the sponsors, who had come in his best James Bond tux.

 

Other highlights, in no particular order, were listening to International Guest of Honour, Michael Connelly; hearing the inimitable Gyles Brandreth interview Simon Brett; watching Maxim Jakubowski ask the questions in a Criminal Mastermind, in which David Stuart Davies argued with him over the correct answer to a Sherlock Holmes question; spending time in the bar with Vince and Kate, two yet-to-be-published authors; hearing Steven Hague’s wonderful opening line to his new novel; taking Donna Moore and her SO, Ewan, out for Japanese food and watching Ewan’s face after taking a generous chopstick-ful of wasabi.

 

I’m sure there’s a lot more that I’ve forgotten, but I’ve slept since then.

 

The only bad thing about CrimeFest was what I took away from it. I’ve been laid low, on and off, with some mystery virus that wiped out quite a chunk of March and April for me. It started to resurface after we returned home from Bristol on the Sunday evening. We then had just two days before leaving at the crack of dawn to catch our flight for Omaha Nebraska and Mayhem in the Midlands.

 

By this time, my nose and throat had settled down but left me with a chesty cough that emerged, fully fledged, during my interview with William Kent Krueger. Kent coped brilliantly with me attempting to cough up a lung halfway through his questions, and distracted me very successfully by pulling a stocking over his head and attacking me with a rubber baseball bat. Don’t you hate it when these award-winning authors get all serious about their art?

 

Dana Stabenow also demonstrated how game for a laugh she is when she volunteered to help me out in the self-defence demonstration on Friday afternoon, and Dina Willner moderated Dana, Kent, Jan Burke and I on a panel on Saturday where we had to make up stories behind snippets of news that Dina read out. As you can imagine, the tone dropped quickly and stayed entertainingly low throughout …

 

Highlights included being able to offer Dina – who made the winning bid at the charity auction to be a character in the next Charlie Fox book – the chance to have both herself and her late mother Caroline in on the act. Strangely enough, I had a parent and daughter role all lined up that would fit them both to a tee; Donna Andrews’s splendid compering job at the auction itself; spending time with Al Abramson whose sense of humour runs along such similar lines to our own; finally getting time to talk to Dana Stabenow at length and hearing about the house she’s built in Alaska; and talking to Jan Burke and her husband, Tim. In fact, I thoroughly enjoyed talking to everyone at Mayhem, including Dina and Sally Fellows, and Manya Shorr, and Carl Brookins, David ‘Snookums’ Housewright, Jen Blake/Nichole R Bennett, all the Guppy crew, Lori and Tim Hayes. Especially to Tim, who chauffeured some of us to the nearest multiplex to see the new Star Trek movie on an IMAX screen. (If you haven’t seen it, do so immediately!)

 

The Mayhem people were incredibly generous and welcoming to us, to the point where we will definitely be back, not only to go to Lee Booksellers in Lincoln on the next tour, but also to the libraries in the city of Omaha itself.

 

The locals admit that Nebraska is the kind of place people tend to fly over rather than land in, but the landscape was amazing on the way in, from the winding Missouri to the geometric shapes in the fields from the terracing. I’m not quite sure what we expected of the city, but what we was a cultural gem, filled with art and history, nestling alongside modern facilities and structures like the amazing swaying footbridge that enables you to walk from Nebraska to Iowa and back again. In fact, I was so taken with the place that not only will Dina and Caroline Willner have major roles to play in the next book, but I have a feeling that Omaha will sneak in there, too!

 

The only dark spot in the whole experience was something that happened a couple of times in the hotel and – I hasten to add – had nothing to do with the convention or anybody attending it. Wending through all the public areas of the Embassy Suites, including the spacious lobby, the bar and the restaurant, were miniature waterfalls and pools. The pools contained some of the most beautiful Koi carp fish I’ve ever seen, from tiny little goldfish up to ones at least a foot long. Having spoken to people who own such fish, I know they are intelligent and friendly, so I was pretty disgusted to see children – and adults- intentionally dropping coins on them as they basked close to the edges of the pool.

 

“Hey, mommy, I hit one!”

 

“Well done, sweetie.”

 

Unbelievable …

 

Of course, the biggest highlight was getting to see my Other Half, Andy, take part on his first panel, along with Tim Burke, Jessica Doolittle, Hap Meredith, and John Nehring, moderated by Sally Fellows. Some people – no names, no pack drill – were being very diplomatic and coy in their answers. Afterwards, several people said he and Tim should take their show on the road.

 

So, my question this week is, if you’re a writer, what do you think your spouse has to put up with, and if you’re a spouse of a writer, what’s it really like?

 

This week’s Word of the Week is decollate, meaning to behead, and also decollation, meaning the action of beheading, and – in surgical terms – the severance of the head from the body of a fetus. Also, the Feast of the Decollation of St John the Baptist, a festival in commemoration of the beheading of St John the Baptist, observed on August 29th.

 

I’ve literally just landed back from the States, so I’ll try and get to any comments as soon as I can …

How Not to Make Contest Judges Hate You

by J.D. Rhoades

     I had the honor this past year to serve as one of the committee chairmen for the MWA’s Edgar Awards. The committee that I headed up was the Best Young Adult Mystery, and let me tell you, it was an eye-opener. I went into it not knowing that much about the whole YA field, except Harry Potter (which I liked but could take or leave, based on the first book) and the TWILIGHT series, which I haven’t read, but which I hear an awful lot about from the teenagers in my house (one liked it okay, the other loathes it).

     After reading through a boatload of submissions, though, I was extremely impressed by both the breadth and depth of the subject matter and the quality of the writing. It was a tough choice, and the voting went several rounds, but I’m comfortable with the eventual winner: John Green‘s PAPER TOWNS.

     The voting process itself is shrouded in secrecy and covered by a variety of confidentiality agreements that make the whole selecting-the-Pope thing seem transparent. But I thought that, since I’m sure new committees are hard at work reading through a new batch of submissions, I’d toss out some general suggestions to publishers and publicists on how not to make committee members (and committee chairmen) hate you.

     You need to understand that some of the things I am going to tell you in the following paragraphs may not seem fair. That’s because they really are not fair. They are a natural function of the judges being human. Judges, if they’re doing their jobs. do try  to be better than the average human, but don’t stake your book’s chances on their succeeding.

  1.  Know what genre, if any, the award is for. The Edgars, for example,  is given by the MYSTERY WRITERS OF AMERICA. I put that in all caps because it apparently escaped the notice of some publishers. Since these awards are–let me say it again–from the MYSTERY WRITERS OF AMERICA, perhaps–and this is just a thought– the novels you send should have at least some component of mystery or crime in them. We got some beautifully written, moving books that just did not fit the genre, no matter how far we tried to stretch it. I began to think about midway through that a lot of books get submitted because some harried publicist told a summer intern “go pull some books to submit for the Edgar Award” and the poor clueless intern was too cowed to admit that he or she didn’t know what the hell the Edgar Award was. Well, poor clueless intern may not know, but you can bet your boots the judges do, and they’re slogging through a lot of submissions. If you really cannot rest until the judges read your fantasy epic or your beautiful, sensitive coming of age tale, neither one of which has so much as a stolen bike to bring it into the realm of crime fiction, then send  it after the awards, when they might  actually have time to read something else. Otherwise, they will hate you.
  2. Do not send ten books the week before the contest deadline. I know you’re busy and stuff slips up on you. But all of the judges are   working writers, and they have deadlines, too. Your gem may not get as thorough a read if the judges only have a day and a half to do it. And they will hate you.
  3.  On the other hand, if you send books too early, it’s possible that the book the judges all   loved early on is going to get pushed aside in their memory by the one they just read that they love, too. See “this is not fair” above. So when do you send them? I’d say about midway through the period. the judges may breathe a heavy sigh when the UPS guy shows up with another dozen books, but they probably won’t hate you. Much.
  4.  Once the submission period is over, please do not ask if the judges will  consider “just one more” that you forgot to submit. Sorry, I know stuff happens, mistakes get made, and it’s not the writer’s fault. The committee chair may really want to help you out, but I for one had no real wish to open that particular floodgate, because the old cliche is actually true: if they do it for you, they have to do it for everyone else. And, since what you’re making the chair and/or the committee  do is make an innocent writer suffer for something that was not their fault, said chair and/or committee  will feel guilty, and thus, will hate you.

     A final note: Maybe it’s because I haven’t gone to the right places in the blogosphere, but I was happy to see a big decrease this year in the usual bitching and whining about how the Edgars suck, how awards in general suck, how it’s all political, people only vote for their friends, blah blah blah. I can’t speak for the other committees, but the folks on the YA committee (Our Pari, Our Cornelia, Jeff Shelby, and Lori G. Armstrong) volunteered cheerfully with only a minimum of begging on my part. Then they worked very hard and bent over backwards to be fair, even when publishers violated the above guidelines. And I certainly didn’t hear any of the “well, this needs to win because such and such won last year” reasoning that awards judges are sometimes accused of.

     Thanks guys, it was an honor to be your chairperson. And thanks, Cornelia, for being there to present the award itself.

     So, ‘Rati: any of you ever judge an award? Have any suggestions of your own? Readers, if you’d like to chime in with your own stories, or even a “this book should’ve won” complaint, feel free. Just don’t trash my committee, or I’ll have to take steps. You don’t want me to take steps.

House Slut

By Louise Ure

The feeling has been building for months, and I finally have to admit the truth. I have become a house slut.

I know what you’re probably thinking. That’s just Louise cocooning. Not showering until noon and working all morning in her hospital scrubs and bunny slippers. Well, that’s right too, but that’s not the kind of house slut I mean.

I mean that I spend hours a day coveting other people’s houses and doing everything I can to get me one of those.

It started innocently enough. I saw an ad for a charitable organization’s lottery, where ticket purchases would enter you into a drawing for a two million dollar home in Marin County, just north of San Francisco. Wooden pillars in the living room rescued from a demolished bank downtown. An infinity pool. A library, for God’s sake! And a good cause to boot, I said to myself, writing a check.

But then the obsession grew.

Every day I’d check out the website and scroll slowly through the room photos one more time. Would my couch fit in front of that window? I’d clearly need a new dining room table. I checked out barbecue grills for the back deck and mentally paced off the space I’d need for the credenza.

The fascination lasted for months. I worried about whether the turn into the driveway was wide enough for me to get the racecar in, and whether we could get good Chinese delivery in that neighborhood.

The letdown was huge when I did not win. I had fantasies of toilet papering the house of the snooty bitch from Walnut Creek whose name was drawn.

Bloodied but unbowed, I reentered the fray.

I started checking out available real estate on line and requesting “new listings” from a half dozen real estate websites. Ashland and Portland, Oregon. Napa Valley. Palm Springs. My inbox swelled with “mini-estates” and “must sees!”

Patty Smiley once wrote about researching houses online as a way to come up with settings for her Southern California characters. Maybe I could use that as an excuse. I added Sedona and Tucson, Arizona to the bookmarked sites and new listing updates.

Soon I was spending two hours a day taking virtual tours and clicking on Google Street View to see what it would feel like to pull into that driveway. I crossmatched the zip codes to education and income level to get a feel for the neighborhood. I checked the political donations from nearby addresses to see if the neighbors had ever contributed to George Bush.

Television shows became a more passive but equally time consuming effort and HGTV was my nemesis. Property Virgins. My First House. House Hunters. House Hunters International. What You Get For the Money. Bought & Sold.

And of course, the HGTV Dream Home Giveaway, the mother of all house lotteries. No check writing required this time, but you have to enter once a day for the best chance. So now there’s an extra fifteen minutes a day to enter … under my maiden name, my married name, my husband’s name, my dog’s name.

Do I really want to live in St. Lucie, Florida at all? It doesn’t matter. I covet this house. I am a house slut.

Unwilling to put all my hopes into that international jackpot of The Dream Home, I searched out smaller, more accessible home lotteries. Oakland, California. Mesa, Arizona. Charlotte, North Carolina. And I drooled. Nine thousand square feet of empty space in the Oakland Hills made my San Francisco house look like a chicken coop. My feet itched for the cool touch of Saltillo tiles surrounding the pool at the Mesa house. I was smitten.

But it hasn’t ended there. I scan the real estate section of any city I visit. I check out the offerings in real estate agents’ windows when I walk past. I use the dog as an excuse to tarry in front of a neighbor’s opened curtains, imagining their home with my furnishings. I even downloaded the Zillow app for my iPhone to discover the property taxes, square footage and comparable neighborhood sales of any house I point my phone toward.

I am obsessed, and clearly a house slut.

Help me, ‘Rati brethren. At least help me limit my search.

It’s clear that I have moving on my mind. But where to?

Here’s what I’m looking for:

• A city/town with 50,000-75,000 population
• No snow
• Primarily one-level architecture
• A political mindset in the blue shades
• Au courant enough to at least have arugula in the grocery stores
• Proximity to water would be great, but not required

Where shall I focus my next house slut efforts?

Somewhere 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 to him.
He’s memorized every word, read between every line so often it’s merged with the next in a confused gray.
Three weeks and nothing.
Not a note, not an email, not a text.
He looks to the broad 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.
From behind a bush, a lone survivor sees them crushing children’s toys underfoot while laughing at the fall 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 to remember the lives lost in wars close and far,
that new memories will be forged, will grow clean and pure like the tiny pines bending in a simple breeze
on a mountainside
once charred but now bringing forth hope.

Somewhere . . .
Someday . . .

 

 

The Author as Student

Allison Brennan

Sometimes, I wonder why I’m so easy. It’s as if I have a tattoo on my forehead that reads: ASK ME! I’LL SAY YES!

My recent “YES!” came when Kathleen Antrim asked me if I’d present a workshop at CraftFest, the sort of “pre-ThrillerFest” craft portion of the programming.

The thing is, I need to TAKE some of those classes. I’ve always enjoyed listening to better storytellers than me share their wisdom. I don’t always agree with them, but I always take away a golden nugget that then becomes a valuable tool in my writers toolkit.

For example, Suzanne Brockmann, a fabulous NYT bestselling author, gave a workshop two months before I got my agent and sold. It was about writing connected books. Not specifically a series, like our Tess or Toni or Brett, but books where a secondary character gets a future story. I’d been thinking about writing something like that–when I first started writing THE PREY, I imagined the three Flynn siblings would each get their own book, which is why I signed up for the class in the first place (and because it was Suzanne Brockmann, storytelling extraordinaire.) But one of the brothers ends up dead, and the sister I didn’t feel any connection with by the time I was done writing, so I finished the book as a stand-alone.

Now, if anyone knows Suzanne, you know that she’s an uber-anal plotter. She has color-coded character charts and timelines. She has a 100+ page color-coded outline that takes her longer to write than the actual book. She has multi-book character-arcs. Did I mention they, too, are color-coded?

She shared with the class a link to her color-coded multi-book character chart. I nearly died. I thought, “If I have to do this to sell, I will never sell. I’m doomed.” I’m not joking, folks. I started to panic. I can’t plot to save my life. I might have hyperventilated. I’m sure I poured another glass of wine.

You might think I didn’t learn anything from Suzanne’s class. On the contrary, I learned at least two valuable lessons. 1) Every author writes differently. I don’t need to be a plotter or an organic writer or an outliner or a free-spirit. All I need is to put one word after another and finish the story–however I am able to do it. And 2) when writing connected stories, secondary characters are important. Throwing out a named character who has even a small role in the book will undoubtably lead to reader mail, and you’re pretty much wed to their backstory as you gave it in the intro book.

This actually caused me some problems in writing SUDDEN DEATH because I introduced Jack and gave him a mysterious backstory. I had absolutely NO idea what his backstory was–all I knew was that he had come home twice in 18 years–once for his nephew’s funeral, and once when his sister was kidnapped. Why? Hell if I knew then. But I was handcuffed into the details I did share about Jack, and had to develop a story with those restrictions.

Yet, it was even harder to write FATAL SECRETS where I had two main characters I had never met before and had absolutely no threads to pull from previous stories that grounded them. I had to figure out everything about them as I wrote. (Well, I knew Dean Hooper because he was Will Hooper’s brother from KILLING FEAR, in a scene that I apparently deleted in the copyedits because I can’t find it in the finished book, but I knew he was a year older, was a hotshot with the FBI, and lived in Washington. So even though the scene was gone, I couldn’t ditch that impression of him.)

Anyway, I’ve taken a lot of classes. I took an on-line class on romantic suspense taught by the brilliant and talented Lisa Gardner (who generously gave me a quote for my FBI trilogy–I love her even more now!) Margie Lawson, a brilliant psychologist, teaches a class on editing that, ahem, truly tested me. She uses color-coding to dissect writing in order to empower your stories. Yes, color-coding (sheesh, does everyone else use color-coding? Am I the only black-and-white writer out there? Black=ink; white=paper.) But I learned from Margie how to fix my prose. When I edit, I usually read outloud–and sometimes, the rhythm is off but I don’t know why. While I don’t get out my highlighter and start marking up my manuscript, I think about her advice on weak words, unnecessary repetition, and finding the emotional key of the scene. I was able to absorb her lectures and use the lessons that fit in with my writing style.

I’ve taken classes from cops, from retired CSIs, from attorneys. Before I was published, I took classes on how to write a synopsis (I still can’t write one to save my soul, but Laurie Campbell‘s fantastic class “Writing the Selling Synopsis” really helped me put together something half-way decent for THE PREY by focusing on the selling points of the story, not necessarily what I as the author thought was important.) At Romance Writers of America, I’m presenting a workshop with our Toni, her publisher Matthew Shear, and our agent Kim Whalen called “Smart Women, Short Skirts” about writing kick-ass, intelligent female characters who are STILL women.

I’ve given several workshops with Toni, and taken several, and I can tell you . . . if you’re going to RWA, you don’t want to miss this. So many workshops focus on the heroes, that writers–especially romance writers–sometimes forget to make the heroine stellar in her own right.

RWA always has an incredible list of presentations for all levels of writers, from the unpublished to the newly contracted to the seasoned professional (and they also have a special track of workshops just for published authors.) I’m particularly looking forward to the Chat with Nora Roberts, which I always seem to miss every year; Evil 101: Where True Crime Meets Terrific Fiction presented by a retired judge; and He Said, She Said: Doing the Other Sex and Doing Them Well by Andrew Gross and Carla Neggers. And more. A couple years ago, the published author keynote was a panel of book-buyers from Borders, Walmart, BN and BAMM and it was to this day the single best presentation I’ve ever heard at a conference. I learned more about distribution, buy-in, sell-through, and shelving than before and since.

Maybe because I’ve been attending RWA for years and feel comfortable there, I don’t have a problem talking about the few things I’ve learned since I’ve been published. 

But ThrillerFest is different.

Maybe because I straddle two genres I don’t know if I’m ready to present a workshop–on my own–at TFest. A panel? No problem. I love panels. If I don’t know anything I can just smile and nod at the wiser person next to me–one year in Arizona it was Sandra Brown, last year in NY it was Carla Neggers. Both very successful, long-time, talented romantic thriller writers. This year, I have a panel with James Rollins et. al., and I’ll gladly defer to the funny and talented Jim. But on my own?

Yet I said yes.

Banging head on desk. Ouch.

Honestly, I love workshops, both presenting and attending. But I still have so much to learn that I don’t know if I can impart nuggets of wisdom on my chosen topic, STORY IS CHARACTER. I believe it, I write it, I live by it. To me, the story is nothing without characters. But can I help anyone? That, I don’t know.

Anyway, I’ve gone through the list of programming at ThrillerFest and once again, I’m floored. I want to go to so many of these workshops because I know that I’ll learn something; yet I’m not going to be able to fit them all into my schedule. And some, sniff sniff, conflict.

Lee Child’s “Creating a Series Character: Some Readers Want Growth, Some Don’t. Where’s the Sweet Spot?” I mean this is exactly what I need because I’m creating a series character! Something I’ve never done before! And Jim Rollins’ class about writing three books a year and still having a life–I write three books a year, but I have no life. I want to find out where I get one. And Jim’s also on a panel on Friday about blending genre, which he did solo for my RWA chapter a few years ago and what I learned there I’ve applied to my writing. I’d love to hear him and the rest of the panel talk about the pros and cons. Then there’s the publisher/writer relationship presented by top editors and agents–something that is a must for every published author, I’d think. And of course the gun panel . . . “How to go Ballistic . . . gotta go to that one. And the panel that has Carla Neggers, Lisa Gardner, Jeffrey Deaver, John Lescroart, and more . . . I’d listen to them talk about anything. Why? Because I know that I’ll learn something. I always do.

And that’s the reason I go to the panels. To learn. Even if it’s a topic I know a lot about, often the way the information is presented makes me grow as an author and businesswoman. The minute I think I know everything about writing, the moment I say, “Well, it’s only James Rollins, what does he know?” is the minute I fail. If I’m ever going to improve as a writer, a storyteller, a businesswoman, or a person, I need to keep listening to others. It’s why I still read craft books, re-read my favorites, attend workshops, enjoy speeches, and even present workshops. Because even in the presentation, I’m learning something through the questions and through my preparation (ok, I don’t prepare for workshops. I’ll just admit that now and get it over with. It’s too much like plotting. It’s why I love Q&A best.)

One of the best teachers out there is our Toni. She gave an incredible workshop at the PASIC conference about writing for Hollywood–and shared several side-splitting stories. Sometimes, you sit down and talk with Toni and she’s just one of the gals. Fun, funny, smart, but just regular folk like me. But when she goes into “the teacher mode” she rocks. If you ever get a chance to take a workshop from her, run to it and get a front seat.

Sometimes, it’s not the workshops at conferences that yield the best nuggets of wisdom. I remember two years ago when Toni and I were at the RWA conference–or was it the ITW conference?–and she explained acts to me.

Yes, you’re thinking I’m dense. And I am when it comes to story structure. I really don’t think in terms of acts or scenes or turning points. And I don’t know how Toni and I got on the subject of story structure, but she took out a little piece of paper and drew a bunch of line graphs. One she split into a three act structure with neat little peaks and valleys, leading to the final climax, with a dip for the final resolution (the hero rides off in the sunset with his horse.) Then she drew out how someone, and I can’t remember who or what movie, changed the way the three act structure was thought about, but going up, up, up, up without the little valleys. I suppose that’s constantly escalating stakes or something, but I don’t know. She also explained the four act structure with the midpoint. I’d recently listened to a story analyst speak to my San Francisco RWA chapter about the four act structure and then ran home to check the midpoint of all my published books, certain that I didn’t have a midpoint as he defined it. But, ironically, I did have a major turning point–all seems golden, or all seems lost–at every midpoint within 10 pages. I was shocked. I just pulled open FATAL SECRETS (okay, BSP moment here, the book came out last Tuesday.) The midpoint is where the hero and heroine are learning a steady stream of information in their investigation and they are thinking they are close to victory . . . only to have everything fall apart on them shortly thereafter. And then more and more losses. And more bad news. In SUDDEN DEATH, they are at the end of their rope, the bottom of the investigation, they have no idea who’s killing these people, and then they get even worse news.

But I didn’t plan it that way. It just . . . happened.

I don’t think writers need to know why all the time. Writing is so personal in so many ways, that to dissect it kind of makes it mechanical. I don’t mind looking at the story after the fact–usually in copyedits where the process seems more clinical anyway–but I don’t consciously plan the story, plot the story, or push the story in any direction. Yet, looking back, I can see how the advice, suggestions and guidelines of great writers, storytellers, agents, editors and friends, have all unconsciously become part of my process.

We all take classes, whether writers or readers, for a day job or just for fun. What’s the best thing you’ve learned, the tidbit or teacher that keeps you coming back for more?

 

ESP, parapsychology, Zener cards, research, and THE UNSEEN

by Alexandra Sokoloff

Hmm, something big is happening this week… if only I could…

Oh, RIGHT!!! The Unseen is out on Tuesday! THIS TUESDAY!!!

The Unseen is a book that has been percolating for a long, long, LONG time.

I’m sure a good number of you recognize these:


The Zener ESP cards.

I don’t know about you, but just the sight of those images gives me a thrill. Maybe I mean, chill… because it’s all about the unknown. Do we have that sixth sense, the freaking power of extra-sensory perception, or do we not?

Well, parapsychologist Dr. J.B. Rhine said we do. All of us. And in the late 1920’s, on through the 1960’s, he used the brand-new science of statistics to prove it, in controlled laboratory experiments that made him a household name.

I have no idea how I first came to hear about this, but then again, I grew up in California, specifically, Berkeley – and astrology and Tarot and meditation and anything groovy and psychic was just part of everyday life.

And it was very, very early that I first heard of Dr. Rhine and the ESP tests. In fact, my sister the artist made a set of her own Zener cards when we were in just fourth or fifth grade. I swear, it was in the air.

Here’s the principle: take a pack of twenty-five Zener cards, five sets of five simple symbols: a circle, a square, a cross, a star, and two wavy lines, like water. Two subjects sit on opposite sides of a black screen, unable to see each other, and one subject, the Sender, takes the pack of ESP cards and looks at each card, one at a time, while the Receiver sorts another set of cards into appropriate boxes, depending on what card s/he thinks the Sender is holding and communicating.

Pure chance is twenty percent, or five cards right out of a deck. Because if you have five cards, chance dictates that you would guess right 20 percent of the time.

So anyone who scores significantly more than 20 percent is demonstrating some ESP ability. (The Rhine lab generally used 5 sets of cards for each test run).

You can try it online at any number of places, including here.

And seriously, don’t we all – or haven’t we all at some point – think we have some of that? It’s kind of seductive, isn’t it?

Now, what Dr. Rhine was doing with these Zener cards was truly revolutionary. By the 1920’s the whole world, pretty much, was obsessed with the occult and spiritualism, especially the idea of life after death and the concept of being able to connect with dead loved ones on whatever plane they were now inhabiting.

There were many factors that contributed to this obsession, but two in particular:

1. Darwin’s publication of THE ORIGIN OF THE SPECIES, in 1859, which began a worldwide anxiety about whether there was any afterlife at all… and a fanatic desire to prove there was… especially among some scientists, interestingly enough.

And

2. The Great War, or as we know it now, WWI, in which so many people died so quickly that traumatized relatives were desperate to contact their lost – children, to be blunt – infants, as in “infantry”, underage cannon fodder – and have some hope that they were not lost for eternity.

The Great War really kicked spiritualism into high gear.

This was the age of “mediums”, most of whom were total frauds, con artists who used parlor magician tricks to dupe grieving relatives into believing their lost loved ones were coming back to give them messages – for a hefty price.

Well, (after a brief stint in botany and an abrupt switch to psychology) Dr. J.B. Rhine began his career debunking fraudulent mediums. His commitment to the truth won him a reputation for scientific integrity and a position at the newly established parapsychology lab at Duke University in North Carolina, the first ever in the U.S., where Rhine and his mentor, William McDougall, embarked on a decades-long quest to use the brand-new science of statistics and probability to test the occurrence of psychic phenomena such as ESP and psychokinesis (the movement of objects with the mind).

Using Zener cards and automated dice-throwing machines, Rhine tested thousands of students under laboratory conditions, and by applying the science of statistics to the results, came to believe that ESP actually does occur.

Rhine’s wife and colleague, Dr. Louisa Rhine, conducted her own parallel study, in which she gathered thousands of accounts from all over the world of psychic occurrences and followed up with interviews, from which she isolated several extremely common recurring patterns of psychic experiences, such as:

Crisis apparitions: in which a loved one appears to another loved one at a moment of extreme trauma or death.

Precognitive dreams: dreaming a future event.

Visitations in dreams: a dead loved one coming to a loved one in her or his sleep to impart some crucial bit of information.

Sympathetic pain: in which a loved one feels pain in a limb or elsewhere in the body when another loved one is injured in that place (often this is birth pains that a female relative will experience when a daughter or other female relative goes into labor).

The Rhines’ daughter, psychologist Sally Rhine Feather, has written a fascinating book on the above called THE GIFT, which was extremely helpful in my research for The Unseen.

Now, most people who read about the paranormal and parapsychology, even casually, are aware of Dr. Rhine and his ESP research. But most people are not as aware that researchers in the Duke lab also did field investigations of poltergeists, starting in the late 50’s and early sixties.

Poltergeists!

I don’t know about you, but that just rocks my world. What ARE they? Are they the projected repressed sex energy of frustrated adolescents? Are they ghosts? Are they some other kind of extra-dimensional entity? Is it all just a fraud, a fad, perpetrated by people who wanted media attention before the advent of reality TV?

So I’ve always wanted to so something, sometime, about the whole Rhine/Duke/ESP/poltergeist thing.

And then a few years ago I was visiting Michael in North Carolina and, as he is wont to do, he handed me a column torn out of the newspaper about a lecture on the Duke campus called: “Secrets of the Rhine Parapsychology Lab” and said, “You should go to that.” Because he knows I like that kind of thing, but he had no idea that I’ve been obsessed with Rhine since I was – seven, eight, whatever.

And I did go to the lecture, and I was stupefied to learn that after the parapsychology lab officially closed in 1965, when Dr. Rhine reached the mandatory age of retirement, seven hundred boxes of original research files were sealed and shut up in the basement of the graduate library, and had only just been opened to the public again.

Is that a story or what?

All those questions that instantly spring to mind. Why did the lab close, really? (Well, in truth, Dr. Rhine retired. But what if…) Why were the files sealed? Was someone trying to hide something? And most importantly What the HELL is in those boxes? SEVEN HUNDRED boxes?

So you know that question authors love: Where do you get your ideas?

That’s where I got my idea for The Unseen. From the double extra large Southern man I live with. Get yourself one, they’re worth the trouble. Most of the time.

But it all started with a childhood obsession and years of random research on the subject that suddenly caught fire with some specific field research and one choice factoid.

So the lesson here, I think, is –

Forage widely. If a lecture at a library or university sounds intriguing, take a chance and go. You might get a whole book handed to you. And just always be adding to those open files in your head of potential projects. Read voraciously on the subjects that interest you. All this random research does eventually achieve critical mass, and suddenly you have a book.

We are so lucky as writers that our JOB is to pursue the things we’re passionate about. Take advantage and enjoy the hell out of it.

So now, for those of you who find the above intriguing, and/or who like your mysteries with a touch of the real-life uncanny, and/or who have gotten something out of my story structure posts, or who just love me in general, here’s your chance to show the love. Go buy The Unseen from your favorite independent bookstore RIGHT NOW, or if you can’t bear to think about getting dressed today, from Amazon(and then go buy great greeting cards and other people’s books from your favorite independent bookstorethe next time you’re dressed and out of the house. If ever. Because I’m hardly one to make assumptions about that.).

And if you have no money at all, don’t despair, because first, you’re not alone, as I think we’re all painfully aware these days…

And second, we all still have the great gift of our public libraries. Go online right now and reserve The Unseen from your local library. If they don’t have it yet, please please please – request it. Libraries have suffered cutbacks just like the rest of the known universe, but before the crash, the formula was that a library would buy a new hardcover for every five patrons who requested the book. So that is some truly powerful support you can give to your favorite authors: request a book, and that’s one-fifth of a hardcover sale, at no cost to you. Believe me, it really, really helps. (In fact, why not check out books by ten of your favorite authors every time you go to the library? I do, every single time. And I’m at the library A LOT.)

And now it’s your turn: tell us about a project that caught fire with the perfect research factoid. Or about a subject you wish you could find a thriller or mystery about. Or, on a completely different track: have you ever experienced a crisis apparition, a precognitive dream or visitation, or sympathetic pains? Or do you know anyone who has? Do you believe these things happen?

Have a great Memorial Day holiday.

And I hope you enjoy The Unseen.

– Alex

(I’m doing a very laid back, non-Konrath, un-type-A blog tour in between running around doing the physical tour thing, so check my Screenwriting Tricks for Authors blog if you’d like to drop in!)

Murderati Anonymous

by Stephen Jay Schwartz

When JT asked what title I would like under my name on the Murderati blogsite she suggested The Newbie, since this had been her title when she first came onto the blogging scene. She also suggested “The Newcomer,” which jumped out at me since it ties directly into my novel, BOULEVARD, a crime thriller set in the world of sex-addiction amidst the dark, present-day streets of Los Angeles. The protagonist is a sex-addicted, LAPD Robbery-Homicide detective.

I’ve done a lot of research on the subject of addiction. I’ve read David Sheff’s “Beautiful Boy,” Nick Sheff’s “Tweak,” Marilee Strong’s “A Bright Red Scream,” William Cope Moyer’s “Broken,” William S. Burroughs’ “Junky,” most all of the texts by Dr. Patrick Carnes (the preeminent researcher in the field of sex addiction), Lauren Greenfield’s documentary film “Thin,” Nikki Sixx’s “The Heroin Diaries,” Augusten Burroughs’ “Dry,” as well as many other novels, memoirs and textbooks on the subject of addiction. The compulsion and addiction topics I’ve studied cover the gamut: Meth, crack, heroin, speed, nicotine, alcohol, anorexia, bulimia, self-abuse (cutting & burning), over-eating, workaholism and sex addiction. I’ve done a lot of “boots on the ground” research as well, attending meetings and interviewing addicts, narcotics officers and health professionals. I wouldn’t consider myself an expert on the subject of addiction, but I’m certainly well-informed. One of the things I’ve learned through my research is that the Twelve Step meeting is a wonderful place to heal.

In the world of addiction, the phrase newcomer refers to someone who is new to the meeting. The newcomer arrives raw and wide-eyed and terribly vulnerable. He stumbles into the meeting searching for guidance or empathy or both.

He takes a seat among old-timers and veterans who view his sudden presence with trepidation. Is this kid going to make it? It’s his first day and it’s going to take a lot of one-day-at-a-times before he achieves even an inkling of serenity. Is he going to have what it takes to keep coming back?

The veterans know how hard it is to follow the path. They know the challenges, and they know that the newcomer will invariably make mistakes along the way. There exists a strange, symbiotic relationship between veteran and newcomer. The veteran often forgets the wild, out-of-control feelings he had when he first started recovery. The group encourages the veteran to listen to the newcomer’s voice so that he might recapture the sense of overwhelming excitement he had when he first started working the program. When he realized that there was, in fact, a path to follow.

Is it appropriate to compare the veteran Murderati authors to a room full of addicts? They seem like a crowd that can take some ribbing. And, while I am making a bit of a playful comparison here, I don’t want to make light of addiction. Too many families have been broken, too many loved ones have been lost. So I hope the readers of this blog take what I am saying in the spirit in which it was written.

The metaphor works. Here I am. New guy. Friggin’ excited as hell that my book is being published. Happy to discover there’s a recovery process from the painful years I’ve spent writing in dimly lit rooms and cafes, separated from my wife and kids, adding five, six, seven hours to the end of each day at the office. I might wonder, what does recovery look like for me? How does one recover from a lifetime of anticipation?

Here in this room I see a path. Every one of these authors was once an unpublished writer. And then, every one of these authors became a newcomer.

My recovery process has already begun. It began when I got the phone call from the guy who would become my agent. When the book sold, a month later, I could feel my feet planted firmly on the ground. Then came nice little moments that felt like thirty, sixty and ninety-day chips; selling the audio rights, selling the Italian language rights, executing my editor’s notes, seeing the first page proofs, the copyedit proofs, the ARC. Seeing my book available for pre-order on Amazon.com. I’ve had a year of “sobriety” from the anxiety of not-being-published and the book isn’t even out yet. Being invited to join the Murderati authors is like receiving my one-year chip and a cake all at once.

The Twelve Step meetings work because their members share the experiences that define who they are. Experiences that define them as alcoholics, or tweakers, or sex addicts. Or, as in this room, the experiences that define them as writers. They share so that other writers will see how difficult the path is for everyone, not just for the unpublished writer, or for the newcomer.

Part of the job of the newcomer is to share his First Step. The First Step is a public recitation of all the crazy shit that happened to him, and all the crazy shit he did as a result of the crazy shit that happened to him, and how all of this emerged as his addiction of choice, and how all of that eventually led him to the room he’s in now, sharing his First Step. I think I can say that my addiction of choice is writing. It has led me to this room. And writing isn’t a bad thing. But it can certainly be an addictive thing, and a compulsive thing. Not to say that I haven’t had other addictions or compulsions that have complicated my life. I’ve had my share.

In future blogs, as part of this “Author’s First Step,” I will share my experiences about how I got published. I’ll relate my story, which is different from Brett’s story or JT’s story or Rob’s story. And it will be different from the stories that other writers will tell after me, other newcomers who join Murderati in the future.

I was fortunate—I published my first novel shortly after I finished writing it. And because of this it might appear that I haven’t experienced much rejection or failure. But I also spent twenty years working in the film industry and much of that time was spent writing spec screenplays that never sold. Now as I look back on it, each of those screenplays was a stepping-stone to the novel, to Boulevard. Each and every one of them gave me the thing I needed to be what folks in the film industry call an “overnight success, twenty years in the making.” And there’s still so much more to achieve.

As a newcomer I think it’s important to share some of these experiences with the Group to underscore the fact that there are many paths to success, and a lot of them look, at first glance, like failure.

Blogging is a lot like sharing, which is the Twelve Step term used to describe the process of talking about one’s daily struggle. Sharing personal stories, telling them to the room. Sharing is important not because we like to hear ourselves talk, or that it feels good to talk and be heard, but because when we share our struggles we open ourselves to others who are facing similar challenges, and it reminds us all that we are not alone. We are a community. We, at Murderati, are a community of writers. I was not published—I struggled—I was rejected—I struggled—I tried I tried I tried—I was published. The stories I heard from other writers along the way gave me the strength to continue, all the while knowing in my heart that I would someday succeed, providing that I always wrote, listened carefully to feedback, and did what was necessary to improve my work, one word, one sentence, one paragraph, one chapter, one draft, one day at a time.

I’ve considered some of the topics I plan to talk about in future blogs: The Joy of Research, How to Find a Book Agent, How to Find a Film Agent, The Development
Process in Hollywood, Adapting a Novel to Film, Creative Visualization, Story Analysis Using the Writings of Joseph Campbell. There are also subjects I find close to my heart, subjects that have influenced my style as a writer. One I’m looking forward to exploring will be called Kerouac, Jazz and the Art of Spontaneous Prose. And there will be plenty of playful, silly blogs, after I learn to chill out a bit, when my friends remind me not to take myself so seriously.

To finish off the Twelve Step allegory, I’ll throw out a few interesting commonalities:

It’s helps to have a sponsor. I’m lucky because I feel like I’ve walked into this room with three caring sponsors: Brett Battles, JT Ellison and Tess Gerritsen. Brett and I met in college. We lived in the same dorms, went to the same parties, had many of the same classes. I lost touch with him for twenty years, until just recently when I found him on the Murderati blog site. He’s become a good friend again and he’s helped me prepare for the things I expect to encounter as a published author. He also gives wonderful tips, like “Always ask a person how to spell their name when you sign their book.” For my part, I introduced him to the best writing café in Southern California. Tess has also been there from the start, from the day I sent her a blind e:mail asking for advice on how to get an agent. She gave me help that made a difference, and then she read my galley and gave me an amazing blurb, one that continues to make a difference. And then there’s JT, who has been a vocal supporter and who gave me the official invitation to join the Murderati authors. All three have given me blurbs and advice and support. I couldn’t have found better sponsors.

A few other Program phrases jump out as I write this…

Just Show Up. Just show up to the meeting, even if you don’t feel like going. Just show up to your computer. Even if you don’t feel like writing or if you don’t think you have anything to say. Rest your fingers on the keyboard. Close your eyes. Tap, tap, tap.

Keep Coming Back. To the story. To the page. To the computer. Don’t give up. Don’t stop the process. Finish the book.

And, though I’m not very religious, I’m growing more spiritual as my days grow shorter. I’ve come to see that the Serenity Prayer applies to just about anything that challenges me:

God, grant me the serenity to accept the things I cannot change; the courage to change the things I can; and the wisdom to know the difference…

Thanks for attending Stephen’s Friday meeting of Murderati Anonymous. Keep coming back.