Saturday, February 24, 2018

No Spam Calls in the Future

Futurists like to give us a rosy view of tomorrow, mostly because they're funded by technologists with something big to sell, never mind the negative consequences. On the flip side, novels about the future tend to be bleak and the setting is often quite dystopian. Three of the landmark works about this grim future are 1984, Brave New World, and We. Most of us are familiar with George Orwell's 1984 and its oppressive totalitarian theme. In fact, "Big Brother is watching" is synonymous for government and corporate surveillance. Aldous Huxley's Brave New World takes a lighter, though ultimately just as constrictive view of a future society managed through biological engineering. Individuals are brought into this world through a decanting process that determines their station in life. What we consider natural birth is regarded as obscene. People are kept docile through officially sanctioned casual sex, group think (social media, anyone?) and the drug soma. "Don't give a damn, take a gram."

Both of these books draw quite a bit from an earlier Russian novel, We, by Yevgeny Zamyatin, first published in 1920. In this work, people live in glass houses, literally. They are allowed one hour a day "to lower the shades," meaning time for casual sex. Aside from that, there is no notion of privacy. Although Zamyatin intended this story as a critique of Soviet totalitarianism, read today, it's a fantastic satire of how our online lives have taken mastery of our existence. Google, Facebook, Twitter, Amazon--the Internet sees all, it knows all.

Which brings me to another more modern novel, Altered Carbon, by Richard K. Morgan (Now available on Netflix). It too is a dystopian tale, one that disturbed me when I first read it. The salient premise is that in this future, humans are implanted with an electronic "cordial stack," which downloads your consciousness. As long as the cordial stack remains undamaged, your consciousness can be swapped from body to body, what the book calls "re-sleeving." It's an extraordinary inventive piece of science fiction, and Morgan further delves into the premise by thinking through the consequences of swapping bodies. For example, you can testify at your own murder. In his world, the process is quite expensive--the cost equivalent of a house mortgage--so that "re-sleeving" remains the domain of the government and the wealthy. So the rich have the financial means of switching bodies as casually as the rest of us change clothes and thus the ability to be immortal.

On my second reading of Altered Carbon, years later, I stumbled over a detail that emphasized just how difficult it is now for science fiction to remain ahead of science fact, even for a work as trail blazing as this one. When the protagonist used a fob to summon a flying taxi, I thought, why doesn't he use the app on his mobile phone? Then I realized, his phone was simply that, a phone. But many of us seldom make calls on our phones; we mostly communicate via text, email, and instant messenger, something that's not done in this story. Also, Altered Carbon is a mystery so there's a lot of sleuthing about and looking for people. Again, why would that be necessary? We all know we can be tracked by our phones; why couldn't these future people be easily followed by their cordial stacks?

Smart phones represent a technology whose implications we still have a hard time understanding. Besides compromising privacy, they provide a deeply engaging experience that makes their use addictive. One tragic and unintended consequence is how they've facilitated distracted driving so that in the last two years, traffic fatalities have increased because of cell phones.

And I need to mention, that in those very different futures sans cell phones, people are never bothered by telemarketers.

Friday, February 23, 2018

Distracted Characters

The discussion about endings got me thinking about my series arcs and my subplots that sometimes extend beyond the current book. The romances. The deceptions.  The murder that is solved, but the relationships that aren't resolved. I was going to write about that, but then my life intruded.

I've been juggling balls -- symposium in April, classes to teach, SinC chapter, non-profit board, books to write, short story for an anthology -- and my mail has been piling up on my foyer desk. I noticed but didn't feel any urgency about the pink envelope I received. I knew that if my car insurance payment had been credited on the next day, then I would automatically get a notice. I was sure I had made my customary payment by phone because the bill wasn't there in my in-box. And then I got around to paying bills and realized there was no entry for the insurance. And called to make sure I had actually paid. And was told by the customer service person that no, I hadn't and I had missed the grace period. Luckily, I've been with the company for most of my driving life, and he reinstated me in a few minutes. And I -- horrified by the accident I might have had -- signed up for automatic bank withdrawals of my payments.

After I'd hung up, I started thinking about distractions in my characters' lives. I've been thinking about subplots in my historical thriller. But over the course of the eight-month span required in this book (because of real life events), any number of things might distract or obstruct my characters.
Over the course of eight months, they will need to go on with their lives, attending to the ordinary tasks that we are all required to do to avoid having bad things happen. Even when we are organized, sometimes we are required to work late or deal with a difficult person or go to another store to find something. Sometimes we have a dripping faucet or are spattered by a passing car before an important appointment and have to stop to make repairs. 

Thinking about this over a soothing cup of tea, it occurred to me that I should think about my  characters' ordinary days.  What will fall by the wayside when they find themselves immersed in this extraordinary situation?  How will little things left undone create problems? How will things beyond their control distract them from bigger problems.

This is sending me back to my 1939 timelines and notes with each character in mind.  I don't think I'm wasting time thinking this through. As I've mentioned I cannot write a non-stop thriller -- even if I wanted to do that -- but I do need to make sure my characters struggle to get to the finish line.

Of course, I've done this in my series, particularly the first-person Lizzie Stuart books. But I think that here it might be even more important. I can work in setting and a sense of ordinary life without  paragraphs of description.

What about your characters? Distractions as they are sleuthing or plotting mayhem?

Thursday, February 22, 2018

Countdown to a Launch

This year's comfy shoes

I love the discussion about fuzzy endings. I think endings are wildly important—more important that we generally believe—and I have a lot to say about that. But that will have to wait for another day. For this coming Saturday, February 24, is the official launch day for my tenth Alafair Tucker Mystery, Forty Dead Men. The big ol' launch party will be held at 2:00 p.m. at the Poisoned Pen Bookstore in Scottsdale, Arizona. The most fabulous bookstore EVER for launching a mystery novel, especially since the launch is taking place southern Arizona in the middle of winter, with a forecast temperature of 68º F. I’ll be joined by authors Dennis Palumbo (Head Wounds) and Priscilla Royal (Wild Justice), and Dana Stabenow will join us for for a tribute to the late, much beloved Frederick Ramsay. So if you live anywhere in striking distance of Phoenix, do please come by.

No matter how much lead time I have before the publication of a new book, the release date always seems to sneak up on me, and I have never yet been as prepared as I intended to be. For this book, I'm as ready as I'm going to be, I suppose. I didn't manage to lose five pounds or get a face lift, as I originally planned.

But I do have a spiffy outfit.

Now that I’ve reached the age of invisibility, I’ve decided to cultivate a more Bohemian style. I can no longer be the cutest young thing in the room, but I can be well-dressed, damn it. I usually spend at least a month thinking about the outfit, and trying on a series of ensembles, accessories, jewelry, shoes, and parading them around in front of my patient if somewhat bemused husband as though I were an eight year old girl playing dress-up.

I go to such trouble only for myself. I’m generally a bad shopper, but I enjoy the ritual of preparing for a book launch: hair and makeup—check; smoking outfit—check; mani-pedi—check. One very important thing to keep in mind is to choose comfortable shoes! When the day comes that I tire of the big build up, I intend to take a lesson from the great and beautiful Georgia O’Keefe and look however I look and to hell with everybody. When I go to other author events, it seems that the bigger the names the less concerned they seem to be about their duds. Especially the men. Don and I attended an event for a Very Big Name not long ago, and afterwards Don said to me, "Is he married?"

"I don't know," says I. "Why do you ask?"

He replied, "I was wondering why his wife let him go out looking like that."

"Forty Dead Men is a tragic, bittersweet story of a returning veteran and PTSD. While there’s a mystery, the story actually revolves around Gee Dub. Even if you haven’t read the previous Alafair Tucker mysteries, you can pick up this book. And, if you’re a fan of the Ian Rutledge mysteries, you might want to meet another veteran of World War I." Lesa Holstine, Lesa’s Book Critiques

Wednesday, February 21, 2018

Olympics and crime fiction

After reading Charlotte's and Aline's posts on fuzzy endings and playing fair, I got to thinking about what is so compelling about crime novels. I've asked myself this question many times, of course, and use the answers to guide my writing all the time, but this time, because of the Olympics, I'm coming at it from a different angle. Like much of the world, I've been immersed in the Olympics and caught up not only in the sports I always love like figure skating and hockey, but also in those I've barely heard of, like snowboard slopestyle and skeleton (no, not that kind). Suspense, risk, the unknown, the twist, the battle of heroes - the Olympics has it all.

When I give writing workshops, I start off with what I consider the four key elements of any good story:
1. A character worth caring about
2. A question worth answering
3. Three hundred pages of complications (in a novel)
4. An answer that satisfies.

Every word in this list is carefully chosen, and I think if you hit all these points, you have the core of a great story. Which brings me back to the Olympics. Take the first point - a character worth caring about. Almost all the Olympians (except the dopers) are worthy, just by the nature of their long, passionate struggle to get there. But those I cared about the most were those whose struggle had been personalized in some way so that I understood the meaning of that moment for them. Ice dancers Virtue and Moir striving to end their glorious twenty-year career with one final Olympic medal; snowboarder Mark McMorris striving to come back from a catastrophic crash only months earlier that nearly cost him his life. On the sidelines, as readers and watchers, we identify with these characters and care deeply about whether they succeed or fail.

The second point has two key words - worth and answering. The question has to be important and life-challenging enough for us to want to find out the answer. Not only the asking is important, but the answering - a subtle distinction brought into focus with the Olympics example again. It's worth asking whether Mark McMorris will win a medal (or indeed in his case, even get down the course without crashing), but it's not enough. We need to know the answer. It is that drive to know the answer that keeps us glued to the TV through all the other competitors and the endless commercials.

In crime fiction, the question is usually whodunit or whydunit or howdunit. Because crime fiction deals with the most heinous act one human can do to another– with human nature stripped to the bone– that question is almost always worth asking. But even in that, there are some questions that grab the reader more than others, that make us identify and care more deeply. They have to do with character (hero, villain, and victim) and motive, which is why novels that deal with primal human emotions like jealousy, betrayal, and fear are more powerful than greed alone (unless paired with the above).

If Olympic triumph was just about the medal around one's neck or the prize money or the lucrative endorsements, it would be far less compelling to watch, but for all the athletes, I believe it is the personal achievement that is most important. That sense of triumph at overcoming the odds, doing their best, and coming out on top. It is the ultimate goal they've been striving for, of which the medal is just a symbol. You can tell by the tears and smiles at the finish line, by the respect they have for their fellow athletes, by the gratitude they express for their families and colleagues, that this has been a deeply personal journey and a profound personal affirmation.

The three hundred pages of complications refers to the obstacles and detours along the way - the lost competitions, the injuries, the disappointments - each one serving to heighten the suspense and make the quest more personal, meaningful, and uncertain. Will he make it? Can he recover? And on the day of the competition itself, can he beat the incredible score laid down by the athlete just before him? In crime fiction, the obstacles must be meaningful and not mere page-stuffing, serving to deepen the mystery, make alternative solutions more believable, and leave the resolution in doubt.

The fourth point addresses what both Charlotte and Aline raised. Nothing is worse than watching an entire competition, with suspense at its height and the winner about to be revealed, only to have the cable or Wi-Fi die. If a writer has posed a question and tantalized the reader through three hundred pages of ramped-up expectations, trepidation and hope, it is the height of cruelty not to give them an answer. It would be like writing a story about climbing Mount Everest and ending it a hundred feet from the summit. Every story, whether crime fiction or not, deserves an end.

I'm okay with a lot of grey. I don't need all the loose ends tied up, or perfect justice dispensed, or even the bad guys necessarily caught, as long as I know the answer to the question and the writer gives me a compelling reason for letting the bad guy go (as in they're about to meet their nemesis in some other way, or their actions were righteous, etc.) The reader needs to feel satisfied that the solution fits the story. In the case of the Olympics, where winning can hinge on flukes and hundredths of a second, an athlete who gives their all and beats their personal best, even if they don't medal, can leave us deeply happy for and proud of them. As they are of themselves. Mark McMorris got a bronze medal. Gold would have been nice, but what he achieved, coming back from near death, was just a great. Deeply satisfying. 

Tuesday, February 20, 2018

Holy Moley!

by Rick Blechta

I’m sitting here somewhat in shock. Quite possibly by the end of this month our “little blog that could” will welcome its 1,000,000 guest! That is just remarkable and not many blogs reach this kind of pinnacle.

Way back in June 2006 at the (late, great) Bloody Words Convention in Toronto, Vicki Delany, Charles Benoit, Michael Blair, Alex Brett and I sat around in the hotel bar, talking about getting on the blog bandwagon which was gathering steam at that time.

It seemed like a good idea to help us promote ourselves — promotion being as difficult then as it is now. Vicki did the initial spadework, finding the blogger website, choosing a design and look for our creative and writing the first post.

To say the least, readers were scarce for us for the first few years. In a good month we’d get only 1000 or so pageviews which was pretty darned disheartening. More than once we discussed just abandoning the whole thing, but fortunately that never quite happened. Of those original five, only Vicki (who took a brief holiday from Type M at one point) and I remain. Charles still drops by for a guest spot when I can talk him into it.

Our current roster:
  • Barbara arrived in January 2007 (for a brief time before settling in for good in August of 2010).
  • Donis arrived 6 months after Barbara. So she’s an 11-year vet.
  • John first posted in May 2009
  • Frankie Bailey arrived in February of 2011
  • Aline first appeared as Peter’s guest in December 2010 before coming onboard in
  • Charlotte arrived at the end of April in 2011
  • Mario first graced these pages in March 2012
  • Sybil joined us in August 2014
  • And finally our “newbie”, Marianne first darkened our door in September 2017
Some other long-time members of note:
  • Deborah Atkinson — featured in this spot just last week — who came on board with Donis and was with us from July 2007 until August 2010.
  • Hannah Dennison, September 2010 to June 2014
  • Tom Curran, November 2011 to February 2014
  • Peter May, March 2010 to January 2011
This post also has to mention the many guests we’ve hosted over the years (some even became permanent members). Quite often those posts are really interesting and add a lot to the “overall flavor” of Type M. Many thanks to all those who’ve shared their thoughts in our weekend spots over the past 12 years. We all appreciate it a lot!

So here we are. I can scarcely believe our blog has been looked at nearly 1,000,000 times (we’re at 989,352 right now). That is really “some special” as they say in Eastern Canada!

Mostly, though, we all need to say thank you to everyone who has dropped by for a look — and many of you have been watching and reading here for quite a long time. Thanks to all you who’ve commented and joined into what have often developed into some really excellent conversations. (And please feel to weigh in if haven’t yet. We heartily encourage dialogue. It makes the blog that much better — even if we disagree.)

Here’s to the next million!

Monday, February 19, 2018

Playing Fair

I did enjoy Charlotte's post about her dislike of 'fuzzy endings' – where the author hasn't really told you what happened and you have to make up your own mind – as well as the comments about it afterwards.

They seemed to echo something I'd been thinking of writing today – the question of what a detective story ought to be. Perhaps Oscar Wilde's Miss Prism summed it up in her defense of the three-volume novel: 'The good ended happily, the bad unhappily. That is what fiction means.'

It was Monsignor Ronald Knox who made the first attempt in his tongue-in-cheek '10 Commandments for Detective Fiction.' They included prohibitions like, 'Not more than one secret room or passage is allowable,' 'No undiscovered poisons may be used, nor any appliance which will need a long scientific explanation at the end,' and 'No Chinaman must figure in the story,' – possibly a dig at the Chinese opium dens that featured in Sherlock Holmes' cases and then became a feature much imitated in the 'penny-dreadful.'

The great thing about having rules is the effect when someone breaks them. When Agatha Christie, in The Murder of Roger Ackroyd, transgressed by breaking the first commandment, 'The criminal must be someone mentioned in the first part of the story but must not be anyone whose thoughts the reader has been allowed to share,' the shock propelled the book to the top of the best-seller list.

Now, of course, rules have been long superseded. As Butch Cassidy was told, 'There are no rules in a knife fight' and in crime fiction today anything goes. In some of the very best crime novels we know right at the start 'whodunit,' and the suspense is about the why or how.

But I still have an affection for the classic type, and I was wondering how other writers and readers today feel about Knox's commandment no 8: 'The detective must not light on any clues which are not instantly produced for the inspection of the reader.'

I've always felt when I was writing a book that I have the intelligent reader at my shoulder. I want to conceal the villain from them so that they don't guess who it is too early and I will do my very best to mislead them, but I like to think that the clues to the answer are there if they want to follow them. I try to play fair but I can go to elaborate lengths with red herrings - I remember rewriting one scene half-a-dozen times so that the clue I ought to give them remained unnoticed. But I couldn't get any satisfaction from the reader who says, 'I didn't guess' if I had actually cheated.

Is this an idea whose time has passed? What do you think?

Saturday, February 17, 2018

Recreating Sherlock and Having Fun With It.

By Vicki Delany

Now that I’ve switched my focus from darker, grittier crime novels (standalones like More than Sorrow, the eight novels in the Constable Molly Smith series) to cozies, my only aim as a writer is to have fun with it.

And I’m having a lot of fun with the Sherlock Holmes Bookshops series, in which the third, The Cat of the Baskervilles, came out this week.

There isn’t much hotter in the world of popular culture today than Sherlock Holmes.  The continuing popularity of the original books by Sir Arthur Conan Doyle; the massive number of modern short story collections and pastiche novels; two TV series, several movies.

I’m a writer and I’m also a keen mystery reader. So when I was looking for inspiration for a new series, I thought a bookstore would be fun.  And then the idea popped into my head: A bookstore dedicated to Sherlock Holmes.

When I started to do some research on that, I quickly discovered it’s not such an unfeasible idea.  You could easily stock a store with nothing but Sherlock.  Not only things I mentioned above but all the stuff that goes with it: mugs, tea towels, games, puzzles, action figures, colouring books, cardboard cut-out figures. The list is just about endless. Throw in nonfiction works on Sir Arthur and his contemporaries, maybe a few books set in the “gaslight” era. And, presto, a fully stocked bookstore.

And thus was born the Sherlock Holmes Bookshop and Emporium.   Because cozy lovers (and me) love food to go with their reading, I put Mrs. Hudson’s Tea Room next door, run by her best friend Jayne Wilson.

Every book and every piece of merchandise sold in the Sherlock Holmes Bookshop and Emporium exists in the real world (with one exception as readers of Body on Baker Street will understand).  I haven’t read all the books I mention, and I’m not necessarily recommending them, but I enjoy dropping the names of books into the story as customers browse and shop and ask Gemma for suggestions: something suitable for a middle aged man laid up after falling off the roof; a book for a friend who loves historical mysteries; a YA with a female protagonist; even a hostess present for a hated mother-in-law!

My original intent when I began the series, was that the main character would be a normal cozy character. A nice young woman who owns an interesting bookshop, lives in a pleasant community (in this case, on Cape Cod), and has a circle of friends.

But, by the time I got to page 2, Gemma Doyle had become “sherlockian”.

And that’s been enormous fun to write. Gemma has the amazing memory (for things she wants to remember), and incredible observational skills, and a lightning fast mind.  She is also, shall we say, somewhat lacking on occasion in the finger points of social skills.  Jayne is ever-confused, but loyal.
Sometimes Gemma’s observations don’t go down well with a skeptical police officer:

“It was perfectly obvious,” I said. “I smelled flour, tea, and sugar the moment we came in. Those are normal scents in anyone’s house, but tonight they’re of a strength that indicates they’ve been recently dumped from their containers. Overlaid with the odor of rotting vegetables, by which I assume the fridge door has been left open. I keep meaning to eat that kale because it’s supposed to be healthy, but I really don’t care for it.
“We can also assume that our intruder is a nonsmoker and doesn’t apply perfume or aftershave regularly. Unfortunately, it hasn’t rained for several days, although the forecast did call for some, so they didn’t track mud into the house. The flour! An unforgiveable oversight on my part. You will, of course, want to take casts of footprints that have tracked through the spilled flour and sugar.”
“It didn’t get on the floor,” Estrada said. “But it’s all over the counter.”
“As the front door appears to be untampered with, and I don’t hand spare keys for my house to all and sundry, I’ll assume our intruder came in through the back door. Therefore the kitchen would be the logical first place to search.”
“Enough, Gemma,” Jayne whispered to me.
“I only want to point out the obvious facts.” I’ve been told on more than one occasion that some people don’t understand my attention to detail and thus misunderstand the conclusions I draw from it. I have tried to stop, but I might as well stop thinking. And this didn’t seem like a suitable time in which to stop thinking.
“The back door’s been forced open, yes,” Estrada said. “I’ll admit, that was a good guess.”
I was about to inform her that I never guess, but Jayne elbowed me in the ribs.

                                                                                Elementary, She Read by Vicki Delany

Sherlock Holmes and John Watson, reimagined as modern young women just trying to get on with life.