Category Archives: Criminal Masterminds

The Origins of Wilson Salinas and “Los Cantantes de Karaoke” by Tom Larsen

Tom Larsen’s fiction appears in Flash Fiction Magazine, Everyday Fiction, and Big Pond Rumours. One of his stories, cowritten by his grandson, appears in the benefit anthology Friends in Foreign Places. Detective Wilson Salinas is featured in his novel Getting Legal. Here the author talks about his story “Los Cantantes de Karaoke” from the current March/April 2018 issue—his first published mystery story. (Make sure to read the tale first!)

I love to read, which is why I love to write. I love to read character-driven stories, so I tend to write character-driven stories. Of course, to do that requires that I develop characters—characters that are interesting, and most of all, believable. Of all the characters that I’ve developed in twenty years of writing, my favorite is Wilson Salinas, the Ecuadorian private investigator who finds himself a murder suspect in “Los Cantantes de Karaoke”—published this month in AHMM.

My wife Debby and I retired January 1, 2014. Within six months we had sold our house and most of our belongings, and began the move to Cuenca, Ecuador. Although we had made two exploratory trips, this was the real thing. No turning back.

We arrived in Guayaquil at midnight on a hot and steamy June night. The next morning we were on our way to our new home in Cuenca, a stunningly beautiful colonial city located at 8,500 feet elevation in the Andes Mountains.

We had contracted with a driver to take us on the four-hour, 120 mile journey to Cuenca. Emilio, a diminutive fellow with a wide friendly face and an engaging manner, met us at the hotel the next morning, and off we went.

From the vast rice and sugar cane fields and banana plantations of the coastal lowlands we ascended into the lush hardwood forest of the west slope of the Andes, through the dry grasslands and jagged peaks of the summit, and on to the east side. Imagine huge valleys, with far-off mountain peaks rising through the fog like islands out of the sea, pristine lakes too high to be affected by toxic runoff, llamas grazing along the side of the road, colorfully dressed woman milking cows in pastures that rose steeply above us.

We saw all of that and more, but the most memorable part of the trip was meeting Emilio, a proud descendant of the Cañari indigenous group. Ten years earlier, Emilio had emigrated to the United States, like tens of thousands of young Ecuatorianos, when Ecuador’s economy was in freefall. When the economy began to turn around and it looked as if the current president might actually serve out two complete terms (a rarity in Ecuador in recent years) Emilio fled the frigid winters of Minneapolis for the temperate climate of his mountain home.

Emilio’s English was as impeccable as our Spanish was limited, and his knowledge of the history, geography, and politics of his country was excellent. Ecuador couldn’t have chosen a better ambassador.

I’m a mystery writer, so while Emilio pointed out interesting sights and explained the politics of his country, my mind of course, wandered. What must it have been like, I thought, to leave the security and tranquility of the only home you’ve ever known, and head to a cold and frightening megalopolis 3,500 miles north? And, what must it have been like to return years later, with all the changes that you, and your former home, have gone through in the interim? Although I didn’t realize it until a few months later, that was the day that Wilson Salinas came into being.

Now, I have to say that Emilio is nothing at all like Wilson. Emilio’s a hard-working entrepreneur, completely dedicated to his family, and while that’s great, it doesn’t make for an interesting character in a mystery. So, I made Wilson an alcoholic, a smart-ass, and essentially a failure at everything he has tried to accomplish. I sent him off to Seattle for fifteen years, and brought him home to Cuenca at the age of 35, broke, disillusioned, and no more comfortable in his childhood home than he had been in his adopted one.

While living in Portland, Oregon, I had created a character with many of the same attributes as Wilson, and at one point I had begun a short story where the P.I. is duped by an old friend into providing an alibi for him as the friend murders his wife and his brother, whom he suspects of having an affair.

The story went nowhere, but a half dozen years later, as I sat at my desk in Cuenca watching the sun come up over the mountains, the idea came back to me, and Wilson fit seamlessly into the role of the hapless private investigator. I took it a step further and had his old friend frame Wilson for the murders, and that was the origin of “Los Cantantes de Karaoke.”

Fun Fact: Wilson’s name was inspired by a local realtor named Edison Salinas. Names such as Wilson and Edison are fairly common first names in Ecuador. Hitler and Stalin, while not nearly as common, are not unheard of.

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“The Vegas Way” by Shauna Washington

Author and fashion consultant Shauna Washington’s first short-story case for Las Vegas stylist-sleuth Stacey Deshay appeared in the May 2012 issue of AHMM. Here she talks about the series’ Las Vegas setting and her story “Knockoffs,” from the current issue.

Well, I’d like to start on how I fell in the love with Las Vegas. It’s my hometown and over the decades it has changed both architecturally and culture-wise. It has many different monikers like Sin City, The Wedding Capital of the World, Adult Disneyland, City of Lights, but the name I recently heard on a returning flight home might be best: “Lost Wages.”

I like to think of Vegas as a glittery playground. There’s something for everyone, although everything isn’t for everybody. As a kid I loved the bright neon signs and lights. I didn’t frequent the casinos back then, and later found my way in the hospitality industry doing internships in everything from room reservations to cocktail service. I really loved the guest services. However, my first love is retail shopping.

I’m a fashionista. I’ve since become a personal shopper and styling consultant, working with all sorts of people: some famous and some not so famous locals, visitors, and Vegas socialites. Hence my amateur sleuth, Stacey Deshay, is too. Naturally, my stories are set in Las Vegas, but I try not to put them on the famous Las Vegas Strip. Like I said, Vegas is more than just that. There are some very cool places in the valley that I wanted write about. For instance, my first short story, “Fashioned for Murder,” was set in a gated bedroom community. Bad things can happen anywhere. Some of my other settings have been places I’ve visited such as McCarran Airport, the Neon Museum, and the skeletons of the Moulin Rouge nightclub, where Blacks performed in the segregated 1960s. Not all the places in my stories exist, though.

For “Knockoffs,” my short story in the March/April issue of AHMM, I created a fictional hotel on the Strip. I like to think of my stories as fashion mysteries, but there’s a mystery/detective element to them, too. You see, my grandfather was one of the first Black police officers in Las Vegas, and he rose to the rank of detective, so solving crimes in Vegas is sort of a family tradition.

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“One Last Job” by Michael Bracken

Fiction and nonfiction author Michael Bracken is the recipient of the Short Mystery Fiction Society’s 2016 Edward D. Hoch Memorial Golden Derringer Award for lifetime achievement in crime fiction. He has also twice won the Derringer Award for short fiction. Here he talks about writing his story “The Mourning Man” from the current issue of AHMM.

Stories about a seasoned criminal’s “One Last Job”—a familiar trope in mystery fiction—often involve protagonists who desire retirement from their criminous careers. On occasion, “One Last Job” stories involve retired criminals roped back in through no desire of their own, and that is the structural framework for “The Mourning Man” (Alfred Hitchcock’s Mystery Magazine, March/April 2018).

But that isn’t the story I planned to write. I planned to write a love story.

I have known several men of a certain age who find themselves lost after the death of their spouse. They haven’t shopped, cooked, cleaned, or done laundry in so many years that basic self-care eludes them. When I wrote the opening scene of “The Mourning Man,” I had all those men in mind, but I also remembered how I felt twenty-four years ago when my wife passed away after a protracted battle with cervical cancer and I found myself without sufficient savings to pay for her funeral.

I was lucky. Family stepped in. But what if Johnny Devlin—a cab driver who just lost the love of his life, the woman who convinced him to abandon crime when he was young and who kept him on the straight and narrow during the decades since—borrowed funeral money from a loan shark?

The question remained unanswered and the rough draft of my opening scene remained untouched until I read “Chronic Insecurity,” an article by William Wheeler in the July/August 2014 Playboy about the legal marijuana shops in Denver and the problems marijuana dispensers everywhere have banking their money. Wheeler quoted the owner of one dispensary who referred to a two-block stretch of Broadway in Denver that houses a dozen marijuana dispensaries as “Retard Row.” I thought those shops were ripe for robbery, and so does the loan shark who provides the money to bury Devlin’s wife.

Devlin finds himself torn between his debt, the promises he made to his dead wife, and the needs of his living friends and relatives. In the end, even though I used the tropes of the “One Last Job” story, I think I did write a love story because the decisions Devlin makes demonstrate his love for his wife, his friends, and his family.

 

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“Welcome To My Tribe” by Robert Lopresti

Novelist, short-story author, and nonfiction writer Robert Lopresti is a government information librarian at Western Washington University. He blogs at SleuthSayers, Little Big Crimes, and Today in Mystery History. Here he talks about the mystery-fiction community and writing his story “Nobody Gets Killed” from the current issue of AHMM.

Everybody needs a little help sometime.

My story, “Nobody Gets Killed,” which appears in the March/April issue of Alfred Hitchcock’s Mystery Magazine, consists of just one scene: a confrontation between a cop and a driver on a country road.

It didn’t take long to write it, but after the first draft I got worried. I didn’t want my cop to do anything wrong—at least, except if I intended him to wrong, of course. And what do I know about police procedure?

Not much. So naturally I called the cops. Specifically, I called my friend David Dean, who is both a crime writer and the retired chief of a police department in New Jersey. He quickly read over the story and made one correction, which I was happy to accept.

Now the moral of this story is not that you should all send your short stories to David for free editing (I promised him I would say that). My point is that mystery writers help each other out.

You might not know that if your knowledge of us comes primarily from, well, mysteries. In those tales you frequently find writers plotting fiendishly against each other, with gossip and backstabbing—figurative or literal—galore. What fiends we all seem to be! (And, full disclosure, my “Shanks On Misdirection,” from Alfred Hitchcock’s Mystery Magazine’s July/August 2009 issue, is about two crime writers being distinctly mean to each other.)

But I confess: It’s all make-believe. The truth is, we’re a pretty nice crowd. I have lost count of the number of times I have heard Newbie X tell how Best-selling Y went out of their way to help X up the ladder when there was no chance for reward. Not long ago a crime novelist connected me to her Hollywood agent because she thought my Greenfellas would make a good movie. A lot of paying forward, as they say.

When I hear about a new market for short stories I always pass the news on to my short fiction friends. I know they will do the same for me. And the best part of events like Bouchercon is swapping stories over a coffee or beer with your sibling scribblers, the only ones who really understand how it feels when a reviewer condemns you for not writing the book they wanted, instead of reviewing the one you did write.

Maybe we get all of our nasties out on the page and don’t feel the need to do it in real life. As I recall the late great Sue Grafton claimed she wrote her first mystery for the chance to kill off an ex-husband in it.

At the 1993 Edgars Banquet, when Donald E. Westlake was recognized as a Grand Master he got choked up and told the crowd “You’re my tribe!” I can’t put it better than that, and I’m proud to be a member.

I wish I could end on that note, but in the spirit of honesty I have to report that while this piece was gestating I heard from a female mystery writer that when she announced a piece of good news to a crowd of her peers one man said “Who did you have to have sex with to get that?” Except he didn’t say it nearly so politely.

I’m sure he would say he was joking, but come on. Does anyone not understand what underlies that kind of joke? And in the autumn of #MeToo could anyone claim it was an innocent mistake?

Which just proves, I suppose, that there are jerks in every tribe. And maybe they tend to be more visible to the women in the crowd than the men.

And that, oddly enough, brings me back to my story “Nobody Gets Killed,” which is about two strangers trying to negotiate a difficult situation, both hoping there are no jerks involved. If/when that happens to you, I wish you the best.

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“Something Old, Something New . . .” by John H. Dirckx

 

John H. Dirckx is the author of Dr. Thorndyke’s Dilemma (Aspen Press) and short fiction in AHMM, EQMM, and Woman’s World as well as nonfiction in the medical field. Today he talks about handling clues in mystery fiction, and in particular his short story “Go for the Juggler,” the latest in the series featuring Detective Sergeant Dollinger and Lieutenant Auburn, from the current issue of AHMM.

A detective story needs a crook, a crime, a sleuth, and one or more clues that enable the sleuth to pin the crime on the crook. Not all clues in mystery fiction, however, point to the identity of the criminal. Some merely help to establish a chronology of events, provide background details, or exonerate suspects. Others are blatant red herrings, designed to bewilder or mislead the detective for a while and, perhaps for a while longer, the reader.

But somewhere in every story there must be at least one piece of evidence that unerringly incriminates the guilty person by a rigorous and intellectually satisfying application of Aristotelian logic, thus ensuring a fitting sentence in a court of law. (Often overlooked or ignored in classic mysteries of the Golden Age was the difference between a damning clue, such as the ineluctable bloody thumbprint, and a mere hint or suggestion, such as the depth to which the parsley had sunk into the butter upon a hot day.)

Whence does the mystery writer garner clues that meet the requirements of both plausibility and evidential value? Often they turn up in the ongoing series of occurrences, mostly banal, that weave the fabric of daily life: the broken shoestring, the misread headline, the book put back on the wrong shelf in a moment of distraction.

In “Go for the Juggler,” Detective Auburn tumbles to the killer’s trick of insulating a car battery terminal with a plastic cap because he had once made the mistake of wiring up a new battery without removing the protective cap placed on the negative terminal by the manufacturer. That idea occurred to me because I once made the same mistake myself.

Auburn finds a cache of gold and jewelry by observing that the discoloration on the underside of a kitchen cabinet caused by rising heat doesn’t match the present location of the electric toaster. Over the years I’ve noticed several such discolorations while sprawled on various kitchen floors installing or repairing appliances.

Clues mustn’t be too conspicuous or too transparent—otherwise there is little or no mystery. The word kieselguhr has had an intriguing and exotic ring to my ears from the first time I heard it in a chemistry lecture decades ago. Kieselguhr may not be in your working vocabulary, but you can find out more about it than you could possibly want to know with a simple Internet search.

“Be not the first by whom the new are tried . . .” Sherlock Holmes and Sam Spade never heard of surveillance cameras, but they’re ubiquitous today, and they pop up often enough in crime fiction. In this story, taped video footage enables the detectives to identify the “juggler.”

“Nor yet the last to lay the old aside.” In the construction of the modern detective story, convention permits an occasional nod to the venerable past of the genre. For the piece of evidence that clinches the guilt of the killer in “Go for the Juggler,” I fell back on that hoary cliché, fingerprints found on articles used in the commission of the crime. Who says tradition isn’t what it used to be?

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On “The Chinese Dog Mystery” by James Lincoln Warren

James Lincoln Warren is a Black Orchid Novella Award winner and prolific author of series as well as standalone short stories. Here, he talks about his story “The Chinese Dog Mystery” from the current issue of AHMM.

In the cover comments I submitted with “The Chinese Dog Mystery” to Alfred Hitchcock’s Mystery Magazine, I described the story as a love letter to P.G. Wodehouse, the inimitable creator of that dimwitted but kind-hearted scion of the British gentry, Bertie Wooster, and his towering genius of a valet, the formidable Jeeves, for both of whom time all but stopped in the 1920s, even if it was the 30s or the 40s or the 50s.

Wodehouse is one of those rare authors who makes me laugh out loud when I read silently along. He’s one of my literary heroes.

I have always wanted to follow in his footsteps, as we all want to do with our heroes, and so to do my own take on the Wooster/Jeeves paradigm. But there was, I thought, an insurmountable barrier to doing so: If a writer is truly inimitable, then by definition he is utterly impossible to imitate, let alone duplicate. Especially regarding style, that most defining characteristic of a great writer, and as almost all of the Jeeves catalogue is written in the first person from Bertie’s point of view, that style is inextricably Bertie’s, which is to say Wodehouse’s, very own.

But faint heart never won fair whatever.

The challenge was to find a suitable replacement voice to put in the mouth of my Bertie analog, E. Cowes Crambury, a.k.a. “Bennie”—to find a voice that would convey Bennie’s amusing idiocy without merely parroting Bertie’s, with his signature What-ho!s and I-mean-to-say-what?s and the like, which add so much to Wodehouse’s gentle humor.

How to proceed? And then, as through a glass darkly, I recognized that I had a slight, albeit very slight, advantage.

You see, Bertie, like Wodehouse, was an Englishman—but Bennie, like me, is thoroughly American.

Q: What do American twits sound like?

A: A lot like English twits, I suppose, twittishness being no respecter of national origins—but not in English English, as in, “Hail, Good Fellow; Well Met!” Rather, it ought to be in American English, as in, “Howdy, Pardner; Happy to Meetcha!”

A character’s voice comes from two sources: the character’s personality and his formative environment. In Bertie’s case, he’s a young English gentleman of independent means who’s at one with a Roaring 20s background. Where might I find something analogous on this side of the pond? I suppose it was an inspiration, because it came to me immediately without me even thinking about it.

I decided to make Bennie a young American trust fund baby of not-entirely savory antecedents, and with a Golden Age of Hollywood background—movie stars being the closest thing the U.S. has to an aristocracy.

Instead of using Bertie’s most whimsical jazz age expressions and English slang, I had Bennie talk mostly in an American vernacular, and threw in a bunch of 1940s American pop culture references that would be wholly out of place in London, but perfect for L.A.

And remaining true to my quest, I made sure that Bertie and Bennie are enough alike so that the Wodehouse touch is clearly detectible, especially as I included the required Wodehousean ingredients, including a Jeeves-type servant savant (a chauffeur, though, not a valet—this is Hollywood, remember) and a sensible, talented, pretty girl to keep Bennie completely confused.

And when it all came together, I knew I had it. It ain’t as fine as Wodehouse, of course it isn’t, it never could be. But my love for him is there, and that’s why I wrote it.

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“De-Mystified” by Randall DeWitt

Randall DeWitt  is the author of an upcoming flash-fiction collection, Blunt Flash Trauma, which will also include stories by Sharon Daynard, Ruth M. McCarty, and Kathy Chencharik. He is a three-time winner of AHMM’s Mysterious Photograph contest; one of these winning stories, “The Cable Job,” went on to win the 2012 Derringer Award for Best Flash Story. Here he talks about the experience of writing flash fiction and entering the contest.

When the latest edition of Alfred Hitchcock Mystery Magazine arrives, the first thing I do is turn to “The Story that Won” to see who authored the prevailing 250-words for the latest Mysterious Photograph contest. I read the story, and then scan the honorable mentions for names that I know. I remember what it was like to see my name on that list and the feeling of accomplishment when the winning story was mine. If my stories and name can appear on that page, anyone with a fertile imagination and half-decent writing skills can too.

As a past winner of the contest, I have a secret I’d like to share with you—I don’t consider myself a writer. I base this conclusion on years of marriage to a mystery writer who is much more talented and by having read the stories of many of her friends in the writing community. I get jealous just thinking about how they can masterfully fill page after page describing something as simple as a sneeze if they wanted to. Me? My version would read Achoo! and that would pretty much be it. But in the world of flash fiction, my shortcoming might be my biggest asset. I don’t have to tamp down the urge to paint a Rembrandt to illustrate my story because I don’t possess that kind of a brush. Low word counts are my friend. And if the result is a picture worthy of hanging in Boston’s Museum of Bad Art, and people want to look at it, I’ve done my job. I’m happy.

Everything begins with the Mysterious Photograph itself of course and the search for an answer to why? Why is this picture integral to the story? I try not to overthink it. If there’s a title to the picture, I consider those words too just like everyone else. And there it is, the phrase that probably dooms most submissions—like everyone else.

Not every story has to end in a gruesome murder. I’ve written dark submissions but in my experience it’s the light-hearted ones I’ve sent in that have won. So sometimes I concoct new ways to attempt, pull off or stop a robbery. Other times I test the judges with a caper that borders on the absurd. Whatever I come up with, it has to be out of the ordinary. That doesn’t mean I don’t try to incorporate something that everyone may relate to. I think that sort of connection with the reader helps sell the story. In my winning entries, one had a familiar tempting smell. In another, it was dealing with the cable company. In my last, it was the annoying habits of a co-worker.

Finally, I’m sure it doesn’t have to be said but the ending has to be satisfying. I often prefer to add a small twist as long as it plays fair with the reader and makes sense. If it’s written well enough, who knows?

If all goes well, I’ll see you in “The Story that Won.”

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