Readers, fans, and friends will be glad to know that B.K. Stevens’s daughter is continuing her The First Two Pages blog, where authors talk about the beginnings of their stories and novels. This fall, the blog will feature contributors from Where Crime Never Sleeps: Murder New York Style 4 (Level Best, 2017), the fourth anthology by members of the NY/Tri-State Chapter of Sisters in Crime. Today at the blog, contributor to and editor of the anthology Elizabeth Zelvin talks about the first two pages of her story “Death Will Finish Your Marathon.”
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There are few better sources of drama than the family, as many of the stories in this issue illustrate. If one is well advised to keep friends close and enemies closer, then perhaps one must keep family members closest of all.
A death in the family often provides an occasion for changes—such as for the widow in Charles Todd’s “The Trophy” who seeks solace in the countryside of southern Wales, or the woman in Jane K. Cleland’s “Night Flight to Bali,” who is suddenly freed to cash in a forged painting upon the death of her domineering mother.
Or family ties may throw up walls that are difficult for outsiders to penetrate, such as in the investigation into possible insurance fraud involving a disabled teen and his mother in John Shepphird’s “Electric Boogaloo,” or the tangled relationships revealed by the court transcript of a case of a contested will in Eve Fisher’s “Happy Families.”
But sometimes such ties can be powerful motivators—such as for the Muslim woman who hires Beijing P.I. Il yong to find the Uighur son she’d given up for adoption in Martin Limón’s “The Smuggler of Samarkand”—or sources of support and encouragement, such as Jack Tait finds in his formidable aunts as he tries to prevent a rush to judgment against a black tenant farmer in the Depression-era South in “How Lon Pruitt Was Found Murdered in an Open Field with no Footprints Around,” by Mike Culpepper.
Other stories in this issue feature a perfect storm of disasters for Deputy Hector Moody when his car breaks down in the Gallatin mountain range in David Edgerley Gates’s “Cabin Fever”; the outsized dreams of a mid-level accountant in Max Gersh’s “Self-Portrait”; a copyeditor using her wits to foil an e-mail scammer in Steve Hockensmith’s “i”; a volatile partnership between a writer and an actor in Janice Law’s “The Front Man”; an aging spy recalled to action in Michael Mallory’s “Aramis and the Worm”; Dr. John H. Watson encounters a gentleman with a strange health regimen in “The Vampire of Edinburgh” by James Tipton.
No matter the state of your relations with other relatives, our readers are valued members of the AHMM family.
Richard Krauss is the editor and designer of Larque Press’s The Digest Enthusiast, which has appeared twice yearly since 2015. In today’s post, associate editor Jackie Sherbow talks with Richard about his work and the world of digest magazines. Find out more at the Digest Blog—and you can purchase all issues of The Digest Enthusiast here.
AHMM: Please tell us a bit about yourself. You’ve worked as a designer, marketing strategist, artist, and cartoonist. How did your interest in digests develop, and has that relationship changed over time?
Richard Krauss: AHMM is a long-time favorite, so it’s quite an honor to be here. I’d always read crime fiction, but Geoffrey O’Brien’s reference book Hardboiled America opened the floodgates to 1950s era paperback originals for me. The novels by these crime writers were too seductive to resist. Soon, I found these same authors wrote short stories for digests, by then the preferred format for fiction magazines. There were hundreds of titles—Manhunt, Jonathan Press, Pursuit, and of course Alfred Hitchcock and Ellery Queen, to name just a few.
Collectors D. Blake Werts, Rob Imes, and I were chatting one day via e-mail about digests. As the brainwave to document them dawned, The Digest Enthusiast was born. Every potential contributor asked was eager to help: artist/writer Joe Wehrle, Jr., magazine historian Tom Brinkmann, author Lesann Berry, illustrators Michael Neno and Larry Johnson, cartoonist Bob Vojtko, and Hugo award-winning artist Brad Foster. Once the first couple of editions were out, our circle grew to include writers like Steve Carper, Peter Enfantino, and Gary Lovisi—and our contributor list grows with every new edition.
My passion remains crime fiction, but working on the magazine expanded my interest in all genres of fiction, and even nonfiction titles like True Crime Detective, Fate, and Exploring the Unknown.
AH: Each issue of The Digest Enthusiast is full of a wide variety of content, from interviews to reviews (in many genres) to poems, artwork, and features like “Opening Lines.” What guiding principles help you maintain focus?
RK: Our purpose is to explore the diverse world of digest magazines. We cover all types of genre fiction digests and select nonfiction titles. Variety is essential. We want something for everyone, every time. We even include a few short stories. After all, fiction is what draws most readers to digest magazines in the first place.
Much of our content is a look back, but we also report on the current scene. Recently we started a column called “News Digest,” which includes all the late-breaking industry news we can gather as each issue enters final production. We present cover previews and news about the four Dell digests, F&SF, Nostalgia Digest, Fate, and the new generation of digests, mostly made possible by today’s publishing technology—Pulp Literature, Paperback Parade, Weirdbook, Switchblade, Mystery Weekly, Betty Fedora, and many others.
AH: And what motifs and themes do you see across the variety of digests?
RK: Editors like Ellery Queen, Ray Palmer, Robert A.W. Lowndes, and H.L. Gold were as important to their readers as their magazines. Publishing a genre fiction digest has always been challenging. The editors, artists, and writers that create them love what they’re doing, and readers know it. Readers want that affinity for their favorite writers and their stories and characters.
You expect crime and deception from a mystery digest; new ideas and concepts from a science fiction title. But with a closer look, you’re struck by the unexpected, and energized by the unbounded creativity in digests. For example, Robert Arthur’s Mysterious Traveler digest, with every tale hosted by the title’s namesake. In 1981, Mike Shayne Mystery Magazine had flash fiction from Robert Lopresti before flash fiction was labeled. B.K. Stevens’ epistolary approach to her Bolt and Walt series for AHMM—and the inclusion of Dale Berry’s seven-page comic story earlier this year. Get a digest and get enthused.
For writers, these days, it’s all about platform. Most successful digests also leverage platform. Alfred Hitchcock, Isaac Asimov, The Man from UNCLE, and The Saint were all well established names/brands before their digests debuted. In 1953, Manhunt began serializing a brand new novel by Mickey Spillane, at the height of Spillane’s popularity. Manhunt sold over half a million copies of their first issue. In 1948, the UFO craze seized America. Fate Magazine debuted with Kenneth Arnold’s account of his famous 1947 sighting, catapulting Clark Publishing into success.
Slow and steady only wins if you can afford to stay in the race. Otherwise, better to hitch your wagon to a proven platform.
AH: Can you talk a bit about the relationship between visual elements and copy in your favorite digests?
RK: You judge a book by its cover—or more precisely, you form your first impression from a book’s appearance. The cover is primary, but you react to the whole package. How does it look and feel? Digests have an inherently appealing size, easy to hold, easy to carry, and inviting to read.
Some fiction magazines use the same fonts for every story title, intro, text, and notes. Others vary the titles using different fonts to reflect the feel of the story to come. The text font is probably unconscious to many readers, but the magazine’s designer has given it a lot of thought, trying to balance all the options in style, size, weight, leading, and line length.
If the budget allows, an illustration can spark interest in a story in a heartbeat. The best are custom-made, depicting a scene from the story, or perhaps the overall feel of its milieu. Digest collectors follow their favorite artists as often as their favorite authors.
AH: What observations do you have about the community of digests enthusiasts (collectors, artists, writers, fans, etc.)?
RK: The community is as friendly and welcoming as you could ever want. Writers and editors, reviewers, contributors, collectors, and readers—they’ve all been enthusiastic and energizing. Just a terrific group of people, sharing and celebrating their common interest, a love for compelling fiction and artistry.
AH: What are the top three things you wish everyone would know about digests?
RK: First, they’re a bargain. Probably no surprise to AHMM readers, but digests offer the best, most affordable short story writing available. Online, at your local newsstand, or by subscription, there is no better fictive bang for your buck.
Second, they gave many of the world’s favorite writers their start. Perhaps the biggest star, Stephen King, had his first professional stories published in Startling Mystery Stories. But there are plenty of examples: Orson Scott Card, Lawrence Block, John D. MacDonald, Joe Lansdale, etc. Art Taylor’s “Rearview Mirror” first appeared in EQMM and later won the Agatha Award for best first novel as On the Road with Del & Louise in its expanded version. If you want to discover tomorrow’s bestselling, award-winning author today, read a digest. (And many of the greats return to the pages of their earliest supporters.)
Finally, there are hundreds of terrific digest magazines available. Whether you want a new adventure or a new passion, digests are easy to find online, highly collectible, and more affordable than just about any other type of magazine.
AH: Are you working on or planning any other projects?
RK: Writer and filmmaker, Alec Cizak, published of one of the earliest digests to leverage the new publishing technologies, Pulp Modern. After a year hiatus, he and I teamed-up to revive the title and released our first new issue from Volume Two in May 2017. The next Pulp Modern will be out late this year, near the same time as The Digest Enthusiast #7.
I’m also working with Marc Myers on a collection of Clark Dissmeyer’s comix work from the 1980s, which will be released this fall.
Recently I had the pleasure of attending the premier of “Might as Well Be Dead,” a new play by AHMM contributor Joseph Goodrich. The play, produced by the Park Square Theatre in St. Paul, Minnesota, is an adaptation of the novel of the same name by Rex Stout.
Naturally, the story features Stout’s famous sleuths, the corpulent Nero Wolfe and his wise-cracking right-hand man, Archie Goodwin. We fans love these books for the lively writing, the bantering dialogue, and the vivid characters. I’m happy to say that Joe captured these dynamics nicely in his adaptation.
Adapting any novel-length work to the stage is necessarily an exercise in condensation, which Joe and the director, Peter Moore, handled beautifully. As Joe later explained, because the novel is so plot driven, it was essential that the story of the play “take off like a bullet,” and not flag from there.
This production featured a single main set—Nero Wolfe’s office—with side wings where a handful of off-site scenes were staged. On several occasions, characters addressed the audience directly, which also helped to keep things moving. In this production, most of the actors doubled up on roles, though I didn’t catch on to this until well into the second act. (I prefer to think of this as a tribute to the actors’ skills, rather than a comment on my observational skills.)
It’s interesting to note that the Park Square Theatre has a special group of supporters—the Mystery Writers Producers’ Club—who encourage and support the bringing of mystery plays to the stage.
I attended the play as part of a program organized by the Wolfe Pack, AHMM’s partner in sponsoring the Black Orchid Novella Award. Members from around the country converged for a fun weekend that also included the post performance party with the cast and crew, brunch the next day with the playwright, director, and members from the cast, and a book discussion. It was a terrific time-out to meet new friends who share a passion for the inimitable Nero Wolfe and Archie Goodwin.
The torrid days of summer are the perfect time to kick back and read, and our July/August issue is full of hot new fiction. From flaring tempers to the spiciest of chicken wings to a world baked by global warming, the characters in this issue brave it all.
A food-truck owner with the hottest wings in town and his off-duty security guard–customer deal with some unwanted heat in Robert Mangeot’s “Let It Burn.” Jay Carey returns with another distopian procedural set in a future Florida ravaged by global warming in “We Frequent the Moon Bar.” The heat of an office romance drives characters to make poor decisions in Cathryn Grant’s “Serious Damage.” And in our cover story, some minor league ball players are filling their off-hours by making an amateur movie when they learn of the drowning of a teammate in Chris Muessig’s “The Making of Velveteen Dream.”
Meanwhile, a rural gathering of southeast Asian drug warlords proves difficult navigating for a city-bred teen in R. T. Lawton’s “Merit Making.” A pit stop at a lonely diner puts small-town Mississippi sheriff Ray Douglas and mystery writer Jenny Parker conveniently close to the scene of a murder in John M. Floyd’s whodunit “Trail’s End.” O’Neil De Noux returns in noirish form with a new story about the 1940s New Orleans PI Lucien Kaye, “The Magnolia Murders.” Joseph D’Agnese offers an unusual Sherlockian tale, with Mycroft and Mrs. Hudson facing off in “A Respectable Lady.” And a former fur trapper struggles with settled life—and a murder—in Eric Rutter’s “Blood Debt.”
We warmly welcome two authors new to our pages this issue. Bev Vincent offers a tale of an unlikely superhero in “Pain-Man.” And Susan Breen introduces novice PI Maggie Dove as she tackles her first big case in “The Countess of Warsaw.”
Finally, Steve Liskow scores his second Black Orchid Novella Award with “Look What They’ve Done to My Song, Ma,” which once again visits the Detroit music scene for a new mystery involving the members of that hot new band, Promise.
So find a convenient pool, a cool beverage, and some shades because this issue’s stories are hot, hot, hot.