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“Shanks Holds the Line” by Robert Lopresti

Robert Lopresti writes the very popular Shanks stories for AHMM, but this one is a little different. He sent it to us with the request that it go on our blog immediately. He explained that it is “based on a scam that recently did major damage to the mother of a friend of mine. . . . I consider the story a kind of public service, since it warns people about this thing.” Here it is. Enjoy, and be warned!

“Please hang on,” said Leopold Longshanks. “I’ll have to start up my computer. It’s down in the basement.”

“Of course,” said Jake. “I’ll wait.”

“You’re too kind,” said Shanks. He was in his home office, checking his e-mail. His publisher had replied, in a cranky mood, concerning Shanks’s complaint about the proposed cover for his new novel. The artist had apparently been unaware that only the bullet is fired out of a gun, not the entire cartridge. You would think the publisher would be grateful Shanks caught it before they all got laughed at, but no.

There was also an email from the organizers of a conference, reminding him that he had agreed to speak. Shanks was happy to do so, good publicity, but was less than thrilled by the topic they had assigned him. He was supposed to find something new to say about that old classic: Why do people read mysteries?

The question we should be asking is why more people don’t. If we could double the readership I could buy a better computer, and a new smartphone—

Phone. He picked it up. “Jake? You still there?”

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“The Full Value of the Idea of Comparison”

There’s an interesting profile of the short story writer Lydia Davis in the March 17th New Yorker. Davis is known for her very short, spare, evocative stories, and in the article by Dana Goodyear, she has some interesting things to say about the intersection of real life and the creative imagination.

But I wanted to share here another passage, one that demonstrates an ideal to which all writers can aspire:

 One recent morning, Davis sat at her kitchen table with a pocket-size black notebook and a hardcover novel by a popular writer, whom she asked me not to name. “I don’t like to hurt people’s feelings, and I don’t like to knock other writers as a matter of principle,” she said. Though enjoyably soap-operatic, the novel, that month’s selection for her book club—local women, wine, family talk—was full of mixed metaphors. “I’ve gotten very alert not just to mixed metaphor but to any writing mistake,” she said. “A little bell goes off in my head first. I know something’s wrong here. Then secondly I see what it is.” She opened the notebook and read a sentence about an acute intimacy that had eroded into something dull. “Acute is sharp, and then eroded is an earth metaphor,” she said. She read another: “ ‘A paper bag stuffed with empty wine bottles.’ I thought about that. You’d think he could get away with it, but he can’t, because ‘stuffed’ is a verb that comes from material. It’s soft, so it’s a problem to stuff it with something hard.” There were sentences about camouflaging with a veneer, and girding with an orb, and boomeranging parallels. “Whenever I read this kind of thing, it tells me the writer is not sensitive to the full value of the idea of comparison,” she said.

How many of us are so alert to such writing mistakes? In my own writing, which is always a struggle, not so much. But in the works of others, sure, that’s the editor in me—though unlike Davis, I don’t always stop to analyze in such detail why the “little bell” is ringing.

I admire the depth of her engagement with language, her dedication to the discipline of scrutinizing each word in its relationship in the sentence. I think it behooves all writers to look at their writing with such a critical eye.

Mystery writers, I think I can safely say, love their metaphors and similes. Consider Raymond Chandler, whose prose still blinds us with its startling vividness:

 His chin came down and I hit it. I hit it as if I was driving the last spike on the first continental railroad. (“Red Wind”)

It was blonde. A blonde to make a bishop kick a hole in a stained glass window. (Farewell, My Lovely)

The voice of the hot dog merchant split the dusk like an axe. (Farewell, My Lovely)

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Anyone Can Write a Mystery

“Anyone can write a mystery,” says a book editor in Helen McCloy’s Two-Thirds of a Ghost (1956), and later a literary agent asserts, “there is no market anywhere now for a story with a plot.” As an author and publisher of mysteries, those most highly plotted of fictions, McCloy is clearly having a little fun.

The opportunity to rediscover McCloy’s work was one of the benefits of a class I taught recently on some women mystery writers of the 1950s. I titled the course “Forgotten Masters” because my four authors—Helen McCloy, Charlotte Armstrong, Margaret Millar, and Dorothy B. Hughes—are largely forgotten and out of print today, while many of their male contemporaries are not (including Ross Macdonald, who was Millar’s husband).

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TwitterFic?

“All thumbs” takes on an all new meaning in social media. With Twitter  announcing it’s second Twitter Fiction Festival March 12–16 (They are accepting entries until February 5.) I’ve been thinking about its possibilities.

So I ask you: Who’s been reading Twitter fiction? Any insights into this emerging genre?

Are any of you planning on participating in the Twitter Fiction Festival? Any tips on writing fiction within the Twitter parameters?

It sounds like a lot of fun to me.

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Drawn to the Flame: Alan Gordon

Often when we talk about story, we focus on structure. But we talk less often about storytelling—that connection between the author and the reader and all the ways the two can connect. Lately, Alan Gordon (“The Aldrich House,” December 2013) has been stretching his wings a bit with oral storytelling, which comes with certain challenges, for sure. But for a fiction writer, oral storytelling focuses the author on the telling as much as the story.

“Tell me a story, Vince.”

That was the first line of my first published short story, “A Dry Manhattan Story,” in the April, 1991 issue of Alfred Hitchcock’s Mystery Magazine.  I have always loved the voice in fiction of one character telling a story to another. It gives life to both the teller and the listener, allowing for narrative and commentary simultaneously. It is best done on a journey or by a roaring fire. (I have used both in The Widow of Jerusalem and An Antic Disposition,and arguably those are my two favorite books among those that I have written.)

Fiction writers have it easy in one sense. We are limited only by our imaginations and our talents. We can set a story anywhere, anytime, restricted only by what our aesthetic dictates. Selecting the restrictions and imposing them is part of the fun.

But what if someone else imposed the restrictions? What if they were the following: A. The story has to be told orally, not in writing. Okay, I know how to talk. B. The story has to relate to a one or two word theme that will be given to you. No problem—that can trigger my imagination in interesting new ways. C. It has to be five minutes long. Uhh, tougher. Sometimes getting me to shut up is more difficult than getting me to write. D. The story has to be true, drawn from your own life.

Gulp.

Enter The Moth. Founded in 1997 in NYC by George Dawes Green, The Moth holds story-telling evenings, open to all. Hundreds of people jam into a café or bookstore for the weekly StorySLAMS, and a few dozen intrepid (or narcissistic) souls drop their names into a bag. Ten are selected at random. An emcee, usually a comedian, holds forth in between the tales, and panels of volunteer judges score the tale-tellers on a scale of one to ten. The highest score earns the teller the right to compete against other winners in a quarterly event called the GrandSLAM, held in an even larger venue. The winner gets—nothing but bragging rights.

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What We Mean When We Talk About Voice

For years, sitting in a circle in various writing groups among my peers, I often tossed out the empty line “I like the voice of the story,” or my more insightful variant, “I liked the voice of the story very much.” Truthfully, I didn’t know what “voice” was, but I had an English degree, so I knew it was something.

As a “civilian” reader, I had encountered my share of stories, poems, novels, essays that had stuck with me—all composed of lines that came back to me over and over again. The line from Flannery O’Connor’s story “A Good Man Is Hard to Find,” “ ‘She would have been a good woman . . . if it had been somebody there to shoot her every minute of her life’ ” is one that speaks to me.  And says different things at different points of my adult life. And there are so many other stories that just seemed to hum with meaning. It’s that hum that I have now come to understand is voice.

It wasn’t until I became an editor, though, that I really started to ask, What do we mean when we talk about voice?

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Dorothy B. Hughes’ Last Novel

On the 50th anniversary of Martin Luther King’s “I Have a Dream” speech, I am intrigued to note that this year is also the 50th anniversary of the publication of Dorothy B. Hughes’s final novel, The Expendable Man, in which race is an important factor.

Hugh Densmore is a young physician interning in Los Angeles. Driving one night across the desert to his grandparents’ home in Phoenix, he picks up, against his better judgment, a young female hitchhiker. Given the time of day and the deserted highway, Hugh fears she might otherwise be in danger.

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How’d That Happen?: Angela Zeman

Angela Zeman did such a wonderful job creating the world that Roxanne lives in for “The First Tale of Roxanne” that by the end of the story you are ready for more. And the title indeed suggests a second, and a third . . . So we asked Angela to talk to us about her creative process when starting out a new series.

A few days ago I was thrilled to read in the NY Times section of Unrequested Advice that dark chocolate is now healthy to eat all you want. Yes! Then my copy of AHMM came in the mail and my story was on the cover. I forgot chocolate. Nobody from AHMM had mentioned “cover” to me, so I was shocked and thrilled. And reminded of my very first story sale—my first sale of anything—to the late Cathleen Jordan, the editor of AHMM at that time. She phoned me to buy it, too, which made the event all the more stunning. Then, in the throes of my euphoria, I exposed the enormous amount of water behind my ears and requested that my name be put on the cover. She kindly said, “maybe another time.” From that sale came the Mrs. Risk story series and a novel, all now re-published as e-books by Mysterious Press.

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Agatha Nominations Announced

AHMM congratulates B. K. Stevens, whose “Thea’s First Husband” has been named a finalist for the Agatha Award for best short story. “Thea’s First Husband” appeared in our June 2012 issue. AHM612_74820-08586-06

The Agatha Awards will be presented at Malice Domestic in Bethesda, Maryland, on Saturday May 4th. (Coincidentally, June will be the 25th anniversary of Ms. Stevens’s first story for AHMM in 1988, “True Detective.”)

Congratulations also to AHMM authors Margaret Maron, for her nomination for Best Novel (The Buzzard Table); Rhys Bowen, for Best Historical Mystery (The Twelve Clues of Christmas); and Dana Cameron, also a nominee for Best Short Story for “Mischief in Mesopotamia” which appeared in our sister magazine, EQMM.

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A Satisfying Solution

More often than not, mystery novels end with a definitive solution to the puzzle; real life is not always so accommodating, perhaps especially when the mysteries in question are historical rather than criminal.

How delightful, then, to see a historical mystery resolved so thoroughly as that of the identification of the remains of Richard III, the last Plantagenet king of England. Scientists have applied archaeological, osteological, and genetic analysis techniques to determine that the skeleton, discovered under a parking lot in August of last year, is “beyond reasonable doubt” that of Richard III. The BBC has an interesting interactive guide to the remains.

Undoubtedly, many readers will be moved by this news to revisit Shakespeare’s play, which has done so much to shape our contemporary image of the hunchbacked king (“My conscience hath a thousand several tongues, / And every tongue brings in a several tale, / And every tale condemns me for a villain”). Mystery lovers, however, may feel an additional impulse: to re-read Josephine Tey’s The Daughter of Time, in which Inspector Alan Grant, confined to his sickbed, investigates the longstanding charge that Richard murdered his two nephews to protect his claim to the throne. He comes to a surprising conclusion.

In 1990, the Crime Writers’ Association named The Daughter of Time the best mystery novel of all time.

What better excuse do you need?

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