Creative Friction: Heating Up Crime

Crime may be personal, but it occurs within the context of social or cultural frictions that give each criminal act its particular character. Several of this month’s stories arise from the stresses of such cultural frictions.

In our cover story, Martin Limón introduces a new series character, Il Yong, an American soldier turned freelance security specialist who operates in the highly contested cultural zone where North Korea and China operate. Two stories are set amidst the ideological frictions of the Cold War: Terrie Farley Moran’s “On Target” and John C. Boland’s “Marley’s Lover.” And the generational frictions of the sixties drive “A Crown of Thorns” by David Edgerley Gates, set on the campus of the University of New Mexico. In this issue we also welcome the return of some favorite characters: Madame Selina and her young assistant Nip confront a

menacing apparition in Janice Law’s “The Ghostly Fireman,” Eureka Kilburn as a teen has a sense for what’s really going down in a hot environment in Jay Carey’s “We Are All Accomplices,” and those big-hearted fixers Akin and Jones zero in on scam artists in Dan Warthman’s “Mr. Smartphone.”

This month’s friction fiction will warm you in the cold season.

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A Taste for Evil

The stories in this month’s issue should appeal to discerning palates. In B. K. Stevens’s “A Joy Forever,” unhappily married Gwen becomes a wonderful cook, with a specialty in comfort food. What could be wrong with that? While for more exotic fare, readers (and others) should beware the coconuts in Susan Oleksiw’s “Perfect in Every Way.” (Check out Susan’s comment’s about the March issue on her blog One Writer’s World.)

Meanwhile, nineteenth-century ship captain Eban Hale and his sharp-eyed wife Lucinda deal with an unsavory trading partner during a voyage through Indonesia in Donald Moffitt’s “The Color of Gold.” A war-scarred veteran is further destabilized on the set of a Cold War-era horror film in Joseph S. Walker’s “Pill Bug.” An apparition in the London fog is all wrong in Tony Richards’s “The Woman in Brown,” but it’s years before anyone understands why. Mystery writer Ben Clark shows he knows a thing or two about plotting murder in J. A. Moser’s “Blueprint.”

For our mystery classic this month, Les Blatt introduces us to Average Jones in “Red Dot.” Average Jones investigates fraudulent ads—surely a hero for our own times.

Bon appetit!

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Good-bye, Mr. Moffitt

It is with sadness that I report the death of Donald Moffitt, who died Wednesday, December 10, in Maine at the age of 83. Best known for his science fiction novels, Mr. Moffitt came late in his career to our pages with his story “Feat of Clay,” set in ancient Sumeria, which we published in the September 2008 issue. A third story in this series will be published in 2015 in our pages. In addition, he published a series of stories featuring nineteenth century seafarers Eban and Lucinda Hale, the next of which will appear in our March 2015 issue. Both series were richly imagined and enlivened by Don Moffitt’s in-depth historical research. He was a pleasure to work with, and I’m so very glad he gave us a chance with his stories.

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Season’s Greetings

AHMM, January/February 2015

AHMM, January/February 2015. Art by Eric Fisher.

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Major Crimes: The Writers’ Room

One of the pleasures of Bouchercon is the opportunity to talk shop, and when the conference is held in Long Beach, California, “shop” may include the people who write mysteries for film and television. This year I had the opportunity to attend a meet-and-greet with some of the writers and actors for the TNT show Major Crimes, and though they represent a different medium, I was struck by the similarities of concerns faced by writers everywhere.

James Duff, Mike Berchem; Terrie Farley Moran

James Duff; Mike Berchem; Terrie Farley Moran

The primary difference, of course, is the collaborative nature of the writing process. The writers begin work on a season at the very big table in the writers’ room, where they spend a few weeks hashing out the theme for the season and the story arc over 15 to 19 episodes. A spinoff from The Closer, Major Crimes is an ensemble show, which brings its own challenges. One added difficulty, according to the show creator/producer/writer James Duff, is the switch in dynamics as they are aiming for a multi-faceted view of the justice system.

Of the eleven or so regular writers, Mike Berchem, brings to the stable his knowledge of just how the system works. Before his transition to scriptwriting, he was a homicide detective in L.A. for 23 years, so he gets the final pass of each script. For his own scripts, he finds it a challenge to “write to a clock, with some rising action three or four times in a episode” to accommodate the commercial breaks and ensure that people will come back to the show. Kendall Sherwood, one of the youngest writers, noted that she is more drawn to the emotional scenes, and what she finds most challenging is “how to get a clue to come to light organically and in a way that serves the story structure.” James Duff added that even the personal stories interwoven into the procedural must track with the overarching theme of the season.

But despite the collaborative nature of the process, the writers for Major Crimes are also concerned with many of the same challenges as the other writers at Bouchercon: establishing and developing interesting characters, telling engrossing stories involving crimes, pacing the stories to engage the interest of their viewers, and moving their characters along arcs of both plot and emotional development.

These are just a few snippets from the conversation with the scriptwriters that suggested to me new ways of thinking about pulling a short story together.

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Happily Ever After: B. K. Stevens

In this post, B. K. Stevens offers insights and reflections on the bittersweet prospect of wrapping up a long-running series. Stevens has long been adept at juggling multiple series, and several of her recurring characters have appeared in AHMM, including P.I. Iphigenia Woodhouse and academic amateur sleuth Leah Abrams. Those tales, like the Walt Johnson/Gordon Bolt stories she discusses here, are notable for their humor and fraught relationships among characters. Stevens introduced a new series in our pages with “Interpretation of Murder” (December 2010), which featured American Sign Language Interpreter Jane Ciardi. The story won a Derringer Award, and Stevens has now written the first Ciardi novel, also titled Interpretation of Murder, forthcoming from Black Opal Books winter 2015. Meanwhile, her martial-arts YA novel Fighting Chance is also due out winter 2015 from Poisoned Pencil, an imprint of Poisoned Pen Press. Look for her next story, “A Joy Forever,” in our March 2015 issue.

Happy endings are hard. At least, they’re hard to write well.

Not everyone would agree. Years ago, a well-regarded author addressed a writers’ group to which I belonged. At one point, he said he’d never write a novel or story with a happy ending, and a member of the group asked him why.

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In Extremis

Mystery stories are often driven by people in dire straits—such as an accountant standing on a skyscraper ledge, waving a pistol. That’s the crisis facing Loren D. Estleman’s resourceful Four Horsemen police squad in “Tin Cop.” Meanwhile, broken ex-Wall Streeter Pit Geller finds himself holed up in Las Vegas with a family torn apart by a dead guy in John Gregory Betancourt’s “Pit and the Princess.” Jay Carey imagines policing a future Sarasota, Florida ravaged by global warming, destructive storms, and crumbling infrastructure in “We Are Not Insured Against Murder.” A literary publisher finds himself at the end of a rope—specifically, a noose—in John C. Boland’s “The Man Who Stole Trocchi.” A curious “curator” roaming Europe is unaware of the wolves at his heels in Stephen Ross’s “Gallery of the Dead.” And B. K. Stevens closes out her long-running series featuring Lieutenant Walt Johnson and Sergeant Gordon Bolt this month in “True Enough: Bolt’s Last Case.” To mark this transition, watch this blog space for the author’s reflections on her decision to say goodbye to one series and start another.

Plus we bring you a bit of espionage when radio producer Margo Banning visits a munitions factory in “Margo and the Locked Room” by Terence Faherty. John H. Dirckx, well known to AHMM readers for his Cyrus Auburn procedurals, translates and introduces this month’s Mystery Classic, “Justice by the Book” by Pedro de Alarcón. Finally, Robert C. Hahn introduces us to a new crop of bibliomysteries in his Booked & Printed column.

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Hearing Voices: Joseph Goodrich

Being a playwright and actor in addition to a mystery writer, Joseph Goodrich has a nuanced view of voice, which he discusses here. He won an Edgar Award in 2008 for his play “Panic,” inspired by the life and work of Alfred Hitchcock. His plays include “Calamity Town,” based on the 1942 Ellery Queen novel of the same name, and most recently “The Red Box,”  based on a 1937 Nero Wolfe novel, which debuted this summer in Minneapolis to great acclaim. He edited Blood Relations: The Selected Letters of Ellery Queen, 1947–1950.

As a playwright and a writer of fiction, I spend a lot of time alone in a room talking to myself. It’s only natural that the question of voice fascinates me.

When I talk about voice, I’m talking about two things, really: the voice of an author, and the voices of an author’s characters.

The first is a subtle combination of subject matter, language, experience, and perspective—the sum of all the choices a writer makes in the creation of a work. Those choices are as singular as fingerprints, and also serve as identification. It’s why Hammett doesn’t sound like Christie, and why Christie doesn’t sound like Highsmith. Another word for this is style, which Raymond Chandler once defined as “the projection of personality.”

A character’s voice is a lot like an author’s: It reflects the age, background, likes and dislikes of that character, and serves to distinguish one character from another. For me—and this is a result of years of working in the theater—the key to a character’s voice is sound. Marty Kaplan, the narrator of my short story “Red Alert” (AHMM, November 2014), is an East Coast wisecracker of a certain age who was once in show business. His sound is snappy, irreverent—and what he says is (I hope) entertaining.

When I’m moving words around at my desk, or contemplating notes scrawled in a Moleskine, or walking down the street with a head full of jangling story fragments, one of the things I’m doing is listening for the sound of the piece in question. Sound isn’t separate from sense, of course. The two are related. But “Call me Ishmael” creates a different effect than “Hey, it’s Ishmael. How are ya?”

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A Gentleman and a Scholar

I was delighted to learn recently of the publication of Mysteries Unlocked: Essays in Honor of Douglas G. Greene, edited by Curtis Evans. It collects 24 original essays (and reprints two classics) in honor of the 70th birthday of mystery scholar and publisher Doug Greene.Mysteries Unlocked Cover

A retired professor of history at Old Dominion University, Doug is a great scholar of the genre and the founder and publisher of Crippen & Landru. So far, I have only dipped into this fascinating festschrift, but I have already enjoyed reading about Doug’s passion for John Dickson Carr (whose biography he wrote), the numerous volumes he has edited, and the many friends and colleagues he has assisted with his incredible knowledge of the field. In particular, Doug hasbeen a tireless and effective advocate for the mystery short story; Crippen & Landru specializes in story collections, and its Lost Classics series has returned many deserving but forgotten authors to print.

In person, Doug is as genial and generous as he is learned, and he has been a dear friend to me and Janet Hutchings at EQMM. Over the years he’s offered invaluable assistance to me with AHMM’s own Mystery Classic feature. As Michael Dirda, one of the contributors to this volume says, “[Doug Greene] is one of those key figures that emerge periodically in genre literature.”

Other contributors include John Curran, Steve Steinbock, Peter Lovesy, and more. If you love Golden Age detective fiction, this is a book for you. If you enjoy reading essays by people writing about literature they love, this is a book for you.

Mysteries Unlocked was a brilliant way to say Happy Birthday to a friend.

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Behind the Scenes at 267 Broadway: Jackie Sherbow

Jackie Sherbow is the senior assistant editor for EQMM and AHMM. This post will also appear at Something Is Going To Happen.

My recent contribution to SleuthSayers, an inside look at the submissions process, had me wondering if people wouldn’t be interested in a literal inside view of our offices. So, come on in!

267 Broadway

267 Broadway

267 Broadway has been the NYC home of Dell Magazines since 2009. Its residents include the editorial staff for AHMM, EQMM, Asimov’s Science Fiction Magazine, Analog Science Fiction and Fact, Dell Horoscope, and a variety of Dell’s puzzle titles. We work closely with our two other outposts, both in southern Connecticut (Milford and Norwalk).

The view across Broadway: City Hall Park

The view across Broadway: City Hall Park

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