About Joe Hartlaub

Joe Hartlaub is an attorney, author, actor and book and music reviewer. Joe is a Fox News contributor on book publishing industry and publishing law and has participated on several panels dealing with book, film, and music business law. He lives with his family in Westerville, Ohio.

Inspiratus Interruptus

I have a home office. I love it. There’s no commute. I can get a couple of hours of work in while most people are still asleep. I have a secretary named “Joe,” a gofer named “Joe,” and a personal manservant named “Joe” who makes me coffee and breakfast and lunch. What a team we are. We all get along just fine. I don’t have anyone hassling me about “Rrrrr, rrrr, rrrr, your billable hours are down, rrrr rrrr rrr, what about rrrr, rrrr, and why are you on the internet again, rrrr?” Yep, it’s a sweet deal. I can do my big boy job, write a bit, do my big boy job, lather, rinse, repeat.

The only problem I have (for purposes of this discussion) is having to deal with non-work, non-personal interruptions. I have my office line and my home line in the same room. I have been getting a lot of calls on my home line because I will be turning 65 in a few short months. Yes, I know, I know, you wouldn’t expect someone of my countenance, libido, and good cheer to be that old but it is so. Here is a warning: when you are about to turn 65, everyone starts calling you to 1) tell you what’s what about Medicare and 2) sell you the exact policy that you need. I began acquiring all sorts of new imaginary friends, such as “Medigo,” “WhatsMedicare,” “Medsuppins,” “Marketplace,” and the alluring, mysterious “Name Not Found.” Ignoring them didn’t help because the phone would ring four times before sending the call to voicemail. That’s a distraction, even when you are screening your calls. And we haven’t even talked about the fine folks from the help desk at Windows Security who have detected a ‘wiwus” on my computer, or the guy who is willing to give me a free vacation if I’ll just watch a short demonstration video, or the woman who keeps calling me to ask if I’m interested in my cable company’s latest product. Uh huh. The “do not call” list?” It’s pretty much a joke. Muting the ring isn’t an option for me, either, as I have a daughter in college and a granddaughter in grade school, both of whom need me at unexpected times.

My life was changed for the better, however, when I came across an article in a newsletter from the Community Senior Center which my wife belongs to (and, no, I’m not a member. That stuff is for old people). The article touted a gentleman by the name of Aaron Foss, the designer of a called “NoMoRoBo.” Foss is GIVING this thing away. No strings, no deposits, no nothing. It’s a true public service. What it does is block robo calls — those things that dial five thousand numbers at a time — and telemarketers. You go to the “nomorobo” website, watch the very short video, click on “get started now” button, fill in the blanks, and within a day or so you’ll see results. Your phone rings once, gives a little purr, and “pfttt”…the annoying caller doesn’t even have a chance to leave a voicemail. They are gone. “Nomorobo” doesn’t work with every landline phone service, or every cell phone service provider, but it works with mine, and they’re adding more and more constantly. Oh. Oh. And. It supposedly will not block or divert political fundraisers or surveys, but I’ve had several blocked already (“Poll_Quest,” to name but one). “Nomorobo” constantly learns new numbers to block and you don’t have to do a thing, other than write your next bestseller without interruption (other than for that initial ring). And every time the phone rings once and disconnects during dinner, my wife and I look at each other, and smile.

Authors, readers, doctors (Hi Steve!) and all who fight the good fight on all fronts each day: try this out. I have absolutely no interest in this, financial or otherwise. It is free and it does work and no one puts your name or number on a mailing list, either. And Aaron Foss? I’d stand in front of a tank for him.

Having shared this marvelous invention with you, I want something in return (Aaron Foss, I am not). Please tell us: what devices do you use to give yourself privacy, and to keep yourself from being interrupted? And what is your favorite personal story that concerns dealing with telemarketers, solicitors, and the like?

Write It On Spec — Guest Post by David Levien

:The-Boyz0004.jpgDavid Levien on set of Showtime’s “Billions.” Photo credit: Jeff Neumann

Today we offer a heartfelt tip of the fedora to our guest blogger David Levien. David, in addition to writing one of my favorite detective series  — the Frank Behr books — is also the creative genius behind BILLIONS, the brilliant and addicting Showtime series which has just wrapped up its first season and has been renewed for a second. David graciously took time out of an impossibly busy schedule to offer some important suggestions and advice to writers new and seasoned, and will be intermittently available to answer questions and comments throughout the day. David, thank you! — Joe Hartlaub

You sit bolt upright in the middle of the night and scrabble around the bedside table for pen and paper before the spark of a brand new idea forming in your mind blows away on the wind. Or you’re jogging, driving, taking a shower when it comes. You scratch out the initial thoughts in a desperate rush before they vanish—maybe it’s the beginning or maybe the end that has come to you first. You probably don’t even tell anyone about it for a while, because you don’t want to chase away this fragile dragonfly of a thought that’s landed on your desk, and when you do talk, it’s likely only to a trusted friend, colleague, editor or agent. Then you set about writing it, for yourself, on spec. You build it out because you have to, it’s what you do, with no guaranteed reward.

Only when it’s done, standing sturdy and complete, bearing all that you could bring to it, do you share the piece, be it novel or screenplay or teleplay or whatever the métier, with the marketplace, with the world. That’s the way it’s supposed to go anyway. But sometimes, if you’ve been fortunate enough to build a career, a name, daresay a brand, opportunities come along. A money offer is made for you to write someone else’s idea, or a project based on other source material. Sometimes you take that fledgling idea of your own out, as a proposal or a pitch, and the meetings go well and a buyer comes aboard early. What a glorious state of affairs! They’ve bought in before you’ve even done the bulk of the work. There won’t be any sweat equity on this one, there won’t be any risk that you’ve wasted your time. No, you’re on their dime, they have a vested interest…but.

But along with that money, with that deal, with that contract comes outside input. Hey, they’re your partners, they’re invested, so why shouldn’t they have some say? They dug it enough to buy in the first place. You’re reasonable. You’re collaborative. You’re living for a time on their largesse. You listen. A few of those ideas may creep in. But your piece is still weak, vulnerable, its structure and tone yet to be fully formed. The doctors advise not to take a baby outside into the world for at least the first month, until the immune system gets up and running, because the risk of contamination is too great. The same goes for your project.

Sometimes, when the work doesn’t turn out as well as it was supposed to, you go back and do a post-mortem, and with dismay you see that it was one of those seemingly benign outside creative suggestions that turned virulent and blighted the whole enterprise. You try to find your way back to the original intention, but the helix of creation is too complex to reverse engineer. Your idea was a gift in the first place and because you wanted to or had to, you sold it to the highest bidder, and it’s not pure anymore. And neither are you. For that moment you’ve been bought and paid for. You tell yourself: that’s not going to happen next time.

If you’ve managed to build a career of any length you may look back and realize the ones that really work, the ones that made you, were the ones you wrote on spec, just for yourself, the way they were meant to be. I can certainly look back and see it that way. There have been some successes that were commissioned. “Runaway Jury” and “Ocean’s 13,” were work-for-hires and turned out well. But the ones that live closest to my heart, my private investigator character Frank Behr—he was created and the first book written on spec although later books in the series were written under multi-book deals, including my latest, Signature Kill, out now in paperback—my first movie “Rounders,” and even my television show “Billions,” (both written with filmmaking partner Brian Koppelman) were created with no outside interference. The eventual buyers who came to the table wanted them as they were. Writing it on spec is the most elemental way for a writer to work, and even though it can sometimes become a luxury or a hardship to work for free, the reward outweighs the risk by plenty. You know best, so be unreasonable, and treat yourself, force yourself, trick yourself, spoil yourself but do yourself the favor and write it on spec.

25

aa 25 year chip

A little over a year ago — March 28, 2015, to be exactamundo about it — I posted a blog here entitled Through the Glass, Darkly, about attaining my twenty-fourth year of sobriety. April 1, 2016 marked twenty-five years, and as I write this I’m eight days in what I hope will be the twenty-sixth year. I don’t want to repeat everything I said last year — not when you can get it from the handy-dandy menu on the right side of this page — but I’ll mention again a couple of things that are important to us as writers and primarily as people.

The big one is that an addiction problem — substance, gambling, sex, or pick your poison — is insidious. It is the vampire that is tapping on the window of that wonderful domicile you call “me”. It can only get in if you let it in. Once you do so, it takes over your life without your even knowing it. If you think you have an addiction which has taken up residence in you there is a test developed by a brain trust at John Hopkins Hospital that will give you an idea. Go ahead and take it. The first time I took it I answered fifteen out of the twenty questions affirmatively (that’s not good). I laughed, put the test aside and kept drinking. I neglected getting a physical for years because I was afraid that my drinking would show up in some blood results. I didn’t have a problem, however. Nope, not me. I was ultimately fortunate enough to have a road-to-Damascus moment that knocked me off of my high horse and onto my brains. I was fortunate. But I should have paid attention to that test, a few days before. Take a look at it, and believe what you see.

The big problem leads to a large one. Writers like everyone else have deadlines and responsibilities. I assure you that the punch list you make for your day/week/month becomes a lot less important after that first beer or joint or trip past the casino of the day. There is a reason why there are no clocks in casinos or windows in taverns. We lose our concepts of time and of what needs to be done and yes, of what has to be done. Writing does not lend itself to multitasking. It is a harsh mistress, demanding full attention. You can’t do it while you’re feeding the vampire.

If you decide that you have a drinking problem, try an Alcoholics Anonymous meeting. You would not believe how many meetings are going on around you every day; take a look at the AA website. There may be one within walking distance of you. Try it out, keeping in mind that each meeting tends to develop its own personality. Disclaimer: I never used AA. Why? It’s not important for purposes of our discussion here. I recommend AA, however, because of all of the people I know who have stayed sober using The Program. Go for it. As far as AA is concerned, look at it as calling AAA, but for you, and not your car. If your problems lay elsewhere, from gambling to drugs, there is a program for you modelled after AA, such as Narcotics Anonymous or Gamblers Anonymous. If you think that you might need something a bit stronger than a meeting —and those meetings can get pretty strong — go to your physician for a referral to a rehabilitation program. So, regardless of whether you choose a sober living program like the one by Ascension House – Structured Sober Living, or you regularly attend AA, you need to get help to support you in your transition from alcoholism.

The families of alcoholics and addicts in general are often forgotten. While those suffering from alcoholism are always urged to go to places such as Pacific Ridge for their recovery, many people forget just how traumatic it can be to be the loved one of an alcoholic. If you’re living with someone with an addiction, then run, don’t walk, to Al-Anon. Al-Anon is for families and friends of alcoholics. Meetings are easy to find. You will be amazed at all of the people you will meet who are going through the same things that you are. A practicing alcoholic is the prince of lies. I have seen an alcoholic go into a loving, happy family and have everyone at each other’s throats within a week. If that is happening to you, it is not something that you have to deal with alone.

I am not trying to bring your weekend down. I want to elevate it. If you think you have a problem, you probably do. This can be fixed. I did it. I do it. So can you. You will still hear that vampire tapping on the window every night, but you’ll know not to let it in.

You Wouldn’t Believe What’s Out There…

DetectivewithMagnifyingGlass-300pxcomputer

It has been stated  repeatedly that information is the new currency. Mystery and thriller authors and readers have known that for decades. What is a clue, if not a piece of information? What is new is the ability of anyone — and I mean anyone — with internet access and a bit of deductive reasoning to discover quite a bit about someone else, without paying a private investigator to do so or getting down and dirty themselves and going through someone’s garbage the night before the scheduled pickup. I’m not talking about one of those pricey subscription services, either. I’m talking about what you can get from the comfort of your home with a smartphone or a tablet. Those of us of a certain age are familiar with the gumshoe — Mike Hammer comes to mind —who had a contact at the courthouse, or the phone company, who is an inside source of inside knowledge. These days it just takes a few keystrokes.

If you are writing contemporary detective fiction your protagonist can use these sources quite easily. So can you, for that matter, for your own benevolent reasons. The following are the most widely and readily available:

Google Search: This may seem obvious, but it’s just a starting point. It doesn’t contain everything, by any means, and may also give you too much information. If I can’t find precisely what I am looking within the first two or three pages of search results I look elsewhere, such as

Facebook: It may seem trite but Facebook can be a wealth of information. I have seen couples who I know play out their domestic problems in Facebook posts. Ouch. On another occasion, I was considering an extended period service contract with a gentleman — payment up front — until I read some of his wife’s posts, in which she repeatedly described the financial problems her husband’s business was experiencing. It did not instill confidence, nor did her demonstration of her inability to operate the governor between her thoughts and her fingers. I went elsewhere.

While we are talking about Facebook: it’s a criminal’s dream (so is Twitter), particularly with respect to those folks who can’t travel more than five miles from home, eat anywhere besides McDonald’s, or use the commode without telling the Universe where they are, like, RIGHT NOW, and what they are doing. Some unsolicited advice: wait until you get home to spread the news about how interesting you are. Otherwise, you are advertising that your home is empty and waiting to be burglarized while you are busily telling the world that you are engaging in conspicuous consumption.  Ask your local police department (or better yet, your insurance agent) if you think that I am kidding. Much of what is available online is put there by government agencies, and you can’t opt out. It’s there. Keep in mind that what you voluntarily put on Facebook can be viewed by anyone, be it your spouse or significant other (or both!), and a prospective or current employer, customer, or client.

County auditor/assessor office websites: this would be the office that collects your real property tax. While I have come across a couple who charge a fee for access — particularly in California — the overwhelming majority of the ones that I have accessed are free. It is a great way to get an up-to-date address for someone. If someone owns several pieces of property in a county, check to see where the tax bill is sent. That is almost certainly where they actually live.

City, county, and probate clerk of courts websites: Do a name search on these sites to see if your person of interest is sued or being sued, has had criminal charges brought against them, has a lead foot when driving, has a history of divorce, has taken out a marriage license, or has warrants or civil judgements outstanding against them. You don’t need to be an attorney to search most of these sites, and most are free. Some jurisdictions do charge a fee and/or limit access to attorneys — again, California — and some don’t have online access at all but that number is dwindling.

Cell phone records: Not everyone is aware of it, but you can access your own cell phone records — or the records of family members who are on your family plan — online once you setup your account. This ability is not without benefits. Several years ago my younger son had his cell phone stolen by a customer from the restaurant where he was working (long story). He called and told me fifteen minutes after it happened. I logged on and discovered that the perp was already calling people. I started calling the same numbers, telling them to call their friend back and tell him that he had thirty minutes to return the phone or I would hunt him down like a dog (yes, I could have called the thief directly but doing it this way seemed more sinister). The phone was returned within a few minutes. Now, of course, one had an app for such things but not everyone loads it or knows how to do so.

As for what is NOT out there: I have yet to find a good online directory for cell phone numbers in general or reverse directories. I recently attempted to find a friend that I had been out of touch with for over forty years. He didn’t have much of an internet presence so I wound up checking the real property tax records in the county where he had lived when I knew him. He was still there. I tried to get phone numbers for him online and got four — four — all of which were outdated or no longer valid. I wound up mailing him a letter and heard back from him. Sometimes, I combination of old and new works best, as Loren Estleman demonstrates on an annual basis in his immortal Amos Walker series.

Does anyone else have other websites they know of, that detectives, fictional or otherwise, can use? And, better yet, does anyone have interesting stories resulting from their use of such websites?

First Page Critique: THE PEACEMAKER

by Joe Hartlaub

I am honored to have been asked to critique the first page of a work-in-progress titled THE PEACEMAKER by an anonymous author. My comments follow. Fellow TKZers, please feel free to offer additional constructive comments, particularly if you see something that I have missed. Thank you in advance. And thank you, Anonymous Author, for getting the job done and showing us your work.

THE PEACEMAKER  

The young woman was rounding the corner of the jogging path in Central Park. The man watched as she pulled out her cell phone. .He had been following her for years, watching, and waiting for the perfect moment to step out of the shadows and make her his own.

There had many other women, but none matched the qualities he saw in her, so when he tired of them, they simply disappeared. He and the jogger had a history and a destiny of which she was not yet aware.

The man watched as she dialed a number, not knowing she was calling her godfather, telling him she thought someone was following her and, was certain someone had been in her home when she was away.

Dan Alston told his goddaughter to go home and remain until she heard back from him; then he called his old friend, Seth Barkley.

Over fourteen hundred miles away Marshals Seth Barkley and Steve Daugherty were having problems of their own. They were at the front door of the home of wealthy day trader Jackson Callan to arrest him when three gunshots rang out.

Now, they were inside the house, swiftly and cautiously moving toward the staircase. The marshals were aware that Callan’s wife and three children might be upstairs

Looking up the stairway Barkley’s heart began to race. At the top stood a small woman crippled with fear. Behind her holding a 9mm Glock to her head was her husband.

Barkley’s first thought was, how did a mere white collar arrest go so wrong? His second, three gunshots, where are the children?

Barkley cautiously moved to the front of the stairs where he had a clear view of Callan. Daugherty moved behind Barkley to the right where he had a clear shot if Callan decided to end it all right there, taking Barkley with him.

“Is anyone else in the house?” Barkley asked

“My three children,” Callan replied eerily calm.

Barkley suddenly got a sick feeling in the pit of his stomach remembering the three gunshots that had led to this moment.

“Let your wife and kids go,” he said to the man. “They don’t play a part…”

Before Barkley could finish his sentence, a shot rang out causing Callan’s wife to fall to the floor. A split second later a shot from Steve Daugherty’s gun landed Jackson Callan next to his wife.

Feedback:

Generally, Anonymous Author needs to get ahold of the story’s reins and slow it down a bit. We’ve got one page and a few paragraphs, in which the perspective changes four  different times, from a stalker to a jogger to her godfather to a policeman. I like fast-paced stories as much as anyone but the author needs to give the reader a bit more in each scene, particularly in the opening paragraphs, before moving on to the next. Certainly the opening scene is interesting: a stalker, and a dangerous one, watching a woman who has apparently just become aware of his attention. Let’s start with that, focusing primarily on The Stalker, and proceed. I give a couple of examples of how to slow things down a bit while giving the reader more information, but certainly they are not all-inclusive.

Names: Before we go any further let’s give the stalker and the jogger a names, or a nicknames, so that we can personalize them and identify them when they come back around in the story. For our purposes, I’m going to call the stalker The Stalker (as you may have noticed) and the young woman The Jogger. Tell us a little bit about each character as they are introduced, or as soon as practicable thereafter. Let’s start with The Stalker. And give him a distinctive piece of clothing or jewelry — a keyfob that he likes to play with, something that he always wears —that the reader can use later to identify him. It’s better to do that — or to start doing that — when you first introduce a character, rather than going back and trying to back and fill later.

Show, Don’t Tell: The Stalker is a dangerous guy. We learn this in a sentence or two. Draw this out a bit. Grow the story with specific details. Rather than saying that The Stalker has been watching the woman for years indicate that he has been watching her long enough that he knows things about her that he probably shouldn’t, such as her schedule, where she works, where she shops, where she lives, and her cat’s name and what she feeds it. Little details such as this indicate that he has been snooping around the corners of her life, and maybe even going so far as getting into her apartment. As far as The Stalker’s previous women go, be vague but menacing. Talk about The Jogger’s predecessors, the ones he left behind, such as a reference to leaving women  in -x- number of states, some of whom have been found, others who have not (to use but one example).

Put the reader in the moment: The Stalker is watching the woman in Central Park as she jogs. Give us some detail. You don’t need to go overboard, but tell us what he finds to be attractive about her as he watches her run, using language such as “her tall, slender figure” or “ her long hair was secured in a ponytail that swung back and forth like a metronome as she passed him,” or what she is wearing as she jogs. You can also use a brief description of her clothing to hint at the weather conditions. Also, do a little research into the Central Park jogging trails. Just mentioning that the jogger is on the Reservoir Path, the Great Lawn, or Outer Park Drive Loop — and indicating that she lives nearby, say, on Ninth Avenue — will put the reader more into in the scene.

Slow the transition of perspective from one character to another: THE PEACEMAKER is told in the third person omniscient, where the narrator is outside of the story and telling the experiences and thoughts of each character. An author will have have a happier reader if the reader can follow the transition of the perspective from one character to another smoothly (unless, of course, you are William Faulkner or Cormac McCarthy). I felt that it was a bit choppy here. The Stalker sees The Jogger using her phone (did she stop to make the call or keep running? We don’t know) to call her godfather who then calls his friend in law enforcement who is in the middle of an offal storm. That’s all in a few paragraphs. Let’s slow things down and relay the transitions rather than throwing them. The Stalker is watching The Jogger and thinking his dark thoughts, indirectly describing her to the reader while revealing something of himself as well. The Jogger  suddenly stops jogging and pulls her phone out. Boom. A disturbance in the Force, Luke. She hasn’t done this before.  New paragraph, double-spaced. Let’s change perspective.  We’re now observing the jogger. Let’s learn a little about her, what she was thinking about when she started running on this particular day (work, a friend, joy/regrets about moving to New York, etc.), and especially how she came to notice that guy who seems to be watching her whenever she’s jogging (and at other places, too), and what made her decide to call her godfather. By now, we’re a couple of  pages into the book. If you want to introduce Dan Alston at this point, fine. Again, transition by introducing Dan Alston and describing him in his environment, placing him a couple of minutes before he receives the phone call from his goddaughter. Describe him sitting behind his desk or in his den, sipping a scotch or whatever, and getting a call from that goddaughter of his who disregarded his advice and moved to New York and who only calls when she needs something or who calls him faithfully once a week just to see how he is. And so it goes. Doug calling his friend Seth Barkley makes for a good transition point. I like how Seth is introduced here.  Seth can call Doug back a few hours after Barkley clears up that domestic situation which has totally gone FUBAR , and we can learn more about Doug, as well as Dan and The Jogger, based upon what they discuss. Then we can go back to New York and Central Park and The Stalker and The Jogger and see how things are playing out.

Proofread: I am the world’s worst proofreader so I consider this particularly important. There are a number of glaring punctuation errors here. The punctuation errors include two periods after the second sentence in the first paragraph; a comma after “watching” in the second sentence and after “and” in the third sentence of the first paragraph; and no period at all at the end of the last sentence of the sixth paragraph. These are extremely distracting for the reader, and chop up what flow you have in the narrative. After you have completed your first draft, go over your work slowly and carefully for typos and then have at least three other people do so. My own experience for what it is worth is that women are much better at this than men. Your results may differ, but have a set of eyes other than your own read your manuscript over. And be careful using Word, which occasionally causes letters and words to mysteriously drop out when cut and pasted into other formats.

Keep working on THE PEACEMAKER: By sending your first page to us — or anyone — you have gotten further than something like ninety percent of potential authors. Now is not the time to stop. Drop back and tell us how you’ve done. THE PEACEMAKER needs work, but like many houses that need rehabbing, it has good bones. As our blogger emeritus John Gilstrap says, when failure is not an option, success is guaranteed.

Thank you again, Anonymous Author, for the privilege of critiquing your work. And if you have a question, or just want to disagree with me, feel free to email me.

 

How Did You Get Here?

by Joe Hartlaub

It was only a few hours ago that I spoke with a friend that I hadn’t conversed with in almost forty years. Don and I worked for a couple of summers on a municipal road crew in the Akron, Ohio area in the early 1970s. We came from very different backgrounds and had a bit of an age difference between us but became something more than work friends. He had a number of colorful expressions, most of which I can’t use in family blog, but which pepper my conversation to this day. The method we used to rid a field of a hornet’s nest almost got me arrested some fifteen years after the fact when I replicated it elsewhere.

You don’t forget a guy like that, but you do lose touch. I moved to Columbus in 1978; Don stayed in Akron. Life got in the way for both of us. There weren’t emails or cell phones or Skype and we became busy with jobs and raising families the way that people do. I never forgot Don, however, given that I quoted him like Scripture on a frequent basis, usually with appreciative laughter from whatever audience I was before. I started looking for him on the internet several years ago but couldn’t find him and assumed he had moved or even passed. I had long since given up trying to reach Don when I saw him featured on the front page of a northeastern Ohio newspaper. He had been ambushed by a reporter outside of a polling station; he looked older (unlike me) but it was still the same guy, for sure. His internet presence, however, was still non-existent. I was able to locate a couple of phone numbers for him but they were out of service. I did, however, get a street address for Don after some effort and wrote him a letter — an actual letter — with my prized fountain pen. It took eight days for him to get it (they don’t call it “snail mail” for nothing) but he ultimately received it and called me. We’re going to get together soon (“…before one or both of us dies!” he said) and catch up further.

All of this got me to wondering about all of you. I remember where and how I met Don, and most of my other friends, and my wife, business associates, etc. But those of us who contribute blog posts to The Kill Zone don’t know how you, our wonderful readers and commenters, got here. What brought you to The Kill Zone originally? How did you get here? Twitter? Facebook? Writer’s Digest? An author’s link? I’d love to know. And if you have any stories about reuniting with old friends and acquaintances that are unique and/or unusual, please share if you’re so inclined.

BERLIN, GERMANY - NOVEMBER 03:  Cars and traffic fill the A100 ring highway at dusk on November 3, 2014 in Berlin, Germany. Germany is heatedly debating the introduction of highway tolls (in German: Maut), which in the current form proposed by German Transport Minister Alexander Dobrindt would be levied solely on foreigners. Dobrindt's office argues that this is not discrimination, which would be illegal under European Union law, since Germans already pay an annual car tax.  (Photo by Sean Gallup/Getty Images)

(Photo by Sean Gallup/Getty Images)            

Where Do You Get Your Ideas?

by TKZ Guest Blogger Toni McGee Causey

Toni - the saints of the lost and found

Note from Joe Hartlaub:  I am pleased to announce that I am relinquishing my blog post (but not my fedora) this Saturday morning to author, screenwriter, and certified wonderful person Toni McGee Causey. Toni initially grabbed the attention of the book world with her Bobbie Faye trilogy, a popular set of addictive books that defied genre classification. Her latest novel, the newly published The Saints of the Lost and Found, goes in a much darker direction, one which will please new and faithful fans alike. Toni has graciously consented to tell us two spellbinding and chilling real-world stories that describe how The Saints of the Lost and Found came to be, and to answer any comments and/or questions which you might have today as well. If you like the stories you read below, you should buy and read the book that they inspired. Please check with your local independent bookseller, and if they don’t have it, please ask them to order it.

Thank you so much, Toni, for sharing your talents with us this morning…SJ

Toni McGee Causey

One of the most dreaded questions a writer can field is the ‘Where do you get your ideas’ question, especially with regard to longer fiction. It’s the kind of query that has a million answers, and often the author has no real clue how they put this idea with that one, stowing them somewhere in the crannies of their minds where the random ideas may bump and roll around until they become so entangled, they form a completely new idea. Or mess. It can work both ways. What makes this one better than that one? What makes this one the thing you knew you would use for a book, when there were a thousand other notions that seemed just as viable shunted off to the side, where hoarders even feared to tread.

This is the one time I feel like the kid at the back of the class who finally has an answer, who raises her hand with an “oh oh oh PICK ME PICK ME, I KNOW!” squeal.

THE SAINTS OF THE LOST AND FOUND is the story of a woman, Avery Broussard, who sees lost things. Glimpses, like photo snapshots, of anything (or anyone) someone has lost bombard her as she moves through life and interacts with anyone. Lost keys, a phone, cameras, money, love. A child. Imagine having that ability to know the condition that lost thing is in, and see it, but not always be correct. She can see something lost in a wheat field, but may not know which wheat field.

Now imagine… you have that skill and you’re trying to find a lost child… before a killer can finish his task… and you fail. One of your rare failures.

Avery fails… and runs… and the story starts with just what happens when you cannot outrun your own abilities, or the vengeance someone will take for your mistakes.

So, where did that idea come from? Two odd-but-true events that took place probably fifty years apart. The first happened to my dad. The second, to me.

My dad told me his story… and he’s not one to believe in anything extra-sensory. He swears it’s true. He and my Paw Paw had been hunting. My dad’s family were very poor, and if they didn’t hunt, they didn’t eat. This was back in the days of the Great Depression, and my Paw Paw’s three hunting dogs were prized because they helped most of the hunts be successful.

On one such trip, two of the hunting dogs returned, but the best one did not. My Paw Paw and Dad searched everywhere, and couldn’t find her. Dad was about ten years old at the time, and after they’d been searching futilely for a while, Paw Paw told him to get in the truck. They drove for about an hour (once they were out of the woods), far south of the property they’d been hunting on, and my Paw Paw pulled up to a very old house where an even older black man sat on a rocker on his front porch. His eyes were milky-white, the cataracts were so thick, he could not have seen who it was who’d driven up, and he had no phone. When Paw Paw got out of the truck, Dad was surprised that the old man started talking first—and knew who they were. Without anyone having said a thing yet.

“You lost a dog a ways back,” the old man said by way of intro, and Dad said his hair stood straight up on his head.

“Yep,” Paw Paw said, but didn’t elaborate as the old man turned his head and sort of stared out into the trees. Trees he couldn’t see.

He hummed to himself for a few minutes, kinda nodded as if figuring something out, and then said to my Paw Paw, “You know that river where you were hunting?”

“Yep.”

“Well, about two miles west of where you were, the river forks. You know it?”

“Yep.”

“Take the right fork, and go on down a ways, ‘bout a mile or so, and your dog’s hung up there in the barbwire fence.”

Paw Paw thanked him, promised him some food from the hunt, and he and Dad climbed back in the truck, heading the almost hour drive back to where they’d been hunting.

My dad’s not the kind of person who believes in woo-woo stuff, especially something like this, so he indicated he thought it was all a waste of time, but they found the fork in the river, veered to the right, and about a mile from the fork, the dog was hung up in the barbwire fence.

I probably would have dismissed the entire thing as completely far-fetched, except that it was my dad telling the story, he was sincere in his disbelief-until-he-saw-the-proof aspect, and I’d had enough oddball experiences finding things that other people had lost that I knew there could potentially be more at work than someone simply telling a tall tale.

For many years, I’d get flashes of where something was that I was looking for… I’d “see” it, and then sure enough, that’s where it was. I’d never thought much about it other than assuming I had simply probably memorized its location as I walked through a room—maybe something akin to a photographic memory—but I never assumed it was anything extraordinary beyond just memory, until one day, a friend was telling me about her mother’s lost high-heeled red stiletto shoe (her telling me was for a story reason), and as she talked about it, I “saw” the shoe underneath a very specific kind of porch.

I asked, “Does she live in a house that’s raised off the ground?”

My friend was a little surprised, and said yes.

I asked, “Is it a little higher off the ground than maybe normal… it has steps in the center of the front porch that lead up to the front door, and no railings?”

My friend was getting a little weirded out, because her mother lived in Nova Scotia, and I’d just completely described her home… Even though we both knew we’d never talked about where her mother lived, and I’d never been to Nova Scotia or to her mother’s.

Then I said, “Well, I have this weird image of that red shoe. If she faces the stairs and goes to the left, behind the third pylon, there’s a depression in the dirt. The shoe is lying there. But it’s been chewed on by a dog.

My friend laughed, because her mother didn’t have a dog, but she said she’d ask her to look anyway.

She called me right back. The shoe was where I described it, exactly. In the condition I described it.

How does that even happen? I have not a single clue.

That freaked me out. Plenty.

Not long after, a different friend, Julie, who lived in Arizona (and I lived in Baton Rouge at the time), was desperately looking for another friend, K, who’d left a suicide note. Many mutual friends had gone out searching, but K couldn’t be found. When Julie called me and told me what was happening, as she talked, I could see K… she was sitting by a large tree, eyes closed, having already died. Her white car (I didn’t know she had a white car) was parked nearby. I could sense water, but not see it, which was odd and I could also see a woman with a backpack leaning over K, not yet realizing that K had died.

I told Julie all of this. She was noticeably disappointed when she sighed and said, “Unfortunately, where we live, it’s a desert. There are no trees like that, and no water.”

And I completely understood–she was hoping for that magical solution, and I honestly couldn’t give it to her. It bothered me terribly to be so wrong, but it was a long shot anyway. I told Julie, “Ignore it then, it’s just an odd image.”

She called back four hours later, devastated. They’d found our K… two hundred miles north of where she lived, sitting on the bank of a dried river bed, leaning against a giant cottonwood tree. Her white car was parked nearby. A woman with a backpack who’d been hiking with friends had found her.

She’d only died about an hour earlier (Julie believed), based on a ticket she’d paid to enter the park. Witnesses would later confirm sightings of her when she’d parked and then gone and sat by the tree.

Aside from the shock and grief for the mutual friend, the entire conversation and ensuing discovery stunned me and if it hadn’t happened to me, I wouldn’t believe it. I wouldn’t blame anyone for not believing it. What was worse, I didn’t know what to do about it. Help people? How?

Not long after, I told a couple of people, and the first thing they did was ask me about something they’d lost. It was a near-instant reaction on their part, and sometimes it was something important, but sometimes it was something that had just eluded them and they were tired of being thwarted. Every time, I ‘got’ an ‘image’ that popped in my head. And I was almost always wrong about my guesses. I think my ratio of correct “images” to questions was so low, it probably needed multiple zeroes after a decimal point.

I didn’t mind being constantly wrong. It was a relief, actually, because the hope that people have when they are asking about something lost is palpable, and dashing those hopes, or seeing their disappointment, was equally brutal.

Which lead me to wondering… What if? What if you could do this for real… But you’re human, you’re not perfect, and you make mistakes? Would you go to the police? Would you volunteer? Where do you draw the line?

What if everyone wants your help? How do you have a life? Do you hide your ability?

What if a child’s life depends on it?

What if your own life does? Or someone you love?

Years after losing K, Avery was born, and I think she’d probably been there all along, from the first time I found something… or maybe even as far back as when my dad told me that story about the hunting dog.

And those what ifs kept piling up, pressing forward, begging to be answered until I could ignore the question no longer.

THE SAINTS OF THE LOST AND FOUND is not for the faint of heart. It’s a dark book, and it may break your heart, but it may also give you hope.

For me, it’s finally given me peace.

www.ToniMcgeeCausey.com

 

Coming to Your Smartphone: Books That Are Unprintable

printing press

I grew up reading. Comic books, paperbacks, hardcovers (each of the original Hardy Boys series was in hardcover, way back when)…I devoured them all. If you get a great author with a terrific story you really don’t need anything else. I occasionally, however, like something different if it’s nicely done. I’m not sure if anyone remembers the Griffin & Sabine trilogy by Nick Bantock with all of its removable notes and letters and envelopes and the like, but I surely enjoyed that. I also liked a couple of the “choose your ending” books that were published several years ago and still are, even though they are aimed at a somewhat different age group. Then came ebooks, which are great. Nothing, however, seems to beat a traditional book. That isn’t going to stop folks from making modifications, however.

The next big leap appears to already be here, and combines phone applications with original literary works specifically written for the medium, utilizing video, Google Street View, photographs, music and the like. The result is a book which cannot be printed but which can be accessed by an e-reader, smartphone, or laptop.

One of the players in this medium is a company named Editions at Play. The books in question are specifically designed to be read on a tablet or phone, and contain features integral to the story that mitigate against their being printed. They are phone and tablet applications, designed to be used on…well, phones and tablets. Newer phones and tablets, that is. If you have a new smartphone you won’t have a problem, but if you’re still hanging on the that five year old Android you might be limited to your laptop screen in reading these. That aside, you can find samples of two appbooks from Editions at Play — The  Truth About Cats & Dogs by Sam Riviere and Joe Dunthorne, and Entrances & Exits by Reif Larsen — at the link above, and from the looks of things, more are on the way. Editions at Play isn’t the only company investing in this. There are a number of others, including what appears to be an author-collaborative effort from Penguin Random House that will be published (is that still the right word?) later this year.

I of course could not resist. I went to the website link above and looked at the books presently for sale, sampled them, and laid down three bucks and change for each of them. I haven’t gotten to The Truth About Cats & Dogs yet but I did play wi…er, read, Entrances & Exits, which is a bit of a romantic tale, wherein it appears that a man’s wife has run off with their neighbor. The cuckold takes to wandering, going out of his comfort zone a bit further and further with each excursion. The book uses Google Street View quite heavily (the project is heavily tied in with google) and while neither the subject matter nor the writing is especially weighty, the overall experience is entertaining. Call it a couple of steps up from an illustrated novel/short story.

Will the appbook replace the printed book? No. No. And no again. Even the publisher acknowledges that. There is certainly a place for them, however, particularly, I believe, in the tween and young adult market, which has already begun to pick up the concept and run with it. One could incorporate videos, music, alternate endings, open endings, write your own ending, online contests…where would it end? That would be up to the creator(s). And you might be able to do it yourself. My nine year-old granddaughter tells me that hey, it’s really not all that difficult to write programming code.

What do you think of this? As a reader or as an author or both? Does this interest you, or does it look like a gimmick? Not that there’s anything wrong with a gimmick.

 

 

 

 

 

Being the Next…

Miami_Vice

I was for no particular reason thinking about the Miami Vice television series on Friday afternoon. You’ve probably at least heard of Miami Vice, if you haven’t seen an episode.Television producer Michael Mann originally conceived the idea behind the iconic series during a brainstorming/brainstreaming session in which he wrote the words “MTV cops” on a piece of paper. The audience didn’t necessarily tune in entirely for the music, but they sure didn’t turn away, either. Mann gave viewers a forty-eight minute music video featuring multiple songs, violence, some PG-rated sex, and a lot of style, all from the viewpoint of Crockett and Tubbs, a couple of Miami-Dade County drug enforcement agents.  If your dad or, uh, grandfather has a white linen sport coat in the back of his closet it may well mean that he was rockin’ his best Sonny Crockett back in the day.

cop rock

Now. Have you ever heard of…Cop Rock? It was pitched as the next Miami Vice, and featured dramatic episodes with a cast ensemble who, in the middle of a squad room, a murder scene, or whatever, would…burst into song and dance. It is almost impossible to watch more than a few minutes of any of the very few episodes of Cop Rock that aired without hoping that the cast, scriptwriters, showrunners, and the like would…burst into flame. Just kidding. I think.

I mention this because I don’t think that it’s a good idea to aim at being the “next” of something. I understand that the “next” Gone Girl or The Girl on the Train is precisely what editors — some editors, anyway — are looking for. The entertainment business is reactive, not proactive. The gatekeepers don’t get in trouble for missing a hit; they get in trouble for pushing a project that winds up dead on arrival. The theory is that if a book has a troubled female protagonist who is an unreliable narrator then readers who bought The Girl on the Train will buy and read that, too. At some point, however, that demand is going to run out, and you don’t want it to run out just before your book gets published.

I’m starting to see a number of Jack Reacher-type books, wherein a strong, silent type with an extraordinary skillset wanders into a town and reluctantly becomes involved in someone’s troubles. They’re not all bad books, but it’s almost impossible to read them with comparing them to Lee Child’s offspring, and to find them at least somewhat wanting. I would submit that one is better served by taking an element here and an element there from stories or series that you admire — whether successful or otherwise — and changing the narrative. p.g. sturges does an excellent job of this in his “Shortcut Man” series. Dick Henry, the Shortcut Man, is an ex-cop who stays in one place, helping people with everyday problems by utilizing extra-legal means. Henry is Robert McCall, without the gravitas. Tim Hallinan pulls off a similar trick in his Junior Bender series, which features a cat burglar who works for criminals. Bender is Richard Stark’s Parker turned inside out.  Both protagonists are criminals, but likeable guys; they’re anti-heroes without the “anti-”, if you will. 

What I would like to know is: what authors — or series — do you go to for inspiration? And I mean “inspiration” as a spark, not a model.

Flipping the Script by Joe Hartlaub

 

City of the sun

 

 

 

 

 

 

 

Happy 2016! I plan on having a successful one and hope that you do as well. Let me start the year off with an example of how we both might do that.

The tale concerns an author named David Levien. The name might not mean anything to you. His work will. David co-wrote the screenplays for the films Ocean’s Thirteen and Runaway Jury, as well as the less known but nonetheless riveting Rounders. He also is the author of a series of novels — a series which I hope and pray will continue — about a troubled ex-cop named Frank Behr who works as a private investigator in Indianapolis. The books in the Behr series — City of the Sun, Where the Dead Lay, 13 Million Dollar Pop (also known as The Contract), and Signature Kill, are full of rough streets, dark alleys, and grim characters with nothing to lose. They are each and all critically acclaimed, but have not had the commercial success to match.

billions

That may change, and very shortly. Levien has in a way flipped the script with his latest project, one which has garnered a great number of well-deserved pre-release accolades.  It is a series for Showtime called Billions, and it premieres tomorrow, Sunday, January 17, 2016, though you can find the first episode online if you know where to look. Billions contains no Indianapolis, no alleys, no fisticuffs, no guys with nothing left to lose. We instead get New York and high rises, raised voices but no violence (other than that between consenting adults), and guys with everything to lose.  Billions, you see, is about winning. It pits a driven, obsessive U.S. Attorney named Chuck Rhoades against a likable hedge fund billionaire named Bobby “Axe” Axelrod. Rhoades has an enviable win record in bringing down successful Wall Street brokers and traders because, in his own words, he only prosecutes cases that he can win. Rhoades believes that Axelrod’s success is the result of insider trading. Axelrod will tell you — and he does — that he simply reads the market better than anyone else. Who is right will be played out, no doubt, over the course of the series, which gets rolling over the purchase of a house. Is it a seventy-eight room house that costs fifty-eight million dollars, or a fifty-eight room house that costs…well, things get rolling because of the purchase of a house. Frank Behr can barely make the nut on his apartment every month. As I said, Levien, with his co-creators, has flipped the script. And with that, came up with what may well be the best line of dialogue I’ve heard in years, if not a decade or two. Watch the first episode of Billions. It will jump out at you. It might also encourage you to read one or more of those Frank Behr books, which are very different from their brother Billions but are just as well-written.

What does this mean for you? And for me? Just this: try flipping your script once in awhile. If you’re writing a cop story, try your hand at a romance or science fiction. And vice-versa. I had a guy pitch a novel to me yesterday that was so different from what he’s been doing, and yet so unique and original, that I was left silent. For a whole ten fifteen seconds. That’s a new record. Anyway, give it a shot. You might not get a series on Showtime or Netflix or even Starz, but you might surprise yourself. And maybe even the world.
Can you think of an author who changed genres or styles for better or worse, for one project or more? I’ve got a couple. One is John Jakes, who wrote science fiction novels without success but wrote a series of best-selling historical novels which, among other things, were adapted for television. I can’t read Misery by Stephen King without thinking of Jakes. That’s the better. For the worse: Samuel R. Delany, a highly respected, critically acclaimed and commercially successful science-fiction author who felt compelled to write, among other things, pornography. That’s his description. I would agree. Yikes. NSFO, or anywhere else. Anyway, can you think of anyone? Have you tried the flip? And do you plan to watch Billions?