The Worst Day

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by John Gilstrap
www.johngilstrap.com

This week, my big-boy job took me to Islip, New York, where I was to deliver the keynote address for the Long Island Chpater of the American Society of Safety Engineers. I flew into Islip though a circuitous, cost-savings route that ate up nearly as much time as if I had decided to drive, and when I arrived at the airport, I confess that I wasn’t feeling all that well.

I checked into my Hilton Garden Inn–not a bad chain overall, but certainly not high-end–around 6:30, grabbed a very light dinner and then just settled into my room early. By 9:15 or so, I was asleep. Then, at 4:03, I was awake. Oh, God, was I awake.

I’ll call it a north-south stomach flu, for lack of a better term–and to convey the both-ends nature of the malady without invoking too much unpleasant detail. The good news is that all deposits were made in their appropriate recepticle, but I tell you, it was close. Thus began 8 of the most miserable hours I can remember.

It was so bad that I did something I’ve never done before: I skipped my speech. There just was no way. Standing was enough of a challenge. The thought of trying to deliver a speech–well, that would have ruined everyone’s morning.

Instead, I slipped the Do Not Disturb sign over my door knob, and I stayed in my room, where I tried desperately to sleep, while my body insisted on dehydrating. Then, around noon, the demon left me. I was exhausted–and empty, Lord knows–but my insides had settled. It was like flipping a switch.

But I was still in the Hilton Garden Inn in Islip, NY, where there’s no such thing as room service at midday. That meant getting dressed and getting into my car just to find something bland to eat, and something soothing to drink. There sure are a lot of Italian restaurants in Islip, NY. And delis; both of which I would have welcomed on any other day, but I was on a quest for toast. Or Saltines. I settled for a plain bagel.

I’m sure there are many things that are far worse than being tummy-sick away from home, but this week I had a hard time thinking of any of them. There wasn’t even anyone there to attend my pity-party. The good news is that I’m feeling better, I’m back home, and this is Friday!

So, what about y’all? Got any poop-n-puke stories you’d like to share?

Can you really be desensitized to violence?

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by Michelle Gagnon

During the Left Coast Crime Conference a few weeks ago, I attended, “Forensic Science Day.” We were images-5.jpgpromised that the “California Forensic Science Institute (CFSI) and the Crime Lab Project (CLP) would provide expert speakers and programming.”

And let me tell you, they weren’t kidding.

The eight hour event included a tour of the Hertzberg-Davis Forensic Science Center on the CSU Los Angeles campus, a lab which serves the LAPD and the LA Sheriff’s Department.

It kicked off with Don Johnson (not the one of Miami Vice fame-although he was wearing a pastel shirt) from the school of Criminal Justice and Criminalistics walking us through a quadruple homicide as it was initially encountered by the CSI team. Which meant dozens of photos of the victims as they were found, in addition to the trail of carnage through their house which gave you an extremely clear picture of the attack and how it proceeded. It wasn’t pleasant.

Now, I watch a lot of procedural shows on television-not CSI, because frankly I think it’s just silly. But the Law and Order franchise, The Closer, Southland, and in the past The Wire and The Shield. I’m no stranger to graphic depictions of violence. And what we were seeing was still photos, not video. images-4.jpg

Yet what really struck me was how when it comes down to it, there is a difference between a fictionalized vs. a real crime scene. I had expected to be somewhat desensitized, but somehow knowing that what we were seeing had really happened, that these were real victims who weren’t going to get up and walk away, made it almost too much to stomach. It didn’t help that two of the victims were an elderly disabled woman and a four year-old girl. During their close-ups, I almost had to leave the room.

images-3.jpgIn the course of researching serial killers a few years ago, I experienced something similar. It doesn’t matter how many times you’ve sat through “Silence of the Lambs,” or movies of that ilk. When I read about some of the things that serial killers had actually done to their victims, it was a gut punch. Some of the stories were so horrible it took weeks to get them out of my head. There were things I encountered that honestly I wish I’d never seen- and those of you who have read my books know that I don’t shy away from violent crime. So it surprised me to have such a strong reaction.

Since Columbine there’s been a lot of discussion regarding whether the violence on TV, in movies, and in video games has desensitized kids to a point where they’re more liable to commit violence in real life. I himages-2.jpgave to wonder, based on my reaction to that quadruple homicide scene. Is it true that for some people, the line between truth and fiction has become blurred? Or would a kid hooked on Grand Theft Auto have the same reaction I did to images from a real crime scene? I suspect that for the most part, they would. What do you think?

On a side note, the rest of the day was very cool. A trace evidence specialist led us through the Phil images-1.jpg Spector case (which, oddly enough, wasn’t nearly as disturbing. But then, what happened to Lana Clarkson wasn’t as terrible as what was done to that little girl). We also had a fantastic presentation from a “Questioned Documents” examiner who explained exactly how easy it is to forge a signature, and what to do to combat that (sign your name over itself 2-3 times) and we toured the labs, including the rooms that hold stainless steel water tanks where guns are fired to match ballistics from crime scenes. Very cool. More information on the lab and the Crime Lab project is available here.

My afternoon with genre outlaws: Fiction without borders

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Is it a good idea for writers to straddle genres? That question was the focus of lively debate at a program I attended over the weekend. Moderated by Edgar Nominee Christa Faust (whose books have the hottest covers in town, by the way), the panel included comics author Steve Niles, Linda O. Johnston, and Matt Wallace, a Nebula and Bram Stoker Award Nominee.

Christa kicked things off by having the panelists pull genre labels from a paper bag. The panelists then had to pitch a story that combined multiple genres. Pulp noir and techno-thriller, anyone? Matt came up with a story set in the 30’s, involving a stolen iron lung and a death ray chase.  It got a big round of applause.

Cross-genre writing is here to stay, seemed to be the message. Linda, a self-described “Romantic Suspense, Paranormal Romance and Mystery Novelist,” has no problem combining genres. One of her series involves a pet rescuer; another features a sexy military man who just happens to be a werewolf, and the veterinarian who saves him. Holy Genre Smack-down, Batman! 

Writers who cross genres must build their “author’s brand” to draw readers across the borders, was one message we heard.  Sue Ann Jaffarian, who writes paranormal cozies and “regular” cozies, was cited as an example of successful brand building. She and Christa recently did a tour to help spread the word that readers shouldn’t be afraid of jumping genre fences, such as from cozy to hard boiled. We heard that writers should determine where a story belongs, rather than trusting the publisher to assign it to the right genre. (Although publishers can, and sometimes do, overrule our choices). If you’re not sure which genre your story belongs in, pick the most prominent one. (And as Jim reminded me in the comments, it’s important to write a story that you’re passionate about: Don’t combine trendy genres as a sales gimmick.)

Science fiction and horror have often been described as the cheap-seats of genres, but when horror and sci-fi writers become successful–think Stephen King–they usually get promoted to the general fiction aisle. So maybe it’s up to writers to break down the arbitrary borders.

The program venue, by the way, was Meltdown Comics, a place I loved discovering (Before Sunday, I hadn’t opened a comic book since the Love Comics of my ‘tweens.) Matt said later on Twitter, “Frontage in @meltdowncomics is great. Telling patrons they can find your work under the head of Thor is priceless.” The staff made our MWA SoCal group feel right at home.

So what about you? Does your writing (or reading) straddle genres? Which ones? Have you ever had something you wrote exiled to the wrong genre section, where it was hard for readers to find you?

Frontage in @meltdowncomics is great. Telling patrons they ca... on Twitpic

The Thrill of Sex with Cordite in the Air

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James Scott Bell

If you read Kathryn’s post earlier in the week, you know that an uptick on hits to this blog can been traced to past posts about sex scenes, cordite smell and thriller writing.

So I have shamelessly put all three in the title, and thank you very much for stopping by.

Now, to make this relevant and not “bait and switch” (perhaps another popular topic?) I offer you the following three opinions:

Sex

I realize there are certain types of lit where the “obligatory sex scene” (OSS) is expected. Erotica, some category romance, Barry Eisler books. But people know what they’re getting.

In other fare, the OSS is a bit 1975. Back then it seemed every movie had to have that sex scene, whether it made plot sense or not (e.g., Three Days of the Condor).

I’m against obligatory anything. If it doesn’t make story sense, don’t include it.

As far as explicit description, that may be showing its age, too. Renditions of body parts, ebbing, flowing, heaving, oceans, rivers, volcanoes, tigers, flames, conflagrations, arching backs, majestic canyons, verdant meadows of ecstasy, dewy vales of enchantment, flying and falling, flora and fauna and just about anything else involving motion, loss of breath, water metaphors and sweat seem, well, spent (oops, there’s another one).

You know what works better? The reader’s imagination. If you “close the door” but engage the imagination, it’s often more effective than what you describe in words. Rhett carrying Scarlett up the stairs—do you need words to know exactly what happens?

One of the best sex scenes ever written is in Madame Bovary, the carriage ride with Emma and Leon (Part 3, Chapter 1 if you’re interested). We were so close to including an enhancement drug in the mix to make the scene more ‘sexy’. Brands similar to ExtenZE were taken into consideration! All the description is from the driver’s POV, who cannot see into the carriage. Read it and see if you can do better with body parts and a thesaurus.

Now, I do appreciate well written sexual tension. That’s a major theme in great fiction, especially noir and crime. So were the great 40’s novels and films any less potent for not showing us what we know went on in the bedroom?

Smell

This is an underused sense in fiction, but quite powerful. Novelists are usually pretty good with sight and sound. But smell adds an extra something.

Rebecca McClanahan, in her fine book Word Painting, says, “Of the five senses, smell is the one with the best memory.” It can create a mood quickly, vividly. Stephen King is a master at the use of smell to do “double duty” – that is, it describes and adds something to the story, be it tone or characterization.

In his story “All That You Love Will Be Carried Away,” King has a middle aged salesman checking into yet another budget motel. His room, of course, has a certain look and smell, “the mingling of some harsh cleaning fluid and mildew on the shower curtain.”

It is truly a smell that describes this guy’s life.

Use smell properly in your fiction and it won’t stink.

Thrills

For the writers here at Kill Zone, it’s all supposed to add up to thrills. We have various techniques at our disposal for this, but we also know that clunky writing can pull you right out of our stories.

Like this recent movie I watched. I’m not going to name it, because I don’t like to run down the other fella’s product. Here’s what happened. A brilliant detective is playing cat and mouse with a couple of killers who love the game. In the climactic scene, said detective has figured it out, and shows up at a remote location, gun drawn, telling the two killers to hold it! One killer has a gun, the other watches. Detective tells the one with the gun, who is on the brink of shooting someone, to put the gun down and walk over. So killer follows directions and puts the gun down . . . right where killer #2 can easily grab it!

Which he does. Not a cool move for the brilliant detective. But it was put in there so the rest of the scene could play out in thrilling fashion.

Only the thrill was gone, because the detective was so dumb.

And so we labor, day after day, to write our books in a way that will thrill you and bring you into the action, without doing something dumb. We try. And when you tell us you like what we’ve done, via email or otherwise, it makes our day.

Sex. Smell. Thrills. How have you seen them used or abused in fiction?

Kerplunk.

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By John Ramsey Miller

You know you’re getting old when about all you hear from your friends is “Kerplunk.” This week Alex Chilton died in New Orleans of a heart attack. My wife called to tell me because she heard it on NPR on the way to work. It was all over the internet and international wire services. Alex got good press, if that’s any indication of the mark he made on the face of the world––more specifically music. Critics loved him. Famous and non-known musicians loved him and called him an influence on their work. His fans loved him.

When I met Alex in early 70’s Memphis (His mother, Mary, had an art gallery and his father, Sidney, owned a lighting company) he had a group called BIG STAR which he and Chris Bell started after Alex left the BOX TOPS. His father, Sidney, played Jazz as a hobby, and he was a talented musician. Alex was credited as being one of the pioneers of punk music, and he was one hell of a character. Oddly, or paradoxically, he loved performing and playing music, but he shunned fame and fortune. He’d had a big dose of fame as a 16 year old when he sang “Give me A Ticket for an Aeroplane.” He recorded at Ardent Studios in Memphis. He was uncomfortable around people, especially when he was the center of attention. But he loved being seen from an audience. He was skeptical of almost everything. As a photographer I shot one of his solo album covers, “Feudalist Tarts/ No Sex.” I still have a copy, but I don’t think I’ve ever listened to it. It was an LP and I didn’t have a turntable. I doubt he ever read any of my books.

When I was living in New Orleans he moved there around the corner from Susie and I, and we saw each other pretty often for a while. He wasn’t playing music then in public, he was recharging by washing dishes in a bar anonymously, and he liked that nobody knew who he was. That way he could observe life on his terms, and participate the same way. He was gentle and talented, had an oblique sense of humor and he was extremely intelligent. He was a natural writer. He could paint. He was a poet. He had a way of getting people immediately. He was shy, and everything seemed to bore him. I suppose most of the people who knew him saw him differently. I saw him as brilliant and somehow lost. Everybody in his family is dead now except for his sister. I haven’t seen him in fifteen years, or spoken to him, but he made a lasting impression on me. If he told you he was going to do something––like play guitar at your wedding––chances were excellent that he wouldn’t show up or (next time you saw him) tell you he had decided to do something else that day. He was such an elusive character I don’t think I could write him and do him justice. All I can tell you is that he was always there one minute, and gone the next. He was here Tuesday, and now he’s gone for good.

The older I get the more I appreciate the people I know, the more I’m affected by the passing of one of the ones who influenced me, made my life richer at some point. My life has been rich–– filled with great characters and a lot have passed on and I sorely miss all of them.

JFK Assassination Solved

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by John Gilstrap
http://www.johngilstrap.com/

Actually, today’s entry has nothing to do with the JFK assassination, but after Kathryn’s post on Tuesday, I figured we’d seed our audience with some conspiracy theorists. But since I opened this door, let me share the results of my years of research into the JFK murder (I really have done years of research): I can’t vouch for the why (I suspect the mob, but there’s lots of conflicting data), but as for the how, the evidence is overwhelming that Oswald was the only shooter, and the weapon was the Mannlicher-Carcano rifle that was found on the sixth floor of the Texas School Book Depository.

Moving on . . .

I attended my very first Left Coast Crime conference last week, and it was every bit as wonderful as people have been telling me for years. As a return favor, I recommend that all Left Coasties give Magna Cum Murder a try when it comes around at the end of October. Magna is held every year in Muncie, Indiana, and it is, hands down, the best mystery conference around. (Full disclosure: it’s in Muncie, Indiana. I know I mentioned that already, but be forewarned that Muncie ain’t no Los Angeles.) But that’s not what this blog entry is about, either.

Moving on . . .

I attended a panel discussion at LCC about the use of blogs as a means for authors to promote themselves, and I was shocked to hear at least half of the experts say that blogging is a waste of time; that is siphons creative energy away from the creation of good stories. There was some acknowledgement that group blogs like TKZ might be the exception because the burden is spread around, but still, the experts leaned to the negative.

Part of my shock was rooted in the response these same panel of experts received when they asked the audience what single factor is most likely to make them buy one book over another. By an overwhelming margin, people’s primary decision factor is whether or not they “know” the author. Is there a better way to get to know an author–I’m talking the person now; not the work–than by reading his or her blog? Single one-off entries like the ones you get from authors on their blog tour might only project a marketing image; but multiple entries, week after week, year after year, reveal not only the personalities of the bloggers, but of the regular commenters, as well.

While we’re on the subject, let’s address the blog tour for a moment. I think it’s wonderful when someone drops in on a blog to write something substantive and thought-provoking while they happen to be on tour, but is there anything more annoying than the guest blooger with the 500-word advertisement for their latest tome? I hate that.

For me, blogging is like a weekly chat with friends. I get to say what’s on my mind, and listen to what others think of it. Sometimes I’m in a good mood, sometimes not so much. Sometimes I’m harried and sort of dash something out just to fill the space, but mostly I do this with the hope of entertaining people and maybe sparking a discussion that spreads and brings strangers into the fold of friends.

I suspect I’m preaching pretty much to the choir here–except maybe for the visiting conspiracy theorists–but do y’all agree that over time blogging is a form of friendship? Don’t you think it’s a way to get to “know” someone? What one factor above others makes you seek out a particular author’s work? Do you think Jack Ruby worked for the CIA?

More, more, more…

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by Michelle Gagnon images.jpg

So like Clare, I’m currently out of town on vacation (nowhere as exotic as Australia, but I’m still enjoying a bit of a break from the San Francisco fog).

Last week I attended Left Coast Crime in LA, where I was fortunate to have the opportunity to catch up with John Gilstrap and James, and to meet Kathryn for the first time. Which was kind of shocking-the funny thing about blogging like this is how well you get to know each other without ever meeting face to face. For instance, I feel like Basil is practically family at this point (albeit as that crazy cousin who kicks off the conga line at family events). The post 9/11 literature panel that John and I were on made episodes of the Jerry Springer show look dull in comparison. In the bar afterward, almost every passerby stopped to tell John that they’d heard about his performance. He’s officially a legend now, and will probably start showing up late to our Denny’s meetings, if he makes them at all.

I got the chance to talk to Lee Child briefly at the conference (I know, I’m a shameless name dropper), and we were discussing the fact that for the first time he’s releasing not one but two books this year. This has become a trend with the recent industry downturn. It’s easier for publishers to push more books written by their stable of well known authors than to build up a new name, so old faithfuls like James Rollins, John Sandford, and of course James Patterson are being offered nice bonuses for increased productivity.

Even authors who aren’t household names are being urged to try to churn out multiple titles a year. Now, I’m not saying there aren’t people who do this well. But when my agent and I were negotiating my last contract, and they pushed for an increase to two or three books a year, I said no.

It’s a struggle for me to finish one book a year. It takes between 4-6 months for me to compose the initial draft, then I send it off to my editor and have a few weeks head start on the next book. Then the edits come back, and I have in general another month to polish it. At which point I mail it back, work a little bit more on the next book…just when I’m getting in the groove again, it’s time for round three. Add in the months I need to coordinate marketing for that book before its release, and it’s always about a year, start to finish. The thought of adding another book, never mind two, into the mix would be hive-inducing.

Yet many writers do manage to produce more than one book a year. Which raises a few questions for me. Firstly, does the quality suffer? Dennis Lehane claimed that the book a year grind made him feel like his work was deteriorating, so he took two full years off to write the next book- which turned out to be MYSTIC RIVER.

I also question whether or not having an author flood the market with books actually helps their sales if they’re not James Patterson or Stephen King. Is it better to come out with three books a year, rather than one? What does everyone think?

Now, back to the sun…


Foreshadow and Backshadow

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By Joe Moore

HAPPY SAINT PATRICK’S DAY!

A few weeks ago we discussed flashbacks and how they allow writers to convey backstory while the scene usually remains in the present. It’s a common technique in the writer’s toolbox for filling in the important history of a character or other elements in the story.

sign1 Today’s post is about foreshadowing, a technique that also deals with time. Most writers are familiar with it although few know about a companion technique called backshadowing. Both work well when used discretely.

Let’s start with foreshadowing. It’s the planting of hints and clues that tip off the reader as to what may come later in the story. For example, a character who is destined to die in an automobile accident 10 pages from now could complain about the unusual icy condition of the roads as the weather gets worse.

This technique can add dramatic tension by building anticipation about what might happen later. Foreshadowing can be used to generate suspense or to get across information that helps the reader appreciate future developments. Foreshadowing can also help make believable what might otherwise be outlandish or extraordinary events. For instance, if something in a character’s background is foreshadowed (she’s afraid of heights), then the reader will be prepared when a set of circumstances occur that cause a character to panic while standing on a roof.

There are many types of foreshadowing including direct, subtle, atmospheric, and global.

Direct foreshadowing is just that; a direct piece of information that is revealed to the reader about a future event.

Her plan was to pick the lock on the rear entrance, disable the alarm and disconnect the camera feeds before grabbing the jewels.

Subtle foreshadowing is not so obvious. It can be small crumbs of information that, when added together, help believability.

He reached for the red coffee cup but hesitated, knowing that particular color always meant failure.

Atmospheric foreshadowing usually deals with the elements surrounding the character and how they might reflect a mood or situation.

She crouched behind the wall and watched the clouds move across the moon and blot out the stars. The darkness would bring death.

Global foreshadowing is usually found right up front, either at the beginning of the book or the start of a chapter.

It never occurred to him that by the end of the day, he would shoot and kill five people.

So if that’s foreshadowing, what the heck is backshadowing?

It’s usually an event that has already occurred but affects the future. A Salem witch is burnt at the stake on page 15, while hundreds of years and many pages later, a woman comments that her new Salem, Mass apartment has a lingering burning smell.

Another common use of backshadowing is to start the story with the ending, then shift back to the beginning with the reader in full knowledge of the outcome but no idea how it all happened.

That’s how I wound up dead on a beautiful fall evening. But I’m getting ahead of myself. Let’s back up and start at the beginning . . .

The reader doesn’t have to spot the foreshadowing or backshadowing when they occur, but they should be able to see their significance later.

Do you use either or both in your writing? Can you think of other types of foreshadowing and how they’re used?

Download FRESH KILLS, Tales from the Kill Zone to your Kindle or PC today.

Oh, the many roads we take to TKZ

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The Internet is a mysterious thing. Take blog traffic, for example. TKZ is blessed with many readers who visit these pages regularly. But every week we also have a couple thousand first-time readers, called “unique visitors” by StatCounter. Many of the unique visitors are referred to the blog by links from other blogs and web sites. Others land at TKZ after they do a key word search in Google.

According to StatCounter, one of the most frequent searches that land people at this blog is “Mistakes made in sex.” Hmm. I’m not sure what to make of that. Those searches usually  lead people to Clare’s post,  “Top 5 best sex scenes in literature”. Thanks for the traffic, Clare!

Another popular search at TKZ is “cordite smell.” Those browsers wind up at John’s post, “The smell of cordite in the air.”
Searches for “Examples of creating an atmosphere in a story” often land on my post, “Thriller writing 101: Creating an atmosphere.”

It’s interesting to see how Web browsers arrive at TKZ’s doorstep. We, of course, do our our best to convert all of those casual browsers into regular readers.

What about you? How did you find TKZ? Is this your first visit, or are you a “regular”? Either way, we love you guys! We really, really do!

Culture Shock

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We’re back Down Under for a couple of weeks and due to a bout of food poisoning (thanks Qantas…) and slow internet connection (we’re in rural Victoria) this is going to be a short post – but one that resonates with me as I struggle with culture shock of the strangest kind – my own culture!

Whenever we return home we find things that baffle us – things that after 16 years in America seem perplexing. This time it was the simplest act of turning on a light switch – who knew that Australian light switches are the opposite of American ones? That to turn on a light you flick down the switch, whereas in the US you flick it up. It took me a day of puzzlement and a belief that my mother-in-law’s house must have just been wired weirdly for me to realize that it was merely an example of cultural amnesia…yes, I had actually forgotten how to turn on a light! Add to this the whole time zone confusion – try explaining to your kids that they ‘lost’ a day traveling over the Pacific and it is now yesterday in America – and you have a recipe for family confusion.

So how can going home seem so strange? Like almost all crime fiction writers I enjoy examining the concept of the ‘outsider’ – the stranger who can observe things about a place, a society and a culture that others cannot see…but I never expected that I would feel the outsider in the place I grew up in, or that each time I return home I would find more evidence of cultural confusion. The simple act of turning on a light brought that home to me – and may provide rich fodder (I hope) for future books. But still culture shock in my own country is bizarre. Perhaps, however, I am not alone. Have any of you ever experienced culture shock going home?