Tuesday, December 20, 2022

Tinsel

Each December in the Eisenhower years, Mother would step back from the pine tree in the living room, freshly festooned with silver threads like Spanish moss, and clap her hands in delight. Thus began Christmas in our house. For years after, I treasured the memory of her joy with the tinseled tree, right up to the day when I came across a definition of tinsel, from the word tinselry, and found it meant "a cheap and pretentious display."

 

Fifty years late, I seethed at the insult to my mother and to my country, where we once laid on thousands of miles of tinsel for the holiday. In no way did we deserve the label of cheap or crass, as back then we struggled to pile beauty upon beauty so we could nudge aside memories of the wars and the Great Depression and polio and McCarthy, at least for one heartwarming month. Knowing the baby Jesus was greeted with gold, we were all certain he would be pleased that we still honored his birthday with ribbons of silver.

 

Over the course of years, sensibilities evolved to match the dictionary and such adornment of the Christmas tree went the way of fedoras and hosiery. I gradually came to accept this as something other than an affront to my mother, but even to this day the trees look naked to me, a shorn sheep, a bootcamp haircut. The last time I saw any tinsel, it was hanging out of a cat's butt.


Tuesday, June 15, 2021

The International Year of Same Old, Same Old

Well, I never got around to submitting this one anywhere, and I probably won't be around in 2038, so here goes. Enjoy. 

 

The International Year of Same Old, Same Old

Welcome back from 2004, you seventeen-year cicada /

the turkeys and raccoons have missed their tasty breakfasts so much /

what kind of life is yours, anyway, as fodder / though I suppose

we were all food back in The International Year of Rice /

 

two hundred thousand people sucked into the sea /

other starved bodies / khaki bodies / pestilent bodies /

more bleeding out on city sidewalks / more slaughtered for gods /

who wouldn't want to sleep for the next seventeen years /

 

though perhaps cicadas are optimists / expecting every time

to emerge to a satiated world / well, dream on /

here everyone still hungers / better you should just keep

singing like a didgeridoo, hurry to breed some children before

 

you become lunch / we too have little to look forward to in 2021 /

The International Year of Same Old, Same Old /

big fish still eat little fish / that's why some of us long to

burrow down like you and suck on a tree root for seventeen years /

 

enjoying our preposterous dreams / so I say goodbye to my

voracious world / maybe you'll see me again in 2038 /

fix this shit while I'm gone.

Thursday, February 6, 2020

Mad Men

Many people who I deeply respect have extolled the qualities of the series Mad Men, set in the 1960's Madison Avenue advertising world. I tried again this week to catch the drift, but failed for the third and last time. I've come to the conclusion that I simply don't enjoy television shows without heroes, and I could find no one to root for in Mad Men. They seem a collection of sad men and women with virtually no self-awareness. I've had the same reaction to Deadwood, The Sopranos, and other series. This is strange, in that I write a lot of short crime fiction in which there are no heroes. I think the difference is in scope; I can hang with noir for the duration of a short story, but not a novel. I'm no fan of James Ellroy, for example. I was raised on Roy Rogers, and I guess I've never grown out of hero worship.

Wednesday, September 11, 2019

Once Upon a Time in Hollywood

Warning- Spoilers ahead.

I finally got a chance to see Tarantino's latest film. From the buzz I had high expectations: perhaps not Pulp Fiction high, but high enough. I felt the film fell far short, however, for several reasons.
1. The character arcs were lacking. Neither of the main characters, played by Leonardo DiCaprio and Brad Pitt, evolved. DiCaprio's character came to his revelation that his career was in jeopardy early in the film and never moved on from that, while Pitt's carefree character ended up without any future.
2. Too much time was spent following the Sharon Tate character, given the minimal role she played in the climax.
3. Too much time and money was spent on selling me that we were in the 60's. I got it after the first few songs, didn't need a hundred or more. The time played only a small role in the plot. The character playing Steve McQueen did resemble him to a spooky degree, though.
4. The pacing was indulgent, nothing new for Tarantino, but a tighter film would have been a better film.
5. The revisionist history, which he seems to embrace as his niche in Hollywood, has never worked for me. In this instance, I found no viewer satisfaction, knowing the true events.
6. Tarantino failed to sell the motivation of Squeaky Fromm and her compatriots due to the lack of an appearance by Charlie Manson. See Bad Times at the El Royale, a superior film, an example of how this should have played out.
7. The graphic violence. I can't imagine how sick a person would have to be to find this entertaining. In fact, I'm of the opinion it, more than any other aspect of his movie making, limits his audience.

Like David Lynch, Tarantino is able to direct some absolutely spellbinding scenes (such as DiCaprio and the little girl in the western ransom scene) but struggles when he has to string them together into a satisfying whole. This is a good example of that problem.



Wednesday, October 3, 2018

Crimewave 13

 Some time ago I came to the conclusion that if I wanted to up my game in the writing of crime fiction I needed to read as many crime short stories as possible. This week I've been reading through the latest issue of Crimewave Magazine, number 13. I was surprised to find that it was very different from the fiction found in other genre mags such as Ellery Queen, Mystery Weekly or Switchblade.

I found the primary difference in the approach to story. Unlike other genre magazines in which a body hits the floor on the first page, stories in this collection are much more leisurely, spending sometimes several pages nailing down the character, in such an intriguing way that I often found myself not caring that the plot had yet to commence. The writing on some of the stories was sumptuous, the type that one might find in more literary journals. This was most notably true in Stephen Hargadon's Nurse and Linda Mannheim's Incendiary.

The downside to such stories for those who demand a strong crime plot line to propel the story forward is that many of the stories are quite nuanced, with quiet and subtle crimes that do more for fulfilling the fate of the main character than surprising the reader.

For me, it's not a question about which style story I like; I enjoy both the breathless pace of an exciting potboiler and the careful exploration of how an individual is changed by the environment of crime. For the latter, this collection would be highly recommended.

Monday, July 30, 2018

The Forsaken Wall


I've had this story sitting on my computer for years, about a woman who, after her husband dies unexpectedly, decides to build a wall where people can go to complain to God about his injustices. Antithetical to the Wailing Wall in Jerusalem, if you will. Imagine my delight in finding a call for stories for an anthology of alternative theologies, for which my story seemed a perfect fit. I was particularly happy when I saw the contributors, many writers whom I have admired for years. It should be a great read.

Sunday, June 17, 2018

Family Reunion

My short story "Family Reunion" will appear online in the September issue of the Scarlet Leaf Review. I'm so proud of this piece; he's gone and found a home.

Monday, May 7, 2018

Your Name in Print

The stories I write don't seem to fit into the forms that the mystery mags that pay professional rates desire (Ellery Queen, Alfred Hitchcock, and the like). They're too edgy (dirty) or violent or lack a true mystery. Having given up long ago the notion that I could get rich with fiction, I now look for venues with a new criterium. Ideally, I'd like my stories to appear in journals that work hard to draw attention and readership (Switchblade Magazine is a good example), a hard sell in a market where there are ten submitters of stories for every reader of such stories (my guess).
While most of the magazines that are more narrowly focused on noir type fiction are primarily e-mags, some also produce print versions. I've come to favor those journals, as I enjoy seeing my collection of magazines and anthologies grow. I'm up to about two and one-half feet of shelf space to date, hoping to reach a full three feet before I croak. So look for me in Tough, Switchblade, Mystery Weekly, Pulp Modern and the like as long as I can fool the editors into running my stories.

Saturday, April 7, 2018

The Financial Side of Fiction Writing

Those of you who follow my progress in the crime fiction world, noting the occasional sale, might not quite appreciate the financial side of the business, what it is like to be an author selling short stories, I thought you might be interested in what crime/mystery magazines pay for the stories they run.

There are a small handful of magazines that are heads and shoulders above others in both sales and payment. As you might imagine, the competition for a slot there is fierce. Perhaps my writing is not up to that level, perhaps my chosen subjects are inappropriate. For one or the other reason, I haven't yet broke into those magazines, and I rarely submit to them these days. The two big names:
Ellery Queen Mystery Magazine and Alfred Hitchcock Mystery Magazine pay $.05-.08 per word.

Not bad payment for a 5,000 word story. But these are the outliers, by a wide margin. Other examples, markets more appropriate for my writing, (I've appeared in some of these):

Pulp Modern: $10 per story
Big Pulp: $25 per story
The Razor's Edge: No payment
Hyperpulp: No payment
The Savage Kick: $35 per story
Dark City Mystery Magazine: $25 per story
Suspense Magazine:No payment
Manslaughter Review: No payment
Mystery Weekly: $25 per story
Dead Guns Press: $25 per story
Black Denim Lit: No payment
Switchblade Magazine: $15 per story
Down & Out Magazine: $25 per story
Tough Magazine: $25 per story

Don't take this as a screed against the industry. Most of the second-tier magazines are labors of love of people who are determined to make room for crime fiction. They make very little money, and I suspect most of what they do pay for stories comes out of their pockets, not their profits.

The lesson here? For writers like me, the joy must come from the writing, from sharing the work with others. Writing for the money? Consider getting a gig at McDonald's instead. At least you'll get some free fries.

Saturday, February 10, 2018

How To Play the Writing Game


I grew up passionate about sports, basketball in particular. I'd like to know how many hours I spent on my home court practicing my jump shot, just so when game time came I would have at least a faint chance of burying one.
When I began to take my writing seriously, I unconsciously adopted the same strategies, and to some extent they have worked for me. These include:
Practice: I took a hard look at my writing and had to admit that my skills were very unpolished, so I set about writing with the intention of developing my abilities. I challenged myself to write a story entirely in dialog. I took a playwriting course, not because I had that ambition, but because I thought here too I could learn to write crisp dialog. I wrote a couple of stories in stream of consciousness, to see how that might fit into my repertoire. I wrote 50 word stories and 300 word stories to practice economy of prose. 
Warmups: Rather than charge straight into my work in progress each day, I began to start by warming up. I kept, and still do, a daily diary about what I am working on. And since I write in a coffee house, I take advantage of this by beginning each session by picking out a customer and describing him or her. In this way I compiled a list of hundreds of character descriptions that I now turn to when in need of a character for my WIP.
Teamwork: I sought out other writers, both for the feedback I needed so badly, and for the encouragement that can be found in writing groups. I tried several groups, good people all, but settled on those whose members' abilities were better than mine, but not dramatically, so that I could learn from them while providing my own feedback that might be useful.
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For me, practicing my skills has made a great difference in my writing, and I can see gradual but consistent improvement over the years. In an ideal world, I would have been ready to write my magum opus without honing my skills first, but I don't live an ideal world. If I did, ice cream would have no calories.

Saturday, February 3, 2018

On Eeny Meeny I'm Not So Keeny

I may have reached a point that I never anticipated. After reading fiction for 60 years, and writing it for 15, perhaps I've seen too many plots, because I'm having more and more trouble finding books which genuinely surprise me. Eeny Meeny by M. J. Arlidge, a crime novel, is the latest book whose plot line seemed easy to predict.
This isn't to criticize the writer, who did his/her best to follow the tried and true thriller progression (things get worse, over and over, until the climax) but there are only so many twists and turns one can imbue a story with when the setup is typical--In this case, a modern-day English policewoman detective pursuing a serial killer.
M.J. does one thing that I find irritating, and I blame James Patterson for this; he/she writes 3-page chapters, flitting from one point of view to another. I like to settle down with a scene, enjoy some rich details, and will even tolerate some business that doesn't exactly advance the plot.
The author does try very hard to distinguish this hero, Helen Grace, from other DC's such as Peter Robinson's with attributes that have shock value, but there is some more subtle character development lacking, in my opinion. Since this is the initial book in a series, perhaps Grace becomes more deep and rounded as the overall arc progresses. That happens sometimes.
Or perhaps I've simply read and written too much in the genre to wholeheartedly enjoy overly familiar tropes. I hope not, but evidence seems to trend that way.

Monday, January 22, 2018

Latest Lee Child

I finished Lee Child's latest Reacher novel, The Midnight Line, and thought it exhibited both the best and the worst of his writing. The best is a great deal of heart, as he deals with a war vet with disfiguring wounds and an opiate problem. It only enobles Reacher when he solves the problem in a very sensitive and compassionate way.
The worst of his writing is the padding that some of his novels contain, stretching a lean plot line over 300 pages. In this work, Reacher's repeated appreciation of the geography of Wyoming and the high plains tend to slow down the book just as I was yearning for acceleration.
One bit I found particularly fun was when Reacher faced his usual faceoff with multiple assailants, the kind of setup in which he kicks the crap out of them in a way that defies belief. This time, he actually talks his way out of the fight.
In the whole, I found this book an entertaining read, not the best Reacher in the series but much better than the worst.

Sunday, May 14, 2017

Death Is Not the Worst Thing That Can Happen To Men


I'm excited to announce that my speculative fiction short story "Death Is Not the Worst Thing" has been selected for the upcoming post-apocalypse anthology Enter the Rebirth. This anthology is the final volume in a three-book set, beginning with Enter the Apocalypse and Enter the Aftermath, from TANSTAAFL Press. The book is expected to be released this winter.
The title is taken from a quote from Plato.

Tuesday, May 9, 2017


The wife and I viewed the new Emily Watson/Tom Hanks sci-fi flick The Circle. My reaction? Meh. The central conflict was interesting; how can a company like Google abuse the data bonanza they reap to bring about a world reminiscent of 1984? And the cast was excellent. I was glad to see an old face, Karen Gillen, who played the Doctor's sidekick when David Tennet was Dr. Who.
So what's not to love? The story was predictable, some of the character's most crucial actions were unmotivated, and the story was unbalanced, in that the setup of the situation took up more of the film than the action that was being set up. I was frankly bored, and expected more from a story line by David Eggers.

Tuesday, May 2, 2017

Another Story Sale

I'm delighted to learn that my story "The Anvil" will appear in the summer issue of The Sonder Review, a lovely journal. This literary story explores the relationship between a man who needs a heart transplant and his suicidal sister, who has a perfectly good heart. It's not a comedy.

Friday, March 11, 2016

2016 Sales Chugging Along

I've been on quite a roll recently: my sales this year include-
"The Youngtown Tune-up," Mystery Weekly Magazine, February 2016
"The Jackpot," Thuglit Magazine #22, March 2016
"The Art of Addition by Subtraction," Ekphrastic Review, March 2016
"No Loose Ends," Dames and Sin Anthology, Spring 2016
"Empathy," Stories from the Near Future Anthology, Spring 2016
"Second-hand Monkey," Best of Ohio Anthology #2, Spring 2016

Yay, me! (Please excuse the ebullience; believe me, I've had enough rejections to keep myself humble.)

Monday, February 1, 2016

The Youngstown Tune-up

My short story "The Youngstown Tune-up" is now available in the February issue of Mystery Weekly. Back in 1959, when this story is set, the tune-up was slang for a car bomb, so you can imagine what happens.

Thursday, November 12, 2015

Daredevil Dogs


How the dog should be dressed         photo by Arnold Gatileo
My friend Ron and I continue on our quest to find the best Chicago-style hot dog in Columbus. To that end, today we tried out Daredevil Dogs in the OSU campus district. This very tiny restaurant must do a resounding business in carryout and delivery to the bar next door, because there isn't enough seating to pay for the operation. It makes Dirty Franks downtown look cavernous.

Our conclusion? The all-beef hot dogs themselves were very meaty, large and tasty. The bun, a challah type, was a bit sweet for my taste and not authentic to the Chicago style. The pickle wedges were smaller than you might see elsewhere, and diced tomatoes substituted for the wedges that are typical. The lack of neon relish was noticeable, but the missing sport peppers really changed the flavor of the sandwich.

Nonetheless, if one puts aside expectations, the hot dog as presented was tasty enough. The price point of $5.50 was above market for Columbus. Ron gave his a B-, and I might agree, but I'd downgrade them slightly to a C for the bus-station ambiance.

Friday, October 30, 2015

Coherence and Incoherence

In my continuing search for the best low-budget sci-fi films I watched 2013's Coherence. It was entertaining if imperfect, with a talented cast and a story line that would amuse those of us who enjoy films such as Memento, Mulholland Drive and Inception.
This and other genre films made on a pauper's budget show what can happen with a good story, as opposed to films that rely heavily on special effects (I'm thinking Pacific Rim and the Transformers series, among others). People are interested mostly in people, rather than machinery, which accounts for the failure of movies such as Prometheus, Alien without that most essential ingredient, Ripley.
The story of Coherence begins with the hypothesis that from every decision two or more realities are born, and investigates the question, what if people in these separate streams were able to cross over? As you can imagine, entertaining conflict can and does ensue.
The picture has its flaws. The first 15 minutes is full of banal conversations, the characters are annoyingly self-involved, and the science part of the premise is not so much developed as presented, and quickly issued off-stage. Nonetheless, it is a more entertaining film than many made on a much greater budget.

Sunday, September 13, 2015

Am I Cheating?


I recently had a conversation with young-adult fiction author Suzanne Goldsmith ("Washashore") about finding actions for characters that suggest emotions, to avoid the need to directly name the emotion a character is feeling and thereby fall into the trap of telling rather than showing. Too often, I resort to a few physical manifestations; drumming fingers for nervousness, pinched eyebrows for suspicion, dodging eye contact for deceit. Over the years, I've tried to expand my collection of such physical cues to avoid repetition. Now I've come across the book The Emotion Thesaurus by Angela Ackerman and Becca Puglisi, a whole volume filled with physical cues for a variety of emotions.

It should feel like a gift from above. Now I need only define the emotion the character is experiencing and refer to the book, choosing from among dozens of possible actions to suggest the emotion. But it doesn't feel like a gift. I feel guilt (averting your gaze, blushing, sweating, lip biting, repetitive swallowing), as though I had cribbed a doctoral thesis. Perhaps I'll get over it; after all, I have no problem referring to a traditional thesaurus, and I certainly accept ideas from my writing group.

Perhaps you feel differently. Either way, the book has value in illuminating all the ways a deft writer can develop character without resorting to telling.