Tuesday, June 7, 2011

The Emperor's New Website

By Jay Stringer

I'm on my digital soapbox again. Some of this may sound like something I've said before. I guess it's because it's a thought I keep coming back to, honing it each time. And I may need to wash my mouth out with soap after this one.

The internet whispers in our ears. It tells us that we have to be on it all the time. It tells us that if something is worth discussing, it's worth discussing on the internet. As writers in the current climate, we let the internet tell us all sorts of things about building platforms and selling points. But is it just a big distraction? The emperor's new website.

We all think we need to be plugged in all the time. A culture that now derives achievement from being able to figure out the latest illegal download, or from telling the world that they've just taken a shit that looked like Elvis. We simply keep boiling our lives down and down, reducing our thoughts and our beliefs and passions until they can be fit into a little box for people to like or poke.

And then there's twitter. Oh, twitter. Believe me, I've spent hours defending twitter to people who I would say just didn't get it. They didn't get the greatness of the networking, or the social interaction, or the freedom of speech. I would point to Trafigura and to Iran. Because, you know, making your picture green on a social networking site is totally like standing in front of a tank.

For any of us who've gotten on a soapbox and defended twitter on the grounds of all the great things it does for freedom of speech, well, the jokes on us. We've seen the real face of social media. All of twitter wants the right to go crazy with snide jokes about peoples personal lives. It wants to be able to broadcast the name of a footballer who's had an affair, and sees no responsibility in its actions. And it's not even over any kind of principle, it's simply done because we can. Because everybody is online, and everybody wants to be the star of the show.

Everybody wants to be the clever one.

The funny one.

The sassy one.

Twitter was ablaze with people shouting about freedom of speech. But these days, it seems to me, that concept now simply means that anonymous people have the right to know whatever they want, about whoever they want, and to say anything they want. I say there is something even more basic and vital than freedom of speech. And that is responsibility.

And I really can't say I see much of that being used online. Before the net it was simple. Everybody lived in a big messy world that was governed by cause and effect. Actions would be followed by consequences. A lot of people tried not to be dicks, and a lot of other people didn't. And those that didn't were assholes. Now I go on message boards for comics, for films, for music and for football, and what i see is shouting and snark and bitching. Everybody wants to be the star and nobody wants to be responsible.

Twitter is a micro blogging site. Is that really what we need? Is there any issue so simple that it needs to be micro blogged? It simply reduces us. In 140 characters what can you do, other than snark or be passive-aggressive? As I logged onto this here website to write this post, I spelled my name wrong, and my first reaction was hey that's funny, I'll tell twitter. Looking at all of the things I really like to talk about -writing, reading, films, comics football, music, social issues- I can't think of one that can be done justice in 140 characters.

And the sense of entitlement out there on the net is mind-blowing. A world full of people who think they are owed shit by other people. George Lucas making a few shitty movies becomes, George Lucas raped my childhood. Really? Raped? That's the word you want to be going with there? Firstly, I notice that the people using that phrase tend more often to be male. Secondly, I notice that there must have been a lot of geeks with seriously shitty childhoods if they can be ruined by a film made 20 years later.

This one is directly to you people- George Lucas doesn't owe you shit.

He made some films you like and some films you didn't like. Any obligation he had to you is fulfilled the minute he creates something that you like. Same for musicians. Am I going to hate Ryan Adams for the fact he hasn't made an album that I liked in about 7 years? Or am I going to feel grateful that, in Whiskeytown and his first few solo years, he made some music that I continue to find amazing? He paid any obligation he had to me the minute he created that music. But still, we go on, and we bitch and we moan about all these things that we think we're entitled to.

Here's my thing- The internet is a tool. And a tool is only as good as the person using it. The internet isn't the problem. We are. A generation who've forgotten how to talk without being passive-aggressive, who've forgotten how to be constructive, who have to be experts on everything but panic if they can't find the tin opener.

And me, you, us, creative types, we're the worst. We all obsess over creating a platform. We need to be seen. We need to be heard. Our voices matter because we have so many intelligent things to say.

I didn't have much of a web presence until a few years back. When I realised I wanted to get known as a writer, get my work out there, get an agent, get published, yadda yadda. We all go racing online to create a platform and a selling point. You get a blog. Then two. Then a third one creeps in. Then you;re guesting on others, and popping up on podcasts, and living on twitter. Then you're spending more time blogging, chatting, and getting in twitter arguments than you are writing any fiction.

And regardless of any of our discussions about pricing and format - you can't sell it if you don't write it.

I'd had some contact with my agent on twitter prior to her taking me on, but it was my work that got us working together. She liked my prose and my ideas. Likewise, when I got nominated for that award last year, it wasn't "best comment about pooh on twitter," or, "most insightful opinion about publishing." It was for one of my short stories.

What I really want to speak for me is my work. The stories that I write, shorts, novellas, novels. These are what I want people to know me for. Arguments, debates, or crappy jokes on the internet? No thanks.

I had a rethink over the weekend. I logged off twitter and sat back from the laptop. I realised that so much thought was going into creating a web presence and a platform that I was starting to forget why I was doing it all in the first place. I'm pretty sure my agent will have more success selling work from a productive writer who only shows his face in a couple of places online, rather than an unproductive writer who's all over the net getting into discussions and arguments.

One of my favourite British writers has often pointed out to me that folks like George Pelecanos don't feel the need to maintain a huge presence. Winslow? Don't see him very much. Richard Price?

Now, I'm no fool. I'm not sat here thinking that the only thing stopping me from being as good as those guys is my internet connection. There's the small matter of talent and practice. But I'm pretty sure that my presence on the web isn't going to improve my chances.

So I'm pulling back to basics. I figure the web only needs to see my ugly face once a week. Twice at most. And I'm sure twitter can live without hearing my opinions on everything, all the time.

How about you? Do you get caught up in the trap? Do you find yourself falling down that rabbit hole?

Monday, June 6, 2011

Noir at the Beach House


Summer's here.
I'm for that.
Got my leather sandals
Got my straw hat.
Got my cold beer.
I'm just glad that it's here.
-- JTaylor


By Steve Weddle

If you're north of the equator, welcome to summer. If you're south of the equator, then have a nice day.

So with summer comes vacations of beaches, family get-togethers, weeks in foreign lands, etc.

Lee Smith -- and/or other folks -- said that there are two kinds of stories.
1. A stranger comes to town.
2. Somebody takes a trip.

With that in mind, how about we do us up a little writing challenge here. Anywhere from 500 words to 5,000. Post links here. Deadline two weeks from today.

Your spin on:
Summer vacation given the crime fiction treatment.
Noir at the beach house.
Beatings at the beach.

And let's have a prize.
One lucky entrant -- probably chosen at random -- will receive a copy of FUN AND GAMES from Duane Swierczynski.

Along with fellow writers Charlie Huston and Victor Gischler, Duane Swierczynski leads an insurgency of new crime writers specializing in fast-paced crime rife with sharp dialogue, caustic humor and over-the-top violence. Together, they ensure that the grittiest and most compulsively-readable crime fiction in the world is still produced right here in the USA. SPINETINGLER REVIEW

So post here if you feel like joining in on the fun. I'd suggest keeping the stories to around flash length of 1,000 words or fewer, but I ain't in the mood to set limits on your awesomenesses.

Once you write up your story and post it on your site, drop back by and leave the link in the comments. I'll collect them all for two weeks from today -- June 20 -- and post them in that day's blog post. And then I'll draw/pick a winner of Duane's super-cool new book.

AND ALSO THIS AS WELL IN ADDITION:

If you don't want to flash your fiction, then let us know about your favorite vacation story in the crime fiction tradition. I can't think of any Christa Faust, George Pelecanos, Dennis Lehane stories that have to do with summer vacation.

Honestly, the most stressful times ever in anyone's life ever in the world is when that person is trying to relax. Get away from the stress. Ain't nothing better for conflict than that. So if you'd rather share someone else's story than write your own, then hellfire, post up whatever title you want. I just can't think of any summer vacation crime fiction. Maybe DELIVERANCE. Maybe ICE HARVEST. Any ideas?

Either way I'll pull a FUN AND GAMES winner from the comments.

Thanks

Sunday, June 5, 2011

Let’s talk about sex

by: Joelle Charbonneau

Yeah – I thought that would get your attention. Everyone knows that sex sells. You just have to look at advertising campaigns to see proof of that. Sex sells in fiction, too. The romance genre racks in billions of dollars in sales every year. Not that every romance is teeming with sex. But a great number of romances do have at least one steamy scene between the covers.

Sex sells.

And yet – as I look at my favorite mysteries and thrillers I realize that very few if any of them contain sex scenes. Yes – there are romantic relationships. Very often these romantic relationships are sexual ones. But just when things are getting heated up the scene ends and the story moves on.

Why? No, I’m really asking this question. I doubt that the mystery and thriller readers have an aversion to sex. If we took a poll of the DSD bloggers I’m betting we would find that all of us are quite fond of it. So why don’t we see as much of it in crime fiction as we do in other genres? Is it because the writers aren’t very good at writing sex scenes? Is it because readers don’t want to read them?

Personally, I think it’s because the pacing of a thriller or mystery doesn’t leave room for a lot of those scenes. The best sex scenes aren’t simply about getting hot and sweaty. The best sex scenes help develop a character in a way you can’t get without the scene. Mysteries and thrillers often find other ways of creating this emotional depth.

Or maybe I’m wrong? Maybe crime fiction readers everywhere have been clamoring for more sex scenes and the crime fiction writing universe just didn’t know it. Here’s your chance to let us know. Do you think that some of the books you’ve read might have been better off with a sex scene or two? Do you think sex scenes should never be in mysteries and thrillers? And if there is a sex scene in a book you are reading, do you actually read it or do you skim through it? Does sex sell a book for you the way it does for cosmetics or does it just make you want to chuck it at the wall? Inquiring minds want to know.

Saturday, June 4, 2011

Summer Reading (and Watching)

by
Scott D. Parker

What is it about the sun and heat that makes us want to read and watch something different? I'll admit that I trend towards seasonal reading. When it's winter, I like British mysteries and thick, dense books that engage the brain. Dickens is among my favorites at that time of year.

But when the weather turns warm--or hot, since it's already hit 100 here in H-Town--something churns and turns in my brain. Gone is Dickens, gone is "intellectual" reading. Hello to entertainment of a different sort. Action. Adventure. Thrills. Chills.

As we are now in the first official weekend of summer, I'm looking across this wide, broad swath of three months of sunny joy and I'm loving what I see. Turner Classic Movies is running "Creature Features" AKA Drive-in Double Features every Thursday. On 9 June, on of my all-time favorites is airing: "Them!" Giant ants! Before we have Cowboys vs. Aliens, I've got the complete series of "The Adventures of Brisco County, Jr." cued up for the wife and I.

On the music front, I just discovered a new album by saxophonist James Carter. It's a Concerto for Saxophone and Orchestra and a separate piece entitled Caribbean Rhapsody. I've heard segments on NPR Music and, boy, I have to tell you, you can feel the summer sun on your face when you hear this music.

Bookwise, I've got a few on the list. The new James Bond novel, Carte Blanche, by Jeffrey Deaver lands this month. Jeff Abbott, a fellow Texan who I discovered last year with Trust Me, is back with Adrenaline. Both Jeffs are visiting Houston's Murder by the Book this summer as is Megan Abbott and Duane Swierczynski for Noir Night 2011.

I know I'll discover more along the way. Last week, I stumbled on to my current history book, Dominic Sandbrook's Mad as Hell: The Crisis of the 1970s and the Rise of the Populist Right. And, as soon as my wife finishes it (it is her book after all), I'll read through Jeremy Wade's River Monsters book.

What are some of the books you are looking forward to this summer? Do you change your reading habits when you are more likely to visit a beach rather than the ski slopes?

Friday, June 3, 2011

Revisitations

By Russel D McLean

As we speak, I’m working on a collection of short stories. Yes, if you haven’t been following me on twitter or keeping your eye out for me on Facebook, I’ve been collecting old stories for an e-volume to be titled, THE DEATH OF RONNIE SWEETS (and other stories). The collection will include every Sam Bryson story I wrote for the likes of Alfred Hitchcock’s Mystery Magazine and Thrilling Detective. It won’t include the standalones (they might get an airing sometime) or the two Sam Bryson stories that appeared a long time ago in Crime Scotland Vol 1 (because they present a wildly different character to the one who would eventually appear in the pages of AHMM). But they include a lot of stories that I’m proud of.

And I can say that with conviction because, in order to put the collection together, I had to read each one of them carefully. My plan – and this was something that the editor of Thrilling Detective, Kevin Burton Smith, urged me to do when he heard about the project – was to leave each story warts and all. And for the most part I have.

Why only “for the most part”?

Because sometimes you see things that should never have sneaked through, particularly in early works. A silly typo or a horrific repetition that you can’t get out of your head. And you can’t let it go. Because you have the chance to correct it. In all, I made maybe six changes to all the stories. They were justified, and mostly confined to one story in particular.

It’s strange to look back at old work with new eyes. Particularly the first published works you wrote. These stories are still ones that I am immensely proud of and, while some may say that their early work is “juvenilia” and that they feel they have moved on, you have to think about such things from a reader’s point of view. Clearly these early stories meant enough to readers and editors who wanted to read and publish them. So why are they suddenly not good enough? Are you saying those readers and editors were in some way “juvenile” too? And if your style has changed, that’s fine. But what you have to remember is that you have lived with your work for years, but there are always going to be new readers who will see your through the same eyes that your first readers did. And why would they not have the same reactions?

Reading the stories was fascinating for me. I could track where I was at certain points in my life I could see what I had learned about storytelling. I could trace my obsessions and ideas. I could track an evolution.

But by far one of the most interesting aspects to the collection has been writing a new story about Sam Bryson. The story will be published not only in this collection, but also in a multi-author collection that will be forthcoming soon (I don’t know if I can say anything about it yet). It takes place in 2006, the year where last left Bryson. After all, if we are to believe the opening of THE GOOD SON, in 2008, Bryson has left the PI game and sold his offices on to some bloke called J McNee. Going back to Bryson’s voice after so long – the last Bryson short was written in 2007 – was a strange experience. I worried about the voice changing drastically, about my being unable to write the same character; that perhaps I had changed too much and would no longer know who he was.

But I found myself returning with ease to his fictional world. The old touchstones remained the
same. Perhaps there was something a little easier about his voice; a more confident and mature version of the same character. But it was like seeing an old friend and realising how much you still have in common. My memory hadn’t been lying to me; Sam was still as interesting to me as he had been so many years ago.

Not that I’ve allowed him to stagnate or remain in some state of suspended animation. Every short I wrote was written with the intent to advance Sam in some fashion. And this new one is no different. But if you want to know how… well, I guess you’re just going to have to wait and see.

Thursday, June 2, 2011

The Art of Simplicity

Eddie Vedder just came out with a new album. It's called Ukulele Songs. It's a very simple album featuring a few new songs, a scathing Pearl Jam "cover," and some older covered songs. It's incredible. At least I find it incredible. It's incredible in it's simplicity.

Just a guy and a uke and a voice.

As most of you know, I'm a big fan of craft beer too. Different kinds of beer, I'll try pretty much everything. A lot of the craft beer stuff is now going extreme: Bourbon barreled stouts, whiskey infused ales, sours. Artisan stuff. And that's all nice and good to try, but when it comes down to it, I just want a nice simple Ale (and no, no Bud Light or Coors Light)... just a well made Pale Ale or IPA (recommended SixPoint Bengali Tiger).

Give me that and I'm happy.

I feel that way about my books too. The story can be complicated. In fact, the more twisty the better... but the writing... the writing needs to be simple. I don't want to be impressed by the writing. I'm not reading a book to break down the language. I'm not reading a book to be blown away by descriptions.

That has it's place and all, it does, but rarely is it for me. (Sometimes I'll break away and usually I'm impressed and enjoy it...)

But I want to be sucked into the story. Give me good characters. Give me brief descriptions. Show me, don't tell me. And give me a story. I don't want to be distracted by all your awkward similes when I can try to figure out what the character is going to do next.

And sometimes I feel being that simple, being that effortless is an art in itself. An author has to work hard to cut out the hoopdedoole (as Elmore Leonard calls it.). If a character makes me laugh, cry, gasp, or just plain turn the page you got me.

There's a simplicity there. There's an art to it. And sometimes it's hard to come across... but when you do... man. It's a thing to see.

What do you look for when you read?

(Speaking of music: "You've Got to Hide Your Love Away" just came on my iTunes. Come on, we all know the simple stuff was the Beatles best stuff. Give me that song any day over "I am the Walrus".)

Wednesday, June 1, 2011

Period Pieces

by
John McFetridge


A quick post today, just a question: Do you like historical fiction set during your own lifetime?

We were talking on Peter Rozovsky’s blog recently about Elmore Leonard’s novels set in the 30’s and 40’s, The Hot Kid and Up In Honey’s Room which were written recently but take place when the author was a kid and included events he remembered.

And I really like James Ellroy’s American Underworld Trilogy which starts before I was born but continues up into the 70’s and includes events that were in the newspapers I delivered as a kid.

These books have a different attitude than books written at the time (well, duh) beyond just the swearing and sex and a different perspective that I like.

So, if you like historical fiction from your own lifetime, can you recommend some?

I guess that was actually two questions, sorry.