A guest post by John Lansing

This week, I’ve invited my good friend John Lansing to do a guest post. Before writing his best-selling Jack Bertolino series, he started out as an actor in New York City, performing the lead in the Broadway production of Grease at the Royale Theatre before putting together a rock ‘n’ roll band and playing the iconic club CBGB.

After heading to the West Coast, he landed a co-starring role in George Lucas’ More American Graffiti, and guest-starred on numerous television shows.

During his lengthy writing career, John wrote and produced Walker Texas Ranger, co-wrote two CBS Movies of the Week, and co-executive produced the ABC series Scoundrels. His first book was Good Cop Bad Money, a true crime tome he co-wrote with former NYPD Inspector Glen Morisano. He followed it with the Bertolini novels: The Devil’s Necktie,, Blond Cargo, Dead is Dead, and The Fourth Gunman. John now resides in Los Angeles, and we’re fortunate to have him here. — Dietrich

John: My father was first generation Italian American, my mother, first generation Polish American. They met and married post World War II, and because of the discrimination their parents suffered, they were all about assimilation. Dad didn’t speak Italian at home, and Mom never uttered a word in Polish. And after living on spaghetti every day of his childhood, my father vowed never to eat pasta again. We were American’s and ate American food.

Dad was one of seven brothers and sisters, and my culinary life changed the first time I went to a Sunday dinner at his sister’s house in Floral Park. I stepped past the door into Aunt Mary, and Uncle Chip’s home and was grabbed by the most wonderful scent I’d ever experienced and would never forget. 

Unlike my father, Aunt Mary kept the old recipes alive. There were two major pots of sauce simmering on the stove, one filled with meatballs, the other with sausage. The entire table was covered with homemade pasta noodles drying on flattened brown paper bags. Chip’s father was sitting at the table with a gallon jug of red wine under his chair that he’d tip into a jelly jar and partake throughout the day. 

Uncle Chip assembled the most wondrous antipasto I’d ever seen. The base of the salad was diced celery and onions, dressed with olive oil and red wine vinegar, covered in salami, prosciutto, provolone cheese, pickled peppers, artichoke hearts, pepperoni, anchovies and olives.

Are you kidding me? One bite of Mary’s meatballs and I was in heaven. How could my dad have ever given this up?

I learned how to cook Italian from Chip and Mary as the years went on. How not to over-mix the beef, veal, pork, egg, onion, garlic and Parmigiano Reggiano cheese for my meatballs to keep them light and flavorful. To use torn white bread soaked in milk instead of dense, dried bread crumbs. And I discovered, doing my own research, that by poaching the meatballs in the sauce, instead of pan frying them first, they became so light, they floated.

Years later, when I wrote my first novel, The Devil’s Necktie, the protagonist’s last name was Bertolino, and the foods he loved to eat came from my own experience.

Jack Bertolino was a decorated Inspector with the NYPD standing at the cross-roads. After taking a bullet wound to the back, and six months of painful rehab, he turned in his badge, not willing to become a decorated desk jockey. He suffered a contentious divorce, that left his relationship with his son in shambles. Jack accepted full responsibility and vowed to make things right. 

When his son won a baseball scholarship to Stanford, Jack packed his belongings and moved into a loft in Marina Del Rey, California. Close enough to try and mend their relationship, but not close enough to be annoying.

The loft had a balcony reminiscent of old New York City buildings and was in a mixed-usage neighborhood. One of the first things Jack purchased was a gas grill and two tomato plants that he set up on the balcony. Jack enjoyed his wine, but wasn’t a big drinker. When life got him down, he’d put on a red sauce. As soon as the tomatoes ripened they’d go into his pot. Until that time, he discovered the nearest Italian deli, and stocked up.

It was a simple sauce he loved. San Marzano whole canned tomatoes, garlic, onions, salt and pepper, fresh basil, dried oregano, extra virgin olive oil, red-pepper flakes and Pecorino Romano cheese. As soon as the garlic and onions hit the sizzling oil, and the scent filled the room, his heart rate ticked down a few notches. Jack let the garlic and onions cook until translucent, then he hand squeezed the tomatoes into the pot and gave them a stir. He added the red pepper, tore a few leaves of basil and dropped them into the pot before adding a pinch of dried oregano. He salted and peppered to taste. As soon as the sauce came to a rolling boil, he turned the heat to simmer, poured a glass of cabernet, and tossed a few picante Italian sausages onto the grill. The spaghetti would be DeCecco, because it held a good al dente. Firm, just the way he liked it.

While Jack waited for the salted water to boil, he watched a string of jets cross the sky, reflecting silver off the setting sun as they came in for their final approach to LAX. Jack had to smile. Things were starting to look up. A well-deserved feeling of peace washed over him. 

And then his cell phone chirped.

Dietrich: Thanks to John Lansing for dropping in. Fans of his work can find out more about him and his books at his website here.

Guest post by Rob Brunet

Rob Brunet writes stories that find humour in the dark, the twisted, and the criminal. He’s the author of Stinking Rich, and if you haven’t read his debut novel, you’re missing out. His short fiction has appeared in Ellery Queen Mystery Magazine, Thuglit, Shotgun Honey, Out of the Gutter, Noir Nation, Crimespree Magazine, and Exiles: An Outsider Anthology, among others.

Rob’s also a digital media producer who is prone to overindulge in travel — especially where dirt roads are involved — and he’ll will never pass up a chance to swap tales by a bonfire.

And he's here this week answering the question: Do you have any tricks/advice/hacks/best practices for effective video conferencing? 

by Rob 

It seems almost funny to be writing about video conferencing at a time when we’re finally able to get back face-to-face. Has anyone else noticed how hugs are bigger and longer than ever now? But, Zooming is gonna be part of life from here on in, and that’s probably a good thing for a host of reasons.

I’ve been lucky to avoid most of the online calamities recounted the last year and a half — though I was on one call where a fresh-from-the-shower husband made an unexpected appearance — but by now we all know most of the faux-pas of video meetings, and now that we’re allowed back outside, we probably don’t need to be reminded to put our pants on anyway.

Apart from regular bi-weekly or monthly family calls — why weren’t we always doing that?— and cocktails with friends who live across the country and around the world, most of my Zooming has been with my co-host Hope Thompson on Noir at the Virtual Bar Toronto and giving my online novel writing classes through George Brown College. Both were among my favourite pre-Covid activities, and both made a happy transition on line. In fact, regarding the classes, I doubt I would return to in-person delivery, but more on that later.

I say Zooming because that’s the platform I like working with. I’m sure there are better, and depending on your requirements, I’d encourage you to check them out. Better yet, talk directly to someone hosting on a platform you’re curious about and hear what they have to say. For me, the decision was simple. After a career in tech, I knew the easiest platform to use is whichever one most of your audience is already familiar with. Less headaches for the host. 

Similarly, to get people out, tried and true email works well for us, from a MailChimp platform. We also let people know on Facebook, but the email list is the best producer, as it is for our live in-bar events.

For the first couple virtual Noir at the Bars, we did dry-runs and had things scripted out tightly. Especially with two hosts, making the delivery appear casual (as befits a Noir at the Bar) means practice and preparation. We got it down smooth enough that I was able to co-host from Thailand, for which the only hitch was forgoing a shot of Maker’s Mark, given the time difference. Irish coffee made up for that.

I’ve always considered live reading to be a performance art. I think that’s even more important on line, both in terms of my own work and when inviting people to read for us. It takes a particularly strong reader to hold audience attention on line. As much as I find casual works best for me, don’t let the comfort of your living room lull you into a lacklustre delivery. This isn’t the time for a fireside story. I find myself using more hand gestures than I usually would, and like that I can see them reflected on-screen while I do. 

I like to read with a typist’s stand holding my pages beside my screen. Some people read from the screen itself. Both help build better eye contact than looking down into your book. I guess the point is, it ain’t radio. 

We added Q+As to our format, which isn’t something we do live in the bar. We wanted to create an opportunity for people to mingle a bit at the end of show, much as they would in-person. Most of our audience stay on line the extra 20 minutes or so. All-in, our run-times are about 75-90 minutes.

A much longer format is my 3-hour classes, which went on line mid-semester in March 2020. I want to mention them because the experience I’ve had underlines one good thing the pandemic has brought us.

The first thing I noticed was that the quieter students would provide longer, more in-depth comments than they would be able to deliver in-person. That brings up the quality of the learning for everyone. But there’s more.

When I taught in-person, I found that by about halfway through the 12-week course, people would start seriously opening up and our WIP discussions unearthed personal stories from both writers and those providing critiques. With online, that happens by the second Zoom session. People discuss their sexuality, family trauma, huge life choices — whatever drives them, or does the opposite. They go further, sooner, and share back and forth in ways that I feel must be brought on by a combination of being comfortable in their homes during class, and knowing that while they have the mic, they have the full attention of their peers. When the focus is on writing as close to the truth as one can, it’s pure gold. And for me, it means I’ll likely continue to teach online. Never mind that I can appear from the comfort of my own home, or wherever I may find myself.

So even as we take Noir back to the bar, knowing this virtual business is here to stay doesn’t bother me at all.

Many thanks to Rob Brunet for taking part in Criminal Minds, and if you’d like to find out more about virtual Noir at the Bar Toronto, click the link here.

That time Tom dropped by

This week’s guest is author Tom Pitts, answering the question: Who wins when you and your copy editor or proofreader disagree about a word, a spelling, a term of slang, etc? Do you sometimes choose to lose a battle in order to win a larger war?

Tom’s a friend who grew up in Canada and now lives in San Francisco. He’s the author of the novels Coldwater, 101, American Static, and Hustle, as well as the novellas Knuckleball and Piggyback, and numerous short stories. If you haven’t read his stuff, you should. You can find him here. 

by Tom Pitts

When I began writing, I’d go to the mat on some of these issues. I’d usually claim the correction would upset the rhythm of the line. Goes to rhythm, your Honor. It’s my song and I’ll sing it however I want, damn it. Nowadays, I’m a lot more open to input. Defer to those who know better. That’s a lesson I think we learn in all aspects of life, not just craft. I’ll roll with Bob Dylan on this one: I was so much older then, I’m younger than that now. 

I mean, there’s always room for interpretation. Editors will often go to great lengths to not repeat words, but some of my background is in songwriting and lyrics and sometimes repetition is vital to drive home an image or feeling. But I have to stand back and take a hard look at any suggestion. When an editor offers a change, you must be objective, take yourself out of the creative position. You have to become the reader, the publisher, the future. 

Always? Hell no. Especially if it’s colloquial and in speech. And my characters certainly aren’t the most eloquent in the world. 

What we’re talking about here is copy-editing mostly, not the story-bending feedback that causes dreaded rewrites. And with indie-publishing, it’ll usually be the author, not the publisher who gets the last word. So take this responsibility seriously. Those cocky choices you make as you click your way through the manuscript will stay just as they are in the published work, long after you’ve grown up and learned that you’re not always right. Besides, how long do you want to argue if it’s “till” or “‘til”? Sometimes you just gotta go with “until,” you know?

Living in a bubble

Who, or what, is keeping you relatively sane these days? Are you able to stay motivated? How?

by Dietrich

I live in uninformed bliss, in a bubble you might say. I don’t read or watch the news. Let’s face it, there’s never much that’s uplifting in those headlines, and there’s just not much that I need to know. Besides, there’s always somebody around that’s willing to bring me up to speed on all the doom and gloom. “Hey, did you hear about …”

I stay motivated by keeping my head down and writing more than ever these days. When I do come up for air, I make it fresh air, and it’s amazing how good I feel after going for a long walk through the woods or along the water’s edge.

I read a lot and I’ve been listening to a lot of audiobooks lately; great words are such a motivation for a writer. And it doesn’t matter if it’s fiction or non-fiction, as long as I think it’s good. And I love taking in art that feels uplifting. I could spend a week at the McMichael Gallery north of Toronto and just stare at those amazing works by The Group of Seven. And music puts a bounce in my step, like the new albums by Neil Young and Billy Gibbons – stuff that makes the toes start tapping – ever see a writer dance? God, what a sight – cover the mirrors.

I try not to take anything too seriously. I accept that sometimes stuff happens. And I try to roll with it, and not in it. Laughing is a good way to keep sane, and I like to catch shows like Curb Your Enthusiasm or The Marvelous Mrs. Maisel. I grew up laughing along with National Lampoon, Mad Magazine, Monty Python, the Goons, and French and Saunders. And I always love catching some good stand-up. Lately it’s been Brits like Josh Widdicombe, Sarah Millican, Greg Davies, Joe Lycett, Gina Yashere, Alan Carr, James Acaster – God, what do they put in their water over there?

Oh, and I’m pretty thrilled about the new book too, Cradle of the Deep, coming out this fall, November 3rd to be exact. You can check it out here. And the audiobook for it is being recorded this week, and I was given a chance to listen to the auditions, and I’m really looking forward to hearing what Vancouver actor Keith McKecknie does with the telling; he’s got the perfect voice for the story, and he just nails the rhythm of the words. 

With this COVID thing, it doesn’t look like I’ll be traveling down the coast to California this fall, and it looks like most of the promotion for the new book will likely end up on line. But, that’s okay, it’ll give me more time to start working on the next one.

The right track

When you have craft questions, where do you go for answers? A particular website? A book? Podcasts? Writer friends?

by Dietrich

I learned a good deal about craft from reading, reading and more reading. I read what I think is good, the kind of books that inspire my own writing. And maybe some of that resonates and becomes part of what works for me. 

When I got started, I found out about showing and not telling; having hidden meaning under a character’s dialogue; using description sparingly to drive a story’s pace, learning when to slow it down and when to pick it up again. I learned to drop in plot twists a reader wouldn’t see coming from twenty pages away. And above all, I learned what to leave out on that important next draft. As I gained confidence, I felt I was starting to understand what I was doing. I took what I learned, sifted and whittled what worked and I just kept on writing. I guess I found a voice and a niche that worked for me, and I was having a blast writing the kind of books that I liked to read myself.

There are a couple of brilliant books I’ve mentioned before on the subject of craft: Stephen King’s On Writing: A Memoir of the Craft, and Elmore Leonard’s 10 Rules of Writing. Both are highly recommended.

There are courses on the subject too, and there are plenty of helpful authors, publishers, editors and agents who one might ask. Sometimes asking for criticism can be a bit of a crap shoot, depending on who one asks, and depending on the way their own tastes run. But, if a new writer finds it hard to be objective about their own writing, it could be a good way to go. 

I try not to overthink things and I’ve come to trust my instincts. I don’t want chains and straps thrown over my imagination. It’s a creative process that requires good instincts, and when I feel it’s working then I go with that. And I’ve learned not to over edit and second guess my own work. When it’s done, then it’s time to pass it on. There’s always that safety net of publishers and a team of editors who will be giving it a hard look and likely catch anything I goofed up.

For me, there’s no substitute for just rolling up my sleeves and writing until something clicks. And when I can pick up what I wrote the day before and honestly say, “Hey, this isn’t total crap.” Then I know I’m on the right track and getting somewhere. 

Bring out your read

How do you decide what to read? Word of mouth? Reviews? Browsing in bookstores? Etc. And what’s the most important factor in your decision?

by Dietrich

All of those ways work for me: word of mouth, reviews and browsing the bookstores. When I find an author’s work that engages me, then I check for a backlist. And I keep them in mind for future works. I have a growing list of favorite authors, and I always look forward to what they’ve got coming next. Authors like Don Winslow, George Pelecanos, James Ellroy and James Lee Burke top my list. And there are those authors who aren’t around anymore, and I’m still going through and catching up with their backlists, authors like Donald E. Westlake, Robert B. Parker and George V. Higgins. And there are some authors who I like to reread, like James Crumley, Charles Willeford, and Elmore Leonard.

Sometimes a friend recommends a book because they know the type of book I like. And I also like to stop in at one of my favorite indie bookstores, pick up something that catches my eye and read the first few pages. Often I can pick a winner from the first few paragraphs. If the author’s voice works for me, then that usually does the trick. We’re lucky to have some great indie bookstores in Vancouver, and the folks behind the counters often make some great recommendations too. Most libraries have a ‘librarians picks’ section, and I often browse titles that I might otherwise pass up. Best-seller lists and award winning-books can also get my attention. I also like to listen to author's read their work at events like a Noir at the Bar, book launches and writers festivals.

There are reviewers and bloggers whose opinions I respect. Col’s Criminal Library on the net is a good source. Colman Keane’s tastes run much in the same direction as my own, so when he gives a book four or five stars, I take his word for it. Of course, there are the daily newspapers that feature book reviews, and sites like Goodreads, LibraryThing, Bookish, Kirkus, Book Riot, to name a few. And there are blog sites like this one, and my fellow criminal minds often recommend (as well as write) some great books.

I can also be swayed by a blurb on the back of a book jacket, although, let’s face it, no publisher’s going to put a bad review or blurb on the back cover.

Titles and cover designs often catch my eye. And that can get me picking a book off the shelf too. Of course, from there it’s up to the opening pages.

No regrets

With thousands of new titles being published every day, what do you do to try to raise your new book above the fray and catch the eye of readers?

by Dietrich

Well, aside from coming up with a catchy title, an eye-catching cover and making the best use of the marketing avenues available to authors – minus the limitations brought on by the recent lockdown that all of us have had to deal with, cancelations to reading events and seminars, conventions, and so on – the best thing I can do is to focus on my work in progress and make it the best book I can. Of course, that part comes long before I’m thinking of catching the eye of the reader.

I listen to the marketing and publicity people at my publishing house; they know their stuff. And as far as publicity for the title I’ve got coming up in the fall, we’ll be discussing that soon, and it may mean that more of the promotion will have to be done across the internet. As well as physical book tours and events, I have been doing blog tours and podcasts for the past few years, so I’m okay with that. They’re fun, easy and have been quite effective.

But back to making it the best book I can. Getting into that head space every day and moving the book forward is always key. I try to keep a level of energy going through the various stages of writing. Adding new ideas and building characters, considering what to take out and what to keep in, in general moving it forward. And having fun and being creative with it. Finding that flow. 

There are books I’ve read over the years that have inspired my own writing. And many of those just seem to deserve a spot at the top of any book lover’s list. Timeless classics like To Kill a Mockingbird, Catcher in the Rye, Catch 22, and A Clockwork Orange, and so many more of that caliber. 

And being in this lockdown mode, I’ve been reading more lately, and finding some really good books across various genres. And I’ve found plenty of inspiration in them. Here are some I’d like to pass on and highly recommend: Waging Heavy Peace by Neil Young, The Body by Stephen King, The Comedy is Finished by Donald E. Westlake, Mortherless Brooklyn by Jonathan Letham, Split Image by Robert B. Parker, and Matterhorn by Karl Marlantes.

Of course, there are many books making the shelves at bookstores that are well written and don’t get the recognition that they seem to deserve. What would have made the difference for them? That’s a question that can leave a lot of publishing people scratching their heads. But, I think at the end of the day if I’m happy with what I’ve created, then that should be enough. Although I have nothing against knocking one right out of the park.

My lockdown life

"Describe your lockdown life. Has it had any unexpected sweet spots in it? And what are you most looking forward to doing again afterwards?”

by Dietrich

Well, for a writer who sits at a desk at home and spends a lot of time in a make-believe world, not that much has changed on that note. Probably the greatest challenge these days is staying positive and keeping focused. 

Of course, outside of my little writing world, so much is different right now: no hugs, no handshakes, no contact. And praying for the health and safety of all those around us. Wearing a mask and keeping a safe distance is the order of the day. While many businesses are closed, the ones that aren’t generally require customers to stand in line on marked spots several feet from the next spot, all to get into a place that only allows a handful of people at a time.

What am I most looking forward to doing after lockdown? Well, I’m looking forward to hugs and handshakes, and no more masks and line-ups. Then I’d like to pick up on some travel plans that I was getting my head around before ‘lockdown.’ First off, I’d like to get in a fall trip down the coast to California, something that’s become an annual thing for my wife and me. I’m also looking forward to walking into some of my favorite indie book stores and sticking my nose into some new arrivals. And I’m sure looking forward to going on some very long walks. 

I had to pull the plug on a Noir at the Bar event here in Vancouver earlier this month. We had a great line-up set and everything was in place, and it was the first time that there hasn’t been a spring noir event in Vancouver in seven years. I do have a fall event in the works, and I’m certainly looking forward to that.

I’m also thinking of new ways to promote my upcoming book Cradle of the Deep, which comes out at the beginning of November. At this point I don’t know how much will be blog tour versus actual tour. I love taking part in book readings and events, so I’ve got my fingers crossed. If it isn’t possible, then I’ll have to find some different ways to promote it via social media, blogs, podcasts and through my website. 

Have there been some sweet spots? Well, I have found more time for reading (except for the news), and I’ve been listening to more Audiobooks. I’ve also caught up on a few series and some films I’ve wanted to watch.

So, while I’ve been fortunate that I’ve been able to keep writing through these times, it sure will be nice for all of us when times take a turn and this pandemic and lockdown are behind us.

Inside out

"We're in the strangest time many of us have ever known right now. How do you decide how much of the outside world to include in your work?”

by Dietrich

Strange times indeed, and I could go on about that, but the question is how much of the outside world do I include in my work?

When I stumble on some real-life event that I find interesting and story-worthy, I like to let my imagination run with it and come up with different twists and turns. And sometimes I find a few other real events that fit in as the story progresses. By the time I’m done, there’s not necessarily much that’s recognizable from any of the original real-life inspiration. 

In my novel coming out in the fall, Cradle of the Deep, there are references to news events and happenings from the early 70s, the period the story is set in. Using actual events lent some flavor and credibility, but the story itself is pure fiction. The one coming out after that is also complete, but it follows the real-life happenings of a little known bank-robbing couple who lived in the 30s, making that one more truth than fiction.

There’s obviously more latitude in creating pure fiction than in following actual events, and usually less research is involved in the former than in the latter, but I loved writing both of them. And I like finding challenges and new ways to keep the writing creative and interesting, and sometimes that means trying something different and taking a few chances.    

The whole process of writing a novel normally takes me up to a year, with edits and more edits coming later and tacked on top. So, the initial idea really has to grab me in order for me to want to invest that amount of time in it. And usually the kind of events that interest me most offer some levity. And right now, there’s just not much going on in the world that would make me want to write about it. Maybe it’s all just a little too close to home at the moment.

And how much of the outside world to include – well, that’s a case of balancing. Generally I want enough detail to paint the scene for the reader and still keep the pace moving. I’m usually stingy with the amount of description, and many a darling has been sacrificed along the way. 

In the writing community a lot has changed in recent months. Book stores and libraries have been closed, events and launches have been cancelled, postponed, or driven online. All of it leaving writers, agents and publishers scrambling for new ways to promote their upcoming titles.

As Cathy wrote in a post recently, I too am grateful to just to be able to do what I love to do, and I’ve managed to keep writing in spite of all that’s going on. So, here’s to all of us finding our way through these times, and to things getting back to what we like to call normal.

Up around the bend

The world, and the way we live in it, has changed. These are extraordinary times. How has the business of being an author changed, for you, in this new reality?

by Dietrich

These are extraordinary times, and the world keeps revolving and evolving and many of the events going on around us keep us on the edge of our seats. And in order for me to get any decent writing done, I sometimes feel I need to extract myself from what’s going on in the real world, tune it all out, sit at my desk and get my head into the imaginary world that my characters live in.

As far as the publishing industry goes, in the years that I’ve been an author a lot has happened. Digital print-on-demand has become a great option to traditional offset printing. And we’ve bounced from print books to books-on-tape, to ebooks on disc to ebooks online, and back to print again. And audiobooks have come along, and they continue to be a growing segment of the industry. And self-publishing has evolved and continues to offer another avenue for authors as well as for readers. Platforms like Smashwords and CreateSpace allow indie authors to upload and market their work. 

While there has been a recent decline for the big-box book stores, it seems that many indie bookstores are starting to pick up and thrive once more. And Amazon’s book sales just keep jumping and showing stronger numbers every year. Social media, blogs and podcasts have become popular ways for published authors as well as those who are self-published to get noticed and promote their work online. And more literary festivals, conventions and special events keep popping up. 

Whatever the format, print books, ebooks, audiobooks, traditionally published or self-published, the good news is people continue to read, and they’re not just looking for the latest books, they’re also interested in backlists too.

And there are great blog sites like this one where an author can join in with other authors and be heard, and if they’re crafty, they can sneak in a little self-promotion. For example:

Cradle of the Deep 

Getting into bed with the wrong guy can get you killed.

Wanting to free herself from her boyfriend, aging gangster ‘Maddog’ Palmieri, Bobbi Ricci concocts a misguided plan with Denny, Maddog’s ex-driver, a guy who’s bent on getting even with the gangster for the humiliating way in which he was sacked.

Helping themselves to the gangster’s secret money stash, along with his Cadillac, Bobbi and Denny slip out of town, expecting to lay low for a while before enjoying the spoils.

Realizing he’s been betrayed, an enraged Maddog calls in stone-cold killer Lee Trane. As Trane picks up their trail, plans quickly change for Bobbi and Denny, who now find themselves on a wild chase of misadventure through northern British Columbia and into Alaska.

Time is running out for them once they find out that Trane’s been sent to do away with them, or worse, bring them back – either way, Maddog will make them pay.

It comes out November 3rd, and can be preordered from my publisher ECW Press here.

A hundred balls in the air

What element of the craft is the one you most need to improve?

by Dietrich

My aim is to constantly improve every element of the process. I never want to think I’ve mastered anything, and I never want to stop considering new ways. Not allowing things to evolve means the whole process would become stale.

Right from the jump when I started writing, I made the effort to improve my knowledge of grammar, vocabulary, and sentence structure – like the tools of the trade. And from there, I played with genres and styles and ended up balling up a lot of paper, going for three-pointers in the trash bin. 

I played with plotting tight, tried it loose, tried writing standing, lying, and sitting. I learned to keep detailed sheets on each of my characters. A reliable memory just doesn’t cut it, so I learned to make careful notes and keep timelines to avoid making the kind of slips that are so easy to make, and then miss at the editing stage.

I constantly study how people actually speak to and behave with one another, and I bring a version of that to my make-believe characters, letting each of them come to life by sounding unique and real. I also learned to let them show their worlds through their own points of view, without me stepping all over the scenes and taking over the narrative. And I learned to pepper in dark humor, and not to overdo it – just the right amount. I learned to detail the scenes and settings, and to choose the best angles from which to describe them. Putting in all the needed details without letting the overall pace drag, yet allowing those spots where the action needs to slow – when a scene needs to breathe – before picking it up again. 

Working on voice and style, I got to a point where I felt I could keep everything consistent from the start of a novel to the final page. And I learned to tighten everything up going from a first to a second draft and so on. And I learned to edit; and just as important as that, I learned when to stop editing and call the whole thing done.  

Those are the mechanics that I learned and honed. Then there are the things that come by instinct. Like knowing what to put in, and what to take out, whose POV to tell a scene from, when to ramp up tension, or take a sharp corner and throw in a surprise – something I didn’t plan on – the kind of thing a reader wouldn’t see coming from several pages back. And feeling when something’s the right thing to do. 

Every writer’s going to have a best way that works for them, this is just my way. And for me, the creativity wants to flow freestyle, without too many rules or planning standing in the way. Over the years, I’ve gained confidence and become more efficient working through the process, and I’ve learned to trust my instincts. But, I never want to feel I’ve mastered anything, and I’m always looking for new ways to explore, and hopefully doing it better.

Guess who dropped in?

This time around on Criminal Minds, I asked my friend and CM alumnus, author and founder of Bronzeville Books, Danny Gardner to tackle this week’s question. And having already had a look at his post, I’m sure glad that I did. — Dietrich

by Danny 

My dear friend, the author Susan Shea, drew the February questions for the group, and she reached me on the Bat phone (blackphone? haha.) As my blackness is preinstalled, she asked for access to the Danny Gardner Woke-API. Susan is my gurl, and the answer is always "of course," because I know she wants it done with heart. She sees the need. I included this business question: Discuss diversity in the sense of the market. What do you want to see on bookshelves from black authors in 2020?

Good question, huh? See, it puts the burden of the answer on the writer asking, so I'm safely out of there. So then Dietrich says, "Take my week, Danny." 

I did it to myself. I know.

Former criminal mind that I am—I say former, but my criminal spirit seethes wanting his day of the week back—I went and founded my very own publishing house, led by the illustrious Renee Asher Pickup, and Renee went and did what she does, which is build coalitions and foster great art. And so, whaddya know, from amongst the cries, "Oh, where are the black books??" Bronzeville has a few, and we found them low-key, with love and caution, and determination.

Here are three selections from our 2020 front list which will give you a feel for our sense of blackness. We are stacked with a depth of talent and projects that will help us grow to be a trusted diverse publishing brand. We are distributed by Ingram, and represented by Dana Kaye and Associates for marketing, and PR. Bronzeville lives.

In Love and Other Criminal Behavior, crime fiction powerhouse Nikki Dolson drops thirteen stories exploring the many different ways to love—and just as many ways to end up dead. Love and Other Criminal Behavior will keep your heart pumping fast, right up until it's broken. Nikki is featured currently in Three Rooms Press's follow-up to the Obama Inheritance, The Faking of the President, as am I, but this is about Nikki. We have high hopes for this book starting a new rhythm in short fiction. I've made the Hollywood rounds with ARCs. The buzz here is starting. She's a fine author, in any right, but what she does with the black voice is instructive. Renee saw to the work as her editor and co-conspirator, and I feel we've started something.

Destinee Schriner's debut novel, When Bluebell Blooms, has been acquired for publication in 2020. When Bluebell meets a great guy an unexpected kiss from her best friend compels her to question her sexuality and what happily ever after means to her. She is a fantastic talent, writing from a region and a perspective unique to the American experience. It's the sort of book having diversity in your DNA helps you find. Everyone here is bullish on Destinee's work. Lots of folks wanted that book. She trusts us with it. I'm crazy excited, personally.

Somewhere this year, you'll be able to enjoy The Tales of Elliot Caprice: Ace Boon Coon. Set within the immediate aftermath of A Negro and an Ofay, Elliot is called back into action when a real estate investment scam leads to the murder of a civil rights activist and brings Elliot nose to nose with each faction of Chicago's ethnic underworld, including his old friends and enemies amongst Chitown's black power elite. I put it all on the line with this one, and I hope you find it and make it a part of your bookshelf. 

So, please check for the B, and go beyond these recommendations to find the Black American voices that will help you inform your own personal experience. Thanks for having me back to guest, and keep it criminal, y'all.

Love, 

Danny

You can find out about more about what Danny’s up to and about Bronzeville Books here.