Any collectors out there?

Even in a pared-down live-small lifestyle I think that people have at least one item that serves no practical purpose but, instead, is a talisman. It could be a reminder of a person or place, or a reminder to dream of the future (a simple postcard of a beach you have visited or want to visit). I am guilty of having many such objects, but one collection is both fanciful and concrete. Technically it’s my husband’s, begun with a simple set of metal bookends, etched with the shape of a building, inherited from his mother. From there the metal building collection started. In my mind, one object is solitary and is endowed with meaning. Two play off each other. Three is a collection. With nearly 300 metal buildings, my husband’s qualifies. It started a little tongue in cheek, then was added to in remote locations, some were given as gifts, some purchased in antique stores. We started to compare the variety of metals and craftsmanship. Next thing we were connoisseurs.  It’s a diverse collection. Some are simply buildings. Others are jewelry boxes topped by a building, a few are desk sets with calendars. My favorite happens to be a salt and pepper combo. Much rarer are the coin banks. We have been fortunate to travel extensively and when I glance at the collection I am reminded of places we’ve visited. More than that, I dream of places I have yet to go.   Do you have a talisman (or collection) that serves as an aide-memoire? For me these memory aides are also reminders of a bright future.  

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Book Tour! A time for writers and readers.

 On February 6th I left home for my very first book tour, and for the next two and half weeks I visited 13 cities to talk about and sign Swiss Vendetta. I had an idea of what to expect. I have public speaking experience from my former job in the non-profit world and with university alumni relations. The latter required travel and sometimes Q&A in a different city every night. From this, I was prepared for the daily cycle of fatigue and even random thoughts along the lines of – why did I say yes to this? At the same time, I anticipated the jolt of energy that arrived every time I stepped in front of the crowd or sat at the signing table. In this, I wasn’t disappointed. There were a few surprises. The first one is a slightly embarrassing: that people had read Swiss Vendetta. To give me some credit, the night of my first stop coincided with the day of the book’s release. It was impossible for anyone other than a beta reader or recipient of an advance copy to have read it. I got used to that rhythm. The questions were about my background, why I started to write, did I always know I wanted to write mysteries. A few days into the tour, the story changed. A man raised his hand, not for a question, but with a statement: I loved this line from the book, “The young are foolish. But foolish doesn’t mean you deserve to die.” For a second I didn’t know what to say. Was the nice man a plant, someone sent by my mother to make me feel good? How could he know what was in the book? Fortunately, I relied on the old standby of Thank you, which bought me a moment to realize he’d read the Swiss Vendetta and had an opinion. However, in that first half second it was a little like what it must feel like to meet a stranger who holds up a photograph and says, Hi, I’m your here-to-fore unknown brother. Very personal and unsettling and then exciting and also a step into uncharted territory. From this point forward I had the great pleasure to meet readers – many people who had read the book and wanted to talk about characters and setting and plot points and favorite lines. Each and every one of them gave me a tiny moment of joy (even the man who had a complicated question about a character entering a place and leaving and then reentering). It was a pleasure to talk about the second in the series – A Well-Timed Murder – and to speculate about a third. I had another entirely pleasant surprise near the end of my time on the road. In reading emails from readers who had a thought to share, and some who said that they wished they could come to a signing but work prevented it, there was one from a very nice woman who had heard my book recommended by an author at his own book signing. I have always felt a comradery among writers (at least in the mystery and suspense genre) but the idea that we are out there in the world celebrating each other was such a pleasant experience. I arrived home exhausted. There is a rhythm on the road that keeps you going and when the rhythm breaks you feel the fatigue of travel and of ‘being on’ every afternoon or evening. At the same time, I can’t wait to go out there again. Apart from actually writing, talking about writing and reading is pure joy. Thank you readers who turned out and made these weeks unforgettable! As a reader, what do you look forward to at a book talk and signing? Authors, what’s been your experience meeting your readers? 

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Should you go to a conference?

 I sold my first novel, The Fiction Class, to an editor I met at the NY Pitch Conference. A few years later,  I met my fabulous agent, Paula Munier,  at the NY Pitch Conference. She sold my Maggie Dove mystery series to an editor I had met at the NY Pitch Conference. So it would be fair to say, I’m in the pro-conference camp. (I should add that I now work at the NY Pitch Conference.)  Last year, with my new mystery series debuting, I thought it  important to get out and meet people in the mystery-writing community, and so I went to three new (to me) conferences: Malice Domestic, which is geared toward cozies, Bouchercon, which is huge and was in New Orleans, and Writers’ Police Academy, which was in Wisconsin and gave me lots of hands-on experience. The conferences were thrilling, exhausting and educational and I’m still going through my notes. So, I asked my fellow Miss Demeanors what they felt about conferences and this is what they said:  Count me among the big fans, too. I attend a lot of conferences for both my day job and my writing career and learned early on that you get out of them what you put in. Like most experiences in life. Through writers’ conferences I’ve learned the difference between writing for myself and writing for commercial markets, continually learn how to hone my craft, and offer my technology expertise to fellow authors during social events to anyone who asks. I’ve also seized opportunities to hang out with a couple of my heroes whose careers I intend to mimic. And, of course, I met my wonderful agent, Paula, at a conference 🙂
–Robin Stuart Conferences? I’m a huge advocate. There’s no other place where you can learn about the business, network, and feel like a part of a vibrant community. Of course I met Paula at my first writer’s conference so I’m predisposed to like them. And there are so many choices – near and far, for craft, networking or to meet fans. Anywhere or any type, I return home re-charged. –Tracee de Hahn It’s how I found Paula. That was super helpful for me. I don’t know from a sales perspective. They always seem like writers talking to other writers. I makes me feel like I have a community, though–Cate Holahan I love writer’s conferences. As a writer, I love them for craft, camaraderie, and creativity. As an author, I love them for selling books and networking. As an agent, I love them for meeting new writers and hanging out with editors and agents and clients. Best of all, they’re fun!–Paula Munier I adore writing conferences where I can get lots of information about craft and the business of writing and seek the comfort and company of fellow writers. This year I am co-chair of my favorite conference, The New England Crime Bake. I’d love to see you there. 

–Michele Dorsey  

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My walk on the west side

I spend most of my time holed up in my office and occasionally going into the woods with my dogs. But on Wednesdays, I venture into New York City. There I teach writing classes for Gotham Writers. So every Wednesday I walk from Grand Central over to Eighth Avenue, and every Wednesday I see some amazing things.   First, I go past Library Walk, which I love. It’s a collection of plaques on the street which feature quotes by various writers. (Let me tell you that it was not easy to take this picture. I was almost trampled alive.)  Then, I keep on going until I get to the flower beds in front of the NY Public Library. In the spring, this is filled with tulips. In February it has these white branches, but it’s always changing and I never know what to expect.   Then I continue on, heading West, and the vibe begins to change. Things begin to get a bit more gritty and crowded.  I pass by the Millinery synagogue, which is an old building tucked in between a lot of new ones. I always stop and pay my respects.   Then I keep on going west, and I pass by what I think is the single most disgusting menu in New York:  Keep going west and now I’m in the heart of the Garment District, which I love. There are so many stores filled with zippers and buttons and beautiful fabrics. In the summer there are sample sales and for $5, you can buy clothes off the rack. Occasionally I am almost run down by one of those racks.                          And then I’m at Eighth Avenue and it’s time to work, and I walk into my office, chat for a few minutes and then begin talking about novels with my students. How do you get to work? 

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Seeds

 One of my favorite books is Seeds by Richard Horan, which tells of his quest to find the “trees that inspired famous American writers.” At the back of the book are some wonderful quotes about trees and here are some of my favorites: “You can’t be suspicious of a tree, or accuse a bird or a squirrel of subversion or challenge the ideology of a violet.”  –Hal Borland, Sundial of the Seasons “A tree growing out of the ground is as wonderful today as it ever was. It does not need to adopt startling methods.”–Robert Henri “He who plants a tree,/Plants a hope.”–Lucy Larcom “For in the true nature of things, if we rightly consider, every green tree is far more glorious than if it were made of gold and silver.”–Martin Luther “Never say there is nothing beautiful in the world anymore. There is always something to make you wonder in the shape of a tree, the trembling of a leaf.”–Albert Schweitzer What inspires you? 

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How Much Rejection Is Too Much

We’ve all heard the stories of writers who had their debut novels rejected dozens of times before they ultimately became best sellers. Or, more often these days, novels that were rejected only to achieve rousing success after being self-published. I love these stories! But a downside to them is that they often urge writers–and have encouraged me–to keep spending money shopping work that should be put in a drawer.  Every writer has trunk junk, those novels that served as course work in our own, free, MFA programs. If you have a book, you know what I’m talking about. That coming-of-age book filled with exposition or stilted dialogue. The thriller where, maybe, there was a giant backstory dump for the first five chapters before the action started. The mystery where we couldn’t get the plot right or kept forcing characters into situations that didn’t grow naturally from their personality profiles and back stories. The “great story” that had, basically, no real genre and didn’t qualify as literary.  Sometimes, trunk junk is resurrected. But, more often than not, it stays in a drawer, an embarrassment to the writer who has since learned better. In the worst cases, it never goes into the trunk and the writer keeps laboring to get it published even though his or her time would be better spent moving on to the next, publishable, story.  So, how many rejection letters should a writer stomach before moving on? After querying and being rejected by every agent in that year’s annual agent guide for my first novel before moving on to my next novel, which got an agent, I have some thoughts. Number one is forget cold calls. Go to a couple great pitch conferences, get critiqued, and then try to attract the attention of an agent who has seen your face. If, after doing this a few times, you still don’t have any takers, put the novel in a drawer and move on to the next one. The next one might sell. And, if the first is really that great, you can publish it when you’re better known with a proven track record of sales.  I’ll add an asterisk to this advice. If you, marketing maven, have the power to personally publicize your self-published work thanks to, say, a large blog following or hook-up with local radio stations or personal level of celebrity, then go for it. You might be the success story that inspires us all to keep writing in the face of rejection. 

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The Non-Feel Good Novel

One of my favorite novelists is Herman Koch because he makes me consistently uncomfortable. The first book I read from Koch was The Dinner. The novel’s POV protagonist, Paul Lohman, starts off as a pretty likable guy. He has some issues, a few stray thoughts that would give most people pause, but doesn’t everyone? Who hasn’t thought something that they would never say aloud? Who hasn’t laughed at a friend’s off-color joke?   As the story goes on, however, it becomes clear that Paul’s naughty thoughts are much more than one-offs. By the book’s end, I felt a bit guilty that I had liked Paul at the start. That guilt made the story stick with me even though the ending wasn’t one to revel in and the characters weren’t people whom I would ever cheer for in real life. I like my good characters with a healthy dose of bad. To me, that makes them complicated, and complexity makes people human. I’m not alone. How could Breaking Bad have been so successful if plenty of people weren’t willing to root for Walter White? Still, not everyone feels this way. When I wrote The Widower’s Wife, some readers didn’t like the fact that my main character, Ana, contemplates a crime when she feels her back is against the wall and isn’t consistently honest. They couldn’t identify with her choices. Understandable. Though I wasn’t asking readers to sympathize with her as much as empathize. If they had Ana’s back story and then were put in her difficult circumstances, might they make a similar choice? At the end of the day, my test for characters–those I read and those I write–is believability, not likability. Given their individual histories, do their actions follow? Whether or not they would be my friend is another matter.  What do you think? Should writers err on the side of likability? Should protagonists make you uncomfortable?     

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A Counter-top of One's Own

        A famous quote states a woman needs a room of her own if she’s to write fiction. But does she? Many authors have written in cafes, hotels, on buses, in cars, on trains and subways. My fellow Miss Demeanors and I share our writing places. Alexia: My favorite places to write are airplanes and hotel lobby lounges.Airplanes provide some background noise, which keeps my mind from wandering, but not so much noise that I can’t concentrate. The airplane seat provides a personal space, whose borders are defined by the armrests, that most people respect and don’t intrude upon. I occasionally encounter the overly-chatty seatmate who wants to be entertained or wants an audience for their monologue but I’ve gotten pretty good at mono-syllabic answers and body language that discourages unwanted conversation. And the flight’s duration provides a built-in time limit. I write from cruising altitude to preparation for landing.Hotel lobby lounges come with comfortable chairs, food service, and plenty of opportunities for people watching/gathering source material. Paula Munier: Oooh, I need to learn how to do that. I’m gonna try it, Alexia. Mostly I just sleep on planes and trains.As for the question: When I was a young reporter with small children at home, I could work in a crowded noisy news room or a crowded noisy kitchen, no problem.But now that my children are grown, and I work from home in an often empty house, I’ve grown spoiled. I like quiet, and require it, especially for my handwritten first drafts, which I find difficult in the best of times and places.In warm weather, what I need to wrestle with words is my lucky Waterman pen and my red leather-bound journal and a seat outside down by the lake.In the winter, I retreat to my sofa in front of the roaring fireplace and look out the windows to the now frozen lake for inspiration. Cate: With two young kids and a dog at home, I have learned to write amidst chaos. But I prefer quiet spaces. I like to write in my bedroom when the kids are in school, but have also found I can be pretty productive in the car while waiting to pick them up outside a dance or music class. I tend to edit on planes. Something about being thirty thousand feet in the air makes me ruthless. Any word or thought that doesn’t immediately interest me gets cut. Tracee: I’m with Paula…. I need a lesson in writing on airplanes. I can do it, but… I tend to binge read at 30,000 feet. in everyday life, I prefer writing in a quiet place, although I tend to move around. I like to work at a desk, in a favorite chair, or outdoors on a long table on our porch in the summer. I alternate between typing and writing, so that plays a role. Edits happen on an enormous screen (at a desk!) while the rest can occur anywhere. I do have a strange preference for working in hotels. A good hotel is peaceful, with many places to write – the room, quiet places in the lobby, a breakfast room, some still have writing rooms. Terraces, porches, by the pool… the list goes on. Susan: I love to work in my office, with my dogs snoring at my feet.  When I’m feeling peaceful, my mind feels freer to wander around. But sometimes it’s fun to be in a more frenetic location. I like sitting at one of the tables at Bryant Park and feeling all the energy from the city and scribbling in my notebook… I guess I am the pack rat in this group.  I write surrounded by treasured photos, treasured books, and post-its to remind me who I’m writing about. I’m sorry to say that my entire office looks like this, and there are two cockapoos lounging in a chair to the left of the photo Robin: Anywhere, any time. As an almost-debut author I’m hungry and motivated to write whenever I have stolen moments or can create big chunks of time. An example of a stolen moment is my day job commute. I take a train or subway a couple of times a week, which are great sources of inspiration for drawing characters based on what I see & hear. When I’m home, I alternate between my office and my kitchen. I move to the kitchen when I need to stretch my legs by standing at the counter. I’m standing there right now, in fact. One of these days I’ll invest in a pneumatic desk so I can raise and lower my home office workspace. Michele: For years, I wore so many hats, I had to squeeze writing in whenever I could find time. I wrote in courtrooms, on planes and trains, in classrooms, cars. and offices. Now that my primary focus is writing, I find I still write anywhere I can and choose. I’ve discovered I love writing outdoors (why not?) on a porch, a beach or at a picnic table. I have invested in a waterproof case for my laptop. While I love having a desk to organize me, I prefer to do the physical act of writing on my lap. Why I didn’t know until recently was that lovely lap top antique desks exist, I don’t know. But I’m sure I’m going to find one. Where do you write? 

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Honoring Excellence in the Field

 Award season is upon us. The Golden Globes have been handed out, honoring Hollywood achievements, and the Oscar nominations have been announced. The nominees wait, breaths held and fingers crossed, hoping to hear their names called when the presenters open the envelope and read, “And the Oscar goes to…” The literary world awards its share of prizes, including the Pulitzer and Nobel. Some honor excellence in writing in general, some awards are genre specific. The Lefty, the Agatha, and the Edgar, three that honor excellence in crime writing, just released their nominee lists. The Lefty Awards are presented annually at the Left Coast Crime convention for the best humorous, historical, and debut mystery novels, as well as a prize for a mystery not in the above categories. Winners are selected by votes of registered convention attendees. This year’s nominees are:Lefty for Best Humorous Mystery NovelDonna Andrews, Die Like an Eagle (Minotaur Books)Ellen Byron, Body on the Bayou (Crooked Lane Books)Timothy Hallinan, Fields Where They Lay (Soho Crime)Heather Haven, The CEO Came DOA (Wives of Bath Press)Johnny Shaw, Floodgate (Thomas & Mercer)Diane Vallere, A Disguise To Die For (Berkley Prime Crime) Lefty for Best Historical Mystery Novel (Bruce Alexander Memorial) for books covering events before 1960Rhys Bowen, Crowned and Dangerous (Berkley Prime Crime)Susanna Calkins, A Death Along the River Fleet (Minotaur Books)Laurie R. King, The Murder of Mary Russell (Bantam Books)Catriona McPherson, The Reek of Red Herrings (Minotaur Books)Ann Parker, What Gold Buys (Poisoned Pen Press) Lefty for Best Debut Mystery NovelSarah M. Chen, Cleaning Up Finn (All Due Respect Books)Marla Cooper, Terror in Taffeta (Minotaur Books)Alexia Gordon, Murder in G Major (Henery Press)Nadine Nettmann, Decanting a Murder (Midnight Ink)Renee Patrick, Design for Dying (Forge) Lefty for Best Mystery Novel (not in other categories)Matt Coyle, Dark Fissures (Oceanview Publishing)Gigi Pandian, Michelangelo’s Ghost (Henery Press)Louise Penny, A Great Reckoning (Minotaur Books)Terry Shames, The Necessary Murder of Nonie Blake (Seventh Street Books)James W. Ziskin, Heart of Stone (Seventh Street Books) The Agatha Awards honor works in the traditional (a.k.a. cozy or classic) mystery subgenre and are named for Agatha Christie. They’re presented at the annual Malice Domestic convention. Winners are determined by conventioneers’ ballots. This year’s nominees are:Best Contemporary NovelBody on the Bayou by Ellen Byron (Crooked Lane Books)Quiet Neighbors by Catriona McPherson (Midnight Ink)A Great Reckoning by Louise Penny (Minotaur Books)Fogged Inn by Barbara Ross (Kensington)Say No More by Hank Phillippi Ryan (Forge Books) Best Historical NovelWhispers Beyond the Veil by Jessica Estevao (Berkley)Get Me to the Grave on Time by D.E. Ireland (Grainger Press)Delivering the Truth by Edith Maxwell (Midnight Ink)The Reek of Red Herrings by Catriona McPherson (Minotaur Books)Murder in Morningside Heights by Victoria Thompson (Berkley) Best First NovelTerror in Taffeta by Marla Cooper (Minotaur)Murder in G Major by Alexia Gordon (Henery Press)The Semester of Our Discontent by Cynthia Kuhn (Henery Press)Decanting a Murder by Nadine Nettmann (Midnight Ink)Design for Dying by Renee Patrick (Forge Books) Best NonfictionMastering Suspense, Structure, and Plot: How to Write Gripping Stories that Keep Readers on the Edge of Their Seats by Jane K. Cleland (Writer’s Digest Books)A Good Man with a Dog: A Game Warden’s 25 Years in the Maine Woods by Roger Guay with Kate Clark Flora (Skyhorse Publishing)Sara Paretsky: A Companion to the Mystery Fiction by Margaret Kinsman (McFarland Books) Best Short Story”Double Jinx: A Bellissimo Casino Crime Caper Short Story” by Gretchen Archer (Henery Press)”The Best-Laid Plans” by Barb Goffman in Malice Domestic 11: Murder Most Conventional (Wildside Press)”The Mayor and the Midwife” by Edith Maxwell in Blood on the Bayou: Bouchercon Anthology 2016 (Down & Out Books)”The Last Blue Glass” by B.K. Stevens in Alfred Hitchcock’s Mystery Magazine”Parallel Play” by Art Taylor in Chesapeake Crimes: Storm Warning (Wildside Press) Best Children/Young AdultTrapped: A Mei-hua Adventure by P.A. DeVoe (Drum Tower Press)Spy Ski School by Stuart Gibbs (Simon & Schuster)Tag, You’re Dead by J C Lane (Poisoned Pen Press)The Mystery of Hollow Places by Rebecca Podos (Balzer & Bray)The Secret of the Puzzle Box: The Code Busters Club by Penny Warner (Darby Creek) The Edgar Awards, named for Edgar Allan Poe, are given by the Mystery Writers of America to honor the best in crime writing and television. An MWA volunteer committee selects the winners in numerous categories as well as a Grand Master. Awards are also given to honor someone outside of creative writing who has worked to promote the mystery field and for excellence in mystery publishing. This year’s nominees are:BEST NOVELThe Ex by Alafair Burke (HarperCollins Publishers – Harper)Where It Hurts by Reed Farrel Coleman (Penguin Random House – G.P. Putnam’s Sons)Jane Steele by Lyndsay Faye (Penguin Random House – G.P. Putnam’s Sons)What Remains of Me by Alison Gaylin (HarperCollins Publishers – William Morrow)Before the Fall by Noah Hawley (Hachette Book Group – Grand Central Publishing) BEST FIRST NOVEL BY AN AMERICAN AUTHORUnder the Harrow by Flynn Berry (Penguin Random House – Penguin Books)Dodgers by Bill Beverly (Crown Publishing Group)IQ by Joe Ide (Little, Brown & Company – Mulholland Books)The Drifter by Nicholas Petrie (Penguin Random House – G.P. Putnam’s Sons)Dancing with the Tiger by Lili Wright (Penguin Random House – G.P. Putnam’s Sons)The Lost Girls by Heather Young (HarperCollins Publishers – William Morrow) BEST PAPERBACK ORIGINALShot in Detroit by Patricia Abbott (Polis Books)Come Twilight by Tyler Dilts (Amazon Publishing – Thomas & Mercer)The 7th Canon by Robert Dugoni (Amazon Publishing – Thomas & Mercer)Rain Dogs by Adrian McKinty (Prometheus Books – Seventh Street Books)A Brilliant Death by Robin Yocum (Prometheus Books – Seventh Street Books)Heart of Stone by James W. Ziskin (Prometheus Books – Seventh Street Books) BEST FACT CRIMEMorgue: A Life in Death by Dr. Vincent DiMaio & Ron Franscell (St. Martin’s Press)The Lynching: The Epic Courtroom Battle that Brought Down the Klan by Laurence Leamer (HarperCollins Publishers – William Morrow)Pretty Jane and the Viper of Kidbrooke Lane: A True Story of Victorian Law and Disorder: The Unsolved Murder That Shocked Victorian England by Paul Thomas Murphy (Pegasus Books)                      While the City Slept: A Love Lost to Violence and a Young Man’s Descent into Madness by Eli Sanders (Penguin Random House – Viking Books)The Wicked Boy: The Mystery of a Victorian Child Murderer by Kate Summerscale (Penguin Random House – Penguin Press) BEST CRITICAL/BIOGRAPHICALAlfred Hitchcock: A Brief Life by Peter Ackroyd (Penguin Random House – Nan A. Talese)Encyclopedia of Nordic Crime: Works and Authors of Denmark, Finland, Iceland, Norway and Sweden Since 1967 by Mitzi M. Brunsdale (McFarland & Company)Shirley Jackson: A Rather Haunted Life by Ruth Franklin (W.W. Norton – Liveright)Something in the Blood: The Untold Story of Bram Stoker, the Man Who Wrote Dracula by David J. Skal (W.W. Norton – Liveright) BEST SHORT STORY”Oxford Girl” – Mississippi Noir by Megan Abbott (Akashic Books)”A Paler Shade of Death” – St. Louis Noir by Laura Benedict (Akashic Books)”Autumn at the Automat” – In Sunlight or in Shadow by Lawrence Block (Pegasus Books)”The Music Room” – In Sunlight or in Shadow by Stephen King (Pegasus Books)”The Crawl Space” – Ellery Queen Mystery Magazine by Joyce Carol Oates (Dell Magazines) BEST JUVENILESummerlost by Ally Condie (Penguin Young Readers Group – Dutton BFYR)OCDaniel by Wesley King (Simon & Schuster – Paula Wiseman Books)The Bad Kid by Sarah Lariviere by  (Simon & Schuster – Simon & Schuster BFYR)Some Kind of Happiness by Claire Legrand  (Simon & Schuster – Simon & Schuster BFYR)Framed! by James Ponti (Simon & Schuster – Aladdin)Things Too Huge to Fix by Saying Sorry by Susan Vaught (Simon & Schuster – Paula Wiseman Books) BEST YOUNG ADULTThree Truths and a Lie by Brent Hartinger (Simon & Schuster – Simon Pulse)The Girl I Used to Be by April Henry (Macmillan Children’s Publishing Group – Henry Holt BFYR)Girl in the Blue Coat by Monica Hesse (Hachette Book Group – Little, Brown BFYR)My Sister Rosa by Justine Larbalestier (Soho Press – Soho Teen)Thieving Weasels by Billy Taylor (Penguin Random House – Penguin Young Readers – Dial Books) BEST TELEVISION EPISODE TELEPLAY”Episode 1 – From the Ashes of Tragedy” – The People vs. O.J. Simpson: American Crime Story, Teleplay by Scott Alexander & Larry Karaszewski (FX Network)”The Abominable Bride” – Sherlock, Teleplay by Mark Gatiss & Steven Moffat (Hartswood Films/Masterpiece)”Episode 1 – Dark Road” – Vera, Teleplay by Martha Hillier (Acorn TV)”A Blade of Grass” – Penny Dreadful, Teleplay by John Logan (Showtime) “Return 0″ – Person of Interest, Teleplay by Jonathan Nolan & Denise The (CBS/Warner Brothers)“The Bicameral Mind” – Westworld, Teleplay by Jonathan Nolan & Lisa Joy (HBO/Warner Bros. Television) ROBERT L. FISH MEMORIAL AWARD”The Truth of the Moment” – Ellery Queen Mystery Magazine by E. Gabriel Flores (Dell Magazines) GRAND MASTERMax Allan CollinsEllen Hart RAVEN AWARDDru Ann Love ELLERY QUEEN AWARDNeil Nyren THE SIMON & SCHUSTER – MARY HIGGINS CLARK AWARDThe Other Sister by Dianne Dixon (Sourcebooks – Sourcebooks Landmark)Quiet Neighbors by Catriona McPherson (Llewellyn Worldwide – Midnight Ink)Say No More by Hank Phillippi Ryan (Tor/Forge Books – Forge Books)Blue Moon by Wendy Corsi Staub (HarperCollins Publishers – William Morrow)The Shattered Tree by Charles Todd (HarperCollins Publishers – William Morrow) Congratulations and good luck to all the nominees. 

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Plan Your Escape

Escapist fiction is defined by Wikipedia as “fiction which provides a psychological escape from thoughts of everyday life by immersing the reader in exotic situations or activities.” The term is often wielded like a derogatory club against works deemed unworthy by fanatical devotees of “literary fiction,” works that, according to Wikipedia, have “merit…involve social commentary or political criticism or focus on the human condition…and is often more focused on themes than on plot…” Literary fiction boasts of “analyzing reality” while escapist fiction, also known as popular or genre fiction, aims to escape reality. I love escapist fiction without apology. I’m not embarrassed to be seen reading a book that will never be nominated for a Pulitzer or a Nobel or a Man Booker prize. I’ve nothing against prize-winning works of great lit-tra-chure, except the prodigious heft of some of the hardback editions. I even read, and enjoy, literary novels. Several claim spots in my (out of control) TBR pile. But when I do read literary novels, I choose them based on the story they tell, not because of some important message the critics ensure me is waiting to be discovered in the 982 pages. I don’t need, nor do I especially want, my fiction to mirror or analyze society. That’s what non-fiction is for. I read the news to find out what’s going in the world. (Granted, it’s become difficult to distinguish between news and fiction these days. Thanks, Interweb.) If I want more depth or detail than a newspaper article can provide I turn to the non-fiction section of the bookstore. Non-fiction has come a long way since the days when it all tended to read like dust-dry textbooks. It’s become “creative” and often reads like a novel. I read fiction for entertainment. There, I said it. I feel no shame. Entertainment is not bad. Humans have always sought entertainment. True, we’ve created some sick forms of entertainment over the centuries but we’ve come up with some good stuff, too. Like fiction. I’m not hiding my head in the sand when I seek entertainment in fiction. I’m not trying to pretend what’s happening in the world isn’t happening. I know what’s going on. You can’t turn on a TV or open a social media feed or, depending on where you live/who you work for/what you look like/where you worship/who you love, step outside your door without getting a wallop of reality right upside your head. Sometimes I get so much reality my head hurts. I want to scream. I often cuss. Worse, I start to think things that make me worry I’m turning into a person I wouldn’t like very much. I need to get away from reality to save my sanity. I need to be entertained. I need to lose myself. I need to escape on the Millennium Falcon with Han Solo or down a rabbit hole with Alice. I need to bring murderers to justice with Marple and Poirot. I need to poke a finger in bureaucracy’s eye while saving the universe with Jame Retief. Of course, genre fiction can have “literary merit”. Many literary novelists have jumped the pop fiction fence and created “cross-genre” or “genre blurring” works that leave bookstores scratching their heads about where to shelve them and prize committees fielding complaints about prizes being awarded to books that are “too popular.” A popular book can make a profound statement about our society and the human condition. Science fiction has a tradition of skewering societal norms and trends. Pohl and Kornbluth’s The Space Merchants, Bradbury’s Fahrenheit 451, and Laumer’s Retief series are just a few sci-fi novels that do this in entertaining (and in Laumer’s case, hysterical) ways. It’s possible to be capital-m-Meaningful and entertaining at the same time. For example, a fictional detective can solve a fictional crime while saying something about the society in which a particular victim succumbs to that particular crime. Plot doesn’t have to be sacrificed at the altar of significance. So, genre fiction, more power to you. Keep teaching us while you entertain. But, mostly, entertain. Tell me a good story. As Sana Hussain said in her essay, “Literary or Not: The Reality of Escapist Fiction,” let me “doff the burden of [my] problems and inhabit a world…that makes up for the arbitrariness and unpredictability of the real world by offering rationality and resolution.” Bring order to chaos. Strike a blow for truth and justice. Let the good guy win. Remind me life isn’t always as twisted and ugly and painful as it seems. Entertain me. My overwhelmed brain and bruised soul thank you. Do you think the escapist vs literary debate is artificial? Is escapist a bad word? Why do you read escapist fiction? 

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