Here

Another Saturday and lord, so, so much to do–and absolutely no desire to do any of it, quite frankly. I had some trouble sleeping last night, but I feel okay this morning; it may have taken me a few hours to go to sleep, but when I finally did, the sleep was deep and restful, which is all that matters. I woke up again before seven, then slovenly stayed in bed for another couple of hours because it was comfortable. Yesterday was one of those days where I got overwhelmed with everything, primarily because it was humid and muggy and sticky and nasty; and staying down in the garage at the office to screen people and help with the syringe access program was miserable. That kind of weather literally sucks the energy out of you, and by the time my shift was over and I was on my way home, I was enormously grateful that I remembered to get up early and put the turkey breast into the crock pot, so all I had to do when I got home was shred it and make the instant stuffing for dinner.

We watched another episode of Gold Digger–still not sure where this story is going, but the way it’s filmed, it has to end with some kind of crime or something happening; whether Julia Ormond’s much younger lover ends up being killed and killing someone from her family in self-defense remains to be seen–or he may just kill her once they are married; it’s definitely filmed as a crime show, but I’m not really sure where it’s going, to be honest. It’s very well done and very well-acted, and as I have a short story in progress that follows the same sort of set-up (“Please Die Soon”), it’s intriguing to see how and where the story goes.

We also got caught up on Penny Dreadful: City of Angels, which is also incredibly well done, and I really love that they are showing the Latinx community in Los Angeles during this time period. There was a moment when I remembered the Zoot Suit riots, and vaguely remembered a movie about them from the early 1980’s called Zoot Suit, and yep, there it was–the racist LAPD breaking up a Latinx dance club where all the guys were wearing zoot suits. It’s really interesting, now that I think about it, how little of a role the Latinx community of southern California plays in most crime fiction of the time, or set in the time (although I will admit I’ve yet to read most of James Ellroy); it’s amazing how little representation minorities have in crime fiction, or in fiction in general.

This morning Facebook reminds me that last year on this date the Anthony Award nominations for 2019 were released; I’m still thrilled and honored that I was nominated for Best Short Story for “Cold Beer No Flies”, from Florida Happens. I think one of the biggest surprises to me in my career thus far is that award recognition from the mainstream mystery community has primarily come to me for short stories; I was nominated for a Macavity for “Survivor’s Guilt” and then an Anthony. (I won an Anthony for Best Anthology for Blood on the Bayou.) I’ve been writing a lot of short stories over the past few years–more so than in general; usually I simply will write a short story or find one I’ve worked on at some point when there’s a call for submissions for an anthology. I am hoping to pull together another collection of stories–its current working title is Once a Tiger and Other Stories, but that will inevitably have to change, unless I can come up with something different for “Once a Tiger”; the original concept of the story doesn’t seem to work–and last night I did get an idea for a new version (I’ll undoubtedly finish writing the other, only with a different title) which is something more workable, I think, and I also like the idea of Chanse finally dealing with his past with his fraternity at LSU.

I have a board phone call this morning, and I have to do a live on-line reading tonight for another story, “The Dreadful Scott Decision,” from Peter Carlaftes’ anthology The Faking of the President. I have yet to work myself up into a state of complete and utter anxiety about this yet, but there’s still plenty of time. I hope to carve some time out this afternoon to rehearse–but one can never be certain, can one, that you won’t stumble over words when you read your work out loud, which is always mortifying. This afternoon I intend to do some work–I am debating the wisdom of going to the gym, which is probably not wise; but my body really needs to exercise….

I also want to work on the Secret Project, now that I’ve found my character’s voice, and I also need to clean and get organized; I also need to go to Office Depot at some point and buy an ink cartridge for my printer and a new journal, as the current one is filling up. And at some point, I should go back through all the new journals to look for notes and so forth on projects–and ideas I scribbled down in the heat of the moment in order to write later.

All right, these dishes arent’t going to do themselves, so let me get started on that mess.

And until tomorrow, have a lovely weekend, Constant Reader, and as always, thanks for checking in.

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Take This Job and Shove It

My very first job was at a McDonalds.

I was sixteen, a senior in high school, and I actually wanted to work; make my own money to buy things for myself. I was a very good employee; I wasn’t to begin with, but an honest conversation with an encouraging manager turned me into one. I knew how to do everything by the time I quit; I could open or close; work the grill, a cash register, or the drive through; I could clean grills and take apart the ice cream and shake machines and put them back together again; I knew how to slake french fries and how to package hamburgers; how to dress them and toast the buns; how to clean the floors and drain the grease vats; to tube tartar and special sauce. I knew how to make pancakes and scrambled eggs; Egg McMuffins and sausage patties. My uniform was brown polyester and a paper hat. I could take your order, tray it, ring you up and give you your correct change within ninety seconds. Thank you and come again with a smile to every person I worked with; you were given orders with a please and you acknowledged with a thank you. We weren’t allowed to stand around–if I heard if there’s time to lean then there’s time to clean once, I heard it so many times it felt like I heard it in my sleep. I was paid $2.25 an hour; minimum wage increased after a year and I also got a nickel raise per hour, bringing me up to a whopping $2.60 per hour.

I’ve had a lot of jobs over the course of my life, and no matter how crappy a job it was, I always tried to make the best out of it and do the best I could at it. I usually would get bored once I’d mastered an aspect of my job; I needed to learn new tasks and do different things in order for me to not eventually quit–or get so bored on the job I’d make a heinous and stupid mistake that got me fired. I always took getting fired as a sign that yeah, I should have moved on already, thanks for the kick in the pants. All I ever really wanted to do was write–and for so much of my life I was convinced that it was just a pipe dream that would never ever come true, for so many varied and different and just plain sad reasons, with the end result that I was always trying to find a career, something that could hold my interest, and to no avail, with the end result that I was completely miserable.

Every once in a while, whenever I get frustrated or angry with the publishing business–whether it’s a late payment, or another rejection, or another publisher that isn’t paying their authors, or systemic oppression of some kind or another–and I start to think fuck this business, it’s brutal and it sucks and why on earth do I keep doing this to myself…I do something to remind me how grateful I am for this career, this crazy, infuriating, never really quite what I want it to be career: I like to  think about the path that it took to get here, some of the jobs I’ve had;  all the missed opportunities and how easy it was to get discouraged and for self-doubt to insinuate itself into my consciousness and get me to give up again for a period of time…

But I always somehow came back to the wanting to write.

This was a good year for me, although I don’t seem to remember ever thinking that over the course of the year as it passed. I published the eighth Scotty Bradley novel this past October, Royal Street Reveillon, and I am, for once, actually rather pleased with a book that I’ve published (which is a step in the right direction, right?). I also published a collection of short crime fiction stories; some originals, others previously published: Survivor’s Guilt and Other Stories. Two of the stories were nominated for awards; the eponymous title story was a Macavity finalist and “Cold Beer No Flies” (originally published in Florida Happens, the St. Petersburg Bouchercon anthology) was an Anthony Award finalist. Pretty cool, right? There was also that Anthony nomination, and I couldn’t have been more pleased to have lost to Shawn Cosby. My story “This Town” was included in Holly West’s Murder-a-Go-Go’s anthology, a fundraiser for Planned Parenthood, a cause near-and-dear to me. The story is one of my personal favorites of my own, and got some really nice feedback from people. I also got my story “Moist Money” in the Dark Yonder anthology, which is also a fundraiser for a food bank.

I managed to write several drafts of a new novel manuscript, but it remains incomplete at this time; I also have two other novels in some sort of progress just sitting around waiting for me to get them done. I do not see this as a failure (I used to do just that; something unfinished? You failed) but as symptomatic of me taking my time and trying to do better work. I felt like I was getting stale, and so I decided to take some time away from writing as well as try to rejigger the way I work on fiction. And if it means that it takes longer to write a book I’m completely satisfied with, so be it.

I also came up with a great idea for a new noir novel, set in the ambiguous early 1950’s–Chlorine–and even took a few hours to bang out a first chapter. Likewise, I also came up with ideas for another Scotty book and another Chanse book, as well as a stand alone crime novel built around Venus Casanova, at least in conception; I may not be able to  use the “world of New Orleans” I’ve built in my two series and several short stories, which are all kind of interconnected. I wrote several short stories this year, but still have any number of unfinished ones and others than need additional drafts. I started planning out another short story collection, and an essay collection.

So, in retrospect, it was kind of a good year for me as a writer. I also made several recommendation lists, for people to check out my work–both as a gay writer and as a New Orleans writer. I still have some things on my bucket list to check off, like getting a story into Alfred Hitchcock’s Mystery Magazine and an MWA anthology, doing a Noir at the Bar, among many other things.

So, while I may have spent most of the year feeling miserable about my writing career, a look back shows just how negative I actually was being–which is something I really need to work on. I’m trying to not be so self-deprecating as I have been my entire life, belittling my own accomplishments, because it’s kind of self-defeating. Sure I could have probably written more, and done more, and gotten further along in my career–but everything happens the way it does for a reason, and I have to believe always works out in the best way possible for me–I have to believe that because it has proven true, over and over and over again.

And on that note, tis back to the spice mines. LSU plays Oklahoma this afternoon in the play-offs, and while obviously I want LSU to keep winning and keep this magical season going….the disappointment won’t be too great if they do lose; because we do have this magical season to look back on.

Have a lovely last Saturday of 2020, Constant Reader.

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Songbird

So, daylight savings time means I didn’t sleep as late as I have the last few mornings–simply because the clocks were turned back an hour. I woke up yet again at ten this morning–I went to bed around ten last night–and slept like a stone yet another night. Sleep really is the best thing, isn’t it? These last few nights of good sleep have been absolutely heavenly, and I feel a million times better than I did before this staycation started. I also can’t help but feel that missing Bouchercon–much as I hated to do so–was probably the smartest thing I could have done; thank you, doctor, for forbidding my travel.

And a belated congratulations to all the Anthony Award winners! I didn’t win for Best Short Story, but couldn’t be happier that Shawn Cosby did! He’s a great guy, a terrific writer, and also supports other writers. His debut novel, My Darkest Prayer, was fantastic; he recently signed a two book contract with Flatiron Books and I can’t wait to see what he does next, quite frankly. The other nominees–Art Taylor, Barb Goffman, and Holly West–are also terrific writers and awesome people who support other writers as well. Being nominated for an Anthony for a short story was one of the biggest thrills of my career so far.

It’s also weird that it’s a Sunday morning and  there’s no Saints game today.  It’s weird that both the Saints AND LSU have bye weeks the same weekend; but next weekend is going to be tough–LSU at Alabama for all the marbles; the Saints playing the hated Atlanta Falcons.

I imagine by the end of that weekend I am going to be quite worn out from emotion and adrenaline.

Angela Crider Neary, who moderated the Anthony Short Story nominees panel yesterday, very graciously sent me the questions she intended to ask me on the panel, so I thought I’d go ahead and answer them today–even though I’ve already lost. 😉

You’ve written in an impressive array of genres – over 50 short stories, two different private eye novel series, young adult novels (some with supernatural elements), and even some erotica as well as some horror and suspense.  Do you like one of these genres or formats (short or long) better than others, and tell us what you enjoy or find rewarding about writing each of them.  Are there any other genres you have written or would like to write?

I’ve also written some romance! I like all the genres I write in pretty equally; I just wish I was better at writing horror than I am. I’ve always had a strong passion for history, so I think historicals is something I’d like to try at some point–it surprises me that I haven’t already. I find writing short to be a lot more difficult than writing long; I always think of ideas in terms of books rather than short stories, and sometimes have to modify the idea down, as I can certainly never write all my ideas as novels unless I have an exceptionally long life. I’ve been experimenting with writing novellas lately–I’m in the process of writing two right now. Of course, there’s little to no market for novellas. I guess I’ll wind up self-publishing them or something.

I love the title of your current Anthony-nominated story, “Cold Beer No Flies.”  Is there a story behind this particular title, and how important do you think titles are for stories or novels?

Thank you, I’m rather partial to that title myself! When I was a teenager in Kansas, there was a bar in the county seat that was very similar to the bar in my story. It was simply called My Place and they had a reader board out on the side of the road and one day it said COLD BEER NO FLIES. That tickled me for some reason, and I never forgot it. About ten years later I wrote the first draft of the story with that title. It sat in my files for a very long time, and about ten years ago I revised it for the first time, shifted the setting from Kansas to the Florida panhandle, and changed the main character from a young woman to a young man. When Florida Happens came about, I revised it one last time and submitted it to the blind read process, and was delighted to have the judges score it highly enough for inclusion. (My story in the Blood on the Bayou anthology also went through the blind read, and was picked.)

You have two PI novel series set in New Orleans.  How would you describe these two series, how they differ from each other, and how you’re able to slip into the separate moods and characters of each of them?

The Chanse series is more hard-boiled than the Scotty series, which is more light and fun. Chanse is a completely different kind of  gay man than Scotty; he was raised working class, his family lived in a trailer park and were evangelical Christians in a small working class town in east Texas. He used football and a scholarship to LSU to get out, and finally came out officially after graduating from college. He’s more scarred emotionally, more bitter and cynical, and has a very low opinion of humanity. Scotty is the polar opposite of Chanse: from a wealthy society family on both sides, he grew up in New Orleans with extremely liberal, progressive parents who never had any issue with his sexuality, and was kind of a fuck-up in some ways, though–flunked out of college, worked as a stripper and a personal trainer, etc. But he has a very positive outlook on life, and has no baggage about his sexuality whatsoever; in fact, he revels in being gay. I’d never read a character like that before, and I felt like there needed to be one. Scotty is much more fun to write than Chanse–I kind of just make up the story as I go, because that’s kind of how Scotty lives his life, up for anything and everything–whereas Chanse is more rigid, more unhappy, and more of a tight-ass, so I have to plan his stories out from the very beginning.

You’re the co-founder of the Saints and Sinners Literary Festival, which takes place in New Orleans every spring.  Tell us about it.

Well, way back in 2002 my partner, myself, and Jean Redmann went out for dinner and drinks one night, and over the course of conversation the subject of writer’s conferences came up–and how queer writers were often not included, and if they were, were put on what we call a “zoo panel”–a panel where all the non-straight writers are gathered together which, no matter the good intentions, always felt like we were zoo animals people came to see and point at, and those panels inevitably devolved into “let’s teach the nice straight people about homophobia.” We thought it would be lovely to have an event of our own–open and welcoming all who wanted to participate–where being queer wasn’t the topic of discussion. We also thought it would be good to stress the importance of queer literature and its importance in its response to the AIDS epidemic, and try to honor the many writers we lost to the plague years. We figured we might be able to pull it off maybe once or twice before interest died down…and here we are, seventeen/eighteen years later, still going strong. I have less to do with the organizing now than I did in the beginning–most of it is my partner and his team–but I still get credit for it.

Your Lambda Literary Award winning Murder in the Rue Chartres was described by the New Orleans Times-Picayune as “the most honest depiction of life in post-Katrina New Orleans published thus far.”  There was such overwhelming personal and community devastation after the hurricane and flooding.  Why did you choose to write about the hurricane and what was that like for you?

It’s so weird to me that it’s been over fourteen years now. But even now, it’s impossible to describe, or talk about, everything that happened because of Katrina. 90% of the city was rendered uninhabitable, and for awhile we weren’t even sure if the city was going to come back–or if we would ever be able to come home. We were lucky, we were able to evacuate when so many couldn’t–and that guilt lasted a really long time. It took me a long time to forgive myself for leaving New Orleans to die. It’s very difficult to describe how New Orleanians feel about New Orleans, that deep love that runs through, and colors, everything. The entire time I was gone I felt unmoored, unanchored, unsure about the future. I also knew I was going to have to write about Katrina, and I didn’t really want to. I was one of the first to come back–I returned to New Orleans on October 11th, about six weeks or so after it happened. I had been blogging at that time for not quite a year–but I was blogging extensively throughout that time, describing what I was feeling and what I was seeing. (I only wish technology had advanced to the point where phones had cameras–I didn’t have a digital camera at the time and so was unable to document everything with pictures; all I have is memories and the blog.) Katrina was such an enormous event, that the entire world was aware of–I didn’t see how I could possibly continue to write fiction about New Orleans without acknowledging Katrina, but at the same time I didn’t want to write about it, either. The Scotty series–I’d finished and turned in the third book in that series, Mardi Gras Mambo, about three weeks before the storm and I’d intended to start writing the fourth almost immediately, after taking about a month off to rest and regroup. Ironically, the idea was called Hurricane Party Hustle and I wanted to write a book set in the city during an evacuation with another near-miss hurricane–which I’d already experienced three or four times at that point. Needless to say that idea was scrapped. I also didn’t see how I could write a light, funny book about New Orleans when we were still in the midst of everything.* I wasn’t even sure I wanted to write a Chanse book. My editor at Alyson Books, Joseph Pittman, kept after me, telling me I was the perfect person to write such a book, and so on and so on, and I finally agreed to write it–but only on the condition that Chanse, like me, had evacuated and returned on the same day I did. I didn’t think survival stories from Katrina were mine to tell.** Writing the book itself was incredibly difficult, and I found myself drinking a lot whenever I finished for the day. But in the end, it was incredibly cathartic to write the book and I am very grateful, to this day, that Joe wore me down and convinced me to write it.
*Of course, now, all these years later, I can actually see how a funny book could be written about New Orleans in the aftermath–particularly in the way New Orleanians who were here reacted. The ruined refrigerators, for example, that everyone dragged out to the curb for disposal and sealed with duct tape–people decorated their refrigerators or wrote slogans on them; some of them were enormously funny. New Orleans has always had a sort of gallows sense of humor about itself; we always laugh, no matter what, and I do regret that I wasn’t in a place where I could examine that.
**I did eventually write a survival story, “Survivor’s Guilt” (my story in Blood on the Bayou, it was nominated for a Macavity Award a few years ago), and while I still didn’t think I had the right to tell a survival story–I kept questioning myself the entire time I was writing it–I based a lot of it on survival stories I’d been told, and given the response to the story, I think I got it right. I have another idea for a noir story set in the aftermath as well–it came to me on a panel at Raleigh Bouchercon several years ago Katrina Niidas Holm was moderating, and she keeps pushing me to write it–and I think I’ll someday get to it.
I also think sometimes I might go ahead sometime and write Hurricane Party Hustle–probably enough time has passed to write a story about an evacuation and near-miss , and sometimes I think I might go back and write a Scotty book set during that time as well…maybe.
And on that note, back to the spice mines. Thanks to everyone who voted for my story for the Anthonys so it made the short-list; that meant a lot, and I appreciate it.
And here’s hoping I won’t miss Sacramento next year.

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Long Train Runnin’

Ah, it’s the weekend. I went to bed relatively early last night, after watching the final episode of The Last Czars (which, of course, included the horrific massacre scene in the basement in Ekaterinburg; which is probably why everyone sees the monstrous, people-abusing, careless Romanovs as tragic figures–the way they died, as opposed to the way they lived; it’s impossible to hear the children screaming and the sound of the guns without feeling badly for them) and before that, I watched Spider-Man Into the Spider-verse, which was, without question, the absolute best superhero movie, bar none, that I’ve ever seen. Well-written, well-voiced, and extraordinarily animated, it was quite an achievement in film making, and definitely a high spot when it comes to superhero films The entire time I was watching I kept thinking imagine how incredible this must have looked on the big screen. It took me a moment to get used to the style of animation, but it was absolutely amazing, and should be used as a blueprint for origin stories for superheroes. I do hope they do another; I really loved the character of Miles Morales and his family.

This morning I woke up well rested with a shit ton of work to get done today. Yesterday I was lazy; I got home from work around one and just cleaned the house. I never manage to seem to finish getting my office in order, because there simply isn’t enough space for me to put things, and I am always afraid to put thing into my inbox because they tend to get buried once they are there. I try to put things into it in ways that they can still be seen; but I don’t always have the best luck with that, and out of sight, out of mind if I don’t have it on the to-write list (speaking of which, I don’t see it anywhere, damn it to hell), which is also ridiculous when you consider how much I have to get written, or hoped to have written, by the end of this month.

One thing at a time, cross them off the list, and be done with it.

I’m also looking forward to spending some time with Steph Cha’s Your House Will Pay over the course of the weekend; after which I am going to read S. A Cosby’s My Darkest Prayer. I’d also like to get started reading the other Anthony nominees for Best Short Story (Cosby is one of my fellow nominees, along with Holly West, Barb Goffman, and Art Taylor–three of my favorite colleagues)–I still can’t believe I’m an Anthony finalist. I am very proud of my story, and its genesis; I originally wrote the first draft when I was in my early twenties or late teens, while I was still living in Kansas–close to forty years ago, and here it is, nominated for an Anthony Award.

How fucking cool is that? I had no idea when I wrote that story in long hand on notebook paper that forty years into the future it would be nominated for an award I’d not yet heard of, to be presented at a fan conference I knew nothing about, and that my life would be something I didn’t even dare dream of at that age.

I was thinking about my self-appreciation project last night, the one in which I work on stopping belittling my achievements, learn how to accept compliments, and take some pride in myself and my writing and everything I’ve done thus far in my life. Because I should be proud of myself. I’ve managed to sustain an almost twenty year career in a niche sub-genre of a genre, and not only that, I’ve accomplished quite a bit not even counting the writing itself. I was also thinking last night back to the days when I was editor of Lambda Book Report, which kind of set the stage for my publishing career. I reinvented myself, you know; I went from being a highly knowledgeable industry insider, basically running a magazine that was sort of a cross between a queer Publisher’s Weekly and a queer The Writer; for nearly two years I read a lot of queer fiction, and if I didn’t actually read a queer book, I knew a lot about it. I had already sold Murder in the Rue Dauphine to Alyson Books when I took the assistant editor job at Lambda Book Report, and that was actually the first job I ever had where I kind of flourished. It was the first job that allowed me to be creative in what I did, and where all the lessons I’d learned at various dead-end jobs along the way could be applied in a very positive way. I’d also learned how to treat writers, from being treated myself in very shitty ways by magazines and editors and papers I’d written for by this point–something I continue to do today as an editor (one of my proudest moments of my career thus far was being told by one of the contributors to Florida Happens–Hilary Davidson, a very talented writer whose works you should check out–that working with me was one of the best editorial experiences she’d had in her career thus far). Lambda Book Report seems like it was a million years ago; I actually officially resigned from the job in November 2001, three months before Rue Dauphine was published finally. I resigned because of the conflict of interest involved in running a review magazine while publishing my own novels; there was a strong sense, at least for me, that I couldn’t allow my own books to be reviewed in my own magazine, and as it was the only real game in town nationally (the odds of being reviewed in any of the national gay magazines–Out, The Advocate, Genre–were slim to none; on the rare occasions when those magazines chose to review books, it was either a straight celebrity ally’s (so they could do a feature and put straight celebrity ally’s picture on the cover)or if it was an actual queer book by a queer writer, it was never a genre work. They sniffed disdainfully at queer genre writers; kind of how Lambda Book Report did before I came along, and, all due respect, kind of how the Lambda Literary Foundation (which was always the parent apparatus of the magazine, and now runs a review website) still does. I’ve rarely been reviewed there–either in the magazine I left behind, when it was still being done as a print magazine–or on their website.

But I did a great job running that magazine, if I do say so myself, and I am very proud of everything i accomplished while working there. I met a lot of people, a lot of writers, and made some lifelong friends out of the experience.

I have also been nominated for the Lambda Literary Award, in various categories and under various names, quite frequently. I don’t know how many times I’ve been nominated, to be honest; it’s something like thirteen or fourteen times. I think the only people nominated more times than me are Ellen Hart, Michael Thomas Ford, and Lawrence Schimel. I won twice, once for Anthology for Love Bourbon Street, and once for Men’s Mystery for Murder in the Rue Chartres. The statues are somewhere around here; my Moonbeam Award medals hang from a nail right next to my desk, and my Anthony Award for Blood on the Bayou sits on one of the shelves in the bookcase where I keep copies of my books, but I’m not quite sure where my Lambda Awards are. My Shirley Jackson Award nominee’s rock is in my desk drawer, and even though it just represents a nomination (I didn’t win the award), it’s my favorite out of all the awards I’ve won. I don’t get nominated for Lambda Literary Awards anymore–I think the last time I was nominated was for Night Shadows, which should tell you how long it’s been–and I don’t really care about that anymore, to be honest. After thirteen or fourteen times…yeah, it’s just not quite the thrill it was back when I was nominated the first time. Getting nominated for things like the Shirley Jackson, or the Anthonys, or the Macavitys–those are thrilling because they come from out of nowhere, and are completely unexpected.

And let’s face it, being nominated for Best Short Story awards, for the kid who was told by his first writing instructor that he would never be published, would never have a career as a writer, and had no writing ability whatsoever–opinions all formed by reading a short story written by a kid who’d just turned eighteen–are very thrilling and satisfying. My lack of confidence in my short story writing abilities is pretty extreme, and so whenever one gets published or one gets nominated for an award or I get some great feedback from readers for one, it’s quite reassuring and quite lovely.

All right then–Steph Cha’s novel is calling my name, and I want to get some things written as well before I run my errands later this morning.

Have a lovely day, Constant Reader.

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Daddy’s Home

Hello, Thursday morning, how are you?

Another lovely night’ sleep last night, and it’s quite marvelous to feel so rested and be energetic as I have been this entire week (which undoubtedly means I’ve now jinxed it and will not sleep well tonight). Have I gotten as much finished as I wanted to this week? Of course not. I was very tired when I got home from work last night, which means I wrote maybe 100 words on Chapter Nineteen; but it’s a hundred more words than I had yesterday morning, so I am calling that not only a win but a major win; I always count anything on a day when I was tired and didn’t want to do anything a major victory.

Yesterday was a very strange day for New Orleans in July; it was actually cool-and it was about twenty-thirty degrees cooler here than it was in places like, you know, PARIS. Anytime we have a relatively lovely day in New Orleans in the summertime is highly unusual; but it also kinds of messes with the city’s mentality and energy levels in many odd and different ways. I didn’t work very much on the large project that landed in my lap recently, but I think today I’ll be able to get some work done on it. Today is the first of my two short days this week, which is lovely; I can make groceries on my way home from the office tonight, finish the laundry and the dishes, and maybe even (gasp!) make dinner tonight. Depending on what time Paul gets home–he’s buried under with grants, as always, in July, which means getting home rather late every night (last night he got home after nine). This should give me some time to get some work done around the house as well as some work done on Bury Me in Shadows.

That’s the plan, at any rate. I also have an essay to write, some short stories to get going on, and of course, the Lost Apartment is a disaster area. Keeping the apartment neat and tidy is really a full time job, it seems, and of course on my two long days I simply don’t have the energy to do anything about it–or if I do, I won’t have the energy to write. This creates a war within myself; I cannot stand having a messy home and it both bothers and distracts me from writing, but if I do something about it I won’t have the time or the energy to get the writing done. The endless struggle…

But we shall see how today turns out. I may even go make the major grocery run tomorrow after I get off work; tomorrow is an early day and I get off work around run, which is plenty of time for me to run uptown and get the mail, while circling back around to make the grocery run before heading home to both clean and write. That’s really the question, isn’t it, how do I–or any other writer–find enough time to write the things we need to get written?  It really always comes down to finding the energy, really–one of the things I was thinking about the other day when I was talking about the need for self-absorption as a writer has everything to do with not wasting energy you need for your writing on people who ultimately won’t pay off in the long run.

Also, the Macavity Award nominations came out today:

The Macavity Awards are nominated by members of Mystery Readers International, subscribers to Mystery Readers Journal and friends of MRI. The winners will be announced at opening ceremonies at Bouchercon, the World Mystery Convention, in Dallas, TX, October 31, 2019. Congratulations to all.

If you’re a member of MRI, a subscriber to MRJ, or a friend of MRI, you will receive a ballot by August 15, so get reading.

Best Novel 

November Road by Lou Berney (William Morrow)

If I Die Tonight by Alison Gaylin (William Morrow)

The Lost Man by Jane Harper (Flat Iron Books)

Jar of Hearts by Jennifer Hillier (Minotaur Books)

Hiroshima Boy by Naomi Hirahara (Prospect Park Books)

Under My Skin by Lisa Unger (Harlequin – Park Row Books)

Best First Novel 

My Sister, the Serial Killer by Oyinkan Braithwaite (Doubleday)

Dodging and Burning by John Copenhaver (Pegasus Books)

Where the Crawdads Sing by Delia Owens (G.P. Putnam’s Sons)

Something in the Water by Catherine Steadman (Ballantine)

The Chalk Man by C.J. Tudor (Crown)

Best Nonfiction 

The Metaphysical Mysteries of G.K. Chesterton: A Critical Study of the Father Brown Stories and Other Detective Fiction by Laird R. Blackwell (McFarland)

Conan Doyle for the Defense: The True Story of a Sensational British Murder, a Quest for Justice, and the World’s Most Famous Detective Writer by Margalit Fox (Random House)

Classic American Crime Fiction of the 1920s by Leslie S. Klinger (Pegasus Books)

I’ll Be Gone in the Dark: One Woman’s Obsessive Search for the Golden State Killer by Michelle McNamara (HarperCollins)

Agatha Christie: A Mysterious Life by Laura Thompson (Pegasus Books)

The Real Lolita: The Kidnapping of Sally Horner and the Novel That Scandalized the World by Sarah Weinman (HarperCollins)

Best Short Story 

 “Race to Judgment” by Craig Faustus Buck (Ellery Queen’s Mystery Magazine, Nov/Dec 2018)

“All God’s Sparrows” by Leslie Budewitz (Alfred Hitchcock’s Mystery Magazine, May/Jun 2018)

“Bug Appétit” by Barb Goffman (Ellery Queen’s Mystery Magazine, Nov/Dec 2018)

“Three-Star Sushi” by Barry Lancet (Down & Out: The Magazine, Vol.1, No. 3)

“The Cambodian Curse” by Gigi Pandian (The Cambodian Curse and Other Stories)

 “English 398: Fiction Workshop” by Art Taylor (Ellery Queen’s Mystery Magazine, Jul/Aug 2018)

Sue Feder Memorial Award for Best Historical Mystery 

A Lady’s Guide to Etiquette and Murder by Dianne Freeman (Kensington)

City of Ink by Elsa Hart (Minotaur)

Island of the Mad by Laurie R. King (Bantam)

The Widows of Malabar Hill by Sujata Massey (Soho Crime)

A Dying Note by Ann Parker (Poisoned Pen)

A Forgotten Place by Charles Todd (William Morrow)

Lots of friends on that list! Congrats all!

And now back to the spice mines.

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You’re So Vain

You probably think this blog post is about you.

Vanity, thy name is Gregalicious.

Vanity is one of the seven deadly sins (which are not mentioned in the Bible, I might add; they are a part of Christian dogma and tradition, but never specifically named as such in their holy book) and I was raised to be humble, not vain; pride is also one of the deadly sins, and pride goes hand in hand with vanity.  The satisfaction of achieving or accomplishing something was theoretically enough of a reward, in and of itself, without getting praised for it; it’s wrong to bask in the glow of people’s compliments. As I have mentioned before, this has made promoting myself as a writer difficult; every time I make a post crowing about succeeding at something or winning something or being nominated for an award I can hear my mother’s voice, in her soft Alabama drawl, saying, “highs are always followed by lows, remember that, life likes to take the air out of people for having too much pride.”

It’s something I still struggle with. I was also told most of my life that self-absorption is also problematic, but a certain degree of self-absorption is necessary if you’re going to succeed at writing. (I think that like with all things, it’s a matter of degrees; some self-absorption is necessary, but anything taken to extremes is never a good thing for anyone.) Most writers have full time jobs and families, so the time they spend actually working on their writing is precious and should be sacrosanct; we give up our free time to write, and many of us get a very small return for that time. I’ve been accused of being self-absorbed by people I know most of my life, and it always used to sting a little bit, because the implication was that being self-absorbed is a bad thing. But as long as it isn’t taken to extremes it’s necessary, and when I began to notice that my “self-absorption” accusations usually came about because I was choosing to be jealous of my spare time and not do something someone else wanted me to do–I stopped caring so much about it and started embracing self-absorption.

“Sorry, I can’t do that, that’s my writing time.”

Having that statement met with anger and accusations of being selfish and self-absorbed, I realized, said more about the person saying it than me, to be honest. I am a writer, and am always in the middle of writing something, or have a manuscript or many short stories in some form of the process. I should, quite literally, always be writing and working, and I also finally realized that if a friend cannot respect my writing time, and gets angry and belligerent and nasty and insulting about me not wanting to give that time up….that person isn’t actually a friend, after all, and is everything they are accusing me of–but because of many experiences and lessons learned in my life (that I am still struggling to unlearn) my automatic default is to feel guilty and blame myself for being a bad person.

I’m learning. I am still learning, and unlearning, my conditioning. I’ll probably go to my grave still wrestling with these kinds of things, but I am getting better about this sort of thing.

My friend Laura suggested the other day that another good thing people should do is write a press release about themselves; channel their inner publicist and write a press release highlighting your achievements and accomplishments in glowing terms, without embarrassment and without shame. I’ve been thinking about that for a few days now, and looking back over my life, there have been quite a few highlights in my writing/publishing career…and I should be proud of myself. I’ve managed to publish over thirty novels and twenty anthologies and an absurd amount of short stories and essays and book reviews and author interviews and fitness columns/articles over the years. I wrote a writing column for the Erotica Writers Association for several years. I am currently writing a column called “The Conversation Continues” for the Sisters in Crime Quarterly, and have been for several years. I’ve been nominated for a Lambda Literary Award fourteen or so times, winning twice. I’ve been nominated for the Anthony Award twice, won it the first time, and will find out in Dallas how I did the second time. I have been nominated for a Macavity Award and a Shirley Jackson Award. I won two Moonbeam Children’s Book Award medals, one gold and one silver. I won a Lesbian Fiction Readers Choice Award for Anthology/Short Story Collection for Women of the Mean Streets: Lesbian Noir, which I co-edited with J. M. Redmann. My first horror anthology, Shadows of the Night, won a queer horror award, and Midnight Thirsts won a Gaylactic Spectrum Award. I won several Best of the Year awards from the Insightout Book Club, which used to be a wonderful queer version of the Book of the Month Club. I’ve published two short stories in Ellery Queen’s Mystery Magazine, and have been published in both Mystery Weekly and Mystery Tribune. I had a short story in New Orleans Noir. I’ve written for the Mystery Writers of America newsletter and for the Edgar Annual (twice), and even edited and put together the Edgar Annual once.

Wow, right? I do think it’s important, as Laura says, to take stock of everything you’ve achieved periodically, so you can get a better handle not only on your career but as to how other people see you.

You may not like me, you may not like my work, but you cannot deny me my accomplishments. And when I put them down, when I write it all down and look at it and reread it over, it is kind of staggering in some ways…particularly when you consider I’ve worked full-time outside the home since 2008, and if you take into consideration how much editing I’ve done since around 2002/2003…yeah. I’ve done quite a bit.

And seriously, no wonder I am tired all the time.

Today Paul is heading into the office and then is spending the evening with friends; leaving me here all alone by myself in the Lost Apartment for the majority of the day. I have a lot of work to get done here this weekend–not just cleaning and so forth, the usual, but I also have a lot of emails to get through, some writing to do, and some revising/editing to do. I need to get the mail and I’d also like to get some groceries at some point today; I’m not precisely sure how that’s going to play out, frankly, but it’ll get taken care of. I started rereading Bury Me in Shadows while sort-of watching the fifth episode of The Last Czars (“Revolution”), and then after Paul got home we started watching the CNN series The 2000’s on Netflix–the episodes on technology and the first one on television in the twenty-first century, which is, as always, fascinating. (We’ve really enjoyed all of CNN’s decade-documentary series, from The 1960’s on.)

Rereading Bury Me in Shadows also was a bit of a struggle, you see, because while I have talked endlessly about the troubles I am having writing this book, some of them are due to stubbornness and some of them are due to technical challenges for my writing. The stubbornness comes from the refusal to let go of the opening sentence, which I love (The summer before my senior year my mother ruined my life.), but the reread showed me it really doesn’t work and doesn’t fit with the story or the style of writing I am using. The style of writing–remote first person present tense–is a departure from the way I usually write a book and something new and difficult I am trying, and after decades of  tight first or third person past tense, I have to actually pay attention because if I am not I will, by default, slip into the past tense. The first chapter is going to need to be completely redone, almost completely reworded, from start to finish. I’d like to finish reading it and making notes this weekend; I’d also like to finish writing Chapter 18, and also would like to revise some other short stories and other chapters of books in some sort of progress–I want to reread that first Chanse chapter I wrote, for example, and look at the first chapter of Chlorine again–and I should probably start working on some promised short stories I have to write.

It’s daunting, but I need to make a list, keep it handy, and just mark things off as I go.

It’s always worked in the past, so I should stop resisting, do it, and be done with it all.

And on that note, Constant Reader, I am heading back into the spice mines. Have a lovely Saturday, however you choose to spend it.

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Our Lips are Sealed

As Constant Reader is already aware (primarily because I can’t stop talking about it), I have a story in the upcoming anthology Murder-a-Go-Go’s, edited by the sublime Holly West and featuring an intro by the fabulous Jane Weidlin. As a huge fan of the Go-Go’s from the very first time I heard “Our Lips Are Sealed” on the radio of my car (I immediately bought their first album, Beauty and the Beat, on my next pay-day; it remains one of my all-time favorite albums. I also liked Vacation, just not as much…but Talk Show is also brilliant.

Another thing that is exciting for me about being in Murder-a-Go-Go’s is who I am sharing the table of contents with! Some of the best writers in the genre today! Woo-hoo!

And first up in the table of contents is Lori Rader-Day. Lori is currently an Edgar Award finalist for her Under a Dark Sky, and she was nominated for the Mary Higgins Clark award for her first three novels (The Black Hour, Pretty Little Things, The Day I Died); winning for Pretty Little Things. She has won the Anthony Award twice, and been a finalist for the Macavity and the Barry Awards. A most impressive resume, particularly given there are only four novels to her credit thus far. I personally enjoy Lori’s work; which probably would be best classified as domestic suspense, but I’m not sure that’s an accurate classification. Her works are, like Megan Abbott’s, about the darkness inside women and their friendships.

And her story was inspired by “Our Lips Are Sealed”!

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When the credits for the movie the girls weren’t supposed to be watching started to roll, Colbie went to check that her mother was asleep, stamping down on the hand of her sister, Alexa, on the way out. Alexa sat up and sniffled into her fist but kept silent with effort. On the floor, Jane and Patricia picked white flecks of popcorn out of the kernels left at the bottom of the bowl. Nori slipped into the bathroom with her pajamas balled up in her fist.

Jane watched her go. “I usually sleep naked.”

“Bullshit,” Patricia said. Jane was older, by almost a full year, already thirteen. But Patricia was taller. If she needed to, she would hold Jane down and force her to say she was a liar.

Colbie returned to the doorway with a six-pack of soda cradled in her arms. “My mom’s either dead or she took one of her pills. Where’s Nori?”

“Peeing,” Jane said. She picked at the chipped blue nail polish on her big toe, leaving a patch of paint on the pink carpet of Colbie’s room.

“Why didn’t you invite boys over? I went to a boy-girl sleepover when I was at my old school—”

Patricia snorted. “For church? That doesn’t count.”

“Let’s do something else,” Colbie said.

“Not a lock-in, bitch,” Jane said. “A sleepover. With boys.”

Patricia rolled her eyes at Colbie. Everything seemed to have already happened to Jane, but out of sight, at her old school, in her old town. She sometimes wanted to ask Jane why she didn’t just go back if everything was so great there. She was sure Jane would say she couldn’t because she was a kid. Which, for once, would be the truth. They were all stuck where they were, being who they were. Patricia turned to Colbie. “What should we do?”

Nori opened the bathroom door an inch. “You guys?”

And seriously, is there anything more noir than a tween girls sleepover? Lori does an excellent job here playing with the power dynamics in a group of girls; girls who are just starting to become women and how they deal with the changes in their bodies and how they relate to each other.

Definitely a great start to the book!