Wednesday, December 03, 2014

From Brash Books YOU’VE GOT TO OPEN WITH A GRABBER by Craig Faustus Buck




YOU’VE GOT TO 

OPEN WITH A GRABBER…












Bang out of the gate.  Or else.
Are you one of those readers who scan the first paragraph of a book and puts it down if it doesn’t grab you?  I am.  If I’m feeling ornery, I’ll give the author only one line to snag me.  So, as a writer, I make a point of trying to write openings that pop in order to avoid losing those readers who are as quick to judge as I. The first line has to be a grabber.
A lot of writers like to set the scene before diving into a story, but most readers aren’t interested in what a character feels or how a setting looks unless they’re already invested in that character or wonder about that setting.  As Elmore Leonard famously advised, “Never open a book with weather.”
I write noir.  Perhaps cozy, romance or “literature” readers have more patience than my readers, but hardboiled fans want to be grabbed by the throat and hurled into a story.  One way to do this is with a twist.
A twisted open implies right up front, that more surprises are in store.  I like that in a story. Sue Grafton used the device to launch an empire.  Here’s how she opened A is for Alibi: “My name is Kinsey Milhone.  I’m a private investigator, licensed by the state of California.  I’m thirty-two years old, twice divorced, no kids.  The day before yesterday I killed someone and the fact weighs heavily on my mind.”
She lulls you with a straightforward description of a single-divorced detective, then smacks you awake with the unexpected.
Another opening tactic is the suggestive hook.  In the first paragraph of my first novel, Go Down Hard I use an image: “I look through the spyhole.  Gloria has a bottle of gin in her hand and a pair of cuffs hanging from her belt loop.  A deadly combination.”
It’s a soft open for a noir thriller, but doesn’t Gloria pique your interest?
Michael Connelly opened The Poet with a suggestive concept: “Death is my beat.  I make my living from it.”
How can you put that book down before you’ve satisfied your curiosity about the narrator?  Make readers wonder and you buy time to hook them on your story.
These are just two of a multitude of possible opening tactics.  Bottom line: hit ‘em fast and hard and where they least expect it.
_______________________________________________________
Craig Faustus Buck is an L.A.-based journalist, nonfiction book author, TV writer-producer, screenwriter, short-story writer and novelist.   His first noir mystery novel, Go Down Hard, will be published May 2015 by Brash Books.  His indie feature, Smuggling for Gandhi, is currently in preproduction.  His novella, Psycho Logic was published May 1 by Stark Raving Group and his short story, Dead End, the novella’s prequel, was an Anthony Award nominee.  

Tuesday, December 02, 2014

Why Critics Can’t Be Trusted With Sequels by Max Allan Collins



Why Critics Can’t Be Trusted With Sequels

December 2nd, 2014 by Max Allan Collins     www.maxallancollins.com
The kneejerk reaction of most film critics to a sequel is to trash it. They walk in hating the movie they are being forced to see (usually for free, I might add). There have been exceptions – the second GODFATHER, for instance – but in recent years, when sequels have proliferated, the critical response to them has been so automatically negative as to make their comments worthless.
Case in point: two recent films that are sequels to very successful comedies have received almost interchangeably bad reviews: DUMB AND DUMBER TO and HORRIBLE BOSSES 2.
In the first instance, the critics have a point – this many-years-later sequel to that beloved celebration of idiocy is something many of us looked forward to. Who, with the ability to laugh, would not want to catch up with Lloyd and Harry? For the first two-thirds or so of the film, the movie is funny, and Jim Carrey and Jeff Daniels deliver throughout. Then there is a bad and unfortunate stumble in the third act, where plot concerns kick in and laughs fall out. And the co-directing/scripting Farrelly Brothers seem out of step, their gross-out ‘90s sensibility turning cruel, not darkly funny. An easy line to cross, particularly when you’re struggling to catch lightning in a bottle twice. You’re more likely to get hit by it.
So DUMB AND DUMBER TO probably deserves some bad reviews – though not to the severe degree it suffered. But, yes, it’s a disappointment.
Then comes HORRIBLE BOSSES 2. The reviews read almost exactly the same as those for DUMB AND DUMBER TO. But the film is easily funnier than its predecessor, if having less integrity (this is a fate most sequels meet). BOSSES 2 builds on the first movie, turning its trio of former would-be murderers into would-be kidnappers (Jason Bateman, Charlie Day, Jason Sudekis), who are in high bumbling, fast-talking form. Bateman may be the funniest straight-man of all time, and that’s coming from somebody who reveres Bud Abbott and Dean Martin.
Jaimie Fox, Jennifer Aniston and Kevin Spacey reappear in top form (the latter a glorified cameo that still almost steals the film) while Chris Pine turns out to be very funny, at times seeming to channel William Shatner more overtly than in the reboot STAR TREK films. Then there’s the most horrible boss of all – Christoph Waltz – who is, as usual, a master of civility-coated villainy.
This is one of those richly comic films that will require several viewings to catch every funny line. At the same time, it manages to present a new story for the central characters that has enough echoes of the previous one to serve the “same but different” requirement. Because we are familiar with the characters, they don’t build – they reappear full-throttle and yet ascend from there.
A typical critical complaint: the three leads do not have horrible bosses this time. And that’s true – they are the horrible bosses, although in a much different way than the trio they hoped to murder last time around.
The lesson here is simple: don’t trust film critics (except me, of course). Most of them didn’t like either DUMB OR DUMBER or HORRIBLE BOSSES, either – so their reviews tend to be bad sequels to a previous bad review.

Monday, December 01, 2014

New Book excerpt McKenna's House by Robert J. Randisi




Now Available: McKenna's House - Robert J. Randisi


After the death of his estranged father, middle-aged insurance investigator Lazarus McKenna leaves Chicago and moves into his father's house—the house he grew up in—and establishes his business in Omaha, NE. Eventually, his lonely life is invaded by a young woman and a small boy who may or may not be on the run. Finding them in a bus station, he takes them into his care—and home—on a cold winter night, hoping to discover what their trouble is so he can help them with it. At the same time he is hired by a woman to discover whether or not her murdered husband was cheating on her at the time of his death. McKenna's once boring, quiet life is shattered as both cases turn deadly. This Randisi novel—his 620th—displays a whole new level of depth and heart.



A different kind of private detective novel
Available from Crossroads Press e books


PROLOGUE
“What the fuck are you doin’ here?”
My father’s words didn’t surprise me. I wondered what the fuck I was doing there, too ...
The call had come early in the morning, never a good sign. “Hello? Mac?” a woman said, when I grunted into the phone. I cleared my throat and said, “Who’s this?” “Mac, it’s Isobel,” she said. “Your—your father’s neighbor?” My father’s neighbor and my neighbor as I grew up in Omaha, Nebraska. “Isobel, I don’t—um, what’s going on?” “It’s your dad, Mac,” Isobel said. “He’s very ill.” I dug the forefinger and thumb of my right hand into my eyes. “What’s wrong?” “It’s bad, Mac,” she said. “It’s very bad.” “I’ll be there as soon as I can.” “I knew you’d come,” she said, and hung up.
Omaha was a straight run on I-80 from Chicago. It was a 7 hour drive under the best of circumstances. I made it in 6.
I could smell the sickness in the air as I entered. I’d smelled it before, when my mother had died of cancer eight years earlier.
Isobel gave me a quick hug as I set down my suitcase. Always a thickset girl when we were growing up, she’d grown even heavier in the hips in middle-age.
“You made good time,” she said. “Where is he?” “In his room,” she said. “We have a nurse, and ... well, you should prepare
yourself.” “Okay,” I said. “Thanks for the call, Isobel.” I knew it wasn’t a call my father would
ever have made on his own. “I’ll take your suitcase to your room. Go and see him.” I nodded. She grabbed my things and rushed off, her eyes filling up.
When I was a kid my parent’s room was off limits. That made it a place I wanted to see, but getting caught in there meant a meeting with my father’s leather belt. Those were the days when a kid expected to get hit and parents didn’t get arrested for it.
When I got to the door all those memories came flooding back and I stopped, as if a force field had suddenly appeared. From the hall I could see my father in his bed, couldsee tubes and wires, hear the beeps and moans of the machines which were either monitoring him, keeping him alive, or both.
A solidly built woman in white pants, sweater and shoes—moved about the room, but stopped short when she saw me standing there. She came toward me, a questioning look on her plain face.
“I’m his—uh, I’m the son,” I said.
“Come,” she said, waving me in. “He’s awake.” We passed in the doorway and she put her hand on my arm. “I’m Nurse Chapman. I’ll be right outside.”
“Thank you.”
I approached the bed with no trepidation whatsoever, because I pretty much knew what his reaction to me was going to be. As I reached him he turned his head to look at me. And that’s when he said, “What the fuck are you doing here?”
It was no coincidence that the nurse wasn’t present to hear that. This was nothing new. My father had said the most outlandish things to me during my formative years, things I could only assume were designed to scar me for my whole life. But no one else ever heard him speak that way. My teachers, my friends, they all thought my dad was a great guy. He spent his life in construction and attacked all aspects of his life with macho fervor—including being a father. That meant challenging—or ridiculing—me at every turn, which was his way of toughening me up.
So what else would he have said to me? “Hello, Dad,” I said. “You look like shit.” “So do you,” he said. “You drive all the way?” “I did.” “Isobel called you, didn’t she?” “Yes, she did.” “Busybody bitch,” he said, although he’d never say it so that she could hear. One thing surprised. My father had always been a robust man, tall and barrel-
chested. When my mother—a statuesque beauty her whole life--contracted cancer she shrank down to almost nothing by the time she died. I’d expected the same from my father, but there he was, as large as ever, even while lying in his bed with tubes going in and out. I have to say, though, his pallor was almost grey and his eyes were bloodshot.
“You coulda killed yourself, drivin’ here that fast,” he complained. “Are you in that much of a hurry to see me die?”
“Dad—”
“Relax, relax,” he said, cutting me off. “I’m just foolin’ with you. You always were too damned sensitive. Lord knows I tried to toughen you up.”
I was in my late 40’s, living and working in Chicago—a pretty tough town—and he still managed to make me feel like a ten year old who was disappointing to him. I found myself wishing there was somebody else in the room so I could ask, “Are you hearing this?”
“So whataya gonna do now that you’ve seen me?” my father asked. “Head home?” “No,” I said, “I thought I’d hang around for a while.” “What the fuck for?” the old man said. “I’ve got that useless nurse and busybody
neighbor around all the time. Too many goddamned people in my house, if you ask me.”
“Would you like us all to leave and just let you die in peace, Dad?”
My father hesitated before answering then said, “You know, I’ve heard worse suggestions, lately.”
He fell asleep after that and Nurse Chapman came in and suggested—strongly— that it was time for me to leave.
I went to my room, which hadn’t changed much since I‘d left for college. My mother kept it that way, because in her mind I was forever her little boy who was comfortable in that room. Why my father kept it that way, I never knew.
Isobel had put my suitcase on the single bed, which was going to be as uncomfortable as hell, but I was as uncomfortable as hell being back in my father’s house.
Ever since my mother died I started thinking of it as my father’s house. I hadn’t thought of it as my home for many years.
“Mac?” I turned quickly, stared at Isobel, who was standing in the doorway. “I—I’m sorry,” she said, “I didn’t mean to startle you.” “It’s okay,” I said. “I was just thinking.” “You must be hungry,” she said. “Would you like some dinner?” “I’d love some. I’ll unpack later. Lead me to the food.” “The kitchen,” she said. I followed her there. She’d already set the table. There was a bowl of salad on it. “Can you toss the salad?” “I can,” I said, “and I will.” While I was doing that she finished bringing the food to the table, then poured two
glasses of red wine. I would rather have had beer, but I didn’t say so. We sat down across from each other.
“I remembered you like meat loaf,” she said. “Yes, I do.” Used to, actually, but I didn’t say that, either. “Isobel,” I said, around a mouthful of mashed potatoes. I still liked those. “Yes, Mac?” “Why are you here?” “I told you,” she said, poking at her food, “I figured you’d be hungry.” “No,” I said, “why have you been looking after my father?”
“Actually,” she said, “the nurse is—”
“Don’t make this like pulling teeth, Isobel,” I said, cutting her off. I almost said “fucking teeth,” but I didn’t want to sound like the old man.
“All right,” she said, putting down her fork. “I know you never had a good relationship with your father, Mac. I know that. But damn it, I miss mine. So I decided to ... borrow yours.”
“How did he feel about that?”
“Your father has always been nice to me, Mac,” she said. “He still is, even though he’s in pain.”
I wondered what she’d say if I told her he called her a “busybody neighbor?” “My God, you’re not paying for the nurse, are you? And all that equipment?” ”No, of course not,” she answered. “I couldn’t afford that. It’s all your Dad’s
Medicare and Insurance.” The smell of Isobel’s meat loaf had chased the cancer stench from the kitchen but,
God help me, it was still in my nose. “Okay,” I said, “okay.” “What are you going to do, Mac?” she asked. “Go back to Chicago?” “I don’t know.” I looked across the table at the woman who had borrowed my
father. “Mac, if you’re not here when he dies, you’re going to regret it.” I wasn’t there when my mother died. I had gone back to Chicago, back to work, and
I did regret it. Was I being given a second chance with the old man? Did I want to stay around and leave myself open to more of his abuse? And how would I actually feel when he did die? Grateful that the abuse had finally stopped?
“He’s going to die, Mac,” she said. “There’s nothing they can do—nothing any of us can do—but try to keep him comfortable.”
If he died, and I felt relief, what would that make me?


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"Holiday Book Bundles for Mystery Lovers" Libby Fischer Hellmann

Image


Dear Ed --

The season is upon us. Black Friday, Cyber Monday, Deals. Steals. Discounts. And more. 
This year I’m doing my part -- by offering you a quick and easy way to give a lasting keepsake that yields hours of thrills and chills (if I do say so myself).

In honor of the holidays, I invite you to my "Holiday Book Bundles for Mystery Lovers" store. You'll find my twelve crime thriller books bundled into packages with discounted prices (shipping included). Real books. In print. 
You remember "real" books -- you can flip back and forth, skim any chapter, read the end first (if you’re that kind of reader), admire the cover, and use one of the many bookmarks you’ve probably collected over the years.

But what makes these packages special is that I'll be autographing each book.

Which means In addition to hours of entertainment... your "giftee" will have a signed-by-the-author gift that speaks to your thoughtfulness.

So if someone on your list is an avid mystery or crime reader, hop on over to my Holiday Book Bundle page. I'm sure you'll see a bundle they will like.

Happy Holiday Reading! 
​
P.S. Only limited quantities of these volumes are available. 
Warmly,
Libby
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Sunday, November 30, 2014

Ken Levine LOL


One of those great Hollywood stories

I was a Story Editor on MASH and was invited to speak to a sitcom writing class at UCLA along with my friend Larry, who at the time was a Story Editor on RHODA. We talked about how to break into the business – the importance of writing great spec scripts. Do’s and don’ts. 

We stressed the need for hard work, really studying the shows, setting high standards for yourself. That was the path to a script assignment for one of our shows.

A friend of mine was in the class and overheard the following:

Two coeds talking. Near the end of our discussion one turned to the other.

COED #1: So what do you think, Ken or Larry?

COED #2 (after some consideration): I’ll fuck Larry. I’d rather get a RHODA.

Postscript: Neither of us got lucky that night. And she never got a RHODA. But it was nice to know the students really were taking our career advice seriously.