One Bite at a Time




Friday, February 16, 2018

A Conversation With Editor Rachel Peck



Fledgling writers—and more than a few more experienced writers—often wonder what an editor can do for them. Do they need one? What kind of editing do they need? What do the different terms for editing even mean? They’re legitimate questions and more than once I wished I had good answers.

Well now I do.

Rachel Peck is the founder of Full Spectrum Editing, as well as a companion voice-over service called Rachel Reads. Rachel has a BS in Linguistics from Georgetown University and her clients have included the American Pharmacists Association (APhA), National Association of Secondary School Principals (NASSP), Science Applications International Corporation (SAIC),
Planning Research Corporation (PRC), Computer Sciences Corporation (CSC), Electronic  Data Systems (EDS), Hewlett Packard Enterprise (HPE), DXC Technology.

She works with her husband, Michael Peck, who writes for The National Interest, Politico, Foreign Policy, Forbes, Forward, Aerospace America and others.

Rachel was kind enough to stop by today and answer questions I think will be of interest to many writers.

One Bite at a Time: Rachel, tell us a little about Full Spectrum Editing.
Rachel Peck: Full Spectrum Editing aims to provide "one-stop shopping" for writers. It includes the full spectrum of services from proofreading to copyediting to substantive editing to writing and rewriting.

OBAAT: Let’s break that down a little for some of our readers who might be wondering what editing assistance they might need. What’s the difference between copyediting and substantive editing? Between substantive editing and writing and rewriting?
RP: This can vary somewhat depending on whom you ask, but basically, copyediting involves changes that have to do with accuracy and style and do not involve close collaboration with the writer. Examples are spelling, grammar, missed words, misused words, and following a style guide such as Associated Press or Chicago. When I say there is not close collaboration with the writer, the copyeditor does not need to check in with the writer when changing "can" to "may" or "hone in on" to "home in on," because one is correct and one is incorrect. Likewise, a style guide dictates whether or not to use serial commas and when to hyphenate words.

Substantive editing, often called content editing, involves changes to wording and organization and is done in close collaboration with the writer. Examples include eliminating wordiness, moving sentences and paragraphs around for more logical flow, that kind of thing. Or, the editor may just note problems he or she sees with suggestions for fixing them.

That said, the copyediting and substantive editing can overlap depending on the particular situation. A writer might give a copyeditor latitude to fix wordiness, or to suggest organizational changes, for instance. With Track Changes and other mark-up features and the paradigm shifts occurring in the writing and publishing world, roles and expectations are changing, too.

And substantive editing can and does overlap with rewriting. One way in which I would say they differ, which may be subtle, is, for example, changing the type of writing. For instance, a marketing company might want a press release turned into an article suitable for shopping out to various publications. The article would be written in a very different way with a different slant, possibly for a different audience.

Writing involves taking an idea or concept with some direction as to tone, audience, and so forth, and creating an original piece.

OBAAT: What do you find the most challenging thing about working as an editor?
RP: Arriving at a mutual understanding with the writer as to exactly what level of editing he or she wants (or helping him/her figure that out; often writers are not aware of all their options) and not going beyond one's remit. Ultimately the writer, not the editor, owns the written piece. The editor's job is to help the writer express his/her vision clearly, correctly, and readably. Again, the writer and editor must agree up front on what the writer expects and the latitude given to the editor.

OBAAT: I’m happy to hear you say that. I’ve never worked with an editor at the developmental phase of a book and fledgling writers sometimes come to me asking if they need an editor. To me, if they’re asking, there’s a good chance they do, but too many I see go seeking an editor hat in hand, half afraid to stand up for their vision of their own book. I always ask them two things: whose name will be on the cover? And who’s paying who? Or whom? (I can use an editor myself here.) How much back and forth is there when you work with a writer who has a distinctive style or voice?
RP: The amount of back and forth will depend a lot on what stage the written piece is at and what he/she wants me to do. In general, there should be enough back and forth that the writer is aware of the editor's direction and further communication can take place. This will be the case regardless of distinctive style or voice.

To me the important question when a writer has a distinctive style or voice is: How does an editor give suggestions for improvement without interfering with the writer's voice?

By being as vague as possible. (Wait, what?!?) Instead of telling the writer what to do or how to do it, I prefer to ask questions and make comments for the writer to respond to. To point out something that left me confused or wanting more information. It is up to the writer decide how (or if) he/she will change the manuscript. Of course, the writer certainly can ask for suggestions and an editor should be prepared to give them.

Examples could include:

What is the character thinking or feeling at this moment? (There are quite a few ways the writer can fix this.)

This chapter/page/paragraph interrupts the flow of a tense part of the piece. Could this same information go elsewhere? (The writer might decide to move or delete.)

The couple is on their way to meet his parents for the first time, but I need a little backstory. How long have they been dating/together, what has he told her about them, how is she feeling about the impending meeting, etc.

I'm not sure how this interlude relates to the text before and after it, or how it adds to the story. I need more information. (Writer may decide to delete, give backstory, add more information, here or earlier.)

Hero's action and described mental state don't seem to match.

This character doesn't seem to have much impact on the plot. How would the story be different without him/her? (Writer may decide to flesh out character more or remove character.)

You want to help put the writer in the reader's shoes. The writer knows everything about his characters, their motivations and plans, making it easy to leave out or confusingly place information the reader needs or that will enhance the reader's experience. Often, a reader may feel lost, irritated, unconvinced, bored, etc. The editor can help the writer spot and resolve potential reader problems.

OBAAT: What should an author keep in mind before coming to you that will allow you to provide the most benefit?
RP: Determine what it is you want the editor to do. Know your weak points. What would bring the most benefit to your written piece? What stage is your writing at? If it is at an early stage, perhaps a first draft, you might benefit most from a substantive edit. If the writing is past that stage and you are happy with organization, flow, and wording, you would probably benefit most from a copy edit.

OBAAT: You also have a voice-over service, Rachel Reads. What kinds of things are you looking for?
RP: The world of voice over narration covers a lot of different things---audio books, commercials, videos, movies, distance training and education (such as e-learning and computer-based training), interactive voice response (IVR), and video games. There are probably more I haven't mentioned. At this point, I'm primarily looking for short reads, which means commercial, educational, and short stories or very young children's books, which are also short. In the future, I hope to do full-length audio books.

OBAAT: I find many writers do themselves a disservice when reading in public because, quite frankly, they stink at it. A public reading is a performance and must be approached that way, though stopping well short of scenery chewing. You have to read the words of others and make them convincing. What are some of the things you do to prepare to record a story?
RP: Reading the story is just the beginning. I ask myself, What is the author trying to convey with this character? How is the character described in the story? How can my reading help to convey that? Pitch, inflection, expression, tone, accent if appropriate. Then comes practice and more practice. I want to be familiar enough with the text to read it smoothly, without hesitation or mispronounced words. This is practice before recording. Next, recording and listening to several practice runs helps me nail down the best delivery. It's like acting, only with a reset button when you fluff your lines.

Interested? Want more information? Here’s how to contact Rachel and Mike at Full Spectrum Editing.

Monday, February 12, 2018

A Conversation With Thomas Pluck


Thomas Pluck has slung hash, worked on the docks, trained in martial arts in Japan, and even swept the Guggenheim museum (but not as part of a clever heist). He hails from Nutley, New Jersey, home to criminal masterminds Martha Stewart and Richard Blake, but has so far evaded capture. He is the author of Bad Boy Boogie, his first Jay Desmarteaux crime thriller, and the story collection Life During Wartime, both from Down & Out Books. Joyce Carol Oates calls him “a lovely kitty man.”

He is also the person to follow—maybe not literally, Facebook will do—when in an unfamiliar city and you’re looking for good eating establishments. Notice I didn’t say “restaurants”; I said “good eating establishments.” I’m a writer. Word choice is everything to me. Anyone who followed his recommendation for The Priest’s Burger in Toronto knows what I mean.

The kitty man was lovely enough to sit down with us to talk about his new collection, Life During Wartime (and Other Stories).

One Bite at a Time: What are the origins of Life During Wartime (and Other Stories)? Was
the original plan to write a collection, or did you find yourself with a bunch of stories you liked and want to gather them together?
Thomas Pluck: This is a collection of my best and fan-favorite stories from 2011 to the present. I had a few Kindle-only collections and readers kept asking for a print collection. When I joined the Down & Out Books team, we thought that would be a great follow-up to my first Jay Desmarteaux novel, Bad Boy Boogie, and the new collection includes "The Last Detail," which bridges Jay's first book with the next one, which I am writing now.

OBAAT: I’m a huge fan of Denny the Dent and I’m glad to see he’s in here. Where did you get the idea for him? Do you have continuing plans for him?
TP: Denny was inspired by a boxer I met in a cigar shop, a very intense guy. He had a little friend with him, kind of like Chester & Spike, the cartoon dogs, and the big guy said "I ain't smart but I listen good." and Denny was born. The dent comes from a shooting victim's surgery I saw online. The boy was literally walking around with half a head, until doctors built a replacement skull plate. Denny's injury isn't that extreme. We tend to think that big guys are dumb, and I wanted to give him a little something extra to make people underestimate his intelligence. Readers have asked if Denny is a special needs child. If you read his stories, he has been treated as if he's special needs his whole life. When I write Denny I go back to how I felt as a weird kid on the playground, when my best friend was a special needs child named Mindy, until the teachers dragged me away and said I should talk to "the other kids." That left a deep impression. I've volunteered with Special Young Adults, I have friends who are special needs (Hello, Dylan!) and I don't like separating us that way. We're people.

OBAAT: Jay Desmarteaux from Bad Boy Boogie also makes an appearance. I’m a big fan of cross-pollination in my writing. Not only is it a good way to bring in new readers, it’s a great way to work out story ideas for novel characters. Did you approach writing Jay differently knowing this would be a short story?
TP: I don't draw on Jay's background as much when I write short. I prefer to jump in the action and you can figure Jay's ways as we go along. A short story is like fighting in a phone booth, you have to work within the space you're given, so he gets introduced with a few lines that encapsulate what he is. He's an outlaw, the rules don't exist for him, and he looks out for number one. In "The Last Detail" he has no choice but to partner up with someone, which was interesting to me, because Jay is an outsider and a loner. I wanted to force him to work with someone as stubborn as he is, and give him zero time to adjust to it.

OBAAT: I know picking a favorite story is like picking a favorite child, but I’m going to ask you to it anyway because that’s the kind of person I am. Which of the stories in this collection means the most to you and why?
TP: I put my heart into stories, which makes them harder for me than novels. Not that I don't put my heart into a book, but a story is like a one-inch punch from Bruce Lee, and a novel is a ten or fifteen round fight, where you get breaks and some love from the cut man between rounds. They all mean something, but I'll focus on "Freedom Bird" because I just read it to an audience, and it still hits me. It's about a teenage son of a Vietnam vet dad who means well but expects a lot from his kid. There are so many "bad dad" stories--and I've got plenty of my own--that I wanted to go in a different direction. Harve Chundak is based on a vet named John Chundak who was a coin dealer I met at the VFW as a kid, at a coin show, when I was collecting wheatback pennies and silver dimes. I started working for him on Sundays, just watching the table. He was a quiet guy and serious most of the time, but had a smile as big as Christmas when you made him laugh. I wanted to pay tribute to him for giving me that job, and teaching me integrity, and that you could be a Green Beret who did six tours with hands that could crush a man's forearm like a wolf's maw, and have a good heart and nothing to prove, none of the tough-guy fronting my father had. So Harve is a tribute to him.

OBAAT: You’re as socially responsible as any writer I know, especially as regards children. It was you who turned me on to PROTECT. Tell us a little about PROTECT and why social issues are so important to you.
TP: I'm a bit like Jay, that way. The five words I hate most are "it is what it is." Because it is... because we let it. "You can't fight city hall" is another five stupid words. You can fight them if you don't play by their rules. I won't say anything further as in this climate it may be illegal soon. PROTECT's mission is to fight child abuse, and they concentrate on the most egregious, online predators who lure children. The two Protectors anthologies have raised nearly $5000 for that cause. I hate any abuse of power, but adults who abuse children especially. I wrote a bit about it in Jay's book. I give him the mythical "five minutes alone" with a truly awful human, an actual psychopath, and he realizes he is just feeding into the man's beliefs: that whoever holds the hatchet makes the rules. So he takes a different tack with him, because torture for this guy is like foreplay. I don't believe in the death penalty, because I don't believe people should give the state that power. Containment protects us and punishes the offender. And I don't mean the middle-class fantasy of "jail yard justice." If a chi-mo bodybuilder walks into gen pop, no one's gonna shank him for rep and risk getting their throat crushed. If you see Jeffrey Dahmer or some weakling rapist get murdered, it's because he was weak. Most go into protective custody, anyway.

OBAAT: And now for the classic wrap-up question: what’s next?
TP: I'm working on the second Jay Desmarteaux novel, Riff Raff, set in Louisiana. We meet Jay's "family" and some new folks who could only come from that unique state, and it takes us everywhere from the bayou to Baton Rouge and New Orleans to the rigid north of the state where Bonnie and Clyde were killed. I have a book I call "the beer bar Nazi hipster rock'n roll cozy" that's getting another round of edits, about Scotty Wierzbowski, a pogue rear-echelon shirker and his Falstaffian buddy who inherit a decrepit old man bar and try to make it trendy, only to have it infested by hipsters, who they can't get rid of, until one winds up dead. Scotty's mom tells him his father is Bon Scott, of AC/DC. It's a lot of fun, but it's weird, and weird is a hard sell. But it will find a home soon. (Editor’s Note: I have never read an author’s description of a book that made me want to read it more than this.)

Wednesday, February 7, 2018

Movies Since Last Time

Ladybug Ladybug (1963) This could have been good. Started out as a twist on a 60s nuclear apocalypse story by taking the perspective of schoolteachers and the kids in a rural school where communications aren’t very good and showed the kinds of confusion that could result. That only lasted half an hour or so and things deteriorated into the standard dreary “end of the world” 60s flick. The highlights were seeing young versions of William Daniels, Estelle Parsons, and Nancy Marchand.

Cool Hand Luke (1967) One of those movies that gets better every time I see it. It operates on multiple levels and works on all of them. George Kennedy richly deserved his Oscar for supporting actor, and Paul Newman would have won Best Actor in most other years; he lost to Rod Steiger for In the Heat of the Night. Full of iconic scenes that hold together just as well in another century, there are elements here that might be even more worthy of attention today than fifty years ago.

L.A. Confidential (1997) Another movie that gets better every time I see it. I can damn near recite the whole thing now, which leaves me free to notice little things. I’ve written about it before and I’m sure I will again. Without doubt one of the five greatest crime films ever made.

The Imitation Game (2014) Yet another one of those. Benedict Cumberbatch plays Alan Turing, the man who led the team that broke the German Enigma machine codes and shortened the war by as much as two years according to British MI6. The film moves between Turing’s work at Bletchley Park, his days in boarding school, and his arrest for homosexuality in 1951. It’s inspiring to watch Turing struggle to complete his machine, heartbreaking to watch him lose his only friend at school, and depressing to see how all his contributions to the war effort meant nothing in the face of his homosexuality. It’s not just a blight on British history, but a condemnation everyone needs to find a way to get past.

Get Shorty (1995) One of my favorite comfort movies. There’s no way I feel anything but chipper by the time it runs its course.

L.A. Confidential (1997) Yes, I watched it again. It’s sorely underrated as a Christmas movie and I had a rough couple of months. Sue me.

The Big Lebowski (1998) The annual New Year’s Eve viewing. See Get Shorty above for the review.

Godless (2017) Not a movie, but the kind of thing movies wish they could do. Most of the promotional attention is paid to the city of women—which is well enough done to merit the praise—but there’s a lot more going on. Jeff Daniels plays against type as one of the meanest SOBs ever on the screen, though he has his own moral code. Sam Waterston plays a US marshal, but I didn’t recognize anyone else. Didn’t matter. All the actors inhabited their roles to make Godless a uniquely successful project. Scott Frank, better known (to me at least) for his successful adaptations of Elmore Leonard novels, wrote and directed all the episodes, which should move him into the realm of those who can be trusted with anything. I have nothing bad to say about this show.

Roadside Prophets (1992) Easy Rider for the punk set. An entertaining film that has the prime virtue of not trying to be more than it is, and what it is is time well spent. The humor is offbeat and fresh, the cameo appearances by Arlo Guthrie, John Cusack, Bill Cobbs, Timothy Leary, Don Cheadle, David Carradine, and Stephen Tobolowsky are great fun, and—best of all—it doesn’t talk down to its presumed audience. A nice choice if you’re looking for something off the beaten path.

True Grit (2010) Fun no matter when I watch it, but even more so less than a week after seeing The Big Lebowski, to realize that’s The Dude pulling all this Rooster Cogburn shit. Superior to the original film in many ways, not the least of which it its closer adherence to Charles Portis’s wonderful novel. Bridges is better than John Wayne (though I admit it’s one of The Duke’s better performances), Matt Damon is far better than Glen Campbell, and Hailee Steinfeld is perfect as Mattie Ross. The Coen Brothers’ do well in keeping their idiosyncrasies subordinate to the quirkiness of the novel. The end result is a movie worthy of one of my favorite books I’ll happily watch again.

Wheelman (2017) Turns out this isn’t based on Duane Swierczynski’s excellent novel. Jeremy Rush's use of the title is a non-stop action movie made for people who like more than non-stop action in their non-stop action movies. There are more things done well here can I can mention: the lighting, the spot-on performance by Frank Grillo as the title character, the use of his cutesy cell phone ring tone in the tensest moments, and the fascinating concept of telling pretty much the whole story from the point of view of the cars. Eighty-two of the most entertaining minutes I’ve spent in a long time, and an outstanding surprise.

L.A. Confidential (1997). Uh-huh. Again. For my birthday. And I’m still finding things to appreciate.

The Assassination of Jesse James by the Coward Robert Ford (2007) Outstanding Western until its leisurely pacing outlives its welcome and you end up resenting its length and wish it would just end, already. The acting is outstanding, the story is an interesting take on a legend, and the production values are first-rate. At 2:39 it’s just way too damn long for what it is.


Friday, February 2, 2018

January's Reads


January was a strange month for reading. There’s only one book I can wholeheartedly recommend, and one more I’m sure my comments will spark controversy over. Let’s start with the positive.

Vivid and Continuous, John McNally. I pull out this concise volume of writing advice every couple of years to see if anything resonates with me I wasn’t ready for before, what might validate what I do now, and just because it’s fun to read. The title is taken from a comment in John Gardner’s On Becoming a Novelist, that a writer should try to create a “vivid and continuous dream” that “other human beings, whenever they feel like it, may open his book and dream that dream again.” I try to remember this whenever I feel I’m becoming too authorial, and McNally’s little book is full of advice and tips to help me to make it so. (Full disclosure: John McNally taught the Jenny McKean Moore workshop at George Washington University when I participated in the winter and spring of 2002. I was the only genre writer chosen and I doubt very much I would have reached even my current level of success had it not been for the confidence he showed in my writing and what I learned there from John and my fellow fellows.)

Now the flip side:
No Country For Old Men, Cormac McCarthy. I read Blood Meridian several years ago. It was one of the two most unpleasant reading experiences of my life; the other was James Ellroy’s The Cold Six Thousand. I was saved from ignoring Ellroy by a request to review Blood’s a Rover—which I loved—and have since become a Ellroy devotee. Having chosen exactly the wrong Ellroy book as an entry point, I gave McCarthy the same benefit of the doubt and read No Country For Old Men because I’d seen the movie and had heard it was McCarthy’s most accessible novel.

It’s certainly not as much of a slog as Blood Meridian, and the story seems less nihilistic. It’s still not my cup of tea. I could cite several reasons why the writing doesn’t move me. It lacks any lyricism to my ear, for one thing. “Whoa,” you say. “You love Ellroy and don’t like McCarthy because he lacks lyricism?” That’s right. Ellroy may be percussive, but there is a rhythm to his writing. It’s a rhythm not to everyone’s taste—his words sometimes read the way Stravinsky’s The Rite of Spring sounds—but it’s his own hip voice and I dig. McCarthy lacks that.

What really turns me off about McCarthy was described above: he never lets me settle into that vivid and continuous dream. Part of this are his affectations regarding spelling and punctuation. No apostrophes are jarring, but not as bad as the lack of quotation marks, which requires me to always have to pay attention to who’s speaking when I should be getting lost in the story.

Bo Catlett summed up what hurts McCarthy most for this reader. I know words weren't spelled right and there was hardly any commas in it at all. It distracts me when it should draw me in.

Monday, January 29, 2018

Crime, Revenge and History: A Guest Post by Scott Adlerberg


Today I hand the blog over to Scott Adlerberg, which is something I should know better than to do, as after reading Scott’s description of the primary influences on his new novel (Jack Waters) I’ll now be compelled to up my game. I always enjoy reading Scott’s posts on the Do Some Damage blog, so it’s a treat to have him with us today.

Crime, Revenge, and History

A murder takes place within the first few pages of my new novel, Jack Waters.  The killer, who is the title character, goes on the run from his home in New Orleans.  This crime determines the entire course his life will take from there, so it's fair to say that crime is a central component of the book. Still, when people ask, I don't describe Jack Waters as a crime novel per se.  It's set in 1904, on a Caribbean island where Jack Waters goes after fleeing the United States as a fugitive, and on this island where he starts a new life, he becomes embroiled in a rebellion against a nasty dictator. He takes up with the rebels and has many dangerous adventures with them, all the while pursuing his own secret agenda.  What is this agenda?  I don't want to give everything away.  But the point is that Waters wants to overthrow the dictator for reasons that have little to do with politics and much more to do with personal vengeance.

So Jack Waters, no question about it, is more of a historical adventure tale than a crime novel. Of course, that doesn't mean it isn't soaked in blood.  It also doesn't mean that the books that served as an inspiration for it, though not specifically crime fiction, don't have a lot of tension and violence.  They do.  And I thought it might be interesting to look at a couple of these works, sources I drew upon for my deep dive (if 114 years is deep) into the past.

Michael Kohlhaas by Heinrich von Kleist (1810)




Heinrich von Kleist's novella is one of my favorite stories of any length of all time. If Jack Waters has a primary model, Michael Kohlhaas is it.  Set in the 16th century, in Saxony, the novella is about a horse dealer, Kohlhaas, who suffers a clear but relatively minor wrong at the hands of a nobleman. All Kohlhaas' attempts to get legal redress for the wrong fail, and through a series of escalating events almost surreal in their strangeness, he becomes public enemy number one and winds up leading a full-scale uprising against the region's powers that be.  He's feared by some (a terrorist to them) admired by others (a revolutionary to them), and the 80 or so pages of the narrative are remarkably dense with incident. The story is dark and thrilling, and qualifies as a revenge story for the ages, and perhaps most striking of all is Heinrich von Kleist's tone. Kleist never moralizes, and no matter how odd the events unfolding, no matter how frenzied the action, he maintains an uncannily flat voice.  Sentences are long and complicated, motivations tangled, brutalities extreme, but for the duration, the Kleist narrator remains controlled and dispassionate. It's hard to get a sense of where the author stands in regard to what he's depicting. Years later, another master of the outlandish, Franz Kafka, was a huge admirer of Kleist's stories, and one can understand why.  Kafka learned a lot about "deadpan style" from Herr von Kleist. 

Michael Kohlhaas is also an example of a certain kind of story you don't encounter often - a moral tale without an evident moral.  It's obvious from what goes on in the novella that it's preoccupied with morals and ethics and the quest for justice, the idea of justice as it relates to the idea of vengeance, but the author never lets you come down easily on any one side.  The story reads as if it should have a moral or a point you can put your finger on, and yet, in the end, it conveys a sense of ambivalence.  The story's telling is linear and its style crystal clear, but as a reader, you're not quite sure what you're supposed to take away.  A couple of readers have described Jack Waters as "a dreamy fable" and "a fractured fairy tale", and I have to admit I was happy to see they had this reaction. It's an effect, from the time I started the book, I was consciously shooting for, and to whatever extent I achieved it, I have no qualms about declaring that it's something I learned in large measure from reading Michael Kohlhaas.


Little Apple by Leo Perutz (1928)


Little Apple is another story about revenge and a man obsessed.  It was written by Leo Perutz, a Czech-born Austrian writer who lived from 1882 to 1957.  Perutz is an author who wrote in German and sold well during his lifetime - he wrote 11 novels in all - but who now has become almost unknown here.  It's a pity because a number of his books remain in print, and he's a master of fast-moving, suspenseful novels that often are set in the past and involve adventure and mystery. Jorge Borges, Grahame Greene, Ian Fleming, and Karl Edward Wagner are among his stated admirers, and an Austrian writer contemporary of his once described his work as "the possible result of a little infidelity of Franz Kafka [him again] and Agatha Christie".  That gives you a pretty good idea of what he's like.

Little Apple starts as World War I ends. An Austrian soldier named Vittorin has just been released from captivity in a Russian POW camp.  Though he returns to his family and a fiancé in Vienna, he vows to return quickly to Russia to inflict revenge on the sadistic camp commandant who brutalized him and his fellow prisoners during their captivity.  Nothing can deter him from this quest, nobody can talk him out of it, and he makes his way back to 1919 Russia, now undergoing a massive civil war after the Bolshevik Revolution.  In effect, Vittorin undertakes a manhunt in a Russia in chaos, and he gets buffeted around by all sorts of perils. Despite the dangers and many setbacks, he persists. Not unlike Michael Kohlhass - and Jack Waters - he's a monomaniac, and he has a remarkable ability to maintain his focus despite the threats and shifting political conditions around him.  

Perutz is a model for me in how to tell a historical tale in a compressed fashion. His prose is spare and uncluttered.  By showing you just the details you need to see, he creates a vivid world at the same time as he keeps his narrative moving forward.  He's good at dipping into the dark recesses of his characters' minds while maintaining pace and momentum, and he's able to keep in balance quite well the contrast between the individual pursuing his goal and the larger events going on around that individual.  The reader never loses perspective on either.  These are all things I tried to accomplish in Jack Waters, and again, as with Kleist's novella, I had a great source to study.  

Needless to say, these two works are not the only literary influences on Jack Waters, but they are two prime ones, and if you haven’t read one or the other, I couldn’t recommend them more. In my own mind, at least, single-minded, justice-obsessed, revengeful Jack Waters, a man who knows how to survive in a turbulent world and exploit political conditions for his own ends, is a character Kleist’s Kohlhaas and Perutz’s Vittorin would respect and admire.

(Broken River Books released Scott’s new novel, Jack Waters, on January 12.)

Wednesday, January 24, 2018

"Why Should I Read Bad Samaritan?" You Ask.

Well Bad Samaritan launched Monday and I’m two days closer to retirement. It’s a good feeling.

The Beloved Spouse™ mentioned to me this morning that it’s entirely possible not everyone who reads this blog may have obtained a copy yet. I was suitably insulted on your behalf, arguing readers of such erudition would surely have not only bought a copy by now but almost certainly have read it at least once already. (You’re welcome.)

Upon reflection it occurred to me some of you may have weightier things on your minds than reading my book. A little more encouragement could be in order. Okay. Here are some additional reasons why you personally should read Bad Samaritan. (Those who have already purchased the book may stop here, though you are welcome to forward this post as you see fit.)

TOP TEN REASONS TO READ BAD SAMARITAN
10. Donald Trump is not mentioned anywhere in it.
9. The author will stop calling you at home to read random excerpts.
8. Dick Dale (“King of the Surf Guitar”) makes a cameo appearance.
7. Books invite readers to use their imaginations and Lily O’Donoghue is smokin’ hot.
6. Eric Beetner didn’t publish a book this week, so what the hell?
5. Gives you something to do while avoiding the news.
4. Purchase by January 31 for a chance to have Goose intimidate the asshole of your choice.
3. Books invite readers to use their imaginations and Sharon is as hot as Lily if you’re of a certain age.
2. Reading Bad Samaritan will make you appreciate other Down & Out Books authors that much more.
1. The Sole Heir™ is still paying for medical school. I’m begging you, man.

Bad Samaritan is available at these fine locations:
Direct from Down & Out Books (Purchases of trade paperbacks from the Down & Out site include a free download of the e-book.)
Amazon — Trade Paperback | eBook 
Barnes & Noble — Trade PaperbackeBook 
iTunes — eBook 
Kobo — eBook 
Play — eBook


Monday, January 22, 2018

Bad Samaritan Drops Today!

That’s right. No more of that pre-order bullshit. You, too, can get a brand spanking new* copy of the fifth Nick Forte novel, Bad Samaritan, from any of these fine sources.

(Purchases of trade paperbacks from the Down & Out site include a free download of the e-book. (You heard me: Free! Gratis! Or, as Al Swearengen would say, “Free gratis.”))

Bad Samaritan is also available from these fine retailers:

Amazon — Trade Paperback | eBook 
Barnes & Noble — Trade PaperbackeBook 
iTunes — eBook 
Kobo — eBook 
Play — eBook

Bad Samaritan brings back elements of two earlier Forte stories. Lily O’Donoghue, the high-class call girl from The Stuff That Dreams Are Made Of and Mickey Touhy from A Small Sacrifice. Their stories intersect, catching Forte in the middle of a no-win situation. Throw in the men’s rights advocate who’s making Becky Tuttle’s life miserable, and Forte’s dark side, which has been exercised more as the series has gone on, gets more room to come out than is healthy for anyone, including him. He still manages to find time to help the sister of Caroline’s best friend, though not in a way he’d want Caroline to hear of. Goose is back in a prominent role along with the usual cast of Sharon Summers, Delbert McCall, Jan Rusiewicz, and Sonny Ng.

Circumstances beyond anyone’s control have forced a condensed promotional schedule for Bad Sam, so if you know what’s good for you you’ll get your copy right quick, lest I feel the need to inundate you with months of blatant self-promotion and –aggrandizement in only a couple of weeks.


(* -- “Brand spanking new” is a figure of speech. Readers should not infer the book is to be used as a sexual aid with a porn actress, though I’m not judging anyone.)