Announcement by Faves Lori & Jeff

Lori G. Armstrong one of our favorite writers and her blog partner Jeff (also a Sons of Spade fave) did a video blog announcement check it out:
www.firstoffenders.typepad.com

Congrats, Lori!

Proof of Purchase (Jack Grant) by Richard B. Schwartz

Richard B. Schwartz is an English professor and that shows. The phrasing is excellent and you can see a lot of thinking went on in every line on the page. It’s like this guy is just channeling Raymond Chandler on every page. Kind of like early Robert B. Parker.
The plot is pretty straightforward, though I hesitate to call it thin, because that could be seen as a negative remark. That would be unfair, because I really found the ‘simple’ plot a refreshing read after reading too convoluted plots that in the end had an unsatisfying payoff.
About the plot… PI Jack Grant is hired to track down his ex-lover, a beautiful lawyer. At the start of the novel she’s already found dead and mutilated. Of course he sets out to find the killer. Aiding him is a shapely, tough female cop. Together they manage to solve the case and of course get in bed, stabbed and shot along the way. The ending, which would make Mike Hammer proud, was pretty satisfying and I enjoyed the ride to it.

Q & A with Tim Maleeny

Today we talk with Tim Maleeny, author of the Cape Weathers series.

Q: What makes your P.I. Cape Weathers different from other fictional private eyes?
Cape is probably more self-aware and perhaps a bit more neurotic than your typical P.I. Unlike a lot of fictional characters who don’t seem to read or go to the movies, Cape reads crime fiction, and he’s a film buff, so he’s aware of how P.I.’s are portrayed. He doesn’t think of himself as a fictional tough guy and he’s definitely not invincible, but he’s stubborn enough to get into some pretty dangerous situations. I think of Cape as that voice inside your head saying the things you wish you could say, or that alter ego that does the outrageous things we can only imagine doing in civilized society.


Q: What are your thoughts on the psycho sidekick in PI novels?
I think the sidekick is a critical archetype, the other side of the coin to the P.I. In the case of Cape and his deadly companion Sally, I sometimes think of them as two aspects of the same character, sort of a conscious and subconscious balance of personalities.

I think the main difference between the P.I. and the sidekick is that the sidekick is not conflicted about his or her actions. The P.I. character is usually the most flawed, human, and empathetic of the two characters, with the kind of doubts we’d all have if faced with life or death decisions. But the sidekick has no doubts, doesn’t hesitate, and isn’t going to lose sleep over bending or breaking the rules. The sidekick provides the clarity of action the P.I character often lacks, and which we wish we all had in moments of crisis.

Real life is messy, and justice is often ambiguous if not elusive. Crime fiction appeals to us because it has a clear moral compass with characters willing to do the right thing regardless of the sacrifice, the law, or the constraints of society.

Q: Do you do a lot of research?
I do a lot before I start writing. Enough to get a sense of place, language and history of the characters. Then I put the research aside and start writing as fast as I can. After the first draft I go back to the research, maybe do some more, and add texture to what I’ve written.

I think it’s possible to get lost in your research and literally forget to write, or lose the pacing of your story because you’re staying too close to reality or obsessing about procedural details. I try to never forget I’m writing fiction; I want the story to be an adventure, not a documentary.

Q: Has your writing changed much since the first novel?
I write faster because I have a better sense of my own voice and that of my characters, but the actual process hasn’t changed that much. I’m still making it up as I go along, telling myself the story and hoping it all makes sense by the last page.

Q: How do you promote your book?
Sites like this are a huge help to new authors, and the independent booksellers are the most important people in the world. I’m on panels at all the major crime conferences, contribute to several websites and do what I can to spread the word, but the most important step towards finding your readers is visiting the bookstores. I’ve met some extraordinary people over the past year, both the booksellers and their customers. And librarians are great; they love books and read constantly, always on the lookout for something new. Can’t say enough nice things about librarians.

Q: What's next for you and Cape?
The second investigation, a book with the unlikely title Beating The Babushka, was just released. It involves a collision between the Russian mob and the movie business. After that, the next book to feature Cape and Sally comes out next year and is entitled Greasing The Piñata. It takes place in Mexico and deals with the drug cartels’ involvement in U.S. politics.

I’ve also recently completed a novel called JUMP, which introduces a new set of characters. JUMP has been described as comedic noir. Not sure if that qualifies as a new sub-genre, but it seems to fit.

Q: Do you have any favorite Sons of Spade yourself?
Loren Estleman is as good as it gets, as authentic as Ross MacDonald and as fresh and original as anyone writing today. Robert Crais is bulletproof. Lee Child knows how to strip prose better than anyone and is a master of pacing. Rick Riordan is writing one of the best PI series in recent memory with his Tres Navarre novels. Ross Thomas raised the intellectual ante by creating such smart characters and elaborate plots; he had the perfect voice for describing a long con. Robert Ferrigno has a gift for taking seemingly mundane problems and spinning them into impossible situations that lead to barely controlled mayhem. Elmore Leonard is the master of creating characters you love, even the bad guys, with an ear for dialogue I think every writer alive must envy.

Q: In the last century we've seen new waves of PI-writers, first influenced by Hammett, then Chandler, Macdonald, Parker, later Lehane. Who do you think will influence the coming generation and in what way?
I don’t think those original influences ever go away, because the crime fiction community has a great sense of history, as this site so beautifully demonstrates. My own novels have been compared to Hammett, Fleming, and even pulp writers from the 30s and 40s, which I consider high praise indeed because those were my influences as a reader when I first discovered mysteries.

But those writers mentioned earlier, like Crais, Riordan, and Leonard, among others, will be the dominant influences on the next generation because they managed to fuse a classic genre with a contemporary voice. They proved that a hard-boiled drama can be infused with references to pop culture, social commentary and humor. I think that’s what is so powerful about crime fiction; it’s both timeless and immediately relevant when done right.

Q: Richard B. Schwartz came up with the following question: Crime and detective fiction is an identifiable, carefully delineated genre. What is it about that genre that enables you to discuss the kind of things that are important to you?
Crime fiction deals with eternal questions, matters of life and death. In that regard mysteries share the same ambition as Greek tragedies, Shakespearean dramas, opera, you name it. That might sound dangerously “literary”, but I think there’s a reason that mysteries are as old as storytelling.

But the other, often overlooked aspect of crime fiction is that it allows you to explore questions of the here and now. Popular culture, social commentary, politics, entertainment --- they all belong on the canvas of a well-drawn mystery. The big underlying themes of mysteries might be timeless, but the books themselves feel like they were written for you, today, no matter whom you are or where and when you’re reading them.

And most importantly, the genre acknowledges that reading should be fun, not something that feels like a chore. Mysteries both entertain and challenge the reader at the same time, and that’s what reading is all about. Books should keep you up at night turning the pages, not put you to sleep.

Q: What questions should we ask every PI writer we interview and what is your answer?
OK, here’s one that might get some interesting responses:
The PI is usually the one standing up for the underdog, the person who takes on the powerful and the corrupt on behalf of the little guy. Do you have any favorite targets (or people) at which you like to take aim through your characters?

I can’t abide being lied to, so in my novels I tend to go after the hypocrisy of institutions that act above reproach but all too often are picking your pocket with one hand while patting you on the back with the other. Politicians and the media are easy targets, especially today. Dig below the surface of any major criminal enterprise and you’ll probably find someone using your tax dollars to subsidize it. I think P.I. fiction can bring some perspective on that absurdity, a society in which we’re all seemingly in on the joke and yet the same scams keep occurring. That’s a very human condition, so it seems perfect for fiction.

For more info on this author visit: www.timmaleeny.com

Prodigal Son Nick Travers (by Ace Atkins)

As always here in the feature Prodigal Sons we try to find out what's been going on with characters we haven't seen in a while. Today we asked Ace Atkins what's been going on with blues historian and PI Nick Travers...

We wanted to know:
1) Will Nick Travers return?
2) Why haven't you written about Nick for some time now?
3) What's up next for you?


Ace answered us:

Thanks much for the interest in Nick. Yes, he hasn’t been around since 2004 and Dirty South.

I’m not sure if Nick will return. I’d like to see a new book with Nick – I think there are some great untold stories – but right now I don’t have any plans. I’m with a new publisher and moving in a new direction as a writer. I’ve finished two literary novels for G.P. Putnam’s Sons about infamous true crimes both in Tampa, Florida and Cuba with WHITE SHADOW and a forthcoming novel about the wickedest city in America of the 1940s and ‘50s in WICKED CITY out in April.

Both are crime books but free of the traditional mold I felt myself caught in with the Travers’ books.

Also I believe in 2004 that I’d reached a plateau with writing about Nick Travers and took him as far I could go – with the same excitement for myself and readers – in Crossroad Blues, Leavin’ Trunk Blues, Dark End of the Street and ultimately Dirty South.

I believe the four novels are absolutely related and represent a total journey for the character. But in the years since, I’ve thought about bringing him back at some time. The books can be tremendous fun to write.


For more info visit: www.aceatkins.com

Q & A with Richard B. Schwartz

This time we interview Richard B. Schwartz of the Jack Grant novels.

Q: What makes your P.I. Jack Grant different from other fictional private eyes?

Jack’s military experience is based on that of a real officer with whom I had the privilege to serve. Both were hit by Chinese grenades in Vietnam. The difference is that Jack retired after twenty years of service and became a PI. My friend stayed on, commanded a Corps in Operation Desert Storm, and recently retired as a four-star general. Jack has a master’s degree in History and sees things both from a realistic/military perspective and a thoughtful/historical perspective. He lost his wife during the war and his memories of her (which he never discusses) positively affect his relationships with women.


Q: What are your thoughts on the psycho sidekick in PI novels?

In Nice and Noir I call this figure the ‘avenging angel’; he (or potentially, she) is now a genre mainstay and represents many things. One is the invincible side of the PI. It is very interesting to see how this figure is used. For example, Robert Crais has been showing us a softer/more sensitive side of Elvis Cole’s sidekick, Joe Pike. Spenser’s friend Hawk remains largely inscrutable as well as (largely) invincible. Jack Grant’s friend Charles White serves this function in the Jack Grant novels—a short, wiry and very lethal retired noncom.

Q: Do you do a lot of research?

Sometimes. It depends on the book. I believe (following Samuel Johnson) that you absolutely must have seen that which you are attempting to represent. Sometimes I’ll return to the places that I’m describing just to get a feel for their sights and sounds and smells. I believe that setting is very important in genre fiction and much of my research involves familiarizing myself with the places in which my narratives are set.

Q: Has your writing changed much since the first novel?
No, I don’t think so. Each book is different, so the writing changes to that degree. The first is a classic case of detection, the second a revenge story, the third a love story and the fourth a broad-canvas international thriller. Each type of book presents its own challenges.

Q: Could you tell something about your book Nice and Noir: Contemporary American Crime Fiction?
Nice and Noir is a study of around 700 recent novels, with special attention to common themes and motifs (like the ‘psycho sidekick’ referenced above). A number of individual novels are used as exemplars. The book focuses on crime and detective fiction rather than English mysteries or cozies. Though it is built upon some scholarly materials it is not a book written specifically for scholars. Readers of crime and detective fiction will find it accessible and, I hope, interesting.

Q: What's next for you and Jack?
I haven’t said good bye to Jack, but I’ve been working on a new series. Chronologically, Jack would be in his sixties now. While these heroes can be presented in a timeless fashion, many of the key events in his life are increasingly distant in time. The new series features a figure in his early 30’s. I’ve also just completed a nonfiction book—a sequel to my earlier memoir The Biggest City in America. This one deals with my military experiences, particularly the time I spent teaching at West Point. It’s tentatively entitled Accidental Soldier.

Q: Do you have any favorite Sons of Spade yourself?
Many. Most of them are probably also the favorites of your readers. Check out the list on the FAQ section of my website: www.richardbschwartz.com.

Q: In the last century we've seen new waves of PI-writers, first influenced by Hammett, then Chandler, Macdonald, Parker, later Lehane. Who do you think will influence the coming generation and in what way?
Chandler and Hammett, along with some other key Black Mask writers, established the form, so their influence endures. Macdonald continues to inspire the so-called ‘softboiled’ school. I love Lehane and Parker, who are both very influential, particularly Parker. I think for raw, jackhammer suspense there’s no one quite as effective as Lee Child and for setting and atmospherics no one better than James Lee Burke. The crime writers all love James Crumley and everyone loves James Ellroy, though his staccato style is very hard to imitate without being obvious about it. I’m a huge fan of Don Winslow and Robert Ferrigno, both of whom have developed into world-class writers. For economy of style there’s no one like Lawrence Block, for broad humor no one like Carl Hiaasen, and for a darker narrative no one like Andrew Vacchs and his pal Joe R. Lansdale. I still love Joseph Wambaugh, Charles Willeford, and the master of genre fiction, Elmore Leonard. For procedure there are few as effective as Ed McBain, Thomas Harris and Jeffery Deaver. Tom Holland is an impressive new voice in this field (and, with Jim Burke and Jeffery Deaver, a University of Missouri graduate). I miss Neal Barrett’s crime writing, though I respect his science fiction and I always look forward to new books from April Smith and Sandra Scoppettone. Donald Hamilton just passed away recently. I loved the Matt Helm books as well as his standalones. All of these writers will continue to be influential because they’re all so expert at what they do.

Q: Declan Burke, author of the Big O and Eightball Boogie came up with the following question: Is it absolutely essential your writing is published, and why?
It certainly doesn’t hurt. I love to write and can’t really live without doing it. The crime and detective fiction market is very tough, but where there’s a will there’s ultimately a way. I also enjoy writing nonfiction; that is much easier to place. It’s very important to me to reach a receptive audience. The audience doesn’t have to be huge, though we would all like it to be so. I have received the most personal responses (letters, emails, even phone calls) on my memoir about my adolescence in Ohio, because it deals with a particular place which is very important to the twenty thousand people who live there. My book Daily Life in Johnson’s London has sold over 10,000 copies and still sells briskly more than two decades after its publication. We all write alone and it’s very gratifying to hear return voices in the darkness.

Q: What questions should we ask every PI writer we interview and what is your answer?
Crime and detective fiction is an identifiable, carefully-delineated genre. What is it about that genre that enables you to discuss the kind of things that are important to you?

Readers of this kind of fiction expect your novels to be faithful to the genre but also to stretch the genre in fresh ways. Each book has to be new and different, but also take its fundamental inspiration from the genre as established by Hammett and Chandler. This presents special challenges and attracts writers who have a special affection for craft. Chandler also specified a set of attitudes with regard to politics and society (in “The Simple Art of Murder”) and these issues and attitudes have not lost their interest or relevance. These issues interest me deeply. Also, as a historian of eighteenth-century England my stock-in-trade is an understanding of the way that high ‘civilization’ coexists with gritty reality. Eighteenth-century women used ivory-handled scratchers to relieve themselves of the work of insects within their carefully-powdered wigs. They used mouse skins for artificial eyebrows. The men loved blood sports and bet on whether or not the victims of street accidents would live or die, sometimes keeping the physicians at a distance until the bets were settled. We still carry our hunter/gatherer brains along with our iPods and cell phones. This kind of fiction is the perfect vehicle for discussing the fine line between ‘civilization’ and barbarism.

For more info on this writer visit www.richardbschwartz.com