The luckiest people in the world

Writers who need writers are the luckiest people in the world.

We build on the work of other writers. We draw inspiration from their creations, and their success. We’re usually too busy building our own careers to notice.

It’s time to notice.

Women-Writers-FrontYou don’t know me but I would like to thank you for helping to create the character of CW McCoy in Peak Season, a series I hope someday will approach the benchmark you’ve set. You didn’t just paste male characteristics onto women or use violence to attract attention. You were the trailblazers, the authors who turned the noir subgenre on its head and ushered in a generation of smart, tough, proficient female investigators.

That said, here is my list of writers whose female characters have traded cookies for cojones:

  • Sara Paretsky, for creating V.I. Warshawski, a character whose toughness serves her sense of justice
  • S.J. Rozan, for her evocative sense of place in the Lydia Chin outings
  • Lee Goldberg, for the deft portrayal of a secondary character, Natalie Teeger, in his series of Adrian Monk novels
  • Julia Spencer-Fleming, for Rev. Claire Fergusson’s moral compass
  • Laurie R. King, for the daring intelligence of Mary Russell
  • Sue Grafton, for revealing the conflicted love life of Kinsey Millhone
  • Janet Evanovich, for the push and pull of drama and humor in the Stephanie Plum novels
  • Marcia Muller, for Sharon McCone’s allegiance to family and friends
  • And Jennifer Crusie, for giving her leads a heartbeat and not just a pulse.

Writers who need writers are the luckiest writers in the world. Thanks to you, I’m one of them.

For indie authors, publish or perish

There’s a saying in the academic world—publish or perish. It means that if you want a tenured position, you must publish your research, or your dream of advancement will perish.

Writers who want to share their work face the same dilemma.

Years ago, people wrote books and sent them to editors who hired others to read through the pile of manuscripts in the hope of finding the next Updike or Jong. When editors ceded that job to agents, they followed the same procedure, acting as editorial screens to deliver works with literary or commercial potential. It was a respectable system.

Self-publishing wasn’t. People viewed indie authors with the same credibility afforded Donald Trump. Even the name of printers who handled the work, vanity presses, spoke volumes about DIY status. And for good reason. If a professional, an agent or editor, didn’t vet your work, you could bet the writing would look as amateurish as the cover design.

Joanna PennToday, indie publishing—uploading your work to e-book brokers and print-on-demand houses like Smashwords and Amazon—has gained a small measure of respect. Some proponents, Joanna Penn of the Creative Penn among them, count the followers of their blogs and podcasts in the thousands. Some writers like Bob Mayer, the former Green Beret and Area 51 series author, sell tens of thousands of units.

Self-publishing is not that onerous, they say. Gone are the days of loading up the station wagon with cartons of books and flogging them to libraries and stores. POD services print and deliver books as readers order them. Yes, with indie publishing, you won’t get the marketing, distribution or stamp of credibility offered by a traditional publisher. But if you’ve queried hundreds of agents with no takers, you need another option.

swiftwaterbigThrough the end of the eighties, that wasn’t necessary. When I last pitched a novel, I landed a series of agents who did the heavy lifting. A decade later, when I wrote my first non-fiction book, the Spirit of Swiftwater, I took the manuscript directly to the publisher, an academic press that wanted to start a business imprint. For the second book, the publisher called me.

Those were the days.

For Peak Season, my debut crime-fiction novel, I queried seventy-six agents and editors. Nada. For Mr. Mayhem, the first of the Brinker novels, due out this fall, I queried seventy-five. Zip. So I declared independence.

That proved simple but not easy.

Publishing is no longer a question of DIY vs. traditional. Today we choose between sharing our work and giving up. That means authors must not only learn how to write, we need to develop skills in editing, proofing, design, social media, marketing and distribution. Add persistence to the mix and we have the ingredients for a new system that, like the old, offers satisfaction but doesn’t guarantee success.

From a gatekeepers’ perspective, the traditional system makes sense. In this name-brand culture, editors and agents look for a sure thing. Paid on commission, agents don’t need to take a chance on the unknown. New authors present too much risk with too little guarantee of reward.

My advice to emerging writers is to ignore the stigma of indie publishing. If you want someone to take a chance on your work, there’s only one place to look . . . in the mirror.

Judging a book by its cover

I remember the day it it finally arrived . . . the cover for the Kindle version of Peak Season, the first in the CW McCoy series of crime novels. With its palm-tree sunset and police motif, the artwork reflected the setting and theme of the book—the fictional city of Spanish Point and the dilemma narrator CW (Candace) McCoy faces in her new life: how to live in peace while surrounded by violence.

Pageflex Persona [document: PRS0000038_00064]Here she is, working in a resort town in Florida, selling beach homes to the uber-rich, sailing with a former police commander and kayaking with a hunk who manages more money than the Philadelphia Mint. Paradise by most standards. If it weren’t so dangerous, she’d find the situation ironic.

That’s a lot to ask a designer to convey. Even more taxing is translating emotional nuance into something people can see.

I know, I’ve tried. Back when I made my living as an art director as well as a writer, I designed the cover and interior of my first published work of nonfiction, the Spirit of Swiftwater. It proved challenging but fun. I selected objects that embodied the theme, hired a terrific photographer (David Coulter), designed the cover in Quark and handed the whole thing to the printer.

Fast forward a dozen years to a technology that has outrun my ability to comprehend it. The applications are new and utterly complex. I tried designing a cover for Peak Season in Photoshop and cringed. Time to get professional help.

I found Rick Smith’s how-to book CreateSpace and Kindle Self-Publishing Masterclass on Amazon and followed it to a site called Fiverr. There I found a person in Bulgaria who created a design that’s provocative, attractive and professional.

But it’s your opinion that counts. Can you judge a book by its cover? Has a cover ever made you want to read a book?

‘Peak Season’ goes video

It’s the latest rage: just as movies have trailers, books do, too. Here’s the video with voice-over for Peak Season, the first of the CW McCoy crime novels. Is it under the bar, over the top or does it hit the Goldilocks spot . . . just right?

Watch it here or visit my site on YouTube.

[iframe id=”https://www.youtube.com/embed/natgvgPWsO4″ align=”center” mode=”normal” autoplay=”no”]

 

Hook, line and action scene

David Hagberg doesn’t mess around. During a workshop in Venice, Florida, he said genre writers have to hook readers early, and the best way to do that is with action. He should know. He’s written a dozen thrillers for TOR.

After the session, I said I couldn’t decide how to begin Peak Season, a crime novel set in the fictional Florida beach town of Spanish Point. Should I start with the inciting incident, the one that drags the protagonist, CW McCoy, into the action? Or should I start with the scene that caused her to lose her gun, her badge and her self-confidence, the incident that propelled her to take refuge in this resort town by the sea?

In that big, bellow of his Hagberg said, “Start with the action!” I think people from Tampa to Naples heard him. I certainly did.

Was he right? Take a look at the first few pages of the novel and tell me what you think. (You can reach me through the email link at the bottom of this website’s homepage.)

1.

I spotted the gun as soon as I walked through the door. Nicholas Church aimed a Glock 22 at his wife and daughter, arms straight and locked, his finger touching the trigger. His wife’s hands held nothing but air. The daughter gripped the back of her mother’s dress. Church’s eyes looked hard, the wife’s anguished, the little girl’s wide with terror.

“Bitch!” he roared and the soGun range silhouetteund echoed throughout the dead kitchen.

My face burned. After leaning out to call for backup, I stepped fully into the room and identified myself. He knew me. We’d worked together for two years. I held my hands away from my holster where he could see them. Non-threatening. No show of force. Talk him down.

Church filled the kitchen. He stood over six-feet-six and weighed more than 250 pounds, black hair slicked back, khaki slacks still creased despite the hour, white shirtsleeves rolled to the forearms to reveal a blue Marine Corps tattoo nestled among a thatch of hair. Under the fluorescent lights his silver badge glowed. Two years ago he’d received a citation for rescuing a woman trapped in a car. A year later the department had placed him on leave for beating a suspect during a drug bust. The wounded hero.

At five-foot-five, Anita Church shrank before her husband. She looked mid-twenties with a sharp nose and wisps of blond hair that floated around dangling earrings. She wore a sundress of pale yellow and blue, belted at her slender waist, and ballet shoes. Her wedding and engagement rings sparkled, as if to mock Church’s badge. When I moved closer, she glanced at me as if to say, you’re a woman, you can save me, and reached behind to clutch her daughter.

The girl was maybe seven, dressed in jeans and a sparkling pink T-shirt that depicted one of the Disney princesses. She wore pink slippers with rabbit ears. Junie, I thought. Nick called her June Bug.

For the third time that night I reminded myself that I didn’t belong there. Patrol responded to domestics, not detectives. My luck I was passing the neighborhood when the call came in. I inched forward, using Church’s name, reminding him that I was a cop and understood his anger, telling him to lower the weapon, showing him that we could talk. I gestured in slow circles, sliding to the right, watching his face, his fingers.

No one else in the room. Copper-bottom pots hanging from the ceiling. Two openings arching into shadow, one on the left that led to the laundry, one to the right that opened onto a formal dining room. In the silence I could hear him breathe, shallow, nasal. Somewhere in the house a clock chimed.

Where the hell is backup?

Church stood to my left, aiming across a table set with flowers and fruit, feet braced, both hands gripping the gun. With the slightest movement of his head he glanced right and ordered me to leave.

Tension clawed my neck. “Nick.” I kept my voice steady, my hands where he could see them. “You don’t want to do this. Put the weapon down. We can talk, whatever it is, we can talk.”

Behind me I sensed movement. A young male officer drew his weapon and crouched into firing position, his boots chirping on the tile. A radio squawked. Anita Church clutched at Junie and started to wail.

I shoved my hand into the holster and raised my weapon while edging to the right. In a voice deep from the gut I yelled, “Drop the gun!”

He kept the pistol trained on his wife. “Stay out of this!”

I tightened my grip, arms and stomach clenched, breath and blood pounding in my ears. “Drop the gun! Now!”

I watched his face, watched the eyes refocus on his wife, the jaw muscles tightening with the finger of his right hand, his stance shifting as the gun settled on the target. My vision narrowed and at the end of the tunnel Nicholas Church took in a deep breath as his index finger moved backward in slow motion.

Bam! Bam! The shots exploded in the tight space. The first round hit his chest and turned him. The second knocked him into the refrigerator. He slumped, his gun rattling on the tile. Anita screamed. Clinging to her mother’s dress, Junie gasped for air.

Ears ringing, the tang of gunpowder biting my nose, I holstered the weapon and put two fingers against Church’s neck and rose to call for an ambulance and the coroner. Walking across the kitchen to Anita and Junie, I guided them to chairs in the dining room. The crying crushed their faces. They’d soon slide from grief to shock. My arms shook and my stomach threatened to crawl out of my mouth.

You can buy Peak Season on Amazon, Smashwords, Barnes & Noble, iBooks and Kobo.

Writing from the distaff side of life

It’s time to switch genders.

In the genre of mystery and suspense, women have pioneered a tradition of writing as men: Agatha Christie, Elizabeth George, Ruth Rendell, Martha Grimes. Poirot, Linley, Wexford, Jury . . . masculine characters come alive in the hands of female writers. The men seem real, the writing accepted by the public.

But what happens when men write about the distaff side of life?

Peak Season 3D cover 375x548Sure, men have written about women since cave days. Their work ranges from sparkling (Robert B. Parker’s Susan Silverman) to riotous (P.G. Wodehouse’s characterization of Honoria Glossop and other females in the Jeeves and Wooster stories). But when it comes to getting into women’s heads, do men get it right?

Some authors seem to meet the challenge without effort: Anthony Doerr’s blind French girl, Marie Laure, in All the Light We Cannot See and Tony Hillerman in Listening Woman. Others, like Parker in his Sunny Randall series, seem to present female versions of their male characters.

Ignorant or undaunted, I’ve entered the fray with Peak Season, a novel about a former detective who surrenders her gun, her badge her and confidence after shooting a fellow officer. Moving to Southwest Florida to care for her ailing grandfather, CW McCoy swears off violence until a fugitive kidnaps her family and she’s forced to decide which side of the law she’s on.

In portraying life through CW’s eyes, I’ve steered clear of stereotypical male and female roles. She swears off guns but will defend herself. She longs for a relationship but doesn’t make it her life’s pursuit. Even while navigating the mostly male world of law enforcement, she puts a high premium on family and friends, qualities exhibited by both women and men.

When I began the CW McCoy series, I wondered whether I could voice the feelings of a woman. Now I wonder about a more practical question: can the public embrace that voice?

Brave new (digital) world

Everything old is new again . . . thanks to a little help from my friends.

My new website launched today. In the words of Crosby, Stills and Nash, it was a long time coming.

Checking the Internet Archive, affectionately known as the Wayback Machine, my first website went live in 2002, back in the day of dialup service. It was designed by Tom Thornton, a true artist and a gentleman if ever there was one.

The next iteration, the version we just replaced, went online in 2009 with an update a few years ago by a blessing of a designer, Robyn Dombrowski of Creative Heads in Sarasota, Florida. For her fortitude, she gets the patience-in-the-face-of-ignorance award.

After six years, we discovered the custom features of the site didn’t play well with WordPress anymore. The site didn’t look like the home of an author, either, since we’d designed it to sell marketing communications services to corporate clients.

The new site emphasizes my shift in focus from nonfiction to fiction, specifically to a series of crime novels I’m developing around two characters, former detective CW McCoy and a defrocked journalist known as Brinker. The website incorporates new ways to share stories about them and the publishing industry through social media links and an e-newsletter called Behind the Book. And wonder of wonders, the new contraption is responsive, which means the site should adapt to any browser or device that taps into it.

It was a long time coming but we’ve finally caught up with the digital age. Here’s to good friends and guidance . . . and another decade on the Web.

Jeff Widmer

Celebrating openness with the SPD

We gather on the second floor of the Sarasota Police Department to celebrate our graduation. There’s a cake, a couple of proud parents and about 20 members of the SPD Citizens Academy. We’re a collection of real estate agents and financial advisers, retirees and writers. We have come to peek into the guarded world of law enforcement and over the past 12 week’s we’ve learned about the hazards of policing on both sides of the badge.

Members of the SPD command staff are here, acting Deputy Chief Pat Robinson and the captain of patrol operations, Kevin Stiff, as are those who organized the academy, Training Officer Jeff Dunn and the volunteers who lugged coolers of soda and water and boxes of pastries and name cards every week.

They have certificates, photos and a parting message for us: we’ve helped them as much as they’ve helped us.

“We are grateful for people who want to live through our eyes,” Capt. Robinson says. “Officers are put under an immense amount of stress. The more folks we can educate on why we do things, the better our interaction with the citizens.”

Jeff Dunn says officers also benefit from the class by getting feedback from some of those citizens.

Robinson echoes that, adding that police can become jaded because they deal with a small but difficult portion of the population. “Sometimes you lose perspective.” (You can download an application for the next citizens’ academy here.)

For our part, we’ve learned about legal rights and wrongs, equipment and procedures, prostitution and traffic stops, court cases and crowd control. We’ve heard from the victim advocate, the public information officer, the state attorney, the coordinator of volunteers. We’ve watched K-9 dogs attack and officers defend themselves. We’ve investigated a crime scene, toughed it out in the use-of-force simulator and fired weapons at the gun range.

In between, we’ve listened to officers describe their background and their passion for the job.

In 12 weeks we’ve learned things aren’t simple. Most officers play by the rules. Some don’t. During traffic stops, most people are polite. Some shoot cops. When we watch video of situations where police use force, the solution looks simple. Hindsight will do that. But we weren’t in that battle, with bullets and adrenalin flying, with limited time and information and options. People make decisions that aren’t rational. The second-guessing, the labels good and bad . . . those come later.

After riding with officers, sharing a meal and listening to their stories, many of us are convinced the most important part of the course isn’t about guns or self-defense or crime scenes or SWAT. The most interesting aspect of police work are the officers themselves.

Getting them to open up might be the biggest cause for celebration.

Jeff Widmer is the author of The Spirit of Swiftwater and other works.

 

SPD Facebook banner photo Web

Riding with the blues

Officer Bryant Singley walks into the glass and metal headquarters of the Sarasota Police Department with a shell casing in a surgical glove and heads upstairs to the evidence room. Someone found the brass in a yard and called the police. It’s a minor matter, no crime has been reported, but Singley takes his time to get the paperwork right.

He fills out a property report, puts the casing in a plastic bag, seals it, fills out an evidence sticker, notes the case number on a paper log and puts the bag in one of the black lockers. “In case they need it in another case.”

Singley is a veteran of the U.S. Army and the Austin Police Department. He’s worked for the SPD for the past 11 years. Today he’s doing light duty, hauling a writer around in the passenger seat of his cruiser on what law enforcement calls a ride-along. He gets to fight crime; I get to watch.

He’s not even out of the building when he gets a call on his radio. I can’t make out the assignment, just his summation to me. “We’ll clear the call and then it’s crossing-guard duty.”

The car is black inside with a molded gray plastic backseat with seatbelts and a plastic partition and, in front, a computer mounted on a tray within easy reach of the driver. I squeeze in next to it and we roll.

Sign of the times
The first stop is the 1800 block of Loma Linda Street near Sarasota Bay. Two property owners are having an argument over a stolen NO TRESPASSING sign. We park on the narrow street with a pest-control vendor on one side and dump trucks rumbling down to the cul-de-sac to excavate for a new home.

“Stay by the car until I introduce you,” Singley says and walks to the door of a brick and beam house with a metal roof.

We meet a woman in running gear with a bright cap pulled over her eyes who says the neighbor in back of her lot keeps taking her sign. She’s early fifties with a low, calm voice and a slight curl to her upper lip. She’s holding a new sign with a stapler tucked under her arm.

The officer introduces me to the woman—we’ll call her Becky. We stand in the sun in the neighbor’s driveway and look at the lot, a stretch of that light gray sand that covers most of Florida. A wooden fence stands in back. A tall man with a water bottle and a gray T-shirt depicting a sailfish wanders into the conversation. Maybe the husband. The neighbor, a middle-aged woman with broad blond hair and a smile to match, joins the group.

Singley looks at the fence that separates Becky’s lot from her neighbor’s house and asks for the story. Becky says she knows the neighbor took the sign she’d tacked on the fence, but she can’t prove it. Singley says, “You two have had some troubles before.”

Becky think about this revelation. “Yeah,” she finally says and accuses the woman in back of tossing her lawn clippings over the fence and wandering into other people’s yards. “She’s crazy.”

Sidewalk diplomacy
Singley dismisses the comment. He asks for details and says he’ll be back. We get in the patrol car, drive around the corner to Bahia Vista Street and stop at a wooden house we later learn is 100 years old. A wooden fence surrounds the house, garage and shed. We stand on the gravel landscaping and try the gate. It’s locked. The officer and I walk up two concrete strips to the garage and he shouts “Hello?” but no one answers.

We find the woman we’ll call Linda around the other side of the house, near the shed. She’s mid-sixties, short and thin with dark hair and eyes that bounce between us.

Officer Singley says, “You know why I’m here,” and asks if she took the sign. She shakes her head vigorously and says she didn’t even know there was a sign and begins to delineate her property lines. She wants to show us the fence so we walk to the back of the house and she points to a tree on her land. Someone has sawed off the limbs that would have hung over the fence. Linda accuses her neighbor of doing that, when she wasn’t home.

Singley tells her how it’s going to be: she’ll agree to keep to her side of the fence and Becky will do the same. “Just ignore each other,” he says and we return to the empty lot, where Singley says the same thing to Becky, who looks up and down the street and shakes her head and frowns.

We sink back into the car and bathe in the air conditioning and head to our next assignment—lunch at Nancy’s BBQ, where we sit outside and eat pulled pork sandwiches and talk about the Temptations, Bobby Womack and early Michael Jackson, “Before he fixed his nose,” Singley says. How about Etta James? “That’s my mama’s generation.”

I ask him about recent incidents involving police and the use of force. He declines to comment, saying “I wasn’t there.” His philosophy about policing is simple. “I don’t comment on what I don’t know,” then adds, “I just want to go home at the end of the day.” Go home alive, he means.

Hitting the road
At Southside Elementary School, it’s hot and getting hotter, with temperatures and humidity in the upper 80s. It’s the kind of day where if you stand outside, you find a patch of shade. In the middle of the crosswalk, there is no shade.

This morning Officer Singley got word that the crossing guard at Southside couldn’t work so his lieutenant assigned the duty to him. I can’t tell if this is scut work or part of the chief’s community policing policy. Probably neither.

We arrive before 2:45 p.m. for a one-hour shift. Officer Singley parks on the grassy shoulder and hits the roof lights to slow traffic. Then he gets out, dons a yellow vest and whistle and waits at the corner of South Osprey and Webber by the signal box for pedestrians. On the rough concrete sidewalk someone has spray painted in perfectly straight letters the words, “Wait here.”

We wait.

When the kids show up, Singley’s ready. He watches everything—cars going too fast through the school zone, cars parked on the sidewalk, a guy driving with a phone to his ear, a man on a ladder half a block away. He yells at a young female driver to buckle her seatbelt. He’s got eyes in back of his head. He’s also got a cheerful banter going with the people leaving school, and not just the mothers and grandmothers with their younger kids and strollers and umbrellas. He asks the kids what grade they’re in and why they’re carrying a basketball and whether they or their younger sister has more freckles. And then he punches the button on the pole and blows his whistle and walks to the middle of the intersection and wishes them all a good day.

“It’s hot,” he says on his way back and looks for more pedestrians and punches the button and does it all over again.

Remains of the day
At 3:50 p.m. the sidewalk empties and we pile into the squad car and head for headquarters. As we drive on Osprey, something about the black VW Jetta in front of us catches his eye. In the 1600 block of Main Street, Singley calls in the tag number and pulls the car over.

“Wait here,” he says.

Approaching the driver’s side of the car slowly, he places a palm on the rear window to mark the car and leans forward to talk to the driver. When he gets back in the cruiser he says, “She says she doesn’t know why I pulled her over,” and punches the license number and tag into the computer. Up comes a photo of the driver’s father and a yellow block of type that says the tag has expired. Singley compares the woman’s information on the screen with her license and through a series of drop-down menus completes the ticket. He clicks a button labeled “issue citation” and a printer between the seats spits out two copies of what looks like a grocery-store receipt. He gives one copy to the driver.

Then it’s back to the glass and metal headquarters and we’re done. I thank him for the ride. We shake hands. It’s still hot and he’s got another hour-and-a-half to go before his 12-hour shift is up but he smiles anyway.

An uneventful day, but at least we both get to go home.

Next: graduation from the SPD Citizens Academy.

Jeff Widmer is the author of The Spirit of Swiftwater and other works.

 

Officer Bryant Singley ticketing VW Jetta 72dpi