Fauxmeme Productions releases Senseless trailer


cropped-senseless_con_crop01.jpg

(Click the brackets in the lower right corner of the frame to watch the video fullscreen.)

The long-awaited video trailer for Martin Bannon’s comedic novel, Senseless Confidential, shot by director Andrew Michael Bray on location in the Oregon Cascades, was premiered on Sunday, June 2, 2013, at Portland’s Post 5 Theatre.

Starring Brian Allard (who voices over 25 characters for the audiobook) and other talented actors—including Sara Fay, Bruce Handley, and Pheebe the Pitbull—the trailer lays out the plight of Census worker Nick Prince.

The occasion was the launch party for the new audiobook edition of Senseless. You can get a free preview listen to Allard’s reading of the hilarious tale at Audible. Just click the “Sample” arrow beneath the cover image on the page.

The audiobook is available at St. Johns Booksellers in Portland, Oregon, in both CD ($24.99) and downloadable mp3 ($14.99) formats. Print editions are also available at St. Johns ($14.99 list).

All three editions are also available from Dinkus Books for the same prices. (For the CD boxed set and print editions, a shipping fee of $2.50 will be added to US orders.)

You will find the mp3 audiobook at Amazon for $17.49 (plus applicable taxes); you may also download the mp3 edition from Amazon’s subsidiary Audible (list US$19.95, though the actual cost may be lower depending on the type of Audible membership you have.)

The ebook edition is available at Smashwords for $3.99 in ALL digital formats.

Both print (US$13.49) and Kindle (US$3.99) editions are available from Amazon.

Espiritu Santo, a short story by Marty Beaudet


Dining with the Devil

The devil made him do it…

Only gradually did he recognize that he was not lying on the cold, hard stone of a lightless dungeon. And his hands were not tied behind his back. He’d only dreamt that.

But the numbness in his right arm was not a dream. He’d been using it for a pillow and it had gone to sleep. When he raised his head, letting the blood flow once again into his unfeeling limb, the throbbing between his temples revealed itself to be every bit as real as the numbness. A lead weight seemed to roll from one side of his head to the other. He returned his head gently to the pillow and waited for the pounding to stop.

Early morning light stained the room’s dark, heavy curtains, but failed to illuminate the interior. Only muted sounds stole through the windows from the awakening city outside. He was in his own apartment, in his own bed. The fetterdecke was partially thrown back and… he was naked! Was he still dreaming after all? He never slept in the nude.

Just then he thought he heard something—a shuffling in the dark. The creak of floorboards; footsteps coming closer. Before he could be certain a hand touched his shoulder and he started in fright.

“Sorry,” whispered a voice. It was Jassim! To Kevin’s astonishment the Kuwaiti, also naked, slipped into bed next to him. As Jassim wrapped his arms around him, a sudden mix of horror, bewilderment, and—most frightening of all—ecstasy washed over Kevin. This was no dream!

The memory of the previous evening came flooding back with a brutal clarity that paralyzed him with fear. Did it really happen?

They had gone to dinner together at a cozy local joint called Espiritu Santo. Jassim had quipped, “‘Holy Spirit’ seems like a good place for a little Mormon angel to fall from grace.” Kevin thought the remark had been made only in jest, but it was all too accurate. The events that followed were as a fulfillment of prophecy.

Kevin had agreed to try his first alcoholic beverage last night. In Vienna, friends spent an inordinate amount of time—often an entire afternoon or evening—at either a bar or café, socializing over alcohol or coffee. He’d never thought about it before leaving his insular Mormon culture back home, but the world outside the Church seemed to run on caffeine and alcohol. When people got together after work, they went out for a drink. When they met for an afternoon chat, it was over a cup of coffee. How curious, he thought, that beverages played such a significant role in people’s lives.

What was the Mormon alternative? Milk and cookies? The ubiquitous red punch that flowed at every church function? Pop, punch, cookies, ice cream, Jell-O, fudge, pie, cake, s’mores, Rice Krispie treats; no church social event was ever without these things. Maybe sugar was the Saints’ drug of choice. And, he rationalized further, if the Word of Wisdom was meant to be a “health code,” as the Church taught, how much unhealthier could an occasional beer or coffee be than a steady diet of sugar? Was it really such a big deal? Could Heaven or Hell really revolve around something as trivial as one’s choice of beverage?

So, despite some lingering misgivings, he’d accepted the half-liter of beer that Jassim ordered for him. It was a Weißbier, because, Jassim said, wheat beer was smoother and more flavorful than a Pilsner. It would go down easier, he had assured him.

Jassim watched with an amused grin as Kevin braced himself for his first sip. Kevin couldn’t deny that the wheat beer had “flavor” as Jassim had said. But he wasn’t sure that was the same as tasting good. It took a little getting used to. Still, it was less bitter and did go down a heck of a lot easier than the sip of Budweiser he had stolen on a dare from classmates when he was twelve years old. At least he told himself it did. After all, that was nearly ten years ago.

What Kevin hadn’t been prepared for was how quickly he began to feel lightheaded and giddy. By the time the half-liter glass was half empty, the noisy buzz of the tiny restaurant had already receded to a distant hum. Only Jassim’s face was in focus; the rest was a blur. His features became curiously sharper, his voice warmer and more sincere. Even what he was saying became more earnest, more important, and rife with significance. Kevin wasn’t sure if Jassim’s drinking or his own was responsible for this phenomenon. He tried to assess the situation objectively, but found it difficult to keep his thoughts focused.

A second beer followed. It went down much more easily. In fact, it actually tasted good. Or at least he thought it did. It was like a warm, magical nectar that opened up his mind and made his thoughts clearer and more intense. And then there was wine with dinner. Kevin protested that, or did he? He’d meant to, anyway. One glass? Two? He had no idea really.

After that he was only vaguely aware of his surroundings. He thought he recalled two—or was it three—trips to a restroom behind some velvet curtains. By the time they finished dessert, he was completely dependent on Jassim to get him home.

He remembered now feeling a mix of guilt and exhilaration at his own decadence. He was researching an acting role, he had reminded himself, until it no longer mattered. Somehow this gave him the permission he needed to give himself over entirely to the new sensations he was experiencing. All of his strict Mormon inhibitions had floated away on a river of alcohol.

When they reached his apartment, he suddenly grew afraid. The warm fuzzies he’d reveled in earlier were beginning to subside, replaced by growing dizziness and lurking paranoia. He begged Jassim not to leave him there alone, insisting that he stay a while—at least until he was feeling better. It hadn’t occurred to him that it was already past midnight and that Jassim might be needing sleep as well.

But Jassim agreed without hesitation. He was so kind, so caring. Kevin found his warm smile and boyish laughter comforting. As Jassim helped him up the stairs his touch seemed somehow electric, sending a tingling up and down Kevin’s spine. Once inside, Jassim led Kevin to the edge of his bed, sat him down, and helped him out of his jacket.

Now Kevin remembered the night more clearly. It hadn’t seemed real. His inebriated brain had processed the event in slow motion. A brush of soft, warm lips against his own. A warm breath of wine enveloping him. Was Jassim kissing him? Kevin had started to protest, but Jassim had put a finger to his lips hushing him, “Ssss, Ruhe, mein Kleiner”—Quiet, my little one.

Kevin had then closed his eyes and felt the backs of Jassim’s fingers, still cold from the chill night air, stroke his cheek, the hand coming to rest at the back of his head, tousling his hair. Kevin remembered feeling a flood of tangled emotions, but in his drunken state he hadn’t been sure just which ones they were.

Whatever he felt, it was not enough to compel him to move beyond Jassim’s grasp. Before he knew it they were kissing and embracing again, this time with more fervor. Helpless, he felt his own tongue yield to Jassim’s. Panic threatened as he realized that he was getting an erection.

After that Jassim laid Kevin back on the unmade bed, as his tongue began to gently probe the corners of Kevin’s mouth. Kevin continued to yield to him, as though he hadn’t an inhibition in the world. He was too confused, and drunk, to protest. He wanted to cry. Maybe he did. But he wasn’t sure whether it was from fear or exhilaration. Jassim pulled back just inches from Kevin’s face and the two stared into each other’s eyes for several moments, not speaking. Then Jassim leaned forward, gave each of his drooping eyelids a soft kiss, and rolled onto the bed beside him.

By then Kevin’s mind was awash with a torrent of muddy thoughts. Was it togetherness or abandonment that he feared? As if in answer to this unspoken question, Kevin felt a sudden, almost primal need to hold Jassim. He rolled onto his side and closed his eyes, pressing himself against Jassim’s firm, compact body. It seemed a perfect fit, as though two pieces of a jigsaw puzzle had been happily reunited. He rested his head on Jassim’s shoulder and… that was the last thing he could remember.

Marty interviewed on the Author’s Forum


Heads up, Portland Metro local friends: My interview on the Author’s Forum is being aired in the Portland Metro area through December 6 at the times indicated below. Check it out if you get a chance! (Note that Tuesdays and Saturday are the only Primetime airings.)

Tuesday, 11/27 (tonight) and 12/4, 9:30 PM
Wednesday, 11/28 and 12/5, 2:30 PM
Thursday, 11/29 and 12/6, 7:00 AM
Saturday, 12/1, 7:00 PM

It will air on Comcast CH23, Clear Creek CH18, Reliance Connects CH77, BCT CH97 (and TU/TH only on CAN CH11).

On Comcast CH23 only, serving the Milwaukie area, it will also air on Sunday, 12/2, 2:30 PM, Monday, 12/3 at 7:00 PM, Wednesday 11/28 and 12/5 at 12 Noon, Thursday 11/29 and 12/6 at 8:00 AM, and Friday, 11/30, 3:30 AM.

Heartsongs, a poem of unusual derivation


Heartsongs, an unusual poem

Heartsongs, an unusual poem

Four years ago our panicked next-door neighbors let themselves into our house and, finding no one at home, began ransacking the place, looking for clues to a murder, suicide, or possibly both. They looked for signs of a struggle, signs of a quick departure, and any other clue they could find that would explain the poem I left on their doorstep earlier in the day.

I was fine, as was my husband, Chuck; both of us away on innocent errands or at work. What were our neighbors thinking?

Well, the tone of the poem I had taken to show them—and then left at the door for later discussion—was dark and foreboding, suggesting a desperate condition. Enough so that it set them in motion to try to save us, or deal with the aftermath. But it was a simple misunderstanding.

What I had wanted to tell them was that, earlier in the day, I was organizing the music on  my computer and, when I sorted the songs in reverse alphabetical order, they seemed to tell a story. This is the poem I called “Heartsongs,” told completely in alphabetical song titles, without skipping. What would you have thought?

HEARTSONGS
compiled by Marty Beaudet

Waterline
Watching the river run
Wash me clean
Want

Walk on the rocks
Waiting in vain
Wait for tonight
Wait

This is me
Thinking of you
Think you know what I mean

Think twice
Things go wrong
Thin line between love and hate

They’re here
These days in an open book
There’s gotta be a change
There’s a light beyond these walls

There she goes
Then the morning comes
That’s where I belong
That’s all I need to know

That summer
That means a lot
Thanksgiving
Thank you for the music

Tell me why
Tell me what
Tears of love’s recall
Tear your love apart

Same road
Same old story
The same mistake

Run me down
Run away
Run

Perfect world
Perfect time of day
Perfect blue buildings

Peace of mind
Paradise is here
Paradise in troubled waters

One of these days
One man
One love
The one I got

One day
Old friend
Oh what a world

Now that I don’t have you
Nothing left to lose
Nothing
Not fair
Not enough love in the world

My lover’s gone
My life
My last breath
Must get out
A murder of one

Mr. Wonderful, Mr. Right
Mr. Pitiful, Mr. Blue
Movies of myself
Missing your love

Life is full of surprises
Life is beautiful
Let your loss be your lesson
Let your beat go on

Let the rain come down
Let it fall
Let it be
Leave it to me

Just wait
It’s time you learned about goodbye
It’s only love

It hurt so bad
It feels so good
In a graveyard
I’m still talking to you

I wish I was here
I want to hold your hand
I wanna know I still love you
I need to know I love you

I love you
I love everybody
I like that
I know I’m not alone

I don’t trust myself with loving you
I don’t know what it is
I don’t have to wonder
I can’t get next to you

I belong to you
I am made of you
I am a leaver
I ain’t leaving

Hush

Good thing
Good person inside
Good lovin’
Good enough

Gone, gone, gone
Going under
Goin’ gone
God bless and goodbye

Who loves short shorts? Readers do…


Reading leads to writing. Not in all cases, of course, but I daresay there isn’t a successful author who wasn’t first an avid reader.

As a kid, I loved reading. It was a form of escape from a life that, while not tragic, was at times unfair, at others unfulfilling. I read all the books assigned in school and checked others out of the library—as many as I could carry home. Come summer I would run out of things to read, so my elder sister, in high school while I was eight years younger, helped me out by selecting certain books beyond my grade-level. (My mother also helped by selecting books that were beyond my…ahem…maturity, but that’s another story.)

Invariably I stumbled upon the classics at an early age. I loved Dickens in particular, and A Tale of Two Cities became my touchstone. I loved that I could learn while being entertained. Who knew that history could be so gripping? Historical fiction, of course, but a whole heck of a lot more interesting than my school textbooks.

Years later when, as an adult, I began writing my first novel, By A Thread, I hearkened back to that epic drama. Alas, I also began, unconsciously, to emulate it. When the first draft of By A Thread was done, I was crushed to be accused of writing “purple prose,” that is, flowery language for the sake of eloquence, rather than to advance the plot. It was heart wrenching to excise all that carefully crafted copy. I felt like that guy Ralston in the James Franco film, 127 Hours, when he cut off his arm to survive.

Fortunately I learned a valuable lesson in the process (and By A Thread became a better book). That lesson is this: the world changes; modern readers are not looking for the classics anymore. Busy people—whether at work or with family, or with more trivial things like social media and TV—want easily digestible chunks of information, even when it comes to entertainment.

Anyone who’s worked in communications or graphic design knows that oceans of text on a magazine or blog page must be broken up with “entry points” such as sidebars, pull-quotes, and related links. And short paragraphs, like the ones in this blog post.

Readers who click on or pick up reading material unconsciously calculate how much of their valuable time it will demand before deciding whether to delve into it.

In the world of self-publishing, where reader buzz will make or break an author, nothing kills that buzz faster than a reader who tells a friend, “I bought the book, but I didn’t finish it.” Obviously, if the book is crap, no one’s going to finish it. But another reason that readers fail to finish even the books they like, is that they are too “dense.” (The books, not the readers.)

What do I mean by dense? Too much text. (Remember in the movie Amadeus when Emperor Franz Ferdinand tells Mozart that his opera has “too many notes”?) One obvious way this manifests itself is in the number of pages in a book. True, some epic works do have huge, happy fanbases. But your story needs to be epic to sustain epic lengths.

The more overlooked source of that subliminal “too much text” message a reader’s brain sends back is chapter length. Before a reader commits to a novel, she’s going to read an excerpt. It could be while standing in the bookstore perusing the shelves, or it could be an online sample.

Have you ever done this? You’re enjoying what you’re reading and it sucks you in. You’re now reading more than you intended or really have time for. So you flip ahead to see where the next section or chapter break is, to see if you can finish the scene that has you so engrossed. If it’s just another page, you’ll finish. If not, you reluctantly put it down.

Readers do the same thing even after they’ve bought a book. They might be reading in bed, on a train or bus, or in the bathroom. Maybe it’s a coffee break or a lunch hour. They want quick and easy “fast-read” nuggets of enjoyment to accompany their fast-food nuggets.

When chapters are too long, readers will often give up before reaching that convenient stopping point. Maybe they’re falling asleep or need to get off the bus. Whatever the reason, when they return to the book, they can’t remember where they left off; maybe they don’t remember what they’ve already read and have to go back to reread. It’s tough to finish a book this way, even if it’s good.

The average chapter length in my recent comedic crime novel Senseless Confidential is between 1,000 and 1,500 words. Remarkably short, according to some reviewers and booksellers. It’s definitely no Dickens work, or other classic oeuvre.

But I’ve had more than a dozen readers tell me that they finished the 300-page novel in one sitting. “It was such an easy read,” someone said the other day. “It moved so fast,” another one told me. That, my darlings, is what you call a “page-turner.” It’s what we all aspire to as writers.

So, when you’re laying out your story, keep your busy readers in mind. Pretend it’s a steak (or an eggplant for you vegetarians), and you’re going to do the hard work of cutting into bite-sized pieces for your kiddies to digest more easily. They’ll thank you for it, even if they do spend more time playing with their food.

“City State” — A serial travesty


Front cover of City State, a serial travesty

City State, a serial travesty

This year’s NaNoWriMo project is an intended serial comedy entitled “City State,” to be published under the Martin Bannon byline. Here I present the first installment for your reading enjoyment. Your comments are heartily welcomed!

Episode 1: It’s Miss

Patrol 2, I’ve got a 12-29 at city hall. Do you copy?

“That’s a 12-56—I’m on my way.”

Do you want backup?

“Negative, Darcie. I’ve done this drill so many times in the last few weeks I can do it with my eyes closed.”

Copy that. Good luck.

Deputy Sean Poltado was a patient man, but even he had reached his limit with the anarchy that had been erupting at recent council meetings. Twice a month he found himself talking down a room full of citizens who behaved more like schoolyard bullies than grown men and women. He thought it would have ended now that the election was over; apparently he was wrong.

He flipped on his rack lights, but resisted the temptation to engage the sirens as he sped toward the center of town. Maybe if he flew in in full 9-1-1 mode he could make the instigators feel some shame over their behavior, but it was against protocol to “wail” unless it was a true emergency.

He had traveled only two of the five miles to City Hall when something—or, rather, someone—up ahead caught his eye. She—it appeared to be a woman anyway—was walking along the rain-slick highway, toward town, the same direction he was going, but on the opposite side of the road. She was so laden with baggage that all he could see was the back of her rain-soaked pant-legs. But he’d studied enough women from behind to recognize the way they moved, even when fully loaded, as this one was.

As he approached her he saw that she carried a suitcase in each hand, and wore a flimsy purple raincoat with the hood pulled over her head. The unsightly hump within the coat was, no doubt, a bulging backpack. The entire ensemble was slick with rain.

Vagrants were nearly nonexistent in Wanker’s Mill. There were no services for them in the town of ten thousand residents, and no sidewalks they could stake out in hopes of a handout. There wasn’t even a stoplight at which a homeless person could petition idling drivers for spare change.

Poltado slowed as he passed. Perhaps this woman was a hitchhiker, just deposited and seeking her next ride. If she was, she wasn’t trying too hard, however; she didn’t even turn to look, let alone extend a thumb, as he flipped a U-turn and pulled to the side of the road about twenty yards ahead of her.

He donned his rain hat as he stepped out of the cruiser to meet her. She was no vagrant. She was a woman of about thirty, with a strikingly beautiful face and full, coral lips, which spread into a most captivating smile as her eyes met his. She didn’t wait for him to speak.

“Nice night for it, eh?” she said as she set both suitcases on the ground. “Don’t suppose you’re my taxi?”

“Well, ma’am, I—”

“Miss.”

“I beg your pardon?”

“It’s ‘Miss.’ I’m single.”

It was usually the civilian who was made nervous in the presence of a uniformed officer. But this woman’s directness and confidence threw Poltado off balance. There was something about her that was not ordinary.

“Well, Miss, I’d be happy to give you a ride into town, at least,” Poltado offered. “I’m on duty at the moment and I’m responding to a call.”

“Hey, do I look like I’m going to be choosy?” the woman said with a laugh. “It’s a heck of lot drier in there”—she nodded toward the cruiser—“than it is out here. I’ll go wherever you’re going.”

She bent to pick up the suitcases. Poltado reached to intercept her. “Here, you let me get those,” he said, remotely popping the trunk of the cruiser and hefting the bags inside. “You want to put the backpack in there as well?”

“Absolutely,” she said without hesitation. “If you’d just give me a hand.” She turned her back to him and raised her arms to the horizontal. Only now did he see that the purple raincoat was actually a poncho, making it possible to simply slide the pack’s straps off of each of her shoulders. The scent of her sweat and perfume—or perhaps it was only her antiperspirant—enfolded him as he ducked under the poncho to help. It was intoxicating.

It had been over three years since Deputy Poltado’s wife had died in a bicycle accident, and he’d been celibate ever since. Not as matter of principle, but by circumstance and pragmatism. There weren’t a whole lot of available women in Wanker’s Mill. And because his interaction with most of them was in an official capacity, it just didn’t feel right to mix business with pleasure.

By the time he slammed the trunk lid shut, the woman was no longer at his side. Where… He turned a quick circle, wary, before realizing that she had already climbed into the front passenger seat of the cruiser.

He walked around to the passenger-side door and tapped on the glass. “Uh, I’m sorry,” he said when she opened the door, “but you’ll have to sit back there.” He gestured toward the cage that separated the front seat from the back and gave her an apologetic smile. “Regulations.”

She paused only a second before stepping out and circling around the rear door he was now holding open. “So,” she said with a coy smile, “you think I’m dangerous, do you?”

“Not at all,” he assured her, wondering if, in fact, she might be. “It’s just that I can’t have anyone riding shotgun unless they’ve been frisked first. And I’m sure you wouldn’t want that.”

“Oh, I don’t know,” she replied without hesitation. “That depends on whether drinks and dinner are included.”

Whoa. What was he supposed to say to that? Nothing, he decided, and shut the door. He could feel the heat in his cheeks as he made his way back around to the driver’s side and got behind the wheel. Maybe it was a good thing this firecracker was behind the cage.

Episode 2: Missing

He’d broken up bar fights that were quieter. Even with the windows in his cruiser fully raised Deputy Sean Poltado could hear the ruckus coming from inside City Hall as he pulled into the parking lot. It sounded like a fox was in the henhouse.

The town had gotten sideways in recent years, and it finally went completely off the rails during the recent election. Once a sleepy little backwater where no one could even tell you who was on the ballot, Wanker’s Mill was now an armed camp of partisans—armed with nothing more than spiteful words thus far, but getting more vicious by the day. As far as he was concerned, the recent behavior of many local citizens was wholly unacceptable, and un-Oregonian to-boot.

He heaved a sigh and made his way up the front steps of City Hall. The tranquil lobby belied the commotion just beyond the double doors of the council chambers. When he grabbed both doors and swung them wide, his worst fears were confirmed: chaos reigned. What should have been a city council meeting instead resembled a bar brawl.

Throughout the room knots of red-faced and tousled men bellowed at each other, pushing and shoving; shrieking women contributed their two cents from the sidelines, either urging their men on or engaged in heated arguments of their own. Carrot sticks, Oreos and other miscellaneous veggies sailed back and forth across the room, landing amid the overturned chairs.

The remnants of chips and crackers crunched under the deputy’s feet as he took his first steps into the room. “Hey!” he shouted. “Folks!” No one heard amid the din. He pulled out his nightstick and waved it in the air to attract attention. “Ladies and gentlemen, please!” he yelled across the room, still unheeded.

An apple soared toward him from the back of the room, possibly intended for City Manager Brian Teeg, who stood a few feet in front of him fending off angry shouts from Peg Heyland and two other women.

Instinctively Poltado deflected the fruit bomb with a wide swing of his already airborne nightstick. It was a move that, on the baseball diamond, would have made the home team proud. Here however, it merely reversed the flying fruit’s direction at an even greater speed than it had arrived with. Seconds later the crystaline report of shattering glass announced that the errant apple had achieved home run status somewhere out in the parking lot.

The room fell silent. Eyes darted back and forth across the room from the wrecked window on one side to Deputy Poltado on the other. Men who, seconds before were full of bluster, now looked sheepish and chastened. Most of them were older than the deputy and had known “little Sean” since grade school or high school. To have him stand here glowering at them like an angry parent could not have been comfortable.

Poltado said nothing as he surveyed the room, taking in the extent of the damage, and noting the names and faces responsible. Now that there was loss of property he would have to file a report, something he had managed to avoid in earlier dustups that had remained only verbal in nature.

Then his eyes fixed on something that made his heart skip a beat. “Whose blood is this?” he screamed, pointing at the splatters of red that streaked and dotted the white wall to his right. He was horrified. Violent crime was rare in Wanker’s Mill. It was unthinkable that there should be a bloodsoaked crime scene right here at City Hall, especially in the presence of so many of the community’s respected citizens. “Who’s hurt?” He scanned the room again for any casualties he might have missed.

“Why, Sean,” Councilor Nanny Darshon said, stepping toward him and gesturing toward the stains, “It’s only salsa.” She stooped to pick up a sauce-smeared paper bowl, which she now held out for his inspection.

It took a second for his adrenalin to back off as the deputy realized his mistake. Now it was his turn to look sheepish as the room erupted in laughter.

“OK, fine,” he conceded. “Go ahead and laugh; it’s probably good for you. Whatever’s been going on, you clearly need to shake it off. But nobody’s leaving here until this mess is cleaned up. All of it. Now I mean it.” He gestured toward the overturned furniture. “Scott, you get those chairs turned upright. “Clara,” he said, pointing at the wall. “How about you scrub that wall before those tomato stains set?”

Once everyone got busy on the clean up, he addressed the room again. “Folks, this crap has got to stop. I mean, look at yourselves. This is City Hall for criminy’s sake, not a grade school cafeteria. What would you say to your children and grandchildren if they could see you right now?”

His question was met only with throat-clearing and the shuffling of feet as people busied themselves with faces averted from his accusatory glare. Few were inclined to meet his gaze. Among those that did was 84-year-old Ruby Dabbler, the council president, whose face appeared to be slathered in cold cream.

Ruby read the puzzlement in his expression. “It’s only ranch dressing,” she said, gesturing to her face. “I’m fine. Really.” She wiped a creamy blob off her jaw and licked her finger clean.

“Ruby, what happened here? What started all this?”

“The mayor’s gone missing, Sean. He’s just disappeared.”

Episode 3: Misbehaved

Late dinners were the norm for Deputy Poltado; his shift didn’t end until eight o’clock. By the time he got home his seventeen-year-old son Jon would be out with his friends somewhere, leaving Poltado to consume his microwaved meal alone.

But tonight’s meal would be later than usual. He was still at City Hall with Ruby Dabbler and Nanny Darshon, two of the five councilmembers who had remained behind when the cleanup was done. Herb Will and Vernon Limbeer, the “mayor’s boys,” had refused to answer any questions. Instead, they just lobbed accusations, insisting this was all the fault of Councilors Dabbler and Darshon. Poltado finally had to threaten to take them in, just to get them to leave the building.

Now Ruby and Nanny were arguing about their conflicting accounts of the evening’s skirmish; Poltado was trying again to eke out the details he needed for his report.

“I was only trying to open the meeting,” Councilor Dabbler said for the third time. “They just wouldn’t let me.”

“Who?” Poltado asked.

“It’s because the mayor wasn’t here,” Nanny said. “That’s what started it.”

“Just because the mayor was late doesn’t explain World War III breaking out,” Poltado said. Turning to Councilor Dabbler, “Who wouldn’t let you open the meeting, Ruby?”

“Will and Vernon.”

“But why? Isn’t a simple matter of protocol? I mean, it’s Roberts’ Rules of Order, right?”

Nanny Darshon broke in again. “I’m telling you, Sean, it’s because the mayor wasn’t here.”

“Is that what they said?”

“They didn’t have to,” Ruby said. “It’s because the mayor is missing. We delayed the meeting for thirty minutes, but the crowd was getting restless, so we went ahead without him. We tried to anyway.”

“Well, he didn’t just disappear,” Poltado told the women. “Didn’t Brian try calling him.”

“You know the mayor and his wife won’t speak to Brian,” Nanny said. “Ever since Brian refused to hire Portia at City Hall.”

“But that was over a year ago,” Poltado said. “How can a city function if the mayor won’t speak to the city manager?”

“It functions just like this,” Nanny deadpanned.

“Surely somebody could have called him,” Poltado protested.

“I did call finally,” Ruby said. “Both his home and his cell—but they went to voicemail.”
“What about Portia?”

“No one had her cell number,” Ruby said.

“Except Herb and Will,” Nanny added. “And they both refused to give it to Ruby.”

“OK,” Poltado said. So the mayor missed a meeting. Maybe he got tied up somewhere. Or maybe he plain forgot.”

“He’s supposed to be sworn in tonight for his second term,” Nanny said. “He’s not going to forget that.”

“OK, whatever,” Poltado said, getting impatient. “We’re just going in circles now. Why did Herb and Vernon have a problem, Ruby. Even if this was their first council meeting, they must realize that mayor might be absent once in a while.”

“They claimed I no longer had authority to preside in the mayor’s absence,” Dabbler said. “Choosing a council president for the new term was on tonight’s agenda.”

A light suddenly went on for the deputy. “Ah, I get it. If the mayor had been here, they’d have had a majority and the job would have gone to Herb or Vernon.”

“Exactly,” Nanny said. “They’d packed the chamber with their supporters. And when Ruby tried to proceed in spite of their objections, the whole room just came unglued.”

“Well, how about at the we clear the gallery at the next meeting so you can do what you need to without all the ruckus?”

“I’d love to,” Ruby said. “But we can’t. Oregon’s Open Meeting Law requires that all deliberations be open to the public.”

Poltado shook his head. “Well, one way or another, this crap—pardon my French—has got to end. This ain’t what folks around here voted for, I don’t care which side they’re on. The council has got to come up with a solution, mayor or no mayor, or I’m gonna be forced to ban public assemblies for the safety of everyone.”

*   *   *

“Oh my god, I can’t believe it! How long has it been?” Cori said, flinging the storm door wide and clamping her in a vise-grip hug. Deena reeled at the reek of sour milk, mingled with Ragu.

Deena forced a smile, wondering if the tomato sauce stains on the apron now pressed up against her favorite blue blouse would come out if she got some cold water on them in time. Weighed down with a suitcase in each hand, she could do nothing but stand there on the rainsoaked porch until the Jaws of Life freed her from her friend’s enthusiastic  grip.

“Hi, Cori. Sorry to barge in on you like this—you know, without any notice.”

“No! Don’t even start,” Cori said, releasing her captive at last and grabbing the larger of the two suitcases. “I’m thrilled to see you. C’mon in out of the rain.” She held the door wide for Deena to pass into the foyer. “It’s got to be at least, what, fifteen years?”

“Seventeen,” Deena replied. “I was pregnant with the twins when you left for Oregon.”

“You’re right!” Cori’s eyes grew wide. “I remember how huge you were. Ack!” Her shriek of excitement reverberated off the ceiling of the home’s twenty-foot foyer. “Aaaand,” she added with a conspiratorial wink, “I remember the night it happened. That impossibly hot sixteen year-old at Joanie’s party—”

“Yes,” Deena rushed to derail the lurid story that was imminent, “We all remember that night. What a cute home!”

“Oh, it’s such a mess,” Cori said with a wave of the burp towel she’d only now snatched off her shoulder. “And Brian’ll be home any minute now. I’m just getting dinner.”

“Oh, hey,” Deena said, following her into the kitchen. “Don’t worry about cooking for me while I’m here. I can take care of myself.”

“As if!” Cori said with a waggle of her head. “That’s not how we roll around here. You’re our guest. Besides, I’m already cooking for five; a sixth won’t make no never mind, as my grandma used to say.” She waved a dismissive hand at Deena. “Come on, let’s put your things in the guest room and then we can catch up while I serve up the spaghetti.

“Mmm, sounds good,” Deena lied.

“I’ve got a special gourmet recipe I clipped out of the Wanker’s Weekly—it’s got mushrooms and fancy cheese. You do like mushrooms, don’t you?”

“Oh, sure. Maitakes are one of my favorites. ”

Cori paused. “Girl, I have no idea what you just said, but mine are the white kind—will that do?”

Episode 4: Misgivings

“So, what brings you to Wanker’s Mill, Deena,” Brian said, reaching the garlic bread toward his houseguest over the head of his youngest son.

“Well, the bus almost did,” Deena said with a sarcastic smirk, passing off the unnecessary calories to the Teegs’ eldest son, seated next to her. “They told me when I boarded in Portland that it went to Wanker’s Mill, but that appears to be only a loose interpretation.”

Brian smirked. “I’m afraid you’re right; it stops at the city limits.”

“Isn’t that crazy?” Cori said, taking the bread and passing it to her eldest son. “I don’t know what they were thinking when they planned that.”

“Actually, you can thank the mayor for that,” Brian said.

“The mayor?” Deena asked.

“Yeah. He and his antigrowth coalition won’t permit public transit within the city. They claim it brings ‘undesirables.’”

“OK, that’s enough,” Cori said with a dramatic sweep of her hands. Turning to Deena she said, “We have a rule: no city business at the dinner table. You see, Brian’s the city manager. If I didn’t stop him, it would be politics 24–7 around here.”

Deena perked up. “City manager?” she said to Brian. “Then you must have been at City Hall tonight when Deputy Poltado arrived.”

Brian looked surprised. “Uh, yeah. Do you know Sean?”

“Not by that name, but yes, we got acquainted this afternoon.”

Brian’s puzzlement deepened.

“Sean delivered her to our door shortly before you arrived,” Cori explained. “He found her hiking into town from the bus stop—in the rain, with all her luggage. Can you believe that?” She turned to Deena. “Girl, I still don’t know what you were thinking. Nobody walks on these roads; it’s just too dangerous.”

“So, where exactly were you headed, Deena, before Sean plucked you off the highway?” Brian asked.

Cori wasn’t sure whether it was Brian’s professional demeanor or merely the conservative suit and white shirt that made her feel uneasy. He was definitely easy to look at, but his manner was all business.

“I was on my way to see Cori, actually,” Deena said, It wasn’t exactly the truth, but she wasn’t about to admit that she was using her high school best friend as a convenience at the moment.

“I’ve always envied you,” she lied to Cori, “getting out of the big city for the quieter life. It was only a matter of time until I followed your example. I just had to wait until the twins left for college.”

The moisture that welled up in Cori’s eyes made Deena feel only slightly guilty. Cori shook her head slowly. “It’s just so hard to believe your boys are that old. I mean look at mine: eight, five, and seven months.”

Deena, fearing that the conversation was veering dangerously close to her fourteen-year-old pregnancy again, changed the subject. “You always told me that Portland was a beautiful city, so I came to see for myself.”

“Oh, and I can’t wait to take you shopping,” Cori said, beaming. “I know a great little shoe store in the Pearl that’s to die for.”

Brian shot her a look. “What?” Cori said, with a practiced innocence. Her pout was one that Deena recognized as a standard among her married girlfriends. It was as if they had all attended the same “Husbands 101” course. She decided to jump in before any marital problems could ensue. “That would be a blast, Cori, I’m sure. But I have to get a job before I can do any serious shopping.”

“Absolutely. I totally understand,” Cori said, clasping Deena’s hand with a sympathy that Deena found condescending. But, she reminded herself, she was mooching off her friend until she could get settled, so she probably deserved it.

“So you’re planning to find a place in Portland?” Brian asked, “Or…”

“Oh, n—no,” Deena stammered, “I mean, yes, but…don’t worry, I’ll get an apartment just as soon as—”

“No, no,” interrupted Cori. “Don’t listen to him”—it was her turn to glare at Brian—“you’re welcome here as long as—.”

“Whoa, whoa,” Brian broke in. “Relax, both of you. I wasn’t implying anything. Of course, you can stay with us for as long as you need.” He heaved an exasperated sigh. “I was only thinking about your employment needs, Deena. If you’re planning to stay out here in the suburbs, I think I might be able to offer you a job.”

“Really?” Deena and Cori chimed in unison. Deena brightened at the news. She didn’t relish staying here with her married friend and three rambunctious boys—not to mention her hot hubby—for any longer than was necessary. But she could live in Wanker’s Mill; it was green and pastoral and still not too far from everything.

“Yeah,” Brian said. “Your timing is excellent. Most of the city staff resigned today. How are your clerical skills?”

Before Deena could answer that, actually they were pretty good, Cori blurted, “You’ve got to be kidding! Why? What happened?”

“Nothing,” Brian said with a shrug. “Unless you count the recent election. Apparently they’d all made a pact to resign en masse if the mayor was re-elected. When the results were certified today, they made good on the threat.”

“Oh. My. God,” Cori deadpanned. “You’re not thinking of joining them, are you?”

“I’d do it in a heartbeat,” Brian answered, “if I had anything else lined up. But what I want is a moot point anyway. Now that the mayor has his majority, I’m sure his first order of business will be to fire me.” He turned to Deena. “You’d actually be doing me a huge favor if you’d come to work for me. It’d just be for a couple of months, until the new council is seated and cans my ass. I’ve got to keep the city running in the interim and now that the staff is abandoning ship, I could really use an assistant.” When Deena didn’t respond immediately, he added, “The pay is pretty decent.”

“Oh, that would be perfect,” Cori said. “You two could carpool!”

“Uh, well,” Deena began, hardly believing it could be that easy. “I don’t even know what to say.” She certainly wasn’t going to say what she was really thinking: I’m not only going to be living with my girlfriend’s hunk of a husband, I’m going to be his personal assistant! Yikes!

“Just say yes, honey,” Cori said with a wink. “I’ve been saying yes to Brian for twelve years now and look what it’s done for me!” She laughed uproariously.

Deena just smiled, suppressing her natural response: Three times pregnant?

Little Boy


ImageLast weekend I was invited to present “Celebrating Our Stories” at a session of the Affirmation 2012 General Conference in  Seattle. As part of that presentation I read a poem I had written at the age of 13—my first poem.

Several attendees requested that I provide them with a copy of the poem, but, because I had recited it from memory, I had nothing to copy for them at the time. I now present the poem here, both for conference attendees and blog subscribers.

little boy
run and play
goes to school
gets an A

teacher’s pet
does not fight
grandma says
he’s so bright

all is fine
’til one day
boys play football
he can’t play

in the shower
stand and stare
all the boys
are naked there

there is one thing
—not a toy—
that he loves
it’s a boy

a feeling that
he can’t defend
that boy is
his only friend

kids at school
they are cruel
hate his kind
that’s the rule

might you love
a boy like this
it’s too late
he’s cut his wrists

© 1971 Marty Beaudet

Agents Say Prologues Turn Them Off: What say you?


Sean M. Chandler

Sean M. Chandler, a guy worth stealing words from

This is a great post from author Sean M. Chandler. I could have just tweeted the link, but I thought it only appropriate to steal his post and incorporate it into one of my own, since his blog is entitled “Words I Stole From Other Countries.”

5 Things Agents Say Turn Them Off in Chapter 1.

I wholeheartedly agree with his take on prologues and agents’ rote dismissal of them. Prologues, like any other aspect of writing, can be abused or done poorly, but the concept exists for a reason: sometimes a prologue is appropriate.

By A Thread: A fun book to read

By A Thread: good use of a prologue

My first book had a prologue. It is two pages long and lays out a triggering event in a political thriller. Chapter 1 begins the story two weeks earlier so that they key characters can be introduced in their “natural habitats” prior to the triggering event.

Without this, the agent (and reader) wouldn’t get the immediate “hook” they demand to keep reading. It often makes no sense to start a story in the midst of an action sequence because the agent is too lazy to wait for a climax to build. So authors are forced to pull something out of the story and shove it up front for instant gratification.

Movies and TV shows that begin with a high-speed chase, a shooting, or an explosion are, in-fact, using a prologue to hook the viewer. Then the action immediately returns to a normal pace as we learn who the players are and what their milieu is (job, relationships, flaws, crises, etc.)

The quality of fiction is being degraded by the fact that agents are too busy to read more than a page or two of any work before giving it a thumbs up or down. They want the excitement of a prologue without it actually being called a prologue.

Senseless Confidential, a fun book to read

A fun book to read!

My current novel, Senseless Confidential (to be released on August 1), does not use a prologue, but begins with prologue-like action nonetheless. It amazes me that by calling it Chapter 1 I’ve already gotten a much better response than I did with my first book.

Go figure. Thanks, Sean, for pointing this out.

Tell me what you think: do prologues ever work for you? Do you hate them as agents do? Are you indifferent?

Book Covers: the Psychology of Type, Part 1


Fuggedaboudit… these faces aren't for book covers

Fuggedaboudit… these faces aren’t for book covers

Do you have a favorite typeface?An elegant cursive script or edgy grunge face? Perhaps it’s a hipster fusion or a neo-goth Gothic.  Or maybe it’s nothing more than a simple sans or timeless serif. As with any other art form, everyone’s entitled to their own personal taste. Whatever turns you on, it’s probably because at some point it just grabbed your attention.

So, when it’s time to design your book cover, you naturally reach for this attention-getting typeface, right?

Janet Evanovich, funky type

Janet Evanovich can get way with funky type because she’s Janet Evanovich. And you’re not…

Wrong. You’re not Picasso. (Well, maybe you are, but Picasso had a thing for weird faces and wasn’t trying to sell novels.) You want to wow your audience with the content of your book, not what it’s wearing. There’s a difference between selling graphic arts and literary arts, and the two techniques often compete with one another.

When your message is more important than your style, there’s one rule to remember: the perfect typeface for the job is one that goes entirely unnoticed.

Imagine you just designed the world’s coolest new typeface. You wouldn’t unveil it spelling out some abhorrent racist message, would you? The beauty of the letterforms would be completely eclipsed by the content. Likewise, if you want your words to be read, you don’t want the audience lost in the parabolic curves and jaunty angles of the letters that make up the message.

When it comes to selling books—because, face it, readers do judge a book by its cover—there are three primary typeface treatments, used separately or combined, that have proven most effective in capturing eyeballs without detracting from the words they form.

Good cover type

Good type: Connelly uses all three (big sans caps); Baldacci has two (big caps); Wild is neither sans nor capped, but it’s big and prominent.

Check out most of the trade paperbacks on the rack next time you’re in the grocery store or mega-mart. You’ll find that most of them use one, two , or all three of these techniques.

And, yes, you’ll find quite a few that don’t, by bestselling authors, even. Yeah, well that’s because they’re bestselling authors! They can get away with breaking the rules because readers are already seeking out their names. They don’t have to put on airs (as you and I do) to convince a reader that they should be taken seriously.

Just as color hues and shades have a subliminal effect on potential buyers, so too do the typefaces in which book covers are set. There are no hard and fast definitions of their meanings, but here are a few clues to what type styles convey to an audience:

Huh_What's_the_title

Huh? What’s the title of this book? Oh, I thought it was a signature.

  • Cursive: romance, antiquity, femininity, frailty
  • Block type: power, danger, masculinity, strength
  • Serif: academia, authority, conformity, formality
  • Sans-Serif: urgency, entertainment, leisure, informality

In the next installment, we’ll take a look at these type styles in a little more detail and discuss the difference between “display type” and “body type” (and, no, I don’t mean endomorphic or ectomorphic.) In the meantime, take a look at the book covers of some mainstream print books and see what trends you can pick out.

Book Marketing: the Psychology of Color


What’s your favo(u)rite colo(u)r? Mine’s a rusty, burnt orange hue. That, and complimentary colors such as pumpkin pie and café-au-lait.

The familiar golden arches

The familiar golden arches on a red field

But that’s irrelevant when it comes to book promotion. It’s not what color you like, or even the color your prospective reader likes, that matters. What’s important is what the colors do to that reader.

Like it or not, we’re genetically and environmentally programmed to have similar responses to certain hues in our environment. Who isn’t calmed at the sight of an idyllic green pasture or azure lake? Who isn’t alarmed when red lights flash or big red letters appear on our digital screens?

Marketing gurus have known this forever: certain colors are better for sales than others. Sure, there will always be the odd exception to the rule, but the trendlines are pretty reliable. For instance, the food and beverage industry know that the colors red, orange, and yellow make people hungry.

Jack goes with simple red and white

Jack goes with simple red and white

Think about your favorite fast-food outlet: what colors are their signs? McDonald’s? Carls Jr? Sonic? They all use red and yellow. DQ and Jack in the Box? Both use primarily red and white. Can you think of any that use blues or greens? Probably not.

This is good marketing. But what does it have to do with your book? The answer is this: the colors you use on your book cover will affect the message it sends to potential buyers, and what their responses might be. Let’s take a look at some very broad categories of color and the messages they send:

Red: Urgency, Necessity

Orange: Excitement, Surprise

Yellow: Energy, Fun

These bold colors are intended to shout a message

These bold colors are intended to shout a message

Green: Nature, Freedom

Blue: Authority, Calm

Purple: Passion, Eccentricity

These, of course, are only some of the things these colors invoke, but it gives you a place to start when designing a book cover. Keep in mind that the shade—from light to dark—is equivalent to the volume setting. Much as ALL CAPS means screaming in social media; bold, rich colors are loud messages, while pastels whisper.

Excitement in nature

The text shouts urgency and excitement, while the background implies freedom in nature

Groupings of colors also have subliminal meanings: blue and pink suggest gender; the primary colors—red, blue, and yellow—evokes children and education. Green and blue suggest conservation and outdoor activities.

So, no matter which colors are your favorites, it pays to consider the message you’re sending when you choose colors for your book cover. One of the most frequent missteps I see in self-publishing is the tendency among women to use pastels on book covers.

Yes, these appeal more to women than men, and you might think them appropriate for female audiences. But they also say that your message is timid, passive, and of lesser importance than the competition decked out in bolder colors.

Bold colors really hit 'em over the head!

Bold colors really hit ‘em over the head!

The opposite problem occurs when colors are too loud; the reader feels assaulted and manipulated, as by a heavy-handed salesman. No one likes to be yelled at unless the message is urgent. If your book is non-fiction about emergency preparedness, this might be appropriate. But if it’s fiction, it might feel like a hard sell to the buyer.

In the next post in the Book Marketing series, we’ll look at typography and the subtle—and not so subtle—messages your font choices send to prospective readers.

More than one way to flay a feline


Hands off the cat!

Hands off the cat! Or I’ll flay you!

OK. So it’s a gross expression, but I can’t think of another that conveys the same meaning.

The point is this: writing is about putting stories into textual form. That’s easy. Good writing is about bringing stories to life—connecting with the reader and painting the canvas in their mind, which they have so generously offered you, the writer, when they opened your book.

Will you be a vandal that leaves behind banal graffiti? Or will you be a Rembrandt or Picasso, creating a masterpiece so memorable that it will hang in that gallery for years to come?

A mess of graffiti

Is this what your prose leaves behind on the reader’s canvas?

Readers love to be surprised. They read to escape the day-to-day humdrum and be transported to somewhere exciting. Words are the vehicles with which you will transport them. Do it in style.

Yes, you can put them on public transit with plain, simple language and ordinary prose. But your reader deserves better: write for him or her a limousine, or maybe a hang-glider—something new and exciting.

How do I do this, you ask? Well, start by examining your choice of words. “He had a big house.” Yawn. The sentence hardly wakes—let alone stimulates—me.

Now, an amateur writer says, “I know, I’ll change that boring old adjective to a fancier one, like ‘humongous.’” Nope. Sorry. Now it looks like you’re trying too hard.

Here’s where those parts of speech you learned—or ignored—back in grade school come in handy. (I don’t know, do they still teach that stuff anymore? Sometimes it sure doesn’t seem like they do.) You know the difference between a noun, verb, adjective, and adverb, right?

The second most common mistake amateur writers make is to shove an adverb into a plain sentence to jazz it up. The result is usually a nun in a bikini—a mash-up that draws far more attention to itself than it should, detracting from the story you’re trying to tell.

“He stared at me furiously.” Did you ever sit down and trying staring in a variety of  ways? I dare you. What you’ll end up doing is mugging in cartoonish ways, like Bart Simpson posing for the family photo. A stare is just a stare. The clues to what the starer is thinking must come from other nuances.

The sky is alive!

This sky isn’t just there, it’s alive! It deserves a verb.

OK. We’ve established some of the bad habits; can we identify some positive practices? Absolutely. Let’s get back to those parts of speech. The secret to memorable prose is to switch them up in ways you might not when speaking colloquially. Use a verb instead of an adjective; a noun instead of a verb. Use an adjective or adverb as an entire sentence for emphasis. Be creative.

Here are some examples:

Instead of:The sky was gray.” > “The sky glowered.” (adjective > verb) The sky becomes animate, another character.

Instead of:He stared at me furiously.” > He lasered his silent disapproval into my back. (adverb > verb) Now, instead of mugging at you, he uses a stealth weapon.

Instead of:The party was really loud.” > “Cacophony reigned.” (adverb/adjective > noun/verb) Now the noise is a character acting upon the scene.

Instead of:She found the room to be cold, damp, and dark.” > “Cold. Damp. Dark. She sensed nothing more.” (adjective string > adjectives as sentences) Isolating each word gives it a gravitas that a laundry list lacks.

I’m sure you can come up with of hundreds of other examples. Go ahead and give it your best shot in the Comments field below!

Wonder Which Words Work Well?


Write Right: Which Words Work?

Write Right: Which Words Work?

Ever have so many words on the tip of your tongue that you think you might gag on them? Yeah, me neither. That’s what a thesaurus is for. Then you do end up with too many choices, because a thesaurus is great at throwing words at you, but it knows nothing about nuance (except: shade, tone, fine distinction, gradation, tinge, hint, degree, touch, and trace).

No, the thesaurus isn’t going to help you at all when it comes to deciding whether your writing fails, falls short, isn’t up to snuff, or fails to make the grade (but it will cheerfully tell you that the antonym is “succeeds”). Luckily, a friend recently gave me a handy little pack of flash cards with which I can learn to “Use the Right Word!” (It comes complete with the exclamation point because, God knows, there just aren’t enough of them on the Internet.)

Unfortunately, I’m not entirely (fully, completely, wholly, totally, utterly, and lock-stock-and-barrel) sure that this “Quiz Deck” can be trusted. After all, it claims to feature “similar words with different meanings” when, in fact, it is actually a set of different words with similar meanings.

For example, one set of compared words is: charlatan, dissembler, fake, impostor, mountebank, and quack. As I said, very different words with similar meanings. So it appears that the folks at Oxford University Press, who produced this gem of a product, could use a dose of their own exactitude. Still, this little list of literary likenesses is good for exercising our writers’ brains. So I’m going to let you share in the fun. The following quiz comes straight from the steed’s stack:

The blind reading the blind…


Which kitty is different?

Which one is not like the others?

Remember those little intelligence tests, disguised as games, they subjected us to in grade school? (Or, if you’re a civil service employee, the ones you had to pass to get your job.) Well, by my own unscientific sampling, I’ve concluded that most writers would probably fail them—at least the ones that ask “Which one of these is not like the others?” You know, where there are five shapes that, at first glance, appear to be the same, but in reality one of them has some tiny anomaly. Or a glaring one.

It simply wouldn’t matter to my beta-readers.

I say this with some authority because I have just completed the beta-reader review process for my forthcoming comedic novel, Senseless Confidential (a fun book to read, by the way). Out of seven beta-readers, across three distinct instances of glaring continuity errors, only one was spotted by a single reader. These errors were as follows:

  • A character named Eric throughout the book was called Randy near the end. No one noticed.
  • A strip bar called the Safari Club at the outset was then called the Jungle Room forever after. No one noticed.
  • A vehicle introduced as a Nissan Pathfinder early on was continually referred to nearly a dozen times afterward as a (Toyota) 4Runner. Only my sister noticed. (And no one noticed that the latter was misspelled as “Forerunner.”)

Does this mean that readers don’t care enough to notice such details? I don’t think so. (Because we all know how brutal they can be when they find errors and they go viral on the Web.) My take is that, even when readers are asked to look for errors, they get carried away by a great story. You know how it is when you’re “in the zone” of a good book; you let your cinematic brain project the action onto a screen that has no words—just moving pictures.

So I count it a compliment that, except in one instance, seven people tasked with vetting my latest work got so into it that they failed to be tripped up by such obvious mistakes! Of course, this also makes the perfectionist in me nervous that when the book is finalized this week, too many errors will persist.

We shall see. But I’m  willing to bet that when you get your copy you won’t notice them either.

Senseless Confidential, an absurdist romp through the Oregon Cascades, by Martin Bannon. Available from Amazon on August 1, 2012.

You, beta, take a look: A neo-noir absurdist romp…


You might have heard me celebrating yesterday the completion of the first draft of my manuscript of the comedic thriller “Senseless: Confidential.” Short of hitting the New York Times Bestseller List, it’s a writer’s greatest exhilaration, getting the story completed. It’s a very long birthing process, painful and exhausting at times, but rewarding nonetheless.

Now that it’s out of the womb, it’s time to clean this baby up! Of course, to me it’s already beautiful—I can see past all the blood and amniotic fluids on the surface to the sweet spirit within. That’s why I need your help. In a week or two, after I’ve done a little touching up of my own, I’ll need beta readers who can give me honest feedback on where I’ve missed a few spots: bad grammar, typos, continuity errors such as time lapses and descriptions that don’t mesh from one chapter to another. I know what I meant, but you need to tell me if I’ve thrown the reader for a loop, or failed to put in writing what was clearly displayed in my mind.

For a two-week turnaround I’m offering, meager though it is, a $10 Starbucks card (you Mormons can order an herbal tea like I do!) and a free copy of the final edition, either in print or as an e-book.

So what’s this baby about? Here’s the blurb:

He’s just trying to do his job, but hapless Census worker Nick Prince finds himself facing down everything from guns to pit bulls in this comedic thriller in the tradition of Carl Hiaasen. Nick’s nights are spent pining for Beth, his lost college love. When Beth turns up after a ten-year absence, he’s caught between a rock and a restraining order. When he stumbles upon a band of polygamists deep in the Oregon Cascades town of Elwood, his efforts to disentangle himself only get him in deeper, until he’s running from his past, the law, and an angry husband. Can he save himself and heal his broken heart without doing hard time?

If you’d like to preview the first dozen chapters before committing, check it out here. If you’re interested, shoot me a message here, with a brief introduction, including what kind of fiction you usually read. Thanks!

Beat the DRM slowly


Macmillan’s science-fiction publishing arm announced today that is abandoning digital rights management (DRM); here’s my reaction from the point of view of a self-published indie author. What’s yours?

DRM is for the benefit of the publisher, not the author or reader. Print books have been passed around since Gutenberg; no reason digital books shouldn’t be treated the same, except to give Amazon a lock on both the reading device and the content. For the author, exposure is the name of the game. Many of us already freely give away books to build a following and generate buzz for the next book. You don’t make real money off of a single book; you make it by building a franchise.

Tell me what you think.