Because Baseball is Only 51 Days Away

No deep thinking this month–here’s a little baseball story you might enjoy . .

The Nuns’ Day Hit

“Seems like the shit never ends,” Burton said, refolding the Globe.

“What’s that?” Elder polished the rocks glasses, the ones Burton knew he loved the best.

“The priests. With the kids.” He stripped cellophane off a package of orange peanut butter crackers.

Elder grimaced, either at the culinary choice or the topic. The Catholics had no monopoly on abusing children. At his prep school, you knew not to get caught in the sauna with the assistant athletic director or indulge the housemaster’s questions about your sexual practice. The difference Elder saw was that the priests were all about power, the world they ruled. The teachers had been more hangdog than cruel. The effects on children were the same, of course.

“More of it how?”

“One of the brothers at CM.”

“Is that where your sister taught?”

“Oh, hell no,” Burton said. “You don’t mix the sexes at an all-boys high school. Though that could be part of the problem.”

He sipped his milky coffee. Elder had only been back in the Esposito a month, but they’d reacquired their old habits fast. Marina was gone. After she finished culinary school and Carmen died, she left Boston to work as a sous chef on a Disney cruise, out of Fort Lauderdale.

“Huh.”

Burton’s phone buzzed.

“Shit.”

Elder draped the dish towel over the handle of the ice machine.

“I thought you were off today.”

Burton drank the rest of his coffee, checked the display.

“Appears I’m wanted at Fenway Park.”

* * *

“Today was Nun Day.” One of the ball cub’s PR guys hovered at the edge of the crime scene, exercising his spin. “You know, like we did way back in the Sixties. Give ‘em jerseys, roses, wrist bands, bus them in.”

“Familiar with the concept,” Burton said.

He did not love these Boston-come-lately types, who acted as if they invented every tradition. Look, Ma: brass ducks on the Common.

The victim was a hefty woman, lying on her stomach with her head below her feet on the ramp leading down under the stands. She wore a vintage Garciaparra jersey—the expensive wool one—and her simple black and white headpiece was knocked askew, enough to display thinning gray hair and an incongruously pink scalp. A blotch of blood around a slit in the fabric, right in the middle of the number five, hinted at the cause of death.

Dina Jackson, the ME on duty, looked stricken. Burton wondered if she too had a Catholic upbringing.

“Iffy way to kill someone, stabbing,” she said. “Dumb luck to go in through the back and hit something vital. She didn’t suffer.”

Burton straightened up off the concrete, knees popping.

“You’ll verify? I have to go interview a room full of nuns.”

Dina crossed herself, answering his question.

“Go with God, young man.”

He cracked a smile and headed down the ramp into the stadium.

* * *

The responding officers had done a good job of separating the witnesses. There’d been several hundred nuns in the stands, most of them dressed alike, but the uniforms isolated the small group that included Sister Mary Humilitas, the victim. They were from a smallish order in Rhode Island.

A dozen or so sat in the cheap plastic bucket chairs of the room where the ballpark vendors stored their coats and belongings. A wall of blue lockers covered the back wall, a sink and mirror in one corner, and a toilet behind a half-open door. Burton could hear it running.

The minute he stepped inside, a cleric in full purple cassock bustled up to him. Burton thought he must love his vestments awfully well to wear the full regalia to a ball game in the middle of July. He doubted the nuns’ seats were in the shaded overhang.

“You’d be the detective, then?”

Burton took in the priest: pink-faced, overfed, clean-shaven. And nervous. His upper lip shone.

“Daniel Burton, Father. Can we sit down?”

The priest puffed himself up in a way too familiar to Burton, the flesh of the man so certain of the support of institution behind him.

“We’re going to miss the bus back to Providence,” the priest protested. “We must get the Sisters home before Vespers.”

Burton grinned.

“Not vampires, are they?” He got serious. “Let’s all sit down for a moment. I’ll get you on your way as quickly as I can.”

There was no privacy in the room, but he pulled two chairs to the farthest corner and interviewed the sisters one by one. He got nothing but platitudes and God’s-will-be-done until about halfway through the interviews. Until she sat down, he hadn’t noticed she was not wearing a coif or veil or any other sign of habit.

She was also half the age of the other sisters, her dark hair cropped very short and her face marred with acne scars, some old and some fresh. She was dressed modestly, not in baseball gear, but dark blue pants and a white blouse buttoned to the neck. A small wooden cross hung from a rawhide thong around her neck.

“Sister Mary Humilitas was a prick,” she said, looking around to see if anyone else could hear. “A prick and a bully.”

“Strong words. You’re not a nun, then?” He gestured at her head.

“Marjorie O’Toole.” She ducked her head, as if she remembered she was supposed to act humble. “Novitiate, it’s called. You’re not a Catholic?”

“I don’t think that’s germane.”

“Because you’d understand better if you were.”

“Enlighten me.”

“Sister Mary Not-Humble was the Mother Superior. You have a clue what that means?”

“The woman in charge.”

“The dictator,” Marjorie said. “Squeezed her power until it cried for mercy. Telling on people, giving out shit jobs.”

“You’re saying I have a room full of suspects here?”

She nodded.

“One time or another, she probably pissed off everyone in the room.”

“Really. Enough to kill her?”

She nodded and looked at the priest significantly.

“And I’d ask Father Conklin a question or two. I would.”

He wondered if she realized she was dropping herself into the same black kettle she’d dumped everyone else in. He could see Sister Mary Humilitas scrubbing out Marjorie’s mouth with soap and water.

* * *

A uniform from Chelsea Burton recognized from the diversity seminar stuck his head in the door.

“We grabbed this kid running away from the scene. Repeat offender.”

“You know him.”

The uniform, named Talbot, nodded.

“Pickpocket and mugger, as long as the muggee isn’t too young. Or strong.”

Burton picked at something in his teeth.

“Hold him for a minute while I finish up here. How did you eyeball him?”

He would have been a face in the crowd leaving the game. The uniform grinned.

“Carrying a purse. And not a man-bag, if you know what I mean.”

* * *

“Her purse is missing,” Sister Carmelita said, thin fingers tangling in her lap. She was tiny, her upper body swimming in the Betts jersey. Her black eyes glinted like wet stones. “She never let it out of her hands. I believe this was a purse-snatching gone bad.”

Burton read the trembling lips, her shaking hands.

“You and Sister Mary were close?”

“Sister Mary Humilitas, if you please.”

Burton had a minor flashback to grade school, the metal ruler across the knuckles form of education.

“Yes. But you were friends?”

“As much as we could be.” She brought her knuckles, knotted with arthritis, up to her mouth as if she’d said too much.

“How do you mean?”

“We don’t have a lot of time to ourselves,” she said. “I only mean we shared our love of Christ, our work together. Our worship.”

Burton raised a hand to release her. She’d meant something else, but he doubted there were secret lesbian affairs among the nuns. Every one of them was closed-up as a nighttime flower and tough as wire. If something was going on at the convent, he wasn’t going to find out by talking to them.

* * *

He left the priest until last, seeing how much it pricked the man’s impatience. Conklin sat, pulling the literal and figurative vestments of his position around him. He seemed calm for a priest who’d lost one of his flock to violence.

“How well did you know the sister, Father?”

Conklin crossed himself before answering.

“I’m new to this abbey,” he said.

Which pricked up Burton’s ears, knowing why priests sometimes moved from parish to parish.

“And where were you before?”

The priest cast his eyes down, which Burton read as guilt.

“I served in a church in Jamaica Plain.”

The latest of the local suburban parishes to be associated with the too-familiar scandals.

“Transferred out of there pretty quickly, were you?”

Conklin bristled at the implication.

“I was brought in to heal the community. That’s been my role in the diocese for some time.”

Burton didn’t quite believe him, though it was true that public knowledge into what happened forced the diocese to act. Or appear to.

“Blessed are the healers,” Burton said. “Something in the Order needs mending?”

Conklin got cooler and calmer the longer they spoke. Nothing that happened in Jamaica Plain would help solve the murder of Sister Mary Humilitas.

“What do you think happened here, Father?”

Conklin fingered his scapular.

“A mugging, I suspect. Purse snatching? Isn’t that the most likely?”

He nodded to the father.

“Get them on the bus, Father. I’ll be in touch.”

* * *

The kid the uniform was holding looked about fourteen, skinny as a refugee and pale, red-headed with freckles. Burton opened the purse the officer handed him.

“This your pot?” he said.

“No way. Look, I found it on the ramp going out. I was taking it to lost and found.”

Burton delved deeper, found a roll of fifties and hundreds the size of a baseball.

“I guess you didn’t see this, either?”

The kid’s eyes went wide.

“Shit. No. I would’ve . .”

“I know what you would have done,” he said. “Cut him loose.”

The uniform looked irked. Burton wouldn’t have explained himself, but the officer deserved a pat on the head for quick thinking.

“Can’t hold him. Unless someone saw him grab it?”

The uniform shook his head.

“You didn’t find a knife on him? Cut him loose. Any luck at all? You’ll see him again.”

* * *

It was one of those impossible cases. Burton would have liked to believe in the purse-snatch gone bad theory, but abuse scandals or not, there was enough respect left in the city for Catholic clergy, especially nuns, that he didn’t believe anyone would target Sister Mary Humilitas. Anyone with half a brain knew the orders took a vow of poverty and inside a sold-out Fenway Park, 37000 or so souls? A mugger could have found a hundred richer targets.

“I can’t tell if I’m reading too much into it,” he said to Elder.

A brassy big band played in the background. Burton sipped a whiskey sour.

“Every group has its weirdnesses,” Elder said. “Tensions. Relationships. Why should a convent be exempt?”

“If nuns are killing nuns, I’ll never solve it. The father—Conklin—he’s legit, though. They drop him in like a troubleshooter when a parish has a problem. Apparently not one of the priests causing the problems.”

“So. Just means there is a problem. Not the usual one.”

Burton nodded, hating the idea they could talk about abuse as the “usual.”

“Yep. No altar boys in the convent.”

“Financial?”

“No money in being a nun. And the convent finances would be managed by the diocese.”

“You have an itch,” Elder said.

“Random makes no sense. The good sister had a wad of cash and a couple ounces of primo pot. And Conklin refuses to talk to me. It’s the Church thing: we got this taken care of, kindly fuck off.”

The street door of the Esposito creaked open. It was early enough the bar had no customers and without a new cook, Elder wasn’t serving lunch.

“You open?”

The voice was familiar, but he didn’t peg it until the young woman who’d been training as a nun walked down the stairs.

“They told me I could find you here,” she said.

Burton wondered who at the precinct gave him up. He thought the Esposito was his secret.

She was dressed in elegant casual wear: lemon-colored linen shorts to her knee and a gray silk sleeveless blouse. Her hair had grown in enough that she no longer looked like a prisoner. She carried a small red leather clutch purse.

“Sorry,” Burton said. “I’m blanking on your name.”

She reached into the purse, withdrew cigarettes and a lighter.

“You can’t do that in here,” Elder said.

Burton glared, dismissed him with his hand. Elder threw up his hands and retreated down the bar.

“Marjorie,” she said.

“O’Toole.”

She lit up and looked around.

“Nice place.”

“I don’t have a lot of time to screw around,” he said. “You leave the order?”

She glanced at the whiskey sour and exhaled smoke. She’d been with the nuns long enough to perfect that disapproving look.

“I thought it was something that would help. I was wrong.”

He would have asked ‘help what?’ but that wasn’t pertinent.

“You didn’t come all the way up to Boston to tell me that.”

“My Ma lives in Chelsea.” She looked like she was trying to decide whether to trust him. “There’s something wrong down there.”

“Thanks. That’s very helpful.”

She looked flustered.

“It wasn’t a purse-snatch, like Carmelita was saying. Sister Mary Not-So-Humble wasn’t living up to her name.”

“What’s that mean, something wrong?”

“You visit the place?”

He had two other open homicides on his desk right now. A visit to Providence was low on the priority list.

“Not yet.”

“Well, maybe you ought to.” She held up the hand with the cigarette in it. “I wasn’t there long enough to know any details. It’s a feeling I had.”

“Give me your contact information. I’ll want to talk to you again.”

She made a face and dipped into the clutch, handed him a business card.

“We will talk,” he said.

* * *

The three-story brick building of the convent for St. Agatha of the Trees took up half a block in a rough neighborhood on the outskirts of Providence. The neighborhood was what an optimistic realtor would have called transitional and Burton called a slum. The streets were more or less deserted at mid-morning, the sketchier residents home sleeping on their stained mattresses or nodding off in abandoned buildings. The gleaming black Audi parked in front was an insult to the neighborhood. Father Conklin’s, he assumed.

The birdy Sister Carmelita was the new Mother Superior. A novitiate conducted him from the guarded front door to the main office. Sister C seemed to have taken on a certain physical heft, as sometimes happens when a person gains power.

“Officer Burton,” she said.

“Detective.”

She made a vague motion with her hand, not so much a blessing, as an acknowledgement of his presence. A pair of dark blue nitrile gloves rested on her desk. She whisked them into a drawer. Cool air trickled in from an open window.

“Have you solved the murder of our dear sister in Christ?”

He shook his head.

“Sadly, no. I did think I ought to drive down and visit. Perhaps reinterview some of the sisters who were at the ballpark.”

“I don’t think that will be necessary,” she said.

As if she understood what a shot in the dark it was for him to be here. She might have convinced him, except that background checking proved that Sister Mary Humilitas owned a six-figure savings account at the Royal Bank of Newfoundland.

But before he could insist, a door behind Sister C opened and a plumpish sister in a long white coat, wearing similar nitrile gloves, burst into the room.

“Oh, I am sorry!” She looked befuddled, then sly. “Reverend Mother, we’re having a slight problem in the, uh, kitchen.”

The furtive look would have told him something shady was going on, even if the sister hadn’t drafted the musk of marijuana into the room.

“Go then,” Sister Carmelita said. “We will deal with it.”

Chastened by the sharp tone, the nun slammed the door behind her, a touch harder than she had to.

He folded his hands in his lap and regarded the Mother Superior. She stared back.

“Well,” he said.

She looked at him for several long moments that recalled grade school for him.

“I suppose.” She stood up. ‘You’re not likely to leave without an explanation.”

He tipped his head to one side, a half-nod.

“It doesn’t have anything to do with Sister Mary’s death, you know.”

He noticed the Humilitas honorific was missing now and that Sister C spoke of the murder as if her colleague had been hit by a bus.

“Shall we?” He moved toward the door.

* * *

“We don’t charge a cent for it,” Sister Carmelita said. “We give it away to the needy.”

As drug dens went, the room was pretty benign, a small storeroom with a single stained-glass window of a shepherd and his flock. Four nuns weighed and packaged plastic bags from a kilo-sized bale in the middle of the table.

“Cancer patients, mainly. A few with glaucoma.”

“But not only in this parish.” Not in the amounts they were processing.

“Correct. Father Conklin . . .”

“He’s your distributor.”

“Oh, no. We found Sister Mary was stealing. No money was ever supposed to change hands. Then one of the novitiates, cleaning, found her stash.”

The word sounded foreign in Sister Carmelita’s mouth. She went on, defiant.

“And she was planning to  leave us. And tell what we were doing.”

He doubted that, if only because she’d incriminate herself.

“So there was a good reason for her death.”

Sister Carmelita looked horrified, but not convincingly.

“We’re not gangsters, Detective.”

Same as, as far as he was concerned. Same as the church covering up for priests acting badly, how the church considered itself above the laws of the land. Exactly like gangsters.

“Then who would have done such a thing?”

He doubted any of the sister had the nous to slip a shiv into Sister Mary. But he could think of someone who did.

Sister Carmelita straightened up, her lips tight.

“I wouldn’t know,” she said. “Maybe you should speak to Father Conklin.”

“Of course. The troubleshooter,” Burton said. “Has he been reassigned yet? Off to shoot troubles in other parishes?”

“I believe,” Sister C said, folding her hands. “I believe the Bishop mentioned Brazil.”

And through the open window, Burton heard the Audi start up with a roar, the tires chirp as Father Conklin took off to his next assignment.

Posted in Dick's Posts | 6 Comments

Merry Christmas Eve!

Are you watching for Santa tonight? There’s no better place to see him than on a crisp, cold Maine night.

Christmas 2005

I’m dreaming of a white Christmas, but as I write this on December 14th, that’s more aspirational than assured. The weather rumor has it that we’ll be experiencing rain on Tuesday, and any predictions beyond that are best guesses. After forty years in Florida, I’m thinking of filing a complaint with the Chamber of Commerce. I live in the Crown of this beautiful state. It’s hard to go much further and still be in the US. Christmas, for those of us who live on the 47th parallel, should be fluffy. Shouldn’t it? It always was before, wasn’t it?

Christmas 2020

Memory is a tricky thing. There’s a reason for the trust but verify phrase familiar to all writers. I turned to my photo album to verify my recollections. Much to my surprise, I discovered that even in late December, it’s possible to experience three of the four seasons on Christmas Day. Something to remember now that I’m writing a series set in the North Woods.

I want to wish our readers, and my blogmates a very happy holiday and a splendid New Year. May your fondest wishes come true in 2025.

 

Christmas 2023

Christmas 2021

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Weekend Update: December 21-22, 2024

Next week at Maine Crime Writers there will be posts by Sandra Neily (Monday), Kait Carson (Tuesday), Dick Cass (Thursday) and Charlene D’Avanzo (Friday).

In the news department, here’s what’s happening with some of us who blog regularly at Maine Crime Writers:

Kate Flora: As I have in past years, I’ve written a Christmas story for you. It can be found on my website along with the stories from the past six years. I hope you’ll enjoy The Empty Manger. https://kateclarkflora.com/the-empty-manger/

The Empty Manger

Maureen Milliken: I’ll be at Barnes & Noble, 200 Running Hill Road, South Portland, today beginning at 1 p.m. to sign my new book, DYING FOR NEWS. Stop by and say hi!

An invitation to readers of this blog: Do you have news relating to Maine, Crime, or Writing? We’d love to hear from you. Just comment below to share.

And a reminder: If your library, school, or organization is looking for a speaker, we are often available to talk about the writing process, research, where we get our ideas, and other mysteries of the business, along with the very popular “Making a Mystery” with audience participation, and “Casting Call: How We Staff Our Mysteries.” We also do programs on Zoom. Contact Kate Flora

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A great finale for Maine Crime Writers 2024

For the third year in a row, the Maine Crime Writers sponsored a tree at the Augusta Elks Lodge Festival of Trees, which ran from Dec. 10 to 15. You’re probably familiar with these fundraisers — they take place all over Maine in late November and December. Businesses, organizations and groups donate a tree, decorated with a theme. Underneath it are gifts donated by the tree sponsor. The trees are raffled off for charity, with winners winning the tree and everything on and under it.

The Augusta Elks are generous supporters of many local causes, particularly Bread of Life, the Augusta area’s soup kitchen and shelter for unhoused and marginalized people all over central Maine, so the raffle certainly supports a good cause. The challenges that many Mainers face because of lack of housing, high housing costs, lack of transportation, the incredibly high cost of heating a home, access to needed services and a reliable support system, are no secret to anyone in the state. We’re a small state and we can’t hide it.

Adding our tree to the 40-plus others at the Augusta Elks week-long event is one way that the Maine Crime Writers step up and help support the real Maine that is a backdrop for so many of our fictional books.

I’m told yearly what a great addition to the event our tree is. This year while I was setting it up with help from my sister Rebecca (she helps every year!), I met a woman whose daughter won it two years ago. She said that her daughter was delighted by the books and other items. They gifted some, but her daughter didn’t want to give most of them up. That said, they recently donated many of the books to the new warming shelter in the capital city.

The raven on top of our tree has become a Maine Crime Writers signature.

The highlight of the gifts under our tree are signed books donated by Maine Crime Writers. This year’s donors were Kate Flora, John Clark, Kate Emerson, Dick Cass, Jule Selbo, Matt Cost and me. Former Maine Crime Writers Barb Ross and Paul Doiron also chipped in. I also pick up books and other writing and mystery-related items during the year when I see them on sale or at a low cost, to add to the tree.

Festival-goers also get a kick out of the raven tree-topper and crime scene tape garland. Aside from regular ornaments, we have mystery-themed ones (thanks Kate Flora!) and I also hang bookmarks from those who’ve donated books for the cause.

The winner of this year’s tree was Kimberly Lincoln. But I have a feeling many people  will benefit from the 40-plus books and other items that were part of our donation this year.

Not everyone is going to venture to the wilds of Augusta, I know, for a charity event. But when next year rolls around — or any time of the year — if you see a local event that will help out your fellow Mainers, consider taking an hour or so and supporting the cause. Maine gives us so much, and for many of us makes our books what they are. The real Maine, outside our pages, needs our love as well.

Posted in Maureen's Posts | 2 Comments

Holiday Greetings

Earlier this month I sat down to compose our annual Christmas letter. Right off I hit a snag. We didn’t actually do much this past year. I had total knee replacement surgery. My husband spent time skiing at Saddleback last winter and after the snow was gone, he concentrated on the novel he’s writing. I worked on genealogy and sorted and labeled a couple of hundred early twentieth century family photos. And that was about it—a very short note to go with holiday greetings. It also occurred to me that even though we don’t see most of them in person these days, a good portion of the folks we send this letter to already know all our news because we follow each other on Facebook.

I sent nineteen letters anyway, all in pretty green envelopes. My mailing list used to be larger, but I no longer feel the need to send cards or letters to “business acquaintances” unless they are also personal friends. At the same time, older relatives, as well as friends my own age (77), keep dying on me. Others are still alive, but no longer bother with cards or letters. With luck, I will receive Christmas cards, letters, or e-letters from most of the nineteen in return. Some will include photos, especially if there are grandchildren to brag about.

my parents’ Christmas card in 1951

Once upon a time—way back in the 1950s and 1960s—sending Christmas cards was something huge numbers of people did every year as a matter of course. In fact, my first “job” was helping my mom take orders for Christmas cards. We took three heavy sample books from three Christmas card companies—Wallace Brown, Marion Heath, and Tom-Wat—into people’s homes so they could make their selections. Our customers placed their orders months in advance for hundreds of cards with their names printed on them. With that many cards, not having to sign them by hand was probably a big help.

our Christmas card in 1971 when my husband was stationed at Oceana NAS

Back then, of course, there weren’t anywhere near as many ways to keep in touch with friends, especially those who didn’t live in the same town. No e-mail. No Facebook. No social media at all. Your options were limited to writing letters or calling long distance, and people who were watching their budgets were very aware that long distance rates varied by the time of day and the day of the week. Christmas cards were a once-a-year way to communicate that you were still thinking of them. Handwritten notes could be scribbled on them to add details to the season’s greetings.

At some point, the habit of sending Christmas cards morphed into producing an annual Christmas letter. First they were typed and xeroxed. Later they were generated on a computer and printed and often included pictures. These letters were sometimes included in a card, but just as often went out by themselves. It was a good way to catch up on news, especially with old friends you didn’t see in person. I’m not sure when I switched from cards to letters, but I’d done so by at least 2012. I’ve resisted other options, although e-cards come with computer graphics and music and would be easier on my arthritic fingers and both e-cards and e-letters save on postage.

What about you, MCW readers? Do you still send cards or letters? Do you still receive them? If you don’t, do you miss them? And how do you stay in touch with old friends who aren’t interested in joining Facebook, X, Bluesky, or any other social media platform? Inquiring minds want to know.

Kathy Lynn Emerson/Kaitlyn Dunnett has had sixty-four books traditionally published and has self published others. She won the Agatha Award and was an Anthony and Macavity finalist for best mystery nonfiction of 2008 for How to Write Killer Historical Mysteries and was an Agatha Award finalist in 2015 in the best mystery short story category. In 2023 she won the Lea Wait Award for “excellence and achievement” from the Maine Writers and Publishers Alliance. She was the Malice Domestic Guest of Honor in 2014. She is currently working on creating new editions of her backlist titles. Her website is www.KathyLynnEmerson.com.

 

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Grateful by Matt Cost

I am grateful for readers, writers, reviewers, podcasters, bookstores, libraries, and every single person of the wonderful community of books that I find myself immersed within.

These are just some of the books I have read written by friends.

Encircle Publications published my first book, I am Cuba, in March of 2020. It has been quite a ride. Over that time, I have met so many literary people. In 2019, I attended Crime Wave in Portland, Maine. It was as if a light bulb had exploded from my head with the inscription inside stating wow, these are my people.

The other day, I was walking out of the grocery store into the parking lot, and a car pulled over, the window went down, and a woman asked if I were Matt Cost. Thinking it was somebody I knew, I leaned in the passenger window and said hi to her dog. As it turns out, I did not know her, but she just wanted to say how much she loves my books and that she has read every single one of the sixteen of them. People—that stuff means the world to us writers.

This past Sunday, I was invited to the house of Jule Selbo where she and Gabriela Stiteler were hosting a holiday gathering of writers from Sisters in Crime. There were nine of us there, a few who I knew, a few who I got to know, and a fabulous time was had by all. A major topic was getting creepy correspondences or gifts. What else would crime writers talk about?

Whether it is a noir at the bar reading, a crime conference, a panel discussion on writing, or just an impromptu gathering, it is always a fabulous time to get together with my people. Those who write crime and spend their days researching odd and strange and illegal information to then spill out onto the pages as murder, theft, fraud, and general all-around depravity.

Over the past five years, I have established a wonderful relationship with many book reviewers. Many of these literary people are regulars, dutifully reviewing the three books a year that I have been publishing over this last half-decade. I have met a few of them at book presentations or conferences, but most, I know by name and review only. All the same, I feel a tie to them that is real, a friendship that exists.

Five years ago, I’d never heard of a podcaster. My first foray into the world of radio and podcast was on the House of Mystery Radio with Al Warren. What a fantastic time talking books on the air with other authors and lovers of literature. Since then, there have been many other great podcast talks that I have participated in. I am a regular on Big Blend Radio. Last week, Julie Hennrikus reached out to me to interview me for her podcast for Sisters in Crime. What a wonderful experience.

There are many marvelous bookstores in the world. Sherman’s Maine Coast Book Shop has nine stores scattered across the state, and I’d like to send a special kudos out to them for how wonderful they have been to me at every step of my evolution as a writer. They carry and sell all my books. They have me come do signings and participate in book events. A couple of weeks ago they sat me at a table signing books with the amazing Tess Gerritsen. Thank you.

This past spring into fall, I did over fifty speaking engagements. There was a rotary club, a few retirement communities and whatnot, but the bulk of them were libraries. Libraries are the absolute hub of every community. Usually centered in town, in some wonderfully unique building, filled with books and lovers of books, these institutions are the backbone of our towns. To be given the opportunity to visit these fantastic places around New England, meet the wonderful people who work there, and engage with their patrons is truly an honor.

So, to the incredibly sensational writing community, I’d like to say thank you, I’m grateful, happy holidays, and here’s to an astonishing New Year to come. Write on.

About the Author

Matt Cost was a history major at Trinity College. He owned a mystery bookstore, a video store, and a gym, before serving a ten-year sentence as a junior high school teacher. In 2014 he was released and began writing. And that’s what he does. He writes histories and mysteries.

Cost has published six books in the Mainely Mystery series, starting with Mainely Power. He has also published five books in the Clay Wolfe Trap series, starting with Wolfe Trap. And finally, there are two books in the Brooklyn 8 Ballo series, starting with Velma Gone Awry. For historical novels, Cost has published At Every Hazard and its sequel, Love in a Time of Hate, as well as I am Cuba.

Cost now lives in Brunswick, Maine, with his wife, Harper. There are four grown children: Brittany, Pearson, Miranda, and Ryan. They have been replaced in the home with four dogs. Cost now spends his days at the computer, writing.

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Enter Late, Leave Early: Making Thrillers More Thrilling

Rob Kelley here, thinking about upping the stakes in mysteries, suspense, and thrillers.

I’ve been working on revising my third novel (title TBD) and have been thinking about the suspense-heightening technique “Enter Late, Leave Early” (ELLE), as illustrated with Dick Wolf’s television show “Law and Order.” The credits finish rolling, you get the “dun-dun” sound, the scene opens, there’s a minute of dialogue or a little action, then someone is dead. No screwing around, no lead up, just the minimum to set the scene, and we’re off. That’s Enter Late. Same thing on the back end: Leave Early. The district attorney and their staff maneuver, respond, and strategize then the jury returns the verdict. Case closed. Maybe we see a very brief dialogue on the courthouse steps. And we’re done.

Master of suspense Alfred Hitchcock said it a different way 65 years ago in a BBC interview:

How does one describe drama? Drama is life with the dull bits cut out.

In fact, ELLE is usually applied to screenwriting. The story starts and ends with a bang, fitting lots of action and excitement into the 45 minute television show or the 2 hour-long feature film.

What does that mean for a novel, though? Well, you can distill down a story to action and dialogue, both of which move quickly. You certainly don’t have to describe every meal a character eats, and you can probably ignore waking up and going to bed for them every day of the narrative.

Instead you start with a death, or an attack, or some other act of violence. Or maybe it starts with a look forward. You see this in television in which a high energy scene starts the show, you get the title card “2 days earlier,” then we learn how we got to the terrorist threat or the character standing on the edge of the roof ready to jump.

The Boys Club by Erica Katz gives us a taste of that. The book opens with a court transcript and a bit of internal monologue that warns you something terrible has happened to young attorney Alex Vogel in her first few months at a prestigious law firm, resulting in this serious legal action and fearful memories that cause her to “wipe the sweat from [her] brow and close [her] eyes.” The narrative then unfolds with Alex’s meteoric rise in her law firm while we readers are holding our breath knowing that something exceptionally bad is coming. We’re just not sure what it will be or when it will happen.

But we need not go to the future to increase narrative tension. An author can open right up with incredibly high stakes that draw the reader in. For example, the first chapter of Gayle Lynds’ international spy thriller Masquerade portrays the memory-challenged protagonist, Liz Sansborough, inexplicably under attack by intruders. And when Sansborough is handed a gun, knowing what it is–an automatic–and even more surprisingly to herself, knowing how to use it, we have a literal opening with a bang. That high tension moment anchors the subsequent revelations of conspiracy and deceit which the reader is desperate to unravel along with Liz.

As a reader, I really enjoy Enter Late, Leave Early, but, as a writer, I’m often challenged to answer the question how do you actually do that?

It may just be me, but I almost never pull off Enter Late in my first draft. I usually do a lot of what I call throat clearing. Who is my protagonist? What brought them to this particular set of circumstances? Why do they react the way they do? Why are they a beer drinker and not a wine drinker? All the stuff you may need to have considered, but that doesn’t need to be in the final opening of your book. In the end, it may never make it into the book at all. Instead, in revision, you might take this fully-formed character with their history and their habits and drop them straight into the fire.

And Leave Early? Ideally, you wrap up the major plot points, and the characters face their uncertain future, no epilogue, no happily ever after, at least not entirely. Some things are broken, some people are dead, and maybe there’s hope and resilience, but no certainty.

That’s at the level of the book, but to really crank up the action, writers wanting to create high narrative tension apply ELLE at the chapter level, with each chapter starting strong and ending strong, with a cliffhanger or killer scene. This is one of the features of  a real page-turner. You know, the book that you are still reading at midnight thinking, “yeah, I can live with one less hour of sleep as long as I know what happens next!”

I’ve opened my books with a murder by an anonymous mob thug, an assassination of a Mexican politician by cartels, and the mass murder of striking miners in Africa by government troops and a private military contractor. Each of those violent acts comes around to threaten my very ordinary and vulnerable protagonists here at home, making their lives very, very difficult.

What are some of your favorite high octane openings of suspense, murder mysteries, and thrillers, dropping you right into the action and wanting more?

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Weekend Update: December 14-15, 2024

Next week at Maine Crime Writers there will be posts by Rob Kelley (Monday), Matt Cost (Tuesday), Kaitlyn Dunnett/Kathy Lynn Emerson (Thursday) and Maureen Milliken (Friday).

 

In the news department, here’s what’s happening with some of us who blog regularly at Maine Crime Writers:

Today, Matt Cost will be at the Bangor Authors’ Fair and Literary Festival at the Bangor Public Library from 10-3:30 with 90 plus other Maine authors. Find him on the third floor sharing a table with author Anne Britting Oleson.

Cost’s audiobook Pirate Trap was recently selected as the best PRIVATE INVESTIGATOR THRILLER by Audio Book Reviewer. Kudos to narrator Jason Arnold for being Clay Wolfe and knocking down the voices of all the characters.  From the review: “The narrator, Jason Arnold, seamlessly transitions into each character, maintaining the smooth flow of the narrative. Arnold excels at portraying each character’s traits and maintaining consistency throughout the narrative and across the series. He is intentional in his delivery and intonation. He is truly Clay Wolfe!”

 

An invitation to readers of this blog: Do you have news relating to Maine, Crime, or Writing? We’d love to hear from you. Just comment below to share.

And a reminder: If your library, school, or organization is looking for a speaker, we are often available to talk about the writing process, research, where we get our ideas, and other mysteries of the business, along with the very popular “Making a Mystery” with audience participation, and “Casting Call: How We Staff Our Mysteries.” We also do programs on Zoom. Contact Kate Flora

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The Deep End

Hello crime fiction aficionados,

Do you ever find yourself riding a train or walking to work or waking up in a cold sweat in the middle of the night wondering, what makes a mystery a mystery? How does horror writing intersect with mystery fiction? Is suspense a subgenre or an element of craft? Is it both? In what ways can mystery writers stretch the genre without breaking the rules readers need? What, now that I’m thinking of this, are the conventions that must be followed?

If so – join me. If not – proceed with caution.

What makes a mystery a mystery?

A lot of other people who are pretty brilliant have written extensively about this. (For more, check out this MWA guide or this CrimeReads article about mystery tropes). A quick google yields all sorts of the collective wisdom about tropes and subgenres and conventions. Otto Penzler defines a mystery as “any work of fiction where a crime or threat of crime is central to the plot or theme.” (For more, you can read his CrimeReads article on subgenres in mystery fiction.)

I’ve heard others espouse to a more purist view, saying that “mystery” without any qualifiers can be interpreted to mean “traditional mystery” (think “Golden Age of Detective Fiction”) which entails a murder (or crime), a detective or investigator, clues, and a villain. Some form of justice is meted out at the end and the dead body is more a necessary detail than a fully developed character. The author of a traditional mystery follows the fair game rules and includes other tools of the genre like MacGuffins and red herrings.

I’m curious – what does mystery mean to you? When you think about your own internal barometer, where do you draw the line? Why?

On Tropes

Foundational to any genre are the often loved, often hated tropes. Tropes are common themes or ideas that recur. In the hands of some, they are clichés. All genre fiction leverages tropes to build the guardrails of the story structure and help readers see the rules of the game. Mystery readers are unique in that we love our rules and we also enjoy a well-done twist.

In mysteries tropes may include but are not limited to: locked rooms in which something bad happens, red herrings, unreliable narrators, MacGuffins, amateur sleuths, femme fatales, a sidekick (think Holmes and Watson, Hastings and Poirot, Rizzoli and Isles, Nero and Archie), morally grey detectives, and the list goes on.

I myself am a fan of classic tropes reimagined, especially noir and hard-boiled tropes that explore gender, identity, and power.

In the hands of exceptional writers, a classic trope can be twisted into something else entirely.

I’m curious – what is your stance on tropes? What are your favorites? What do you avoid? Do you have an author who does something very, very well?

If you’re still with me, I invite you a little deeper into the workings of my brain.

You are welcome.

A Visual Representation of the Intersection of Subgenre and Sleuth

In order to explore some of these ideas, I’ve invested a little too much time in building an X-Y paradigm for some of my favorite characters in a series. I’ve taken common subgenres (running from Cozy to Noir with Traditional roughly in the middle) and run them up the Y axis. The sleuth runs from amateur to professional on the X axis.

(See the image I’ve very thoughtfully included. Again, you’re welcome.)

My Findings

I realized that, while some sleuths may start out as amateurs, the more dead bodies they encounter, the more skilled they become. At what point do we say that Miss Marple, who is featured in 12 novels and 20 short stories, is beyond an “amateur” sleuth? I considered adding arrows to indicate growth over time, but this became messy. And sometimes, there is no growth over time. Sometimes the amateur is static.

Secondly, I had definitive clusters of sleuths at different points. I went through a real crisis when trying to determine if police were to the right or left of private investigators. (I decided on right.)

Finally, my top left quadrant is very empty. I have theories about this. Authors like S.A. Cosby, Morgan Talty, Gabino Iglesias, Megan Abbot, and Silvia Moreno-Garcia have stand alone characters that belong in the upper left quadrant. And I wonder if there is something to be said for the upper left quadrant tiptoeing into other spaces? Maybe horror? Literary Fiction?

Perhaps in another entry, I’ll explore the intersection crime with different genres. Maybe a 3 part Venn diagram comparing Red Harvest to Yojimbo to A Fistful of Dollars? I love to see how arts iterates and ultimately reflects the society in which we live.

If you write, where do your characters live? Lower left? Upper right? Somewhere in between? Who did I miss? Where would you put them on this paradigm? What do you think I got wrong and why?  Are there any other paradigms you think are worth exploring in crime writing?

Thanks for indulging me and hoping to connect again soon,

Gabi

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Main Character, Protaganist, and Antagonist … who drives the Action In Your Plot?

 

Vaughn C. Hardacker

In 2002, I realized there was more to writing than just sitting down and putting words onto a page. I had to learn the craft. One of the first things I learned was that every story, whether it a mystery/crime story, a romance, or even a children’s story, must have, as a bare minimum, two characters: a protagonist and an antagonist. I set out to develop two characters for my first Houston/Bouchard novel, SNIPER. I started with my hero, AKA the protagonist, Michael Houston, and then my villain, the antagonist. To refresh my knowledge of the craft, I started reading DRAMATICA: A New Theory of Story by Melanie Anne Phillips and Chris Huntley (available at dramatica.com). The one thing that immediately struck me was their discussion on characters; they maintain that there are several distinct types of characters in any story: the main character, the protagonist, and the antagonist. They define each as:

Main Character: The player through whom the audience experiences the story firsthand.

Protagonist: The prime mover of the plot.

Antagonist: The character opposed to the protagonist.

In many stories, the hero combines the main character and the protagonist. When taken in the context of the definitions above, it is possible to argue that in most cases (especially in mystery and crime/thriller fiction), the villain better fits the definition of the protagonist. It is the villain, not the so-called hero, who is the prime mover of the plot (this is possibly more likely in the thriller genre). The villain acts first, forcing the hero to react for one reason or another. Throughout much of the story, the villain’s actions are the prime movers of the plot.

Here are a couple of examples:

In RIPPED OFF, my most recently published thriller, my main character, retired hitman Ian Connah, walks out of court after his fourth divorce. Intending to pay his lawyer, he contacts his banker, who informs him that he is broke. Harry Sandberg, his financial manager, had absconded with his life savings. Forced to earn enough money to pursue Sandberg, Connah must return to the trade. 

In Bram Stoker’s classic Dracula, Count Dracula (antagonist), not Dr. van Helsing (protagonist), drives the plot. Throughout, Dracula is proactive, and van Helsing is reactive.

In each case above, I would argue that the villain is the true protagonist, and the antagonist is the main character or the hero. Who in your story is the protagonist, who is your antagonist, and who is your main character? When I embark on a new project, I spend more time developing the villain than the hero. I was once told: “You write terrific villains, but your heroes are not as strong.” I took that as a compliment. In  American Indian culture, the strength of a warrior’s adversaries determined their status within the tribe. Strong enemies force the hero to overcome weaknesses to come out on top.

In your writing, who is the driving force behind the plot? Who is your main character, and who is the true protagonist?

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