Posts from the ‘Writers about writing’ Category
November 29, 2016
Not the end of something?
By Craig McDonald
In autumn 2007, HEAD GAMES was published by Ben Leroy and Bleak House books.
It went on to earn best first novel nominations for the Edgar Award, the Anthony, and the Sélection du prix polar Saint-Maur en Poche in France, among others.
It also launched a series of ten novels featuring protagonist Hector Lassiter, pulp magazine writer, crime novelist and sometimes screenwriter.
Betimes Books has just published the climactic novel in the series, THREE CHORDS & THE TRUTH, set in Nashville about a year after HEAD GAMES, and bringing back several characters from that first novel.
CHORDS was always envisioned as a kind of HEAD GAMES sequel and definitive circle-closer.
I actually wrote the “last” Lassiter novel many, many years ago, much of it in situ in Nashville, Tennessee. I interviewed various songwriters and sat in on sound-checks to gather source material and atmosphere.
But mostly, I focused on putting a capstone on the Hector Lassiter saga.
Few are the mystery series in my experience that round out with the fulfillment of a charted character arc or larger story.
Most series simply trail off into oblivion because of soft sales, or the death of their author.
If the series is particularly popular, when the creator dies, some other writer is brought in to keep churning out inferior, never quite satisfying continuations, again toward no planned end.
There are very few exceptions to this rule of the never-ending series.
Most of those that occur still don’t typically deliver a unified story arc carried to a planned climax built toward across the span of the series.
More often, some poor author gets a dire diagnosis and so races the clock to close out their series before they too are “closed out.”
Others elect to do something mirroring Agatha Christie’s strategy of writing a series closer well ahead of time, then holding it in reserve for posthumous publication.
(Though in the Dame’s case, even killing off her character didn’t stop others from publishing further Poirot novels following the appearance of CURTAIN.)
I’ve long acknowledged James Sallis’ cycle of Lew Griffin novels as the inspiration for the Lassiter series.
Sallis wrote an interconnected and finite series of novels that together tell a larger story and build to a final revelation regarding his central protagonist.
With the Lassiter series, I wanted to do something similar: Construct a series toward a known end, allowing each book to stand alone, more or less, but in sum telling a much larger story regarding the character of Hector Lassiter and his eventual fate.
It was an audacious or perhaps even foolish goal to write a whole series ahead of any contract commitments. Certainly, given what I now know of the vagaries and failings of much of the publishing industry, it was a very naïve and hopeful thing for a baseline cynic like myself to undertake.
Yet I wrote first drafts of the novels in the series in the space of about three months per title, back-to-back, working toward the known conclusion of this last, Nashville-set series-closer.
The later entries in the series were mostly well into composition before the second novel, TOROS & TORSOS, was even contracted for publication by Bleak House Books.
Please let me run a highlighter over that point: Most of the series, including the last volume, was virtually written before the second book reached the galley stage some time in the summer of 2008.
There was never any guarantee the books would all see print. There was every chance the project might stall around book four or five and the rest of the novels would remain in limbo.
But the series has hung in there, collecting an international audience through translations in Spanish, French, Italian, Russian, Korean and Mongolian, among others.
In English language form, the Lassiter series currently encompasses four different publishers.
HEAD GAMES was also quickly optioned for graphic novel adaptation by First Second Books, prior to its Bleak House publication. I wrote the script for that project over a weekend nearly ten years ago (the art came much more slowly).
Next October, nearly ten years to the day that HEAD GAMES the novel was released, HEAD GAMES the graphic novel will at last appear.
A short story collection will also follow next year from Betimes Books, which now prints uniform editions of the entire series.
The short story collection will feature a never-before-published Lassiter novella set in the 1920s that roughly approaches the word count found in HEAD GAMES.
So while THREE CHORDS does represent the climax of the Hector Lassiter series as originally set forth, the Lassiter saga still has some moves left.
Hector has opened remarkable doors for me and provided international travel opportunities for my family.
He is forever there somewhere in my head, sometimes whispering in my ear. When you write this much about a single character for so long, you actually begin to see the world through his eyes.
Telling this storyteller’s story has resulted in years of wonderful correspondence and conversation with readers of all ages, nationalities and interests who’ve followed his saga.
I very much look forward to hearing the reactions to this “last” Hector Lassiter novel.
Contact us for a free electronic review copy!
Hadley Colt about her second novel for Betimes Books, a reinvention of the timeless legend of Sherlock Holmes
September 28, 2016
From Hadley Colt‘s blog:
PUBLISH OR PERISH? (THE RED-HANDED LEAGUE DEBUTS)
“I am lost without my Boswell.”
The Red-Handed League, my new thriller about Sherlock Holmes, debuts this week.
Hewing to a Doylean naming strategy, this little essay might be called, The Matter of the Murdered Biographer. It could also be titled, The Case of Fearful Symmetry.
My first work published by Betimes Books was the literary thriller Permanent Fatal Error. It centers on a presumed-dead cult novelist ala J.D. Salinger or Thomas Pynchon whose would-be biographers mysteriously die.
The Red-Handed League is a present-day prequel to Conan Doyle’s first-published Sherlock Holmes tale, A Study in Scarlet.
My new book spins on inappropriate relationships between students and instructors at an upscale private school. It also re-imagines and melds aspects of several noted Holmes tales, including “The Red-Headed League” and “The Master Blackmailer.”
What goes around comes around, they say.
Or as Holmes might observe, “Everything comes in circles. The old wheel turns and the same spoke comes up. It’s all been done before, and will be again.”
There’s a creepy nexus between my first and second books for Betimes, you see.
While we were working on cover designs and last touches for The Red-Handed League, my publisher ran across an article about a man obsessed with writing the definitive biography of a famous author, only to die violently under the most mysterious of circumstances.
The excellent article by David Grann detailing this real-life mystery was published in The New Yorker in December 2004.
“That’s pretty far back in the rearview mirror, Ms. Colt,” you might point out.
And I’d respond, “Yes. Yes, it is.”
There is fearful symmetry in this. Deliciously lingering mystery, too.
The Betimes Books publisher and her author were struck by the very strange overlap between the mysterious death of a deceased novelist’s would-be biographer (the set up for an elevator pitch for Permanent Fatal Error) and the fact our second novel together centers on Sherlock Holmes.
You see, the real-life biographer who met his mysterious death in his home surrounded by Holmesian books and collectibles was a revered Sherlock scholar named Richard Lancelyn Green.
His intended biographical subject was (of course) Sir Arthur Conan Doyle.
Apparent cause of death: (Clears throat) Self-garroting with a bit of string and a spoon.
Pray, go off now and read Mr. Grann’s superb piece on this mysterious affair. I’ll wait here, staring out the window, surely brooding, but sans pipe or violin.”
Hooked? Continue reading here
August 4, 2016
Thanks to all who attended last night’s reading in Dublin!
For those who weren’t there, here is a recording of the event: https://www.periscope.tv/w/1ypKdPmjArRKW
If you want to read the excerpt that Craig read last night, the first chapter of Head Games, click here:
And here is Craig McDonald‘s speech and a few pictures of the venue and the event.
“One character, ten novels.
Please allow me to introduce you to Hector Lassiter, author, screenwriter and adventurer.
He’s my primary protagonist and a guy who’s high-jacked an obscene amount of my personal head space.
At base, Hector’s a man always in pursuit of strong sensations and experiences he can lay down on the printed page.
For the purposes of tonight’s reading, I ask you to imagine it’s 1957. We’re sitting in a drinking establishment, not in Dublin, but rather in some dusty, sweltering cantina hard up against the Rio Grande as we call it in The States.
The Mexican’s call the same body of water that divides our countries the Rio Bravo. You see, on my dark side of the Atlantic, even the rivers have aliases.
Tonight you’ll be riding shotgun in THE classic American car: a Fifty-Seven, Chevrolet convertible Bel Air. We’re on the road with Hector and his sidekick for this particular escapade that I’ll be reading from, a young and aspiring poet named Bud Fiske.
In his peculiar corner of pop culture, Hector’s also known as “the man who lives what he writes and writes what he lives.”
He’s the protagonist of a finite arc of the ten novels I referenced a moment ago. The last, Three Chords & The Truth, will appear this November courtesy of Dublin-based Betimes Books, who hosts our gathering this evening along this la frontera of the mind.
The novel to come this fall is a kind of sequel to Head Games, which is the first and mostly widely published Hector Lassiter novel, and one that will also appear as a graphic novel next fall. Head Games is the book I’ll be reading from tonight.
With border tensions, Donald Trump and his huge, beautiful wall—such a great wall—as well as all-too real, cross-border terrorism fears looming large back home, Head Games is arguably more timely than ever.
So here’s the thing: If any label best describes the Hector Lassiter series, it’s probably “Historical Thrillers.” My novels, or maybe Hector’s, always combine myth and history.
The Lassiter novels spin around secret histories and unexplored or underexplored aspects of real events. They’re set in real places. The also frequently incorporate real people.
As a career journalist—yes, I still toil in that uncertain trade, despite my swanky secret life as a published novelist—I’m often frustrated by the impossibility to definitively nail down people or events.
Read five biographies of the same man, say, of Ernest Hemingway, or Orson Welles, and you’ll close each book feeling like you’ve read about five different people.
So I’ve reluctantly concluded defining fact as it relates to history is like stroking smoke or tapping a bullet in flight.
History, it’s been said, is a lie agreed to.
But maybe in fiction we can find if not fact, something bordering on truth. With that possibility in mind, I explore what I can make of accepted history through the eyes of this man.
The “hero” of my series, your guide through my books, is Hector Mason Lassiter, a shades-of-grey man who’s a charmer, a rogue, a bit of a rake—a handsome rover, if you will—and, himself, a crime novelist.
Some others in the novels say he bears a strong resemblance to the actor William Holden. Hector smokes and drinks and eats red meat. He favors sports jackets, open collar shirts and Chevrolets. He lives his life on a large canvas. He’s wily, but often impulsive. He’s honorable, but mercurial.
He often doesn’t understand his own drives. That is to say, he’s a man. He’s a man’s man and a lady’s man. He’s a romantic, but mostly unlucky in love. Yet his life’s largely shaped by the women who pass through it.
Hec was born in Galveston, Texas on January 1, 1900. He came in with the 20th Century, and it was my aim his arc of novels span that century—essentially, through each successive novel, giving us a kind of under-history or secret-history of the 20th Century.
Tall and wise beyond his years, as a boy Hector lied about his age and enlisted in the Army. He accompanied Black Jack Pershingand participated in the general’s abortive hunt down into Mexico to chase the Mexican Revolutionary Pancho Villa who attacked and murdered many American civilians in the town of Columbus, New Mexico.
Villa’s was the first and only successful terrorist assault on the United States homeland prior to the events of September 11, 2001.
Much of that part of Hector’s life figures into Head Games: You’ll catch some glimpses in the reading to follow.
Head Games originally was published in 2007.
Its follow-up in original publication sequence, Toros & Torsos, opens in 1935 and features Ernest Hemingway as a kind of sidekick. Subsequent books about Hector similarly hopscotched back-and-forth through the decades upon original publication.
The current Betimes Books releases of the Hector Lassiter series present the novels in roughly chronological order—at least in terms of when each story opens.
Call me audacious, or call me crazy: The Lassiter novels were written back-to-back and the series mostly shaped and in place before Head Games was officially published. Let me run a highlighter over that point: this series was largely written before the first novel was even contracted for publication.
It’s very unusual in that sense: a series of discrete novels tightly linked and that taken together stand as a single, larger story.
My approach as a writer has always been to try and describe the movie I’m seeing in my head.
Tonight’s film is a kind of mash-up of Sam Peckinpaugh, Quentin Tarantino, and if you believe several book reviewers, the Cohen Brothers.
So. Welcome to the world of Hector Lassiter.
It’s 1957, and we’re in a bottom-rung cantina in Ciudad Juarez—these days regarded as the murder capital of the world. We’re in this cantina with Hector and Bud.
From somewhere, there’s a tune playing on piano or accordion. Some piece of Mexican music… Maybe it’s Volver, Volver, or maybe Cancion de Mixteca…
A fight’s looming, and to coin a phrase, this is no personal brawl—anyone can join in.”
Craig McDonald, Dublin, Ireland, August 3rd, 2016
P.S. WE STILL HAVE A FEW COPIES OF CRAIG McDONALD’S BOOKS SIGNED BY THE AUTHOR!
DON’T MISS YOUR CHANCE TO PURCHASE ONE! CONTACT US
March 31, 2016
“Hector sat in a booth alone in the back of the Italian restaurant. The freezing rain was lashing the windows and the trees lining the streets of Georgetown looked like glass sculptures. He took another sip of red wine and pulled the letter from his pocket. He read it five times:
Poor dearest Pickle:
There is no surprise in this.
I’m awfully sorry for the mess.
The body’s been dying for some time (from the moment really, that second plane went down at Butiaba), and the rest has raced in pursuit these past months. It has all finally gone to pieces and I am beat to the wide beyond promise of recuperation or recovery.
Now it’s over and you can get on with your life.
I’ve spent my mornings since the last war working at four books I can’t finish. And all of these last, unfruitful years spent rummaging through the remise of my memory for likely material has only stirred up old ghosts and guilts. Untenable regrets that all of the bottles of giant killer I am now denied and all of the last bits of love that you might still muster towards me cannot palliate.
A writer who can no longer write can no longer live.”
The letter continues in PRINT THE LEGEND, available here.
“A novelist who has a main character first use[d] The Hemingway Review as a doorstop and later set another issue on fire and fling it out a window probably isn’t holding his breath waiting for a favorable review of his book in that particular publication. But Craig McDonald’s Print the Legend (its title taken from The Man Who Shot Liberty Valance, the 1962 Western directed by John Ford) deserves the attention of Hemingway aficionados… McDonald tosses off throw-away allusions and inside jokes with apparent effortlessness… McDonald is a writer’s writer, so the book is also, improbably but effectively, a meditation on the art of writing fiction.” —THE HEMINGWAY REVIEW
“Through Hector’s musings and actions, we are treated to an intimate view of Hemingway’s writings as well as his life. And as Lassiter tries to protect the woman he loves while pursuing a personal enemy, he evolves into a credible romantic figure. This book will appeal to readers who read outside the crime genre.” —VERONIKA PELKA, HISTORICAL NOVEL SOCIETY (Editor’s Choice Selection)
March 8, 2016
FRANCESCA: Genesis of an idea
It’s easy to forget just how different the world was back in the mid-1970s. No mobile phones, no internet, no Starbucks on every street corner. Easier, too, for dictators to keep a lid on their shenanigans. You could take out a town, empty a region of its population without any fear of pesky demonstrators posting evidence of your atrocities on YouTube for all to see.
So it’s hardly surprising the Indonesian invasion of East Timor passed me by, even though I was living in the region at the time, an expat teenager whose father worked in the oil business. The local media was strictly censored, whilst foreign correspondents who might have kicked up a fuss were for the most part unable to access the place. Besides, who was interested in what was going on in a backwater most people had never heard of?
It wasn’t until the early 1990s that I encountered East Timor again. Doing some volunteer work for Amnesty International in London, I kept coming across cases from the conflict. The more I looked into it, the more shocking it became. Worse, I realised I had been in Indonesia when this tiny country was gobbled up by its neighbour and large parts of its population annihilated.
Several hundred miles away our lives continued in their cocooned luxury, oblivious to what Suharto’s soldiers were doing. No one mentioned it, no one spoke out, no one did anything that might upset the cosy relationship between the Indonesian government and the western oil companies. Everyone was making money, and besides Indonesia was on our side, a bulwark against communism.
Discovering these parallel worlds inspired me to write Francesca. In particular, I was interested in people who straddled both, the ones with the fullest picture. As they created their own dramas, sorrows, joys, tragedies and triumphs, a novel was born.
— Donald Finnaeus Mayo, March 2016
“A full-bodied tale of love and war set against the complex political and commercial landscape of Indonesia in the 70s. Its a moving and sensitively written story that draws you in from the start.”
“Francesca has all the ingredients of a great novel – a compelling and interesting story that engages you from the start, genuine characters with whom one can feel real sympathy and powerful descriptions that creates a real sense of atmosphere. If I have any criticism of the book it is that it could be longer – the character development is such that you’re left wanting to know what happened to them in more detail than there is in the book – but then maybe it’s always good to leave the reader wanting more. In any event, it’s a great story that will provide a powerful insight into a period of history that has only recently started to get the coverage it deserves.”
“The sense of location is sparkling. The tension is high. The author is an accomplished storyteller, with journalism experience, who captures the destruction of war in convincing detail. He demonstrates a beautiful way with language and a clever ear for dialogue.”
“Beautifully written, historically educational, sharp insights into human nature. Highly recommended as a Book Club read.”
“A fascinating story inter-weaving a cast of characters around one woman’s journey through life.”
February 29, 2016
An exceptional, in-depth, interview with Craig McDonald by Steven Powell, a researcher at the University of Liverpool, UK.
Steven Powell is the editor of Conversations with James Ellroy (2012) and 100 American Crime Writers(2012). He has written several articles for the British Politics Review, blogs about crime fiction at VenetianVase.co.uk, and co-organized the “James Ellroy: Visions of Noir” conference at the University of Liverpool. His most recent work is James Ellroy: Demon Dog of Crime Fiction (Palgrave Macmillan 2016).
“If you are not already initiated, I hope this interview will persuade you to start reading the Lassiter novels. They are compelling, thrilling and darkly humorous.
Lassiter is a brilliant creation…”
Craig McDonald is an author and journalist. He has written fourteen novels, including, to date, nine books in the award-winning Hector Lassiter series. I have kept up a correspondence with Craig these past few years as we are both avid readers of James Ellroy. I’m also a massive fan of the Lassiter novels, and when Craig agreed to be interviewed by me, he also kindly supplied an advance copy of the final novel in the Lassiter series, the forthcoming Three Chords and the Truth. If you are not already initiated, I hope this interview will persuade you to start reading the Lassiter novels. They are compelling, thrilling and darkly humorous. Lassiter is a brilliant creation– a crime writer who learned his trade with Ernest Hemingway and the Lost Generation in Paris in the 1920s. He is also a man who seems dangerously prone to violent intrigue, doomed love affairs…
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November 8, 2015
Craig McDonald about his new novel:
DEATH IN THE FACE: THE YOU ONLY LIVE TWICE FACTOR
(Caution: Mild spoilers ahead for the James Bond novel and film, YOU ONLY LIVE TWICE.)
In 1962, a gravely ill Ian Fleming went to Japan to research what would result in his penultimate James Bond novel, YOU ONLY LIVE TWICE.
Typical of Fleming, he planned for himself a macabre itinerary he hoped would showcase the stranger sides of Japan that might in turn inform his novel. He went in the company of two journalists with Asian expertise (more on them later).
The resulting book is one of the darker, more doom-laden of the James Bond novels, almost gothic in atmosphere, and a world away from the resulting 1967 film adaptation which became the first Bond film to jettison the majority of its Fleming inspiration’s plot.”
Continue reading here
October 23, 2015
This latest in Craig McDonald’s Hector Lassiter series—Death in the Face–is perhaps his finest. It’s my fervent hope that this isn’t the last in this wonderful series!
Like all the previous books in this series, McDonald sheds light on some of the most important literary figures of the past near-century on a personal level via the Hector Lassiter character and his adventures and that alone is worth the price of admission. For instance, I’ve never been a fan of Ian Fleming’s writing, but after experiencing this version, I confess I’m reevaluating my opinion of him. But, more important and irrespective of my opinion of Fleming’s literary acumen, this is a wonderful look at the writer from albeit a fictionalized account, and, like all the other literary figures who grace the pages of the Lassiter novels, delivers to the reader a delightful perspective on their lives not to be found elsewhere.
That McDonald is able to affect my own bias against Fleming is a telling thing and attests to the level of writing he is able to command. A remarkable read, a remarkable author and a remarkable portrait of an interesting literary figure. Highly recommended.
DEATH IN THE FACE is available here
October 21, 2015
Craig McDonald about Yukio Mishima, one of the characters in his latest Hector Lassiter novel, Death in the Face:
“Yukio Mishima (born Kimitake Hiraoka) was a gifted novelist and one of Japan’s great literary figures. He was a true renaissance man who composed nearly three dozen novels, nearly as many books of essays, more than two dozen short story collections, plays, screenplays and who dabbled in acting.
He was considered a likely contender for the Nobel Prize for literature.
Mishima was increasingly appalled by Japan’s post-war Westernization and turned further and further toward martial arts studies and an embracement of Samurai codes of life and personal conduct. He practiced body-building and kendo, and, in 1968, he formed is own private militia.
His death came almost immediately upon completion of his novel, THE DECAY OF THE ANGEL, the final volume of his SEA OF FERTILITY tetralogy that many regard as Mishima’s masterwork.
Yukio Mishima shares a lunch with my fictional novelist, Hector Lassiter, in DEATH IN THE FACE, the next-to-last novel in the Lassiter series.
Lassiter is in Japan, dogging the steps of his fellow thriller writer Ian Fleming, who has come to gather materials for his James Bond novel YOU ONLY LIVE TWICE.”
Continue reading here: http://craigmcdonaldbooks.blogspot.fr/2015/10/death-in-face-strange-life-death-of.html
May 25, 2015
Craig McDonald about his inspiration for Roll the Credits. Fascinating!
“Roll the Credits is, in short form, the Second World War and liberation of Paris seen through the eyes of author/screenwriter Hector Lassiter. But it’s also a special novel in the Lassiter canon for me. Long before RTC, there was the Lassiter entry Head Games. That novel was dedicated to the memory of my maternal grandfather, William Charles Sipe, Sr.”
Continue reading here: http://craigmcdonaldbooks.blogspot.ie/2014/09/how-i-came-to-write-roll-credits-aka.html
May 20, 2015
The following essay by Craig McDonald is a re-presentation of a blog post originally written for Lesa Holstine’s sight in March, 2010 upon release of his novel PRINT THE LEGEND in hardcover.
The novel is now available for the first time in paperback, as well as eBook and audio formats: http://viewBook.at/Print_the_Legend
“Print the Legend” & the dark seduction of the writing life
Print the Legend explores the death of Hemingway in Ketchum, Idaho, in the summer of 1961, and raises questions regarding the possibility that Hem’s death was something other than an act of suicide.
The novel also explores J. Edgar Hoover’s obsessive and often destructive surveillance of key American writers, including not just Hemingway, but Carl Sandburg, Pearl S. Buck, John Steinbeck, Robert Frost, Rex Stout, Sinclair Lewis, William Faulkner and Dorothy Parker, among many others.
Because Hector is a novelist and screenwriter by trade, writing and the creative arts are running themes through the series. Print the Legend however, is the Lassiter novel in which I wanted to focus squarely on the act of writing. To that end, I peppered Print with several very different kinds of authors.
The Lassiter series is also intended as a secret history of the 20th Century. As this novel is set largely in the 1960s — a decade of change, if there ever was one — in Print I wanted to position Hector against two very different and formidable kinds of women.
In addition to Hemingway and Hector, we have Mary Welsh Hemingway — Papa’s fourth and final wife. Mary was a war correspondent whom Hem began courting while still married to journalist/novelist Martha Gellhorn. Hem and Mary’s marriage, while more enduring, was no happier than Hem’s life with Martha.
When Hemingway died, Mary became Hem’s unlikely literary executrix — actually editing (and substantially altering) Hem’s manuscripts for A Moveable Feast and Islands in the Stream… designing dust jackets and selecting titles for both books. (Note: A Moveable Feast has in fact just been reissued in a “restored” version by Hem’s grandson, purporting to present the memoir as left by Hemingway, and enumerating the many changes and alterations introduced by Mary.)
Mary Hemingway’s still controversial “editing” of Feast is a key plot element of Print the Legend.
Print also introduces us to Hannah Paulson, a promising young fiction writer who is very pregnant and increasingly troubled by the behavior of her husband, Richard, a Hemingway scholar with a growing drinking problem and this notion Mary murdered her famous husband. Richard has agreed to write Mary’s biography as a means of building his case against Mary as Papa’s killer.
As Hannah finds herself questioning “the way of the writer” as represented by Mary, Richard and an Idaho-town full of Hemingway scholars, she is increasingly drawn to Hector Lassiter — a working novelist who seemingly lives on his own terms…a man who embodies the writing life with a kind of seductive panache.
Print the Legend, in a sense, is Hannah’s book even more than it is Hector’s. Through Hannah, we explore the strange and tragic arc of Hemingway’s rise and fall as the premier stylist of his generation. Hannah provides harrowing glimpses into the creative process and the destructive shadow play that can result when authors and scholars become too cozy.
It is Hannah, also, who is forced by circumstances to display that quality of “grace under pressure,” Hem so fretted over. This comes in a scene I wrote as a kind of homage to Hemingway’s wrenching birth scenes in the short story Indian Camp, and Hemingway’s second novel, A Farewell to Arms.
The other key writer in this cast of authors is an FBI agent/thriller writer named Donovan Creedy. Inspired by novelist/spy/Watergate plumber E. Howard Hunt, Creedy stands in for a tiny army of FBI agents who actually followed, spied on and haunted Hemingway through his final decades.
Those around Hemingway — those who stood close witness to his steep physical and mental decline — were convinced Hem’s obsession with FBI surveillance was another symptom of his growing mental instability…straight-up paranoia.
Indeed, that very attitude was a factor in Mary Hemingway’s approval of the electroshock treatments that arguably hastened Hem’s destruction.
Following Hemingway’s death, requests made under the Freedom of Information Act opened up countless FBI documents (many still heavily redacted) that proved conclusively the FBI was tracking Hemingway and followed him right into the Mayo Clinic…reportedly perhaps even consulting directly with Hem’s doctors.
Hoover, too, left behind countless memos regarding Hemingway, revealing Hem was a kind of obsession of Hoover’s, particularly moving forward from the late 1930s.
This is the terrain of Print the Legend, a literary thriller that aims to underscore Hem’s own cautions about the risk of getting too close to a fiction writer, as well as the seductive dangers of leading “the writing life.”
May 12, 2015
“I should mention I have no method to my reading. If I had, I would waste less time on unworthy books (ah yes, The Goldfinch…)
Currently I’ve chosen well. I am revisiting the illicit charms of Lady Chatterley’s Lover which I read in my early teens probably concealed behind a copy of Smash Hits magazine. The language is flowery and a little archaic. Tittering must surely be encouraged when DH Laurence repeatedly describes the Lady orgasming as having “reached her crisis.” As Constance advances in her sexual awakening, all the flowers are in bloom in the woodland where she trysts with the groundsman in his hut.”
Continue reading here: A Blooming Good Read.
Jackie Mallon is the author of SILK FOR THE FEED DOGS
April 29, 2015
“When something of literary merit affects you, then a sliver is naturally going to rub off on your prose.”
Read the full text here: Reading when I write?
April 28, 2015
I don’t have a method but… and it’s a big ‘but’… I can speak of a pattern that has repeated itself with all four of my novels. And the same will be true with my next. I see my novels metaphorically. By that I mean an image comes to me… and that image, that poetic metaphoric image, contains all I need to know about the fiction to follow. The image is always (to me) more than just an image. Not only does it give me the beginning, middle and end of the narrative, but it also suggests a fundamental elemental universal of our world. I don’t mean to suggest the demonic/divine illumination of the 18th or 19th century novelists, nor do I want to glorify or romanticize the artistic process, but this is what I’ve experienced as a Writer.
If pressed, I would say this metaphoric image is a gift; some poets have it, I’m told. Where it comes from… who knows? I call it… the fecundity of the unconscious.
My particular unconscious showing me the way: Before words or thought or deliberation or calculation that which lies deepest inside me articulates itself with this image. Once it appears I allow it – or it allows me – to form, shape, edit and refine itself over a gestation period that can last two to twenty years. The image never leaves me. And though as a Writer and person I evolve and change, recreate myself and the forms I might make use of as a novelist, the first image, the central image… stays the same. I’ll give you an example. The day I finished my novel The Nihilesthete an image came to me of a man hovering over a surveillance camera while hiding in his closet, spying on a boy and girl. It only took me twenty-plus years to find the courage to write that novel now titled Penthouse F.
Richard Kalich is the author of CENTRAL PARK WEST TRILOGY, including The Nihilesthete, Charlie P, and Penthouse F.
April 27, 2015
April 10, 2015
Why I Write
A while back, the wonderful Jen Forbus was collecting six-word memoirs from various crime and thriller writers.
The exercise was inspired, she wrote, by the line attributed to Ernest Hemingway (a frequent supporting character in my Hector Lassiter novels) that resulted from a challenge to craft an über short story. The result, legend has it, was pitched as a kind of classified ad by Hem: “For sale, one pair of baby shoes, never used.”
In my Lassiter novels, Hemingway and fellow novelist Hector play a game called “One True Sentence.” One of the authors starts a sentence, and the other tries to finish it in the most pithy way possible.
So, in the spirit of One True Sentence, and of the six-word memoir, this is the answer I gave Ms. Forbus about why I write, and, in the end, who I am:
“Born to write; writing to live.“
Craig McDonald is the author of the Hector Lassiter series and more: www.craigmcdonaldbooks.com
April 9, 2015
Why do I write?
I write because I am a prisoner.
I write because there exists, beyond the walls of my preconceptions and just outside the barriers of my inventiveness, another story.
It’s not wholly personal or cultural or factual. It’s not religious or utopian. Nor is it political. It’s all of these things, or some, or none of them. It’s unknown, untold; it’s novel.
I write to discover that new story – the one that will set me free.
David Hogan is the author of The Last Island