Ashedit’s Blog

April 22, 2009

American Tragical History Museum – Mike Sheeter Reports

Filed under: Uncategorized — ashedit @ 7:06 pm

And while we’re on the topic of sordid and morbid… Mike Sheeter sends this gem along…jayne-mansfield

In St. Augustine, around the corner from the Ripley’s Believe It or Not , there was a two story white clapboard house that billed itself as “The American Tragical History Museum.”  Vast swathes of American tragedy were omitted, but what they kept on display was fairly striking .
The lower floor featured the entire contents of Lee Harvey Oswald’s room at his Dallas boarding house. A fairly realistic mannequin of Oswald himself commanded the street outside, complete with his scoped Manlicher-Carcano. My first clue that the place existed was when I glimpsed the dummy sniper out of the corner of my eye, drawing a bead on me as I drove past. It alarmed me enough to stomp on the accelerator, in an instinctive attempt to get out of the line of fire.

The first floor was dominated by Oswald’s room, and by the same big gray Pontiac ambulance that fetched him to Parkland hospital after he was gut shot by Jack Ruby.  There was a small gift counter nearby, which sold souvenir calendars featuring grisly photographs of the dead, nude bodies of Bonnie Parker and Clyde Barrow.  They looked as thoroughly deckled as a pair of Spaulding Maxi-Flight golf balls.

The facing wall featured a selection of massive Calusa Indian skulls looted from one of the burial mounds that dot central Florida, and a huge salt water aquarium guarded by a couple of baby sand sharks, who glided over fifty years worth of straight razors, switchblades, and Saturday Night Specials dredged from bridge over the St. John’s river.

The real attraction was  in the back yard, where a glass fronted shed displayed the crumpled wreckage of a big gold Buick 225, the Jayne Mansfield death car. There was a letter under cellophane affixed to the shed, signed by one Anton Szandor LaVey, the high priest of the Church of Satan.  LaVey rather sheepishly admitted that Mansfield had briefly been one of his fellow diabolists, and that she had died because he had placed a death curse on her manager, with whom she had been riding.   St. Augustine is very much a tourist town, and the ATHM museum inspired the city fathers to whip up a municipal death curse of their own, much to the curator/owner’s indignation.

He was finally forced to close his doors, but not before auctioning off Jayne Mansfield’s Buick.  The death car was  purchased by some guy in North Carolina, a passionate Mansfield fan, and the last I heard, it was still sitting in his back yard, arguably the most macabre bird feeder in the U.S.

Mike Sheeter is the author of Preferred Customer, a short story thriller of international intrigue. Read it at Beat to a Pulp (link to the right).

A Visit to the Museum of Death

Filed under: Uncategorized — ashedit @ 5:18 am

I’d been meaning to go for ages. A mmuseum-of-deathuseum devoted to death is a must-see for a crime editor. As well, I reasoned, Buddhist monks often meditate in graveyards to attain spiritual clarity. An hour devoted to the subject of death might have more benefits than meet the eye. In retrospect, I’m glad I stopped for lunch beforehand.

The staff, all wearing Museum of Death t-shirts, were upbeat and friendly, with penetrating glances that directly met and held my eyes. Those folks can spot on sight the people destined for a “falling ovation,” which means you keel over, out cold, from viewing the contents of the museum. I was deemed a suitable candiate for viewing, and allowed to open the vintage jail-cell door that marks the entrance to a small vestibule. If you can handle the enormous, framed color photographs of dismembered hands and feet with chunks of flesh missing to partially expose bones, you’re probably good to go on inside.

From a tasteful exhibit of funereal fans, to complete crime scene photos of car accidents, murders and serial-killer rampages, the museum displays death and depravity in full color, full frontal detail. (Silly me, I wasn’t expecting so much nudity.) As well, original letters, drawings, painting and cards are on display, hand made by David Horowitz (the Son of Sam cannibal), John Wayne Gacy, Jeffrey Dahmer, Charles Manson and others. Macabre but funny at the same time, Horowitz drew a picture of a meatball sandwich, with little human faces drawn on the meatballs.

I was getting dizzy after viewing an exceptionally clear and close-up video of an embalmer digging around for the carotid artery in a corpse, and decided perhaps I’d had enough. On the way out, the cheerful staff asked if I had any questions and  bid me, “Have a great life!” 

I sat in my car for at least 20 minutes, composing myself, reflecting on how fragile life is, and how happy I felt to be alive. I also wondered  if I was really living life to the fullest. I think the results of my visit bordered on the ”Buddhist monk” experience, a positive thing.

Can’t wait to go again in a few months, when some of the exhibits change. If you’re planning a trip to Hollywood, CA a stop here is recommended for crime writers. Eat lunch beforehand. Leave the sensitive and easily ill back at the hotel pool. $15. admission.

Read more about the museum here, scroll down for article: http://www.thecabinet.com/darkdestinations/location.php?sub_id=dark_destinations&letter=m&location_id=the_museum_of_death

April 19, 2009

Revising Keith Rawson’s Life on the Mesa

Filed under: Uncategorized — ashedit @ 2:58 am

Hi all! I’m please to present Keith Rawson’s second draft of Life on the Mesa, as well as my edited version. My intent was to edit a leaner, meaner draft that moved the story quickly while sketching in some additional characterization and a smattering of dialogue for Keith.

 

My edit is a suggestion only. Keith is free to change anything he likes. As an educational tool, I think the juxtaposition of the two versions illustrates what an editor can do. (Please note that a final proofing has not been donekeithrawsonpic.)

 

I hope you enjoy! Questions and comments are welcomed.

Elaine Ash

 

 

 

LIFE ON THE MESA

BY

KEITH RAWSON

edited by Elaine Ash

 

Word count: 3,009

 

 

Mac Sloan sat watching the sudden dark grey of monsoon clouds come rumbling towards the mesa with the heavy promise of lightning and torrential rains. It was the kind of weather you prayed for out on the mesa if you were the spiritual type.

 

Water was a commodity; you either collected it in your rain barrels when the monsoons rolled in, or you traveled the 40-odd miles into town and paid some faceless, soul-less corporation twenty or thirty bucks for the privilege of swilling nature’s finest life-sustaining gift out of a poisoned plastic bottle. This disgusted  Dirigible, as Mac was known out on the mesa. The nick name derived from Mac’s massive frame, he stood nearly 6’5 and weighed in at close to 350 pounds, and it was a far kinder nickname than the one he’d lived with for 35 years back on the grid; Blimp.

 

He’d never needed to buy the corporation’s water, Mac was all about conservation and restraint. Never use more than you need. He never drank more than four glasses a day and each drop consumed was a virtual lesson in survivalism.

           

Mac’s spot on the mesa stretched for nearly two square miles, most of it nothing but barren desert flat land for the exception of his little copse of wind-battered live oak where he had built a shack. Instead of harvesting food, he collected water, snatching it right from the arid sky. This was particularly true at night and in the pre-dawn hours when dew from the cool night would settle on the plants and soil of the desert floor.

 

On a nearly one-mile stretch of his plot, Mac dug holes and draped tarps over the tops. He’d awake every morning before dawn and harvest the thin, wet leavings from the previous night in old milk jugs. Some mornings, there was hardly enough dew to fill a quarter gallon of one of his jugs. Some days he wouldn’t have enough containers to store the entire day’s harvest in.

           

This morning happened to be one of those mornings. Starting out today he’d only brought along three plastic gallon jugs, but by the time he’d finished, he’d filled nearly five. This is how he’d known the rains were coming. It was a huge relief. He could just spend the next couple of days letting his rain barrels do the job and hopefully enjoy a couple of much needed mornings off; which is why he’d spent the past hour simply sitting under the makeshift lean-to of his shack smiling and watching the purple grey clouds come coasting in. He was starting to get hungry, so breakfast was the first order of business.

           

Mac stood up from the rotting pine log that served as his front porch bench, stretching his long beefy arms above his head, each of his overstrained joints crackling and grumbling with his slow, deliberate movements. He took a couple of extra seconds to rotate his oversized head on his practically nonexistent neck before he turned and opened the front door of his shack. He was greeted by the ragged screams of the girl. Mac had forgotten to gag her before he’d left this morning. She’d passed out, moaning delicately under her breath, so hed assumed she would be in the same condition when he arrived back from his morning chores.

 

He let the door swing shut with a wind-blown bang, and stood motionless in front of the girl. His tiny brown eyes focused on the girls gaping mouth. She had such milky white glistening teeth for a freejack. Most folks who elected to live off the grid, the very first thing that went to pot were their choppers. But this new generation was so healthy in appearance despite the copious amounts of tobacco and marijuana they consumed. That was a middle class upbringing for you.

           

Mac could easily see this girl leaving the life after a couple years living rough and the effects of the pills, powders, and pot finally lost their charm. She would head back into what passed as the real world, go to college, get married, and pop out two or three new consumers. Probably end up very happy—or pretending she was happy—out in some preplanned community, cut off from her fellow human beings by  cinder block backyard fences and the suffocating prison of modern suburban living. Maybe she even entertained these thoughts about her current boyfriend, the aptly named Knob. Maybe she hoped he’d get sick of all of this dreadlock wearing, pot smoking, living off the land thing, and they’d ride into the happy red sunrise morning.

 

Too bad Mac had crumpled Knob’s skull with a sledgehammer.

 

Too bad most of Knob’s fat and muscle was now cured and drying, hanging from just about every inch of available wall space in Mac’s shack; Knob’s still wet bones thrown into an untidy little pile in the corner.

 

Too bad that she would spend the last moments of her young life in Mac’s ill-smelling, unkempt universe; her final words nothing more than guttural animal cries.

           

Mac turned away from the girl and headed to his small cast iron stove, muttering:

“Are you hungry?” as he knelt down to feed fire two small logs and a handful of dry kindling. He shambled over to his small pantry to retrieve his oatmeal and cook pot.

           

The girl’s name—at least her Rainbow name—was the entirely uninspired Clover Dancer. She and Knob had arrived on the mesa a little over two months ago in a relatively new Ford mini-van. They set up their plot about ten miles west of Mac’s spot near Old Man Grub’s stretch. The two had been friendly enough at first, walking from spot-to-spot and introducing themselves to their new neighbors.

 

Most of the young kids who came out to live on the mesa considered themselves anarchists; violent and bad tempered, typically sporting drug and alcohol problems. Not that anyone on the Mesa begrudged or discouraged drug use; shit, most of them had come out to the desert because of some form of substance abuse had reshaped their world outlook. The Mesa’s concern was the destruction of both personal and community property due to drug and alcohol use. But the two had seemed harmless enough, and most everyone thought they would make welcome additions.

           

After a few weeks, the young couple stopped visiting, and then the thefts started happening. The first was Old Man Grub; several of his ripe melons had disappeared from his makeshift greenhouse along with a three pound bag of organic kidney beans. Theft, although largely uncommon on the Mesa, was an occasional inconvenience. Sometimes an isolationist would fall on hard times and have difficulty asking their neighbors for help and some fruit or meat would go missing. Usually it was replaced along with a note of apology asking for forgiveness: No harm, no foul.

           

The only problem was that more theft kept occurring, and there was never any meat taken. Meat was easy to come by, and most of the men and some of the women were solid hunters, but fruits and vegetables took time and patience to grow. Seed had to be purchased and brought in from town. To most, produce was more coveted and valuable than wood for fire and building materials. It was a well-known fact that the young couple was vegan and had absolutely no interest in meat or animals products. A counsel meeting was held and the decision was made to confront Knob and Clover Dancer about the thefts.

           

The elders were a good group of folks; Frankie Johns, Grandma Jo, Cranberry and Wiltz. They made the trek out to the couple’s settlement and asked about the stolen food. What they got for their questions was Knob and Clover Dancer laughing in their faces, admitting to the thefts, and pulling guns on the elders, telling them to move off their spot. The elders moved off, hands up in the air. Most of settlers owned guns and were steadfast advocates for the right to bear arms, but the counsel was old and unwilling to take a real stand there and then.

 

They went straight to Old Man Grub who listened, rubbing his chin. Finally, he spoke, “Got a situation here, that’s fur sure. We had Dirigible handle it last time a thing came up like this.”

 

Grandma Jo sounded concerned; “But everybody knows what he did to them women in Arkansas—“

 

“What’s that got to do with anything?”

 

“Clover Dancer is a fine-lookin’ gal. I’m jess sayin’ if he done it before…”

 

Wiltz, the prematurely grizzled operator of a moonshine still said, “He never done nothing to us and I consider it the past. Dirigible’s proven himself a top-shelf water harvester. Been willing to help the Mesa’s greatest times of need.”

 

“Don’t forget, how he handled that trespasser near-killed Mary Dandy’s 12-year-old boy,” said Cranberry, her skin burned dark red from years in the sun.

 

Murmurs all around. Heads nodded.

 

Grub ended the discussion. “We’ll put it to the rest of the community, then.”

 

The meeting was held at the fire pit on the outskirts of the Mesa. Despite it being early evening and the temperatures well into the mid-eighties, someone had built a raging fire. Fifty-odd permanent Mesa residents surrounded the mass of flaming logs. Mac stayed near the back, avoiding the heat, watching Old Man Grub wind his way through their neighbors. They deferred to the Old Man, who’d been out on the Mesa the longest—eleven years—and dealt with every form of adversity a body could face living out in the wild.

 

Grub joined his senior council at the head of the fire, and little earthquakes of questions and statements began to rumble.. To Mac’s ears the mass always sounded like chickens waiting for the farmer to spread corn in the dirt or take their heads off with an axe. Either method would shut them up.

 

The murmurs grew, voices clamoring. Grub threw up his hands Moses- style, hoping to get a chance to speak. All it seemed to do was increase the chatter.

 

“People!” He shouted. “People, we know your concerns. We know the danger the new arrivals present. And we’re here tonight to decide what to do.”

 

The racket subsided.

 

“We’ve dealt with this type of crisis before. We know the new arrivals will not stop. The thefts will continue and they’ll be more aggressive if we don’t act.” The old man paused and coughed hard into his fist. “From past experience we know there are only three options available to us. The first is banishment!’

 

Their neighbors roared their descent; a chorus of voices streaked with fear:

 

“Our second choice is into involve the law of the town.”

 

This elicited a resounding no. Most folks on the mesa were running from trouble, and the last thing they needed was the law up here arresting newcomers and running warrant checks on the rest of the settlers.

 

“Our final choice is the most drastic.” Old Man Grub lowered his voice. “The choice is final and can’t be reversed. We must think long and hard before we come to that decision.”

 

Silence fell across Mac’s neighbors. It seemed that every single body in attendance turned and stared at him simultaneously.

The vote was cast without being voiced, and it was unanimous. Grub approached him as the neighbors shuffled back to their homes. “You can do this for us, boy?”

 

Mac went to Knob and Clover Dancer’s spot that very night. The two were incredibly easy to approach. They had started a large bonfire and were dancing sweating around it as the speakers of their mini van roared with the psychedelic hum of the Grateful Dead. Both were obviously stoned or tripping balls.

 

Mac was able to take Knob with a single side swing, catching the boy just above the right ear with a dull, hollow-sounding thud. Clover Dancer was quick to react but ran blindly into the fire she’d been so exuberantly dancing around only a few seconds before. Mac pulled her screaming from the fire, throwing her to the dirt and then punching her hard across the jaw. He walked the mile back to the truck dragging Knob’s corpse by the ankle, with Clover Dancer’s motionless form over his shoulder and drove home.

           

Mac bound the still-unconscious Clover Dancer to the main support beam of his shack, arms above her head, gagging her with an old sock and heavy twine. She came awake just as Mac was flaying the boy’s corpse from belly to throat, and she started to scream around her gag. She passed out just before he had to make his way out to the water fields. He removed the gag because he was afraid she’d choke on her own vomit or the sock itself; it’d been nearly a decade since he’d been with a woman and wanted to enjoy the experience.

           

Mac finished making his oatmeal and turned and faced the girl again. Her full-throated screams were beginning to work a nerve at the back of skull. He wanted to punch her, maybe shatter a few of those orthodontist perfect teeth. But Mac felt the girl deserved a few minutes to get all that great big nasty fear out of her system; to breathe easy and unobstructed. He approached her with his wooden bowl of steaming oatmeal, holding his spoon out mouth level with her, and asked,“Are you hungry?”

 

Clover Dancer sputtered and began a kind of breathless panting.

 

“Are you hungry?”

 

He began to trace the edge of her left nipple with the tip of his spoon. The small spot of upraised flesh was a perfect rosy pink, hard and covered in goose flesh. In his younger, wilder years, he would have torn this girl apart; fucked her silly until he was raw and sore and then, out of boredom, would have started trying to stick things inside of her: Beer bottles, sticks, rocks, anything on hand really. But now as an older man, all he could think of as he gently circled the girl’s nipple with his breakfast spoon was how this girl and her former stoner boyfriend would keep him in meat well past the coming fall and winter months.

           

Maybe he wouldn’t slaughter her today. Maybe he would keep her around and see if some of the old feelings came back. And if they didn’t, so what? At the very least he could fatten her up a little with oatmeal and a Knob steak or two.

 

He brought the spoon to her mouth again.

           

A month went by.

 

He’d tamed her good, and she was free to move about the cabin and do some chores for herself, under his watchful eye.

 

“I’m hungry, we need to eat.”

“Use the last of the stew, it’ll make a good stew.”

“This one?”

“Not that piece, the one next to it. Remember to cut against the grain.”

“Like this?”

“You’re doing it wrong. How many times do I have to show you?”

“Like how then?”

“Like this. You hold the knife like th—“

 

If it wasn’t for all of the blood coursing down her pale white knuckles, she would have thought she was still cutting into the rotting meat. But instead, she followed the source of the blood to the big man’s throat, where she’d driven the dull carving knife into it. His mouth hung open, and small, airless gagging noises emitted.

 

It took a few minutes to realize what she’d done. Her breath came in hot, ragged gasps as she watched his small, pig-like eyes glass over. She nudged Mac’s bulky shoulder, not wanting to turn her back in fear that he would suddenly come back to life, and come racing after her. She pulled open the heavy door, but he did not stir.

 

She ran. Bare foot and naked into the slowly fading purple-orange desert evening she ran;

even as sharp rocks and thorny underbrush tore at her legs and feet. She knew the people of the Mesa would take pity. She would beg them to drive her into Tucson or Mount Lemon; she would promise not to tell what happened. She would promise. She would go straight home; she would return to her parents and tell them they were right

 

It seemed like hours before finally coming upon a structure; something that looked like two singlewide mobile homes wielded haphazardly together. A campfire burned outside. There were lights flickering inside the dwelling and she could hear the rumble of generator. She wailed and hollered, until a figure exited the place. She began to run harder, despite how heavy and tired her lungs felt, she managed to fill them enough to yell louder:

 

“HELP ME!”

 

Old Man Grub took in the sight of the naked, hysterical woman running toward him, covered in lacerations and bruises. He recognized her, all right. “Dang fool, Dirigible.  Looks like Granny Jo was right.” He had no doubt that Knob was already a pile of bones.

 

Clover Dancer gathered her breath again. “HELP ME!”

 

She saw the figure shift position. It was a man. With the fire behind him, he was a black shilouette against leaping orange flames. She ran harder and the man raised his arm. He was going to help her!

 

Something hot tore into her right shoulder. It threw her off her stride, spinning her. She quickly regained her footing and continued on towards the house.

 

“PLEASE! HELP ME!”

 

She ran straight into the second shot, her body and the bullet meeting half way, burning into her chest, driving her to the ground.

 

It was quiet then. Footsteps crunched deliberately in her direction.

Old Man Grub leaned into view. “Sorry rainbow-gal. Did what I hadta.”

 

She tried taking a breath, staring up into the night, at the clear silver of early stars. Her cough tasted like dirty pennies. “Momma,” she whimpered.

 

Old Man Grub shook his head. “Gal, you never was cut out for no life on the Mesa.”

 

-END-

           

 

 

 

 

                                                   LIFE ON THE MESA

                                                                BY

                                          KEITH RAWSON

Draft # 2, unedited

 

Word count: 4,987

 

 

 

The man known as Dirigible sat watching the sudden grey of monsoon clouds rumbling towards the mesa with the heavy promise of lightning and torrential rains. It was the kind of weather you prayed for out on the mesa if you were the spiritual type.  Water was a commodity; you either collected it in rain barrels when the monsoons or the occasional errant storm rolled in, or you traveled the forty some odd miles into town and paid some soulless corporation twenty or thirty bucks for the privilege of swilling nature’s finest life sustaining gift out of a poisoned plastic bottle, something he’d never had to do thanks to his steadfast conservatism of never drinking more than four glasses a day.

           

Dirigible’s spot on the mesa stretched for nearly 2 square miles, most of it nothing but barren desert flat land for the exception of a little copse of mutated wind battered Texas live oak, which he’d built his shack under. When he’d moved out to the mesa six years ago, he’d intended on attempting to cultivate his spread and grow some kind of crop, whether it was corn, or soybeans; he even toyed with the idea of planting apple trees and starting an orchard.

 

In hindsight, he knew now that these thoughts were nothing more than naivety and ignorant idealism. He was nothing if not an idealist, but realistically you just don’t grow these types of crops without a steady flow of H2O. Nor should the average yearly temperature exceed 95 degrees Fahrenheit. He figured this all out a couple of months after completing work on his shack. The only effective way to grow out in the harsh climates of southern Arizona was to build a green house and have enough ready water on hand to maintain what you’re growing, the way Cassidy and his clan a couple of miles down the road did it.

           

 

 

 

Dirigible did utilize his plot constructively, but instead of harvesting food, he collected water. One of the true wonders of the big beautiful blue world Mac occupied with six billion other slightly confused human beings was that the earth was composed almost entirely of water and there was a means of collecting that water, even if it meant snatching it right from the arid sky. This was particular true at night and the pre-dawn hours when dew settle on the plants and soil of the desert floor. On a nearly one mile stretch of his plot, he dug holes and draped tarps—one of the few items he’d leave the confines of the mesa for and venture into town to purchase—over the tops of the holes. He’d awake every morning before dawn and harvest the thin, wet leavings from the previous night in old milk jugs. Some mornings, there was hardly enough dew to fill a quarter gallon of one of his jugs and some times he wouldn’t have enough containers to store the entire days harvest in.

           

This morning happened to be one of those mornings. Starting out today he’d only brought along three plastic gallon jugs, by the time he’d finished, he’d filled nearly five. It was how he knew the rains were coming and it was a huge relief. He could just spend the next couple of days letting the rain barrels do his job while enjoyed a couple of much needed mornings off; which is why he’d spent the past hour simply sitting under the makeshift lean-to of his shack smiling and watching the purple grey clouds come coasting in. But as much as he would have liked to spend the day watching the storm roll in, he still had work to do. Plus he was starting to get hungry, so breakfast was a priority.

           

Dirigible stood up from the rotting pine log that served as his front porch bench, stretching his long beefy arms above his head. Each of his overstrained joints cracking as he did so. He took a couple of extra seconds to rotated his oversized head on his practically nonexistent neck before he turned and opened the front door of his shack and was greeted by the ragged screams of the girl. He’d forgotten to gag her before he’d left this morning. Of course she’d been passed out, moaning under her breath, and for some reason, he thought she’d be in the same condition.

 

He stood motionless in front of the girl, letting the door swing shut with a wind blown bang. His tiny brown eyes focused on the girls gaping mouth. She had such beautiful white teeth for a freejack. Most folks who elected to live off the grid, the very first thing that went to pot were their choppers. But this new generation was so healthy in appearance despite the copious amounts of tobacco and marijuana they consumed.

           

Dirigible could easily see this girl leaving the life after a couple years of living rough. The effects of the pills, powders, and pot finally losing their charm and heading back into what passed as the real world; maybe going to college, getting married, and squeezing out two or three new consumers. She’d probably end up very happy—or at the very least pretending she was happy—out in some preplanned community, cut off from her fellow human beings not by distance and space, but by cinder block fences and the suffocating prison of modern suburban living. Maybe she even entertained these thoughts about her current boyfriend, the aptly named Rainbow child known as Knob. Maybe she thought all of this dreadlock wearing, pot smoking, living off the land thing he was into now was nothing more than a phase? Maybe she thought after awhile he’d get just as sick of it and off they’d ride off into the happy red sunrise morning.

 

Too bad Dirigible had crumpled Knob’s skull with a sledgehammer.

 

Too bad most of Knob’s fat and muscle was now cured and drying, hanging from every inch of available wall space in his shack; Knob’s still wet bones thrown into an untidy pile in a corner near Dirigible’s cot.

 

Too bad that she would spend the last moments of her young life in Dirigible’s ill-smelling, unkempt universe; her final words nothing more than guttural animal cries.

           

He turned away from her and headed to his small cast iron stove, muttering:

“Are you hungry?” as he knelt down to feed fire two small logs and a handful of dry kindling.  Rising slowly, he shambled over to his small pantry to retrieve his oatmeal and cook pot.

           

The girl’s name—at least her Rainbow name—was the entirely uninspired Clover Dancer. She and Knob had arrived on the Mesa a little over two months ago in a relatively new Ford Mini-van. They set up their plot about 10 miles west of his near Old Man Grub’s stretch. The two had been friendly enough at first, walking from spot-to-spot and introducing themselves to their new neighbors. The old school settlers were weary of the couple, having experienced the abnormal attitudes of the new generation of freejackers. Most of the young kids who came out to live on the Mesa considered themselves hardboiled anarchists; violent and bad tempered, typically sporting drug and alcohol problems. Not that anyone on the Mesa begrudged or discouraged drug use; shit, most of them had come out to the desert because of some form of substance abuse had reshaped their world outlook. The mesa’s number one concern was the destruction of both personal and community property due to drug and alcohol use.

 

But the two had seemed harmless enough, and most everyone thought they would make welcome editions to the Mesa. He was of the opposite opinion of most, and viewed the two as nothing more than befuddled shoppers playing at true freedom; but he was an isolationist and generally distrustful of everyone.

           

After a few weeks, the young couple stopped visiting their new neighbors, which was all fine and good as far as most were concerned, but then the thefts started happening. The first was Old Man Grub; several of his ripe melons had disappeared from his make shift greenhouse along with a 3 pound bag of organic kidney beans. Although largely uncommon on the Mesa, theft was an occasional inconvenience. Sometimes an isolationist would fall on hard times and have difficulty asking their neighbors for help and some fruit or meat would go missing. Usually it was replaced along with a note of apology asking for forgiveness: No harm, no foul.

           

The problem was this time the theft increased and there was never any meat taken. Meat was easy to come by on the Mesa and most of the men and some of the women were solid hunters, but fruits and vegetables took time and patience to grow; seed had to be purchased and brought in from the town. To most, produce was more coveted and valuable than wood for fire and building materials. It was a well known that the young couple was vegan and had absolutely no interest in meat or animals products. A counsel meeting was held and the decision was made to confront Knob and Clover Dancer about the thefts.

           

The five counsel elders made the trek out to the couples settlement and asked about the stolen food. What they got for their questions was Knob and Clover Dancer laughing in their faces, admitting to the thefts, then pulling guns on the elders and telling them to move off their spot. The day after another counsel meeting was called and the elders made a rare demand that the entire community needed to attend.

 

Dirigible was going to blow off the meeting. He’d made it clear to his neighbors from the beginning that he would live separately from the community; their concerns and their lives were not his own. He’d never turn down a reasonable request such as trading goods or aiding his neighbors in times of extreme crisis such as providing shelter to families that had their dwellings swept away by the flash floods a few years back. Trouble with a couple of shitheel kids had nothing to do with him or his way of life.

 

It was Old Man Grub who came to fetch him an hour before the meeting was to begin. He tired explaining his point of view, but the old man wasn’t having it:

“Not comin’ to the meetin’ ain’t an option, boy. Now get your fat ass moving before I have to drag you out of your house by your ears.”

Grub wasn’t screwing around. The old man was one of the few folks on the Mesa Dirigible had anything to do with. They’d met early on when Dirigible was first starting out and was the only one of his neighbors to help him when he fell on hard times. Plus, the old man was probably one of the only men on the Mesa who could back up his shit talk with action. Grub was a Vietnam vet and had seen and done things that he could never unsee. Dirigible respected the old man and followed him to the meeting without a word of back talk.

 

           

 

The meeting was held at the fire pit on the outskirts of the Cassidy’s plot. Despite it being early evening and the temperatures well into the mid-eighties, some one had built a raging fire. Most of the Mesa’s fifty some odd permanent residents huddled close to the mass of flaming logs as if they were trying ward off the effects of freezing rains and wind. Dirigible stayed near the back, avoiding the heat, and watching Old man Grub wind his way through their neighbors. The elders were a good group of folks—Frankie John’s, Grandma Jo, Cranberry, Wiltz—but when it came to making decisions they were about as useless as a third nipple, so they deferred to the Old man, who’d been out on the Mesa the longest—eleven years—and had dealt with every form of adversity you could face living out in the wild.

 

            The old man joined the four other elders at the head of the fire and little earthquakes of questions and statements began to rumble through their amassed neighbors. To Dirigible’s ears the mass always sounded—whether it be the fierce individualists of the mesa or the blood simple murmurs of a group of outraged consumers outside of rural Arkansas court room—like chickens, or some lesser form of life waiting for the farmers hand to spread corn in the dirt to shut them up or take their heads off with an axe. The murmurs grew into a dull roar, voices clamoring. Grub threw up his hands Moses style hoping to calm the natives to give him a chance to speak; all it seemed to do was increase the chatter.

“People!” He shouted. “People! We know your concerns! We know the danger the new arrivals present! And we’re here tonight to decide what to do!”

This finally managed to shut everyone up.

 

            Grub’s voice was ragged; Dirigible suspected the Old man was dying of cancer from the constant stream of hand rolled smokes that perpetually hung from the corner of his mouth and stained his ashy grey beard yellow. On his last two visits to the Old man’s stretch, Grub seemed to be always out of breath and hacking into a red bandana. He’d miss him when he was gone and he wondered how long the Mesa would continue after he passed on?

 

 

“We’ve dealt with this type of crises before! We also know the new arrivals will not stop! The thefts will continue and they’ll be far more aggressive because they know we’re scared!” The old man paused and coughed hard into his fist. ”And from past experience we know there are only three options available to us!

The first is banishment!’

 

Their neighbors roared their descent; a chorus of voices streaked with fear:

They were dangerous! They had guns! Most of the mesa settlers owned guns and were steadfast advocates of the right to bear arms, but when it came to confronting an imminent threat, the majority were cowards unwilling to lift a finger in order to defend themselves.

 

“Our second choice is into involve the law of the town!” This was a resounding no. Most folks on the mesa were running from the law of the towns and the last thing they needed was the law up here arresting the new comers and then becoming curious regarding the rest of the settlers and running warrant checks.

 

“Our final choice is the most drastic!” Old man Grub lowered his voice to an almost conspirital whisper. “The choice is final and cannot be reversed. and we must think long and hard before we come to that decision.”

 

            Silence fell across Dirigible’s neighbors and it seemed that every single body in attendance turned and stared at him simultaneously. The same choice had been made before when the Gulf war vet, Phil Gustafson, had raped and nearly killed Mary Dandy’s 12-year-old boy, Sparrow. The five elders had come to him after a vote was held that he wasn’t included in and they asked him to do what they were unable to. They knew what he was before the Mesa. They knew about the time when he was known as Mac Sloan. They knew about his time in Arkansas and of Mac being convicted of the rape and mutilation of six women. Of how Mac’s original sentence of 150 years had been overturned when Mac’s defense attorney admitted he hadn’t prepared adequately for the trial and how he believed his client was guilty before accepting the case. They knew it all, but consider it to be all in the past, and that the man known as Mac Sloan was completely different from the man they knew as Dirigible.

 

He was almost a different man.

Almost, and Old Man Grub knew this when they came to him about Gustafson.

He knew this now when he proposed the communities third and final solution.

 

            A vote was cast and it was a nearly unanimous decision that the new comers be dealt with swiftly before they could do anymore damage to their precarious community. The Old man approached him as the rest of their neighbors shuffled back to their homes.

“You can do this for us, boy?”

Dirigible nodded, but set the stipulation that the elders and the rest of the community didn’t bother him for several weeks after the couple was dealt with, and that the elders handle the disposal of the couple’s belongings. He would also need use of Old Man Grub’s flatbed.

 

Dirigible went to Knob and Clover Dancer’s spot the same night. The two were incredibility easy to approach. They had lit a large bonfire and were dancing sweating around it as the speakers of their mini van roared with the psychedelic hum of the Grateful Dead. Both were obviously stoned or tripping balls. Mac was able to take Knob with a single side swing with his hammer, catching the boy just above the right ear, his skull splitting with a dull hollow sounding thud. Clover Dancer was quick to react but ran blindly into the fire she’d been so exuberantly dancing around only a few seconds before. Mac pulled her screaming from the fire, throwing her to the dirt and then punching her hard across the jaw. He walked the mile back to the truck dragging Knob’s corpse by the ankle and Clover Dancers motionless form over his shoulder and drove home.

           

Dirigible bound the still unconscious Clover Dancer to the Main support beam of his shack, arms above her head, then gagged her with an old sock and heavy twine. She came awake just as Mac was flaying the boy’s corpse from belly-to-throat.  She started to scream around her gag; she passed out a half hour before he made his way out to the water fields. He’d removed the gag because he was afraid she’d choke on her own vomit or the sock itself; it’d been nearly a decade since he’d been with a woman and he wanted to enjoy the experience.

           

Dirigible had finished making his oatmeal and turned and faced the girl again. Her full-throated screams was beginning to work a nerve at the back of skull. He wanted to punch her, maybe shatter a few of those orthodontist perfect teeth, but Mac felt the girl deserved a few minutes to get all that great big nasty fear out of her system; to breathe easy an unobstructed. He approached her with his wooden bowl of steaming oatmeal and held his spoon out at mouth level for her. He asked again:

“Are you hungry?”

Once Dirigible was within of a foot of her, Clover Dancer’s screams sputtered and turned into a kind of breathless panting.

“Are you hungry?”

He began to trace the edge of her left nipple with the tip of his spoon. The small spot of upraised flesh was small and a perfect rosy pink, and despite the terror that gripped her, It was still hard and covered in goose flesh. In his younger, wilder years, he would have torn this girl apart; fucked her silly until he was raw and sore and then, out of boredom, would have started trying to stick things inside of her: Beer bottles, sticks, rocks, anything on hand really. But now as an older man, all he could think of as he gently circled the girl’s nipple with his breakfast spoon was how this girl and her former stoner boyfriend would keep him in meat well past the coming fall and winter months.

           

Dirigible dipped his spoon into the rapidly cooling oatmeal and brought it to Clover Dancer’s mouth, pushing it, jamming it past her perfect teeth, past her struggling dull pink tongue and down her throat.

“Are you hungry?”

Maybe he wouldn’t slaughter her today? Maybe he would keep her around and see if some of the old feelings came back? And if they didn’t, so what, at the very least he could fatten her up a little with oatmeal and a Knob steak or two.

He brought the spoon to her mouth again.

           

                                    *                       *                       *

 

 

 

Ashley’s days blended.

            This was nothing new, most of the past two years since she and Newton had dropped out of school and decided to go on the road was nothing but a long hazy tie-dyed confusion of days.

 

I’m hungry, we need to eat.

 

She couldn’t say they were necessarily happy times—life on the road was rough, especially on the nights when they were out of money and they sat on street corners with their hands out begging strangers for spare change so they could eat, so they could put gas in the tank—but she was with Newt and she knew that as along as she was with him, he would keep her safe.

 

Use the last of the thigh, it’ll make good stew.

 

            They’d moved from Chicago to go to school in Tempe, AZ; Newton on a full chemistry scholarship and Ashley not really knowing what she wanted to do. But her parents indulged their only daughter and were more than willing to pay the exorbitant out of state tuition of Arizona State University, confident she would become home sick, and either grow tired of the relentless desert heat or of her self absorbed high school boyfriend—they were wrong on both counts. After eighteen years of dealing with below freezing mid-western temperatures, the dry hundred degree days agreed with her and she’d never seen Newt so happy.

 

Not that piece, the one next to it.

 

            In Chicago, Newt was a shy, unassuming boy who spent most of his time alone and trying to avoid being picked on. But in college, he was reinventing himself. Dread locks, the Grateful Dead, Phish, using his chemistry skills to start manufacturing LSD in his dorm room, his roommate acting as dealer.

 

Remember to cut against the Grain.

 

            The roommate was sloppy and stupid, using too much of what Newt was cooking. Campus cops bust him carrying six sheets of high quality blotter acid and he rolled over on Newt without batting an eye. ASU administration chose only to kick Newt out of school and not report him to the local pigs or the feds. Ashley dropped out without telling her parents and they left Arizona, following vague rumors of Rainbow gatherings and outdoor music festivals.

 

You’re not doing it right.

 

           

The plan was to earn money cooking Acid. They would sell and trade for what ever they needed.  Newt had pillaged the chemistry labs before he was kicked out and walked away with enough of the necessary alkaloids to make over two thousand sheets. They were set; all they needed to do was follow the music festivals and not get busted or ripped off

 

You’re doing it wrong. How many times do I have to show you?

 

            He changed his name after their first Rainbow gathering. Knob, like the head of a cock; she laughed her ass off when he told her. He sulked like a baby, pouting. He spat at her: “No, like a doorknob! Like Huxley and the doors of perception!” He said having a Rainbow name would help them fit in. He said she should pick one too. She laughed at him again. The Rainbow people could go fuck themselves as far as she cared. They were a bunch of users and losers who mooched whatever they could off of you: Food, drugs, gas, clothes, whatever. And if you didn’t give them what they wanted, they called you unkind and tried to steal what they wanted right from under your nose.

 Newt started calling her Clover Dancer, he wanted them to fit in, he wanted to be considered “kind.”

 

Stop, you’re ruining it.

 

            And they stole Newt’s chemicals. These people who he tried so hard to fit in with, they fucked him, they fucked her, and yet, for some reason they continued to live and travel with this bunch of human trash. Newt spent the last of their money on a half-pound of Marijuana hoping to recoup some their losses. All they really did with it was smoke too much with the other Rainbow people and sell the occasional quarter ounce bag to high school kids at the rare music festival they attended. Ashley had never seen Newt like this; he was obsessed with being part of this group, even though they shunned and mocked him—called him a poser—for not sharing his acid, for not being kind enough, and yet he still kept trying, taking their shit with a smile while they continued to take whatever he offered and steal what they didn’t.

 

You’re ruining it.

 

            He learned of the Mesa from overhearing a conversation between two of the younger Rainbow children he was trying to constantly impress. They said only the most hardcore lived on the Mesa; only the most dedicated of freedom seekers lived there. Newt made the decision to head to the Mesa at once! It would prove to them all how dedicated he was; so they headed back to Arizona.

 

Like this. You hold the knife like this.

 

           

 

 

 

Newt was gone now. The people of the Mesa had punished them for doing the same thing the Rainbow’s had done to them when they first started traveling. They sent the Fat man with his sledgehammer. The Fat man killed and slaughtered Newt and she’d spent the last two weeks or two months living in the Fat man’s shack either tied up or performing menial tasks under his watchful eye. Mostly she cooked either the morning oatmeal or preparing souring pieces of Newt.

 

Like this! You hold it like th–

 

            If it hadn’t been for all of the blood coursing down her pale white knuckles, she would have thought she was still cutting into the rotting meat. She pulled her eyes away from the heavy thigh muscle she’d been cutting and stared into the small, pig like eyes of the fat man; they were glassed over, his mouth hanging open slightly; small, airless gagging noises emitted from his throat where she’d driven the dull carving knife into it. She stared at the hot filth of the Fat man’s blood.

 

            She stood up when she noticed the pins and needles of her legs going to sleep under the weight of her naked body. It took a few minutes of standing and flexing her legs before she’d realized what she’d done. She bent down and gently nudged the Fat man’s bulky shoulder, her thin lips mouthing something like I’m sorry, something like I didn’t mean to.

 

            Her breath came in hot, ragged gasps; she didn’t know what to do? Her eyes darted around the shack; had anyone seen what she’d done? Was there anyone who would punish for killing the Fat man? She backed away from the Fat man, not wanting to turn her back to his slouching form in fear that he would suddenly come back to life, jump to his feet and come racing after her to enact revenge like an invulnerable horror movie psychopath; Ashley broke into tears when she pulled open the heavy door and the Fat man did not come after her.

 

She ran.

 

She ran bare foot and naked into the slowly fading purple-orange desert evening; she ran even as sharp rocks and thorny underbrush tore at her legs and feet. She needed to find someone, anyone. She knew that the people of the mesa had wanted her Newt dead, but maybe she would find some one who would take pity on her? She would beg them to drive her into Tucson or Mount Lemon; she would promise not to tell what had happened at the Fat man’s shack.

She would promise. She wanted to go home to Illinois; she wanted to see her indulgent parents and tell them they were right.

 

           

 

 

 

 

It seemed like hours before she finally came upon a structure; something that looked like two singlewide mobile homes wielded haphazardly together. There were lights flickering inside the dwelling and she could hear the rumble of generator. There was a small fire burning outside of the structure and some one was standing in front of it poking at the flames with a long stick. She began to run harder towards the building, to the figure standing in front of the fire. Despite how heavy and tired her lungs felt, she managed to fill them enough to yell:

 

“HELP ME!”

 

            The figure stared up at her, startled. In the dying light she could see the figure was a tall, slender woman and her eyes were wide and full of fear. Ashley gathered her breath again:

 

“HELP ME!”

 

            The woman turned away from the fire and headed for the trailer. Maybe see was getting someone from inside. Ashley ran harder. The woman reappeared and stood with the fire behind her; she looked like she was pointing the long stick she’d been poking the fire with at Ashley.

 

Ashley didn’t hear the report or see the flash, but she felt something hot tear into her right shoulder. It threw her off her stride, spinning her. She quickly regained her footing and continued on towards the house. A smaller body had joined the woman and huddled close to her hip.

 

“PLEASE! HELP ME!”

 

            Ashley both heard and saw the second shot. She didn’t bother trying to evade it; she ran straight to it; her body and bullet meeting half way, burning into her chest, driving her to the ground. She tired taking a breath as she stared up into the night, at the clear silver of early stars; she coughed, tasting dirty pennies.

Her body became cold, she shivered and she thought of home; she thought of winter.

-END-

 

April 8, 2009

Down to the last detail, Mike Sheeter polishes “Preferred Customer”

Filed under: Uncategorized — ashedit @ 4:47 am

 

This week a Mike Sheeter thriller is up at Beat to a Pulp, and what an action-packed, snake-back mikesheeter_bxp35781s1ride it is! When Mike emailed me yesterday, the idea dawned to share some working correspondence we’ve traded during the course working on “Preferred Customer” together. Mike is great to work with, as accommodating as he is accomplished. He’s very generously given me permission to share the following emails as a window on the working relationship between an editor and writer. Questions and comments are welcomed.

 

January 6, 2009

 

Hi Elaine,

Happy New Year to you, too, and thanks very much for your kind words about “Preferred Customer.”  I’ll be delighted to speak with you at your convenience, but perhaps we might do it before the weekend.  I’m shackled to my keyboard every day, so just let me know when you’d like to chat, and I’ll be sure to pick up.

 

I learned what little I know about international banking when I was doing some freelance editorial work in Santa Monica. A client of mine published a grim little journal called Terrorism, Revolutionary Violence and Counter Insurgency Review, for the Rand Institute.  He assigned me to work with an ex-Green Beret officer, who had written a 200 page treatise about the latest trends in international money-laundering, whimsically entitled “The Urgency of Detergency.” According to this fellow, some of Noriega’s former bankers set up an outlaw banking  operation similar to the one I described but they were headquartered in Asuncion, Paraguay, and as far as I know, they only fleeced drug dealers.

 

To add insult to injury, they capitalized their new venture with the (drug) money Noriega and his cronies stole when they nationalized the Bank of Panama. In any case, ever since 9/11 the offshore banks have become very leery of dealing with North Americans, with the real world exception of a few banks in Nigeria,  Dubai, the U.A.E. and the People’s Republic of China.

 

The European offshore banks in the Hebrides, Switzerland or Lichtenstein,  flatly refuse to open accounts for individual Americans. Anyplace else… the Turks & Caicos Islands, the Seychelles. the Caymans, Costa Rica… they’ll cheerfully open your account record for the IRS or any other alphabet agency that asks. So there’s the problem.  If you want to stash your ill-gotten gains, you have to venture pretty far afield, and be prepared to do business in places where they don’t like Norteamericanos much.

 

Oh well, maybe they’ll start liking us better in 15 days or so, huh?

Best,

Mike Sheeter

 

Hi Mike!

Do you have enough juice left to stomach another idea about Preferred Customer’s ending? David and I were having a talk and we both agreed that when the shark bumps Dave’s leg, it’s a very powerful and ominous moment in the story. It conjures such an image of him being eaten, that we thought it would be a terrific image to end the story on. I have simply rearranged a few paragraphs at the end of the story, so it ends with Dave [the main character]. The writing is all your own. Would you give it a look and tell us what you think? We don’t want to change it without your approval. I look forward to hearing from you.

Best,

Elaine

 

————– Original message from Elaine Ash <ashedit@gmail.com>: ————–  Hi

 

Mike, hope you are doing well!

I liked the [additional] small changes you made to “Preferred Customer.” I had to revise some italics that didn’t qualify as internal dialogue, but instead were simple narration, which is not italicized.  Two things: I think we should just say “a bank”  instead of  Bank of America, because the company may not wish to be associated with an international banking scam, even if it’s just a story. Is Banco De La Moneda Extreanjera in Caracas, a real entity? If so, can you change the name slightly to avoid the same problem as B of A? However, I like the flowery, foreign name spelled out because it lends authenticity to the story.

Have a great weekend,

Elaine Ash

 

On Sun, Feb 22, 2009 at 5:58 PM, <mikesheeter

 

Hi Elaine,

I’m pleased you like the changes.  As to the Bank of America issue, it’s Milt Medenbach who is the malefactor  and the BoA is quite blameless.  As a matter of fact, Dave Manfred fears their diligence, and to me, if there’s no imputation of wrong doing on their part, it’s a non-issue whether or not they like the way they’re portrayed. (Besides, the bastards seldom get my checks to me on time.)

 

On the other hand, using a real, recognizable name tends to anchor the story in concrete reality.  However if you feel strongly about the matter I could live with being a little vague abut what bank Milt has been using. (Besides… BoA may be out of business or nationalized by the time the yarn sees print.)  You could call it something like the Wheelright Bank or the Artisans and Mechanics bank if you like. The Venezuelan Bank’s name is fictional, but I’m told, idiomatically correct.  I hope you’ve had a great weekend yourself, and I must say, I’m really impressed with your and BTAP’s professionalism and diligence.

Best,

Mike

 

————– Original message from Elaine Ash <ashedit@gmail.com>: ————– 

 

Wow, you had me fooled with that Venezuelan bank’s name. Very realistic! BoA is only mentioned once and instead of making up a name, it looks just fine to simply say  the bank  in reference to the American account. Works fine. Glad you are impressed. I know I can be a pain in the ass, but it will all pay off when the kudos start coming in for your story. We are expecting enthusiastic comments for  Preferred Customer,  and we get around 500 unique visitors per week and climbing.

EA 

 

Monday, April 6, 2009 

Hi Elaine,

I’m honored to have a story of mine in Beat To A Pulp, and very grateful to you and David for your editorial guidance and the kind words. Please thank him for me, will you? Actually, I’m working on a screenplay right now, an  adaptation. What else… I have a couple of stories hanging fire just now.  I’ll see if one or more of the other trunk dwellers might be salvageable.

 

You and David upgraded Preferred Customer so markedly, I’m tempted to send you my whole damned oeuvre, including the syllabus I once wrote for  one of the South’s most prestigious barber colleges.

All my best,

Mike

 

 

April 7, 2009

Coming Soon: Mike Sheeter Shares His Process

Filed under: Uncategorized — ashedit @ 4:05 pm

mikesheeter_bxp35781sHave you read “Preferred Customer” by Mike Sheeter over at Beat to a Pulp yet? If you have, you already know it’s an action-packed thriller that twists and turns. Mike’s high-stakes plot works like a 16-V engine, driving the story faster and farther every paragraph.

Mike wrote to me today, inspiring an idea to compile our emails working together as editor and writer.

Mike is not only a novelist and short story writer, he’s also a produced screenwriter, and his professionalism has been polished over many assignments with demanding, perfection-seeking clients. (Gee, was that me, too? Guess so.) Anyway, Mike has given permission to reveal the highlights of our writer/editor relationship through our emailed correspondence, and I do hope it’s educational and revealing…stay tuned.

EA

April 5, 2009

THE GARDEN VARIETY QUERY

Filed under: Uncategorized — ashedit @ 10:07 pm

THE GARDEN VARIETY QUERY

It’s well after midnight, a cat is stuck in my ceiling, and the cavalry won’t arrive until after daylight. I’ve been wakened from my sleep, and it seems like a good idea to continue with my series on writing the elusive query letter.

Just a few a hours ago I received an email from the Nelson Literary Agency out of Denver. Sara Megibow has clearly and succinctly laid out exactly how Nelson Lit wants to be queried. Writers should follow their guidelines, of course. In this case, the rewritten query for Frank Bill’s novel wouldn’t be appropriate, but the old one wouldn’t work either, for the reasons I sited in my posts dated April 3rd and 5th. So what to do?

First, here is Sara’s clear-as-a-bell instructions on what they’re looking for:

This month’s “tip” has to do with those query letters and how to relax a bit when it comes to submitting them. Frequently, I see a letter which opens like this, “This isn’t your standard query letter…” and I think, “But WHY, when the format we set out works so well for us?” So, my advice is — relax. Read our submission guidelines and follow them. A well-written query letter with great writing and a unique concept stands out on its own. You don’t have to add fancy pictures, background colors, gimmicks, youtube clips, etc. in order to grab my attention. Simply follow our format and trust that there is a reason we do it that way.

So, now you may be asking, “So what’s the reason?” Here’s a little breakdown of our format and why we use it. I hope this helps!

1) We ask for a one-page query letter. That’s right — short! A few sentences to introduce your project (word count, completion status, genre), then a paragraph to describe the work. Why? Primarily because of the volume of submissions we receive (100-200 query letters a day currently). We want writers to capture their story as if they were writing the back cover copy of a novel on the bookshelves. We know this process works, because the vast majority of our current clients ( New York Times Bestsellers included) came through the query in-box.

2) We ask writers to email the query letter. No phone calls, no office visits and no snail mail. Why? Because it’s faster. We have all of our tools on our computers, so we can get to your query letter more quickly and with more focus.

3) Here’s a simple one that we list on our website — put the word “Query” and the title of your work in the subject line of your email. This helps me know that your email is really a query and not spam. Also, I tend to reread great query letters before asking for 30 pages and when I ask for 30 pages I use a standard email reply. If the name of your project is right there in the subject line it makes it easier for me to respond quickly.

4) Last of all — with that email query, no attachments please. Our server deletes these emails (which may be why you haven’t gotten a response from us). Also, we don’t open attachments because of the danger from viruses.

Writers who go for “this is a unique query letter” are not doing themselves any favors. If it is easy for us, then it’s worth doing (and I mean that only from a productivity and efficiency standpoint). So, read our submission guidelines and relax — follow the directions and trust that there is a reason we do things this way. It works! Put your energy into composing an awesome pitch paragraph that nails the heart of your story, and don’t worry any more about the gimmicks.
- END EXCERPT FROM NELSON LITERARY AGENCY NEWSLETTER, MARCH, 2009 –

So what is Sara really saying here? Over at Nelson, they lay all their eggs in your query basket. Unlike many agencies, they’re not interested in your resume, credits, awards or education if you can’t write a sizzler of a synopsis. That’s what separates the men from the boys—for them. You’ve got to deliver a concise overview of your novel, a one-page summary that blows their socks across the office. Sara helpfully offers exactly what achieves that effect: “We want writers to capture their story as if they were writing the back cover copy of a novel on the bookshelves.”

Ah-HA.

If you haven’t strenuously studied many back covers, the time is now. It’s promotional copywriting, an upbeat, sell-style all its own that zings the golden nugget of a story directly at the reader. No matter that advertising copywriters, not short story writers and novelists, most commonly use this style of writing—it’s what’s called for by this agency for their query. And they’re basing all their judgment on it. At some point in school you experienced the “sudden death exam,” right? At the end of the year 100% of your grade was based on the final? This is the publishing industry’s equivalent–sudden death by query.

If you are keen to submit to this agency and others with similar submission guidelines, a good way to prepare is by reading the back covers of books most like your ms. Familiarize yourself with the short, direct style of the copywriter as best you can. When you’ve shoe-horned your story into the one-page format, go over the copy a dozen times, smoothing it out, excising extra words and unnecessary padding, until it’s lean and mean like a one-page print ad. Or a back cover.

If the prospect has you up nights, defacing back covers in frustration, I also help writers with this type of query. You can email me at ashedit@gmail.com

 
saramegibowheadshot1Pictured at right: Sara Megibow, Nelson Literary Agency

QUERY LETTER CONVERSATION WITH FRANK BILL

Filed under: Uncategorized — ashedit @ 4:44 pm

 frank-bill-mail-picAn excerpt of the novel Acting Out can be found in the post below this one

 

Elaine Ash: Remember how I said at first I was going to put up the first five pages of the two novels you sent me, and compare them?

 

Frank Bill: Yes.

 

EA: Well I changed my mind. Because I want to get to the heart of why Acting Out was rejected and why you never heard anything from anybody. The reason lies in your Query Letter.

 

[Laughter FB and EA.]

 

FB: I got it right out of the writer’s guide that they put out every year! I used to subscribe to their magazine and after a while I realized they kept putting these people on the cover that I don’t even read, so…but I followed their guidelines.

 

EA: This is good, good news. Your story wasn’t rejected in my opinion, because they never finished reading the letter. They never cracked the novel and it wasn’t rejected…I mean, you just got form letters rejecting you, right? No personal notes or anything?

 

FB: Fifty of them. I probably got a sample of every rejection letter ever sent off. I used to do the shotgun effect. I’d query 15 or 20 people or magazines at a time. I did agents 20 at a time because they get back to you pretty quick.

 

EA: Nobody gave any indication that they had read the manuscript?

 

FB: Oh hell no. It was just a little card, like somebody’s business card or a little bigger. They probably paid less than I did for postage. Standard form. If the query letter is the key to the first gate, I never got a key.

 

EA: First, I want to tell you that when I do my commentary, I’ve compared you to Ornette Coleman when he first started out, who was a horn player from the 1950s and Hall of Fame, and won all sorts of awards, so understand that I’m being very complimentary about your writing. So having said that, I think it’s only fitting that I crown you as writer of the World’s Worst Query Letter. It might even turn into a competition where people can compete for the title. Don’t you think that would be funny? To poke fun at all the agony we go through with query letters?

 

FB: (laughs)

 

EA: I want to analyze your letter on the Challenge to illustrate and educate. My aim is not to point a finger at you, but…

 

FB: Hey, go ahead. There’s no direction out there. Even if you look query letter writing up on the internet, you can’t really get clear on what it is. All the outlines are the same, you understand? They’re all pretty much three paragraphs an opening, middle and ending. It says to put in a little information at the end about why you wrote this story, or life.

 

EA: I understand that your letter is written according to what “they” tell you to do. And what writers do, is they write to the agent or publisher—especially small publishers, you often bypass an agent—and writers write as if the recipient actually cares about your story. And they don’t. Nobody can tell how good a story is from a logline. So, you don’t want to go into too much detail, what you want to do is right off the top, give the hottest thing about you—the hook of the letter. So the hottest thing about Frank Bill is that he’s all over the e-zines, he’s published in Plots with Guns, he’s got the “Frank Bill Double Bill” coming up on Beat to a Pulp, where two stories will be released in one week, and that’s a first for BTAP.  That’s what you want to hook the agent with right away, that here’s a writer who’s developing on the internet, who’s coming up and getting recognition. So the first sentence of your story should have them sit up straight and focus, eager to read more.

 

Then the next paragraph of the story reveals what your story is about very briefly. Three lines, approximately. So the agent gets the idea this is a dark, edgy crime story, appealing to fans of the hardboiled genre. And that’s enough of that.

 

I haven’t formulated how I’d end your letter, but I’d probably talk you up a little more, maybe throw in a quote that a website editor, somebody of some stature like Anthony Neil Smith has said about you. It carries weight. Look, you’re saying to the agent, somebody who knows what they’re talking about likes my writing too. It’s worth your time to look at the pages I’ve attached. I’m serious, I’m working hard. All this is being communicated in three paragraphs by including the right information. The letter is saying much more than it’s actually saying. It’s got a subtext. Are you following me?

 

FB: So I’m not so much selling them on the story as I’m selling them on me. What makes this writer good?

 

EA: That’s why I would drop Anthony Neil Smith’s name in there, that you’ve worked with him as your editor on two issues. Any names that you can drop in there to vouch for you.

 

FB: I’ve always read the opposite. Don’t drop names or compare yourself to other authors or anything like that. I mean do you say Dear Sir, do you even announce your name? Or do you wait to give your name at the ending? Dear Sir, I’m Frank Bill, I’ve done this blah blah blah.

 

EA: Well, I would go back over the letter when I’m done because you want to take out as many extraneous words as you can. Short, action-packed paragraphs. You send me a new bio and I’ll mock up a sample query letter that we’ll publish on Ashedit to show the kind of query that will work for you. I think this will be educational for everybody looking on.

 

FB: If I ever make it as a writer I would probably educate a lot of people, and help writers who have talent and are struggling.

 

EA: You won’t have the time

 

FB. I studied martial arts since I was a kid. I studied traditional martial arts when I got older because the Chinese people didn’t want to teach young people because it’s a family system. It’s almost like writing because it’s an art form and something that you dedicate yourself to. When you see someone with initiative, and they work at it, you’ve got to offer them something. If I could help somebody I would.

 

EA: This query letter business is a course in itself. A novel is made or broken on the query letter, it’s life and death. So many writers get rejected, just based on the query. It’s the first sample of your writing. It reveals what you know or don’t know about the industry. When there are flaws in the query, an agent assumes the same thing about the story or novel you’re pitching.

 

I’m sure the query letter that I do for you will get a bit of controversy when it’s posted because the prevailing wisdom is not in the direction I lean.

 

FB: I’m always surprised at how much work it is to be a writer. To start out and find your flow, and find the mistakes, I had a big problem with that in the beginning. Revising is usually what makes the story. Revising is how you find your voice, because you find your rhythm and words, and how you want to craft them. So it’s laziness on my part, because I’ve seen through the glow of how I first saw things, that I was going to write something and send it out and somebody was going to pick it up right away and that’s not how it works. You’ve gotta work for it.

 

EA: Yes. And as you get your stuff out there, people have something to say about you—a readership, an editor. They have to have read you. Today it’s e-zines. In the old days it was print magazines. You can’t just write a story in the basement, have no credits at all to your name, and expect that you’ll send it out and it’ll get considered. The query letter is your cold sales call. The agent is looking for a sign that you understand his or her job enough to provide the right details in the letter. The agent has to sell you, the writer, right along with your book. Give him some pointers to sell you with.

 

-END-

 

HERE IS FRANK’S ORIGINAL QUERY LETTER…

My crime stories are published in award-winning e-zines such as Plots with Guns, Thuglit, Pulp Pusher, Talking River Review and many  more. Next week, Beat to a Pulp runs two of my stories in a feature they’re calling the “Frank Bill Double Bill,” a first for that publication.

Dear Name of Agent: 

 

   Threatened by a power pushing boss and a business partner who enjoys contact sports, Trent Vile, a new accountant with an addiction to pain, has two options, embezzle money for Liberty Chemical or end up like the last accountant; an episode on Unsolved Mysteries.

 

      Trent wants to build a resume not a criminal record. But the live-in girlfriend who helped him get the job believes embezzlement is a stepping stone. Choosing embezzlement over death introduces Trent to a black market prostitution ring ran by his boss Turnage and business partner Deacon. Whose value for human life is witnessed by Trent when he listens to their mock, beat and murder of a prostitute. Which pushes Trent into a sociopathic state of how to make them accountable for their crimes. Until an accident feeds his addiction to pain and reveals a resolution. A premeditated scheme. Where downloading pornography onto Deacon’s computer. Phoning the Electronic Crime Division to report a slave trade involving minors. And getting caught in Turnage’s office stealing incriminating documents, leads to a chase down into the company parking lot. Where a parade of bullets from a double-crossing live-in girlfriend and the Electronic Crime Division leaves everyone accountable for their criminal beliefs.

 

     Acting Out (58,000 words) is a dark humored crime novel where white collar crime ties into black market crime. Where two men’s addiction to flesh offer a new slant on the human condition. One man abuses his flesh to deal with life. The other abuses flesh for profit. Having researched the black market slave trade overseas. Case studies on self-mutilation. And big business embezzlement I found people overlooking their morals for personal gain. For freedom. And to deal with everyday life. I found common men and women without boundaries. People who suffered for their beliefs regardless of the outcome. With the readership of hardboiled crime novels growing, I hope you’ll find that my story offers a new slant into this genre as well as an entertaining one.

 

     Enclosed for your consideration are the first three chapters and a SASE for your reply. This is my first novel. 

 

Thanks for your consideration,

 

Frankie Bill

 

HERE IS A REVAMP OF FRANK’S QUERY LETTER…

 

 Dear Name of Agent:

 

My crime stories are published in award-winning e-zines such as Plots with Guns, Thuglit, Pulp Pusher, Talking River Review and many  more. Next week, Beat to a Pulp runs two of my stories in a feature they’re calling the “Frank Bill Double Bill,” a first for that publication.

 

I’m seeking representation for my fourth novel, Acting Out, a black-comic crime story about a disillusioned Gen X-er caught in an embezzlement scheme. The 81,000-word novel is told in the second person narrative, which conveys the sardonic tone enjoyed by  fans of transgressive fiction.

 

 Finally, Anthony Neil Smith, the editor of Plots with Guns and the author of four crime novels (Bleak House Books)  said this about me, “Frank Bill is a brutal writer. The stories slap you hard in the face with his unique voice. When he’s writing at full strength, wow…”

 

 If Acting Out is a good fit for your agency, I would look forward to a reply. My first ten pages are enclosed with a SASE.

 

 Thank you for your consideration.

 Sincerely,

Frank Bill

 

 

COMING SOON–A BREAKDOWN OF FRANK’S REVISED QUERY LETTER EXPLAINING WHY EVERY SENTENCE IS THE WAY IT IS…

April 3, 2009

Frank Bill – An Emerging Voice

Filed under: Uncategorized — ashedit @ 7:28 am

frank-bill-pic1FRANK BILL – AN EMERGING VOICE

While Keith Rawson works on revising “Life on the Mesa,” the next Challenge writer, Frank Bill, is ready to go. He’s had stories accepted at Plots With Guns 4 & 5, Thuglit #28, Pulp Pusher, Talking River Review, Hardboiled, Darkest Before the Dawn, and Lunch Hour Stories.

Frank has already established himself in the e-zines as an emerging talent. His style is defined by direct, sharp, staccato sentences, and I think of him as the Ornette Coleman of the crime short. When Ornette first played horn in the 1950s, he was considered highly controversial with his cascade of bleeps, blats and squawks. Some critics dismissed him as a music illiterate. But jazz musicians and free thinkers recognized something very special in Ornette, and they were eventually proven correct by his exemplary career. Like Ornette, Frank Bill has a rhythm all his own, with a sentence structure that takes deliberate grammatical “license” to create a cadence in his prose.

Frank contacted me about a novel he’d written and sent on the rounds to agents called Acting Out. When not one agent or publisher out of fifty gave him any kind of encouragement, just impersonal rejection letters, Frank concluded that his style was too dark, too edgy; he’d better pull it back. I suggested he send me the first ten pages, because it might be terrific material for the Challenge. It sure was, but not for the reasons either of us thought.

My comments on Acting Out continue in this post, below the excerpt….

ORIGINAL NOVEL EXCERPT

ACTING OUT
by Frank Bill

Turnage is jabbing his right index finger into the center of your chest. His finger is a paralysis treating your sternum like an Etcha Sketch. Digging in. Twisting. Threatening you he barks, “Fix it!” With the cuticles pushed back on his fingers. Creating borders for the clear polished finger nails. Filed down. No hang nails. From the appearance of his hands, they mean a lot to him. It’d be awful if one of those fingers were to get smashed in-between something and you tell him, “That’s embezzlement.”

Standing in the hallway outside of his office on the fifth floor it’s Thursday before lunch. He tells me that’s why he hired me. An accountant. Doing your job. This is what you get, what you learn when pointing out mistakes from the accountant you replaced. Bringing numbers to his attention. Numbers that don’t add up. Cash from nowhere being filtered through his company. Looking at his fingers you’d like to bite off one or two of them. Chew them up. Spit them into his face. Being naive. Wanting to get your foot in the door with a growing company. Taking this job you thought you could handle the pressure. The stress. Make a good impression. Build a resume. Not a criminal record.

Down the hallway to my left, at the end, two maintenance men are working on the fifth floor elevator of Liberty Chemicals. One of them says this shit happens all of the time. Turning their heads, they look at us. Turnage thumps his index finger into my sternum. Into the bone. Hard. Tells me to keep my voice down. Pulls his finger from your chest to his oversized pink earthworm lips. Pushing index finger to thumb miming a zipper as if it were closing. Zipping shut. Gritting your teeth you wonder how his thick lips would taste between your teeth.

This balding prick with gingivitis, towering over you with his gut pocking out of an expensive suit. He’s a slap in the face. A bucket of ice water dumped on you in the shower. A surprise. More conditioning. Wanting to remove your special pen from the inside pocket of your blazer, the one made for poking, to jab the needle end into one of his oversized anal-crack-brown eyes. Make him bleed. Drag him down the opposite end of the building. To the right. Kicking and screaming. To the Fifth floor window overlooking traffic. Shatter his irresponsible power pushing ass down onto the corner sidewalk of Second and Market. Offer his body a little conditioning. That’s one scenario you’d find pleasure in.

Two months out of college with honors. The top of your class. With a degree in accounting your one-night-stand that became a live-in girlfriend tells you about a job. She manages a job placement firm. Says an immediate opening for an accountant became available. Available with a small but growing chemical company. Producing chemicals for paint, textiles, plastics and even oil. One phone call leads to an interview leads to a job. A job with a private office in a six story glass palace and a six figure income. With
a thirty minute commute from a small town outside of the 16th largest city in the US. What you were told, the numbers are jumbled. But manageable. Fixable. His meaning of this word differs from your meaning.

The last accountant, the guy you replaced, he did a tight job until his unexpected departure. During his last month of employment he logged numbers as payments. Cash. Money from unknown names. Blank spots. You question them. And Turnage tells me the numbers are payments from investors. That from time to time he helps out friends. Says, “Part of your job is to fix these numbers. Maybe I didn’t make that clear before. I am now.” He says, “You make these numbers appear legal. Make them add up. Make this
company look profitable just like the last guy.”

This is worse than being drunk at a frat party. Passing out with your girlfriend in the upstairs bedroom.

Then waking up to the best blow job ever. And just when you’re ready make a donation. Opening your eyes. Its not your girlfriend or an unidentified female. Its some guy named Brett. Something’s are misleading and you tell Turnage the contract you signed. Negotiated. It never mentioned anything about embezzlement. He tells me new contract negotiation with two options. Option one you make the numbers appear legal without question. Or option two you end up someplace tight and untraceable.

Quitting isn’t an option. But then you weren’t raised to be a quitter. You were raised to suffer for your beliefs. But a threat, that’s personal.

At the end of the hall, one of the maintenance men sticks his arm palms down through the elevator doors. The doors close around his arm. Shaking his head he can’t pull it out. It’s stuck. Just like me. The center door. The safety door. It’s not working. It’s not doing it’s job. And one of the maintenance men asks the other one if he remembers the lawyer from Louisiana whose head got stuck between the doors. Got decapitated. Acknowledging him the other maintenance man tells him yeah, accidents happen. This’ll take weeks to fix.

Turnage, your boss, the terd in the punch bowl, the owner of this company, lets out his high pitched dolphin bark and yelps, “Are you paying attention?” Turning your attention back to him, withdrawals are tightening your insides and you tell Flipper, “I brought it to your attention didn‘t I? ”

Turnage explains how the last guy, the accountant you replaced, he made a big mistake. Got a little greedy. Wasn’t doing his job anymore. Just like the elevator. So I gave him two options. He chose option number two. So I packed him up for a fishing trip. Smirking with big ceramic teeth, he says, “The other accountant thought he could walk away like nothing ever happened. He never got unpacked. He‘s an episode on Unsolved Mysteries.” He says, “Once you’re in you’re in. I decide when you’re out.” Jabbing his
finger back into my chest he says, “Your job is to take care of the numbers on our end. The bank will do the rest.”

To be threatened. Degraded by manicured hands is like learning Spanish to understand immigration. My job is embezzling money for the hearing impaired and you tell him, “I’m not into fishing.”

Down the hall a door opens. Turnages business partner Deacon comes out of his office flipping through a magazine. The door closing behind him, approaching us he’s a temperamental suit. With steel wool hair and a shylock nose pressing into his upper lip he appears hair lip. But he’s not. Glancing up from his magazine he makes eye contact with me and says, “Am I interrupting anything?”

Rumor is Deacon enjoys contact sports. Big crowds. Packed elevator rides. Concerts. He has a paraphilia. He’s a frotteur. Derives sexual gratification from rubbing up against other people. Strangers. Co-workers. He’s the guy who gets off on playing a full court basketball game at the local YMCA. Gets worked up. Aroused. Then joins everyone in the sauna afterwards so he can crack his carrot in front of them. He’s not shy. Keeping your distance, glancing at Deacon you say, “No, we’re finished.”

He’s one guy you don’t get stuck with in tight proximity. No crowded spaces. No close quarter contact.

Nodding at me Turnage says, “I want those numbers Monday morning.”

Exhaling, you choose option number one and tell him, “I’ll put them on your desk first thing.”

“No.” He says, “Nobody goes into my office. My personal space. We can review it over lunch.”

Lunch for Turnage is a buffet of Porterhouse Steaks and eye candy at a local shoe show. Cause the only thing the women wear during his lunch outings are shoes. Another term would be a strip club. You saw the shoes at your interview. When you were hired.

Your first impression upon meeting someone new is they’re an asshole. A prick. A leach. You’re their host. It’s a metaphor. Helps to not let life become a major let down if you’re wrong. But with your new master rubbing his new puppy’s nose in his mess, it only reinforces my belief. My metaphor.

Turnage pushes Deacon’s magazine up with his hand and barks, “You sick bastard where in the hell did you get that?”

Rumor is Deacon’s a tight wad. So tight you couldn’t get a toothpick up his ass and he
says, “I’m getting this shit in the mail every week, plus someone keeps dumping it into my PC files.”

The cover of the magazine has a couple of naked boys blowing kisses below bold letters that say ‘12 & UNDER.’ My palms are getting damp with disgust. With anxiety. Repulsed. You need a fix. To review your options. Turning away. Heading to the co-ed bathroom. To stall number two. Turnage grabs my arm and barks, “Have a good lunch. Don’t do anything hasty. I’ve got eyes and ears, know where you live, shit and hibernate.”

Then he winks at me and the two twisted fuckers bust up laughing.

Your boss barking threats at you like Flipper barking to an audience at Sea World. A couple of suits throwing around their power. Threatening you to commit a crime. To cover it up. Make it appear legal. Bullying someone else into taking responsibility for their wrongs. Their responsibilities becoming your responsibilities. With your heart pumping in your throat. In your skull. Walking down the hall toward the bathroom, for every cause their is an effect. They’re pushing you to question your morals. Right and wrong. They’re opening old wounds. Throwing around that dummy gene. To do this you can’t have a conscience.

In the bathroom with the commode lid of stall number two down. The door locked. It’s my table and chair. Putting left ankle to right knee, the rage is a rush of quivers and shakes. Being threatened by Flipper and his over affectionate business partner. Mr. Touchy Feely. Enforcing their deviant business plan upon you. Sweat drips into your eyes. Burning the pupils. Clenching them tight. Opening them wide. Blinking.

You slide the sock of your left leg down. Pant leg up.

First week of employment. Getting your foot in the door. You don’t need this shit.

Pulling your special pen from the inside pocket of your blazer, this is what you need. Your fix. Conditioning. The pain inflicted by a mother during adolescents. Preparation. Statistics say you begin when you’re 14. A piece of middle-school eye candy. That combustible age of sticky bed sheets. Cracking your carrot in the shower. Male hormones. Starting in college would make me a late bloomer.

Pushing the spring loaded Parker-Push-Button-Pen, revealing a three eights surgical steel needle, grazing the flesh of your left calf, you’re a surveyor. An entrepreneur of tissue.

Ink pens are masochistic tools disguised as instruments of script.

Doctors and therapists refer to this as ‘Cutting.’ A behavior. You refer to it as ‘Coping.’ A family heirloom. How you were taught to deal with suffering for your beliefs.

Plotting for my point of entry. The needle goose bumping the scar tissue. Taking it in. Scratching the surface, your lip twitching, until you find your spot. Imagining Turnages anal-brown-eye, breathing in, denting the tissue of your left calf, you’re ready for renewal. A release.

Then a voice to your right says, “Who there?” A young Slavic accent. A female. Coming from the stall next to you.

Dammit, you can’t even mutilate yourself in private.

Being a prick you say, “Me.”

She says, “Who me?”

Porky The Pig pronounces English better than this and you say, “Trent.” Not caring who this tripping hazard to the English language is. Pressing the needle to your calf. This is what an alcoholic refers to as his ’Beer’ or his ‘Wine.’ My lunch break being interrupted. People have withdrawals from this shit.

She says, “You new book keeper, right?”

“No.” You say, “I’m the new accountant on your left.”

Sweat drips from my forehead onto my left calf. My body trembling inside. You’re an open blister saturated by gasoline. Boiling out.

With her tripping hazard speech she says, “Other man you replace, he go on trip. No come back.”

Cutting is a private venture. Something experienced alone. An artist with his canvas. Van Gogh and his ear. Pain equals creativity. Not a public Think Tank where everyone invites questions and receives answers. You’re not unveiling your privacy.

Wondering about the guy you replaced you ask, “How did you know about that? The other man?”

Half laughing she says, “Every person know bout that.”

Great, a company that also embezzles its employees private ventures. Tragedies. Or assassinations. So much for privacy.

Scratching your skin with the needle, waiting for this sloppy accent to tinkle, flush and leave. She doesn’t. Instead there’s the noise of fabric moving. Then glancing down, from under the stall you see dark strands of hair. She’s bending forward. Trying to look under the stall. And you say, “Whatever you’re doing, stop. In the US we admire our privacy.” You say, “What you’re doing is referred to as voyeurism.”

Maybe she’s from Amsterdam where everything is acceptable.

Seeing the bottom portion of her face, just her chin, she says, “What you doing over there?”

She’s a curious child. A peeping tom. A noisy neighbor. Maybe this is how they use the toilet in her country. Bending forward. Warming the bowels. Engaging in small talk with strangers until they can download waste.

You say, “Trying to relieve myself. In private.”

Her hair is almost touching the tile floor and this tripping hazard says, “In toilet?”

Gripping the pen with the needle sticking out, you look at it then your foot. Then what you think is her face. You want to stomp it or stab it. You don’t know which and you say, “Where else would I relieve myself?”

She says, “Only I ask.”

This conversation has no purpose and you say, “Are you warming your bowels or have you already went?”

Maybe she’s irregular or just air drying.

Hearing water hit the bathroom floor, looking down, its not water. Coloring the white grout between the gray tiles is a river of yellow.

She yells, “Chit!”

Raising your foot you say, “What the fuck. Hey, either cut back on the coffee or buy a Depend.”

The valley of foreign urine is dark and putrid. Stagnated fish smell better than this foreign piss.

Her voice is crackling and she says, “Oh, I forget to lower lid.”

Closing my eyes. Pinching myself. It doesn’t help. You tell her, “No, you forgot to raise the lid.”

Her feet splash into the urine. Then her stall door unlocks. Opens. She didn’t even wipe. Or air dry. She’s not irregular, just an inexperienced pisser.

Her footsteps click across the marble tile. You put your right foot on the stall door. Bracing yourself. Sink water is running. She’s washing her mitts. Good camouflage. With left ankle still to right knee. The pant leg still up. Reaching behind you flush. More camouflage. Thinking of the ledger you dig into the flesh. A quick jab. Not too deep. Grazing my lips with my tongue. Wanting to recycle my torment. Turnage and his manicured finger poking into my chest. His Flipper voice. That Free Willy Mother Fucker. Finger nails on a chalkboard. Making another dig. Another jab. Same as the first. Licking my lips. Then the exchange. An Endorphin rush. A rollercoaster ride of molecules to an Atom. A fresh wound. A tiny explosion. Letting out the old blood. Its a breath of fresh air. Then the healing begins. The body produces new blood. The sink water is off. Hearing the loud echo of a vacuum, she’s drying her mitts with the
automatic hand dryer and she yells, “What you doing?”

Noisy ass neighbor. She must be an exchange student writing a research paper on American Bathroom culture. With sarcasm you say, “It’s called a courtesy flush.” And you flush again.

Blood exits the fresh wound. Forming bubbles. Flowing with the palpitation of my heart. Dabbing the bubbles with the needle. The bubbles explode. Saturating the needle. Rubbing the needle to my lips. Tasting with my tongue. This is my ink. The process of healing. Recycling the afflicted energy. The torment. Satisfying a hunger. Dealing with life. Like an unaccountable bully dragging me into church for confession.

Unrolling the toilet paper you create a wad. Blotting the rest of the blood. The torment. Standing up. The piss splashes. Raising the lid. Not making a sound. You drop the bloody wad of toilet paper into the toilet and flush. Turning around, unlocking the stall door, splashing more foreign piss, smiling on the other side of the bathroom, it’s your urinating tripping hazard neighbor.

With broken English she says, “So you new bookkeeper. Maybe we have drink sometime?”

Giving her the once over. She’s tall. Built like a model. Perky tits. Smooth legs. Her face? You’ll call her old but-her-face. A dimpled complexion of sunken cheeks. An arrow nose. With straight chest length hair. Green eyes. Beer nut skin. A shiny silicone smile. Other than the mispronunciation of English, everything looks good but her face.

You’re pushing the soap dispenser and she doesn’t even know you and you say, “Sorry, I’ve got a live in girlfriend already. In the US we‘re only allowed one per household.”

Staring me up and down, molesting me with her eyes, she says, “That ok. I done mine.”
Feeling violated, you’ve had enough of the Pebbles and Bam Bam mispronounced monologue and say, “You’re an attractive person but I’m not interested.”

Washing your hands, lathering up. This is worse than being bullied. Having a finger digging into your chest. You’re a teen dealing with peer pressure. His first sexual experience. Reading the how-to directions on the back of a condom package. Flinging the water from my hands. Pushing the dryer button with an elbow. The hot air hitting my hands old but-her-face raises her voice. Gets personal and asks, “So what Mrs. Live-in Girlfriend name?”

She’s a noisy immigrant without a proper introduction and you say, “Who the hell are you?”

Smiling she says, “Helga, I-” Cutting her off you say, “Turnage’s secretary.”

Opening her mouth, wrinkling her eyeliner brows down she says, “How you know?”

Leaving the bathroom you say, “He mentioned your name during lunch.”

The elevator is Out Of Order. Taking five flights of stairs you’re outside in the company parking lot, walking toward your car for lunch. Trying to put space between yourself and Mr. Flipper’s English tripping hazard female, whose doubling as his secretary. On your ass she yells, “Hey, you no answer my question.”

Turning around to confront this irritation. Her hair is air born to the backdrop of a six story smoke glass building. She resembles an expensive harlot. A high dollar escort but she’s not. She’s Turnage’s secretary and with a short term memory followed by short term patience you say, “What question?”

She says, “You live-in, what her name?”

Pulling your keys from your pocket. Pushing a button on your key ring. Your BMW, a gift from your father, it chirps. The doors click. Unlock. Opening your car door is similar to pulling up your pant leg in the bathroom stall, privacy isn’t an option in this company unless you’re being threatened to fix numbers. You have more important issues to figure Rolling the window down. Glancing at old-but-her-face you say, “Her name is Zadie.”

- END EXCERPT -

When I assess the opening of a novel, in my opinion, the most important considerations are:
• Does it hook me?
• Am I engaged by the main character and want to know more?
• Does information unfold in a logical way?
• Do I want to keep reading (or am I bored, unengaged, confused or lost)?
• Is there something fresh about the material, adhering to general guidelines of genre, but pushing the envelope in some way?

If the answer to all these questions is yes, chances are an agent will request the entire manuscript for consideration, even if the sample pages got dropped unsolicited through the window via carrier pigeon, handwritten on a roll of toilet paper.

Frank’s manuscript gets yes answers from me to all five questions. Does it break the rules? Yup, but in a good way. And I’m not the only one who thinks so. Anthony Neil Smith, Editor of Plots with Guns appreciates Frank Bill’s style, and he’s a professor of writing at a university. The secondperson narrative, starting sentences with “You”  is a bit unorthodox, but Jay MacInerny’s first novel was written that way too, and it never hurt him. So why then did FIFTY agents turn up their noses?

The answer lies in the query letter. Ah-HA.

(Now that I’ve said nice things about Frank and compared him to Ornette Coleman, I’m going to poke a little fun, with his permission…)

FRANK BILL – CURRENT TITLE HOLDER, WORLD’S WORST QUERY LETTER

Frank won’t hold the title for very much longer, but here is the query letter that sent fifty agents and publishers running for cover.

Dear Name of Agent:

Threatened by a power pushing boss and a business partner who enjoys contact sports, Trent Vile, a new accountant with an addiction to pain, has two options, embezzle money for Liberty Chemical or end up like the last accountant; an episode on Unsolved Mysteries.

Trent wants to build a resume not a criminal record. But the live-in girlfriend who helped him get the job believes embezzlement is a stepping stone. Choosing embezzlement over death introduces Trent to a black market prostitution ring ran by his boss Turnage and business partner Deacon. Whose value for human life is witnessed by Trent when he listens to their mock, beat and murder of a prostitute. Which pushes Trent into a sociopathic state of how to make them accountable for their crimes. Until an accident feeds his addiction to pain and reveals a resolution. A premeditated scheme. Where downloading pornography onto Deacon’s computer. Phoning the Electronic Crime Division to report a slave trade involving minors. And getting caught in Turnage’s office stealing incriminating documents, leads to a chase down into the company parking lot. Where a parade of bullets from a double-crossing live-in girlfriend and the Electronic Crime Division leaves everyone accountable for their criminal beliefs.

Acting Out (58,000 words) is a dark humored crime novel where white collar crime ties into black market crime. Where two men’s addiction to flesh offer a new slant on the human condition. One man abuses his flesh to deal with life. The other abuses flesh for profit. Having researched the black market slave trade overseas. Case studies on self-mutilation. And big business embezzlement I found people overlooking their morals for personal gain. For freedom. And to deal with everyday life. I found common men and women without boundaries. People who suffered for their beliefs regardless of the outcome. With the readership of hardboiled crime novels growing, I hope you’ll find that my story offers a new slant into this genre as well as an entertaining one.

Enclosed for your consideration are the first three chapters and a SASE for your reply. This is my first novel.

Thanks for your consideration,

Frankie Bill

- END QUERY LETTER -

I’d put money down that not one agent even looked at the sample pages. I’d lay additional money down that they didn’t get past the letter’s first paragraph. Based on response to a query letter that represented him badly, Frank came to the conclusion that his writing had been rejected—that he had to pull back and change. As an editor, I could weep.

Okay, where did he go wrong? First, the letter’s opening makes Acting Out sound like it’s based on a produced episode of a TV show, Unsolved Mysteries. Right away, the agent’s mind goes to the headaches involved with copyright law. The rights belong to the producers of the show, and chances are pretty slim they’ll allow a new novelist to piggyback on their success. They’ll want big money to loan the name and likeness of the characters etc. etc. It doesn’t matter that the novel hasn’t got anything to do with Unsolved Mysteries and merely references the dang show in passing. Frank has unwittingly stepped in deep doo-doo by making it sound like Acting Out is based on UM, when he really means to compare it.

Yikes. Already, half the agents have thrown this letter away. The other half are scrambling through the attached pages for a sign of hope that this writer might actually be good; he’s just bombed the query. (Lots of writers fit this category.) Did he send a resume? Mention any writing credits in the rest of the letter? Is he published anywhere, for goodness sake? Nope, not a not a word about Frank, who he is, or if he’s written a word other than Acting Out.

Returning to the letter, the agent frantically scans for something they can catch hold of from a business angle. Problem is, Frank wrote the letter as if he were talking to a fellow writer, or an editor. He cut his query up into the same staccato style as his novel. The letter reader isn’t into the rhythm of the novel yet, they’re reading a business letter. It’s grammatically incorrect. One sentence even starts with “Whose.” Is it becoming clear how they might jump to the wrong conclusion?

You see, most agents don’t care about the story. They care about the marketability of the story. You must speak their language, show that you understand what an agent’s job is by providing some selling tools. Part of marketability is your track record as a writer—has anybody else out there published you? E-zines anybody? That’s a good start. It’s a sign that the writer is building a body of work.

Frank was onto something waaaaay down at the end, when he mentioned, “With the readership of hardboiled crime novels growing…” but it was too late at that juncture, because the agent crowd had stopped reading already.

Frank hasn’t done anything that hundreds of other query writers do every day. There is very little information on persuasive query letter writing out there, and nothing that shows the writer how to “think like an agent.” That’s the trick, ladies and gentlemen. When you’re writing a query, you’ve got to put yourself in the shoes of that hardworking seller of stories, the agent. You’ve got to grab him by his tie, pull him into that letter and keep him glued there until he’s salivating to see the manuscript. You don’t get that reaction by talking to him like he’s a writer. Nope.

I’ll stop editorializing here, but more will be revealed. In the next few days I’ll post the transcript of my conversation with Frank, plus the query letter that could have been sent out, to perk those agents up and get them scrambling to request the whole manuscript.

Hopefully, this exercise was helpful, and everybody got a few chuckles. I know I wore the crown for Worst Query Letter in the World at one point in my career. How about you?
Not to worry, help is on the way.
EA

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