Saturday, April 20, 2013

A warrior has fallen.



Hi folks,

A warrior has fallen. Cort McMeel has left us.

Cort was my spiritual brother. We talked often and each time left telling the other we were brothers always before we hung up and we were.

I can’t stop crying. If Cort could only see the instant and immense outpouring of love and respect for him that has already begun and is turning into an avalanche of sorrow for our loss of this truly great man… Already, I’ve received dozens and dozens of emails and phone calls and everyone feels the same sense of immense loss of this most amazing man.

If Cort saw me now, with tears running down my cheeks, he’d grimace and tell me to “man up, dude.” He’d reach over and slap me and then he’d grin and we’d be fine. Above all else, Cort was a man’s man. The kind you don’t often run into these days. He took life by the horns and never gave any quarter. He was a fighter and literally. He was a boxer in the ring and a pugilist against the injustices of life. A true and fierce warrior.

He lies now on his shield, gone to, I hope, a better place. The light of the word has been visibly dimmed. We have lost one of the greats. Cort’s vision--his burning ambition--was to be this age’s John Martin. He had a great start on that ambition and if he’d stayed with us, he would have not only become the Martin of this age, but I know for a surety that he would have passed even this legendary editor in his accomplishments.

He was a brilliant writer. His first novel, Short, was a true original, a literary work of the first magnitude. He was close to finishing his second, Cagefighter, and I hope he had it close enough to being finished that it can be published. He founded one of the premier magazines in literary history, Murdaland, and he often told me he felt it to be his favorite body of work and probably his best legacy. He founded Noir Nation and Bare Knuckles Press and everything he did in literature was just of the very finest order. A brilliant writer and perhaps even a more brilliant editor. He had the best eye for literary quality of anyone I’ve ever been privileged to know, and Cort would rather help another writer achieve success than he himself. He was totally selfless and all he ever wanted was to help deliver to the world great writing.

Perhaps no one will ever know the demons that pursued Cort. I know a few of them, but I’m sure I don’t know them all. I do think I know one thing Cort would have wanted. For those who speak of him to speak with the unvarnished truth. He was as honest a man as I’ve ever known. He was as good of a man as I’ve ever known.

One of Cort's demons was that he cared so much. About truth. About literature. About the world around him. More and more, he felt that he couldn’t win. How do I know this? Because we talked and often. We told each other things we told no one else except our wives.

I talked to a cousin of his today, George Clark, who was his first cousin but told me he was more like Cort’s brother. They were closer than brothers. We feel the same about Cort. The more I talk to people, the more I find the same thing with their relationships with him. He touched so many lives in such a glorious way. I’m just so thankful I got to know and love him.

I think what defeated him was that he increasingly found himself in a a world in which it had become clear to him that he felt he wasn’t going to win under his terms. He loved literature more than anything and he detested with every fiber of his being what political correctness was doing to our freedom of speech and our literary canon. He just wasn’t the kind of guy who could live with compromise when it came to something this important.

A week and a half ago, Cort called me and he was clearly not himself. Les, he said, I’ve got a huge, huge favor to ask of you and if you refuse, I totally understand. What was going on was he felt pretty sure he was going to lose his job as a trader. He was handling that and had made up his mind that he was going after a job teaching writing, which he loved. His wife Sharon was fine with that, even though it meant less income than what they’d had.

The problem was, as Cort explained, was that he’d already lost three teaching jobs he’d applied to because the schools had seen the Amazon link for my book, The Rapist, which listed him as writing the foreword. It was the title that caused these assholes to refuse to hire him. None of them had read the book, but the title was offensive to them. Their reasoning, he said, was that if any of the students saw it, they’d think he was promoting rape. This is the level our “educators” have fallen to. He detested it, but felt powerless against these kinds of attitudes.

He asked if I’d be willing to take his name off the Amazon entry. There was no way he’d even consider removing the beautiful foreword he’d written, but he said if he could just take his name off he felt that would remove any future objections and he could secure a teaching job. I won’t go into everything he said, but the gist of it was that he felt awful in even asking me such a thing. We both believe fervently in freedom of speech and both of us detested the political correctness imbecilic mania that’s impacting everything about free speech negatively, but he said he desperately needed a job. He hated asking me to do this, but said he’d never even consider removing the foreword itself—just his name on the Amazon blurb.

I didn’t hesitate a second. Absolutely, I told him. The minute we got off the phone, I emailed Jon Bassoff, my publisher and mutual friend and he took Cort’s name down from the Amazon entry immediately.

Cort is the reason this book even got published. In fact, he’d wanted to publish it when he was with Bare Knuckles Press and when he left BKP, he did everything he could to get it published elsewhere and was ecstatic when Jon Bassoff wanted it for NPP because of the tremendous respect he had for Jon and NPP. He told me he felt like he was doing the same thing as John Martin had when he got Charles Bukowski published in the U.S. with Black Sparrow Press. In fact, in dozens and dozens of our conversations, Cort always compared the two of us to Bukowski and Martin. He was extremely proud of his part in getting this book published. He just felt that he was doing a great thing in getting controversial work into the light of day. I agree and I owe Cort everything. I’m not telling this story for any promotional value in the least, but simply to illustrate how the man thought and his creed.

I don’t know nor do I have any way of knowing this, but I feel as if I’m at least partially responsible for Cort choosing suicide. I don’t know if his job search was thwarted because of his association with my book or not. If it was, then I have some guilt to deal with.

But, I think the educators who would deny a supremely talented teacher and writer a job for this most specious of reasons should carry much greater guilt. Not that they will. Those kinds of folks never do.

A few weeks ago, Cort and I had a conversation on the phone about this letter we were both familiar with. It’s from Charles Bukowski to his editor at Black Sparrow, John Martin. I’m reprinting it here in homage to Cort.

8-12-86
Hello John:

Thanks for the good letter. I don't think it hurts, sometimes, to remember where you came from. You know the places where I came from. Even the people who try to write about that or make films about it, they don't get it right. They call it "9 to 5." It's never 9 to 5, there's no free lunch break at those places, in fact, at many of them in order to keep your job you don't take lunch. Then there's OVERTIME and the books never seem to get the overtime right and if you complain about that, there's another sucker to take your place.

You know my old saying, "Slavery was never abolished, it was only extended to include all the colors."

And what hurts is the steadily diminishing humanity of those fighting to hold jobs they don't want but fear the alternative worse. People simply empty out. They are bodies with fearful and obedient minds. The color leaves the eye. The voice becomes ugly. And the body. The hair. The fingernails. The shoes. Everything does.

As a young man I could not believe that people could give their lives over to those conditions. As an old man, I still can't believe it. What do they do it for? Sex? TV? An automobile on monthly payments? Or children? Children who are just going to do the same things that they did?

Early on, when I was quite young and going from job to job I was foolish enough to sometimes speak to my fellow workers: "Hey, the boss can come in here at any moment and lay all of us off, just like that, don't you realize that?"

They would just look at me. I was posing something that they didn't want to enter their minds.
Now in industry, there are vast layoffs (steel mills dead, technical changes in other factors of the work place). They are layed off by the hundreds of thousands and their faces are stunned:
"I put in 35 years . . . "

"It ain't right . . . "

"I don't know what to do . . . "

They never pay the slaves enough so they can get free, just enough so they can stay alive and come back to work. I could see all this. Why couldn't they? I figured the park bench was just as good or being a barfly was just as good. Why not get there first before they put me there? Why wait?

I just wrote in disgust against it all, it was a relief to get the shit out of my system. And now that I'm here, a so-called professional writer, after giving the first 50 years away, I've found out that there are other disgusts beyond the system. . .

I remember once, working as a packer in this lighting fixture company, one of the packers suddenly said: "I'll never be free!"

One of the bosses was walking by (his name was Morrie) and he let out this delicious cackle of a laugh, enjoying the fact that this fellow was trapped for life.

So, the luck I finally had in getting out of those places, no matter how long it took, has given me a kind of joy, the jolly joy of the miracle. I now write from an old mind and an old body, long beyond the time when most men would ever think of continuing such a thing, but since I started so late I owe it to myself to continue, and when the words begin to falter and I must be helped up stairways and I can no longer tell a bluebird from a paperclip, I still feel that something in me is going to remember (no matter how far I'm gone) how I've come through the murder and the mess and the moil, to at least a generous way to die.

To not to have entirely wasted one's life seems to be a worthy accomplishment, if only for myself.

yr boy,

Hank

I don’t know, but I have to wonder if what Bukowski had to say here was on Cort’s mind somewhat. If so, I just wish he’d stuck it out a bit more. I know he often felt the same way Bukowski did about how life beats one down. He’d had more than his share of body slams. But, Cort was always a man of action and I think he just took the wrong action at the wrong time and only wish he’d waited a bit. I wish I’d been there to perhaps talk him off that ledge. It was that wild Irish temper of his that made him impatient. If something wasn't right, he couldn't wait to fix it. He did the only thing he knew to do and that was to give battle. He was the most courageous man I've ever known and he was also at times the rashest. He'd just say it was the Irish in him. The Irish! God, ya gotta love 'em. You'll also end up weeping for 'em.

But, I wasn’t here for him, and it was a decision he faced and made. He must have felt like all hope was gone and that makes me weep more than anything. That a good man like Cort truly was would be bereft of all hope is the saddest thing I can imagine.

I can’t begin to list all the things Cort did for me. He championed my work to everyone he possibly could. He knew I was broke, so he paid for my wife and me to come to St. Louis to take part in Jed Ayres Noir @ The Bar. This fall, he was going to bring me to Denver to take part in the Noir @ The Bar there. He’s done so much for me and my career and more than that we’d become brothers. And, then, when he really needed a brother, I wasn’t there for him. That will haunt me the rest of my life. Cort wouldn’t see it that way at all and I know that and that makes it bearable.

There’s a lesson here, perhaps. To be aware of our brothers and sisters in life. To be sensitive to their needs and their pain and even if they don’t ask, don’t allow the signs to become invisible, but to reach out and let them know we love them and that we’re there for them.

I’ll miss you, my friend. More than anything. You have been my hero since you came into my life and will always be my hero. Thank you.

Finally, Cort fits Bukowski’s final thought above perfectly. To not to have entirely wasted one's life seems to be a worthy accomplishment, if only for myself. Cort’s was not a wasted life—it just should have gone on longer. Even cut far, far too short, it was a worthy accomplishment. He just did so very much for others. The shame is, he should have done far more for himself.

Rest in peace, my brother. You made a difference in my life and in the lives of many others. You will not be forgotten. Everyone of of who are writers has lost a compadre and we all are less than what we were because of it.

Blue skies,
Les

What should help Cort’s family is if people buy his novel Short. They’ll be able to receive the royalties so give it some consideration, please.




 For those of you who may not have known Cort, look above at the photo I have on my blog here. Cort is the guy just behind me with the tough guy hat. He was truly a tough guy. One of the fiercest men I've ever  known. He fought for justice and what's right and what is good. I miss him and always will. He was a majestic, heroic man, bigger than life.




Death of my brother

Hi folks,

I just received word that one of my two best friends in the world has taken his own life. I won't post anything about this wonderful man and my "brother" until I find out all the facts, but the world has lost a great, great writer, my mentor and my champion in all things literary. He was one of the world's best literary minds that has ever existed.

I'm devastated to my core. All I can feel at this time is profound grief. As soon as I find out the entire situation, I'll post more. It may be that his family will need some financial help and if so I may make an appeal to his fellow writers and the readers who loved this man and his work.

At this time, I won't tell his name until I know that it's all right to do so.

Les


Thursday, April 18, 2013

Pulp Pusher: PUSHED FOR ANSWERS: Les Edgerton

Pulp Pusher: PUSHED FOR ANSWERS: Les Edgerton: AS HE turns 70 Les Edgerton must be fearing the 'veteran author' tag, but going on the reviews of his latest novel, The Rapist, he might be getting closer to the term 'immortal'.

Wednesday, April 17, 2013

SHORT STORY REVIEW BY BRIAN PANOWICH


Wednesday, April 17, 2013

Five You Can't Miss: Brian Panowich

Considering I’m such a noob to the online crime fiction community, I still find myself lurking around the dark corners of the Internet trying to find the best stories out there. This column (Five You Can't Miss) has been invaluable for turning me on to some of the best writing I’ve ever seen, so I invited myself over to maybe return the favor.

1. Hatpin By Jen Conley
Ms. Conley has consistently turned out some of the best fiction on the planet, and this one over at Shotgun Honey is where my love affair with her stuff began. It’s full of hard as nails female characterization and a lesson in making every word count. Mary Mulligan is my dream girl.

http://www.shotgunhoney.net/2012/05/hatpin-by-jen-conley.html

2. Seeds By Chris Leek
Chris can throw dialogue into any situation, or timeframe, like it’s nobody’s business. From the world of a hardened black jack dealer in Pigeon, over at Grift Magazine, to trailer trash jargon like A Redheaded Woman, at The Flash Fiction Offensive, but nothing compares to the old western revenge tale Seeds, at The Big Adios. You would think Mr. Leek grew up on a mountain learning how to talk by listening to his uncles and cousins while they brewed up another batch ‘o shine. As good or better than any script Sergio Leone worked from.

http://www.thebigadios.com/2013/02/seeds-by-chris-leek.html

3. Pit Stop By Les Edgerton
I bought the first issue of Noir Nation Magazine on a whim, not knowing who Les Edgerton was. It included his story Pit Stop and I read it in a fever. It was full of matter-of-fact straight talk that bowled me over. Not once did it feel like “writing”. That shit is what I had been looking for. Lucky for me (and you) the story was an excerpt from the BEST BOOK I’ve read in years called JUST LIKE THAT. Buy it. Read it. Break something. You’re welcome.

http://www.amazon.com/Noir-Nation-International-Journal-ebook/dp/B005JTMIPW/ref=la_B000APH7SI_1_15?s=books&ie=UTF8&qid=1361726865&sr=1-15

4. Folded Blue By John Rector
I know this story was written in 2011, but it’s new to me, so I’m breaking the rules a bit. Sometimes a story taps into something so raw and primal that the reader has no choice but to carry it around with them forever. There’s no un-ringing the bell. It’s yours now, whether you want it or not. That’s Folded Blue by John Rector over at Shotgun Honey. It’s the literary equivalent to a layer of greasy film you can’t scrub off. It’s brilliant.

http://www.shotgunhoney.net/2011/05/folded-blue-by-john-rector.html

5. Push, Push, Push By Ryan Sayles
I’m going to catch a little grief for including Ryan on this list, considering he’s a good friend of mine, and we’ve written a few books together (SEE HERE), but you know what? Fuck ‘em. The guy can write. I’m going to bend the rules a little further by recommending a story no one has read yet except the editors who keep rejecting it. (Yes, it’s that good.) In 2011, Sayles and I both submitted some stories to an anthology that was kicking off, and we both got rejected. I asked him to send it to me, and I can see why it keeps getting turned down.

Because it’s fucking brilliant.

Sometimes the world needs time to catch up to genius, or maybe they’re just scared. The story is one huge chunk of dread that sits on your chest and squeezes the life out of you. You know what’s coming. You know you can’t stop it. And as horrific as the ending is, it had to be that way. It makes sense. The world is a fucked up place. Anyway, all you editors looking for the next greatest thing, go read Push, Push, Push by Ryan Sayles and publish it, so the rest of the world can be in the know. You can reach him at his personal email address ryan.sayles@gmail.com or his private cell phone number 510-379-8640. Again, you’re welcome.
 

  
Blue skies,
Les

Thursday, April 11, 2013

FINAL TWO PARTS OF DIALOG POSTS ON KRISTEN LAMB'S BLOG

Hi folks,

Below are the last two parts of the guest blogpost I did at the invitation of Kristen Lamb on her Warrior Writer blog.

Hope they prove of some help in your own writing!


From Kristen's blog...

Posted by Author Kristen Lamb in Writing Tips on April 8, 2013

Hey, Guys. You wanted to learn how to write AMAZING, PAGE-TURNING DIALOGUE, so I kidnapped  recruited the best. Les Edgerton has been so generous with his time and talent, and we are SUPER grateful. I promise to release Les back into the wild…eventually.

Take it away, Les!

Thanks for having me back on, Kristen! There were several things I neglected to talk about on dialogue in the first two posts, so I wanted to include them here. There are many other elements of good dialogue than posted here, but these are kind of important.

Now, here are the couple of things I neglected to cover in the first two posts.

Format with Tags

One is the format of dialogue with tags. I suspect that this one will draw as many responses from folks who don’t buy it as there were who resisted using “said” as dialogue tag verbs. It’s your choice—I’m just relaying the mindset of many editors.

It’s very simple. The accepted format for dialogue tags these days is “He/she/name said.” Almost always. What is considered archaic and musty is this construction: “Said he/she/name.”

About the only folks still using this latter format are some older journalists, some writers from other cultures (Canada comes to mind), brand names, and writers who haven’t kept up with current usages. Which leads me to make a big point—brand names—those authors with significant followings—can make every mistake in the book and get away with it. They’re beyond such limitations, simply because their readerships are such that publishers will accept just about anything they publish.
Stephen King could probably publish his grocery list and it would hit the bestseller lists… Although, King is such a terrific writer, he wouldn’t (and doesn’t) break very many of these rules and conventions. This is just to make you aware that many times brand name authors aren’t always the folks to go to for writing models. Simply because they can get away with things that unknown writers can’t.

The reality is, King can do things we can’t. Same goes for any brand name author. That doesn’t mean their work is valueless for instruction—it has immense value. There’s a reason they’re popular and it’s almost always the writing. But, always look at it with a grain of salt and become thoroughly familiar with the direction fiction is taking because there are popular authors who haven’t kept up and whose books, if modeled for your own efforts, may work against you.

Whenever I have a student point out an example in a published book that goes contrary to the advice I’ve given them, my first question is: “Is this from a brand-name author?” If it is, then I ask them to consider the source. And to gently let them know that while it may not be fair, it’s the reality that we (unknowns) have to be better in many ways that established writers with significant followings don’t have to be.

If anyone’s parents told them the world was fair, they did them a disservice…

Conflict

The second thing I neglected to touch on is conflict. We all know that there has to be conflict on every single page of a novel for it to work, and this is especially true in dialogue. That’s why Q&A dialogue doesn’t work. There’s virtually no conflict in it.

I advise my novel writing students and clients constantly that the protagonist should never, ever gain anything easily, no matter how seemingly trivial the exchange is. 

An example I give often is to tell them that if they have their protagonist stop a bum on the street to ask directions to a bar she’s pretty sure is a block or two away but isn’t sure in what direction, she should have the bum say something to the effect of: “Whadda I look like, Sweetpea? The frickin’ Chamber of Commerce?” And, then, either give up the info grudgingly or walk off and let her find her own way. The point being, never let the protagonist gain things easily. Never.

In dialogue, when the protagonist is trying to gain information, it should be like pulling teeth. Now, that doesn’t mean there should be a war created to gain a simple piece of information. The writer needs to tailor the conflict proportionally to the value of what she’s after.

In the example above, this is plenty. What she’s after is just a simple direction. It doesn’t rise to the level of WWIII. But… there should be at least a bit of conflict and resistance to gain her answer. 

When the information is valuable, the conflict needs to be ratcheted up in proportion.

This is one of the primary keys to creating tension and tension is the lifeblood of a successful novel. Nothing should be gained easily and the opposition to her gaining it should be proportional to the value it holds. The other primary key to a quality read is to keep posing story questions, one after another after another after another… ad nauseum.

I’ve barely touched on the subject, but hope there’s some food for thought here for most readers.

The main thing is—keep up on what passes for contemporary usages these days and keep those red flags to a minimum. And, remember, no one has ever written a perfect novel. Every single novel ever published has flaws. Perfection is an impossible goal. Can’t be done. Just get it as good as you possibly can and send it out. And begin on a new work and try to make it even “gooder.”

Remember: When you’re green, you’re growing. And, when you’re ripe, you’re rotten. Writing has changed greatly in the past ten-twenty years and it’s going to keep on changing. What I said here—at least some of it—will eventually be outdated. It’s one reason to keep reading voraciously and to keep reading craft books.

Hope this helps!
Blue skies,
Les

Les, THANK YOU SO MUCH. For my readers, Les will be back tomorrow with some final advice about your writing and your careers as authors, so I hope you’ll join us.


Posted by Author Kristen Lamb in Writing Tips on April 9, 2013


Today, is Les Edgerton’s last post in this series. We’ve been extraordinarily blessed to learn from him, so I hope y’all will give him a digital hug or round of applause. Les will soon be teaching on-line classes for WANA, so I’ll let you know when those are available.

Take it away, Les!

All of the points we’ve covered in this dialogue series are intended for one purpose only—to help writers avoid the red flags that improper dialogue can create for agents and editors… and readers.
And that’s what they are—red flags. That doesn’t mean that breaking any of these “rules” or conventions will doom your mss from being taken, but it does mean the presence of them can cast a negative light on your work. And, I imagine we all want to avoid that!

Also, there will be a great many examples of novels that break these precepts. There are many reasons for that. Contrary to popular opinion, novels don’t make it into print simply because they’re quality writing. There are many other factors at work. Factors that the writer may or may not have control over.

For instance, novels are published because the author has made a personal connection with a publisher. When an editor knows someone and likes that person, it’s not uncommon for that person’s book to be taken over another more worthy one. Happens all the time.

Or, an author may have had one or more successful novels already published and the current one may not be as good as the mss lying on the same desk as an unknown author, but the lesser quality novel will be taken. Again, happens all the time.

Sometimes, even though the novel breaks all kinds of rules, something in a novel like this may simply appeal to an individual editor. Maybe it’s the voice. Maybe it’s the setting—my first novel was taken by accident because of its setting. The Death of Tarpons had been rejected 86 times before I sent it to the University of North Texas Press.

That’s EIGHTY-SIX times!

That was in the days of snail mail submissions, where you had to pay the postage for the mss to the editor and also provide return postage. That was during a time when my family ate a lot of beans and really couldn’t afford to buy the tons of stamps I needed. I had made my mind up that once I reached 100 rejections, I would “retire” the manuscript.

What happened was that it landed on the desk of UNT’s publisher, Fran Vick. Unbeknownst to me at the time, UNT had never before published fiction. If I’d known that, I never would have sent it. 

Anyway, Fran’s secretary had unwrapped the day’s mail and as it by chance happened, mine was the first mss on Fran’s desk. Her normal routine when presented with a fiction mss, was for her to not even read it, but just stick a standard rejection notice in it and have her secretary send it back.

Luck was on my side!

As Fran related to me later (I’ve just revealed a happy ending and taken all the tension out of this, haven’t I!), her secretary was bringing her her morning cup of coffee and something happened where she had to remake the pot. That gave Fran an extra five minutes or so before she began her “official” day, so, for want of anything else to do, she picked up the first page of my novel and began idly to read it. If it wasn’t for her secretary’s failing to deliver her that cup of coffee, none of what happened next would have ever happened.

It’s what she read on that first page that induced her to keep reading. The novel was set in Freeport, Texas, the town I grew up in. Like most first novels, it was an autobiographical, “coming-of-age” novel (there’s a cliché for ya!). The thing is… Freeport was Fran’s hometown!

What editor can resist reading about their own hometown, especially when that town is a tiny burg like Freeport? A New York City editor, glancing at the first page of a mss and seeing it’s set in NYC isn’t going to be nearly as intrigued as an editor from Freeport, Texas reading a novel set in… Freeport, Texas!

As it turned out, Fran also knew my grandmother who was prominently on the page immediately and was instantly drawn into the story and read it all the way through, got on the phone, and offered to buy it.

So, there’s luck involved sometimes. Although, the book was well-written, so it also pays to be ready for luck when it appears. Fortune favors the prepared! The book went on to be well-reviewed and sold very well and earned a Special Mention from the Violet Crown Book Awards.

The point is, there are so many factors out of your control that can lead to or prevent publication. But, there are factors that you can control and among them are adhering to contemporary writing styles and conventions. And that is the impetus behind these precepts. To help you avoid many of the red flags that may prevent your mss from getting a fair and thorough reading.

Okay? Best of luck to all of you and your writing endeavors!

Blue skies,
Les

Les, THANK YOU SOOOOO MUCH. We really appreciate you taking so much time from your packed schedule.
Kristen Lamb

And there you have it, folks. Hope you enjoyed the posts.

BTW, so far, THE RAPIST has garnered 22 reviews on Amazon and every single one has been five stars! I'm stoked!
 
Blue skies,
Les