Friday, February 03, 2012

Not As Easy As It Looks

Treat for you today, fellow Stiffs: Please put your hands together and welcome my buddy Jaden Terrell, author of Racing the Devil and president of the Middle Tennessee Sister in Crime chapter as well as executive director of the Killer Nashville conference. She's also my friend, and one of the nicest people you'll ever meet. Oh yes, a writes a pretty good book, as well. If you like PI novels, you'll love Jared McKean!

Here's Jaden, come to talk to us about fingerprints. Suitably so; you'll notice the one in the background on the book cover:

It’s week 4 of the FBI/TBI joint Citizen Academy, and my classmates and I troop down to basement of FBI headquarters. We huddle close together, eager but nervous, like wild horses catching an unfamiliar scent. The fluorescent lights hum as our instructors shepherd us to our groups, six to a table, each table sporting a centerpiece of bottles, brushes, tissues, and other common household paraphernalia. We look at each other and grin. We’ve seen this done a thousand times on TV, and it looks simple enough. Just brush on the fingerprint dust, apply the tape, and lift the perfect print.


We’ve spend the better part of an hour listening to a fingerprinting expert tell us about the history and techniques of fingerprinting. I’d taken pages and pages of notes on arches, tented arches, loops, and whorls. We learned about latent prints (invisible to the naked eye and made when someone touches an object and leaves behind secretions like oil and sweat), patent prints (visible to the naked eye and made when a dirty or bloody finger touches an object), and impressed prints (visible to the naked eye and made when a person touches a surface like blood, clay, or wet or viscous paint). We learned that criminals sometimes burn or sand their fingertips in the vain hope of obscuring the prints, but that sanded fingerprints still show their original patterns, and burned fingertips usually show at least some of the original pattern. We’ve heard about powders and brushes and the best ways to get a clear print.

Now it’s our turn to try it.

I slide into a chair as the instructor is handing out items from the plastic tray at the center of table. The woman to my right, an elegant woman in khaki slacks and a while silk blouse, has a picture frame. I get a shampoo bottle.  

Our instructor shows us the black fingerprint powder, the brush, the tape, the pristine white card. Our goal is a clean, crisp lift. He shows us how to dip the brush lightly in the powder and tap off the excess. Don’t press too hard, he says. Brush it on lightly. If you apply too much pressure it will smudge.

I focus on the middle of the bottle, the part you’d wrap your hand around if you were picking it up. I dip the brush. Tap off the excess. Brush as lightly as I can. Black smudges appear around the circumference of the bottle. Nothing identifiable, just some blurry oval shapes and a few black streaks. A few of the ovals show a hint of a pattern. The instructor says it’s not always effective to try the part people are most likely to grip. Those tend to get smeared by palm prints and other fingerprints. Too much traffic, in effect. He points to a place near the bottom of the bottle. “Try here.”

The woman on my right says, “Look, I have one!” I look at her picture frame. Sure enough, a perfect print with whatever pattern has emerged on the surface.

I brush on more black dust. No luck. I try a spot near the screw-on top. More smudges.

The woman on my right has torn off a piece of clear tape and laid it gently across her print. Lifts it off carefully and places it gently on her pristine white card. You can see every swoop and whorl. The rest of us exchange envious glances.

Finally, I find a well-defined oval with a visible pattern. Huzzah! By now my fingers are smudged with black. I snag a tissue from the plastic tray and scrub until my fingertips are a dingy gray. The others are finishing up, so I give up on the tissue and tear off a one-inch length of tape. I lay it gently over the print, then place it carefully on my clean white card. The woman next to me holds up her card and beams. Three crisp prints in a row, their patterns standing out against the white of the card. I steal a glance at her hands. Her fingertips are pink and clean, her French tips polished to a sheen.

I look down at my card. A cluster of blurry gray fingerprints mars the edges of the card, and there’s a smear of gray on each end of the tape. In the center of the tape is a perfect…smudge. 

* * *

I've never tried to lift fingerprints. This makes me want to. Or maybe not. 

Although I do have my own fingerprint story: a few months back, I needed to renew my green card. So I went to the ICE office and filled out the paperwork and had my picture took, and it was time for fingerprints. Rolling the fingers on an ink pad, rolling the fingers on a tiny plate of glass.

Now, I may be an alien, but I only have ten fingers, just like the rest of you. And it took an hour. Swear to God. And at the end of it, although the tech said she had what she needed and sent me home, I had to come back a month later and do it again, because the original prints weren't good enough. I'm a person without clear fingerprints. Oh, the crimes I could commit!

The really funny thing, though? The reason why... is because I type too much. Never thought that would be one of the side-effects of becoming a writer. But apparently all the typing is wearing down my prints. There's a story in that... 

JB

Thursday, February 02, 2012

A Guessing Game

By Paula Matter

I've uploaded a few videos/images.

Can you figure out what story I'm telling?





















http://www.youtube.com/v/mZ9nfMwxJa8&hl=en_US&feature=player_embedded&version=3%22%3E%3C/param%3E%3Cparam












 





                                            http://www.youtube.com/watch?v=IxAKFlpdcfc






Wednesday, February 01, 2012

An Interrogation Prop

by C.L Phillips

We've got a little bit of controversy in sleepy Austin, Texas.  Turns out our police detectives, in their zeal to solve a cold case, used a doctored DNA report as an interrogation prop as a tool to encourage a suspect to confess to a murder.

Our police chief took to the airwaves and print to back his investigators and explain the concept of "it's all fair" inside the box, the interrogation room.  Our newspaper, the Austin American Statesman came out with a "tsk-tsk" editorial, denouncing the practice.

Now I'm not saying I agree or disagree with what the investigators did.  No sir, not me.  But what about you?  What do you think?

Do you have a different opinion if you have strong evidence the suspect has committed multiple murders? How far would you go to solve a twenty five year old murder?

Is all fair in love, war and police interrogations?

What kind of interrogation props do your fictional characters use?

Keep writing!

Tuesday, January 31, 2012

Meet Quinn

by Jenna Bennett

Looks like nobody else is gonna step up today, so I'll just share the excitement.

I HAVE A NEW COVER!

For the futuristic science fiction space opera romance thingy. Quinn's book.

And the thing is, I can't share it until Friday.

Normally, that wouldn't be a problem, since Friday is my regular day here on the Working Stiffs, but I've booked a guest blogger that day. I'll be hip-deep in packing for my trip to Norway - which starts Monday; I won't be commenting much for the next few weeks - so when friend Jaden Terrell asked if we had a free day, I gave her mine. You'll like her.

But what that means is that I can't unveil my cover here on Friday.

That makes me sorta sad.

However, I'll put it on my own blog, and my Facebook page, and I'll post it on Twitter, and basically, you won't be able to get away from it.

But in the meantime, I thought I'd share just a tiny tidbit, to whet the appetite.

This, ladies and gentlemen, is Quinn:



My husband thinks he looks too wimpy. I think he looks perfect. And my friend Maggie thinks he looks like he's been through hell and back, which describes him pretty accurately.

So what do you think, Stiffs? 

Monday, January 30, 2012

OBSESSION

by Gina Sestak
Have you ever found yourself so obsessed by something that it began to take over your life?  As regular readers may suspect, I've been having that experience with Bollywood films.  For well over a year now, I've been watching, studying, talking about, writing about, teaching about, and otherwise going out of my way to share this obsession with anyone polite enough to listen. 
So today, gentle readers, I've decided to explain a little about why I find these films so addictive.  First, a definition:  The word Bollywood was formed by combining the words "Bombay" and "Hollywood."  Although "Bollywood" is sometimes loosely applied to any contemporary Indian film, it is generally limited to those made in the Hindi language by filmmakers based in Mumbai (the city formerly known as Bombay).  There are also several other film-making centers in India. 
Some people consider the term Bollywood pejorative.  It sounds too derivative, they reason, making it seem as if the Indian film industry is nothing more than a South Asian imitation of the California-based original.
In fact, India has been making movies for more than a hundred years.  Films were shown in Bombay as early as 1896 and Indian-made shorts were being produced by 1898.  The first Indian-made feature-length film premiered in 1913.  Modern Indian popular movies are an amalgam of this history and global influences, a vibrant contemporary industry.  India releases more films every year than any other country, including the U.S.
Mention Indian or Bollywood film to most Americans, however, and you are likely to get a blank stare or hear, "Oh, yeah.  I saw that movie, Slumdog Millionaire."
There is some question whether Slumdog Millionaire can even be considered a Bollywood movie, since it was made by a British film company and provoked controversy in India over its depiction of that country.   
Non-Indian Americans tend to shy away from viewing Bollywood films, largely due to common misconceptions:
·         Foreign films are boring.  These words are usually spoken by people who have been dragged to European films by family or friends, or forced to sit through them in high school and/or college.  They remember slow, incomprehensible plots and actors who stare morosely at the audience while white-on-white subtitles occupy the bottom of the screen.  In contrast, Bollywood films have strong plots, enlivened by action, drama and emotion.  You never have to sit in the dark, wondering what the *!& this film is about.  The actors make that clear.  And, because India is a multi-lingual country, most films are crafted to be comprehensible even if you are not conversant with Hindi.  There are subtitles, but you can follow the action without them.
·         Musicals aren't realistic, people don't sing and dance like that in real life.  Who says movies are supposed to be realistic?  No movies are realistic, they are works of art.  Besides, people who disparage musical films are usually the folks who have seen only American musical films, which are almost always based upon musical theater.  There are fundamental differences between stage and screen, and a play written to be performed in a confined space before a live audience often translates poorly to film.  Bollywood movies are written as musicals.  The song and dance sequences make full use of cinema's ability to change location and costume.  These musical sequences are colorful and beautiful, but they also tend to be integral to the plot, betraying the below-the-surface emotions of the characters and introduce elements of the plot, frequently foreshadowing events to come.  Best of all, they are a lot of fun to watch.
·        Films with romantic themes are just fluff.  Romance figures in many Bollywood films, but generally as part of a more complicated plot.   Even when romance is the primary focus, this does not necessarily imply that the film is light-weight or frivolous.  Even in modern times, many Indian marriages are arranged by the couple's parents.  Seen against that backdrop, the opportunity to fall in love and choose one's own mate has profound personal liberty implications.
·         Bollywood films don't know what they want to be; they mix up different genres.   While it is true that action, comedy, drama, romance, and melodrama often mingle in Bollywood films, this is not due to the filmmakers' indecisiveness.  Bollywood films aim to blend these disparate elements into a pleasing whole, a "masala."  "Masala" is a cooking term that refers to a perfect mix of spices.   So, too, a good Bollywood film combines multiple genres into a perfect screen experience.   
·        Bollywood movies are too long.  Bollywood films are typically longer than most American films, ranging from two-and-a-half to four hours in length.  Our experience of time, however, is a relative thing.  Five minutes spent doing something excruciatingly boring may seem like eternity, while a week's fun-filled vacation flashes by in no time.  Because Bollywood films are not boring and are engaging to watch, time passes quickly.  They don't seem unreasonably long.   Further, the length allows for the development of complex plots and sub-plots.  Unlike American films, which typically pit good guys against bad guys in a simplistic conflict, Bollywood films often pit good guys against good guys - characters who are trying to do the right thing but differ on just what that right thing is.  Thus in the 1995 classic Dilwale Dulhenia La Jayenge, Raj loves Simran and wants to marry her, but Raj has made a bad impression on Simran's father, Baldev.  Baldev has promised Simran to his friend's son.  Raj and Baldev each believes that he is in the right; the film revolves around the resolution of this conflict.  As a sub-plot, Simran's mother, an obedient wife who has always deferred to male authority figures, initially persuades Simran to agree to the arranged marriage; she later comes to realize that Raj would be a better match for her daughter and urges the young couple to elope, in defiance of her husband's wishes.   An over-arching theme explores the immigrant experience as Baldev's rose-colored memories of India clash with contemporary reality when he returns home with his London-raised daughters.  The characters grow and develop as they work through these conflicts and reach a satisfying resolution. 
·        Bollywood films are silly.  Yes and no.  While it is true that, to truly enjoy some Bollywood movies, you need a high tolerance for silliness, many of these films have serious themes.  The silliness is often just zany humor that provides comic relief.  For example, in Main Hoon Na the protagonist Major Ram is on a serious mission.  Terrorists have killed his father and are trying to derail a peace initiative with Pakistan.  Major Ram goes undercover as a college student to protect an Indian army general's daughter, while simultaneously attempting to unite his own splintered family.  When he falls for his chemistry professor, however, he reverts to every Bollywood romantic stereotype, breaking into song every time he sees her despite his best efforts to the control himself.  These scenes are hilarious, but they in no way detract from more serious aspects of the film.
·         Bollywood films are too emotional.  One noticeable difference between Bollywood and Hollywood films is the extent of emotion expressed.  Characters in American films tend to shy away from strong emotions other than anger and keep their feelings under wraps.  Bollywood actors milk emotion to the nth degree.  It's refreshing to see people actually showing feelings on screen. 
·         Bollywood films are odd, strange, and alien.  This is often true, but that can be a good thing.  Some aspects of Bollywood film seem unusual to Americans.  Young people greet elders by bending to touch their feet.  Multi-armed idols and elephants appear; apparently rational adults suddenly begin throwing colorful powders on one another.    However, because these are Indian films made primarily for an Indian audience, they give insight into another culture.  The characters come across as real complex human beings, not exotic stereotypes as they might in an American film. 
 Still not convinced?  What more can I do than let these wonderful films speak for themselves?  In this clip from Dilwale Dulhenia La Jayenge, Raj (in white) and Simran (in green) allow their feelings for one another to show, although the occasion is a celebration of Simran's engagement to the guy in black with the silver vest.   Simran's parents enter the dance near the end.  BTW, if you think Simran's voice sounds strange, it's because the song is actually being sung by a woman in her 60s.   Bollywood actors rarely do their own singing; professionals known as playback singers do the vocals and are credited.  This is not a Milli Vanilli situation - there is no deception involved; everybody knows that the actors are lip-syching.  
So, what are you obsessed with?  Care to share?

Friday, January 27, 2012

Never Trust Bad Beginnings

Treat for you today, fellow Stiffs and readers: we have the fabulous Linda Rodriguez here to entertain us! If you don't know Linda, you should definitely follow her on Twitter - @Rodriquez_Linda and buy her book. It won the Malice Domestic contest, which is quite an accomplishment. And can I just say how much I love the cover?

Without further ado, here's Linda:

 
I have a good friend, a gifted writer, whose year has started off terribly. Her foster father died unexpectedly. Her father-in-law died unexpectedly. One of her best friends ended up in ICU with an aneurysm. Now, her four-year-old has developed pneumonia. We’re checking for any cackling, old-country types who’ve put an evil spell on her! But seriously, it’s made for a grim beginning to her new year—and made her worry what the rest of the year will bring.

I consoled her by telling her how my 2011 began. I was already down because an editor who’d had my novel for a long time rejected it, at the same time suggesting I send it to a national contest. I had pneumonia—which is quite serious for me since lupus has left me with very damaged lungs. Once I got better, just as January ended and I was about to fly to Washington, D.C. for the AWP national conference, we had a blizzard, and I fell on icy steps, breaking my cheekbone and knee and spraining my shoulder and right thumb.

 No D.C. No conference where I meet dear friends who live half a country away. I could hardly feed myself. (You have no idea how necessary your thumb is until you lose its use for a while). It looked to me as if 2011 was going to be a hellish year, just as 2012 is looking that way right now to my friend.

This is what happened in 2011 for me.

1.       I received a substantial research grant from an arts organization that had never before given to a writer.

2.       I spent a wonderful week researching a book with all expenses, including travel, paid.

3.       I learned I was a finalist in that national novel contest that editor had urged me to enter, and I learned that even a finalist would probably get an agent and maybe a publisher.

4.       I learned that I was the winner of the Malice Domestic First Traditional Mystery Novel Competition. A $10,000 advance and a publishing contract with St. Martin’s Press. Woo hoo! My year was made right there.

5.       I learned that St. Martin’s Press was going to pay my way to the Malice Domestic Conference in Bethesda where I would receive the award.

6.       I went to Malice Domestic and had a blast. I met wonderful mystery writers who were so kind to me. My editor, my publisher, and all the St. Martin’s/Minotaur Books staff who were there turned out to be wonderful.

7.       I came home with some directives from the St. Martin’s publicity folks. Get on Twitter was one of them. With trepidation, I did—and now have almost 2,000 followers and many fantastic new friends.

8.       I came home and found myself in demand for paid readings throughout the Midwest (from the poetry book I’d published in 2009).

9.       I started writing the second book in my mystery series.

10.   I was asked to contribute a short story to Kansas City Noir, an anthology in the famed Noir series from Akashic Books.

11.   With a recommendation from my editor, I secured an incredible agent.

12.   I received a beautiful book cover for Every Last Secret from St. Martin’s.

13.   I was keynote speaker at the national conference of an important national arts organization.

14.   My book launch and other events to publicize Every Last Secret when it comes out began to be finalized.


It took most of 2011 for my broken knee to heal, and I will have to have major surgery on it later, but I hardly noticed as all these exciting things continued to happen throughout the year. That year that had such a sour beginning turned into one of the best years of my life.

So I tell my friend to pay no attention to the bad beginning of her 2012. I know she’s got the potential of having a year like the one I just had, and I think she will. My husband and I spent New Year’s Day marveling at the difference between this New Year’s and 2011’s. I think the same thing will happen for my friend next year.

One thing I’ve learned is never trust bad beginnings. A bad beginning doesn’t mean that the year or the book can’t turn out magnificently well.

Thank you all for having me as a guest on Working Stiffs. I hope you’ll all visit me at www.LindaRodriguezWrites.blogspot.com and check out Every Last Secret at your local bookstore or Barnes & Noble or at http://www.amazon.com/Every-Last-Secret-Linda-Rodriguez/dp/1250005450

***

Linda Rodriguez’s novel, Every Last Secret (Minotaur Books), winner  of the Malice Domestic First Traditional Mystery Novel Competition, will be published on 4/24/12. She has also published two books of poetry, Heart’s Migration (Tia Chucha Press) winner of the Thorpe Menn Award for Literary Excellence and finalist for the Eric Hoffer Book Award, and Skin Hunger (Scapegoat Press) and a cookbook, The “I Don’t Know How To Cook” Book: Mexican (Adams Media). Rodriguez received the Midwest Voices and Visions Award, Elvira Cordero Cisneros Award, KC ArtsFund Inspiration Award, and Ragdale and Macondo fellowships, among others. She is a member of Latino Writers Collective, Wordcraft Circle of Native American Writers and Storytellers, Kansas City Cherokee Community, International Thriller Writers, and Sisters in Crime.


Thursday, January 26, 2012

The Process


by Joyce

Some of you probably know I signed with agent Meredith Barnes a few months ago. Since then, I’ve been revising what used to be called THAT EFFING BOOK. The real title I finally came up with is IN SPITE OF MURDER (or ISoM as Awesome Agent calls it), which could be changed in the future as is known to happen.

More than a few beginning (and maybe not-so-beginning) writers have the impression that once you sign with an agent all you do is hand over your manuscript, the agent sells it as is, and voila—it’s on the bookshelf.

Um. No.

Not by a longshot.

I’m on my sixth revision of this manuscript, and that doesn’t count the revising and editing I did daily while I wrote it. (I always read over what I wrote the day before and fix what I don’t like before I move on.) Right now, I’m about 2/3 through my third agent-inspired revision. I’m sure the process is different for each author and his/her agent, but I thought someone might want to know how it worked for me. Or not. But I’m going to tell you anyway. Cause I’m like that.

My first revision letter from Meredith was four pages long—and this was before she offered representation. I was impressed that she took that much time to show what needed to be fixed and I wasn’t even her client. To say I was excited was an understatement. I actually cried. Hard to believe, I know. When I peeled myself off the ceiling, I got to work. About six weeks later, I sent it off and waited.

I didn’t have to wait long—only two weeks. I guess I did something right, because she offered representation. And sent more revision notes. This revision was more intense than the first. We decided to restructure the book, moving some plot elements from the third quarter of the book to the first quarter, which meant deleting a lot of scenes that no longer made sense and writing new ones in their place. That’s a very simplistic way of saying It was a bitch and the hardest thing I ever did and it almost killed me. It sure made the book a lot better, though.

The revision I’m working on now is more a clean up than anything else. We decided I needed another scene or two with my character’s love interest, and another one with the bad guy. I have a tendency to be a little short on description, so I’m fleshing that out, too.

You may have noticed I said “we decided” up above. The author-agent relationship and the decision of what to revise is very much a team effort. And I’m absolutely ecstatic to be on Meredith’s team.