Posts Tagged ‘Ms. Tree’

Walk Out! Girl, Don’t You Walk Out….

Tuesday, July 25th, 2017
Quarry's War

The Quarry comic book mini-series (which will later be collected as a graphic novel) was officially announced at San Diego Comic Con, where I was not in attendance. The splendid cover is included here for your enjoyment, although my enjoyment is hampered by the fact that my name isn’t on it.

I trust this is an oversight that will be rectified by Hard Case Crime Comics, though I admit it rankles when the writer of the other comic book announced did make the cover of that number one issue.

I will leave it to you whether to file this under “What am I, chopped liver?” or sour grapes.

In the meantime, here’s the Booklist advance review of Quarry’s Climax:

Collins, Max Allan (Author)
Oct 2017. 240 p. Hard Case Crime, paperback, $9.95. (9781785651809). e-book, (9781785651816).

Chronology is always a little tricky in Collins’ Quarry series. Take this one. It’s a new entry, but the story is set in the 1970s, when the first Quarry thrillers were written. The hit man with a heart of steel (and a skewed sense of, well, just desserts) is working for the Broker, a murder middleman who farms out hired kills to his operatives. This time it’s a little complicated: Quarry and his partner, Boyd, must first dispatch the hitters sent to eliminate the publisher of the Memphis-based porn mag, Climax; then determine who hired the hitters; and, finally, get rid of them, too. All in a few days’ work for the resourceful Quarry, of course, who developed his killing chops as a Vietnam sniper, but along the way Collins treats us to a wonderfully vivid look at the pornography industry in its heyday. From publishers to centerfolds to strippers to feminist protesters, he cuts through the stereotypes with quick bits of subtle characterization (but, please, don’t say you read a book with ‘Climax’ in the title only for the characters).

— Bill Ott

* * *

The title of this week’s update is a line from the Monkees’ “A Little Bit Me, A Little Bit You,” which Crusin’ covered for a Monkees tribute CD some years back. But the subject is not rock ‘n’ roll – rather, the now legendary tendency of my wife Barb and myself where walking out of movies is concerned.

We were walking out of so many movies, readers of this weekly update were wondering what movies I might actually be able to tolerate, or perhaps even (choke) like. But others have noticed that there have been no reports of such walk-outs lately.

One possible reason for all the walk-outs has been a spate of overblown, mediocre would-be blockbusters, frequently cribbed from comics or otherwise pop-culture retreads. The Great Wall and Kong: Skull Island are typical. CHIPs and Baywatch are the kind of movies where you consider walking out during the trailer, which is all we saw of them.

The truth is, though, something strange happened this summer, at least so far: the blockbuster movie releases have been…how can I put it…good. Here’s a rundown on them, just little mini-reviews to pop like Milk Duds. And what part of the cow is the “dud,” anyway? A few of these I’ve already commented on, in passing.

Guardians of the Galaxy Vol. 2. A lot of care went into making sure the quirky humor of the first film was maintained, and it paid off. Casting Kurt Russell was a very good move. These movies know exactly how to walk you up to sentimentality and then drop the trap door on you.

Wonder Woman. Chris Pine, channeling William Shatner in the manner of the recent Star Trek movies, contributes humanity and humor while lead Gal Gadot brings provides charm, beauty and athleticism in an epic origin tale craftily set in a vivid Great War setting. And it’s surprisingly faithful to the Golden Age comic book.

The Mummy. The weakest of the non-walkout-worthy summer blockbusters is nonetheless a lot of fun, with Tom Cruise (no matter what you may think about Scientology) bringing his genuine movie-star charisma and skill to the party. A female mummy (Sofia Boutella) is a nice twist, although too much back story and the clumsy inclusion of Jekyll/Hyde (Russell Crowe) is a lame attempt to build a franchise nobody is waiting for.

Baby Driver. A reminder of what it felt like to go to the movies in the ‘70s and early ‘80s, this is a slick, fast-moving crime film that is propelled by music and moves from one phenomenal, and mood-changing, set piece to another. It’s an outrageous melodrama, with compelling, often larger-than-life characters. Not sure the proposed sequel is a good idea, though.

Spiderman – Homecoming. It took some doing, getting Barb to go along, and she wasn’t won over immediately. But this third reboot (who’s counting?) manages to both re-imagine and yet be quite faithful to the Stan Lee/Steve Ditko original (how I wish I had hung onto Amazing Fantasy #15). Tom Holland is a winning Peter Parker/Spidey, though the heart and soul of the movie, oddly enough, belongs to the villain, the wonderfully cast Michael Keaton. Only real flaw is how hard the film works to invoke other aspects of the Marvel film franchise universe, with much more Avengers and Iron Man stuff than necessary. It’s too much salt on an already well-seasoned popcorn.

War for the Planet of the Apes. This may be the best Planet of the Apes movie of all, and as good as the two previous ones are (Rise and Dawn), that’s saying something. There is a grandeur and even majesty to this one, and the believability of the apes is complete and stunning. But it’s also emotionally wracking, action-packed and even frightening. Give Andy Serkis an Oscar already, would you, Academy?

Dunkirk. I’ve never been a Christopher Nolan fan, but I am now a convert. This is the year’s best movie so far. It’s demanding – for Americans, the various Brit accents may mean losing this line or that one, and there’s no Pearl Harbor back story: you’re just thrown right into four or five storylines that crisscross over the running time. The Hans Zimmer score is ruthlessly relentless, and a relaxing time at the movies this isn’t. A few have complained that the film lacks any overview, but the situation is simple: the Germans have driven the British and the French armies to the coast of France with the Channel between the Brits and home. Hundreds of thousands of allied soldiers are trying to get home, and the advancing German army as well as their fighter pilots are trying to stop that, while British civilians in their own little boats are heading across the Channel to take soldiers home by the handful. That’s all you need to know. There is heroism and cowardice and various other shades of humanity, but also a sense of patriotism in a just cause that today somehow seems remote. Churchill’s famous speech, read by a soldier from a newspaper, is a reminder that giants once guided government.

* * *

My pal Bud Plant has found a supply of the first Ms. Tree trade paperback. It’s cheap and it’s here.

The Hard Case Crime announcement of Quarry’s War made at SDCC was picked up all over the Internet.

Finally, here’s news of the live performance of Mike Hammer: Encore for Murder next January in Florida. It stars my buddy Gary Sandy, who appeared in Mommy’s Day.

M.A.C.

Antiques Frame Just Published

Tuesday, April 25th, 2017

Hardcover:
E-Book: Amazon Google Play Nook Kobo iTunes
MP3 CD:

This week Antiques Frame, the latest “Trash ‘n’ Treasures” mystery by Barb and me (writing as Barbara Allan), goes on sale. There’s also an audio book, which we’ve sampled but haven’t listened to all the way through, though the narrator this time is much more to our liking.

I realize that certain of my readers may not be inclined to pick up a “cozy” mystery, but some reviewers have realized that the series is in part a tongue-in-cheek send-up of that genre, and also that the novels have a certain edge, even if they aren’t Mike Hammer or Nate Heller or Quarry.

This particular novel has special meaning for me – not because it’s my favorite in the series (that might be Antiques Fate, just out in mass market paperback) but because it represented a real breakthrough for me. Antiques Frame was the first book I (co-)wrote after my open-heart surgery and the stroke I had, just for fun, on the operating table. As regular readers here may recall, I woke up in the hospital to a right arm and, to some degree, right side that were as useful as a broken hinge.

At the hospital I had both physical therapy and occupational therapy, and was helped by a number of terrific people in those disciplines. My right side came back within days – I was walking well and able to do the exercises asked of me, from riding stationery bikes to going up and down stairs. But my right hand remained feeble. The idea of typing with it again seemed abstract. The most disheartening thing was that I had lost my signature.

The doctors and therapists assured me I would get my right hand back, and the doctors especially implied the use would just back on its own. Not true. I had to work hard at it, with exercises ranging from rubber band contraptions to just flat out trying to write my name over and over again.

For a writer, the loss of his or her signature is a blow to the ego, to the very idea of identity. I was determined to get it back. But my biggest fear was losing the ability to type with both hands. Fortunately, almost immediately, I had some ability to use the hand – weak as hell, though. At home I soon found that a computer keyboard is sensitive enough that very faint pressure is all that’s required. My typing style is two-fisted, having trained on (and for a long time using) manual typewriters.

So my left hand was typically strong and my right weak as a kitten. This required backing off on my left. I began writing e-mails and this weekly blog. Very soon I was able to type passably well, and the first project I tackled – still spending time with physical and occupational therapy, for several weeks here at home before going to a facility – was my draft of Antiques Frame.

Again, if you’re a regular visitor here you may know how Barb and I operate on these books. We come up with a title and a basic plot, and sometimes plot the books together and sometimes our plotting session has been good enough that Barb can break down the chapters in an outline of sorts herself. She also does character lists and time lines. The book had been plotted, roughly, before my hospital stay.

She writes a rough draft, usually 200 to 250 pages. I then write my draft of 300 to 325 pages, mostly adding jokes and polishing, plus expanding dialogue. This time she wrote a good deal of her draft in my hospital room on a laptop. As the books are humorous mysteries, I’m not sure how she managed that.

When I began working on the book, I discovered that she had (not surprisingly) done a fine job, but (somewhat surprisingly) the humor quotient was typically high. In my diminished state, I hoped I could keep the thing funny, too. Frankly, I was hoping it would just be in English. But the effort went well, and working on a “Barbara Allan” was the perfect way for me to get back up on the writing horse and write/ride.

My right hand came back within a couple of months, pretty much strong as ever. And several more months later, when the galley proofs arrived of Antiques Frame, I swallowed hard and sat down to read them. I was amazed to find out the book was not only in English, but a solid and very funny entry in the series. It’s a reminder that writers live chiefly in their heads – their physical state is something they have to deal with, obviously, but as long as the mental engine is firing on all cylinders, the rest is incidental.

The other thing I learned is how good my wife has gotten at writing, and how generally wonderful a woman she is – actually, I already knew, but the experience of taking my pass on Antiques Frame was sweet confirmation.

* * *

Barb and I are preparing for our NYC trip for the Edgar awards and my receiving the Grand Master award. That’s on Thursday evening. For those of you in the New York area, here’s the line-up for the Wednesday Edgar-week symposium, which includes Charles Ardai of Hard Case Crime interviewing me.
Symposium Schedule

Cost: $95 members; $125 non-members – with a $15 retroactive discount for those who join MWA within 30 days after.

8:30 – 8:50: Registration

8:55 – 9:00: Welcome – MWA’s Executive Vice President – Donna Andrews

9:00 – 9:50: Meet the Class of 2017 – Best First Novel Nominees
Moderator: STEFANIE PINTOFF, 2010 Best First Edgar Winner (City on Edge, Bantam)
Panelists: Flynn Berry (2017 Best First Edgar Nominee – Under the Harrow, Penguin Books)
Bill Beverly (2017 Best First Edgar Nominee – Dodgers, Crown Publishing)
Joe Ide (2017 Best First Edgar Nominee – IQ, Little, Brown & Co – Mulholland Books)
Nick Petrie (2017 Best First Edgar Nominee – The Drifter – G.P. Putnam’s Sons)
Lili Wright (2017 Best First Edgar Nominee – Dancing with the Tiger – Marian Wood/Putnam)
Heather Young (2017 Best First Edgar Nominee – The Lost Girls – William Morrow)

10:00 – 10:50: From the Writer’s Desk, Part 1
Grand Master Max Allan Collins interviewed by Charles Ardai

11:00 – 11:50: Just the Facts – If you’re not writing what you know, you’re writing what you want to know – and today’s savvy reader will send you a note if you get it wrong, How do writers of fiction and nonfiction crime approach research? When do they know they’ve researched enough?
Moderator: LAURIE R. KING, MWA NorCal Chapter President (Murder of Mary Russell – Bantam)
Panelists: Ruth Franklin (2017 Best Critical/Bio Nominee – Shirley Jackson – W.W. Norton)
Laurence Leamer (2017 Best Fact Crime Nominee – The Lynching – William Morrow)
Kate Summerscale (2017 Best Fact Crime Nominee – The Wicked Boy – Penguin Press)
Caroline (Charles) Todd (2017 MHC Award Nominee – The Shattered Tree – William Morrow)
James Ziskin (2017 Best PBO Nominee – Heart of Stone – Seventh Street Books)

11:50 – 1:00 Lunch Break (On Your Own)

1:00 – 1:50: Nursery Noir – Writers of mysteries for young readers may have the toughest audience of all. How do dark stories translate for the teen and tween set? How do adult writers get into the minds – and hearts – of kid readers?
Moderator: LORI RADER-DAY, MWA Midwest Chapter President (The Day I Died – William Morrow)
Panelists: Brent Hartinger (2017 Best Young Adult Nominee – Three Truths and a Lie – Simon Pulse)
April Henry (2017 Best Young Adult Nominee – The Girl I Used to Be – Christy Ottaviano Books)
Sarah Lariviere (2017 Best Juvenile Nominee – The Bad Kid – Simon & Schuster BFYR)
James Ponti (2017 Best Juvenile Nominee – Framed! – Aladdin)
Billy Taylor (2017 Best Young Adult Nominee – Thieving Weasels – Penguin YR – Dial Books)
Susan Vaught (2017 Best Juvenile Nominee – Things Too Huge to Fix by Saying Sorry – Paula Wiseman Books)

2:00 – 2:50 Liars Club – Liars, cheats, thieves, murderers – and, sometimes, those are the protagonists. How do writers create characters that keep readers up at night? How do they create empathy in characters who make bad guys look pretty good?
Moderator: JEFFERY DEAVER, 2017 MWA President (The Burial Hour – Grand Central Publishing)
Panelists: Laura Benedict (2017 Best Short Story Nominee – “A Paler Shade of Death” – St. Louis Noir)
Alafair Burke (2017 Best Novel Nominee – The Ex – HarperCollins)
Robert Dugoni (2017 Best PBO Nominee – The 7th Canon – Thomas & Mercer)
Lyndsay Faye (2017 Best Novel Nominee – Jane Steele – G.P. Putnam’s Sons)
Alison Gaylin (2017 Best Novel Nominee – What Remains of Me – William Morrow)
Martha Hillier (2017 Best TV Episode Nominee – “Dark Road” – Vera)

3:00 – 3:50: #AuthorLife – There’s no one way to be a crime writer. Agent/no agent. Small press/big five. Plotter/pantser forever. How did these authors get into the life of crime – and what advice do they have for aspiring writers taking a stab at mystery?
Moderator: MARK STEVENS, MWA Rocky Mtn Chapter President (Lake of Fire – Midnight Ink)
Panelists: Megan Abbott (2017 Best Short Story Nominee – “Oxford Girl” – Mississippi Noir)
Patricia Abbott (2017 Best PBO Nominee – Shot in Detroit – Polis Books)
Reed Farrel Coleman (2017 Best Novel Nominee – Where it Hurts – G.P. Putnam’s Sons)
Tyler Dilts (2017 Best PBO Nominee – Come Twilight – Thomas & Mercer)
Adrian McKinty (2017 Best PBO Nominee – Rain Dogs – Seventh Street Books)
Wendy Corsi Staub (2017 MHC Award Nominee – Blue Moon – William Morrow)

4:00 – 4:50: From the Writer’s Desk, Part 2
Grand Master Ellen Hart – Interviewed by Oline Cogdill

* * *

All the books have been mailed out on our “free books” offer. Just about everyone who requested one got one.

The newly published Executive Order has received some nice notices, like this one.

And another one here.

This article includes me as a mystery writer doing some TV scripting.

Finally, and I kid you not (as Jack Paar used to say), here’s a review of the 1985 trade paperback, The Files of Ms. Tree Vol. 1.

M.A.C.

Hey, Kids! Free Books…Again!

Tuesday, April 11th, 2017

Paperback:
E-Book:
Audio MP3 CD:

Once more, we are going to offer copies of our work – and I’m talking in the editorial “we” to some extent, but also about Barb and me – to the first responders (and not just cops and fireman) among readers who agree to post an Amazon review. Barnes & Noble works, too, and if you have your own blog, that’s great also. But Amazon seems to be where sales get an impact.

As has happened to me too many times to mention, I have a bunch of books coming out more or less at once. So here’s what’s on offer…

The Will to Kill by Mickey Spillane and You Know Who. The new Mike Hammer that I wrote working from Spillane material, and something of a change of pace, with an Agatha Christie-type set-up complete with greedy offsprings in a big remote house.

Antiques Frame by Barbara Allan. Brandy goes to jail accused of murdering the wife of the man she’s been dating for much of the series, and Mother must investigate, including contemplating attracting attention by going “the partial Vivian” (as opposed to the Full Monty). These are funny novels and if they don’t make you laugh, you’re dead from the neck up. Available are a mix of trade paperback advance copies and a few hardcovers.

Antiques Fate by Barbara Allan. This is the paperback reprint of last year’s hardcover. Brandi and her mother go to an English-style village where Vivian will do her one-woman show of “the Scottish play,” and murder most foul will ensue.

The Big Showdown by Mickey Spillane and me. The second Caleb York western, now in paperback. The crazy brothers of somebody Caleb killed in the first book are on the warpath, and they aren’t even Indians. There’s also a mystery growing out of the murder of a recurring character. (Well, not recurring anymore….)

Executive Order by M.A.C. and Matthew V. Clemens. The conclusion to the “Branches of Government” trilogy of political thrillers which are almost as bat-shit crazy as the real world. Have you met Reeder and Rogers yet? If you haven’t tried one of these, what are you waiting for?

Five copies of each are available. Write me at [REDACTED] and list, in order of preference, the books that interest you. You’ll only get one of the titles. If there’s something you already have or aren’t keen on getting, don’t list it.

IMPORTANT: include in your e-mail your snail-mail address. You’ll likely be skipped over if you don’t. Also, this is only for the USA. Canadians must buy the books to read them. Don’t feel bad – Trump isn’t your president.

Okay? Got the rules?

These go fast, but it usually takes at least a few days, so don’t give up without trying.

And if you’re already a paying customer for any of these, picture me on my knees begging: write Amazon reviews of the books of mine/ours you’ve read lately. Post those reviews on your blogs and Facebook pages, but make sure to do so at Amazon. Will to Kill, a novel people really seem to like, is very under-reviewed. Quarry in the Black could also use some love, and the same goes for Better Dead.

Grass roots attention is important. The trades (Publisher’s Weekly, Booklist, Library Journal, Kirkus) are reviewing less and less of my material, apparently because when a series runs a while, they just don’t bother. Or maybe they just think I write too much. Even Mystery Scene and Ellery Queen are spotty – the last Queen review just lumped a bunch of my books together.

This doesn’t go for just me – any writer you like, any writer you follow, will benefit (and stay in business) by you writing an Amazon review and/or a Blog entry. A good place to start? My stuff.

Thank you.

Speaking of reviews, here’s a nifty one of The Will to Kill.

Here’s a piece wondering if there will be a second season of Quarry, wishing there would be. From your lips to Cinemax’s ear.

Some coverage of the Stacy Keach Mike Hammer audios can be found here.

And Ms. Tree gets some love here, including a podcast (that I haven’t heard yet).

M.A.C.

Long and Winding Road

Tuesday, February 14th, 2017

Paperback:

E-Book: Amazon Google Play Nook Kobo iTunes

Thanks to all of you who responded warmly to my update last week about the recently published “new and expanded” Road to Perdition prose novel. The sequel, Road to Purgatory, has just been reprinted by Brash Books in a uniform edition, and Road to Paradise will follow later this year or early next.

So, with your patience, I’ll talk a little about how Road to Purgatory came about, and the challenges involved.

The original graphic novel concept of Road to Perdition was developed for DC Comics editor Andy Helfer. Initially the plan was to do three 300-page graphic novels, each serialized in 100-page installments (the final book as published is in 100-page sections), for an epic 900 pages. I had been in part inspired by the great manga, Lone Wolf and Cub, and the epic nature of that work was something to aspire to.

Andy Helfer and I, however, had not come to terms with what the next two 300-page installments would be. I wanted to keep the father and son outlaws on the road for the full 900-pages, with various adventures not unlike the format of the classic TV series, The Fugitive. Andy had another idea – he thought I should do a generational saga, with Michael Jr. growing up in the middle section, and either aging him further in the final section or following another generation of O’Sullivans into a world of crime and vengeance and (maybe) redemption.

The more I mentally chewed on it, the more Andy’s notion made sense. I still liked my idea, and greedily thought about doing both – a long road saga with Michael O’Sullivan Sr. and son, and a generational saga that grew out of it.

This all became a moot point when DC’s Paradox Press line, designed to do noir graphic novels, sputtered to a premature death. Road to Perdition was the last graphic novel Paradox Press published, so any follow-ups seem unlikely.

Of course Richard and Dean Zanuck deciding to make a movie out of Road to Perdition was even more unlikely, and yet it happened.

With the movie in production, and having written the novelization (even if it was published in a truncated form…until just lately), I thought writing prose sequels, as opposed to graphic novel ones, made the most sense.

Why didn’t I write another graphic novel? Actually, I did – Road to Perdition 2: On the Road (from DC) played out my idea of showing the father and son on the road having adventures while fleeing the wrath of the Chicago mob.

But the generational saga, it seemed to me, would be better served by prose. Also, I was in the position of being primarily a prose writer of crime and mystery fiction, and suddenly the most famous thing I’d ever written was a comic book. I wanted to bring a wider audience to what I do most often: prose novels, where the readers have to provide the pictures in their heads.

Also, I knew I could get a prose sequel (Road to Purgatory) into the marketplace sooner – striking while the iron is hot – rather than go through the longer process of creating a graphic novel. My great collaborator, Richard Piers Rayner, had taken over four years to draw the 300 pages of Road to Perdition.

Another challenge was what to do about the differences between the film version of Perdition and the original graphic novel. I could only write a sequel to the latter – any changes Hollywood had made belonged to them, and anyway, I preferred my own version. The two major changes were the dramatic killing off of John Looney (Rooney in the film) and the inability of Michael Jr. to kill the man who had shot his father. In my world, John Looney didn’t die until many years later (since he was an historical figure and I like to stay true to history) and Michael Jr. indeed shot his father’s killer. His redemption came, not from his dying father doing the killing for him, but many years later.

I dance around this in the novel – I even do some dancing in my Perdition prose novel, which suggests that maybe Michael Jr. did shoot his father’s killer. In my novel Road to Purgatory I own up to that, but suggest that others have assumed the father did the killing. And I don’t mention the real circumstances of John Looney’s death.

That way someone who comes to the three prose novels will not experience jarring differences between the first and second book.

As some of you know, there is also a graphic novel called Return to Perdition, drawn by my longtime Ms. Tree partner, Terry Beatty. This indeed pays off editor Andy Helfer’s generational saga notion by following the story of Michael Jr.’s son in Vietnam and beyond. Some have suggested that I might write a prose version of that story – which I view as a kind of coda to the three prose novels – but it’s unlikely.

Why in doing the last chapter of the saga did I return to the original graphic novel form? Simple. I pitched it to the publisher of the two prose sequels and they weren’t interested. But DC Comics was. So it became a graphic novel.

It isn’t always about “what’s the ideal way to tell the story.” It’s often, who will pay me money to tell the story? That’s why I have gone out of my way to master, as best I can, not only the novel form but comics and movies and for that matter TV. More bites at the apple.

Working in the arts fulltime requires a grasp of reality. For example, I had proposals written for both Road to Purgatory and ROAD TO PARADISE, but did not submit them to a publisher until the movie had come out. In fact, I had to wait to see if the movie opened big before my agent would even contemplate approaching a publisher. When Road to Perdition had a hugely successful opening weekend, we submitted to multiple houses and had an auction with numerous offers. A week before we would have been lucky to get any offer. Reality.

One key thing I failed to mention last week about The New and Expanded Road to Perdition. It’s a simple fact about movie novelizations that seldom gets discussed: when a writer does a novelization of a film, he or she works from the screenplay and almost never has access to anything else. Sometimes some stills from the set are provided, but the writer never sees the movie before writing the novel.

I admit to being proud of myself when I re-read the complete novelization, in getting it prepared to finally be published by Brash Books. The novel really captures the film…and I hadn’t seen it! I “directed” from the screenplay something very similar to the film version that Sam Mendes directed. That alone makes the Perdition prose novel my proudest achievement in the movie tie-in field…particularly now that you can read it!

Road to Purgatory is available right now from Amazon, Barnes & Noble, BAM! and the usual suspects. Your favorite independent bookstore can also order it for you, if you would care to support them, which is a good idea.

* * *

The positive reviews on the Quarry Blu-ray keep coming in. Here’s one.

Here’s another.

And another.

And this one includes a shot at winning the DVD set. [Note from Nate: Contest is for UK residents only.]

Same opportunity here. [Note from Nate: For UK residents only. Also, might be Blu-Ray? Not sure.]

M.A.C.