Posts Tagged ‘Nathan Heller’

Heart and Soul Pt. 1

Tuesday, March 22nd, 2016

First off, I want to say how thrilled I am that QUARRY’S CHOICE has been nominated for a Barry Award (Best Paperback Original). Toward the bottom of this update will be links to the full list as well as some reviews.

Also, note the cover art for the audio of MURDER NEVER KNOCKS – just finished listening to Stacy Keach’s reading of the book, and it’s fantastic. Speaking of MURDER NEVER KNOCKS, if you’ve read and liked it, please post an Amazon review.

I am back writing these updates (after the four canned entries that appeared during the month following my open-heart surgery). For the next several updates, I am going to talk about my experiences of late, and you are welcome not to read them and to wait until I get back to books and movies and other “funner” topics. But this is on my mind, and I need to purge some.

A month ago today (as I write this) I had my operation, which involved a valve replacement, two bypasses and a couple of other let’s-keep-this-bastard-alive-while-we’re-in-here items. Of that first day, I remember nothing apart from getting wheeled in the operating room. Barb reports that several hours after the operation, I said, “I made it…I made it….” Shortly after that, like most of us with a pulse, I began complaining.

That night, in the ICU, I hallucinated that I was on a spacecraft and being held prisoner. I could see a long windowed-off corridor where futuristic nurses strolled, ignoring my cries of “Help!”

I remember little of the next two days. I know Barb and Nate were with me as much as possible. Apparently I was not a stellar patient. At some point I learned that my right arm and hand were (to use the medical term) fucked up. Basically the arm was weak and the hand felt like a bunch of sausages sticking out of a wad of mashed potatoes. After initial alarm, I wasn’t worried because I figured it would be temporary.

Various nasty things happened during the ICU stay, including getting tubes yanked out of me and the removal of a catheter. But nothing was nastier than the food. I am considering writing a cookbook called HOW TO SCREW UP TATER TOTS. What saved me was Barb, who was spending every afternoon with me, bringing me food from the outside.

The nurses were nice, very helpful, supportive and even sweet. My heart surgeon dropped by every day, and assured me my hand would “come back.” I gradually came to understand that this would include me working very hard to make that happen.

The worst part of the stay was the long nights. Something about my sleep cycle got screwed up as a side-effect of the heart surgery, so that I would sleep for half an hour and then wake up, thinking it was morning. I spent the nights alternating between reading and sleeping and watching movies on a portable blu-ray player and sleeping some more. Of course due to the surgery I had to sleep on my back. The bed was every bit as comfortable as a hotel-room couch fold-out affair. Nurses came in about once an hour to check vitals and give me tests on my lungs and the occasional pills. I hated these long nights and began begging Barb to take me home.

That wasn’t to be – my hand/arm problem required physical therapy and that meant I was headed to the fifth floor. While still on the seventh floor, I began walking (with a walker at first) and had some preliminary work on my hand. Barb spent many hours with me.

The night of the move I hallucinated again. I thought I was sleeping in a bed in a department store showroom that a nurse and an orderly were disassembling. Then they rolled me out of the showroom onto an elevator and down a hall and into a dark room where I was abandoned. I felt afraid, in fact terrified. I began to shout for help and when a kindly older nurse came in, I said I wasn’t comfortable staying here and wanted to call my wife on the phone. The nurse settled me down and I somehow got back to sleep.

NEXT WEEK: THE BEST HALLUCINATION YET

– – –

Here is a fantastic MURDER NEVER KNOCKS review from the great Ed Gorman (glad to have him back reviewing again!).

Here, at the Rap Sheet, is the complete list of Barry Award nominees.

There are several nice mentions of Nate Heller and me in this wonderful piece by Jeff Pierce at the Kirkus blog.

Here’s a short but nice piece on Mickey.

Finally, here’s a good if patronizing review of CARNAL HOURS. The reviewer seems put off by the sexual content – this continues to baffle me, and must be generational. One of the commenters, apparently a Heller fan, finds the novel the “weakest” of the series. I certainly disagree, and have often given it to readers who wanted to sample Heller, because it’s highly self-contained and has a real-life locked-room mystery.

M.A.C.

Better Dead

Tuesday, March 15th, 2016
Better Dead

Hardcover:
E-Book: Amazon Nook Kobo

The first Nathan Heller novel in three years, BETTER DEAD takes a step back in time from the JFK Trilogy (BYE BYE, BABY; TARGET LANCER; ASK NOT) to deal with the events of the Red Scare-era 1950s.

This book has been coming for a long time. It’s one of the projects that got set aside when it came time for Heller to make a comeback after about a decade away. To get Heller back out there, I proposed the Kennedy trio, a good bet for a sale because of the high-profile nature of the material; a trilogy with Marilyn Monroe, Jack Kennedy and Bobby Kennedy was appealing. But it meant skipping several things I had planned to do, including a Robert Kennedy/Jimmy Hoffa book that I hope eventually to get around to.

With BETTER DEAD, the tricky thing is that I have two cases for Nate to deal with. Neither seemed right for a single book, but together – with the shared era and a number of common characters beyond Heller himself – the whole just might exceed the sum of its parts.

Joe McCarthy is one of the characters – and factors – that joins the two stories: the Rosenberg “atom spies” case, and the Frank Olson murder. The latter has to do with the Army scientist who was dosed with LSD at a CIA retreat, which had unfortunate results.

Heller is working on the East Coast exclusively this time around – he’s just opened a branch office in the Empire State Building – which puts him right in the heart of Mike Hammer’s world circa 1953. Heller has always had things in common with Hammer, but this time – in this setting – those commonalities come out more prominently. In fact, as the guy completing the Hammer stories from Spillane’s files, I several times questioned whether I’d slipped out of Heller territory and into Hammer. And is that a bad thing? Certainly wouldn’t be the first time.

On the other hand, Heller’s victories can never be as complete as Hammer’s.

Others in the cast include Bettie Page, Dashiell Hammett, Roy Cohn, Bobby Kennedy, and Sidney Gottlieb (the CIA’s Dr. Feelbad).

It’s a wild one. Watch for it May 3rd.

– – –

Check out this cool QUARRY’S LIST review.

MURDER NEVER KNOCKS is a Pierce’s Pick this week!

Here’s a nice review of QUARRY’S DEAL.

And here’s a somewhat late-in-the-game review of DEAD STREET.

M.A.C.

Heart-Felt Part 6

Tuesday, February 9th, 2016

Yes, let’s get on with it already! I should very soon (today or tomorrow) get test results that will immediately pave the way for the heart surgery. In that case, a good chance I’ll be going in yet this week. If that happens, my son Nate will start posting weekly the four updates I wrote in advance, and I should be in shape to get back to the regular stand after that.

Watch here and at Facebook for health updates from me or Nate.

Everybody has been great. Thanks for the love and support. Back at ya.

* * *

Publication of the ROAD TO PERDITION novel appears to be happening. As I was looking for a project to keep me busy while waiting for test results, I decided to prepare the manuscript for Brash Books. For those who came in late, in 2002 I wrote a 70,000-word movie tie-in novel (okay, novelization) of the script for the movie that was based on my graphic novel. In my novel, I attempted to be true to the screenplay while weaving in material from the graphic novel as well as historical material about the real John Looney and his era.

The DreamWorks licensing department put me through hell, making me cut anything – including dialogue! – that wasn’t directly from the script. They could not have cared less that I was the creator of this story and its characters. Even after they had accepted my 40,000-word debasement of my original novel, they kept cutting – if, in the film-editing process, director Sam Mendes dropped a scene or even a few lines of dialogue, they removed that from my novel as well. One chapter was reduced to a page and a half.

I’ve always felt I did really good job on the book, and it really paved the way for my sequels, ROAD TO PURGATORY and ROAD TO PARADISE. So I’ve looked for a way to get the novel into print. Now, enough years have passed that nobody at Paramount (who control DreamWorks) seems concerned about my original version finally being seen.

Quick anecdote. I was told by the DreamWorks licensing people that Mendes himself was making the requests for my drastic cuts of the novel. That he wanted it exactly like the movie. Then when I talked to Mendes at the London premiere, he said, “I hear you’ve written the movie novel – can’t wait to read it!”

So, anyway, back in 2016, I was faced with looking at my 2002 manuscript and dealing with it. Making decisions, doing tweaks, ferreting out typos and missing words. This was my original manuscript, after all, not any published version.

My first decision was to change the slightly revised movies names of several central characters back to my version of them – “Michael Sullivan” was restored to “Michael O’Sullivan” and John (and) Connor “Rooney” again became “Looney.” (The change from “Looney” to “Rooney” was done when either Mendes or the screenwriter assumed the former was a comic-booky name provided by a graphic novelist, when of course the latter is historically accurate.)

My second decision was to get rid of two major plot changes. (SPOILER ALERT: skip this paragraph if you haven’t read the graphic novel and/or seen the film). In the graphic novel, as in history, John Looney is not killed. And in the graphic novel, the boy Michael kills the hitman who has shot Michael’s father. In the film, Looney memorably dies in the rain, and a Hollywood ending has the boy unable to shoot the hitman and the dying father being pleased. I had already restored the envelope of first-person narration by the grown Michael, Jr., and a last-page revelation of what became of him.

So I spent a day rewriting those scenes, taking them back to my original intention. But it didn’t work. The screenwriter had done too good a job of laying the groundwork for his version of my scenes. And I had done a really good job in the novel of doing the same, including fixing some plot holes in the script. Re-doing those scenes to make them consistent with the graphic novel created a domino effect of terrible proportions. The next work day, I restored the scenes as I’d originally written them (faithful to the movie script).

It quickly became clear that I had no business doing any significant rewriting. The point of the exercise was to get what I wrote in 2002 into print. This is not to say that I didn’t do some tweaking, but it was mostly a few word choice changes. I did fix a couple of things that bothered me in the movie that I had let pass in the novelization.

An example – in the film, Mike Sullivan has just offered his services to Frank Nitti if Nitti will give up Connor Rooney. Nitti turns Sullivan down, then after Mike has gone, we find that in adjacent room both Connor and John Looney are waiting. In what I think of as the Dr. Evil and Scott scene, Connor tells his father that they should take Mike down right now – he’s in their grasp! Rooney, again like Dr. Evil in Austin Powers, says something like, “You just don’t get it, do you son?” As much as I love the film, this makes me cringe. So I revised it with the father telling his son why it would be unwise to kill Sullivan, specifically that in a busy hotel during the day, the resultant melee would be a disaster. Those who’ve read the graphic novel know that I did have O’Sullivan shoot his way out of the hotel. Not staging that scene was a rare misstep and a missed opportunity.

On the whole, I was very pleased by what I wrote in 2002, and again I did very little rewriting or additional writing. Since Brash Books also intends to bring out ROAD TO PURGATORY and ROAD TO PARADISE in new editions, I feel confident that the prose novel of ROAD TO PERDITION will be a good lead-in – that it forms with the two sequels a trilogy that will please readers, particularly those who became familiar with PERDITION via the film.

One final note: one of the trickiest things had to do with converting between word processing programs. You want to know how long ago 2002 was? The book was written in WordStar! I had to convert it to Word Perfect, my preferred program, after which my revised manuscript had to be converted to Word. That meant, as a final step, going through and eyeballing each of around 400 pages, looking for glitches.

* * *

Check out this nifty cover of the mass-market edition of KILL ME, DARLING. By the way, I don’t recall whether I’ve mentioned it or not, but several goofs in the hardcover of COMPLEX 90 were corrected in the paperback version – making it the author-approved text of that novel.

The DARLING paperback will be out this month (the 23rd).

Speaking of my collaborations with Mickey Spillane, I urge you to check out the article at Great Writers Steal that happens to be one of the smartest examinations of either my work or Mickey’s that anybody has ever written.

Less smart is the favorable but patronizing review at the normally more reliable UK site, Crime Fiction Lover. Once again, it turns out that a book written in the ‘70s includes some ‘70s attitudes. And once again, the reviewer troubled by that doesn’t mind at all Quarry killing people.

Speaking of smart reviews, here’s a great one about the Heller novel ASK NOT, from Frank the Movie Watcher.

Let’s wind up with a great piece on THE MALTESE FALCON, from a writer smart enough to quote me.

M.A.C.

Tweaking (Not Drug-Related)

Tuesday, December 22nd, 2015
Better Dead by Max Allan Collins

The work over the past week, and the work ahead during the week after Christmas, is a part of the career of writing that is little discussed. But it’s key to the process.

Over the period of a week, I read and corrected the galley pages of three novels of mine – THE BIG SHOWDOWN (the second Caleb York), ANTIQUES FATE (by Barb and me as “Barbara Allan”), and BETTER DEAD (the McCarthy-era Nate Heller). The latter is a long manuscript, almost the length of the previous two combined.

This stage marks the last chance for a writer to catch goofs, seek out typos and make final revisions and tweaks. Oftentimes, the production person scolds the writer in advance about making any changes. The attitude is that the book is finished and it would be too costly to make any changes that don ‘t address typos or outlandish errors. I ignore this admonition, although I keep my tweaking to a minimum and rarely rewrite unless I really have come across an outright error.

But these final tweaks are often the difference between a smooth read and a rough one. I noticed with BETTER DEAD something that happens too frequently in my work: the last few chapters can have a rushed quality, because I am gathering steam and racing toward the ending – much as a reader of an exciting novel reads faster, even skimming, to get to the end. In BETTER DEAD’s near 400 pages, I found next to nothing in the first 2/3’s, but quite a bit in the final third. These tweaks represent nuance via word choice and sometimes the elimination of repeated words.

To me this is vital part of the writing process – that final polish, and a read that occurs several months after the initial writing, which breeds better objectivity. True, I’ve had a chance to view the novel in the copy-edited form a month or so before the galley proofs arrive. But with a copy-edited manuscript, my focus goes to the changes that the copy editor has made, each of which has to be thought through – sometimes copy editors are right, like a stopped clock.

Next up are the galley proofs of MURDER NEVER KNOCKS (the Mike Hammer novel previously announced as DON’T LOOK BEHIND YOU) and QUARRY IN THE BLACK. I also hope to put together a collection of the Mike Hammer short stories I’ve developed from shorter fragments in Mickey’s files; these have appeared in the STRAND, mostly. I’m talking about such a collection with Otto Penzler at Mysterious Press. I need to read my stories and determine what order they should appear in, and I’ll want to write an introduction.

For me it’s a luxury not to be working on a novel over Christmas week – as I often have – and attending to some of the less-glamorous aspects of the writing trade (well, there aren’t really any glamourous aspects to it, unless Hollywood buys something) is a good way to get something done without spoiling your own holiday season, and that of the others in your life.

* * *

I’ve discussed the oddity of reading current reviews of early works, but nothing tops reading a write-up about MOURN THE LIVING, which was my first novel and introduced Nolan…and was written almost fifty years ago. It’s a book I would be loathe to re-read, but in some respects it’s the most important one I ever wrote, as it’s the novel that Richard Yates read that convinced him to invite me into his Writers Workshop class at the University of Iowa. So much of my career has flowed from Yates as my mentor. On the other hand, I always like reading good reviews like this one.

Of course, Hard Case Crime has been reprinting the early QUARRY novels, but late in 2016 they will be publishing a brand-new one, QUARRY IN THE BLACK. Read about it here and get a look at the fantastic cover.

One of those QUARRY HCC reprints has made a stocking stuffers list at the Geek Hard Show. Festive little write-up!

Here’s yet another one of those “best movies that you didn’t know were based on comics” lists. But ROAD TO PERDITION is treated very nicely, so check it out.

That same website – Talking Comic Books – has an interesting podcast (well over an hour) in which a number of film buffs discuss the film of ROAD TO PERDITION in a lively fashion. One oddity, at least from my POV: the guy who says ROAD TO PERDITION is his favorite movie has never bothered to read the graphic novel. In fact, for a podcast that’s part of Talking Comic Books, one might think the graphic novel would get more than one fleeting mention. But that’s all it rates. Still, there’s some fun to be had and some intelligent commentary to be heard.

Finally – Merry Christmas! Or Merry Whatever You Celebrate, as long as it doesn’t involve sacrificing a goat.

M.A.C.