The Million Dollar Question and A Goodbye

If mystery/crime is still one of the top selling genres for books, why are so many mystery magazines and publishers having such a hard time surviving compared to speculative fiction markets? The demise of Down & Out Books this month, coming on the heels of other closures, sales, and consolidations, has me thinking about the continued shrinkage of the mystery market and about what really drives sales for a particular genre. (With Down & Out’s closure, two of my stories that were awaiting publication need new publishers.)

Every couple of months, someone in the short mystery community asks how to sell more crime fiction short stories to the reading public. Someone else always answers that short stories don’t sell well because they are considered literary fiction, a category which sells far less than any other form of fiction. Others say that it’s simply a well-known fact that people don’t read short stories because they prefer novels and series.

Why assume short fiction is considered “literary” when short science fiction and short fantasy don’t seem to have problems selling? Why assume few people read short fiction when the existence of so many successful short speculative fiction markets seems to belie that supposition?

Go to any writers’ submission information site, Submission Grinder, Chill Subs, etc., and you will find far more markets for short speculative fiction (science fiction / fantasy / some horror) than you will for short mystery / thriller / suspense. The markets for short speculative fiction pay their authors far better than the crime genres, too. Why do they pay more? Because they have the sales numbers to support the pay.

In the short mystery fiction community, authors are frequently exhorted to buy more anthologies and subscribe to more magazines to support our community so that it doesn’t vanish. But if authors are the only audience, something is seriously wrong. Are dancers or actors told to buy tickets to their own theatrical performances so the show doesn’t close? Are artists urged to purchase artwork to prevent galleries from failing? Are musicians told to buy as many songs and albums as possible to help keep the music industry afloat? No. In all those creative-arts-based industries, business leaders recognize that it takes more than just the creators to support the industry. It would be ludicrous to believe that the creators alone could support an industry. Ergo, no amount of chiding of short mystery authors is going to improve sales numbers. It takes fans to support a genre.

So why aren’t crime and mystery fans buying short fiction while sci-fi and fantasy readers are? Are we marketing in the wrong places? Are we failing to draw in younger readers who then grow up to be buyers and subscribers? Maybe. But I think the situation is more complex than that. The mystery genre had a heyday, a golden age when it was all the rage in the early to mid-1900s. Once upon a time, Ellery Queen was a television series. So was Alfred Hitchcock Presents.

Today, we have Michael Connelly’s many works on streaming services. Craig Johnson’s Longmire and Tony (and Anne) Hillerman’s Leaphorn and Chee did well on screen, too. Only Murders in the Building has made a splash. The Enola Holmes movies are popular. People love the Brit Box mystery offerings. But the mystery genre offerings for the last three or four decades have been a drop in the bucket compared to the speculative fiction options available in the larger world of entertainment.

Today’s science fiction and fantasy stories are features of computer games and blockbuster movies. A glance at market offerings confirms that some mystery computer games exist, but very few are pure mystery. Most computer games with mystery plots are set on other planets, in other galaxies, in the future, or have other speculative elements.

Is there a connection between the current abundance of speculative fiction entertainment in games and movies and the thriving speculative short fiction market? Probably. Speculative fiction has been central to the cultural zeitgeist for several decades now, the same decades in which the mystery genre markets have been slowly vanishing.

What short mystery fiction really needs is a new golden age of mystery with a strong resurgence in the crime genre on screens. Until then, short mystery fiction writers will have to find other ways to reach readers. Which means we have to try the smaller-scale techniques and the more personal methods to increase our fanbase.

Some authors are trying book trailers on TikTok, YouTube videos, and social media posts in the hope of going “viral.” This month, I tried an even more direct approach to spread the word about short mystery fiction to youth. I spoke to a class at the local high school about how to revise short stories. I brought with me a half a dozen crime fiction anthologies and a handful of magazines and displayed them for the students. I told them to read, read, read. I recommended that they seek the “best of” anthologies for their genres. I recommended that they subscribe to magazines and ezine.

Will any of those kids read a crime fiction anthology or buy a crime fiction magazine subscription? I have no idea. However, I do know that we need to stop blaming authors for not buying enough magazine subscriptions to keep a magazine afloat or enough books to keep a small publisher from going bankrupt.

And now, a farewell. The Ink-Stained Wretches blog is closing, too. I will be moving over to post on the Austin Mystery Writers blog. All of the other members of this blog, except me, are already there. Look for my next post over at Austin Mystery Writers.

Thanks for reading.

Noreen

The End of a Dream?

My first published story appeared in Analog: Science Fiction and Fact in 2012. Since about 2020, I’ve been making a concerted effort to land a story in that magazine’s sister mystery magazines, Ellery Queen Mystery Magazine (EQMM) and Alfred Hitchcock Mystery Magazine (AHMM). This has been my dream, my professional goal for years now. Thanks to changes in the industry, I may need to find a new goal.

Those who don’t follow the short fiction world may not be aware that a handful of the top paying professional mystery and science fiction magazines were sold to new owners in the last six months. Analog: Science Fiction and Fact, Asimov’s Science Fiction, EQMM, and AHMM were operated by Dell Magazines which was owned by Penny Press since 1996. The magazines were purchased earlier this year by Must Read Magazines, a division of Must Read Publishing, which is owned by Paragraph 1, Inc. Paragraph 1 also purchased The Magazine of Fantasy and Science Fiction which had been owned by Gordon Van Gelder since 2001.

What does that mean for readers?

So far, not much, other than a delay in the release of the latest magazine. My July/August issue of AHMM arrived this week, late under the previous publication timeline. The editors at the mystery magazines remain the same, which suggests that kinds of stories chosen for publication will remain the same.

What does this mean for authors?

Contract changes galore! UGLY ONES! The new owners have disposed of the old contracts, which were industry-standard short fiction contracts, and replaced them with new contracts that do not reflect the industry standard in any way.

The changes to the contracts are so extreme that authors are protesting loudly. Some, like Kristine Kathryn Rusch, have publicly announced that they will not be submitting to the magazines anymore and have pulled all pending stories because of failed contract negotiations. The Science Fiction and Fantasy Writers of America and Mystery Writers of America have both reviewed the contracts and entered negotiations on behalf of authors in hopes of improving the contract terms. Writer Beware has issued a warning statement on the contract terms, which included a waiver of moral rights and clauses covering production, merchandising, reprint, anthology, and other rights. The Submission Grinder formally delisted all of the magazines because of these “non-standard” contract terms.

In response, the owners of Must Read Magazines state that they are revising the contracts, supposedly replacing the moral rights waiver with other language. But even if that waiver is removed, the intellectual property rights grab involving production, merchandising, reprints, anthology, and other rights may remain.

This leaves me questioning what I should do. My last story in the queue at EQMM was recently rejected, but I have two stories submitted to AHMM right now. Do I leave them in the queue and see how negotiations play out? Do I pull them, as other authors have done, and submit them elsewhere?

If the top authors are pulling out, the quality of the magazines may decrease. Admittedly, my chances of getting a story published increase if others choose not to submit. But do I want to be in a magazine only because others decided the terms of the contract were too unfair? Does that make me a scab, willing to accept harmful terms out of desperation? Do authors stand a better chance of getting better terms if we all reject onerous contracts? We are all free-lancers with loose affiliations through memberships in writing organizations, not members of a union.

For now, this is all just a thought exercise about a dream, a goal I’d set for myself, a goal I may have to reset.

*****

N. M. Cedeño is a short story writer and novelist living in Texas. She is active in Sisters in Crime- Heart of Texas Chapter and is a member of the Short Mystery Fiction Society. Find out more at nmcedeno.com.

The Research Rabbit Hole: Jewel Theft 1950s-1960s

I’ve been researching background for another story featuring my character Jerry Milam, a World War II veteran and ex-cop turned PI. In looking for crimes for my detective to solve, I started digging into old newspapers for information on jewel thefts. I chose the topic because I’d read about the robbery of the American Museum of Natural History in New York in 1964. While the robbers were later caught, only ten of the twenty-four stolen gems were recovered. In researching that theft, I discovered that the Witte Museum in San Antonio was robbed in 1969, with a thief smashing a glass display case in order to snatch the forty-nine carat McFarlin Diamond, a canary yellow, emerald cut stone described as being the size of a hen’s egg, which was also never recovered.

Then, I fell down the rabbit hole.

Back in the days when J. Edgar Hoover was still in charge of the FBI, jewel thefts were all the rage in crime. Jewels, once removed from their settings, were impossible to identify because, unlike today, they had no microscopic serial numbers etched on them. Etching of jewels for identification purposes began in 1983. While watches had serial numbers, most people didn’t bother to make a note of theirs. Fences were happy to purchase stolen jewels and watches because they were so hard to link back to the original owners. Most gem stones were easily recut or reset and resold, vanishing forever.

Most jewel robberies in the 1950s and 1960s were committed by stealth, leading to the image of the lithe cat burglar crawling over rooftops firing the popular imagination. Alfred Hitchcock even made the movie To Catch a Thief, released in 1955, with Cary Grant playing a retired jewel thief known as the Cat.

Between 1959 and 1967, Lauren Bacall, Winston Churchill, Sophia Loren, Eva Gabor, and Yul Brenner, along with other famous and wealthy people, were relieved of their jewels by thieves. With the exception of Eva Gabor, none were present at the time of the theft. Thieves, likely the same ones who robbed the American Museum of Natural History’s gemological exhibit a few months later, waited for Eva Gabor and her husband to return to their hotel room in order to steal her twenty-five-thousand-dollar diamond ring, which they had been unable to locate while she was away from the room. They pistol whipped and bound Ms. Gabor and forced her husband to retrieve the ring from the hotel safe before making their getaway.

If you are wondering why one ring was enough for the thieves to risk adding armed robbery and kidnapping to the charges against them, consider that the average income in 1965 was less than seven thousand dollars a year. A twenty-five-thousand-dollar ring was worth several years income to most people.

My research led me to realize that even without serial numbers and etched identification codes, certain jewels would be easier to trace than others. Which jewels might be more traceable? Cabochon star rubies and sapphires. A rounded, polished shape, called a cabochon, was how all jewels were prepared before cutting was developed for gemstones. Opals are still prepared and set as cabochons.

Star rubies and star sapphires exhibit a phenomenon called asterism, a star pattern visible when light hits the stone. The star is created by long inclusions inside the stone. Stones with asterism are rounded and polished as cabochons, not cut, to preserve the star within them.

The Edith Haggin DeLong Star Ruby
By Vicpeters – Own work, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=165353250

Star rubies and star sapphires are valued based on the clarity and size of their stars, the color saturation and transparency of the stone, by their shape, and by their inclusions and cloudy areas. These same features make the stones more easily traceable and identifiable. While other gems can be recut and reset to disguise them, star rubies and star sapphires can’t be cut because the rounded shape is what allows the star to be seen.

Is it any surprise that the most valuable stones recovered from the American Museum of Natural History robbery were the Star of India, one of the largest blue star sapphires in the world, and the DeLong Star Ruby, while the Eagle Diamond was never found?

That’s enough rantings from the rabbit hole.

*****

N. M. Cedeño is a short story writer and novelist living in Texas. She is active in Sisters in Crime- Heart of Texas Chapter and is a member of the Short Mystery Fiction Society. Find out more at nmcedeno.com.

When Disinformation Leads to Death

N.M. Cedeño

Here in Texas over four hundred people have contracted measles in the past few months, resulting in the death of at least one child. Most of these cases were preventable with a vaccine. So why weren’t the victims immunized? Some are infants, too young to be vaccinated. A few may be people with compromised immune systems or other medical conditions that prevent them from receiving vaccines. However, the majority aren’t vaccinated because of conspiracy theories and false information being fed to parents, making them fear the vaccine.

Back in the 1990s, a British doctor, whose medical license was later revoked because of the medical hoax he perpetrated, falsified a study claiming to have identified a causal link between the vaccine for measles, mumps, and rubella, (the MMR vaccine) and autism. He published a massive lie that spread like wildfire and caused vaccination rates in Europe and the United States to plummet. By the time the fraud was revealed, the damage had been done.

As a parent of a child on the autism spectrum, I am absolutely certain the MMR vaccine did not contribute to the condition. I spotted variances in my child’s development by the time he was six months old. I knew something was different about the way he did and did not focus on motion months before he was given his first MMR vaccine. No vaccine caused his neurological differences. The most likely cause is a complex interaction of genetic factors.

Measles and rubella are not diseases that should ever be allowed to spread unchecked. Measles can kill, and when it doesn’t kill, it can obliterate the patient’s immune system, leaving them susceptible to a variety of infections. In countries where vaccination rates for measles are low, children who survive measles frequently die of other illnesses within a short time after having measles. Measles is also one of the most contagious diseases in the world, able to linger on surfaces and in the air for hours after an infected person has left the area.

William Morrow Paperback, reprint edition cover 2004

Rubella, depending on the stage of a woman’s pregnancy when she contracts the disease, can cause blindness, deafness, heart deformities, developmental abnormalities, and death for babies. Many infants only survive a short period after birth due to the damage caused in utero by rubella, also known as German measles. A well-known example of the harm caused by rubella was the case of actress Gene Tierney’s daughter, Daria, which inspired Agatha Christie’s novel The Mirror Crack’d from Side to Side.

Growing up, I heard the story of my uncle’s birth from my grandmother more than once. She contracted rubella while pregnant and decided not to go to the doctor for her check up that month because she knew that the doctor would push her to abort. In 1950s America, doctors saw so many deaths of newborns caused by rubella that they frequently advised a mother to abort if she contracted rubella while pregnant.

My grandmother made a choice, believing one should always give life a chance, knowing that her baby might not survive. My uncle was born at around three pounds, his growth and development stunted by the disease. He was deaf in one ear, had heart problems, had very poor vision, and only grew to about five feet tall. But he survived and lived to the age of 70, managing to get a driver’s license, go to community college, and work a variety of jobs.

As a parent, I have met other parents who chose not to vaccinate their kids. That decision, made by otherwise intelligent and educated people, still shocks and disheartens me. Reading that the parents of the child who died from measles still say that they wouldn’t have vaccinated their child scares me. How could they possibly think that the vaccine is somehow worse than the death of their child?

This current measles crisis is yet another example of conspiracy theories and false information being promoted over facts and truth to the detriment of society. Disinformation campaigns, conspiracy theories, and the current general distrust of any authority inspired me to write my latest story, entitled “Murder by Alternate Facts.” In the story a young woman named Arlene stumbles upon a wreck on a lonely country road and is forced to make a choice affecting who lives and who dies. The repercussions of Arlene’s choice inspire conspiracy theories, dividing her hometown and leading to murder.

“Murder by Alternate Facts” appears in the Murderous Ink Press anthology Crimeucopia: Chicka-Chicka Boomba! from editor John Connor.

*****

N. M. Cedeño is a short story writer and novelist living in Texas. She is active in Sisters in Crime- Heart of Texas Chapter and is a member of the Short Mystery Fiction Society. Find out more at nmcedeno.com.

Thank You, Encyclopedia Brown!

A post by editor and author Michael Bracken over at Sleuthsayers last week made me ponder my writing influences when it comes to detective fiction. Michael, who has read more than his share of detective fiction in the course of his work recently, suggested that authors need to move away from the trope of the “broke, drunk, and horny” private eye if they want to write something that stands out from the pack. He also recommended not always starting the case in the detective’s office because that can lead to too much back story and a severe delay in moving the plot forward. Reading his post, I realized that I’ve never once had the urge to write that stereotypical “broke, drunk, and horny” character. Then, I wondered why I hadn’t.

My first published short story was a detective story. And while my character, a private investigator named Pete Lincoln, was broke, his financial situation had more to do with the times in which he lived than with his own inability to manage funds. His sex life was irrelevant to the case and didn’t come into the story at all. If he drank, it wasn’t to excess, and also didn’t come into the story. Pete lived and worked in a future world in which privacy rights didn’t exist. He appeared in a story entitled “A Reasonable Expectation of Privacy,” which was first published in Analog: Science Fiction and Fact in 2012, and reprinted in Black Cat Weekly #19 in 2022.

Given that most writers, when they first start crafting fiction, write the tropes that they absorbed while reading, I asked myself what detective fiction I had absorbed at an early age that influenced my writing and that didn’t lead me straight to writing the classic stereotype that Michael was lamenting. Who was the first fictional private detective that I read?

And the answer came to me: Encyclopedia Brown, Boy Detective.

Image Created with Canva

While the boy detective did teach me the basics for detective fiction, he wasn’t in financial straits since he was a child who lived a quite middle-class life with his parents. Everyone knew Encyclopedia liked his friend and partner Sally, but that didn’t remotely approach the trope of womanizing detective. As for drunk, no! While some of his cases started in his garage office with a client paying the twenty-five-cent fee, other times Encyclopedia solved cases for his father, the police chief, while sitting at the family dinner table. So the stories also taught me that not all cases had to start in the detective’s office.

By the time I read Sherlock Holmes a few years later, the pattern of how detective fiction worked was already firmly fixed in my head. While Holmes indulged in illicit substances, he also wasn’t a classic “drunk.” Holmes never panicked about paying the bills or complained about being broke. As for women, the only one that counted for anything for Holmes was Irene Adler. So Holmes, another of my early fictional detective influences, didn’t fit the stereotype either.

Since writing my first PI story, I’ve written many other detective stories. While I have started several of them in the detective’s office with the arrival of a client, not one of my detectives has been “drunk, broke, and horny.” For example, Detective Maya Laster is a former middle school teacher who turned a genealogy hobby into a detective business, solving mostly cold cases with the help of forensic genetic genealogy. She has appeared in two stories in Black Cat Weekly (issue #79 and #110) and will be appearing again in an upcoming anthology.

Another of my characters, PI Jerry Milam, came of age during World War II, became a police officer following the war, and suffered terrible injuries in a car wreck which ended his police career, leading him to become a private investigator. He’s a teetotaler with a solid income and chronic left hip pain who feels he missed his chance with women. He appeared in Groovy Gumshoes: Private Eyes in the Psychedelic Sixties and Private Dicks and Disco Balls: Private Eyes in the Dyn-O-Mite Seventies. One of my current works-in-progress sees him solving a case in the 1950s.

If my detectives managed to side-step the cliché of the “broke, drunk, and horny” private investigator, I have my early reading influences to thank for it. So thank you Donald J. Sobol for creating Encyclopedia Brown and teaching me to create private investigators who avoid falling into clichés.

*****

N. M. Cedeño is a short story writer and novelist living in Texas. She is active in Sisters in Crime- Heart of Texas Chapter and is a member of the Short Mystery Fiction Society. Find out more at nmcedeno.com.

Goodbye 2024 / Goals 2025

N.M. Cedeño

Between writing, watching a child graduate from high school and leave for college, shepherding another child through obtaining a driver’s license and applying for college, and undergoing unexpected eye surgery, 2024 was a busy year. The year also featured my father’s eightieth birthday party, my twenty-fifth wedding anniversary, and a vehicle totaled in a car accident. Call it the usual assortment of life’s ups and downs.

Last year I set a goal to submit three stories a month. Thanks to my unexpected vision issues and subsequent eye surgery, I didn’t quite hit that goal. I did manage to submit twenty-two unpublished stories and nine previously published stories to various venues for a total of thirty-one submissions.

Seven of the unpublished stories were accepted for publication. Four are still pending either acceptance or rejection. Of the previously published stories that I submitted, seven are still pending and two have been rejected.

Six of my stories were published in 2024. Three appeared in anthologies; two appeared in Black Cat Weekly e-zine; and one appeared on the Redneck Press website. Three short stories and one novella that were accepted for publication in 2024 are pending publication, marching toward their release dates.  

These three anthologies containing one of my stories that came out in 2024.

Speaking of that novella. Writing the novella was a challenge and an occasion for learning in 2024. I have a writing process for short stories and another process for novels. I didn’t have a process for the intermediate length. For short stories not requiring research I typically make a few notes and start writing. For full novels I make a few notes and start writing, stop after a few chapters, make more notes, write until I’m two-thirds of the way done with the plot, make revised notes, and then write until I finish the first draft of the book. My process for the novella ended up looking like neither my short story nor my novel processes.

The novella required research, which was difficult to do with one of my eyes seeing double. Writing it was difficult for the same reason. The situation called for flexibility. So, I did something that I don’t normally do. I wrote the story scene by scene by asking myself “what scenes will this story need?” Instead of starting at the beginning, I started writing with a scene I knew I would need.

After writing a few scenes, I made a list of scenes I still needed. Then I went down the list writing the scenes. If I wasn’t sure about how to write a scene, I skipped it and wrote a different scene. Then I went back, figured out the missing scenes, while adding other scenes that I came up with after I made the initial list. Finally, I connected everything. It worked better than I expected. I completed the initial draft in about a month, and finished it with time to spare before the deadline.

Looking forward to 2025, I am setting the same goal of submitting three stories per month. I already have some story deadlines on the calendar, and I’m looking forward to diving into writing them. How many stories will I write? I don’t know, and I’m a bit reluctant to set a goal. However, I do plan to stick with writing short stories with no plans to write a novel.

I plan to attend at least one writing conference in person this year. I have my sights set on Bouchercon New Orleans.

I plan to keep learning from webinars.

I also plan to read more than in 2024, an easy goal, since my reading was severely curtailed by the eye issue.

On the home front, some of 2025 will mirror 2024, with a child graduating from high school and leaving for college. We’re still waiting to find out what college. The main difference from 2024 will be that my last chick will likely fly the nest for the dorms in 2025. We will have a temporarily empty nest until the two youngest chicks return home to the nest during school breaks. Having no children at home will be a huge change in my household routines. I’m sure it will affect my writing patterns and plans in more ways than I can predict.

Here’s looking forward to the new world of 2025!

*****

N. M. Cedeño is a short story writer and novelist living in Texas. She is active in Sisters in Crime- Heart of Texas Chapter and is a member of the Short Mystery Fiction Society. Find out more at nmcedeno.com.

Stop Signs, Part I

 

 

 

by Kathy Waller

 

At the end of Thanksgiving Week, I’m sharing a story made from things I’m thankful for: a hometown the size of a broom closet; long, hot summers that started on  June 1 and stretched clear to Labor Day; a visiting teenager who spent every spare minute reading Gone With the Wind; bobby socks and garter belts and petticoats; an ornery Presbyterian great-aunt and her ornery Baptist mare; front porches where quiet kids learned a lot; Army surplus bunk beds; a grandfather who said stop signs cause wrecks. I don’t know whether he believed it, but he said it. 

Flannery O’Connor said, “Anyone who survives a southern childhood has enough material to last a lifetime.” 

I survived. So do the memories. 

(“Stop Signs” won first place for short story in the 2000 North Texas Professional Writers Association Contest. It isn’t a murder mystery, but only because one of the characters restrains herself.)

***

Stop Signs, Part I

My grandfather thinks stop signs cause wrecks. That’s what he told Mama when they put up stop signs at Farm Road 20. If you go on across, you’ll be okay, but if you stop, you won’t be able to build up enough speed, and a car will come along and hit you for sure.

Mama didn’t argue. She says when she married into the Coburn family, she learned to pick her battles. The rest of the time, she’s just polite.

Nobody was just being polite that day on Aunt Eula’s front porch. Dr. Larrimore was there, and they were talking about the new phone system we’re getting. We’ve always just turned the crank and told Ernest who we want to talk to, but now we’ll have to dial a number. Dr. Larrimore said it’ll never work—people will get the O and the zero mixed up. They also agreed that man will never go to the moon because it isn’t in the Bible. Mama said the new phone system isn’t in the Bible either. I don’t know whether to be more concerned about getting the O and the zero mixed up or about having a doctor who gets them confused.

I know Aunt Eula wasn’t just being polite because she doesn’t bother with that kind of thing. She is Daddy’s oldest aunt, and, like Grandaddy, is tall and straight and white-haired. Unlike Granddaddy, she is proud and haughty. She belongs to both the Daughters of the Republic of Texas and the United Daughters of the Confederacy. She likes the United Daughters best. Mama says that’s because she’s an unreconstructed rebel.

Aunt Eula has a beautiful sorrel mare named Lady, who is my Mr. Boots’ mother. She bought her when the San Marcos Baptist Academy sold off its stables. I used to ride her before Mr. Boots was saddle broke. Mostly I chased her around the pasture trying to catch her. Once when I finally got hold of her and got the bit in her mouth and led her into the yard to saddle her, she sidled up to a big pecan tree and walked round and round it, while I followed, trying to get the saddle across. She’s never tried to unseat me, probably because by the time we get started, she’s worn out.

Daddy says Lady’s uncooperative because those Baptist Academy kids didn’t know how to ride and let her build up some bad habits. Mama says it’s because she belongs to Aunt Eula, and animals always resemble their owners. I say it’s because she’s a Baptist set down here in a nest of Presbyterians, and she’s testing the doctrine of Free Will against that of Predestination.

My cousin Ruth must be a Baptist, too, because she’s been using her Free Will ever since she arrived last month to spend the summer.

Ruth is thirteen, two years older than I am, and she used to be my dearest friend in the whole world. I could hardly wait till she got here. I had the summer all planned out. I would ride Mr. Boots and she would ride Lady, when she could catch her, and we would explore all the places over on York Creek that Mama won’t let me go to by myself. We’d share a bedroom and talk all night just like sisters.

But when we picked Ruth up at the train in San Marcos, I hardly recognized her. She was wearing a dress with about five petticoats, and high heels, and nylon hose. She was carrying a copy of Gone With the Wind.

We got into the back seat of the car. I held her book while she spent about five minutes arranging her petticoats.

“Do you like this book?” I said. “I read it last spring.”

She raised her eyebrows. “I’m surprised Aunt Virginia let you. It was written for adults.”

“I guess you haven’t heard,” I said. “I’m advanced. I’m a third of the way through the high school reading list.”

She smiled. “You’ll probably want to read this one again when you’re older. I imagine you missed a lot.”

I let that pass and tried again. “Why aren’t you wearing loafers and bobby sox?”

She said, “They’re not appropriate for the train.”

I said, “Why?” and she said, “They just aren’t,” and I said, “Who told you that?” and she said, “You’ll understand when you’re older.”

“You told me wearing a garter belt was like sitting on rubber bands.”

“I’ve grown up a lot since I said that.” Then she crossed her legs at the ankle and folded her hands over her white straw clutch purse, and by the time we got to Martindale, I was nauseated, and it wasn’t motion sickness that was causing it.

At home, Daddy carried Ruth’s suitcases into my room, and Ruth said she would sleep on the top bunk.

“That’s where I’m going to sleep,” I said.

Ruth knows better than to boss me outright—I got that settled when I was five—so she tried bribery instead.

“Look, if you let me sleep on the top, you can lie on the bottom and kick me while I’m sleeping.”

“It’s tempting,” I said, “but my legs aren’t that long. It looks like yours are, though. Exactly how tall are you now?”

She smiled. “Mother says I’m going to be statuesque.” And then Princess Grace floated out to see if Mama needed help in the kitchen.

The next day, I was up at six o’clock as usual, ready to saddle Mr. Boots, but Ruth didn’t drag out of bed until nine. Then, instead of saddling up and heading to York Creek, she insisted on walking downtown to say hello to all of my relatives. When she saw Aunt Eula and Aunt Babs sitting on the front porch, nothing would do but we must stop and visit. The first thing out of her mouth, Ruth asked Aunt Babs to teach her to crochet. Aunt Babs lit up like a chandelier and ran inside to get a hook and some yarn so they could start right away.

While she was gone, Ruth told Aunt Eula that she was reading Gone With the Wind and asked about the United Daughters. That got Aunt Eula started. Before they were finished, she and Ruth had rebuilt Tara on the banks of the San Marcos River and were ready to move in. Aunt Eula told Ruth the next time she came, she could look at Great-great-grandpa’s Civil War sword and medals. When we finally left, I heard Aunt Eula tell Aunt Babs that Virginia’s niece was turning into a lovely young lady even if she wasn’t a Coburn.

Ruth spent all the next day chain stitching with her nose in a book. That night, she kept the light on a half-hour past my bedtime. I finally leaned over the side of the top bunk and asked her, very politely, to turn out the light.

“I can’t,” she said. “I’m putting my hair in pin curls.”

“Anybody who spends that much time on a ducktail must have a bird brain,” I said, and she took one of her statuesque legs and kicked the underside of my mattress, and I yelled, and Mama came and moved Ruth into the front bedroom, where she had her own double bed and a good breeze and our grandmother’s piano, and she played her transistor radio all night long.

And that wasn’t all she did up there at night. I know because one night when I thought she might be asleep, I tiptoed in to turn off the radio—I’d had about as much “Purple People Eater” as anyone should have to endure—and Ruth was sitting on the side of the bed in the dark, talking to Junie Franklin through the window screen. He was sitting out in the yard on Uncle Robert’s Palomino. I was shocked. If Mama knew what was going on, she would be very disappointed.

TO BE CONTINUED

***

Frank Waller [“Dad”] and Kathy Waller, ca. 1962
More about the man who said stop signs cause wrecks at “Dad” on the blog Whiskertips.

Writing “Galápagos People Watching”

As some readers may already know, my husband is from Ecuador. I met him when we were both students at the University of Texas at Austin.

View of the harbor from the hotel – Puerto Baquerizo Moreno. My son being held by my husband’s cousin. Photo by NM Cedeño, 2003.

Most of my husband’s extended family still lives in Ecuador. On our second trip to visit them, in 2003, my husband’s grandmother asked if we’d like to go to the Galápagos for a few days. We said, “Yes, thank you!” So my husband, son, my brother, two of my husband’s cousins, his aunt and uncle, and I all flew from Guayaquil to Puerto Baquerizo Moreno on San Cristóbal Island. From the memory of this trip, the story “Galápagos People Watching” was born.

The boat tour featured in the story is drawn from a tour we took during that trip. We visited Leon Dormido and Isla Lobos to see blue-footed boobies, frigate birds, marine iguanas, sharks, and sea lions, just as the characters do in the story.

Those familiar with the history of the Galápagos will note the use of the surname Cobos for one of the characters. Manuel Cobos was the first owner of San Cristóbal Island and started a plantation there. The ruins of his house, left abandoned after a revolt by the prisoners he used as forced labor, can be seen on the island.

Characters’ names in the story are inspired by the Ecuadorian propensity to name people after famous historical figures. Top 100 Ecuadorian male first names include Washington, Jefferson, Lenin, Edison, Franklin, César, and Ulises. One can even find people named Stalin and Hitler.

The hardest thing about writing the story was not putting in too many details. Did I need to explain the different fees paid by foreign tourists vs Ecuadorian citizens when arriving in the Galápagos? No. Did I need to describe every activity a tourist can do on San Cristóbal? No. Did I need to mention the newer system that tracks how often Ecuadorians visit? No. My first draft of the story contained far too many details that had to be cut.

But once I cut all the extraneous information, a story of family, finding one’s path in life, and crime emerged. Editor Michael Bracken selected “Galápagos People Watching” for publication in Black Cat Weekly #164.

Eye Update

After several months attempting conservative treatment, my eye doctor sent me to a corneal specialist. The specialist formally diagnosed me with map-dot-fingerprint dystrophy of the cornea. The “fingerprint” patch on my cornea covered half my pupil, which left me seeing through the unaffected part of my cornea and the damaged part simultaneously. The result was blurred, double vision in my right eye.

To resolve the problem, in early October, the doctor performed a superficial keratectomy using a tiny laser to remove the damaged epithelial layer on part of my cornea. The procedure took less than five minutes and was relatively painless. About thirty minutes after the procedure, when the numbing drops in my eyes wore off, extreme discomfort started and lasted for about four days. My cornea took about three weeks to completely heal.

I am happy to report I am no longer seeing double through my right eye. My vision is back to normal. I can once again read print on screens and on paper without severe eyestrain forcing me to stop.

The eye condition hampered both my reading and my writing in June, July, August, September, and October. I definitely won’t meet the writing goals I set for myself this year. But at least the problem is solved. There’s always next year!

In other news, my story “Predators and Prey” was published by editor Rusty Barnes at Redneck Press! It’s free to read online.

*****

N. M. Cedeño is a short story writer and novelist living in Texas. She is active in Sisters in Crime- Heart of Texas Chapter and is a member of the Short Mystery Fiction Society. Find out more at nmcedeno.com.

New Ghost Stories

I started reading ghost stories as a child and enjoyed the chill that the best of them sent up my spine. I began writing ghost stories, with a sci-fi and mystery twist, almost ten years ago when I wrote my first Bad Vibes Removal Services story. The series features Lea, a young history graduate student, working in a new service industry. She sanitizes and neutralizes the lingering emotional history from buildings and homes using newly invented equipment. She was drawn to the job because she’s always been sensitive to emotional atmosphere in rooms and has always been able to see ghosts.

The technology she uses in her job was created by a private detective named Montgomery in his quest to create a device to read the subatomic changes in soft materials caused when sound waves pass through them. Montgomery wanted to be able to read the recordings of conversations held in rooms in order to solve crimes. He ended up being able to track the emotional energy left in walls along with the sounds. In order to put his new technology in the public eye, he started Bad Vibes Removal Services to serve as a sister company to his own Montgomery Investigations business.

Lea, with her team of coworkers, soon discovers that she can’t neutralize the lingering emotions in a house if the source, a ghost in distress, is still present. Many of the ghosts she encounters died under questionable circumstances, leading to murder investigations.

The series started with one story. But I liked the characters so much that I wrote more stories, which led me to write a novel, The Walls Can Talk, then more stories, and another novel, Degrees of Deceit, then, more stories. The series currently has 15 or so published short stories and two novels. The latest story in the series, called “Wedding Vibes,” was published in Black Cat Weekly #145 courtesy of editor Michael Bracken. The story features Lea’s wedding reception being crashed by both a ghost and thieves trying to steal gifts. Luckily, her boss, Montgomery, her coworker and Maid of Honor, Kamika, and the rest of her friends are on the case. The thieves chose the wrong reception to crash.

Another one of my ghost stories is rolling out right now, too. “A Lonely Death” is coming out in an anthology of spooky stories from Inkd Publishing called Noncorporeal II. Those who ordered the anthology from the Kickstarter should be receiving their copies shortly, and it will go on sale to the general public soon. The story begins with a cowboy digging a grave in the “middle of nowhere Texas” in the mid 1800s. Soon there after, a little boy whose home was built in what once was the “middle of nowhere Texas” meets a ghost. This story is told from the point of view of the ghost and from the point of view of the people in whose home the ghost appears.

This story was inspired by a three-year-old who was seen in his home talking to and looking up at an adult who the child’s mother couldn’t see. The family had several guests report either seeing a man who vanished or feeling “creeped out” in their guest room. The house was brand new, built on what had been farmland in Central Texas. My story answers the question of why a brand new house might have a ghost.

****

N. M. Cedeño is a short story writer and novelist living in Texas. She is active in Sisters in Crime- Heart of Texas Chapter and is a member of the Short Mystery Fiction Society. Find out more at nmcedeno.com

Researching the 1970s for “A Woman’s Place”

By N.M. Cedeño

The 1970s! Disco! Abba! The Eagles! Richard Nixon. The end of the Vietnam War. Women’s Rights. And, umm, yeah, other stuff. I was born mid-decade and have no real memories of the 1970s. Writing about the 1970s, for me, isn’t a matter of “write what you know,” but rather one of “research what you need to know.”

When editor Michael Bracken asked me to submit a story for the Private Dicks and Disco Balls: Private Eyes in the Dyn-O-Mite Seventies (Down & Out Books, May 2024) I read the requirements, which specified including some historical event from the 1970s, and knew I would have to dive into research.

I began searching for events of the 1970s with the help of the internet and my local library card. Logging into my local library online gave me access a plethora of research material, including the archives for Time Magazine (1923-2000), Life Magazine (1936-2000), one hundred years of The Austin American Statesman (1871-1980), and access to Newspapers.com for free. I skimmed or read news articles from major newspapers covering crime, disasters, and political issues of the 1970s. Women’s rights issues, including Title IX, employment protections, and the attempts to pass the Equal Rights Amendment, recurred in my search, leading me to the event I needed for the story: the Battle of the Sexes tennis match between Billie Jean King and Bobby Riggs. The Battle of the Sexes took place in Houston in September 1973.

I even found video from the era, including video from the tennis match itself. Archived videos are fabulous research resources. I discovered news broadcasts from Houston during the 1970s and watched several segments. The benefit of video in research for writing can’t be overstated. Watching news broadcasts provided glimpses of linguistic quirks, clothing styles, hair styles, technology, and automobiles of the 1970s. The insane way (by today’s standards) in which reporters wandered into crime scenes, shoved microphones into the face of working doctors in hospitals, and even sickened themselves while reporting on chemical disasters fed into my understanding of the decade. If a reporter could get away with that much, a private investigator could do that and more.

My research uncovered regulations on who could and couldn’t be a police officer, leading me to articles explaining how, for decades, the height requirement for the Houston Police Department eliminated all the Hispanics who applied for the police academy. The height requirement was changed in the early 1970s to allow for greater diversity in the department. I learned how women’s roles in police departments were limited and about efforts to remove those limits. This research helped in the creation of one of my secondary characters for the story: a petite, Hispanic woman with quashed aspirations for law enforcement.

In researching fires and industrial accidents, I found articles on hazardous materials being routed through Houston and the dangers they posed. I read calls for the creation of hazardous material routes around big cities. Then I reached out to an expert with knowledge of industrial explosives from the 1970s to 2000s. My father worked as an insurance underwriter for a special risk program that included insuring businesses that manufactured, distributed, or used things that go “BOOM.” He had to learn a lot about explosives. He was, and is, a fount of information.

As I worked, I learned more than I needed for my story, and the research began to coalesce into a plot involving my detective, Jerry Milam, in an arson investigation that led him from Austin to Houston during the week of the Battle of the Sexes tennis match. Jerry Milam previously appeared in Groovy Gumshoes: Private Eyes of the Psychedelic Sixties, (Down & Out Books, 2022, edited by Michael Bracken) in a story entitled “Nice Girls Don’t.”

They say “write what you know,” but the caveat to that is “learn what you need to know.” I researched what I didn’t know and I melded it with what I already knew. I was already familiar with my setting in Houston, although I did consult a few maps. Describing Houston is easy for someone who was born there and visits the city regularly. Also, tucked into the story are details that I know because I have an affinity for trivia, including details that my PI would have known: like who was Red Adair (hint: John Wayne played a version of him in The Hellfighters) and what happened in Texas City in 1947 (hint: worst industrial accident in US History).

My local library online research resources are phenomenal and are my favorite place to browse when I need very specific historical information. Reaching out to experts is also beneficial for getting the nitty-gritty details right. Do you have favorite research sites? Where do you look when you need accurate information quickly?

****

N. M. Cedeño is a short story writer and novelist living in Texas. She is active in Sisters in Crime- Heart of Texas Chapter and is a member of the Short Mystery Fiction Society. Find out more at nmcedeno.com