Cruising the Green of Second Avenue

Wild Child Publishing has issued the second volume of short stories in Cruising the Green of Second Avenue. The tales take up where Vol. I left off — bringing back Klein the Biker, Straight Charlie and Sammy the Madman while introducing new characters stumbling over life’s difficulties in the late 60s. Vol. II is an e-book published by Wild Child Publishing that you can download, save as a pdf (Adobe) file and print. Read both volumes and see that life isn't all that serious. Find it at Barnes & Noble, Amazon and other online book sellers.

Sunday, February 23, 2014

Give Me More Old-Time Fiction

“Noirish” mysteries, crime and horror stories may not be entirely an American genre, but you can’t read them without considering roots that go back to Dashiell Hammett, Raymond Chandler, H.P. Lovecraft and the early days of short stories. Happily, this kind of fiction is being published today.

Pulp writing brings back memories to people — mostly men — of a certain age. My recollection is of reading Argosy magazine in the barbershop or surreptitiously under the bed covers. Happily, the magazine founded in 1882 and ending with the last issue in 1978 is back. I was thrilled to discover the publication has been reborn as a digital all-fiction magazine in the U.K. at And, that its Pulp Modern volume 2 is devoted to the stuff of mystery, fear, thrills and horror.

There are four top-notch stories in this issue.

“The Beat of Heavy Wings” by Kurt Newton skirts horror and moves tangentially past myth to tell the current-day story of ancient Thunderbirds. They’re baaack in New England and scarier than ever. Worse, they’ve captured a young boy who was innocently camping out to collect moths. Thirty years later, the boy’s younger brother returns home to resolve the loss and to make amends with his parents. Seeking closure to the disappearance of his brother, Drew repeats their night-time moth-hunting expedition. Wrong! He too is taken by a Thunderbird and, in the process, makes an amazing discovery. On surface, the story simply recounts a tale, but the sub-text is a magnificent job of digging deeply into a person’s guilt and redemption.

James McConnell’s “Your Basic Plot” trades on the bottomless pit of paranoia when a man wakes up in a strange Texas location, doesn’t remember his name, and finds his wallet and belongings have been lifted. It’s the loss of a man’s basic identity. An existential question is raised when a skinny man at the homeless shelter says he can’t eat because of “Discipline. Cain’t live without discipline. Man is a prisoner of his animal appetites.” The crime appears when the wealthy do-gooder Suki Vanderwaal-McCarthy hires the man with no name to murder her husband. Conscience rises from somewhere, and the narrator immediately tells his new friend on the local police force about the plot. He carries a wire, he negotiates with the socialite as to whether he’ll do the murder if he can get laid. But, he confesses to her anger, “I can’t do it.” The tension is “Your Basic Plot” is that the reader learns to care passionately about a “bum” trying to determine his identity before the story segues into the crime plot.

“Illegal Aliens” draws out the trope of Area 51, the Nevada desert, and alien landings. Lloyd Helm takes a novel tack by clearly drawing his main characters — characters who could have jumped straight out of an Elmore Leonard novel. They set out ostensibly to take location pictures for a zombie-alien film (their cover for getting on the restricted base), immediately run into Air Force personnel, and choose to grab a few cold brews at the Spaceship Bar and Grill. Their next conscious thought is of being collared by Air Force police, having no memory of the past evening, and experiencing a certain pain in their backsides. This is a jolly romp, but the narrator begins puzzling out inconsistencies in the military’s explanations. Promising to never mention the incident, they are released — and set off to find that Spaceship Bar and Grill.

“Hidden” by Peter Glassborow begins calmly enough with an Auckland, New Zealand, trucking firm’s security guard trying to find where a driver has been hiding his truck in order to goof off. Cameras, gate checks and radio messaging fail to uncover the hiding place, which is driving George crazy. George is a simple person trying to make sure his employer isn’t cheated, but the driver’s daily disappearances are plaguing him day and night. Carefully, the cheating driver’s routes are reconstructed, leading George to a junk-filled area between two buildings. Tire tracks lead in and then disappear. And, dear reader, you don’t want to know what George eventually finds in the location of the driver’s hiding place.

Some of the novelettes’ success lies in the stories being told in the first person. (“Hidden” is written in the usual third-person singular.) You, the reader, are in the narrator’s mind as he experiences the weird, the unfathomable, the terrifying, and the humorous. This works flawlessly, too, in Glassborow’s story.

It’s not possible for Argosy’s genre fiction like this to succeed without such uniquely drawn characters. Fortunately, the four novelettes will leave you remembering the heroic protagonists long after you’ve turned off your e-book, laptop or PC. In addition, there’s plausibility (could this happen to you?) and sharp dialogue (you’ll wish you’d said, “You’re not a killer… And even if you are, I’m not… Find a killer lawyer, a whole shark school, and be as vicious as you want. But leave me out of it.”). Pulp fiction draws on the darker side of life, but it’s no less realistic. When it’s written well — as these four stories are — they rise to the level of literature.

Sunday, February 2, 2014

Who Is That Masked Writer?

J.K. Rowling caused a ruckus when Harry Potter’s creator published The Cuckoo’s Calling under the pseudonym of Robert Galbraith. For being “outed” by her own solicitors, she successfully sued. Not every writer is so secretive about his or her pen name. Everyone knew Mark Twain was really that guy in the white suit, Samuel Clemens. Lewis Carroll was Charles Lutwidge Dodgson’s essence. And, Ann Landers and Dear Abby aren’t one person, but many after 50 years.

Still, there may come a time when you need to consider an alias to hide your real persona. The excellent editor of my story collections, Cruising the Green of Second Avenue, at Wild Child Publishing has adopted several to publish. One for writing to men’s magazines, another when her ex was suing for divorce, and a third for her titillating romances. “Each pen name has its own personality,” she states. She was the one who advised me to take a pen name if it solves a problem and to hell with the critics.

Another friend uses two initials preceding her surname because of rude comments from friends over the several books she’s published. Fans of J.B. DiNizo won’t be too surprised to learn the woman behind the name is Alice DiNizo. Others may find a lot of explaining is needed when their book is read by their mother. Taking on a pen name can raise as many issues as it resolves.

Should you adopt a pen name? You’re surely aware that some fiction sells better if written by a woman — romance, for example. Or by a man, if the subject is dark and violent. Business books generally seem to sell better if written from a male POV. The gender issue relating to who gets published and reviewed is a contentious concern, as noted by The Guardian this summer; males writers far overshadow females in the U.K.

The subject matter may strongly dictate a pseudonym, such as erotic romance. If you’re a published writer of serious material, attaching your name to such “bodice-rippers” can cause negative spillover, reduce your literary stature, challenge reputation, and decrease enjoyment of the reading experience.

There’s another significant reason to use a pen name if the writer is of the opposite gender to his/her main character. Readers can easily be confused when starting a piece of fiction, becoming misled by the author’s byline, and discover the narrator is of the opposite sex. A sense of trust — even Coleridge’s “suspension of disbelief — is broken. The reader becomes distracted by the conflict of an author taking on the persona of the opposite sex, detracting from the quality of whatever he/she has written.

A host of other questions need to be addressed — and you’ll probably wrestle with them — before you step into another name. Is using a pen name liberating? (Only you can answer that.) Should you let people know you’re using a pen name? (If you do, why bother with a pen name?) What if people are upset that you’re using a pen name? (Some people will always be upset.) Does using a pen name mean you have multiple-personality disorder? (No, far from it.) Does using a pen name constitute a breach of trust? (Look at your value system and decide if you’re setting expectations that might be violated.) Is it hard to do business using a pen name? (No, unless you feel conflicted as a man trying to sell your book as “Gloria L’Amour” at a library reading.) Is using a pen name legal? (I’m not a lawyer, but most publishers insist on knowing your real name in accepting a work.)

Finally, you can put the whole matter to rest. Don’t use a pen name if you’re not comfortable doing so. And, if you’re going to tell the world your secret identity, why bother?

In the interest of full disclosure, let me add that I’ve published flash under a pen name. Why? My narrator is of the opposite gender, it’s stylistically experimental work, and it doesn’t fit into the body of writing I’m concentrating on. Sorry, I can’t tell you the byline I use.

For further discussion, go to the Men with Pens blog by James Chartrand at and an article by Howard G. Zaharoff in Writer’s Digest

[This essay was published on Jan. 28, 2014, by
Flash Fiction Chronicles at]