Legal Eagles: Attorneys Writing Fiction (2)

Re-blogging here an entry from the Kirkus blog by editor Myra Forsberg, entitled “Legal Eagles”!

“Through the ages, the works of playwrights, novelists, and filmmakers, from Shakespeare to Steven Spielberg, have gleefully skewered lawyers. In Spielberg’s Jurassic Park, the first movie in the popular franchise, a discerning dinosaur chomps on a particularly sleazy attorney, delighting fans worldwide. But depictions of heroic lawyers also remain plentiful, particularly on TV, in classic series (Perry Mason) and more recent fare (The Good Wife).

Forsaken Oath“Kirkus recently reviewed three legal thrillers that focus on resourceful attorneys pursuing justice. In V.S. Kemanis’ Forsaken Oath, Manhattan prosecutor Dana Hargrove finds herself embroiled in three cases, including the murder of a fashion designer. In this page-turner, she must uncover the truth and save her career. “The author manages to compellingly depict many distinct areas of the justice system, from the cops on the street to the lawyers on both sides of the courtroom,” our reviewer writes. Jerri Blair’s Black and White, set in 1979,follows Florida public defender J.T. Lockman, who takes the case of an African-American accused of murdering a white car dealer. J.T. believes a Ku Klux Klansman committed the crime but must gather the evidence to prove it. Our critic calls the novel an “energetic tale that’s rife with drama and mystery.” A sinister figure kidnaps teenage girls in Brian Clary’s Amicus Curiae: the daughter of Texas attorney Michelle “Mickey” Grant disappears and the police soon arrest Willie Lee Flynn for one abductee’s murder. Although he’s convicted, Mickey harbors doubts and files an amicus curiae brief, seeking to retry Flynn and discover her daughter’s whereabouts. Our reviewer says, “Fans of crime dramas will find Clary’s suspenseful yarn a welcome addition to the genre.”

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Stay tuned for the third installment of Legal Eagles! I’m currently reading a great legal thriller by attorney Manuel Ramos, soon to be reviewed.

Reflections on the 75th Anniversary of Ellery Queen’s Mystery Magazine

On a dismal, drizzly afternoon in Manhattan, an array of editors, authors, artists, and crime fiction aficionados jammed a large meeting room at the Butler Library to celebrate the 75th Anniversary of Ellery Queen’s Mystery Magazine.  Appropriate to the occasion were several surprise visits from beyond the grave (an eerie, other-worldly screeching from the HVAC system), and a chilling reading by Joyce Carol Oates from her story “Big Momma,” a creepy tale from The Doll-Master and Other Tales of Terror.  Shivers!
ellery_queens_mystery_jco

In a publishing environment where magazines and journals of short fiction easily come and go, EQMM can be proud of its longevity. The secret (or mystery) of this success was one of the topics explored during the afternoon of panel discussions by notable authors and editors.  Some shared fascinating personal experiences about working with the founders of the magazine, the cousins Frederic Dannay and Manfred B. Lee, who collaborated as Ellery Queen. The distinguished panelists included Otto Penzler (proprietor of The Mysterious Bookshop and founder of The Mysterious Press), Sarah Weinman (author, editor, and expert on women crime fiction writers), Jeffrey Marks (biographer of Anthony Boucher, at work on a biography of Dannay and Lee), Russell Atwood (ftomrobertsormer managing editor of EQMM), and award-winning authors Jonathan Santlofer, Joseph Goodrich, Josh Pachter, and Charles Ardai.

Especially fun was the slide show of several EQMM covers from different eras of the magazine, along with interior black-and-white illustrations of the stories. Janet Salter Rosenberg, the daughter of cover designer George Salter, gave insight into her father’s creations. Artists Laurie Harden and Tom Roberts discussed their respective works and their appreciation of the artistic freedom EQMM affords them in bringing their visions of the stories to life. Here is an evocative cover by Roberts from the July 2011 issue. The cover for the very first issue, and a clever story about it by Arthur Vidro, can be found on the EQMM blog, Something is Going to Happen, posted on August 31.

The symposium was capped by our trip up to the sixth floor, enticed by the promise of a glass of wine and (the real inducement) an exhibit of EQMM artifacts displayed in a small alcove of the rare book and manuscript library. Of particular interest to me were the yellowing pages of manuscripts, typed out on an old Remington or some such, with Dannay’s edits marked in pencil. Those of you who know of my life as an editor will guess at my delight in seeing Dannay’s flourishes and variances of the universal copyediting symbols and his spot-on word choices!  The exhibit is on display through December 23.

Why has EQMM endured?  The panelists and current editor Janet Hutchings agreed on a few key ingredients: a commitment to quality and a wide variety of stories of different styles within the mystery genre.  Wait a minute:  I’m going to ban that word “genre”!  It’s thrown around far too often and stirs up preconceptions that limit a reader’s horizons.  As an author who resists a pigeonhole for her own work, I would do the same for EQMM, unless you take the most expansive view of the term “mystery” as an essential element of compelling writing.  As stated on EQMM’s website, when founders Dannay and Lee were “deciding how to orieeqmmallnationsnt their new magazine, there could not have been any question that its outlook would be global. Both men had cosmopolitan tastes and a knowledge of world literature. It has become part of EQMM lore that Dannay, who soon took over the editing of the magazine, aimed to prove, in its pages, that every great writer in history had written at least one story that could be considered a mystery.”

Jeffrey Marks notes in his essay in the September/October issue that EQMM has published such literary luminaries as William Faulkner, Jorge Luis Borges, Mark Twain, and E.M. Forster, as well as several Pulitzer winners.  This year, in the May issue, we were treated to a reprint of Borges’ iconic story exploring alternate realities, “The Garden of Forking Paths,” which was originally published in EQMM in 1948.

Another masterpiece, Stanley Ellin’s “The Specialty of the House,” is reprinted in the current issue. Beyond these prize reprints, the range of writing that appears monthly in EQMM’s pages includes something for everyone, whether light or dark, police procedural or private eye, cozy or locked room. My taste runs to stories of psychological suspense and intellectual challenge, and I can always find them here. Janet Hutchings has maintained Dannay and Lee’s expansive vision for the magazine and the tradition of high quality. I’m grateful that my own writing, which bears absolutely no resemblance to Agatha Christie’s, has been printed in two issues of EQMM eqmm_sept-oct2013and its e-book anthology, The Crooked Road Volume 3.  I’m also fortunate to have been welcomed into this community of amazing authors. As one of the panelists noted, mystery and crime writers are a really nice bunch of people because we’ve transferred every bit of aggression and nastiness to our fictional characters!

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Slightly off-topic, on the subject of anniversaries, I note here that October 26 marks a milestone for me.  A year ago, the print editions of my first two novels, Thursday’s List and Homicide Chart, were released.  To help celebrate, I’m running giveaways for signed copies of the two novels on Goodreads.  Be sure to enter for a chance to win!

Ballet, Law, and Mystery

I was a guest recently on Something is Going to Happen, the preeminent blog of Janet Hutchings, editor of Ellery Queen’s Mystery Magazine.  I share the post with you, below, and you may also click here to view the entire post with Janet’s comments.  Mystery lovers: take the time to scroll through the blog entries on the site: some interesting articles!

Also, check out the exciting July issue of EQMM.  My story, “Journal Entry, Franklin DeWitt,” will appear in the August issue!

Ballet, Law, and Mystery

Before writing fiction, I was a dancer and a lawyer. Still am, both. Oxymoron? You’d be surprised how many attorneys I meet in ballet class. Maybe it’s because law books and toe shoes are both hard—dancing attorneys are gluttons for punishment. On a positive note, ballet and the law share many nicer attributes. An idealized world, perfectionism, intellectual puzzles, exacting discipline, technical precision, and personal expression. The expressive medium of ballet is the more artistic, you might say, but I could debate the point (sounding like a lawyer here, even if we swap “point” for “pointe”).

My experience in the courtroom informs my fiction more often than my experience in the dance studio (although the protagonist in my novels, prosecutor Dana Hargrove, does take a weekly dance class with her sister Cheryl, a Broadway performer). With pleasure, I dove into the world of professional ballet in writing “Journal Entry, Franklin DeWitt,” for EQMM. Memories from the time I owned a dancewear shop came in handy for this story. It could take hours fitting those potential instruments of torture, pointe shoes, on the feet of persnickety ballerinas—always a Cinderella-esque exercise in frustration.

As for this blog piece, I thank Janet Hutchings for humoring my obsession and allowing this small offering, a short-short mystery. The style is not my usual, but like every word buff, I look for any excuse to have fun with language—here, the beautiful language of ballet. Consider, for example, this direction for a lovely petit allegro enchaînement: “Glissade précipitée en avant, temps levé, tombé, saut de chat.” If the ballet instructor were to say it like this—“Quick steps forward, hop, fall, and leap like a cat”—I might just walk out of class.

You will find, at the end of the story, a glossary of the less obvious ballet terms.

Doctor Coppélius Meets an Untimely Death at the Opera House

As the only child of two physicians, Sylvia Musette was destined for a future in the healing arts. So it seemed, until destiny took a detour on the occasion of her eighth birthday, when she was treated to a matinee at the National Ballet. From that moment, every step she took was a chassé toward her dream.

At seventeen, she signs with the company. Passion is no guarantee of talent, and Sylvia’s passion falls short of artistic distinction, her grand jeté an inch below soaring, her port de bras heartfelt but uninspiring. Ever hopeful, she languishes in the corps, one of many cygnettes, sylphs, and Wilis.

In her fifth spring season, the light of good fortune shines upon her. Ballet master Stanislav Gliadilev, towering over the diminutive Sylvia, twirls a waxed end of his mustache and declares: “Friend!” She fights to remain à terre. It’s her first supporting role! One of Swanilda’s six Friends in the comic ballet Coppélia. Her heart nearly sautés from her leotard before the impresario qualifies the offer: “Understudy!” Sylvia wilts.

An exhausting rehearsal schedule fails to wilt Les Amies, who remain remarkably healthy and uninjured while Sylvia shadows them, unnoticed, a fly on the studio mirror. With too much time on her hands, she is, quite unintentionally, on a gradual pas de bourrée couru toward her true calling in life. Nothing escapes her eye.

She studies the principals: prima ballerina Peony Torne in the role of Swanilda, Enrique Dagloose as her fiancé Franz, and Morton Avunculario as Doctor Coppélius. Peony is known for the delicacy of her petite batterie, Enrique for his ballon, and Morton for his danse de caractère. What is the secret of their success? They’re strong and beautiful, Morton the most powerful, a favorite of Gliadilev who always gives him what he wants. Fifteen years older than the others, Morton is made to look 85 on stage with a painted face and a wig of scraggly gray hair, stooped and teetering with the aid of a cane.

Hmm, Sylvia thinks, did this help Peony make it to the top? Perhaps if I cozy up to Morton the way she does, gazing droopingly at him while Enrique scowls with glints of daggers in his slitty eyes . . . ? The whole thing is backward from the story in the ballet. Swanilda isn’t attracted to that crotchety, diabolical inventor, Doctor Coppélius, a disturbing figure with a toyshop full of spooky, life-size mechanical dolls. And Swanilda is the jealous one, not the faithless Franz. He’s duped and smitten by the lifelike doll Coppélia, sitting on the balcony of the toyshop, reading a book.

On the eve of opening night, an hour before full dress, company class is held on stage with portable barres. Peony, Morton, and Enrique plié center stage, and the others fan out from center, the Friends, the Dolls, the townspeople, and finally the understudies, lining the dark edges. Sylvia is a useless appendage, she feels. At least she would like to observe the greats, but they’re barely visible behind all the bodies executing les exercices à la barretendus, dégagés, ronds de jambe and finally, battements en cloche.

A small commotion erupts. Rats! What’s happening over there? Enrique mutters something to Morton, who gives an audible harrumph and stumbles away in the hunched posture of Doctor Coppélius, hand at the back of his neck. The dancers disperse to dressing rooms, wishing each other “merde.” The maître de ballet spies the understudies and shrieks: “Get off the stage!” In the midst of chaos, Sylvia slithers behind a wing, unnoticed.

Second act, it’s the dead of night, and something is astir, a menace of unknown origin. Swanilda and Friends break into the toyshop, setting the mechanical dolls to life. The Troubadour executes a stiff tour en l’air, the Spanish Doll a sharp coupé fouetté raccourci, the Scottish Doll a nervous pas emboîté en tournant. The Doctor bursts in! Friends scatter, Swanilda hides, Franz sneaks in through a window and is caught! Intending mockery, Doctor Coppélius produces two tankards, and they drink heartily to Franz’s love for Coppélia.

Franz is passed out when Swanilda appears, impersonating the mechanical doll Coppélia. But the Doctor is not quite himself. Deathly pale, he staggers off stage, totters and collapses behind the façade of the toyshop. With a brisk brisé volé, Swanilda runs to him. The music stops. “Morton, darling!” She cradles the gray-wigged head in her lap and looks up, searching blindly. “Please, somebody, help!” The Doctor needs a doctor. The maître drops to her knees, frantically feeling for a pulse. It appears that Morton est mort.

From center stage, Gliadilev quiets the crowd. “Remain calm! I’ve called for an ambulance.” From behind the curtain, Sylvia discerns, in the tensing of muscle, the pain that the impresario feels for the loss of his friend. Or maybe he’s remembering the inferior quality of Morton’s understudy. Opening night will be a disaster.

“How can this be?” The tear-stained Peony stands, bras croisé, mindlessly stabbing piqués en croix with her right foot. “There!” She points to the tankards. “He’s been poisoned!” She whirls in renversé. “He did it!” Enrique is fingered. But Peony pirouettes anew, unable to make up her mind. “No . . . it has to be him!” She points at the mousy little props man, scratching his head in confusion.

“Wait! You’re wrong.” Sylvia chaînés swiftly out from the wing. Quickly, before Gliadilev can banish her, she grabs the tankards, one at a time, and drinks from each. “It’s water.” She licks her lips. “Maybe a bit of iron oxide.”

Dumbfounded, the company awaits Sylvia’s next move. Like magic, a path to the body is cleared. Sylvia kneels, removes the wig, and palpates gently. “Basilar skull fracture, occipital bone, subdural hematoma likely. Suffered a blow with a blunt instrument. He’s been dying slowly before our eyes.”

There’s a communal gasp amid darting, wary glances. Was it the Troubadour’s lute, the Scottish Doll’s bagpipes, the Spanish Doll’s fan, or that little hardcover book Coppélia was reading? Maybe the assailant used the Doctor’s own cane, or a dismantled section of the barre? Sylvia examines the shape of the injury, mentally calculating height and velocity. She stands to face Enrique, his head drooping en bas. For weeks now she’s been studying him, getting to know every habit and quirk of technique. “You were standing behind Morton at the barre. It was your battement en cloche, wasn’t it? Directed straight to that nice little groove between neck and skull.”

“But,” Enrique protests, “I didn’t mean for him to die!” The suspect attempts an échappé sauté, but Gliadilev seizes him before he can run.

Intentional, reckless or negligent? A question for another day, a question for a jury. With a joyful sissone fermé, the case, for now, is closed. Sylvia is arisen from the corps.

A Literally Figurative Glossary of Ballet Terms

ballon: lightness, the ability to remain suspended in the air.

battements en cloche: beats like a bell. Basically, you swing your leg front and back, very high, like the clapper of a bell; it’s fun and relaxing.

bras croisé: arms crossed.

brisé volé: broken, flying. A beautiful light step with a small beat of the legs.

chaînés: chains, links. These are fast turns in a line, spotting your destination. Really fun to do and a good way to get dizzy if not done properly.

chassé: chase. Slide forward, one foot chasing the other.

coupé fouetté raccourci: literally cut, whip, and shorten. Does this give you any sense of what it looks like? Too difficult to explain.

échappé sauté: escape leap. As you jump, the feet “escape” from fifth position into second.

merde: I don’t need to tell you what this really means. It’s a dancer’s “good luck” wish.

pas de bourrée couru: a series of tiny rapid steps on pointe. When ballerinas look like they’re floating across the stage, this is what they’re doing.

pas emboîté en tournant: a springy, boxed-in step in a circle.

petite batterie: small battery in the sense of beating. There’s a lot of beating in ballet terminology, although it’s far from a violent art form.

piqués en croix: sharp piercing taps with the toe, front, side, back, in the shape of a cross.

renversé: reversed. You wouldn’t think this word is enough to describe the actual movement. It’s a turn with a pitched body and a high, circling leg.

sissone fermé: a leap from two feet into a split, landing on two feet in a closed position.

tour en l’air: turn in the air. Jump straight up, do a full revolution like a pencil, and land. Harder than it looks.

Q & A with Mystery Sequels

Answering questions from reviewers and bloggers is a great opportunity for me to reflect on why I write and how I feel about my characters. Here is a link to my interview with Marika from Mystery Sequels, a site for “Everything Crime with a Sequel: Crime Fiction, Mystery & Suspense, Thrillers.” I always enjoy her down-to-earth reviews and recommendations for great mystery reads. And in the midst of answering her questions, I came to realize how I’ve grown attached to my protagonist, Dana Hargrove!

Countdown to April 30, when Forsaken Oath is released to the world! Mystery Sequels gives it 5 Stars. Forsaken Oath “really shines”!

Legal Eagles: Attorneys Writing Fiction

We all know that lawyers write some of the best fiction. Okay, so I happen to be a lawyer who writes fiction—but I’m not biased. Really. I have proof!

Here are three fantastic reads by my fellow/fella colleagues at the bar. We’ve all had our days in and out of court tackling tough cases, flaky witnesses, annoying adversaries, and exacting judges. We’ve experienced the thrill of investigative discovery, the tedium of preparation, the surprises and heartbreaks that arise in the midst of trial. Truth is often stranger than fiction, and the criminal courtroom provides fertile ground for moral dilemma and human drama, a launching pad for the imagination of the novelist.

The writing styles and plotlines in these novels differ greatly, but each author touches on a common underlying theme: the life story behind the face might not be what you expect. Each novel features a character who may just end up surprising you. I will attempt to avoid spoilers and give you merely an enticing flavor of each.

A Good Killing, by Allison Leotta a-good-killing-small

Leotta is a former sex crimes prosecutor for the U.S. Attorney’s Office in D.C. A Good Killing features her fictional sex crimes prosecutor, Anna Curtis. In an unexpected twist, family loyalties cause Anna to switch hats for the first time in her career as she takes up the defense of her sister Jody, who finds herself in big trouble with the law, indicted for murder. The victim is a revered high school coach, Owen Fowler.

The storyline will hit home with any woman who can think back to high school days and find, in memory, a teacher, coach, or counselor who was popular, maybe even the subject of a young girl’s dreams, only to realize later, with the maturity of adulthood, that the perception was dangerously skewed. Coach Fowler is just such a character, a man with a nasty secret. Other secrets abound in this novel, as Jody does her utmost to keep Anna in the dark—not a good thing for an attorney representing her sister in the trial of her life. Tensions between the personal and the professional always draw me in, especially when the conflict implicates the ethical obligations of an attorney.

Another interesting aspect of A Good Killing is its structure, written from two points of view in alternating chapters. We hear Jody’s voice, speaking to Anna in first person, alternating with Anna’s point of view, written in third person. The technique is effective in building suspense, as the two tales ultimately merge in a satisfying conclusion.

This is the fourth novel in the Anna Curtis series, but each is a standalone. The fifth is soon to be released. Click here for Allison’s website

The Life We Bury, by Allen Eskens  life-we-bury-small

Eskens is a criminal defense attorney with previous experience on the other side of the courtroom as a prosecutor. His debut novel, The Life We Bury, cannot be pigeonholed. It has characteristics of literary fiction, mystery, and legal thriller. Protagonist Joe Talbert is a college student turned boy sleuth when he undertakes a writing assignment for English class and interviews an unlikely subject for a biographical essay—war hero and convicted murderer Carl Iverson.

This novel draws you in from the start with engaging, unique characters and vivid writing that makes use of all the senses. You can smell the unique odors of the nursing home Hillview Manor, see the “old woman wearing a crooked wig,” and feel the ambience of an archive room, where the “essence” of “millions of souls packed away on microfilm” waits to be “felt, tasted, and inhaled again.” In one of my favorite scenes, you can hear the pro forma litany between judge and attorney during a bail hearing, likened to “a Catholic funeral mass.” The suspenseful and entertaining conclusion of The Life We Bury takes Joe Talbert through harrowing twists and turns that may test the bounds of plausibility—but you’ll be so immersed and on the edge of your seat that the ordeal becomes all too real.

Eskens has published a second novel, and the third is on the way. Click here for Allen’s website

A Conflict of Interest, by Adam Mitzner  conflict-of-interest-small

Mitzner is a partner in the commercial litigation department of a New York City law firm. His expertise in securities litigation finds its way into his debut novel, A Conflict of Interest. Of the three novels under review here, Mitzner’s contains the most courtroom drama and litigation strategy—all of the kind of stuff that fascinates lawyers and law buffs alike!

In this novel, protagonist Alex Miller is a white collar defense attorney representing client Michael Ohlig in a securities fraud prosecution. Mid-trial, Alex learns a secret about Ohlig—a very serious transgression—that profoundly affects Alex’s personal view of his client. Trying not to let his animosity stand in the way of providing a brilliant defense, Alex must also grapple with a client who constantly battles him over issues of trial strategy, right down to the crucial question of whether Ohlig should take the stand in his own defense. The stress level hits a high note as the author depicts, in detail, the high stakes environment, pressure, and politics of a big law firm, and the toll that the environment takes on the lawyer’s home life.

If you want a fast-paced courtroom thriller, A Conflict of Interest is for you. Mitzner has also published two other novels, and a third will be released in April. Click here for Adam’s website

A common lament among mystery/suspense/thriller writers is the lack of time to enjoy the many fine novels of our contemporaries, as we struggle to find every spare minute for our own writing. I’m currently on a break between the third and fourth Dana Hargrove novels and have a bit of time to write a few short stories and to read a few extra novels. Prediction: another installment of Legal Eagles will make its way to this blog! Reading another good one now…

 

Forsaken Oath Now in Preview/Pre-Order!

Once again, Dana Hargrove is caught at the intersection of family and career—a career that happens to involve criminal suspects, judges, attorneys, and officers of the law!  The thematic core to these novels picks up the internal conflict familiar to any career woman with a family: the incessant tug between the professional and the personal.  In my career, both in and out of the courtroom, I have felt that tug keenly.  Over the past few years, in writing these novels, I’ve become very attached to Dana, her family, her colleagues, and her adversaries, and that is my wish for you, the reader.  Pick them up in any order.  Each novel is a standalone, as I take Dana through various stages of her career and life, with several years in between each storyVSKPaperbacks - Copy: Thursday’s List (1988), Homicide Chart (1994), and Forsaken Oath (2001).

Already, in a curl of my mind, I’m starting to envision Dana’s life in 2008…

 

For the e-book, pre-order here on Amazon.

Release date for both paperback and e-book is April 30!

If you are a reviewer or blogger and would like to receive an ARC, please send me a message through my contact page!