Warren Bull's Blog - Posts Tagged "murder-manhattan-style"
Snoopy Dancing Through Chocolate Roses
Snoopy Dancing Through Chocolate Roses
I’m Snoopy dancing through fields of chocolate roses
I got copies of my book today! Yay. It’s beautiful in my totally unbiased opinion with cover art by Ginnie E, L. Fenton. My tremendously helpful publisher at Ninth Month Publishing was Susan Ferguson.
My collection of short stories is titled Murder Manhattan Style and available at http://www.ninthmonthpublishing.com/b...
New York Times Bestselling Author, Nancy Pickard wrote a blurb saying in part, "Warren Bull is a short story master, and this collection shows him at his best…" Earl Staggs wrote a review, saying in part. "Highly recommended morsels for when you want to spice up your reading diet with variety."
Now that the commercial is over, I can say that it is an amazing feeling to see so many hours of writing and so many more hours of rewriting distilled into paper and print. I can see it, touch it and smell it, weigh it and measure it. I’m tempted to taste it too. But I won’t.
Just possessing the book gives new meaning to the concept of “sweat equity.” In my working life as a psychologist, I did not create a tangible product. I always asked my clients if therapy helped them. I used anonymous paper and pencil scales. I set measureable real life goals like fewer days in a hospital per year, being able to keep a job longer, completing a grade in school and so forth but success and progress were only inferred from behavioral change.
As a writer the years of apprenticeship, skill building, grammar honing self-editing and word-smithing have paid off in a book that other writers and editors I respect have said kind things about. I admit, now, to some trepidation about sending it off to reviewers who might have been critical. The whole writing life, it seems to me is a test of courage and willingness to open up emotionally, knowing that some feedback will be negative. Years of effort may not pay off in publication. The only validation may come from within.
I figure I had a monetary return that entered the five-digit range (including two numbers after the decimal place) over the time my novel was in print. I hope to do at least that well with my short story collection.
Of course, in reality I know my book may vanish into the sea of published material without a discernable ripple. I’ve been struggling to get my work into the sea. Let me pause and enjoy this moment.
Please share your latest success at writing.
I’m Snoopy dancing through fields of chocolate roses
I got copies of my book today! Yay. It’s beautiful in my totally unbiased opinion with cover art by Ginnie E, L. Fenton. My tremendously helpful publisher at Ninth Month Publishing was Susan Ferguson.
My collection of short stories is titled Murder Manhattan Style and available at http://www.ninthmonthpublishing.com/b...
New York Times Bestselling Author, Nancy Pickard wrote a blurb saying in part, "Warren Bull is a short story master, and this collection shows him at his best…" Earl Staggs wrote a review, saying in part. "Highly recommended morsels for when you want to spice up your reading diet with variety."
Now that the commercial is over, I can say that it is an amazing feeling to see so many hours of writing and so many more hours of rewriting distilled into paper and print. I can see it, touch it and smell it, weigh it and measure it. I’m tempted to taste it too. But I won’t.
Just possessing the book gives new meaning to the concept of “sweat equity.” In my working life as a psychologist, I did not create a tangible product. I always asked my clients if therapy helped them. I used anonymous paper and pencil scales. I set measureable real life goals like fewer days in a hospital per year, being able to keep a job longer, completing a grade in school and so forth but success and progress were only inferred from behavioral change.
As a writer the years of apprenticeship, skill building, grammar honing self-editing and word-smithing have paid off in a book that other writers and editors I respect have said kind things about. I admit, now, to some trepidation about sending it off to reviewers who might have been critical. The whole writing life, it seems to me is a test of courage and willingness to open up emotionally, knowing that some feedback will be negative. Years of effort may not pay off in publication. The only validation may come from within.
I figure I had a monetary return that entered the five-digit range (including two numbers after the decimal place) over the time my novel was in print. I hope to do at least that well with my short story collection.
Of course, in reality I know my book may vanish into the sea of published material without a discernable ripple. I’ve been struggling to get my work into the sea. Let me pause and enjoy this moment.
Please share your latest success at writing.
Review from Juliet Kincaid
Warren Bull’s Murder Manhattan Style
Posted on May 12, 2011 by julietkc
Warren Bull’s Murder Manhattan Style
If you’ve been following my blog, you know I’ve always written about novels before now.
But when I read Warren Bull’s short story collection, MURDER MANHATTAN STYLE, not long ago, I saw the chance to study how a writer develops his fiction skills over time without my having to read a bunch of books. Besides that, the fifteen stories present a tasty sampling of mystery genres.
The collection starts with “Beecher’s Bibles,” “Kansas Justice,” and “Butterfly Milkweed.” All three unfold in first person point of view, but from the perspective of a different member of the same family, the Millers, who lived near Manhattan, Kansas, not long before the Civil War. The first generates considerable suspense when two thugs capture Joshua, the narrator, only twelve, and his stepsister Amy and lie in wait for Joshua’s father. The kids trick the thugs and all ends well. The second is narrated by Amy. These two stories are straight-forward narratives, plot-oriented, and rest firmly on facts as we expect from historical mysteries.
But the third made me sit up and pay attention from the start with the narrator, Mr. Miller, caught in a deadly trap. It hooked me so well that I happily followed the narrator back in time in a well-executed flashback to discover how he hoodwinked the bank robbers who tried to kill him. At the end, the narrator returns us to the present scene and thus completes the frame in this skillfully structured story.
The next three stories, all set in Manhattan, New York, in 1938, are written in the spirit of Damon Runyon. “One Sweet Scam,” “Java Judy,” and “A Detective’s Romance” are very short and very tight. You can see Warren having fun practicing the set-up and pay-off in just a few words. But he’s also playing with voice and getting better at characterizing through it. Here’s a quick quotation from near the start of “Java Judy.” “A doll walks in who looks familiar. I puzzle my noodle until the penny drops.” Isn’t that fun? Plus, the voice clearly evokes the time, place, and Damon Runyon.
The next story, “A Detective’s Romance,” is the only one of the entire collection presented in third person, well chosen because this point of view gives the reader distance from the protagonist and gets the reader involved in figuring the mystery out.
Next we come to “The Wrong Man,” the first in a series of noir detective stories, set in 1947/48. Here Warren shows many of the skills he’s gained. This story has a frame around the main story in the past. It’s short. It’s tight. It’s got a surprise ending, neatly presented.
And the narrative voice rings true. Just look at the first sentence of the story. “The bulls shoved me through the precinct doors and double-timed me down the hall into the interrogation room.” “Bulls” is the right word for cops at this time. The verbs “shoved” and “double-timed” move us right into the story and down that hall so fast we can practically feel it. Also the dialogue in some of the early stories seems stiff, but here it’s snappy. For instance, one of the bulls calls the narrator a runt and another observes that if the narrator “sang,” that is, confessed, he’d sound “like one of the Andrews sisters.”
The next story, “Funeral Games,” another example of noir, is among other things a meditation on war and mortality. The narrator, the title, and the story itself all contribute to the theme of honoring those who’ve served their country.
I’ll leave the rest of the stories for you to discover on your own, except for the last one, “A Lady of Quality,” winner of the Best Short Story of 2006 from the Missouri Authors Guild. Quite rightly, too, as this is a beautifully written story. Like most of the stories in MURDER MANHATTAN STYLE, it’s written in first person and the narrator reaches out and grabs us with her first words: “Listen here.” She commands our attention from the start and holds it in this compelling, yet subtle story of suspense.
As defined by Carolyn Wheat in HOW TO WRITE KILLER FICTION, suspense revolves around a crime that unfolds before our eyes instead of a crime already committed at the start, like more traditional detective fiction. Will the narrator Lizzie, a young black woman in the 1960’s, escape from the velvet-gloved hand of steel of Mrs. Edwards, the white gentlewoman, who’s very aware of her position in the society of a southern town? Will Lizzie even see the trap in time?
Read “A Lady of Quality” and find out. I will tell you, in closing, that this last story shows a clear shift from plot-driven fiction in the earlier stories to character-driven fiction and Warren wrote it with an impeccable grasp of history, great sensitivity to the diction of the narrator, and powerful insight into, as William Faulkner said in his Nobel Prize Acceptance Speech, “the human heart in conflict with itself.”
NEXT TIME, on May 26: Louise Penny’s BURY YOUR DEAD
Meanwhile, happy reading & writing, Juliet
http://julietkincaid.com/2011/05/12/w...
Posted on May 12, 2011 by julietkc
Warren Bull’s Murder Manhattan Style
If you’ve been following my blog, you know I’ve always written about novels before now.
But when I read Warren Bull’s short story collection, MURDER MANHATTAN STYLE, not long ago, I saw the chance to study how a writer develops his fiction skills over time without my having to read a bunch of books. Besides that, the fifteen stories present a tasty sampling of mystery genres.
The collection starts with “Beecher’s Bibles,” “Kansas Justice,” and “Butterfly Milkweed.” All three unfold in first person point of view, but from the perspective of a different member of the same family, the Millers, who lived near Manhattan, Kansas, not long before the Civil War. The first generates considerable suspense when two thugs capture Joshua, the narrator, only twelve, and his stepsister Amy and lie in wait for Joshua’s father. The kids trick the thugs and all ends well. The second is narrated by Amy. These two stories are straight-forward narratives, plot-oriented, and rest firmly on facts as we expect from historical mysteries.
But the third made me sit up and pay attention from the start with the narrator, Mr. Miller, caught in a deadly trap. It hooked me so well that I happily followed the narrator back in time in a well-executed flashback to discover how he hoodwinked the bank robbers who tried to kill him. At the end, the narrator returns us to the present scene and thus completes the frame in this skillfully structured story.
The next three stories, all set in Manhattan, New York, in 1938, are written in the spirit of Damon Runyon. “One Sweet Scam,” “Java Judy,” and “A Detective’s Romance” are very short and very tight. You can see Warren having fun practicing the set-up and pay-off in just a few words. But he’s also playing with voice and getting better at characterizing through it. Here’s a quick quotation from near the start of “Java Judy.” “A doll walks in who looks familiar. I puzzle my noodle until the penny drops.” Isn’t that fun? Plus, the voice clearly evokes the time, place, and Damon Runyon.
The next story, “A Detective’s Romance,” is the only one of the entire collection presented in third person, well chosen because this point of view gives the reader distance from the protagonist and gets the reader involved in figuring the mystery out.
Next we come to “The Wrong Man,” the first in a series of noir detective stories, set in 1947/48. Here Warren shows many of the skills he’s gained. This story has a frame around the main story in the past. It’s short. It’s tight. It’s got a surprise ending, neatly presented.
And the narrative voice rings true. Just look at the first sentence of the story. “The bulls shoved me through the precinct doors and double-timed me down the hall into the interrogation room.” “Bulls” is the right word for cops at this time. The verbs “shoved” and “double-timed” move us right into the story and down that hall so fast we can practically feel it. Also the dialogue in some of the early stories seems stiff, but here it’s snappy. For instance, one of the bulls calls the narrator a runt and another observes that if the narrator “sang,” that is, confessed, he’d sound “like one of the Andrews sisters.”
The next story, “Funeral Games,” another example of noir, is among other things a meditation on war and mortality. The narrator, the title, and the story itself all contribute to the theme of honoring those who’ve served their country.
I’ll leave the rest of the stories for you to discover on your own, except for the last one, “A Lady of Quality,” winner of the Best Short Story of 2006 from the Missouri Authors Guild. Quite rightly, too, as this is a beautifully written story. Like most of the stories in MURDER MANHATTAN STYLE, it’s written in first person and the narrator reaches out and grabs us with her first words: “Listen here.” She commands our attention from the start and holds it in this compelling, yet subtle story of suspense.
As defined by Carolyn Wheat in HOW TO WRITE KILLER FICTION, suspense revolves around a crime that unfolds before our eyes instead of a crime already committed at the start, like more traditional detective fiction. Will the narrator Lizzie, a young black woman in the 1960’s, escape from the velvet-gloved hand of steel of Mrs. Edwards, the white gentlewoman, who’s very aware of her position in the society of a southern town? Will Lizzie even see the trap in time?
Read “A Lady of Quality” and find out. I will tell you, in closing, that this last story shows a clear shift from plot-driven fiction in the earlier stories to character-driven fiction and Warren wrote it with an impeccable grasp of history, great sensitivity to the diction of the narrator, and powerful insight into, as William Faulkner said in his Nobel Prize Acceptance Speech, “the human heart in conflict with itself.”
NEXT TIME, on May 26: Louise Penny’s BURY YOUR DEAD
Meanwhile, happy reading & writing, Juliet
http://julietkincaid.com/2011/05/12/w...
